UPDATE 6.45pm UK: This evening's big new Dragon Age: The Veilguard trailer has landed, confirming what we knew already - that BioWare's upcoming RPG will arrive at Halloween. Also in the trailer? Well, Dragon Age fans will get to see a very familiar face - we'll let you watch for yourselves and read more below.
Yes, that is absolutely Morrigan, the fan-favourite returning character voiced once again, it sounds like, by Farscape and Stargate SG-1's Claudia Black. It certainly looks as if Morrigan's clothing here is inspired by her mum Flemeth - which probably isn't good news.
Calculating Empires is a "a genealogy of technology and power since 1500" — a beautiful and interactive monochrome chart you can zoom in and out of to trace the connections between all such things in the modern age. I immediately crash zoomed in and found myself face-to-face with a Debord quote: "In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. — Read the rest
In MIT.nano’s laboratories, researchers use silicon wafers as the platform to shape transformative technologies such as quantum circuitry, microfluidic devices, or energy-harvesting structures. But these substrates can also serve as a canvas for an artist, as MIT Professor W. Craig Carter demonstrates in the latest One.MIT mosaic.
The One.MIT project celebrates the people of MIT by using the tools of MIT.nano to etch their collective names, arranged as a mosaic by Carter, into a silicon wafer just 8 inches in diameter. The latest edition of One.MIT — including 339,537 names of students, faculty, staff, and alumni associated with MIT from 1861 to September 2023 — is now on display in the ground-floor galleries at MIT.nano in the Lisa T. Su Building (Building 12).
“A spirit of innovation and a relentless drive to solve big problems have permeated the campus in every decade of our history. This passion for discovery, learning, and invention is the thread connecting MIT’s 21st-century family to our 19th-century beginnings and all the years in between,” says Vladimir Bulović, director of MIT.nano and the Fariborz Maseeh Chair in Emerging Technology. “One.MIT celebrates the MIT ethos and reminds us that no matter when we came to MIT, whatever our roles, we all leave a mark on this remarkable community.”
A team of students, faculty, staff, and alumni inscribed the design on the wafer inside the MIT.nano cleanrooms. Because the names are too small to be seen with the naked eye — they measure only microns high on the wafer — the One.MIT website allows anyone to look up a name and find its location in the mosaic.
Finding inspiration in the archives
The first two One.MIT art pieces, created in 2018 and 2020, were inscribed in silicon wafers 6 inches in diameter, slightly smaller than the latest art piece, which benefited from the newest MIT.nano tools that can fabricate 8-inch wafers. The first designs form well-known, historic MIT images: the Great Dome (2018) and the MIT seal (2020).
Carter, who is the Toyota Professor of Materials Processing and professor of materials science and engineering, created the designs and algorithms for each version of One.MIT. He started a search last summer for inspiration for the 2024 design. “The image needed to be iconic of MIT,” says Carter, “and also work within the constraints of a large-scale mosaic.”
Carter ultimately found the solution within the Institute Archives, in the form of a lithograph used on the cover of a program for the 1916 MIT rededication ceremony that celebrated the Institute’s move from Boston to Cambridge on its 50th anniversary.
Incorporating MIT nerdiness
Carter began by creating a black-and-white image, redrawing the lithograph’s architectural features and character elements. He recreated the kerns (spaces) and the fonts of the letters as algorithmic geometric objects.
The color gradient of the sky behind the dome presented a challenge because only two shades were available. To tackle this issue and impart texture, Carter created a Hilbert curve — a hierarchical, continuous curve made by replacing an element with a combination of four elements. Each of these four elements are replaced by another four elements, and so on. The resulting object is like a fractal — the curve changes shape as it goes from top to bottom, with 90-degree turns throughout.
“This was an opportunity to add a fun and ‘nerdy’ element — fitting for MIT,” says Carter.
To achieve both the gradient and the round wafer shape, Carter morphed the square Hilbert curve (consisting of 90-degree angles) into a disk shape using Schwarz-Christoffel mapping, a type of conformal mapping that can be used to solve problems in many different domains.
“Conformal maps are lovely convergences of physics and engineering with mathematics and geometry,” says Carter.
Because the conformal mapping is smooth and also preserves the angles, the square’s corners produce four singular points on the circle where the Hilbert curve’s line segments shrink to a point. The location of the four points in the upper part of the circle “squeezes” the curve and creates the gradient (and the texture of the illustration) — dense-to-sparse from top-to-bottom.
The final mosaic is made up of 6,476,403 characters, and Carter needed to use font and kern types that would fill as much of the wafer’s surface as possible without having names break up and wrap around to the next line. Carter’s algorithm alleviated this problem, at least somewhat, by searching for names that slotted into remaining spaces at the end of each row. The algorithm also performed an optimization over many different choices for the random order of the names.
Finding — and wrangling — hundreds of thousands of names
In addition to the art and algorithms, the foundation of One.MIT is the extensive collection of names spanning more than 160 years of MIT. The names reflect students, alumni, faculty, and staff — the wide variety of individuals who have always formed the MIT community.
Annie Wang, research scientist and special projects coordinator for MIT.nano, again played an instrumental role in collecting the names for the project, just as she had for the 2018 and 2020 versions. Despite her experience, collating the names to construct the newest edition still presented several challenges, given the variety of input sources to the dataset and the need to format names in a consistent manner.
“Both databases and OCR-scanned text can be messy,” says Wang, referring to the electronic databases and old paper directories from which names were sourced. “And cleaning them up is a lot of work.”
Many names were listed in multiple places, sometimes spelled or formatted differently across sources. There were very short first and last names, very long first and last names — and also a portion of names in which more than one person had nearly identical names. And some groups are simply hard to find in the records. “One thing I wish we had,” comments Wang, “is a list of long-term volunteers at MIT who contribute so much but aren’t reflected in the main directories.”
Once the design was completed, Carter and Wang handed off a CAD file to Jorg Scholvin, associate director of fabrication at MIT.nano. Scholvin assembled a team that reflected One.MIT — students, faculty, staff, and alumni — and worked with them to fabricate the wafer inside MIT.nano’s cleanroom. The fab team included Carter; undergraduate students Akorfa Dagadu, Sean Luk, Emilia K. Szczepaniak, Amber Velez, and twin brothers Juan Antonio Luera and Juan Angel Luera; MIT Sloan School of Management EMBA student Patricia LaBorda; staff member Kevin Verrier of MIT Facilities; and alumnae Madeline Hickman '11 and Eboney Hearn '01, who is also the executive director of MIT Introduction to Technology, Engineering and Science (MITES).
A team of MIT students, faculty, staff, and alumni fabricated a new One.MIT wafer inside MIT.nano’s cleanroom. The fab team included undergraduate students Akorfa Dagadu, Sean Luk, Emilia K Szczepaniak, Amber Velez, and twin brothers Juan Antonio Luera and Juan Angel Luera; Sloan Executive MBA student Patricia LaBorda; staff member Kevin Verrier of MIT Facilities; and alumnae Madeline Hickman '11 and Eboney Hearn '01, who is also the executive director of MIT Introduction to Technology, Engineering and Science (MITES).
MIT has a rich history of productive collaboration between the arts and the sciences, anchored by the conviction that these two conventionally opposed ways of thinking can form a deeply generative symbiosis that serves to advance and humanize new technologies.
This ethos was made tangible when the Bauhaus artist and educator György Kepes established the MIT Center for Advanced Visual Studies (CAVS) within the Department of Architecture in 1967. CAVS has since evolved into the Art, Culture, and Technology (ACT) program, which fosters close links to multiple other programs, centers, and labs at MIT. Class 4.373/4.374 (Creating Art, Thinking Science), open to undergraduates and master’s students of all disciplines as well as certain students from the Harvard Graduate School of Design (GSD), is one of the program’s most innovative offerings, proposing a model for how the relationship between art and science might play out at a time of exponential technological growth.
Now in its third year, the class is supported by an Interdisciplinary Class Development Grant from the MIT Center for Art, Science and Technology (CAST) and draws upon the unparalleled resources of MIT.nano; an artist’s high-tech toolbox for investigating the hidden structures and beauty of our material universe.
High ambitions and critical thinking
The class was initiated by Tobias Putrih, lecturer in ACT, and is taught with the assistance of Ardalan SadeghiKivi MArch ’23, and Aubrie James SM ’24. Central to the success of the class has been the collaboration with co-instructor Vladimir Bulović, the founding director of MIT.nano and Fariborz Maseeh Chair in Emerging Technology, who has positioned the facility as an open-access resource for the campus at large — including MIT’s community of artists. “Creating Art, Thinking Science” unfolds the 100,000 square feet of cleanroom and lab space within the Lisa T. Su Building, inviting participating students to take advantage of cutting-edge equipment for nanoscale visualization and fabrication; in the hands of artists, devices for discovering nanostructures and manipulating atoms become tools for rendering the invisible visible and deconstructing the dynamics of perception itself.
The expansive goals of the class are tempered by an in-built criticality. “ACT has a unique position as an art program nested within a huge scientific institute — and the challenges of that partnership should not be underestimated,” reflects Putrih. “Science and art are wholly different knowledge systems with distinct historical perspectives. So, how do we communicate? How do we locate that middle ground, that third space?”
An evolving answer, tested and developed throughout the partnership between ACT and MIT.nano, involves a combination of attentive mentorship and sharing of artistic ideas, combined with access to advanced technological resources and hands-on practical training.
“MIT.nano currently accommodates more than 1,200 individuals to do their work, across 250 different research groups,” says Bulović. “The fact that we count artists among those is a matter of pride for us. We’ve found that the work of our scientists and technologists is enhanced by having access to the language of art as a form of expression — equally, the way that artists express themselves can be stretched beyond what could previously be imagined, simply by having access to the tools and instruments at MIT.nano.”
A playground for experimentation
True to the spirit of the scientific method and artistic iteration, the class is envisioned as a work in progress — a series of propositions and prototypes for how dialogue between scientists and artists might work in practice. The outcomes of those experiments can now be seen installed in the first and second floor galleries at MIT.nano. As part of the facility’s five-year anniversary celebration, the class premiered an exhibition showcasing works created during previous years of “Creating Art, Thinking Science.”
Visitors to the exhibition, “zero.zerozerozerozerozerozerozerozeroone” (named for the numerical notation for one nanometer), will encounter artworks ranging from a minimalist silicon wafer produced with two-photon polymerization (2PP) technology (“Obscured Invisibility,” 2021, Hyun Woo Park), to traces of an attempt to make vegetable soup in the cleanroom using equipment such as a cryostat, a fluorescing microscope, and a Micro-CT scanner (“May I Please Make You Some Soup?,” 2022, Simone Lasser).
These works set a precedent for the artworks produced during the fall 2023 iteration of the class. For Ryan Yang, in his senior year studying electrical engineering and computer science at MIT, the chance to engage in open discussion and experimental making has been a rare opportunity to “try something that might not work.” His project explores the possibilities of translating traditional block printing techniques to micron-scale 3D-printing in the MIT.nano labs.
Yang has taken advantage of the arts curriculum at MIT at an early stage in his academic career as an engineer; meanwhile, Ameen Kaleem started out as a filmmaker in New Delhi and is now pursuing a master’s degree in design engineering at Harvard GSD, cross-registered at MIT.
Kaleem’s project models the process of abiogenesis (the evolution of living organisms from inorganic or inanimate substances) by bringing living moss into the MIT.nano cleanroom facilities to be examined at an atomic scale. “I was interested in the idea that, as a human being in the cleanroom, you are both the most sanitized version of yourself and the dirtiest thing in that space,” she reflects. “Drawing attention to the presence of organic life in the cleanroom is comparable to bringing art into spaces where it might not otherwise exist — a way of humanizing scientific and technological endeavors.”
Consciousness, immersion, and innovation
The students draw upon the legacies of landmark art-science initiatives — including international exhibitions such as “Cybernetic Serendipity” (London ICA, 1968), the “New Tendencies” series (Zagreb, 1961-73), and “Laboratorium” (Antwerp, 1999) — and take inspiration from the instructors’ own creative investigations of the inner workings of different knowledge systems. “In contemporary life, and at MIT in particular, we’re immersed in technology,” says Putrih. “It’s the nature of art to reveal that to us, so that we might see the implications of what we are producing and its potential impact.”
