Dissuasion algorithmique, rétention : l’IA fait-elle passer la cybersécurité à une nouvelle ère ?

Source: The Conversation – France in French (2) – By Christine Abdalla Mikhaeil, Assistant professor in information systems, IÉSEG School of Management

L’entreprise états-unienne Anthropic, spécialisée en intelligence artificielle générative, a pris début avril la décision de geler la diffusion publique de l’un de ses modèles récents, baptisé « Mythos ».

Selon un communiqué de la société, cette décision découle d’une puissance de calcul et d’une capacité de raisonnement jugées trop « offensives ». Anthropic a choisi de ne partager son modèle qu’avec une coalition de géants technologiques (Apple, Amazon Web Services, Cisco, Google, Microsoft, etc.) dans le cadre du projet Glasswing. Le but annoncé est d’utiliser Claude Mythos Preview pour détecter des vulnérabilités dites « zero-day » (c’est-à-dire inconnues et n’ayant aucun correctif connu) et sécuriser proactivement les logiciels critiques… avant que des acteurs malveillants n’exploitent ces failles.


Les grands modèles de langage savent déjà coder depuis quelques années, mais la presse spécialisée documente désormais un saut plus préoccupant. Des systèmes d’intelligence artificielle (IA) peuvent identifier des vulnérabilités réelles dans des logiciels critiques. Les autorités, comme l’Agence nationale de la sécurité des systèmes d’information (Anssi), soulignent la capacité des systèmes d’IA à automatiser les attaques.

Les enjeux de la diffusion massive de tels modèles, Mythos compris, dépassent largement le cadre technique. Une cyberattaque d’envergure, automatisée par une IA, pourrait paralyser des systèmes financiers ou logistiques en quelques secondes, avec un coût de remédiation se chiffrant en milliards d’euros. Les enjeux sont aussi sociétaux et de santé, puisque nos hôpitaux, nos réseaux énergétiques et les autres systèmes critiques reposent sur des couches logicielles souvent anciennes, vulnérables à des « attaques de zero-day » désormais générées à la chaîne.

Dans ce contexte, des IA ultraperformantes, comme Mythos, peuvent-elles contribuer à une forme de « dissuasion algorithmique » ? Celle-ci repose sur un principe simple : détecter et neutraliser ses propres vulnérabilités critiques plus vite que n’importe quel attaquant humain ou automatisé – y compris lors d’une attaque – si rapidement que l’attaque en devient inutile ou trop coûteuse.

La rétention de ce modèle par une ou des entreprises privées états-uniennes rouvre également la question de la souveraineté numérique à l’échelle mondiale.

Les systèmes d’IA facilitent les cyberattaques

Historiquement, la cybersécurité repose sur une asymétrie fondamentale : l’attaquant n’a besoin de trouver qu’une seule faille de sécurité, tandis que le défenseur doit toutes les combler dans une forme de course contre la montre.

L’intégration de systèmes d’IA renforce les capacités des attaquants, en premier lieu parce qu’un modèle comme Mythos peut scanner des millions de lignes de code en quelques minutes, là où un humain passait des semaines à analyser le code source d’un logiciel pour y déceler une erreur de mémoire. C’est ce que l’on appelle l’« automatisation de la reconnaissance ».

De plus, l’IA permet le phishing de haute précision, c’est-à-dire des messages frauduleux (le phishing classique) mais plus crédibles, sans fautes d’orthographe, dans n’importe quelle langue et ultrapersonnalisés pour tromper l’utilisateur. L’Anssi alerte d’ailleurs sur l’usage de l’IA générative pour briser les barrières linguistiques et psychologiques traditionnelles qui rend les « pare-feux humains » – c’est-à-dire la vigilance et l’esprit critique des lecteurs – de plus en plus obsolètes.

Enfin, des malwares peuvent désormais réécrire leur propre code en temps réel pour échapper à la détection « par signature ». Cette méthode classique des antivirus consiste à identifier un virus par son « empreinte » (un code déjà connu et répertorié). En changeant constamment de forme (exploitation polymorphe), le malware devient invisible pour ces outils traditionnels.

L’IA pour la cyberdéfense

En miroir, l’IA améliore aussi les capacités de cyberdéfense, grâce à des analyses causales, qui permettent de modéliser les relations entre événements, ainsi qu’en accélérant l’identification d’anomalies par une surveillance automatisée et la priorisation de leurs corrections. Ainsi, un système d’analyse IA a permis en janvier de découvrir 12 failles de sécurité dans OpenSSL, un logiciel essentiel à la protection des communications internet mondiales.

Mythos semble également déjà participer à cette automatisation, et Firefox affirme déjà avoir identifié et réparé 271 vulnérabilités grâce à ce logiciel, ce qui suggère que Mythos excelle effectivement dans la détection de vulnérabilités lorsqu’il a accès au code source.

En revanche, rien ne prouve pour l’instant que Mythos puisse, sans accès au code source et sans intervention humaine, compromettre de manière autonome n’importe quel logiciel fermé.

De plus, des analyses suggèrent que des capacités comparables seraient déjà reproductibles à partir de modèles publics, remettant en cause l’efficacité de cette rétention. Ainsi, Mythos ressemble aujourd’hui davantage à un analyste de sécurité surpuissant, capable d’identifier des failles et de proposer des pistes d’exploitation, qu’à une entité autonome de cyberattaque universelle.

Ce qui inquiète vraiment, ce n’est pas seulement que Mythos sache mieux coder ou mieux tester du code : c’est qu’il semble abaisser le coût, le temps et le niveau d’expertise nécessaires pour découvrir et enchaîner des failles, donc potentiellement accélérer aussi bien la défense que l’attaque.

Vers un nouvel équilibre de la « dissuasion algorithmique » ?

Dans ce contexte, la notion de « dissuasion algorithmique » (algorithmic deterrence en anglais) émerge. Elle peut être comprise par analogie avec la dissuasion nucléaire : il ne s’agirait plus seulement de se protéger, mais de posséder une capacité de réponse et de détection si rapide que l’attaque en devient inutile ou trop coûteuse.

Contrairement au domaine nucléaire, la dissuasion algorithmique repose sur le renforcement des mécanismes défensifs (plutôt que de réponse) : détection accélérée des intrusions, analyse des causes et simulation d’attaques pour boucher les failles avant qu’elles ne soient exploitées.

Avant l’ère de l’IA, la dissuasion algorithmique était plus limitée : les équipes de sécurité réalisaient des tests d’intrusion, une méthode d’évaluation de la sécurité qui repose sur la simulation de cyberattaques, pour identifier les ports ouverts et failles connues, pour enclencher leur correction.

Aujourd’hui, on l’a vu, l’IA peut renforcer les mécanismes défensifs et donc la dissuasion. Mais, dans le meilleur des cas, une IA de défense permet de réduire le coût de la protection et d’augmenter la probabilité qu’un attaquant soit repéré ou neutralisé avant d’atteindre son objectif.

