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Influential study touting ChatGPT in education retracted over red flags

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A study that claimed OpenAI’s ChatGPT can positively impact student learning has been retracted nearly one year after publication. The journal publisher, Springer Nature, cited “discrepancies” in the analysis and a lack of confidence in the conclusions—but not before the paper racked up hundreds of citations and made the rounds on social media.

“The paper’s authors made some very attention-grabbing claims about the benefits of ChatGPT on learning outcomes,” said Ben Williamson, a senior lecturer at the Centre for Research in Digital Education and the Edinburgh Futures Institute at the University of Edinburgh in Scotland, in an email to Ars. “It was treated by many on social media as one of the first pieces of hard, gold standard evidence that ChatGPT, and generative AI more broadly, benefits learners.”

The retracted paper attempted to quantify “the effect of ChatGPT on students’ learning performance, learning perception, and higher-order thinking” by analyzing results from 51 previous research studies. Its meta-analysis calculated the effect size between various studies’ experimental groups that used ChatGPT in education and control groups that did not use the AI chatbot.

That analysis supposedly showed how “ChatGPT has a large positive impact on improving learning performance” along with a “moderately positive impact on enhancing learning perception” and “fostering higher-order thinking,” according to the researchers who authored the paper. The now-retracted results first appeared in the journal Humanities & Social Sciences Communications, published by Springer Nature on May 6, 2025.

“In some cases it appears it was synthesizing very poor quality studies, or mixing together findings from studies that simply cannot be accurately compared due to very different methods, populations, and samples,” Williamson told Ars. “It really seemed like a paper that should not have been published in the first place.”

Williamson also questioned the timing of the paper’s publication just two and a half years after OpenAI released ChatGPT in November 2022. “It is not feasible that dozens of high-quality studies about ChatGPT and learning performance could have been conducted, reviewed, and published in that time,” Williamson said.

A legacy that may outlive retraction

Since its publication, the study has been cited 262 times in other papers published by Springer Nature’s peer-reviewed journals and received a total of 504 citations from both peer-reviewed and non-peer-reviewed sources. It also attracted nearly half a million readers and received enough online attention to rank in the 99th percentile for journal articles in terms of attention score.

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bluebec
13 hours ago
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The Assembly — THE BITTER SOUTHERNER

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When you pull into the Assembly, as it’s familiarly known, one of the first things you see is a speed limit sign: 14 MPH. Practically, the quirky number says slow down more effectively. But it’s a symbol, too, of a world set apart. Just five minutes off the interstate, the whole place moves at a different pace, a living remnant of a 19th-century phenomenon. 

If you trace the Cumberland Plateau northward, its highlands eventually give way to the Allegheny Plateau, a kissing cousin that runs to western New York. There, in 1874, the Chautauqua Lake Sunday School Assembly was established — a training ground for Protestant church workers that President Ulysses S. Grant visited the following year. Its purely religious focus expanded over time, growing into a curated spiritual, intellectual, artistic, and recreational program. Today, it’s known as the Chautauqua Institution, borrowing the Haudenosaunee place name.

From a beautiful lakeshore in New York, this movement for adult learning and enrichment spread with gusto. Hundreds of “Chautauquas” or “assemblies” were formed in rural locales across the U.S. and Canada. Others took the concept on the road, popping up a “tent Chautauqua” for a handful of days and then circuiting on. Pastors giving sermons, lecturers making speeches, musicians and other performers offering entertainment — all played essential roles in the life of an assembly. Some describe them as the original TED talks. The movement also gave us book clubs. 

In 1882, Tennessee hopped aboard the band-wagon. That fall, an ecumenical group of leaders drew up a charter for the Monteagle Sunday School Assembly. The following summer, teachers from denominations across the South gathered for the inaugural session. A campus was raised, and, as in New York, the program quickly expanded to serve a broader audience with something of an edifying vacation. 

The core religious and educational program became intermingled with a social scene and, of course, courtship. Among those attending the Monteagle Assembly in the 1890s was John Bell Keeble, an attorney from Nashville and my great grandfather. According to the story passed down to me, he heard Emmie Frazer give a dramatic reading in the auditorium and was instantly smitten. She, apparently, had plans for a carriage ride with a suitor the following day. Putting his lawyerly wiles to personal use, John rented out all the horses. Her only option would be to ride with him. 