By fostering a mindset of imagination and criticality, combined with building the technical skills to address practical problems, “Creating Art, Thinking Science” seeks to create the conditions for a more expansive version of technological optimism; a culture of innovation in which social and environmental responsibility are seen as productive parameters for enriched creativity. The ripple effects of the class might be years in the making, but as Bulović observes while navigating the exhibition at MIT.nano, “The joy of the collaboration can be felt in the artworks.”
Seated at the grand piano in MIT’s Killian Hall last fall, first-year student Jacqueline Wang played through the lively opening of Mozart’s “Sonata in B-flat major, K.333.” When she’d finished, Mi-Eun Kim, pianist and lecturer in MIT’s Music and Theater Arts Section (MTA), asked her to move to the rear of the hall. Kim tapped at an iPad. Suddenly, the sonata she'd just played poured forth again from the piano — its keys dipping and rising just as they had with Wang’s fingers on them, the resonance of its strings filling the room. Wang stood among a row of empty seats with a slightly bemused expression, taking in a repeat of her own performance.
“That was a little strange,” Wang admitted when the playback concluded, then added thoughtfully: “It sounds different from what I imagine I’m playing.”
This unusual lesson took place during a nearly three-week residency at MIT of the Steinway Spirio | r, a piano embedded with technology for live performance capture and playback. “The residency offered students, faculty, staff, and campus visitors the opportunity to engage with this new technology through a series of workshops that focused on such topics as the historical analysis of piano design, an examination of the hardware and software used by the Spirio | r, and step-by-step guidance of how to use the features,” explains Keeril Makan, head of MIT Music and Theater Arts and associate dean of the School of Humanities, Arts, and Social Sciences.
Wang was one of several residency participants to have the out-of-body experience of hearing herself play from a different vantage point, while watching the data of her performance scroll across a screen: color-coded rectangles indicating the velocity and duration of each note, an undulating line charting her use of the damper pedal. Wang was even able to edit her own performance, as she discovered when Kim suggested her rhythmic use of the pedal might be superfluous. Using the iPad interface to erase the pedaling entirely, they listened to the playback again, the notes gaining new clarity.
“See? We don’t need it,” Kim confirmed with a smile.
“When MIT’s new music building (W18) opens in spring 2025, we hope it will include this type of advanced technology. It would add value not just to Wang’s cohort of 19 piano students in the Emerson/Harris Program, which provides a total of 71 scholars and fellows with support for conservatory-level instruction in classical, jazz, and world music. But could also offer educational opportunities to a much wider swath of the MIT community,” says Makan. “Music is the fifth-most popular minor at MIT; 1,700 students enroll in music and theater arts classes each semester, and the Institute is brimming with vocalists, composers, instrumentalists, and music history students.”
According to Kim, the Spirio enables insights beyond what musicians could learn from a conventional recording; hearing playback directly from the instrument reveals sonic dimensions an MP3 can’t capture. “Speaker systems sort of crunch everything down — the highs and the lows, they all kind of sound the same. But piano solo music is very dynamic. It’s supposed to be experienced in a room,” she says.
During the Spirio | r residency, students found they could review their playing at half speed, adjust the volume of certain notes to emphasize a melody, transpose a piece to another key, or layer their performance — prerecording one hand, for example, then accompanying it live with the other.
“It helps the student be part of the learning and the teaching process,” Kim says. “If there’s a gap between what they imagined and what they hear and then they come to me and say, ‘How do I fix this?’ they’re definitely more engaged. It’s an honest representation of their playing, and the students who are humbled by it will become better pianists.”
For Wang, reflecting on her lesson with Kim, the session introduced an element she’d never experienced since beginning her piano studies at age 5. “The visual display of how long each key was played and with what velocity gave me a more precise demonstration of the ideas of voicing and evenness,” Wang says. “Playing the piano is usually dependent solely on the ears, but this combines with the auditory experience a visual experience and statistics, which helped me get a more holistic view of my playing.”
As a first-year undergraduate considering a Course 6 major (electrical engineering and computer science, or EECS), Wang was also fascinated to watch Patrick Elisha, a representative from Steinway dealer M. Steinert & Sons, disassemble the piano action to point out the optical sensors that measure the velocity of each hammer strike at 1,020 levels of sensitivity, sampled 800 times per second.
“I was amazed by the precision of the laser sensors and inductors,” says Wang. “I have just begun to take introductory-level courses in EECS and am just coming across these concepts, and this certainly made me more excited to learn more about these electrical devices and their applications. I was also intrigued that the electrical system was added onto the piano without interfering with the mechanical structure, so that when we play the Spirio, our experience with the touch and finger control was just like that of playing a usual Steinway.”
Another Emerson/Harris scholar, Víctor Quintas-Martínez, a PhD candidate in economics who resumed his lapsed piano studies during the Covid-19 pandemic, visited Killian Hall during the residency to rehearse a Fauré piano quartet with a cellist, violist, and violinist. “We did a run of certain passages and recorded the piano part. Then I listened to the strings play with the recording from the back of the hall. That gave me an idea of what I needed to adjust in terms of volume, texture, pedal, etc., to achieve a better balance. Normally, when you’re playing, because you’re sitting behind the strings and close to the piano, your perception of balance may be somewhat distorted,” he notes.
Kim cites another campus demographic ripe for exploring these types of instruments like the Spirio | r and its software: future participants in MIT’s relatively new Music Technology Master's Program, along with others across the Institute whose work intersects with the wealth of data the instrument captures. Among them is Praneeth Namburi, a research scientist at the MIT.nano Immersion Lab. Typically, Namburi focuses his neuroscience expertise on the biomechanics of dancing and expert movement. For two days during the MTA/Spirio residency, he used the sensors at the Immersion Lab, along with those of the Spirio, to analyze how pianists use their bodies.
“We used motion capture that can help us contrast the motion paths of experts such as Mi-Eun from those of students, potentially aiding in music education,” Namburi recounts, “force plates that can give scientific insights into how movement timing is organized, and ultrasound to visualize the forearm tissues during playing, which can potentially help us understand musicianship-related injuries.”
“The encounter between MTA and MIT.nano was something unique to MIT,” Kim believes. “Not only is this super useful for the music world, but it’s also very exciting for movement researchers, because playing piano is one of the most complex activities that humans do with our hands.”
In Kim’s view, that quintessentially human complexity is complemented by these kinds of technical possibilities. “Some people might think oh, it's going to replace the pianist,” she says. “But in the end it is a tool. It doesn’t replace all of the things that go into learning music. I think it's going to be an invaluable third partner: the student, the teacher, and the Spirio — or the musician, the researcher, and the Spirio. It's going to play an integral role in a lot of musical endeavors.”
Sora and Roxas exist in a unique duality in the Kingdom Hearts series… two distinct beings originally connected by a single heart and seeking control of their own destiny. As the “Nobody” that was created when Sora briefly became a Heartless, Roxas simply wanted to live his own life in his own way… but his will was at odds with the destiny Sora possessed. It was only when Roxas chose to yield his body and be absorbed into Sora’s purpose that he finally found what he was looking for… a life and meaning beyond simply existing.
Much like the struggle between Sora and Roxas, we will all find a war within us each day for control of our thoughts and actions, and this duality can make us feel like competing minds in one body trying to live two different lives. Fighting a war from within may seem impossible to win, and without the power of Christ it is a battle we are doomed to lose. But when we willingly submit our minds and bodies to the will of Christ in these times of conflict, a solution can be found… only by bending our knee to His Spirit and denying our desires do we become who we were truly meant to be.
Where do wars and fights come from among you? Do they not come from your desires for pleasure that war in your members? James 4:1
I find then a law, that evil is present with me, the one who wills to do good. For I delight in the law of God according to the inward man. But I see another law in my members, warring against the law of my mind, and bringing me into captivity to the law of sin which is in my members. O wretched man that I am! Who will deliver me from this body of death? I thank God—through Jesus Christ our Lord! Romans 7:21-25
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Axel might’ve began his journey on the villains side in the Kingdom Hearts series, but he is the poster child for starting wrong yet still finishing strong. Despite serving Organization XIII and antagonizing Sora and his party for much of the series, he experienced a change of heart (which is hard to do when you are a Heartless) and chose to serve as an ally to those he once persecuted going forward. While his past left much to be desired, he was meant to wield a Keyblade of his own all along… and Axel’s redemptive journey gives hope to all who have “lost heart” due to the sins of their past.
If you are anything like me, it can be difficult to forget our “unworthy” past and serve the Lord in the presence of those who knew what we once were… but our redemption is meant to give hope to those who share a challenging backstory like ours and are searching for more than just forgiveness and absolution. We aren’t meant to simply embrace His grace and sit on the sidelines… we were given a fresh start as well as a Keyblade of our own so we can push back against the same darkness that once oppressed us and set our fellow Heartless free.
He has delivered us from the power of darkness and conveyed us into the kingdom of the Son of His love, in whom we have redemption through His blood, the forgiveness of sins. Colossians 1:13-14
And you, who once were alienated and enemies in your mind by wicked works, yet now He has reconciled in the body of His flesh through death, to present you holy, and blameless, and above reproach in His sight. Colossians 1:21-22
“There was a certain creditor who had two debtors. One owed five hundred denarii, and the other fifty. And when they had nothing with which to repay, he freely forgave them both. Tell Me, therefore, which of them will love him more?” Simon answered and said, “I suppose the one whom he forgave more.” And He said to him, “You have rightly judged.” Therefore I say to you, her sins, which are many, are forgiven, for she loved much. But to whom little is forgiven, the same loves little.” Luke 7:41-43, 47
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Ever since The Sims 4 came out in 2014 (oh my goodness...), I’ve been adamant that The Sims 2 and 3 remain the superior titles in the series, especially once you start using core mods to improve performance or quality of life. For those who want to get their life simulation fix but The Sims 4 is broken or too boring, I highly suggest playing The Sims 3 instead!
Those who know anything about The Sims 3 may know that Electronic Arts and Maxis did not optimize this game very well. There are a lot of reasons for this. One reason is that it’s an open-world 32-bit game. This can lead to your files bloating up and causing the game to crash to desktop. The Sims 3 is also notorious in that the game does not naturally cap your FPS, which can overheat your graphics card if you’re not careful. Some of these mods are not mere recommendations. They’re straight up essential for the overall health of your computer.
Though not a mod, I recommend using MATY’s FPS Limiter and 3Booter. This will help to keep your frame rate at the game’s default 30. If you’re like me and you’re using a NVIDIA graphics card, you can also go into your control panel and cap The Sims 3’s frame rate at 30 through there.
Here are some of the best mods for The Sims 3 in 2024
Screenshot by Siliconera
NRaas Master Controller NRaas’s entire library of mods is fantastic, but I have a few that I recommend for even people who aren’t too keen on installing mods. Master Controller is exactly as it says on the tin. With this mod, you can control virtually everything in your town, from relationships to careers to ages. It’s a handy tool for little accidents (oops, my Sim is wearing a raincoat at her garden wedding) to more heavy-duty tasks (I need to reset every single object and sim in my neighborhood).
NRaas Story Progression As mentioned earlier, The Sims 3 has an open world for its neighborhood, which means that things can happen in inactive households completely out of your control. You can turn this off if you want, but for those who don’t mind letting Sims live out their own little virtual lives, I recommend Story Progression from NRaas. This replaces EA’s slow and stagnant Story Progression, preventing your neighborhood from devolving into a ghost town over time.
NRaas Overwatch ESSENTIAL MOD; YOU DEFINITELY SHOULD DOWNLOAD THIS FOR YOUR COMPUTER. Overwatch goes through your neighborhood at an interval you set to clean up things like deserted cars. In general, you can think of Overwatch as a garbage truck that throws away junk files which can cause bloating down the line.
NRaas Error Trap ESSENTIAL MOD; YOU DEFINITELY SHOULD DOWNLOAD THIS FOR YOUR COMPUTER. Error Trap is, like Overwatch, a mod that’s for keeping your save file as clean as possible. It catches and corrects data corruption errors that can prevent you from loading up a save. Think of it as insurance. Under ideal circumstances, you won’t need it. But when you need it, man, you’ll be glad to have this thing in your folders.