La dissuasion algorithmique reste donc fragile. Même à l’ère de l’IA, elle dépend beaucoup des pratiques des acteurs opérationnels (agences de cybersécurité, armées, entreprises), de la qualité et de la modernité des systèmes hérités qu’ils doivent protéger et intégrer, des stratégies nationales et militaires mises en œuvre par les États ainsi que des dispositifs de gouvernance qui définissent les règles, les responsabilités et les mécanismes de contrôle de l’IA.

Le dilemme de la rétention d’outils de dissuasion : sécurité contre transparence

Ne pas rendre disponibles au grand public certains modèles peut sembler responsable, car cela évite de publier des capacités offensives qui seraient immédiatement détournées. Mais cette rétention concentre le pouvoir technologique entre quelques mains et réduit la transparence scientifique.

Le débat rejoint ici celui du cadre l’AI Act européen, qui impose déjà des obligations de transparence, de traçabilité et de documentation pour les modèles d’IA d’usage général, tout en cherchant à concilier innovation, sécurité et protection des secrets industriels.

L’opacité des modèles d’IA limite leur auditabilité, entrave le développement de contre-mesures appropriées et concentre le pouvoir technique entre quelques acteurs principalement américains, au détriment de la recherche ouverte et de la gouvernance démocratique. Cette critique s’inscrit dans une littérature académique plus large montrant que l’opacité des systèmes d’intelligence artificielle compromet leur reproductibilité, leur auditabilité et, in fine, leur valeur scientifique.

The Conversation

Christine Abdalla Mikhaeil est membre de Association for Information Systems (AIS). Elle a reçu des financements de l’Institut Bachelier et du LEM CNRS UMR 9221.

ref. Dissuasion algorithmique, rétention : l’IA fait-elle passer la cybersécurité à une nouvelle ère ? – https://theconversation.com/dissuasion-algorithmique-retention-lia-fait-elle-passer-la-cybersecurite-a-une-nouvelle-ere-282192

‘A life-and-death matter’: understanding how Ofsted inspections risk suicidal thoughts in teachers

Source: The Conversation – UK – By Rachel Harding, Research Fellow in Social Sciences, Nottingham Trent University

Zhuravlev Andrey/Shutterstock

Ofsted, the schools inspectorate in England, was the subject of a UK parliamentary inquiry after the death by suicide of Ruth Perry, headteacher of Caversham Primary school in Berkshire, in 2023. The coroner’s report had concluded that Perry’s death was “suicide, contributed to by an Ofsted inspection”.

The parliamentary inquiry called for submissions of evidence about Ofsted from members of the public. Our recent research has analysed the 233 published submissions, many of which were from teachers. One submission to the inquiry included an impact statement by a headteacher written in 2022. It read:

The manner in which the inspection was conducted and the lack of integrity from the Lead Inspector has meant that my family have had to support me through suicidal thoughts and through countless occasions of being in floods of tears as soon as I think back to that day.

“It seems incredible that an issue like the conduct of school inspection should be a life-and-death matter, but so indeed it has become,” the submission from her school stated.

Theory of suicide

Sociological theory helps us ask questions and seek radical answers about how societies function, including government policy such as the inspection of schools.

Sociologist Émile Durkheim’s theory of suicide argues that suicide does not only happen because of mental illness, but that it also has a social context. Durkheim examined how the interaction of people and social control, as well as notions of shame, guilt, failing expectations and feeling trapped, might result in someone having suicidal thoughts and feelings.

We found evidence of teachers feeling shame. One submission mentioned “the enormous shame and distress that is felt by those leading and working within the school”.

Teachers also reported feeling trapped:

In my last inspection in November 2019, I lost half a stone in the three days (starting from the phone call) and lost my voice. My family suffered, there were arguments and I slept on the couch. The stress and pressure was all too much. As a school leader, I live in fear and I came into education because I love teaching but now I feel trapped.

man sat alone in classroom
The impact of Ofsted inspections on teacher wellbeing is well documented.
Elnur/Shutterstock

The risk of a less than good inspection was “petrifying”. Having to be always ready for an inspection was “intolerable”. The thought of letting colleagues down by making a mistake was “unbearable”.

Teachers wrote about ill health because of Ofsted experiences. These accounts included vomiting, physical collapse, panic attacks, incontinence and suspected stroke with a temporary loss of speech. One wrote that they had a miscarriage the day after a deeply stressful Ofsted inspection.

The government and Ofsted’s response

The Education Committee’s report noted that the committee had heard that “Ofsted has lost trust and credibility among many in the teaching profession.”

However, a number of reports on Ofsted’s practice, including the independent learning review commissioned by Ofsted, fail to acknowledge that teachers can have suicidal thoughts and feelings because of Ofsted.

Ofsted’s developments since the inquiry include introducing report cards for schools. Ofsted says this is fairer, but teachers say it creates more stress. An independent risk assessment warns that “the revised framework does not reduce the pressure on leaders to achieve a desirable outcome. The consequence of not meeting the expected standards of the revised framework will remain high stakes in nature.”

Other developments include changes regarding inspections of provision for children in care and inspection frameworks themselves.

But we do not believe that these changes constitute the “root and branch” review of Ofsted previously called for by education leaders.

Professor Julia Waters, Ruth Perry’s sister, has said that our study “presents the evidence of the terrible human cost posed by Ofsted inspections, evidence that Ofsted and successive governments have still not fully grasped”.

Both Ofsted and the government should review how the inspectorate works. Not to do so runs the risk of school inspections remaining a life-and-death matter.

If you’re struggling with suicidal thoughts, the following services can provide you with support:
In the UK and Ireland – call Samaritans UK at 116 123.
In the US – call the National Suicide Prevention Lifeline at 1-800-273-TALK (8255) or IMAlive at 1-800-784-2433.
In Australia – call Lifeline Australia at 13 11 14.
In other countries – visit IASP or Suicide.org to find a helpline in your country.

The Conversation

The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.

ref. ‘A life-and-death matter’: understanding how Ofsted inspections risk suicidal thoughts in teachers – https://theconversation.com/a-life-and-death-matter-understanding-how-ofsted-inspections-risk-suicidal-thoughts-in-teachers-278478

What Iran’s absence from the Venice Biennale reveals about art and politics

Source: The Conversation – UK – By Katayoun Shahandeh, Lecturer in Museum Studies, SOAS, University of London

Just days before the opening of the 2026 Venice Biennale, organisers announced that Iran would no longer participate.

A short statement posted to the Venice Biennale website on May 4 said: “With regard to the National Participations in the 61st International Art Exhibition…it has been announced that the Islamic Republic of Iran will not participate.” No explanation was given. I believe that silence is itself revealing.

Iran’s withdrawal is less a sudden decision than the result of converging geopolitical and economic pressures that are reshaping both the global art world and Iran’s place within it.