The stratagem worked. The two married. In August 1905, one of their six children, my grandfather Edwin, was born in the Assembly and, I’m told, placed in a laundry basket. Edwin would become a celebrated architect in Nashville, designing churches, homes, the Life & Casualty Tower downtown, and Memorial — Vanderbilt’s iconic gym.

In 1950, Edwin and my grandmother, Alice Beasley, met at a porch party in the Assembly. She’d been swept into the goings on of Monteagle summers by her own grandmother, Lucy Pulliam Williamson. The day the architect and the redhead from West Tennessee met was the Fourth of July and — forgive me for this — there were fireworks of the best kind. 

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bluebec
15 hours ago
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A comic of two foxes, one of whom is blue, the other is green. In this one, Blue and Green are cuddled up together, with Green deep in thought and Blue sound asleep.
Green, thinking: I want to kiss your neck and nibble your ears and touch your butt and fluff your tail, and... I want to touch you everywhere at the same time. My body is inefficient.

As Green speaks out nonchalantly, Blue opens one eye, deeply baffled by what he hears.
Green: You make me wish I had tentacles.ALT
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bluebec
12 days ago
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Melbourne
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Psychosis and the social model: making sense of a world that doesn’t make sense

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Despite our efforts to build a more liberatory mental healthcare system, psychosis remains one of the most stigmatised psychological experiences. Even people who are otherwise sceptical of psychiatry often see psychosis as different, as more severe and inherently pathological, where social explanations no longer apply and medical authority, including non-consensual interventions, are seen as unavoidable. Psychosis is framed as something that cannot be understood in relation to the world a person lives in, only managed or contained.

This assumption carries weight: it not only shapes how psychotic people are treated, but it also acts as a barrier to meaningful change in our mental healthcare system. When we make exceptions for some people or experiences, we suggest that our stated aims are not fit for purpose – that the social model is insufficient, and that psychiatric abolition, or even substantive reform, is utopian rather than realistic. My aim is to challenge these assumptions, exploring how psychosis can be understood using the social model and supported outside of the psychiatric system.

When I share my critiques of psychiatry with others, a common rebuttal is “what if you had a loved one that was psychotic — would you still think the same?” My answer to that is, undoubtedly, yes. My understanding of psychosis is shaped partly by watching people close to me struggle with beliefs that caused them real fear, yet were judged in completely different ways depending on their cultural fit. Some of these beliefs were immediately pathologised as symptoms of psychosis, while others — despite having the same structure, certainty, and distress — were accepted as normal because they aligned with dominant social anxieties around culture, religion and politics. Seeing this double standard up close made it impossible for me to view ‘psychosis’ or ‘delusion’ as a discrete and purely clinical category. It felt less like a measure of innate disorder and more like a reflection of the specific fears society is willing to legitimise, and those it will not.

The medical model presents psychosis as a combination of delusions (fixed, false beliefs) and hallucinations (sensory experiences that others don’t also experience) that cause distress or impairment in daily life. In psychiatry’s own terms, most delusions are ‘non-bizarre’, meaning the content involves situations possible in real life, like being followed or being in trouble with the police. Hallucinations are usually related to the delusion’s content, such as seeing the person you believe is following you. This means even when a person’s beliefs do not reflect their circumstances, the content usually draws on recognisable, real-world events. They are not random or incomprehensible, but shaped by the social and material environment in which the person lives.

Not only does the genuine plausibility of most psychotic beliefs allow them to take hold, but so does the atomised and precarious nature of our society. It is far easier to become paranoid about people around you when you don’t know them, and when you are living with real, unresolved stress and injustice. In these conditions, people naturally try to make sense of their distress by locating its source, especially in a society that offers few collective explanations or avenues for change. As a result, the experience of psychosis is often far more distressing and debilitating for those living in urban areas and in neoliberal countries. A study found that London and Paris had the highest rates of psychosis in the world, with the strongest predictor of psychosis being a low rate of owner-occupied housing — the metric used to measure housing instability, and by extension inequality. A separate study found that the experience of psychosis varied wildly around the world: while paranoid and distressing symptoms are common in individualistic societies, psychosis is viewed neutrally or even positively in more community-oriented societies. The paranoid, persecutory beliefs we associate with psychosis are not inherent to it; they don’t prove a disordered mind, but rather a disordered society.

