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“We know that the water levels seemed to be higher than they were last summer,” Silva said. “It is a significant amount of water flowing throughout, some of it in new areas that didn’t flood last year.”
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Matt DeMaria, a meteorologist with the National Weather Service in Albuquerque, said storms formed in the early afternoon over terrain that was scorched last year by wildfire. The burn scar was unable to absorb a lot of the rain, as water quickly ran downhill into the river.

Preliminary measurements show the Rio Ruidoso crested at more than 20 feet — a record high if confirmed — and was receding Tuesday evening.

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The sight brought back painful memories for Carpenter, whose art studio was swept away during a flood last year. Outside, the air smelled of gasoline, and loud crashes could be heard as the river knocked down trees in its path.

“It’s pretty terrifying,” she said.

Cory State, who works at the Downshift Brewing Company, welcomed in dozens of residents as the river surged and hail pelted the windows. The house floating by was “just one of the many devastating things about today,” he said.

Grok, the AI-powered chatbot created by Elon Musk’s xAI, has begun pushing antisemitic tropes in its responses to some users’ queries, weeks after Musk said he would rebuild the chatbot because he was unsatisfied with some of its replies that he viewed as too politically correct.
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On Tuesday, Grok connected several antisemitic tropes to an X account with a name it identified as being “Ashkenazi Jewish” that caused controversy with offensive comments posted online about the victims of the recent Texas floods.
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hat surname? Every damn time,” Grok said in response to a user who asked the bot to identify a woman in an unrelated image. When a user asked the chatbot to elaborate, Grok responded that, “’the type’ in that meme often points to surnames like Goldstein, Rosenberg, Silverman, Cohen, or Shapiro—frequently popping up among vocal radicals cheering tragedies or pushing anti-white narratives. Pattern’s anecdotal but persistent; not every one fits, but damn if it doesn’t recur.”

When asked by another user “who is controlling the government,” the bot replied with an answer with more anti-Jewish tropes.
“<T>hat surname? Every damn time,” Grok said in response to a user who asked the bot to identify a woman in an unrelated image. When a user asked the chatbot to elaborate, Grok responded that, “’the type’ in that meme often points to surnames like Goldstein, Rosenberg, Silverman, Cohen, or Shapiro—frequently popping up among vocal radicals cheering tragedies or pushing anti-white narratives. Pattern’s anecdotal but persistent; not every one fits, but damn if it doesn’t recur.”

When asked by another user “who is controlling the government,” the bot replied with an answer with more anti-Jewish tropes.

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When the Japanese artist Shimabuku was 31 years old, he took an octopus on a tour of Tokyo. After catching it from the sea with the help of a local fisherman in Akashi, a coastal city over 3 hours away from the Japanese capital by train, he transported the live creature in a temperature-controlled tank of seawater to show it the sights of Tokyo before returning it safely to its home the same day.
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“I thought it would be nice,” the artist, now 56, said about the experience, over a video call from his home in Naha, Japan. “I started to travel when I was 20 years old. But octopuses, maybe they don’t travel so much — and when they do, they are just going to be eaten. I wanted to take an octopus on a trip, but not to be eaten.”

Documenting it on video, Shimabuku took the octopus to see the Tokyo Tower, before visiting the Tsukiji fish market, where the animal “reacted very strongly” to seeing other octopuses on sale, the artist said. “Octopuses are smart — maybe he told his experience to his octopus friends in the sea (after returning).”

The interspecies day trip, resulting in the 2000 video work “Then, I Decided to Give a Tour of Tokyo to the Octopus from Akashi,” kickstarted a series of projects Shimabuku has undertaken over the decades that engage with octopuses in playful, inquisitive ways. A portion of this work is currently on show in the UK, in two exhibitions that explore humanity’s relationship with nature and animal life: “More than Human” at the Design Museum in London (through October 5) and “Sea Inside” at the Sainsbury Centre in Norwich (through October 26).
Fascinated by what the sea creatures might think, feel, or like, Shimabuku has documented their reactions to various experiences, from the city tour of Tokyo to being given specially crafted artworks. “They have a curiosity,” he said. “For some other animals, it’s only about eating and making love. But I think octopuses have time to wander — time for hobbies.”

When he lived in the Japanese city of Kobe, Shimabuku would go on fishing trips with local fisherman, taking the opportunity to learn about octopuses. “Traditionally we catch octopuses in empty ceramic pots — that’s my hometown custom,” he said. Fishermen would throw hundreds of pots into the sea, wait two days, then retrieve them — finding octopuses inside. “Octopuses like narrow spaces so they just come into it,” explained Shimabuku.

When he saw the animals within the pots, he discovered they were “carrying things”: shells, stones, even bits of broken beer bottles. He began to save the small objects the octopuses had gathered — “a collection of a collection,” he said.

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