At the most immediate level, the withdrawal reflects the material realities of crisis. With internet access restricted, international flights suspended and communication networks severely disrupted, even the basic logistics of participation – coordinating, shipping and installing artworks – probably became nearly impossible for Iran.

These conditions have been compounded by intensifying economic pressures, including the sharp devaluation of the Iranian rial, which has made international cultural engagement increasingly difficult to sustain.

An explanation of the Venice Biennale.

Such constraints point to a fundamental condition of contemporary art: global exhibitions rely on infrastructures of mobility and communication that are easily destabilised by conflict and sanctions.

The timing is also significant. The decision comes amid renewed military tensions and escalating political rhetoric surrounding Iran’s position in the global order. In such moments, when political discourse edges toward existential threat, the stakes of cultural visibility are heightened. At the same time, sustaining cultural presence becomes more difficult.




Read more:
Middle East conflict looks increasingly like a war nobody can win


More revealing still was the lack of any announced artist, curatorial framework or exhibition concept for Iran’s pavilion, even days before the Biennale’s opening.

Iran’s presence at the Venice Biennale has historically been organised through state institutions, with oversight exercised by the ministry of culture and Islamic guidance since the Iranian revolution (1978-79). As with many national pavilions, this model positions art as a form of cultural diplomacy. But in Iran’s case, it has often produced a disconnect between official representation and contemporary artistic practice.

This gap is significant. The Venice Biennale, often described as the “Olympics of the art world”, remains structured around national pavilions, with each country responsible for presenting its cultural identity on a global stage. Yet, as critics have long argued, it has never been a neutral platform, but a space where art and geopolitics intersect.

More broadly, biennials are deeply embedded in political and institutional contexts, rather than existing outside them. Within this framework, they are often understood as sites of cultural soft power, where nations project influence through artistic production.

National representation in crisis

Iran’s withdrawal must also be understood in relation to the wider turmoil surrounding the 2026 biennale itself. This year’s edition has been marked by extraordinary controversy, including disputes over the involvement of Russia and Israel, calls for boycotts and the resignation of the entire international jury just days before the opening.

These events expose the fragility of the biennale’s longstanding claim to neutrality. Rather than existing outside politics, it has become a site where geopolitical tensions are actively staged and contested.

To exhibit at the biennale is never neutral: it means entering a highly visible arena shaped by competing narratives of legitimacy and power. For the Islamic Republic, this raises a deeper tension. The biennale’s national pavilion model requires countries to present a coherent cultural identity through contemporary art. Yet Iran’s artistic landscape is anything but singular. It is shaped by internal contradictions between state and independent practices, censorship and experimentation and local production and diasporic circulation.

The entire jury resigned just days before the opening.

These tensions are difficult to reconcile within a state-managed exhibition framework. The very premise of the pavilion – art as national representation – sits uneasily with a system in which artistic expression is subject to ideological and institutional control.

At the same time, the Biennale embodies forms of global circulation, cultural competition and visibility tied to international art markets that do not always align with the cultural and political ethos of the Islamic Republic. Representation therefore involves negotiating how a nation appears, to whom, and on whose terms.

The current moment makes this tension even more acute. As political rhetoric escalates and the possibility of large-scale destruction is invoked in global discourse, cultural visibility becomes more urgent. Art offers one of the few spaces through which narratives beyond conflict and diplomacy can emerge. Yet for Iranian artists, cultural presence is becoming more fragmented, shaped by diasporic networks, constrained by national borders and limited by economic and infrastructural pressures.

Iranian artists, particularly those working through independent and diasporic networks, have for decades operated beyond the frameworks of state representation, with their work circulating internationally through alternative artistic circuits. Iran’s missing pavilion, then, does not signal the disappearance of Iranian art. Rather, it reveals the precarious conditions through which that art circulates.

Iran’s absence from the Venice Biennale also highlights the limits of the national pavilion model. The system has frequently been criticised for reducing complex artistic practices to simplified national identities, even as contemporary art now operates through transnational networks that exceed the boundaries of the nation-state.

In Venice this year, the missing pavilion reflects an art world shaped as much by political crisis as by artistic production. Iranian art is not absent from the global stage. Yet the conditions under which it circulates and remains visible have become increasingly fragile.

The Conversation

Katayoun Shahandeh works for SOAS University of London.

ref. What Iran’s absence from the Venice Biennale reveals about art and politics – https://theconversation.com/what-irans-absence-from-the-venice-biennale-reveals-about-art-and-politics-282416

AI in the emergency department: promising, powerful but still unproven

Source: The Conversation – UK – By Ewen Harrison, Professor of Surgery and Data Science, University of Edinburgh

Gorodenkoff/Shutterstock.com

Artificial intelligence can now outperform doctors at diagnosing patients in the emergency department, according to a new study in Science.

The AI was given written notes from real emergency department records from a hospital in Boston, US, and asked to weigh in at different points during the patient’s care. At the earliest stage – triage, when a patient first arrives – the AI identified the correct diagnosis, or something closely related, in 67% of cases.

The two doctors used for comparison managed 50% and 55%. That’s a meaningful gap, especially at the moment when information is scarcest and uncertainty is highest.

This study matters because the field is moving so fast. Earlier research showed that large language models – the technology behind systems like ChatGPT – could pass medical licensing exams. Interesting, but not all that illuminating. Passing an exam is not the same as being useful on a ward.

This new study goes further. It puts AI alongside doctors across several tasks, using genuine clinical text from a real emergency department. That makes it more directly relevant to medical practice than most of what’s come before. It suggests these systems are developing into something that could genuinely help doctors think through a wide range of possible diagnoses, especially in situations where missing a serious condition is the main concern.

There are good reasons, though, not to get carried away.

The AI was working entirely from written text. It never saw the patient, never noticed how breathless or frightened they looked, never examined them, spoke to their family, weighed up the chaos of a busy department, or took any responsibility for what happened next. It was not practising emergency medicine. It was offering a written opinion based on selected information.

There’s also a gap between producing a list of possible diagnoses and actually improving patient outcomes. A longer list might help a doctor think more broadly, but it could equally generate new problems: unnecessary tests, over-treatment, extra workload, or unwarranted confidence in an answer that sounds plausible but turns out to be wrong.

And some of the benchmark cases used in studies like this may have been publicly available when the AI was trained, which doesn’t undermine the emergency department findings, but is another reason to treat headline numbers with some scepticism.

The hard question

So the question isn’t really whether AI can help doctors think through difficult cases. The harder question is how this should be tested and governed in real clinical settings like the NHS.

That question is already urgent. A Royal College of Physicians snapshot found that 16% of UK doctors were using AI tools in clinical practice every day, with another 15% doing so weekly. Doctors are already using these tools in their daily work – before hospitals and health systems have properly worked out how to assess them, train staff to use them safely, spot when they’re causing harm, or decide who is responsible when something goes wrong.