This becomes clearer when we consider the prevalence of ‘delusion-like beliefs‘ in the general population, and how analogous these are — both in content and impact on the individual — to those that are pathologised as psychotic. Fixed, false, and distressing beliefs are common, often relating to victimisation: there are far more social media stories of “stalking” and “almost abduction” than are statistically credible. These anxieties are distressing, and often disrupt people’s lives, but they’re also understandable. In a patriarchal society where crime is common and its fearmongered media coverage even more so, “stranger danger” takes precedence over community. In such a society, it is common, natural, and certainly not ‘crazy’ to distrust others.

Crucially, this pattern isn’t limited to beliefs commonly labeled as ‘delusional’. Many culturally accepted beliefs operate in much the same way: they draw on shared narratives, become deeply personal, and shape people’s daily lives, even resulting in sensory experiences that are analogous to hallucinations. For example, religious or spiritual frameworks may involve beliefs about divine punishment, demonic forces, or apocalyptic futures; while political conspiracies may centre on shadowy elites, impending wars, or secret plots. These beliefs can be intensely distressing, all-consuming, and resistant to counter-evidence, yet they are rarely medicalised when they align with dominant cultural or ideological norms. My point is not to pathologise religion or conspiracy, but to highlight the absurdity of pathologising beliefs at all. If distressing, unprovable beliefs are ubiquitous across society, then the act of singling some out as symptoms of illness appears less like science and more like a social judgement about whose interpretations of the world are permitted.

This means that the harm lies less in what people believe than in how those beliefs are responded to. Regardless of content, the best way to approach distressing beliefs is with honesty and respect. For example, a person I know talked to me recently about their fear of stranger abductions, and how they believe a trafficking ring will abduct them if they leave the house. I discussed this belief with them like I would with anyone, regardless of diagnosis. I affirmed their right to be afraid but explained why I thought the belief was not credible; I showed them the true statistics for stranger abductions and stated my opinion as to why it’s such a prevalent yet irrational fear. That it’s the moral panic of “stranger danger”, similar to other moral panics in that it keeps people fearful of, and so separate from, their communities, stifling attempts to organise and shifting blame for social problems onto some ‘other’ rather than addressing their structural causes. This explanation reflects my real view, and it starts a discussion rather than shutting one down. In contrast, responding to psychotic people with lies, such as by disingenuously affirming the content of distressing beliefs, or misleading someone into compliance with a narrow model of ‘recovery’, strip those interactions of honesty and agency. Whether the aim is to reduce disruption, secure cooperation, or facilitate treatment, deception denies people their autonomy. Being repeatedly lied to, managed, or misled in this way is often noticed, and it understandably reinforces paranoia.

The harm deepens with the involvement of carceral systems like psychiatry and the police. Interventions such as forced medication, involuntary detention, welfare checks, and surveillance are justified as neutral or therapeutic responses to psychosis, but they are often unwanted and distressing. Many common psychiatric practices have been recognised by the UN as “forms of torture and ill-treatment” when they rely on coercion, confinement, or the removal of legal capacity. When a person’s distress is met with force, and when those around them collaborate with systems that deny their account of reality or conceal decisions being made about their body and freedom, trust is damaged. What is presented as care becomes indistinguishable from punishment. When a person is forcibly medicated, detained, or surveilled, is it really irrational for them to feel persecuted? And when you are persecuted, is the paranoid response to blame distant powers, or to look to the people, services, and systems that you trust, that are meant to care?

If we take the social model seriously, then psychosis cannot remain the exception that proves psychiatry’s authority. The social model asks us to locate distress not in defective minds, but in unequal, violent, and isolating conditions; to understand impairment as something produced through the interaction between people and their environments. It requires us to recognise that what is called ‘psychosis’ is often an attempt to make sense of real insecurity, injustice, and harm in a society that offers few collective explanations and even fewer routes to safety.

From this perspective, the harm associated with psychosis is not inevitable. The question then is not how to correct or contain psychotic beliefs, but how our responses either compound or relieve distress. Coercion, deception, and surveillance don’t restore trust or clarity; they deepen fear and confirm a sense of persecution. Likewise, drawing rigid boundaries between “sane” and “delusional” beliefs doesn’t protect people from distress, it simply determines whose interpretations of the world are taken seriously and whose are punished. A truly liberatory approach to psychosis is not force disguised as care. It asks that we build our communities, and create trust rather than dismissing distrust as madness, and in doing so strengthening the distrust and isolation felt. A truly liberatory approach to psychosis demands honesty, solidarity, and material change.