Screenshot by Siliconera
Simpishly's More Traits for All Ages If you raise a Sim in-game, you’re forced to only pick from limited pools of traits in the earlier life stages, which can get boring after a while. Enabling traits for all ages can lead to some wacky Sims like a toddler who’s Flirty and has Commitment Issues. But if you don’t mind that, this is a great mod for more varied Sims.
LazyDuchess Smooth Patch As a note, the LazyDuchess Smooth Patch does not work with some NRaas mods if you’re using 2.x versions. I recommend using a 1.x build if you want to use it with, say, Master Controller. Smooth Patch alters some of the script in the game to make the game run faster. For example, it’ll load hairs and outfits in CAS as you scroll through rather than making you wait for the game to pull everything out.
LazyDuchess Lot population This is a personal pet peeve, but I don’t like going to a community lot to scope out a joint, only for everyone to be elsewhere in town. In The Sims 2, the game will populate lots after you arrive. However, the open world concept works against that since, again, Sims have their own lives. The Lot Population mod pushes Sims to lots your active Sim is at so you won’t be partying alone. It can also add walkbys like in The Sims 2, making your neighborhood feel more alive.
Retuned Attraction The attraction system in The Sims 3 is ridiculous and can cause more trouble than it’s worth. With this mod, the attraction system is more sane and logical, as well as less indiscriminate. It will also prevent Sims from continuously harassing you for dates or sending you random stuff in the mail.
Screenshot by Siliconera
OMSP, S3DT For people who like to build and decorate fancy houses, OMSP and S3DT are both absolutely essential. OMSP allows you to create more space on surfaces for clutter. This can include beds and sofas (so you can put blankets and cushions), or mini-fridges (if you want to put a radio or something on top). S3DT gives you a lot of freedom when it comes to moving things around a lot, as well as lets you change the height and angle of objects. If you only care about gameplay, these aren't necessary.
Ghost Reaction Remover This is fantastic for people who play legacy style like I do, as you’ll naturally end up with a lot of ghosts in your house. If you’re annoyed by Sims constantly stopping what they’re doing to go “Ew, you’re getting ectoplasm all over the floor, Great-Great-Grandpa,” then this mod can curb that behavior. Other reaction removers from this maker include mods to curb relation loss from the Emperor of Evil and stop sims from freaking out over Bonehilda.
Children Can mods The Children Can series of mods is fantastic for people who want to give their Sim kids more freedom and independence, as well as get them started in life. With this mod, Sim kids will be able to do laundry, make sculptures, call services, and more. It’s really handy for people who are doing challenges like, again, the legacy challenge or the 100 Baby Challenge, since it’ll make playing with kids more fun.
NeuroBlazer Random Genetics I highly recommend the Random Genetics mod for people who want more varied faces around town or in your Sims. However, NeuroBlazer seems to have removed this mod and they’re not hosting it anymore. Fortunately, there is a backup (this link will directly download the file to your computer).
Screenshot by Siliconera
Brntwaffles environment mods Pretty much all of Tumblr user brntwaffles’s default replacement mods (whether environment or genetics) are really good! They make the game really pretty and it looks even better if you install Reshade. My personal recommendations from brntwaffles for eyes are the MS93 and Sarhra default replacements. I also really like their Perfect Day and Dream Dimension lighting mods.
Twinsimming mods Twinswimming’s mods are great for adding flavor to your game. I recommend basically all of them. Some of them can make your game more difficult, such as Pest Control and Utilities adding new things you have to watch out for. Their best mods are Growing Pains and the Level Up! mods, in my opinion.
Velocitygrass No Automatic Memories ESSENTIAL MOD; YOU DEFINITELY SHOULD DOWNLOAD THIS FOR YOUR COMPUTER. As mentioned in the beginning, memories can really bloat your save file, causing the eventual corruption of your neighborhood and mess with your computer. Even if you turn off notifications, the game still accumulates memories, including from inactive families. This mod completely removes the feature.
Icarusallsorts's User-Directed Scolding If you don’t have kids in your game, this might be a non-issue. But Generations added a mechanic that lets parents scold and ground their kids when they do something bad. On paper, that sounds really neat. In practice, it’s freakishly annoying. This mod gives you more control over how your sim punishes their kid without turning it into unnecessary drama.
Screenshot by Siliconera
Ultimate Careers The Ultimate Careers mod is a very intensive mod that overhauls how careers work in this game. This makes them a lot more similar to how professions work rather than just pushing your Sims to go to a rabbit hole where you can’t peek in on them. Fortunately, you don’t have to micromanage as much as you do with a profession, so it’s friendly for players with large families too.
TheSweetSimmer mods TheSweetSimmer makes a lot of mods that focus on pregnancy interactions and toddlers, making them more fun to play with. It also frees up your teen or adult Sims, since children and toddlers will be able to perform acts that would usually require an older Sim's help. This is mostly useful for people who play families, but it might incentivize YA and Adult sim players to have a kid or two.
Moar Interactions This is one of those mods that add things you’d figure would have been in the base game. It’s great for group meetings and parties, as you can do so much more with other sims around town.
PhoebeJaySims Social Clubs Mod PhoebeJaySims, like TheSweetSimmer and Twinsimming, has a lot of really cool mods. My favorite of them is the Social Clubs mod. This lets you create a club, but without the objectives that are in The Sims 4 clubs. Clubs with this mod are more chill and are a great way for you to set up regular meetings and playdates, or add a layer of storytelling to your neighborhood.
The Sims 3 is readily available on the Windows PC.
2.4 million video games were sold in Europe during July, a rise of 3.4% over the year before.
It's an impressive result when you look at the Top Ten, where the only game released this year is Luigi's Mansion 2 HD at No.9. Every other game was released before 2024, including the month's top seller: EA Sports FC 24.
The EA football game's position at No.1 is no surprise as the European Championships took place during part of July. As a result, EA Sports FC 24 sold 69% more copies this July than FIFA 23 managed last year (when there was no international football tournament).
The official Kingdom Hearts soundtracks for HD 2.5 ReMIX, Birth by Sleep, 358/2 Days, Dream Drop Distance, and HD 1.5 ReMIX are now available via the Square Enix Store. Each comes as a three CD set except for HD 2.5 ReMIX, which contains four CD's.
There are four soundtracks in total, including music from across seven games in the franchise. The music is created by composers such as Tsuyoshi Sekito, Yoko Shimomura, and Takeharu Ishimoto. Each is a re-release of products that originally debuted between 2011 and 2014, while the Birth by Sleep & 358/2 Days CD set also includes some extra music from the Japanese exclusive Birth by Sleep FINAL MIX release. The soundtracks for Birth by Sleep & 358/2 Days, Dream Drop Distance, and HD 1.5 ReMIX are available for $30.99 each, while the one for HD 2.5 ReMIX costs $42.99. Each is expected to ship sometime in September 2024.
The original soundtracks for Kingdom Hearts HD 2.5 ReMIX, Birth by Sleep, 358/2 Days, Dream Drop Distance, and HD 1.5 ReMIX are now available via the Square Enix online store. Each product is expected to release sometime in September, 2024.
Konami's Powerful Pro Baseball 2024-2025 was Japan's best-selling title in July, moving a combined total of 260,000 units during the first two weeks following its launch on July 18.
Released on Switch and PS4, the title beat its predecessor eBaseball Powerful Pro Baseball 2022 which had a combined total of 202,000 units according to Famitsu's latest sales data.
July's best-selling title Luigi Mansion 2 HD moved down a spot to No.2 with 71,000 copies sold, while Mario Kart 8 climbed back to No.4 having shifted 37,000 units.
It was a very quiet July for video game releases in the UK, with EA Sports College Football 25 the highest charting new entry at No.7.
The new American Football game has got off to a strong start considering the sport's relatively niche popularity in the UK. The game's sales are more than double what Madden NFL 24 managed in its first two weeks last year.
The best-selling game of July in the UK was EA Sports FC 24, which comes as no surprise considering the European Football championships that ran during the first part of the month (with England making the final). In fact, EA Sports FC 24 sold 46% more copies in July than FIFA 23 managed during the same period last year.
In this mini episode, Bree runs down Throne & Liberty's delay, New World's Aeternum beta, Guild Wars 2's Janthir Wilds launch, the Richard Garriott Ultima Online rumor, the state of Ultima Online New Legacy, Nightingale's Realms Rebuilt, the record-setting SWG Legends' SOEclipse event, and the approach of Gamescom.
Earlier this afternoon, Star Wars Galaxies rogue server SWG Legends hosted a massive event called SOEclipse, essentially the precise moment when the Legends Omega server has officially been alive longer than the original live servers under SOE. Players were invited to log in and join the devs in Cloud City for the festivities, countdown, and […]
Ever since The Sims 4 came out in 2014 (oh my goodness...), I’ve been adamant that The Sims 2 and 3 remain the superior titles in the series, especially once you start using core mods to improve performance or quality of life. For those who want to get their life simulation fix but The Sims 4 is broken or too boring, I highly suggest playing The Sims 3 instead!
Those who know anything about The Sims 3 may know that Electronic Arts and Maxis did not optimize this game very well. There are a lot of reasons for this. One reason is that it’s an open-world 32-bit game. This can lead to your files bloating up and causing the game to crash to desktop. The Sims 3 is also notorious in that the game does not naturally cap your FPS, which can overheat your graphics card if you’re not careful. Some of these mods are not mere recommendations. They’re straight up essential for the overall health of your computer.
Though not a mod, I recommend using MATY’s FPS Limiter and 3Booter. This will help to keep your frame rate at the game’s default 30. If you’re like me and you’re using a NVIDIA graphics card, you can also go into your control panel and cap The Sims 3’s frame rate at 30 through there.
Here are some of the best mods for The Sims 3 in 2024
Screenshot by Siliconera
NRaas Master Controller NRaas’s entire library of mods is fantastic, but I have a few that I recommend for even people who aren’t too keen on installing mods. Master Controller is exactly as it says on the tin. With this mod, you can control virtually everything in your town, from relationships to careers to ages. It’s a handy tool for little accidents (oops, my Sim is wearing a raincoat at her garden wedding) to more heavy-duty tasks (I need to reset every single object and sim in my neighborhood).
NRaas Story Progression As mentioned earlier, The Sims 3 has an open world for its neighborhood, which means that things can happen in inactive households completely out of your control. You can turn this off if you want, but for those who don’t mind letting Sims live out their own little virtual lives, I recommend Story Progression from NRaas. This replaces EA’s slow and stagnant Story Progression, preventing your neighborhood from devolving into a ghost town over time.
NRaas Overwatch ESSENTIAL MOD; YOU DEFINITELY SHOULD DOWNLOAD THIS FOR YOUR COMPUTER. Overwatch goes through your neighborhood at an interval you set to clean up things like deserted cars. In general, you can think of Overwatch as a garbage truck that throws away junk files which can cause bloating down the line.
NRaas Error Trap ESSENTIAL MOD; YOU DEFINITELY SHOULD DOWNLOAD THIS FOR YOUR COMPUTER. Error Trap is, like Overwatch, a mod that’s for keeping your save file as clean as possible. It catches and corrects data corruption errors that can prevent you from loading up a save. Think of it as insurance. Under ideal circumstances, you won’t need it. But when you need it, man, you’ll be glad to have this thing in your folders.
Screenshot by Siliconera
Simpishly's More Traits for All Ages If you raise a Sim in-game, you’re forced to only pick from limited pools of traits in the earlier life stages, which can get boring after a while. Enabling traits for all ages can lead to some wacky Sims like a toddler who’s Flirty and has Commitment Issues. But if you don’t mind that, this is a great mod for more varied Sims.
LazyDuchess Smooth Patch As a note, the LazyDuchess Smooth Patch does not work with some NRaas mods if you’re using 2.x versions. I recommend using a 1.x build if you want to use it with, say, Master Controller. Smooth Patch alters some of the script in the game to make the game run faster. For example, it’ll load hairs and outfits in CAS as you scroll through rather than making you wait for the game to pull everything out.
LazyDuchess Lot population This is a personal pet peeve, but I don’t like going to a community lot to scope out a joint, only for everyone to be elsewhere in town. In The Sims 2, the game will populate lots after you arrive. However, the open world concept works against that since, again, Sims have their own lives. The Lot Population mod pushes Sims to lots your active Sim is at so you won’t be partying alone. It can also add walkbys like in The Sims 2, making your neighborhood feel more alive.