A doctor looking at a tablet computer.
Around 16% of doctors in the UK use AI every day.
Josep Suria/Shutterstock.com

It’s tempting to say that the solution is to keep a human in the loop. But that phrase does very little work on its own. We need to know which human, in which loop, and with what authority. A doctor’s ability to override an AI suggestion is not, by itself, a safety system. Someone still has to decide which tools get used, who can change how they behave, how harms are spotted, and who is responsible when the tool quietly starts failing.

This study represents genuine progress. But it doesn’t, on its own, change how medicine should be practised. The right response is neither to prohibit these systems nor to let them quietly become part of the routine before anyone has thought it through. They should be trialled in real clinical settings, used as a form of second-opinion support rather than a substitute for clinical judgment, and measured against what actually matters to patients: care that is better, safer and faster.

The Conversation

Ewen Harrison receives funding from a number of grant-giving bodies including UKRI, NIHR, HDRUK, and Wellcome Leap. He is a Deputy Editor with NEJM AI.

ref. AI in the emergency department: promising, powerful but still unproven – https://theconversation.com/ai-in-the-emergency-department-promising-powerful-but-still-unproven-282029

Lower East Side street named for ‘King of Comics’ Jack Kirby, a nod to one of the countless kids of immigrants who shaped the genre

Source: The Conversation – USA (2) – By Miriam Eve Mora, Managing Director of the Raoul Wallenberg Institute, University of Michigan

The Thing is from the fictional Yancy Street in Manhattan’s Lower East Side, where creator Jack Kirby was raised. Richie S/flickr, CC BY

The gesture may lack the explosive drama of a rooftop fight or the tension of a car chase, but on May 11, 2026, a street sign honoring a legendary comics creator will be unveiled in Manhattan’s Lower East Side.

After a lobbying effort by comics expert Roy Schwartz, the New York City Council in December 2025 approved the naming of a block of Essex Street between Delancey and Rivington streets in honor of Jack Kirby.

Black-and-white photo of middle-aged white man smoking a pipe.
Comic book artist Jack Kirby attends San Diego Comic Con in 1973.
Clay Geerdes/Getty Images

Kirby, born Jacob Kurtzberg in 1917 to Jewish immigrants, spent roughly the first 40 years of his life in New York, aside from a stint serving in the military during World War II. Before enlisting, he’d already embarked on a career as a comics artist. He went on to become a key figure during the medium’s golden age, a period that most scholars and fans agree began with the creation of Superman in 1938 and ended with the implementation of the Comics Code Authority in 1956, which heavily restricted content until enforcement weakened in the 1970s.

Though you may not have heard of Kirby, you’d have to deliberately avoid pop culture to miss his most influential creations: Captain America, the Fantastic Four, X-Men, Thor, Hulk, Iron Man and Black Panther.

For my part, however, as a scholar of American Jewish immigration history – and as a lifelong comic book fan – I hold a place of reverence for the man known as the “King of Comics.”

Jewish American history, immigration history, the history of New York City and the origins of the comics industry are inextricably linked. New York played a starring role in the golden age of comics. And like Kirby, many of the genre’s most famous artists were Jewish.

Jewish immigrants put pen and ink to paper

Comics found a wide audience in New York City during their early years in the late 19th and early 20th centuries, from early newspaper strips like “The Yellow Kid” and “Abie the Agent” to later ones like “Little Orphan Annie.”

As World War II drew to a close in the summer of 1945, there was a citywide newspaper delivery strike, leaving many New Yorkers desperate for news and entertainment – so much so that Mayor Fiorello LaGuardia took it upon himself to read the Sunday comic strips over the radio, performing them with characteristic vigor and enthusiasm.

Among the first publications that would today be recognizable as “comic books” were compilations of these early newspaper strips, assembled by newsprint salesman and Jewish New Yorker Max Gaines. Gaines, born Maxwell Ginzburg, compiled various comic strips into neatly packaged, inexpensive entertainment for the masses, helping pioneer the saddle-stitched comic book – thin, stapled magazines that would become the primary format for superhero stories.

As the superhero genre took off in the late 1930s, other publishers emerged from Jewish New York. Harry Donenfeld and Jack Leibowitz, in partnership with Malcolm Wheeler-Nicholson, created Detective Comics and Action Comics, which helped establish the company later known as DC Comics.

In addition to early publishers, many pioneering comics artists were raised in New York City as the children of Jewish immigrants, including Marvel Universe architect Stan Lee and his brother, Larry Lieber; Will Eisner, creator of “The Spirit” and co-creator of “Sheena: Queen of the Jungle”; and Al Jaffee, a longtime contributor to Mad Magazine.

An ode to the Lower East Side

In Jack Kirby’s comics, the city shines through.

The Fantastic Four – the superhero squad that Kirby created with Stan Lee – operates out of midtown Manhattan’s fictional Baxter Building, which Kirby modeled after the city’s mid-century skyscrapers.

Kirby also based the character of Ben Grimm – The Thing – on himself, mining his own life to write Grimm’s backstory. Grimm’s home is on the fictional Yancy Street, a tribute to Kirby’s own working-class upbringing on the Lower East Side’s Delancey Street. The thoroughfare is rich with Jewish history and in close proximity to iconic businesses like Katz’s Deli and Russ and Daughters.

Another of Kirby’s most iconic characters was Steve Rogers – Captain America – which he co-created with Joe Simon.

A poor orphan from Brooklyn, Rogers attempts to enlist in the U.S. Army to fight the Axis powers during World War II, but is rejected as unfit for duty. He is later recruited into Project Rebirth, where he is transformed into a super-soldier after being injected with a serum designed to maximize human physical and mental abilities.

Captain America attracted legions of fans among American youth, many of whom saw themselves in the superhero. Though Rogers is Christian, his story of transformation from weakling to hero certainly spoke to young Jewish boys and men, who were often inaccurately portrayed in the media and press as intellectually superior but physically inferior.

Captain America, though fictional, is already recognized as a part of New York City history, and has a statue in Brooklyn, which was unveiled in 2016 with the inscription “I’m just a kid from Brooklyn.”

The city as a muse

Even comics created by artists outside New York City – like Ohio natives and Superman co-creators Jerry Siegel and Joe Shuster – are, by virtue of their content, still in many ways New York comics.

The glittering Metropolis in “Superman” is widely understood as a stand-in for New York; for example, in the April 1950 issue of Action Comics, the Statue of Liberty is said to appear in “Metropolis Harbor.”

A bronze statue of a muscular superhero who's hoisting a shield with a star on it into the air.
A Captain America statue is unveiled during a ceremony at Prospect Park in New York’s Brooklyn borough on Aug. 10, 2016, in honor of the character’s 75th anniversary.
Angela Weiss/AFP via Getty Images

If Metropolis is the bright, shining, optimistic view of the city, then Gotham, the home of Batman, reprises the city through a grittier lens.