For more information and peer-led support for people with psychotic or similar experiences, visit the Hearing Voices Network

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bluebec
21 days ago
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I thought hell would freeze over before I agreed with the pope. But in a world riven by cruelty, that day has finally come | Rebecca Shaw

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I have never been a religious or spiritual person, even though I grew up in a religious area and had friends (and strangers) throughout school and university trying to lure me into whatever prayer disguised as organised fun they were up to. I did try it out shortly for a desperate period when I was young, attempting to pray to a God I didn’t really believe in to make me not gay, but blessedly he never answered.

Despite my resistance to organised religion, I have always had a soft spot for nuns and their counterparts. The girlies.

This is probably partly due to pop culture, specifically Sister Act, but even more specifically Sister Act 2 (underrated). There are of course many real-life horror stories involving nuns and people in similar positions of power, but nuns and the nun-adjacent are often portrayed as the kinder and more reasonable arm of the patriarchal power structures of organised religion – groups of women dedicated to a higher cause and direct hands-on caring for their communities (except Sister Michael from Derry Girls).

This topic has been top of mind recently, since discovering the Dominican Sisters of Mary, Mother of the Eucharist Catholic order. I’m sure all of those words mean things, but I only know what I’ve seen on TikTok, which is that as part of their outreach, they’ve started a podcast. It’s just what God would want. The sisters themselves don’t have personal phones and don’t have anything to do with the production, they just get set up with microphones, and the rest is their gift of the gab. They talk about a variety of things, including what their lives look like.

In one moment that went viral, one sister talks about how she loves playing ultimate Frisbee back at the religion farm or wherever they live, and the other replies “Sister, and you are so good at that!” – a phrase that has taken off. They have gone viral, not just because they are religious sisters doing a podcast, which is like seeing a priest use a vape, but I think because of how calming they are, how sweet and unguarded, how simple their lives seem, and how they radiate genuine kindness. In a time that feels saturated with cruelty and hollowness, these qualities are especially magnetic.

In recent days, the US president, Donald Trump, has gotten into a spat with the literal Pope Leo, after the latter said in his prayers last week: “Enough of the idolatry of self and money! Enough of the display of power! Enough of war! True strength is shown in serving life.” Using my decoding skills, I believe this was likely a reference to Trump and the war on Iran. In response, Trump called the pope “soft on crime”, a line I would have been proud to write as a satirical joke before the year 2017. The reality is that the big boss of the Catholic church, an institution I have a large amount of distaste for, and one that has been definitively not on the same “beliefs” page as me, is now the person in power making the most reasonable statements, or at the very least statements that sound recognisably human: that war and genocide is bad, that human life has value.

In recent months I have seen many lapsed Catholics speak jokingly(?) about how Leo is starting to reactivate their dormant Catholic sensibilities, as well as many non-Catholics sharing his words. To me this trend speaks more to morality than spirituality. It is a relief that someone in a powerful position is correctly identifying right and wrong. It is a relief to see Pope Leo decrying cruelty, because apparently most current world leaders lack the necessary spine. I am not going to become Catholic or religious at all, but with each passing day in this world filled with the despair of genocides, inhumane wars fought for oil, Jeffrey Epstein and his cabal of rich and powerful predators, generative AI dismantling our curiosity and tenacity, and the daily horror of what humans are capable of doing to each other, I feel myself turning towards something.

Of course there has always been human evil, but right now our species’ penchant for atrocity is palpable. It is gleeful, it is proud, it is brazen, it is spreading, it is bringing more stupid people along for the ride every minute.

It’s especially stark and shocking to see how much of this palpable evil comes from people who claim to be God-fearing. Watching those who pretend to be religious carry out the most wretched actions against others for power or money is enough to make me start thinking seriously about souls, something I haven’t done until now.

I think these people are soulless. They are empty. Hollow. Watching people get away with murder (often literally) is so difficult to swallow that it actually makes me hope the afterlife they profess to believe in is real. It would be appropriate for them to suffer in eternity for their actions. But right now on Earth, the psychic damage of watching them surge ahead has given rise to a strange new feeling in me. It’s not faith, but it’s a feeling that humans can be a great deal better than this.