Retuned Attraction The attraction system in The Sims 3 is ridiculous and can cause more trouble than it’s worth. With this mod, the attraction system is more sane and logical, as well as less indiscriminate. It will also prevent Sims from continuously harassing you for dates or sending you random stuff in the mail.
Screenshot by Siliconera
OMSP, S3DT For people who like to build and decorate fancy houses, OMSP and S3DT are both absolutely essential. OMSP allows you to create more space on surfaces for clutter. This can include beds and sofas (so you can put blankets and cushions), or mini-fridges (if you want to put a radio or something on top). S3DT gives you a lot of freedom when it comes to moving things around a lot, as well as lets you change the height and angle of objects. If you only care about gameplay, these aren't necessary.
Ghost Reaction Remover This is fantastic for people who play legacy style like I do, as you’ll naturally end up with a lot of ghosts in your house. If you’re annoyed by Sims constantly stopping what they’re doing to go “Ew, you’re getting ectoplasm all over the floor, Great-Great-Grandpa,” then this mod can curb that behavior. Other reaction removers from this maker include mods to curb relation loss from the Emperor of Evil and stop sims from freaking out over Bonehilda.
Children Can mods The Children Can series of mods is fantastic for people who want to give their Sim kids more freedom and independence, as well as get them started in life. With this mod, Sim kids will be able to do laundry, make sculptures, call services, and more. It’s really handy for people who are doing challenges like, again, the legacy challenge or the 100 Baby Challenge, since it’ll make playing with kids more fun.
NeuroBlazer Random Genetics I highly recommend the Random Genetics mod for people who want more varied faces around town or in your Sims. However, NeuroBlazer seems to have removed this mod and they’re not hosting it anymore. Fortunately, there is a backup (this link will directly download the file to your computer).
Screenshot by Siliconera
Brntwaffles environment mods Pretty much all of Tumblr user brntwaffles’s default replacement mods (whether environment or genetics) are really good! They make the game really pretty and it looks even better if you install Reshade. My personal recommendations from brntwaffles for eyes are the MS93 and Sarhra default replacements. I also really like their Perfect Day and Dream Dimension lighting mods.
Twinsimming mods Twinswimming’s mods are great for adding flavor to your game. I recommend basically all of them. Some of them can make your game more difficult, such as Pest Control and Utilities adding new things you have to watch out for. Their best mods are Growing Pains and the Level Up! mods, in my opinion.
Velocitygrass No Automatic Memories ESSENTIAL MOD; YOU DEFINITELY SHOULD DOWNLOAD THIS FOR YOUR COMPUTER. As mentioned in the beginning, memories can really bloat your save file, causing the eventual corruption of your neighborhood and mess with your computer. Even if you turn off notifications, the game still accumulates memories, including from inactive families. This mod completely removes the feature.
Icarusallsorts's User-Directed Scolding If you don’t have kids in your game, this might be a non-issue. But Generations added a mechanic that lets parents scold and ground their kids when they do something bad. On paper, that sounds really neat. In practice, it’s freakishly annoying. This mod gives you more control over how your sim punishes their kid without turning it into unnecessary drama.
Screenshot by Siliconera
Ultimate Careers The Ultimate Careers mod is a very intensive mod that overhauls how careers work in this game. This makes them a lot more similar to how professions work rather than just pushing your Sims to go to a rabbit hole where you can’t peek in on them. Fortunately, you don’t have to micromanage as much as you do with a profession, so it’s friendly for players with large families too.
TheSweetSimmer mods TheSweetSimmer makes a lot of mods that focus on pregnancy interactions and toddlers, making them more fun to play with. It also frees up your teen or adult Sims, since children and toddlers will be able to perform acts that would usually require an older Sim's help. This is mostly useful for people who play families, but it might incentivize YA and Adult sim players to have a kid or two.
Moar Interactions This is one of those mods that add things you’d figure would have been in the base game. It’s great for group meetings and parties, as you can do so much more with other sims around town.
PhoebeJaySims Social Clubs Mod PhoebeJaySims, like TheSweetSimmer and Twinsimming, has a lot of really cool mods. My favorite of them is the Social Clubs mod. This lets you create a club, but without the objectives that are in The Sims 4 clubs. Clubs with this mod are more chill and are a great way for you to set up regular meetings and playdates, or add a layer of storytelling to your neighborhood.
The Sims 3 is readily available on the Windows PC.
The release date for Dragon Age: The Veilguard has been revealed in a last-minute leak thanks to a naughty video advertisement. Electronic Arts had planned to share the game's debut-day in about... *checks watchless wrist* ... 7 hours, as part of a special release date trailer. But the internet will ever internet, and thanks to some slip-up or other, we have the knowledge just a smidge early. Will I tell you what the actual release date is? Sure. I guess so.
Vroom vroom. That is the sound of 11 rivals revving their engines as they blink the sweat out of their eyes and exhale years of self-doubt from their lungs. Today is their day. We have lined up these racing games on a starting grid and are interested to see how things shake out. Will the realism-obsessed driving sims take the lead with their sublime physics engines? Might the futuristic combat racers simply destroy the opposition with explosive rockets? Or perhaps a nippy arcade crowd-pleaser will soar to the finish line, propelled by the sound of roaring cheers. It's all to play for here at our incredibly messed-up grand prix with a worrying lack of rules or regulation. Start your engines, everyone, these are the 11 best racing games on PC. 3! 2! 1! ...
The release date for Dragon Age: The Veilguard has been revealed in a last-minute leak thanks to a naughty video advertisement. Electronic Arts had planned to share the game's debut-day in about... *checks watchless wrist* ... 7 hours, as part of a special release date trailer. But the internet will ever internet, and thanks to some slip-up or other, we have the knowledge just a smidge early. Will I tell you what the actual release date is? Sure. I guess so.
Vroom vroom. That is the sound of 11 rivals revving their engines as they blink the sweat out of their eyes and exhale years of self-doubt from their lungs. Today is their day. We have lined up these racing games on a starting grid and are interested to see how things shake out. Will the realism-obsessed driving sims take the lead with their sublime physics engines? Might the futuristic combat racers simply destroy the opposition with explosive rockets? Or perhaps a nippy arcade crowd-pleaser will soar to the finish line, propelled by the sound of roaring cheers. It's all to play for here at our incredibly messed-up grand prix with a worrying lack of rules or regulation. Start your engines, everyone, these are the 11 best racing games on PC. 3! 2! 1! ...
Modern laptop computers have more processing power than ever, with many also offering features like long battery life, thin and light designs and… AI, I guess. And for the most part, laptops are versatile and powerful enough to serve as desktop replacements for most users. But there are a few areas where desktop hardware continues […]
This is a big one, folks: Star Wars:Knights of the Old Republic(KOTOR). It’s one of the most well-regarded Star Wars video games of all time. I was a young, barely-millennial at the time of its release. As such, this behemoth RPG was overshadowed by flashier titles like Podracer and Jedi Academy.
However, in light of the highly anticipated remake/remaster coming… hopefully at some point… This felt like the perfect time to finally dive into the golden child of Star Wars games. After twenty years (don’t remind me), does the game still shine?
The force is strong with this one
For years, fans of the galaxy far, far away have been begging for the story and lore established in KOTOR to become part of the larger canon. Nearly all hope was lost when Disney seemingly tossed decades of content into the trash. But in the darkest night (that night being The Rise of Skywalker), hope was rekindled. A giant, albeit blurry, statue in the background of Exegol looked like Darth Nihilus, a villain from the KOTOR sequel. The Rise of Skywalker Visual Dictionary confirmed Revan as canon. So, KOTOR is indeed canon again, even if only partially.
With this ‘Legends’ game back in the conversation, the major standout is the story of KOTOR. Not only does it hold up, it remains one of the most captivating in all of Star Wars. Getting to truly experience it for the first time after all these years was a joy in and of itself. The story, though, is arguably the absolute highlight of the game. It’s enough in this case, but that’s not always the best for video games.
A long time ago…
Darth Malak is an epic villain
Star Wars:Knights of the Old Republic takes place nearly four thousand years before the events of the Skywalker Saga. This era, like the entire history of this fictional galaxy, is rife with war and hardship. The war between the Republic and the Mandalorians has just ended. Taking advantage of the chaos, hundreds of Jedi turn to the dark side and join the Sith. Led by Darth Revan and his apprentice, Darth Malak, the Sith hope to extinguish the Jedi and the Republic. This is where your adventure begins.
After choosing your basic appearance and base class, you wake up on a starship with no memories. Your class choice arguably makes the most difference in this early section as it’s part of your backstory. Other than that, your starting class isn’t a make-or-break choice. You can tailor your team’s skills around any weak points you develop. I went with the Soldier class to give me an edge with basic attacks.
You wake up on the Endar Spire, in the middle of a devastating attack by Sith forces. Before long, Carth Onasi, the renowned Republic soldier and pilot, saves you. You narrowly escape with him, and crash land on planet Taris, a crime-ridden, anti-alien world. The crash landing triggers a vision of Jedi Bastila Shan. She is presumed captured somewhere on the planet.
Follow your own path
Gorgeous statues on Korriban
Taris is a hellish introduction to the play style. You’ll spend a lot of time deep underground and in sewers, fighting gangs and all manner of creepy creatures. Your first major mission is to save Bastila from the Vulkar Gang. As it turns out though, she doesn’t exactly need your help. Bastila immediately notices something strange about you, though. It seems you two share a mysterious connection.
After seeking guidance from the Jedi Council on Dantooine, you can officially begin your free-roaming journey as a force-sensitive fighter. Acknowledging your connection to Bastila, the council instructs the two of you to track down pieces of a Star Map. The combined maps reveal the location of a secret base called the Star Forge. You must find the Star Forge, before the Sith use it to conquer the galaxy. There’s actually a lot more to it than that, but the story has a beautiful way of unfolding as you go.
There’s a section of the game that always occurs after leaving your second planet, whichever that may be. After Taris and Dantooine, my order of travel was Tatooine, Kashyyyk, Manaan, then Korriban. This accelerated my story with Bastila, but you can go in any order you choose. Many choose Kashyyk, then Tatooine.
From a certain point of view
“Gutless simp…” lol
Other than the story itself, KOTOR’s crowning achievement is its freedom of choice. Beyond choosing the path of your story, the game has a rigorous morality engine. Nearly every quest has the potential to gain you light side (good) points or dark side (evil) points.
What’s truly brilliant about this mechanic is that choosing the light side usually makes things harder for you. It’s a great reflection of real life. Of course it’s easier to threaten shop owners than to pay prices you can’t afford! And it’s definitely harder to de-escalate a feud than to blast everyone. That’s a wonderful lesson to teach younger players, and is in line with the philosophy of the Force.
The main events of the plot unfold as you choose which planets to visit first. There’s so much to do, and many ways to do nearly everything. From swoop racing to playing Pazaak, there are tons of side quests with multiple endings. There are even quests that, if you plan to be purely light side, you can’t (or shouldn’t) do! For example, The Genoharadan bounties are essentially a dark-side-only questline.
Your choices also change little things, like the way your companions talk to you. You accumulate a team of nine companions, including a Wookie, a Mandalorian, and three Jedi, including Bastila. Dipping more into the dark side changes the way Bastila relates to you most of all.
If you take the dark path, she’ll express her worry and outrage over your choices. Dark side choices even make her question her own choices, and whether she could defy the Jedi code. How you respond to Bastila (or Carth if you play as a woman) even determines whether a romance option becomes available. The romances are quite spicy, and frankly, a little devastating.
I have a bad feeling about this
Visions of fate and consequence
The gameplay itself, at times, doesn’t quite hold up. Setting aside the fact that the graphics haven’t aged extremely well, there are more than a few portions of the map that are essentially just very long walks. Perhaps beautiful at the time, it feels a little monotonous in 2023.
The only version of quick travel is the ability to return immediately to your ship and then back to your last location. This action heals you automatically, which is great, but it did cause the game to crash more than once for me. Save often!
The fighting style is, from a certain point of view, rather genius. It’s a turn-based combat system with a wide variety of moves and bonuses. It allows you to strategize attacks and coordinate between team members smoothly. However, it feels stuck between styles. There’s more traditional turn-based combat systems like Fire Emblem, and there’s the real-time fights like in The Force Unleashed.