Writer Washington Irving had first described New York as Gotham in the early 1800s. But by the time Batman came on the scene, the term had become less common in everyday speech, and DC Comics repurposed the name for the fictional Gotham City. Beyond the name, Gotham City’s architecture, bridges, boroughs and neighborhoods are an homage to New York.

By officially recognizing Jack Kirby, the city adds the artist to a distinguished roster of politicians, community activists and celebrities honored with street names.

Jack Kirby Way celebrates a legendary comics artist while also acknowledging the immigrant creators who helped shape the genre. It’s a fitting tribute: As much as the comics industry is indebted to the city, the city is indebted to the comics industry.

The Conversation

Miriam Eve Mora does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

ref. Lower East Side street named for ‘King of Comics’ Jack Kirby, a nod to one of the countless kids of immigrants who shaped the genre – https://theconversation.com/lower-east-side-street-named-for-king-of-comics-jack-kirby-a-nod-to-one-of-the-countless-kids-of-immigrants-who-shaped-the-genre-279716

Motown’s Black women songwriters and producers were the invisible architects behind the pop music juggernaut

Source: The Conversation – USA (2) – By Margena A. Christian, Emeritus professor, University of Illinois Chicago

Sylvia Moy was a trailblazing Motown songwriter. L. Busacca/WireImage for Songwriter’s Hall of Fame

During the 1960s, in a country divided by racial strife, the music of Berry Gordy Jr.’s Motown Records helped bring people together.

Motown was noted for star performers like Mary Wells, The Miracles, The Supremes, The Temptations, Martha Reeves and the Vandellas, Marvin Gaye and Stevie Wonder. But, behind the scenes, a talented group of lesser known women were driving the hits in Hitsville U.S.A.

I’m a scholar of popular culture and author of the biography “It’s No Wonder: The Life and Times of Motown’s Legendary Songwriter Sylvia Moy.” Researching my book inspired me to find other women who contributed to the Detroit label’s era of chart dominance and helped change the music industry, despite going largely unrecognized for their efforts.

I listened to Motown growing up, but it wasn’t until 2021, while sitting at home during the pandemic, that I discovered Moy’s history as the lyricist for Stevie Wonder and how she helped revive his early career.

Because Moy died in 2017, I wasn’t able to speak with her for the book. Instead I researched her life by reading countless interviews she gave, along with talking to her former colleagues at Motown, family and ethnomusicologists, who are scholars that study music through the lens of culture.

Architect of the early sound

When Gordy was organizing his company, Janie Bradford was one of the original five founding members who arrived in 1958. She was the label’s first secretary and its first female songwriter after co-writing, with Gordy, the song “Money (That’s What I Want).” That song was released on Tamla Records in 1959 and performed by Barrett Strong. When Motown was incorporated the following year, the song became the label’s first hit record on the R&B chart and Billboard Hot 100.

Woman stands behind a podium and speaks into a microphone.
Janie Bradford speaks at a 2022 tribute to Mary Wilson, a member of The Supremes, in Los Angeles. Bradford was one of the founding members of Motown.
Alison Buck/Getty Images for The Recording Academy

Later, Bradford co-wrote “Contract on Love” for Wonder and “Too Busy Thinking About My Baby,” first recorded by The Temptations and later, Marvin Gaye. Bradford, who later became Motown’s director of writer’s relations, teamed up with pianist Richard “Popcorn” Wylie in the early 1960s to form Janard, a small production company.

Bradford’s collection of poetry is what captured Gordy’s attention, so he encouraged her to be a songwriter. Her witty lyrics told stories about situations that most anyone could relate to – namely, money and love – blended with up-tempo, thumping beats.

Laying the foundation as a producer

Another key figure who paved the way with the Motown sound was Raynoma Gordy Singleton, who was married to Berry Gordy Jr. from 1960 to 1964. She organized Motown during its beginnings by completing the necessary paperwork to incorporate the business. Known as “Miss Ray” to some and “Mother Motown” to others, she located the legendary house at 2648 West Grand Boulevard that became the Motown headquarters and, decades later, the Motown Museum.

In her role as the label’s first executive vice president, she established a tape library. A piano virtuoso and singer, the Cass Technical High School graduate wrote that she was able to play all string and wind instruments. As a result, she became the company’s first female arranger and producer by putting together its first backup vocal group, the Rayber Voices, in 1958.

“Producing records was where the action was controlled – and where the money was to be made,” she wrote in her memoir, “The Untold Story: Berry, Me, and Motown,” which aimed to reclaim her place in the Motown echelon.

During the 1960s, women weren’t considered producers because of broader biases and norms in the male-dominated music industry. Even so, Miss Ray got credit for producing Jimmy Ruffin’s song “Don’t Feel Sorry for Me” in 1961.

Earning a producer’s credit was a sign of legitimacy. Most producers received a songwriting credit and determined who received credit in the liner notes for their contribution to the recording.

While women mostly worked in administrative roles at Motown, there still weren’t any female full-time, in-house songwriters and producers. Like the rest of the music industry back then, Motown’s internal structure was patriarchal with those positions.

The first certified female songwriter and producer

Yet this imbalanced gender dynamic at Motown didn’t stop Sylvia Moy.

There hadn’t been any women producers behind significant, popular songs at Motown until Moy arrived, according to interviews I conducted for her biography.

Motown was at its peak in 1964. Demand for new songs was intense. When the label’s executives realized how skillfully the two audition songs Moy performed were composed, they decided that her future was in songwriting instead of singing.

Discovered by William “Mickey” Stevenson and Marvin Gaye, Moy was hired as the first female in-house songwriter, competing with eminent colleagues like Smokey Robinson, Norman Whitfield and the songwriting trio Holland-Dozier-Holland who wrote 10 of the Supremes’ chart-topping singles. Moy made more history in 1965 after co-writing and co-producing Stevie Wonder’s “Uptight (Everything’s Alright).”

While she received the songwriting credit and helped revive the teenaged Wonder’s career, Moy wasn’t given the producer’s credit, unlike her two male counterparts, Stevenson and Henry “Hank” Cosby.

A lack of recognition stymied Moy’s career opportunities. If a songwriter or producer wasn’t credited, their value could not be validated or established, which made it harder for them to find work at other record labels.

According to my research, Moy revealed that she never got producer credit for any of her work while at Motown. This is why her legacy was buried for so long.

Other tunes she wrote for Wonder were “I Was Made to Love Her,” “My Cherie Amour” and “With A Child’s Heart,” co-written with Vicki Basemore. Moy also wrote Marvin Gaye and Kim Weston’s “It Takes Two” and The Isley Brothers’ “This Old Heart of Mine (Is Weak For You).” Though songwriter Eddie Holland told me he gave her a co-writing credit for “This Old Heart of Mine,” Moy’s name was not listed on the record, only Holland-Dozier-Holland.

Interviews I conducted with Moy’s family members and research from an ethnomusicologist suggest she was even an uncredited co-writer for Wonder’s “Signed, Sealed, Delivered (I’m Yours),” his first song as a solo producer, and The Temptations’ “Ain’t Too Proud to Beg.”