I won’t ever get to a place of religion, but I find myself feeling more connected to other good people. It’s making me seek out people who care, who want to look after each other and Earth herself. This is not because I’m some hippy goodwill-to-all-creatures Ani DiFranco lesbian (although I love Ani DiFranco, am a lesbian and enjoy quite a few creatures). I am no Dominican Sister of Mary with a gentle nature, sweet thoughts and ultimate Frisbee skills. I want the world to be better, and I am angry at the people making it worse. I want them to face consequences, but none are forthcoming, so I find myself drawn into a powerful moral solidarity with other people, one that seems to resemble spirituality, a kind of non-religious faith in each other.

Those who can need to push back against the darkness – not to get into heaven or avoid hell, but because it’s the right thing to do. And Sister, you could be so good at that.

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bluebec
24 days ago
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Odeith Doesn’t Paint Walls (25 Photos)

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Odeith does not just paint concrete. He hijacks it until wasps hover, buses appear, and letters start floating off the wall.

That is why this collection hits so hard. You are not just looking at 25 murals. You are watching one artist bend perspective until architecture starts lying to your eyes.

Meet Odeith: the artist who taught corners how to lie

Before the giant insects and chrome letter pieces went global, there was Sérgio Odeith: a graffiti writer from Damaia, Portugal, building his eye on rough walls, train-line surfaces, shadow, and repetition. That background still matters. You can feel it in the control. Nothing here is random. Every highlight, every cast shadow, every warped line is doing a job.

Odeith’s signature move is anamorphic street art. He paints across corners, pillars, domes, blocks, floors, and abandoned rooms like the architecture was custom-built for the trick. From the wrong angle, some pieces look stretched and strange. From the sweet spot, they lock in and hit with ridiculous force.

Wrong angle: chaos. Right angle: Odeith.

How to read an Odeith wall

  • First, clock the surface. He never ignores the architecture. He recruits it.
  • Then find the sweet spot. That is where paint turns into presence.
  • Finally, watch the shadows. That is where the lie becomes believable.

That is the real flex. Plenty of artists can paint a wall. Odeith makes the wall participate.

This 25-work selection shows the full range. One piece is eerie. The next is playful. Then slick. Then weirdly elegant. Then suddenly a bridge pillar is shouting LISBOA and an abandoned room has a frog sitting in it like it pays rent. Few artists make perspective feel this alive.

🔗 Follow Odeith on Instagram


🐝 Giant Wasp — By Odeith

Watch out. This is not just a wasp on a wall. This is a full room takeover. The body hangs in mid-air, the legs feel loaded, and that tiny brush interaction is the killer detail. It makes the whole thing feel caught in the act of becoming real.

💡 Nerd Fact: Black-and-yellow striping is one of nature’s clearest warning posters. Biologists call it aposematism, and the signal is so effective that harmless insects like hoverflies evolved to imitate wasps in classic Batesian mimicry.

More: Mimic wasp by Odeith


Split image showing a blank concrete block and Odeith’s finished illusion of a black vintage car painted across it.

🚗 Classic Day — By Odeith

One concrete block. One perfect angle. Boom. Vintage car. Odeith turns dead geometry into polished metal and actual mass. What makes it special is the calm. No chaos. No noise. Just ruthless control.

More: Classic day – By ODEITH


Glossy black and red lips mural by Odeith in Lisbon, Portugal, painted with a realistic bitten lower lip.

💋 Bite My Lips — By Odeith in Lisbon, Portugal 🇵🇹

No insect. No vehicle. No giant beast. Just pure surface seduction. The shine is wild, the bite mark gives it pulse, and suddenly rough concrete feels soft, glossy, and way too alive.

More: Bite my lips by ODEITH in Lisbon, Portugal


A giant 3D rooster mural by Odeith painted across two walls and the floor of an abandoned corner.

🐓 Giant Rooster — By Odeith in Lisbon, Portugal 🇵🇹

This rooster struts. The corner becomes chest, neck, tail, and swagger. You can almost hear it owning the space. Odeith loves architecture that already hints at a body, then pushes it all the way over the edge.