In KOTOR, having to stack moves or change strategies on the fly makes the combat feel delayed and a bit clunky. The satisfaction of a lightsaber strike is diminished when it takes up to 10 seconds for a strike to land.
With so much to do and such belabored lore, the sheer amount of alien dialogue can start to feel a little maddening. Overall, though, these issues are generally small potatoes. There are hundreds of opportunities for varying levels of combat. With a forgiving attitude, the scenery is often quite gorgeous. If you’re a Star Wars nerd, there’s hours of fun characters and history to discover. There’s a reason so many people love Star Wars: Knights of the Old Republic.
Black mirror
Would you want to vacation here?
*MAJOR SPOILERS IN THIS SECTION!*
I have to mention one of the most surprising and horrifying side-quests of any game I’ve ever played. On Dantooine, a woman informs you that her droid, the last memento of her dead husband, has been stolen. She tasks you with finding him and bringing him back. However, upon asking her a few questions, it becomes evident that this droid broke out of her house. The plot thickens…
You find her droid being attacked by Kath hounds. He tells you that his master, the woman, is addicted to him and treats him as her husband. Even at night… in bed… the droid is implied to be a sex slave! In a T-rated Star Wars game!
To earn light side points for this mission, you must grant the droid’s request to be taken out of his misery. You have to mercy kill him and condemn the woman for her actions. It’s randomly one of the darkest moments in the game. But she finds new love, so it all works out? We need justice for droids in Star Wars.
In the realm of spoilers, it’s worth noting that the big twist in this game (you are Darth Revan) has a detrimental effect on a romance with Bastila. You can choose to forgive her for manipulating and essentially re-creating you (not a great basis for a healthy relationship). If you try to profess your love after rescuing her, though, she basically blames your love on her fall to the dark side. Yeesh. At least it’s a great example of why the Jedi discourage romance. “Bastila, you’re breaking my heart.“
Final thoughts on Star Wars: Knights of the Old Republic
Well, that was insane.
Star Wars: Knights of the Old Republic, after 20 years, mostly lives up to its stellar reputation. It’s an incredible story with engaging twists and turns. The combat is varied and well-animated for its time. While there were some bugs, glitches, and a couple of crashes, I was playing on the Switch. It could be that the Aspyr port has trouble with a smaller capacity system.
It’s clear that KOTOR has had massive ripple effects across the Star Wars fandom and the world of gaming itself. While the remake is still far from release, we all wait with anticipation. In the meantime, give in to your hatred nostalgia and play this vintage, timeless gem.
Everybody has several games that mean quite a lot to them. For me, one of these games is Indiana Jones and the Infernal Machine. I not only grew up with this game, but I also have a lot of memories of this game. Outside of that, I also met some amazing friends through the community behind this game. I even did several speedruns of this game, and I’m an active member of the community. Now, color me surprised that 25 years after the release of this game, we got new fan-made content for this game. Not just fan made content in the style of fan patches to solve bugs with the game, a whole new level and promises of a level editor to create even more new custom content. This blew me off my socks and in today’s article I want to talk about it. So strap in andlet’s get ready to play new content for one of the best Indiana Jones games ever made.
The new level – SED
There is a speedrunning discord server for this game. Well, it was a speedrunning discord server but for a few years now, this server has grown into a server of people who appreciate this game. If you want to join this discord, here is an invite link. When the server started to grow, several modders joined our server. One of these modders is going under the name of Urgon (currently) and what we didn’t know is that he was decompiling the whole game. Not only that, he was creating a level editor based upon an existing level editor.
This existing level editor is for Star Wars Jedi Knight & Mysteries of the Sith. Those games used an engine that formed the basis for the Jones3D engine. While he was developing that editor, he tested his skills by creating a new level. So, basically, parts of this new level are tests of the new level editor and what you can do with it.
Now, information about this new level and the download link can be found at this GitHub repository. If you want to download the actual level, you have to go to this page and click the green button named “Code”. In that dropdown, you can choose “download zip”. You’ll need that later if you want to install/play this custom level. Now, if you read the pre-mod or the installation instructions for this level, you might feel overwhelmed if you aren’t very technically inclined. That’s why two community members wrote two special tools to aid you in preparing your game.
You might ask yourself, like Klamath did in at the end of our stream of this custom level, why are there two tools for basically the same? Well, let me tell you the history about it. When I wanted to play the custom level, I had a bit of trouble myself while figuring out the tutorial. I also found that the required steps were quite a lot to do. So, I decided to start writing a PowerShell script that did all the steps. I announced that in the Indy3D discord that I was writing this. When I almost completed my tool, the_Kovic dropped his version of the tool.
Personally, I didn’t want to throw my work out the window and continued finishing my GUI version. When I finished, I didn’t convert my tool to an EXE and left it just as a script file you could run using a command line or a code editor. The next day, Kovic released a GUI version of his tool and I gave some feedback on his tool. In the days after that, I created an EXE version of my tool and we both kept adding features in our tool. He wrote his tool in C#, which is a bit friendlier to create an EXE. If I didn’t release my first version as a script only and converted it to an EXE, I think it might have been less overwhelming for people.
That said, Kovic thanked me for creating my tool since like he said on our stream: “It put my butt into gear to create a tool and write a GUI, which I normally don’t write“. On top of that, our tools aren’t meant to compete with each other. I can’t write C# and Kovic can’t write PowerShell. And it would be a shame to just delete work because somebody else was quicker or made their tool more user-friendly first. The result now is that we both have two very strong tools with a very similar, maybe even completely the same, feature set.
Outside a different choice of coding language, the biggest differences between both our tools are under the hood. In Kovic’s tool, you get more files than in my tool when you download the tool. And that’s because to prepare your game for custom levels, you need to extract several files in the resource folder. The tool used for extraction has a bug where instead of extracting the folders of the archive into the resource folder, it extracts them into separate folders, like if you would extract a zip file. Kovic packs a modified version of this extraction tool so that part of the process goes a bit faster. In my version, the tool just downloads the latest official versions of the tool and prepare the game that way.
In the end, both our tools give you the same end result. They prepare your game to install custom levels and play them. If you want to try out the_kovic’s tool, you can find the latest version on this releases page. If you want to try our my tool, you can find it on this releases page. Feedback to our tools is always welcome! If you find an issue or if you have an idea, feel free to hit us up, and we will look into it.
Earlier I talked about a stream of the level we did. Klamath, the_Kovic and me did a live stream where we played through this level. Now, I have to emphasize that release of this level is an impressive technical achievement. Creating a level for a 3D game isn’t easy and requires a lot of work. It’s even more impressive when you know that not everything is documented about the engine, and you have to decompile a lot of it. In the next part of this article, I’m going to talk about the level itself and critique it.
If you don’t want spoilers, I’d advise you to skip that section for now and come back later. Now, I want to say that I start reviewing the level in a moment, but this feedback is mostly meant for people who want to make new custom content. What did this new level do right and wrong if you look at it as a player who doesn’t know the technical background of this level? This isn’t meant to break down the amazing work the modders did to make this work.
Reviewing the new level
Editorial note: this review will spoil quite a lot. If you don’t want to get spoiled, you have to skip this section of the article. This isn’t a walkthrough of the level either. Some sections are skipped, I’m only going to talk about the sections I want to talk about.
The new level takes place 25 years after the ending of the original game. Indy returns to his Canyonlands dig site. You are set loose at the tent where Sophia picked Indy up with a helicopter to start the Infernal Machine adventure.
In terms of new content, there isn’t a lot new to see. Some ladders are missing and some parts of the level are blocked off. Also, all treasures are missing that you would usually find in the level.
Before I continue, I want to mention that some parts of this level are made quite difficult on purpose. The developer wanted to give us the feeling we were young kids again, playing this game for the first time, and have us figure out the new puzzles by ourselves. Yet, finding a correct balance between difficulty and unfair is a very fine line to thread. Personally, I think that in some sections, the developer crossed the line into unfair level design.
When running on the top section, you notice that there are some new voice lines. These voice lines are made possible with a voice cloning AI tool that was trained on lines from Doug Lee, the original voice actor for this game. The new voice lines sound amazing, and if you didn’t know better, you’d think that Doug Lee came back to record the new lines. In most cases, these voice lines really fit Indy’s personality and fit right into the game.
We come to our first snag when we want to go to the new content. I can understand not seeing the shovel and being confused, since it’s hanging at the jeep on top. And you know what’s even more confusing, the other side of the jeep model has a shovel in its texture! Anyhow, when you pick up the shovel and dig up the Infernal Machine part, it’s clear that you need to break a wall. Here comes one of the worst parts of this level. The location of this cracked wall is insanely well hidden. It’s in one of the last places you’d look, and several of the first players ran around for hours upon hours in Canyonlands before it was found. And when it was found, it made us annoyed.
It’s a clear example of how players who are used to the level, overlooking the obvious. The wall you need to break has an actual cracked wall texture, but it’s behind something you can’t see through. I think it would have been fine if the location, where it is at, had a bigger ledge so you’d notice it somewhat instead of just having to go on a wild goose chase.
Now, we enter the new area. We come to a big open space where the next set of puzzles are. The first puzzle is actually a jumping puzzle. Now, I highly advise you to not play this level if you haven’t played through most of Indiana Jones and the Infernal Machine. Not that there are spoilers, but because some of the jumps in this level are straight up difficult and not what you really expect from this game. Kovic calls it “Kaizo Jones” for a good reason.
There are some small platforms and not having the look key working is going to be a pain in this section. Since, there are some moments where you need to be able to free look and not being able to see beneath or above you will make things a lot more tricky. After you finished these jumps, you might start to notice that the developer of this custom level added some details. Like, the rope bridges are gently moving in the wind. This is something that isn’t present in the original game. It’s a new “COG” script that makes that possible.
These cog scripts are a blessing for custom content. Since, this game isn’t hardcoded at all, so if you learn how to write these cog scripts, you can basically write new mechanics as well. It’s insane what possibilities there are going to be in the future for this game. I hope there is going to be good documentation so that custom level creaters know what’s possible and what’s impossible with the level editor.
While you are exploring this area, you notice that it’s huge. This also explains why it takes quite a while to load this level. Currently, modders are looking into why it’s running so slow. Since, we don’t really know if it’s the level size or something else slowing down the loading of this level.
So, after jumping around the central column, you’ll arive at the shed. Here you notice you can actually enter the shed from the top. Kovic explains it quite well during the stream. If you want to hear some technical explanations on how this level works, I’d advice you to watch our stream. Since there is a lot of interesting development talk in there. Later, Kovic and myself had a contest in trying to quote voice lines from the main game. We got close to 200. Kovic won that because I said a line he already said.
After you picked up everything from this shed and climbed outside, you experience another new mechanic of this game. It’s a mechanic that gets backported from Indiana Jones and the Emperor’s Tomb. The fact you can use your whip to go over a zipline.
After you returned and struggled with getting across the other bridge, you will encounter other parts of this level. Here you’ll encounter two voice lines that straight up lie to you. The first voice line is that you need more force, explosives to break a rock that’s blocking your way forwards. Here is the issue with that, you get an explosive barrel later. You need to find an extremely hidden swim tunnel in the water. It’s not the only hidden thing in the water, so investigate behind and underneath rocks quite well. Since, these puzzles in this water border in the unfair territory. What makes that explosive voice line even more evil is that there is a box of TNT in the shed earlier. But what’s the second voice line that lies to you?
Well, that is after you made your way past said boulder. You find a minecart and interacting with it, Indy says that it will run with gasoline. And there is still gasoline left in the shed. Sadly, you can’t pick it up anymore. Now, this is a red haring, you don’t need this minecart at all.
By now, you have learned that this level likes to break the rules of how the main game is designed. You’ll have to think outside of the box sometimes to beat this level. But, for some jumps, you need to use your knowledge of what’s possible and impossible to progress. This makes it quite tricky sometimes to progress. And this brings me to a conclusion we also said on stream. I think that the issue is that people expected a more tame level than what we actually got and that might turn some people off. But, I’m so glad that the quick save system exists in this game. So, abuse the quick save system and make multiple saves since you’ll need them if you aren’t a veteran player of this game.