However, Holland denied this claim in an interview with me, though he also admitted that the song’s late co-writer and producer, Norman Whitfield, presented him with the lyrics, and he wasn’t sure where they came from.

Full credit along with creative control

In 1968, Valerie Simpson became Motown’s first female songwriter to also receive a producer credit. This possibly happened because her songwriting partner was her husband, Nickolas Ashford.

Other famous female songwriters like Carole King, Ellie Greenwich and Cynthia Weil also had a prominent husband in the music industry. Sylvia Moy did not, which made what she did unprecedented.

A man and a woman stand for a portrait
Valerie Simpson poses next to her husband, Nickolas Ashford. Together, they formed the famed singing and songwriting duo Ashford and Simpson. She was the first woman songwriter and producer at Motown to receive complete credit for her creative contributions.
Aaron Rapoport/Corbis/Getty Images

Simpson told Billboard in 2023 that the credit was difficult to attain because so few women were producers back then. It finally happened with the Tammi Terrell and Marvin Gaye song “Ain’t Nothing Like The Real Thing,” with Simpson getting credit for co-writing, co-producing and performing background vocals along with Ashford.

This was their third hit tune by Terrell and Gaye, who also recorded “Ain’t No Mountain High Enough” and “Your Precious Love,” in 1967. The following year, they had another hit with “You’re All I Need to Get By,” which Ashford and Simpson also co-wrote, co-produced and did background vocals on.

‘Ain’t Nothing Like the Real Thing’ was performed by Marvin Gaye and Tammi Terrell. Valerie Simpson co-wrote and co-produced the song along with her husband, Nickolas Ashford.

Simpson became the first Black woman to be inducted into the Songwriters Hall of Fame in 2002. Moy became the second in 2006.

Though female songwriters and producers continue the fight for inclusion in the recording studio, the doors were opened by the tenacious women of Motown. It is because of them that future generations of female creatives know what is possible.

The Conversation

Margena A. Christian does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

ref. Motown’s Black women songwriters and producers were the invisible architects behind the pop music juggernaut – https://theconversation.com/motowns-black-women-songwriters-and-producers-were-the-invisible-architects-behind-the-pop-music-juggernaut-278514

Can houseplants really purify the air in your home? What the science actually says

Source: The Conversation – UK – By Pedram Vousoughi, Post Doctoral Researcher in Biological Sciences, University of Limerick

GoodStudio/Shutterstock

The question sounds simple. The answer, once you examine the actual measurement science behind it, is more interesting than either “yes” or “no”.

The houseplant-as-air-purifier idea can be traced to a 1989 US study, conducted for Nasa as part of research into closed-loop life support systems for space stations. In sealed, controlled chambers, certain plant species reduced concentrations of volatile organic compounds (VOCs). These are chemicals that easily evaporate into the air at room temperature, including some toxic ones like benzene, trichloroethylene and formaldehyde. The science was sound. The problem is the leap from a sealed Nasa chamber to a living room. This distinction matters enormously, and it underpins almost every piece of inflated coverage about houseplants’ purifying abilities that has followed.

Most studies showing that houseplants remove pollutants share a fundamental design feature: small, sealed chambers with artificially high concentrations of pollutants introduced as a single high dose. A plant is placed inside the chamber, concentrations of pollutants are measured over time and a removal rate is calculated. This design works well for comparing plants to each other. It works poorly for predicting what happens in your home.

The critical missing variable is what building scientists call the air exchange rate. This is how quickly outdoor air naturally replaces indoor air through gaps, walls and ventilation systems. In a real building, this constant dilution is already doing the heavy lifting on pollutant concentration. When a 2019 study modelled plant performance against real-world air exchange rates, it found you would need between ten and 1,000 plants per square metre to match what a building’s passive ventilation already achieves.

So the scientifically defensible answer is: houseplants can remove some pollutants, but they are not an effective standalone air-cleaning solution for homes. That does not mean the earlier studies were “wrong”. It means their results were often overextended into everyday settings where the physics of indoor air are very different.

Woman in blue apron holding large leafy houseplant in green pot.
Can houseplants really purify the air?
Vera Prokhorova/Shutterstock

More recent reviews distinguish between potted plants and more engineered plant-based systems. Some botanical biofilters, which force air through plant-root substrates with fans, may have useful air-cleaning potential, but that is a different technology from keeping a few decorative plants on a windowsill.

Another reason the claim is often overstated is that real indoor environments are not static. Pollutants are not usually released once and then left to decline in a sealed space, as happens in many chamber experiments. In homes, emissions may be continuous or intermittent, from cooking, cleaning, furnishings, consumer products, heating and traffic pollution wafting in from outside. Temperature, humidity, the number of people at home and ventilation also change throughout the day. All of these factors affect how pollutants are emitted, diluted or deposited indoors. This makes real exposure conditions far more complex than the controlled conditions under which many plant studies are carried out.

For these reasons, the most credible public health advice remains straightforward.

First, reduce or remove the pollution source. This may involve stopping the use of products that emit fumes, such as aerosol sprays or strong chemical cleaners, and repairing building defects such as damp or leaks that promote mould growth.

Then, improve ventilation and use effective filtration. Ventilation can be improved by, for example, opening windows and doors and using kitchen and bathroom exhaust fans that vent outdoors. You can also increase the supply of outdoor air through combined heating, ventilation and air conditioning systems, which can be great for filtering air.

Portable air cleaners with high-efficiency particulate air (Hepa) filtration can help reduce airborne particles, while ventilation, such as opening windows or using exhaust fans, helps dilute indoor pollutants when outdoor air quality is acceptable. Air cleaners vary in quality, though. For everyday use, look for a model that is the right size for the room and clearly states that it uses a True Hepa filter, which means it is designed to capture at least 99.97% of very small particles.

It is also helpful if the unit has an AHAM Verifide label, which means its clean air delivery rate (CADR) has been independently tested. As a simple guide, the higher the CADR, the faster the cleaner can remove particles from the air, and the packaging will usually say what room size the unit is suitable for. Most air cleaners are designed mainly for particles such as dust, pollen, pet dander and smoke.

If you also want help with gases or odours, such as VOCs, look for a model that includes an activated carbon filter, because Hepa filters alone are mainly for particles. Packaging will usually indicate whether a unit is intended for particles, gases or both, but no air cleaner removes all pollutants.

It is also worth remembering that plants themselves require care. Overwatering and poorly maintained pots can contribute to moisture problems or microbial growth indoors. In that sense, even the benefits of indoor greenery depend on how they are managed.

Woman wearing headphones leaning back in armchair, surrounded by large houseplants
Houseplants are great for making your home a relaxing place to be.
DimaBerlin/Shutterstock

Does that mean houseplants are useless indoors? Not at all. Even if their direct air-cleaning effect is modest in real homes, plants may still offer benefits. Scientific studies suggest they can improve perceived comfort and psychological wellbeing, and in some cases slightly influence humidity or the indoor microenvironment.