💡 Nerd Fact: In Portugal, a rooster almost automatically evokes the Galo de Barcelos: the folk symbol born from the legend of a roasted cockerel that crowed to prove an accused pilgrim’s innocence. Its colorful image was even used for years as a symbol of Portuguese tourism.


Turquoise 3D ODEITH lettering painted on a worn concrete wall, appearing to project outward with deep shadows.

🔷 Turquoise ODEITH — By Odeith

Sometimes the subject is the signature itself. That is when you really see how deep his letter game runs. These turquoise forms do not sit on the wall. They kick out of it, sharp, bright, and built like alien architecture.


Split image of a plain room corner and Odeith’s finished illusion of a burnt-out bus filling the space.

🚌 Burnt-Out Bus — By Odeith

Plot twist: the room is the bus. Odeith does not paint a vehicle beside the concrete shape. He lets the shape become the shell. Windows, mass, damage, depth — all of it lands. Empty space suddenly feels occupied.

More: How To Paint a 3D Bus on concrete – By Odeith


A 3D mural by Odeith showing a blue-and-white porcelain bowl, spoon, and a bird perched at the rim.

☕ Porcelain Bowl and Swallow — By Odeith in Portugal 🇵🇹

Quiet piece. Big impact. The bowl, spoon, and bird have this strange calm that makes the illusion even stronger. It feels like a still life wandered outside, scaled up, and settled onto the wall.

💡 Nerd Fact: This one quietly double-codes Portuguese culture: Lisbon has a National Tile Museum devoted to azulejo as a uniquely Portuguese art, and the swallow became a national home-and-fidelity icon after Rafael Bordallo Pinheiro patented his ceramic version in 1896.


Split image of a rounded concrete structure before and after Odeith painted it as a giant orange beetle.

🪲 Giant Beetle — By Odeith

This is site-specific genius. The rounded structure already wanted to be a beetle. Odeith just saw it first. Shell, legs, lift-off energy — the whole thing feels discovered, not invented.


Two realistic silver fish painted by Odeith on a plain wall in Lisbon, Portugal.

🐟 Silver Pair — By Odeith in Lisbon, Portugal 🇵🇹

Two fish. One plain wall. Zero excuses. The realism has to carry everything, and it does. Clean. Sharp. Convincing. It reads like a flash of silver pinned straight onto the city.

Nerd Fact: In Lisbon, silver fish imagery carries a sardine echo. The city’s official June festivities are literally described as streets filled with the smell of roasted sardines and Santo António imagery, so even a stripped-back fish mural taps a much bigger local obsession.


Split image of a concrete block before and after Odeith turned it into a vintage truck cab illusion.

🚚 Truck Cab — By Odeith

Heavy. That is the word. The proportions are so locked in that the truck feels parked, not painted. Grill, wheel, cabin — everything lands with blue-collar brute force.


A giant blue frog mural by Odeith in a ruined room, painted so it seems to crouch out of the wall.

🐸 Giant Blue Frog — By Odeith in Portugal 🇵🇹

Odeith is lethal with animals because he nails eye contact. This frog crouches like it owns the ruin and knows you just walked in. Glossy skin. Loaded pose. Direct stare. Weird and brilliant.

💡 Nerd Fact: Frogs are not just good mural subjects — they are scientific early-warning systems. National Geographic notes that amphibians are strong indicator species because their permeable skin absorbs both oxygen and toxins, making them especially sensitive to pollution and changes in air and water quality.


Massive 3D LISBOA letters painted by Odeith on a bridge pillar in Lisbon, Portugal.

🌉 LISBOA — By Odeith in Lisbon, Portugal 🇵🇹

Massive scale. Massive pride. Instead of hiding the illusion in a small corner, he sends it up a bridge pillar and makes the city name feel carved from air and concrete. Public art with its chest out.

More: “Lisboa” by ODEITH

💡 Nerd Fact: This mural sits inside a city that officially embraced urban art. Lisbon’s GAU (Galeria de Arte Urbana) was created in 2008, and Odeith’s own site lists him as part of the 2021 GAU MURO Festival — so “LISBOA” is also a story about graffiti becoming civic identity.


Split image showing a wall before and after Odeith painted a faucet and hanging insect illusion.

🚰 Be Careful When You Drink — By Odeith

This one is funny right up until it is not. Faucet. Sip. Surprise insect. Got you. It is a tiny visual ambush and a perfect example of how Odeith can use a wall’s existing logic to build the joke.