Anyhow, let’s get back into the flow of the level. After we completed the lever puzzle, we go back towards to the huge open area and take the lift to a new location. What follows is a totally new area where it’s a good thing if you saved up on health packs and you have a great sense of direction.
So, the short minecart ridge comes to an end. It doesn’t take long before you find yourself into a watermaze. This watermaze is unfair in my honest opinion. Klamath had a tricky time solving it and he had to use almost every health pack to get through it. Without Kovic pointing out the right tunnel, I think it would have made the stream quite a bit longer. There was supposed to be a minecart section instead of this swimming maze, but the developer had a hard time making the minecart section to work and he gave up and made this swimming maze.
Now, I’m all fine with this swimming maze, but the map glitches out at certain parts. I have a mediocre sense of direction and I wanted to rely on the map. The map doesn’t always render the tunnels correctly. You sometimes swim off the map or “in nothingness”. Sadly, I have to draw my own map. I wish I still had it, since it would make for a nice screenshot here… But I threw it out but me and my clumsiness… I knocked over my waterbottle over it.
After the swimming maze, we get a new section of “Kaizo Jones”. Where we get some extremely tricky platforming. Here is where you need to use the look key again and be sure you are playing in 4:3. If you are playing in another resolution like 16:9 or 16:10, this will also be one of the moments where you don’t see all the information.
The block puzzle that follows, feels right out of Tomb Raider. The initial reviews of this game called out this game as a Tomb Raider clone. While, this game does the formula a whole lot differently. We even talked about that during the stream. In terms of theming, Infernal Machine is a lot better. Tomb Raider feels like obstacle courses. But that’s thanks to a different engine and control style. If you want to hear the whole discussion, you can watch the stream from this point. Excuse Kovic’s internet being spotty while he was replying.
After the block puzzle, a new path opens in the swim maze. Then, some platforming comes. Something I love is how there is even a troll hidden inside the platforming. It caught me off guard and made me smile. This platforming section was also love to do. It felt like a real test on how well I know the game. This platforming section feels a lot better put together and feel less cryptic on where you need to go next. You really start to notice that the developer was getting more used to the level editor and made better puzzles. The moment of having to use the whip to swing over the gap while the platform underneath you was breaking was amazing.
After that, we get into the finale of this level. We jump into a portal and we land in a playable area which is shown at the end of Shambala, the 4th level in the original game. That area that’s shown to you after you have beaten the Ice Guardian. The path that takes you to Palawan Lagoon. It was possible to explore that using cheats and modified saves, but now it’s in a level for real. Exploring the little house at the end brings us to something you totally don’t expect this custom level to do. You’ll find a parchment inside with a riddle and at the end you notice something in red saying: “MAT -> ZIP”.
There is some meta gaming now going on. You’ll need to make a hard save and exit your game. You’ll need to go to your resource folder & then open the MAT folder. In there you’ll need to rename “SED.MAT” to “SED.ZIP”. You’ll also need to enter the password for the zip, since you get a new cog script to continue the level, which you need to place in your cog folder. In there, there is another surprise. But, that’s something I’m not going to spoil. But, be sure that Kovic is playing with that surprise and maybe I’m going to dig into it. PS, the next paragraph is in white with the right spelling of the password:
Marcus
The way the level ends is bittersweet. If you solve the final puzzle, something special happens and you can beat the level. You could argue that the ending of this level is “lazy” or “creative”… But, it’s an amazing way to wrap up the story in one level with a nice bow.
At the start of the custom level, I felt that it was quite rough around the edges and it had some moments that felt badly designed. In terms of game design that is. If you look at it visually and level flow wise, I personally think that this level would fit right into the original game as a final challenge. But, the further you go into the level, the more you start to notice that the developer of this level is getting used to the tools and the editor and more polished puzzles and area’s are coming through. You notice the journey of the developer and see it becoming better and better.
I want to give a big congrats to everybody who was involved in releasing this custom level. It’s a blast to play and I can’t wait to see more custom levels. The stream I did with this level was one of the best streams ever and it was also quite a lot of fun to write the tool to help people play this custom level. I’m curious what you think about this custom level and/or the content of this article. Feel free to drop something in the comment section down below.
And with that, I have said everything I wanted to say about this for now. I want to thank you so much for reading and I hope you enjoyed it as much as I enjoyed writing it. I hope to welcome you back in another article but until then, have a great rest of your day and take care.
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Slicing a bell pepper might seem like a mundane kitchen task, but for Wallace Wong, it is an art form perfected to a degree that has earned him a world record.
In MIT.nano’s laboratories, researchers use silicon wafers as the platform to shape transformative technologies such as quantum circuitry, microfluidic devices, or energy-harvesting structures. But these substrates can also serve as a canvas for an artist, as MIT Professor W. Craig Carter demonstrates in the latest One.MIT mosaic.
The One.MIT project celebrates the people of MIT by using the tools of MIT.nano to etch their collective names, arranged as a mosaic by Carter, into a silicon wafer just 8 inches in diameter. The latest edition of One.MIT — including 339,537 names of students, faculty, staff, and alumni associated with MIT from 1861 to September 2023 — is now on display in the ground-floor galleries at MIT.nano in the Lisa T. Su Building (Building 12).
“A spirit of innovation and a relentless drive to solve big problems have permeated the campus in every decade of our history. This passion for discovery, learning, and invention is the thread connecting MIT’s 21st-century family to our 19th-century beginnings and all the years in between,” says Vladimir Bulović, director of MIT.nano and the Fariborz Maseeh Chair in Emerging Technology. “One.MIT celebrates the MIT ethos and reminds us that no matter when we came to MIT, whatever our roles, we all leave a mark on this remarkable community.”
A team of students, faculty, staff, and alumni inscribed the design on the wafer inside the MIT.nano cleanrooms. Because the names are too small to be seen with the naked eye — they measure only microns high on the wafer — the One.MIT website allows anyone to look up a name and find its location in the mosaic.
Finding inspiration in the archives
The first two One.MIT art pieces, created in 2018 and 2020, were inscribed in silicon wafers 6 inches in diameter, slightly smaller than the latest art piece, which benefited from the newest MIT.nano tools that can fabricate 8-inch wafers. The first designs form well-known, historic MIT images: the Great Dome (2018) and the MIT seal (2020).
Carter, who is the Toyota Professor of Materials Processing and professor of materials science and engineering, created the designs and algorithms for each version of One.MIT. He started a search last summer for inspiration for the 2024 design. “The image needed to be iconic of MIT,” says Carter, “and also work within the constraints of a large-scale mosaic.”
Carter ultimately found the solution within the Institute Archives, in the form of a lithograph used on the cover of a program for the 1916 MIT rededication ceremony that celebrated the Institute’s move from Boston to Cambridge on its 50th anniversary.
Incorporating MIT nerdiness
Carter began by creating a black-and-white image, redrawing the lithograph’s architectural features and character elements. He recreated the kerns (spaces) and the fonts of the letters as algorithmic geometric objects.
The color gradient of the sky behind the dome presented a challenge because only two shades were available. To tackle this issue and impart texture, Carter created a Hilbert curve — a hierarchical, continuous curve made by replacing an element with a combination of four elements. Each of these four elements are replaced by another four elements, and so on. The resulting object is like a fractal — the curve changes shape as it goes from top to bottom, with 90-degree turns throughout.
“This was an opportunity to add a fun and ‘nerdy’ element — fitting for MIT,” says Carter.
To achieve both the gradient and the round wafer shape, Carter morphed the square Hilbert curve (consisting of 90-degree angles) into a disk shape using Schwarz-Christoffel mapping, a type of conformal mapping that can be used to solve problems in many different domains.
“Conformal maps are lovely convergences of physics and engineering with mathematics and geometry,” says Carter.
Because the conformal mapping is smooth and also preserves the angles, the square’s corners produce four singular points on the circle where the Hilbert curve’s line segments shrink to a point. The location of the four points in the upper part of the circle “squeezes” the curve and creates the gradient (and the texture of the illustration) — dense-to-sparse from top-to-bottom.
The final mosaic is made up of 6,476,403 characters, and Carter needed to use font and kern types that would fill as much of the wafer’s surface as possible without having names break up and wrap around to the next line. Carter’s algorithm alleviated this problem, at least somewhat, by searching for names that slotted into remaining spaces at the end of each row. The algorithm also performed an optimization over many different choices for the random order of the names.
Finding — and wrangling — hundreds of thousands of names
In addition to the art and algorithms, the foundation of One.MIT is the extensive collection of names spanning more than 160 years of MIT. The names reflect students, alumni, faculty, and staff — the wide variety of individuals who have always formed the MIT community.
Annie Wang, research scientist and special projects coordinator for MIT.nano, again played an instrumental role in collecting the names for the project, just as she had for the 2018 and 2020 versions. Despite her experience, collating the names to construct the newest edition still presented several challenges, given the variety of input sources to the dataset and the need to format names in a consistent manner.
“Both databases and OCR-scanned text can be messy,” says Wang, referring to the electronic databases and old paper directories from which names were sourced. “And cleaning them up is a lot of work.”
Many names were listed in multiple places, sometimes spelled or formatted differently across sources. There were very short first and last names, very long first and last names — and also a portion of names in which more than one person had nearly identical names. And some groups are simply hard to find in the records. “One thing I wish we had,” comments Wang, “is a list of long-term volunteers at MIT who contribute so much but aren’t reflected in the main directories.”
Once the design was completed, Carter and Wang handed off a CAD file to Jorg Scholvin, associate director of fabrication at MIT.nano. Scholvin assembled a team that reflected One.MIT — students, faculty, staff, and alumni — and worked with them to fabricate the wafer inside MIT.nano’s cleanroom. The fab team included Carter; undergraduate students Akorfa Dagadu, Sean Luk, Emilia K. Szczepaniak, Amber Velez, and twin brothers Juan Antonio Luera and Juan Angel Luera; MIT Sloan School of Management EMBA student Patricia LaBorda; staff member Kevin Verrier of MIT Facilities; and alumnae Madeline Hickman '11 and Eboney Hearn '01, who is also the executive director of MIT Introduction to Technology, Engineering and Science (MITES).
A team of MIT students, faculty, staff, and alumni fabricated a new One.MIT wafer inside MIT.nano’s cleanroom. The fab team included undergraduate students Akorfa Dagadu, Sean Luk, Emilia K Szczepaniak, Amber Velez, and twin brothers Juan Antonio Luera and Juan Angel Luera; Sloan Executive MBA student Patricia LaBorda; staff member Kevin Verrier of MIT Facilities; and alumnae Madeline Hickman '11 and Eboney Hearn '01, who is also the executive director of MIT Introduction to Technology, Engineering and Science (MITES).
MIT has a rich history of productive collaboration between the arts and the sciences, anchored by the conviction that these two conventionally opposed ways of thinking can form a deeply generative symbiosis that serves to advance and humanize new technologies.
This ethos was made tangible when the Bauhaus artist and educator György Kepes established the MIT Center for Advanced Visual Studies (CAVS) within the Department of Architecture in 1967. CAVS has since evolved into the Art, Culture, and Technology (ACT) program, which fosters close links to multiple other programs, centers, and labs at MIT. Class 4.373/4.374 (Creating Art, Thinking Science), open to undergraduates and master’s students of all disciplines as well as certain students from the Harvard Graduate School of Design (GSD), is one of the program’s most innovative offerings, proposing a model for how the relationship between art and science might play out at a time of exponential technological growth.
Now in its third year, the class is supported by an Interdisciplinary Class Development Grant from the MIT Center for Art, Science and Technology (CAST) and draws upon the unparalleled resources of MIT.nano; an artist’s high-tech toolbox for investigating the hidden structures and beauty of our material universe.
High ambitions and critical thinking
The class was initiated by Tobias Putrih, lecturer in ACT, and is taught with the assistance of Ardalan SadeghiKivi MArch ’23, and Aubrie James SM ’24. Central to the success of the class has been the collaboration with co-instructor Vladimir Bulović, the founding director of MIT.nano and Fariborz Maseeh Chair in Emerging Technology, who has positioned the facility as an open-access resource for the campus at large — including MIT’s community of artists. “Creating Art, Thinking Science” unfolds the 100,000 square feet of cleanroom and lab space within the Lisa T. Su Building, inviting participating students to take advantage of cutting-edge equipment for nanoscale visualization and fabrication; in the hands of artists, devices for discovering nanostructures and manipulating atoms become tools for rendering the invisible visible and deconstructing the dynamics of perception itself.