Keep houseplants because you enjoy them, because they make indoor spaces more attractive and calming. They can make homes feel more pleasant, and that is a value in itself. But they should not be presented as a practical solution to serious indoor air problems.

The Conversation

Pedram Vousoughi receives funding from Ireland’s Department of Climate, Energy, and the Environment for funding his current work under the FORESIGHT services contract for national agriculture and land-use modeling. He has also been granted EPS-IRC funding previously.

ref. Can houseplants really purify the air in your home?
What the science actually says – https://theconversation.com/can-houseplants-really-purify-the-air-in-your-home-what-the-science-actually-says-279690

Ultra-processed food: why the debate needs less fear and more clarity

Source: The Conversation – UK – By Beverley O’Hara, Lecturer in Public Health Nutrition, Leeds Beckett University

Highly moralised food messaging may encourage disordered eating patterns. superbeststock/Shutterstock

For many people interested in health and wellbeing, the idea of ultra-processed food, or UPF, has become more than a technical term in nutrition research. In public debate, it often serves as shorthand for wider concerns about modern, industrially produced food.

Those concerns are not baseless. A large body of research has found associations between high UPF intake and poorer health outcomes. But the evidence is not always easy to interpret. Many studies rely on self-reported diets and struggle to separate the effects of processing from nutrient quality, eating patterns and wider social factors. The evidence points to real problems, but also to the need for more careful use of the term.

In the US, the Food and Drug Administration and the Department of Agriculture began a formal process in 2025 to develop a uniform federal definition of ultra-processed foods, arguing that no single authoritative definition exists for the US food supply. The central question is: what exactly makes a food “ultra-processed”? Is it the ingredients it contains, the way it is made, the extent to which it has been altered from its original structure, or some combination of these?

This helps explain why the topic has become so divisive. Within nutrition research, there is no consensus on how far the UPF category should guide policy or individual dietary advice. Some researchers see it as an important way of identifying harmful patterns in modern diets. Others argue that it is too broad to serve as a sound basis for dietary guidance on its own.

That distinction is important. A category can be useful for tracking population diets while still being too blunt to tell an individual whether a particular product belongs in their shopping basket, especially when it tries to capture ingredients, industrial processes, product formulation, marketing, palatability and dietary patterns within one category.

There are also valid concerns about the role of large food companies in shaping diets and public health. Many highly processed products are designed to be cheap, convenient, heavily marketed and easy to overconsume. But the political and commercial problems of the food system are not identical to the scientific problem of classification.

A better approach would distinguish more clearly between products that are ultra-processed and nutritionally poor, products that are ultra-processed but may still have a useful place in the diet, and minimally processed foods that people are encouraged to eat more of. This might include some fortified foods, high-fibre breads or medical nutrition products, depending on their composition and use.

One way to balance warnings about UPFs is to give more attention to positive dietary guidance. In the EAT-UP framework, I propose the term “unrefined plant foods”, or UPs, to describe plant foods whose natural structure remains largely intact. These include whole fruits, vegetables, beans and grains that have not been heavily broken down or reconstituted.

This is not a replacement for the UPF framework. Its main value may be communicative: it balances advice about what to limit with clearer guidance on what to add. Many dietary guidelines already encourage people to eat more fruit, vegetables, legumes and whole grains. Naming these foods more precisely may help make that advice clearer.

Like any food category, unrefined plant foods would need careful definition. The phrase “largely intact” is not self-explanatory, and different researchers, policymakers and consumers may draw the boundary differently. But the value of the concept lies in shifting part of the public health message from avoidance to addition.

Advice based only on avoidance can easily become confusing or punitive. Evidence that higher intakes of whole plant foods are linked with better health also has limitations, including food diaries, self-reporting, cohort studies and the difficulty of separating diet from wider lifestyle factors. Even so, fruit, vegetables, legumes and whole grains are consistently supported across dietary guidelines, public health research and long-standing evidence on diet quality.

These debates also shape how people understand food in everyday life. Dietary advice should avoid creating unnecessary fear around food. When processing is treated as inherently dangerous, the result can be confusion, guilt and anxiety rather than healthier behaviour. In some cases, highly moralised food messaging may even encourage disordered eating patterns, including an unhealthy fixation on foods perceived to be perfectly pure or healthy.

This is also why language needs care. Phrases such as “real food” are often used to mean foods that are minimally processed or close to their original form. But the phrase can also carry assumptions about what counts as proper eating and who is getting it wrong. Public health messages need to take account of differences in income, time, access and daily constraints.




Read more:
Why stigmatising ultra-processed food could be doing more harm than good


Improving diets requires more than labelling a broad category of foods as harmful. It requires careful consideration of evidence, behaviour and context. The challenge is to produce advice that is scientifically sound, practical to follow and responsive to the real conditions in which people make food choices.

The UPF debate has rightly placed industrial diets and food quality at the centre of public health discussion. The next step is not to abandon the framework, but to improve it: to define categories more clearly, distinguish between different kinds of processing, and combine warnings about harmful products with practical advice about the foods people can eat more of. In practice, that means combining processing-based classifications with evidence about nutrient profile, fibre content, additives, marketing and the role a food plays in the overall diet.

The Conversation

Beverley O’Hara does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

ref. Ultra-processed food: why the debate needs less fear and more clarity – https://theconversation.com/ultra-processed-food-why-the-debate-needs-less-fear-and-more-clarity-278060

China’s ability to weather Trump’s trade war was two decades in the making

Source: The Conversation – UK – By Gemma Ware, Host, The Conversation Weekly Podcast, The Conversation

As Xi Jinping prepares to host Donald Trump for a delayed summit in Beijing on May 14-15, a lot has changed since the US president’s last visit to China in November 2017. Trump’s first trade war with China began in earnest the following year, ushering in a new era of trade tensions between the world’s two largest economies.

Trump will travel to Beijing in the wake of a US Supreme Court ruling in February that struck down his “Liberation Day” tariffs. The Trump administration responded by imposing a 10% universal tariff on all goods coming into the US, but it’s time limited to 150 days under US law and will expire on July 24. Since the ruling, both China and the US have also launched investigations into each other’s trade practices.

Before the Supreme Court ruling, the effective tariff rate on Chinese goods into the US was 47%. Now, researchers at Yale put the effective tariff rate at between 19-24%. The range reflects different scenarios for what might happen after July, and factors in tariffs on other goods, such as steel, aluminium and copper, not covered by the ruling.

And yet, amid all the tit-for-tat on tariffs, China reported a record trade surplus in 2025 of US$1.2 trillion. How did it manage it?

In this episode of The Conversation Weekly podcast, we speak to economist Jiao Wang at the University of Sussex, about how decisions China took over the past two decades, meant it was able to protect itself from the worst of Trump’s trade wars.