More: ODEITH: Be Careful When You Drink – 5 Photos and Video


Split image of a white van parked against a wall and Odeith’s finished kangaroo illusion towering above it in Darwin.

🦘 Rooftop Kangaroo — By Odeith in Darwin, Australia 🇦🇺

Only Odeith could make this setup feel believable for a split second. The real van helps. The painted kangaroo does the rest. Together they turn the whole scene into a quick hit of urban stage magic.

💡 Nerd Fact: A kangaroo is never just a random animal in Australian iconography. The Australian government notes that the kangaroo and emu were chosen for the Commonwealth Coat of Arms to symbolize a nation moving forward, based on the idea that neither moves backward easily.


Split image of a plain corner and Odeith’s finished illusion of a large vintage caravan with a figure peeking from the doorway.

🚐 Caravan Corner — By Odeith

This one feels like a road movie that took a wrong turn into an abandoned lot. Depth, windows, doorway, peeking figure — it is not just a caravan illusion. It is a whole mini-scene frozen in place.


A large yellow-and-black wasp painted by Odeith on a stained mossy wall beside grass and vines.

🌿 Mossy Wall Wasp — By Odeith

Nature joins the conspiracy here. Damp stains, moss, grass, and grime all help the wasp feel native to the wall. Odeith knows when to fight the surface and when to recruit it.


Split image of a white corner wall before and after Odeith painted a reflective chrome-style abstract letter piece across it.

🔲 Chrome Corner — By Odeith

This is pure letter sorcery. Abstract, yes. But never flat. The reflections and stretched geometry make it feel like a metal sculpture got halfway through the wall and stopped there.


A giant blue bird mural by Odeith on a weathered wall, with the artist reaching up to touch its beak.

🐦 Giant Bird Visit — By Odeith

This one is all charm. The bird feels curious, not aggressive, and the little touch between the artist and the beak melts the distance between mural and moment. Big illusion. Soft mood.


Split image showing a rounded concrete structure before and after Odeith painted it as a giant skull.

💀 Skull on Concrete — By Odeith

Brutal and clean. A blunt concrete form becomes a skull with real heft. Once the image locks in, the original structure is gone. That is one of Odeith’s secret weapons: he makes architecture forget its old identity.


Before-and-after image of a white interior block transformed by Odeith into a realistic train car mural.

🚆 Ghost Train — By Odeith in Portugal 🇵🇹

This one hits like abandoned-space poetry. The train looks rusted, used, and somehow already at home inside the room. It is not flashy. It is eerie. And that is exactly why it sticks.

More: 5 Photos of 3D graffiti train by ODEITH


A yellow, black, and white lizard-like 3D mural by Odeith stretched across the floor and wall of an empty tiled space.

🦎 Yellow-Black Lizard — By Odeith

Perfect use of the wall-floor junction. The reptile feels like it just scrambled into frame and froze. The pattern does the rest. Hard pop. Fast energy. Total control.


Before-and-after image of a small utility building transformed by Odeith into bright blue 3D lettering.

🔵 Blue Letter Burst — By Odeith

Before-and-after pieces are catnip with Odeith because the transformation is so rude. A dull little box turns into a blue explosion of edges, reflections, and motion. Pure takeover.


Three-angle image of a red and blue frog anamorphic mural by Odeith, including the stretched side view and the corrected illusion.

🧡 Magic Angle Frog — By Odeith

This one shows the mechanic behind the magic. From the wrong side it looks stretched and broken. From the sweet spot it snaps into a living frog. Odeith is not only painting realism. He is painting position itself.


A giant skull mural by Odeith painted on a rounded structure, with a masked person sitting above it.

☠ Shadow Skull — By Odeith

Darker than the first skull. Heavier too. The figure sitting above adds just enough story to make it feel like a scene, not just an object. Creepy in the best possible way.


Blue 3D ODEITH lettering wrapped vertically around a concrete pillar inside an abandoned warehouse.

🏗 Pillar Piece — By Odeith

Wrapping a pillar is already a problem. Making the letters feel fused to it is something else. This blue type stack reads like graffiti wearing concrete armor.


Which one is your favorite?

The post Odeith Doesn’t Paint Walls (25 Photos) appeared first on STREET ART UTOPIA.

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bluebec
26 days ago
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Melbourne
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