The expansive goals of the class are tempered by an in-built criticality. “ACT has a unique position as an art program nested within a huge scientific institute — and the challenges of that partnership should not be underestimated,” reflects Putrih. “Science and art are wholly different knowledge systems with distinct historical perspectives. So, how do we communicate? How do we locate that middle ground, that third space?”
An evolving answer, tested and developed throughout the partnership between ACT and MIT.nano, involves a combination of attentive mentorship and sharing of artistic ideas, combined with access to advanced technological resources and hands-on practical training.
“MIT.nano currently accommodates more than 1,200 individuals to do their work, across 250 different research groups,” says Bulović. “The fact that we count artists among those is a matter of pride for us. We’ve found that the work of our scientists and technologists is enhanced by having access to the language of art as a form of expression — equally, the way that artists express themselves can be stretched beyond what could previously be imagined, simply by having access to the tools and instruments at MIT.nano.”
A playground for experimentation
True to the spirit of the scientific method and artistic iteration, the class is envisioned as a work in progress — a series of propositions and prototypes for how dialogue between scientists and artists might work in practice. The outcomes of those experiments can now be seen installed in the first and second floor galleries at MIT.nano. As part of the facility’s five-year anniversary celebration, the class premiered an exhibition showcasing works created during previous years of “Creating Art, Thinking Science.”
Visitors to the exhibition, “zero.zerozerozerozerozerozerozerozeroone” (named for the numerical notation for one nanometer), will encounter artworks ranging from a minimalist silicon wafer produced with two-photon polymerization (2PP) technology (“Obscured Invisibility,” 2021, Hyun Woo Park), to traces of an attempt to make vegetable soup in the cleanroom using equipment such as a cryostat, a fluorescing microscope, and a Micro-CT scanner (“May I Please Make You Some Soup?,” 2022, Simone Lasser).
These works set a precedent for the artworks produced during the fall 2023 iteration of the class. For Ryan Yang, in his senior year studying electrical engineering and computer science at MIT, the chance to engage in open discussion and experimental making has been a rare opportunity to “try something that might not work.” His project explores the possibilities of translating traditional block printing techniques to micron-scale 3D-printing in the MIT.nano labs.
Yang has taken advantage of the arts curriculum at MIT at an early stage in his academic career as an engineer; meanwhile, Ameen Kaleem started out as a filmmaker in New Delhi and is now pursuing a master’s degree in design engineering at Harvard GSD, cross-registered at MIT.
Kaleem’s project models the process of abiogenesis (the evolution of living organisms from inorganic or inanimate substances) by bringing living moss into the MIT.nano cleanroom facilities to be examined at an atomic scale. “I was interested in the idea that, as a human being in the cleanroom, you are both the most sanitized version of yourself and the dirtiest thing in that space,” she reflects. “Drawing attention to the presence of organic life in the cleanroom is comparable to bringing art into spaces where it might not otherwise exist — a way of humanizing scientific and technological endeavors.”
Consciousness, immersion, and innovation
The students draw upon the legacies of landmark art-science initiatives — including international exhibitions such as “Cybernetic Serendipity” (London ICA, 1968), the “New Tendencies” series (Zagreb, 1961-73), and “Laboratorium” (Antwerp, 1999) — and take inspiration from the instructors’ own creative investigations of the inner workings of different knowledge systems. “In contemporary life, and at MIT in particular, we’re immersed in technology,” says Putrih. “It’s the nature of art to reveal that to us, so that we might see the implications of what we are producing and its potential impact.”
By fostering a mindset of imagination and criticality, combined with building the technical skills to address practical problems, “Creating Art, Thinking Science” seeks to create the conditions for a more expansive version of technological optimism; a culture of innovation in which social and environmental responsibility are seen as productive parameters for enriched creativity. The ripple effects of the class might be years in the making, but as Bulović observes while navigating the exhibition at MIT.nano, “The joy of the collaboration can be felt in the artworks.”
Seated at the grand piano in MIT’s Killian Hall last fall, first-year student Jacqueline Wang played through the lively opening of Mozart’s “Sonata in B-flat major, K.333.” When she’d finished, Mi-Eun Kim, pianist and lecturer in MIT’s Music and Theater Arts Section (MTA), asked her to move to the rear of the hall. Kim tapped at an iPad. Suddenly, the sonata she'd just played poured forth again from the piano — its keys dipping and rising just as they had with Wang’s fingers on them, the resonance of its strings filling the room. Wang stood among a row of empty seats with a slightly bemused expression, taking in a repeat of her own performance.
“That was a little strange,” Wang admitted when the playback concluded, then added thoughtfully: “It sounds different from what I imagine I’m playing.”
This unusual lesson took place during a nearly three-week residency at MIT of the Steinway Spirio | r, a piano embedded with technology for live performance capture and playback. “The residency offered students, faculty, staff, and campus visitors the opportunity to engage with this new technology through a series of workshops that focused on such topics as the historical analysis of piano design, an examination of the hardware and software used by the Spirio | r, and step-by-step guidance of how to use the features,” explains Keeril Makan, head of MIT Music and Theater Arts and associate dean of the School of Humanities, Arts, and Social Sciences.
Wang was one of several residency participants to have the out-of-body experience of hearing herself play from a different vantage point, while watching the data of her performance scroll across a screen: color-coded rectangles indicating the velocity and duration of each note, an undulating line charting her use of the damper pedal. Wang was even able to edit her own performance, as she discovered when Kim suggested her rhythmic use of the pedal might be superfluous. Using the iPad interface to erase the pedaling entirely, they listened to the playback again, the notes gaining new clarity.
“See? We don’t need it,” Kim confirmed with a smile.
“When MIT’s new music building (W18) opens in spring 2025, we hope it will include this type of advanced technology. It would add value not just to Wang’s cohort of 19 piano students in the Emerson/Harris Program, which provides a total of 71 scholars and fellows with support for conservatory-level instruction in classical, jazz, and world music. But could also offer educational opportunities to a much wider swath of the MIT community,” says Makan. “Music is the fifth-most popular minor at MIT; 1,700 students enroll in music and theater arts classes each semester, and the Institute is brimming with vocalists, composers, instrumentalists, and music history students.”
According to Kim, the Spirio enables insights beyond what musicians could learn from a conventional recording; hearing playback directly from the instrument reveals sonic dimensions an MP3 can’t capture. “Speaker systems sort of crunch everything down — the highs and the lows, they all kind of sound the same. But piano solo music is very dynamic. It’s supposed to be experienced in a room,” she says.
During the Spirio | r residency, students found they could review their playing at half speed, adjust the volume of certain notes to emphasize a melody, transpose a piece to another key, or layer their performance — prerecording one hand, for example, then accompanying it live with the other.
“It helps the student be part of the learning and the teaching process,” Kim says. “If there’s a gap between what they imagined and what they hear and then they come to me and say, ‘How do I fix this?’ they’re definitely more engaged. It’s an honest representation of their playing, and the students who are humbled by it will become better pianists.”
For Wang, reflecting on her lesson with Kim, the session introduced an element she’d never experienced since beginning her piano studies at age 5. “The visual display of how long each key was played and with what velocity gave me a more precise demonstration of the ideas of voicing and evenness,” Wang says. “Playing the piano is usually dependent solely on the ears, but this combines with the auditory experience a visual experience and statistics, which helped me get a more holistic view of my playing.”
As a first-year undergraduate considering a Course 6 major (electrical engineering and computer science, or EECS), Wang was also fascinated to watch Patrick Elisha, a representative from Steinway dealer M. Steinert & Sons, disassemble the piano action to point out the optical sensors that measure the velocity of each hammer strike at 1,020 levels of sensitivity, sampled 800 times per second.
“I was amazed by the precision of the laser sensors and inductors,” says Wang. “I have just begun to take introductory-level courses in EECS and am just coming across these concepts, and this certainly made me more excited to learn more about these electrical devices and their applications. I was also intrigued that the electrical system was added onto the piano without interfering with the mechanical structure, so that when we play the Spirio, our experience with the touch and finger control was just like that of playing a usual Steinway.”
Another Emerson/Harris scholar, Víctor Quintas-Martínez, a PhD candidate in economics who resumed his lapsed piano studies during the Covid-19 pandemic, visited Killian Hall during the residency to rehearse a Fauré piano quartet with a cellist, violist, and violinist. “We did a run of certain passages and recorded the piano part. Then I listened to the strings play with the recording from the back of the hall. That gave me an idea of what I needed to adjust in terms of volume, texture, pedal, etc., to achieve a better balance. Normally, when you’re playing, because you’re sitting behind the strings and close to the piano, your perception of balance may be somewhat distorted,” he notes.
Kim cites another campus demographic ripe for exploring these types of instruments like the Spirio | r and its software: future participants in MIT’s relatively new Music Technology Master's Program, along with others across the Institute whose work intersects with the wealth of data the instrument captures. Among them is Praneeth Namburi, a research scientist at the MIT.nano Immersion Lab. Typically, Namburi focuses his neuroscience expertise on the biomechanics of dancing and expert movement. For two days during the MTA/Spirio residency, he used the sensors at the Immersion Lab, along with those of the Spirio, to analyze how pianists use their bodies.
“We used motion capture that can help us contrast the motion paths of experts such as Mi-Eun from those of students, potentially aiding in music education,” Namburi recounts, “force plates that can give scientific insights into how movement timing is organized, and ultrasound to visualize the forearm tissues during playing, which can potentially help us understand musicianship-related injuries.”
“The encounter between MTA and MIT.nano was something unique to MIT,” Kim believes. “Not only is this super useful for the music world, but it’s also very exciting for movement researchers, because playing piano is one of the most complex activities that humans do with our hands.”
In Kim’s view, that quintessentially human complexity is complemented by these kinds of technical possibilities. “Some people might think oh, it's going to replace the pianist,” she says. “But in the end it is a tool. It doesn’t replace all of the things that go into learning music. I think it's going to be an invaluable third partner: the student, the teacher, and the Spirio — or the musician, the researcher, and the Spirio. It's going to play an integral role in a lot of musical endeavors.”
As Hamlet requested of Horatio, it is time to once again absent myself from felicity awhile, and in this harsh world draw my breath in pain to tell you that the Half-Life 3 speculators are at it again. Over the weekend, the discovery of a mystery Valve project called "White Sands" on a voice actor's portfolio has set tongues and fingers wagging about potential Half-Life news in the offing.
As Hamlet requested of Horatio, it is time to once again absent myself from felicity awhile, and in this harsh world draw my breath in pain to tell you that the Half-Life 3 speculators are at it again. Over the weekend, the discovery of a mystery Valve project called "White Sands" on a voice actor's portfolio has set tongues and fingers wagging about potential Half-Life news in the offing.
The PS2 is arguably the best console ever created with many popular franchises like Kingdom Hearts, Devil May Cry, and God of War taking root on the system. Other series really took off during this generation of consoles, like the Grand Theft Auto franchise. Here are the 10 best selling PS2 games, ranked by sales numbers.
10. Kingdom Hearts
Image via Square Enix and Disney
The strange crossover between Disney and Square truly worked during the PS2 generation of consoles with over 5.9 million copies sold worldwide, as of 2007. Sora, Donald, and Goofy fought against dark creatures called the heartless in Disney worlds we all know and love like The Little Mermaid's Atlantica and Hercules' Olympus Coliseum. The action-RPG system is fast-paced, and lets you summon the likes of Dumbo and Genie to the battle. While the first game hasn't aged the best, the Kingdom Hearts franchise is still beloved worldwide.
9. Final Fantasy XII
Image via Square Enix
After the success of the 10th entry, Final Fantasy XII took us back to the world of Ivalice, featuring kingdoms and olden-style language. It sold over 6 million copies, according to a 2009 interview with Yoshinori Kitase in Gendai. This entry in particular was different from other entries in the series, as it featured a real-time system similar to an MMO. "It was a triumph in many ways with its open world combat flow and groundbreaking (at the time) AI-manipulating gambit system," said our review for the remaster The Zodiac Age.