Wang explains that while the direct trade between the US and China fell sharply in 2025, “it was more than compensated by the increase in trade to other part of the world. We already observed this great reallocation in the first trade war, and then in the second trade war, the conclusion is it becomes even more prominent.”

She traces the history of this great reallocation to understand what moves China made to decouple its economy from the west, and the strategy its now pursuing on global trade.

Listen to the interview with Jiao Wang on The Conversation Weekly podcast.


This episode of The Conversation Weekly was written and produced by Mend Mariwany and the executive producer was Gemma Ware. Mixing by Eleanor Brezzi and theme music by Neeta Sarl.

Newsclips in this episode from APArchive, WSBTTV News, Max Media Asia, Al Jazeera English, CNA, BBCNews, CNBC Television, DW News, France 24 English, CNN, Global News and NBC News.

Listen to The Conversation Weekly via any of the apps listed above, download it directly via our RSS feed or find out how else to listen here. A transcript of this episode is available via the Apple Podcasts or Spotify apps.

The Conversation

Jiao Wang does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

ref. China’s ability to weather Trump’s trade war was two decades in the making – https://theconversation.com/chinas-ability-to-weather-trumps-trade-war-was-two-decades-in-the-making-282199

Why supplements aren’t a shortcut to healthy ageing

Source: The Conversation – UK – By Miguel G. Borda, Consultant in Geriatric Medicine, Department of Neurology, Universidad de Navarra

Ljupco Smokovski/Shutterstock

The use of dietary supplements has increased sharply in recent years. Vitamins, minerals and other nutritional products are often marketed as simple ways to boost energy, support immunity, protect brain health or even promote longevity. For many people, taking supplements can feel like a sensible, proactive health habit.

But this perception can be misleading. For people who already have adequate nutrition, many supplements offer little or no measurable benefit. Some are simply an unnecessary expense. Others are not risk-free: high doses of certain vitamins and minerals can cause toxicity, interfere with medications or produce unintended health effects.




Read more:
Vitamin D deficiency is widespread – but overusing supplements can also be dangerous


For older adults, however, the picture is more complicated. The most useful question is not simply whether supplements are “good” or “bad”, but whether someone is actually deficient, what might be causing that deficiency and whether a supplement is the safest way to address it.

Nutritional deficiencies become more common with age. Appetite may decrease, oral health can worsen, chronic illnesses become more common and many older people take medicines that affect how nutrients are absorbed, used or cleared from the body. Oral health problems, including tooth loss, gum disease and poorly fitting dentures, can also make chewing difficult and reduce dietary variety.

Later life is often surrounded by unhelpful food messages: eat less, lose weight, avoid “heavy” meals, stick to soft foods. But these messages can collide with the body’s continuing need for protein, vitamins and minerals. Over time, small meals, soups, toast and tea can become a diet that fills the stomach without meeting nutritional needs.




Read more:
Millions of older people don’t get enough nutrients – how to spot it and what to do about it


This does not mean every older person needs supplements. It means supplementation should be targeted: based on confirmed deficiencies, clear risk factors, medication use or evidence that someone is not getting enough from food.

Vitamin B12 is one of the clearest examples. B12 deficiency becomes more common with age, partly because the stomach may produce less acid, which is needed to release B12 from food. Low B12 can cause anaemia, fatigue, nerve problems, numbness or tingling, and sometimes memory problems or confusion. Certain medicines, including metformin and proton pump inhibitors, can increase the risk further. High-dose oral B12 often works well, although some people need injections.

Folate is also important, especially for red blood cell formation and DNA production. Low folate can raise homocysteine, a blood marker that has been associated with cardiovascular disease and cognitive decline, though this does not prove that folate supplements prevent either. Folate or other B vitamins may help selected groups, such as people with low folate or B12 status, raised homocysteine or mild cognitive impairment. But B12 deficiency should be considered before folate is prescribed on its own, because folate can improve some blood signs of B12 deficiency while nerve damage continues.

Vitamin D is another common concern. Deficiency is more likely in older adults with limited sun exposure, reduced mobility, darker skin, care-home residence or diets low in vitamin D-rich foods. Supplementation may be appropriate when levels are low, sun exposure is limited, or someone has osteoporosis, recurrent falls or high fracture risk. But more is not automatically better. A large trial found that vitamin D supplementation did not significantly reduce fracture risk in generally healthy midlife and older adults who were not selected for deficiency.

Calcium and magnesium matter for bone, muscle and nerve function, but where possible they should come from food. Supplements may be useful when dietary intake is insufficient or osteoporosis is present, but excessive intake should be avoided. Magnesium is often promoted for sleep, but evidence for routine use as an insomnia treatment remains limited.

Multivitamins can be useful for older adults who eat very little or have poor dietary variety, but they should not be treated as nutritional insurance for everyone. In a large study of three US cohorts, daily multivitamin use was not associated with a lower risk of death. Other research is exploring whether multivitamins may affect markers of biological ageing, but it remains unclear whether this translates into better health, independence or lifespan.

One of the most overlooked “supplements” in later life is not a vitamin at all, but protein. Many older adults eat too little protein or avoid protein-rich foods such as meat, fish, eggs, dairy, beans or lentils. Low intake can contribute to sarcopenia, the age-related loss of muscle mass and strength, increasing the risk of falls, frailty and loss of independence. Expert groups commonly recommend around 1.0 to 1.2 grams of protein per kilogram of body weight per day for healthy older adults. Higher intakes are sometimes needed during illness, frailty or recovery, unless someone has been advised to restrict protein because of kidney disease or another condition.

Unsupervised or excessive supplementation can be harmful. High doses of vitamin D or vitamin A can cause toxicity. Iron should not be taken without confirmed deficiency unless advised by a healthcare professional. Some supplements interact with medicines. And evidence reviews have found that some high-dose antioxidant supplements, particularly beta-carotene and vitamin E, may increase mortality risk in some populations.

A sensible approach begins with food, not pills. That means looking at appetite, weight change, chewing or swallowing problems, dietary variety, medical conditions, medication use and whether someone has enough support to shop, cook and eat well. Blood tests may be needed, particularly for vitamin B12, folate, iron and vitamin D.




Read more:
Older adults who follow healthy diets accumulate chronic diseases more slowly – new study


Evidence does not support universal supplementation for all older adults. But targeted use of vitamin D, vitamin B12, folate and, in some cases, a multivitamin or protein supplement can help when deficiencies or low intake are present.

Supplements can have a role in healthy ageing, but they are not a shortcut. The foundations are still balanced nutrition, strength exercise, adequate sleep, social connection and access to good food. The best supplement is the one that answers a real need, not the one with the loudest promise on the label.

The Conversation

Miguel G. Borda receives funding from Nasjonalforeningen for folkehelsen (Norwegian Health Association)

George E. Barreto receives funding from Research Ireland

ref. Why supplements aren’t a shortcut to healthy ageing – https://theconversation.com/why-supplements-arent-a-shortcut-to-healthy-ageing-277291