8. Tekken 5
Image via Bandai Namco
Tekken 5 is also reported to have sold around 6 million units. This is the fighting game sequel that introduced the fan-favorite characters Asuka and Lili, in addition to the badass Dragunov and Raven. The game has an impressive 88 Metacritic score based on 62 reviews. "Better balancing, a ton of gameplay modes, smarter AI, and high-quality presentational elements are tough things to beat -- but Tekken 5 has all of them," said IGN's review when the game was released in 2005.
7. Metal Gear Solid 2: Sons of Liberty
Image via Konami
When you combine the reported sales of Metal Gear Solid 2: Sons of Liberty and Substance, you'll find that a total number of 7.03 million copies were picked up at stores. Launching in 2001, this game was a gigantic step in Hollywood-style storytelling within games. The second title also added a first-person camera for aiming down sights and the ability to hold foes up at gunpoint. Many love this game, despite a surprising switch of the main protagonist.
6. Grand Theft Auto III
Image via Rockstar Games
Grand Theft Auto III revolutionized gaming when it first came out on October 22, 2001 because of its big open world mechanics and mature content. As a result, it sold around 8.3 million copies worldwide. I remember going around my friend's house at nine years old and being amazed at how open the game was, and freaked out by how many atrocities could be performed by the player. A remaster was released for this game, but the less said about that, the better.
5. Final Fantasy X
Image via Square Enix
Final Fantasy X was the best-selling PS2 game in the series at over 8.5 million copies, according to a 2013 press release. This was a big deal back in 2001. FFX was the first game in the RPG franchise to have voice acting with James Arnold Taylor as Tidus and Hedy Burress as Yuna. The elaborate love story between the two main characters also attracted many to the RPG. Composer Nobuo Uematsu also constructed a musical masterwork in the game's soundtrack, with standout tracks like "Movement in Green," "To Zanarkand," and of course, the epic battle theme.
4. Gran Turismo 4
Image via PlayStation
The Gran Turismo series was huge during the PS2 generation, as its modern competitor Forza was yet to take shape. It drew 11.76 million racing fans to buy the game from store shelves in 2004. This game was praised for its fantastic graphics at the time and simulation mechanics. "Gran Turismo 4 is the Encyclopedia Britannica of driving, with more than 700 distinct sets of wheels to prove it, and introduces you to it with the restrained reverence of a martial arts instructor," said Eurogamer's review. "It wants you to win through training and discipline, not brute force and chrome elbows to the side paneling."
3. Grand Theft Auto: Vice City
Image via Rockstar Games
The Grand Theft Auto series began to take over the industry with its next entry, Vice City. It sold a total of 14.2 million copies worldwide (according to the Guinness World Records 2009 Gamer's Edition book). This entry took us back to the '80s; the theming was exceptional, with a fantastic soundtrack and neon throughout the city everywhere. It also features an engaging narrative following Tommy Vercetti, voiced by Goodfellas actor Ray Liotta. "The game of fast cars and ruthless criminals packs more action and excitement into the first few hours than can be found in the entirety of most games," said IGN's 2003 review.
2. Gran Turismo 3: A-Spec
Image via PlayStation
Gran Turismo 3: A-Spec accelerated excitement from the PlayStation 2 fanbase even more, with almost 15 million copies sold in 2001 and beyond. It brought incredible visuals for racing enthusiasts at the time, and likely convinced many to take the leap from the PS1 to the PS2. The official website says the game added "impairing sunglare, shimmering heat waves, real-time reflections" and more to make this game as realistic as possible at the time. There was also an Arcade mode and a Simulation mode added to Gran Turismo 3: A-Spec to make it as appealing to a wide audience as possible.
1. Grand Theft Auto: San Andreas
Image via Rockstar Games
Arguably the best of the PS2 trilogy, Grand Theft Auto: San Andreas is on top of the best selling PS2 games list with 17.33 million copies reportedly purchased by PS2 players around the world, according to the Guinness World Records 2009 Gamer's Edition. Playing as Carl Johnson, you're living in the '90s, trying to save Carl's family after his mother was murdered and trying to flee corrupt cops who frame him for homicide. The game has an amazing 95% Metacritic average rating from 80 outlets.
Game Informer gave it a perfect score, saying "San Andreas breaks the video game mold and emerges as something far greater." (Via Metacritic) Despite a terrible remaster much later on, it seems to still hold a place in many fans' minds as one of the best in the series.
Dragon Age: The Veilguard publisher EA has narrowed down the game's release window slightly, and indicated it will launch after 1st October.
Previously missing from EA's last financial results calendar, the publisher now lists BioWare's upcoming long-awaited RPG as being set to launch in its financial Q3.
EA's first financial quarter of the year ended on 30th June, while its second ends on 30th September. BioWare meanwhile has given The Veilguard a vague "fall" or autumn launch window.
In a pleasantly surprising move, BioWare will launch Dragon Age: The Veilguard natively via Steam on PC, meaning there's no need to download and install the fussy EA App.
What's more, the game will arrive verified for Steam Deck, so you can continue your quest to defend Thedas while on the bus, train or toilet.
"There's a few more surprises in store for later this summer," BioWare's Michael Gamble teased via social media platform X, sharing the news. "Here's the first from the DAV team."
In MIT.nano’s laboratories, researchers use silicon wafers as the platform to shape transformative technologies such as quantum circuitry, microfluidic devices, or energy-harvesting structures. But these substrates can also serve as a canvas for an artist, as MIT Professor W. Craig Carter demonstrates in the latest One.MIT mosaic.
The One.MIT project celebrates the people of MIT by using the tools of MIT.nano to etch their collective names, arranged as a mosaic by Carter, into a silicon wafer just 8 inches in diameter. The latest edition of One.MIT — including 339,537 names of students, faculty, staff, and alumni associated with MIT from 1861 to September 2023 — is now on display in the ground-floor galleries at MIT.nano in the Lisa T. Su Building (Building 12).
“A spirit of innovation and a relentless drive to solve big problems have permeated the campus in every decade of our history. This passion for discovery, learning, and invention is the thread connecting MIT’s 21st-century family to our 19th-century beginnings and all the years in between,” says Vladimir Bulović, director of MIT.nano and the Fariborz Maseeh Chair in Emerging Technology. “One.MIT celebrates the MIT ethos and reminds us that no matter when we came to MIT, whatever our roles, we all leave a mark on this remarkable community.”
A team of students, faculty, staff, and alumni inscribed the design on the wafer inside the MIT.nano cleanrooms. Because the names are too small to be seen with the naked eye — they measure only microns high on the wafer — the One.MIT website allows anyone to look up a name and find its location in the mosaic.
Finding inspiration in the archives
The first two One.MIT art pieces, created in 2018 and 2020, were inscribed in silicon wafers 6 inches in diameter, slightly smaller than the latest art piece, which benefited from the newest MIT.nano tools that can fabricate 8-inch wafers. The first designs form well-known, historic MIT images: the Great Dome (2018) and the MIT seal (2020).
Carter, who is the Toyota Professor of Materials Processing and professor of materials science and engineering, created the designs and algorithms for each version of One.MIT. He started a search last summer for inspiration for the 2024 design. “The image needed to be iconic of MIT,” says Carter, “and also work within the constraints of a large-scale mosaic.”
Carter ultimately found the solution within the Institute Archives, in the form of a lithograph used on the cover of a program for the 1916 MIT rededication ceremony that celebrated the Institute’s move from Boston to Cambridge on its 50th anniversary.
Incorporating MIT nerdiness
Carter began by creating a black-and-white image, redrawing the lithograph’s architectural features and character elements. He recreated the kerns (spaces) and the fonts of the letters as algorithmic geometric objects.
The color gradient of the sky behind the dome presented a challenge because only two shades were available. To tackle this issue and impart texture, Carter created a Hilbert curve — a hierarchical, continuous curve made by replacing an element with a combination of four elements. Each of these four elements are replaced by another four elements, and so on. The resulting object is like a fractal — the curve changes shape as it goes from top to bottom, with 90-degree turns throughout.
“This was an opportunity to add a fun and ‘nerdy’ element — fitting for MIT,” says Carter.
To achieve both the gradient and the round wafer shape, Carter morphed the square Hilbert curve (consisting of 90-degree angles) into a disk shape using Schwarz-Christoffel mapping, a type of conformal mapping that can be used to solve problems in many different domains.
“Conformal maps are lovely convergences of physics and engineering with mathematics and geometry,” says Carter.
Because the conformal mapping is smooth and also preserves the angles, the square’s corners produce four singular points on the circle where the Hilbert curve’s line segments shrink to a point. The location of the four points in the upper part of the circle “squeezes” the curve and creates the gradient (and the texture of the illustration) — dense-to-sparse from top-to-bottom.
The final mosaic is made up of 6,476,403 characters, and Carter needed to use font and kern types that would fill as much of the wafer’s surface as possible without having names break up and wrap around to the next line. Carter’s algorithm alleviated this problem, at least somewhat, by searching for names that slotted into remaining spaces at the end of each row. The algorithm also performed an optimization over many different choices for the random order of the names.
Finding — and wrangling — hundreds of thousands of names
In addition to the art and algorithms, the foundation of One.MIT is the extensive collection of names spanning more than 160 years of MIT. The names reflect students, alumni, faculty, and staff — the wide variety of individuals who have always formed the MIT community.
Annie Wang, research scientist and special projects coordinator for MIT.nano, again played an instrumental role in collecting the names for the project, just as she had for the 2018 and 2020 versions. Despite her experience, collating the names to construct the newest edition still presented several challenges, given the variety of input sources to the dataset and the need to format names in a consistent manner.
“Both databases and OCR-scanned text can be messy,” says Wang, referring to the electronic databases and old paper directories from which names were sourced. “And cleaning them up is a lot of work.”
Many names were listed in multiple places, sometimes spelled or formatted differently across sources. There were very short first and last names, very long first and last names — and also a portion of names in which more than one person had nearly identical names. And some groups are simply hard to find in the records. “One thing I wish we had,” comments Wang, “is a list of long-term volunteers at MIT who contribute so much but aren’t reflected in the main directories.”
Once the design was completed, Carter and Wang handed off a CAD file to Jorg Scholvin, associate director of fabrication at MIT.nano. Scholvin assembled a team that reflected One.MIT — students, faculty, staff, and alumni — and worked with them to fabricate the wafer inside MIT.nano’s cleanroom. The fab team included Carter; undergraduate students Akorfa Dagadu, Sean Luk, Emilia K. Szczepaniak, Amber Velez, and twin brothers Juan Antonio Luera and Juan Angel Luera; MIT Sloan School of Management EMBA student Patricia LaBorda; staff member Kevin Verrier of MIT Facilities; and alumnae Madeline Hickman '11 and Eboney Hearn '01, who is also the executive director of MIT Introduction to Technology, Engineering and Science (MITES).
A team of MIT students, faculty, staff, and alumni fabricated a new One.MIT wafer inside MIT.nano’s cleanroom. The fab team included undergraduate students Akorfa Dagadu, Sean Luk, Emilia K Szczepaniak, Amber Velez, and twin brothers Juan Antonio Luera and Juan Angel Luera; Sloan Executive MBA student Patricia LaBorda; staff member Kevin Verrier of MIT Facilities; and alumnae Madeline Hickman '11 and Eboney Hearn '01, who is also the executive director of MIT Introduction to Technology, Engineering and Science (MITES).
MIT has a rich history of productive collaboration between the arts and the sciences, anchored by the conviction that these two conventionally opposed ways of thinking can form a deeply generative symbiosis that serves to advance and humanize new technologies.
This ethos was made tangible when the Bauhaus artist and educator György Kepes established the MIT Center for Advanced Visual Studies (CAVS) within the Department of Architecture in 1967. CAVS has since evolved into the Art, Culture, and Technology (ACT) program, which fosters close links to multiple other programs, centers, and labs at MIT. Class 4.373/4.374 (Creating Art, Thinking Science), open to undergraduates and master’s students of all disciplines as well as certain students from the Harvard Graduate School of Design (GSD), is one of the program’s most innovative offerings, proposing a model for how the relationship between art and science might play out at a time of exponential technological growth.
Now in its third year, the class is supported by an Interdisciplinary Class Development Grant from the MIT Center for Art, Science and Technology (CAST) and draws upon the unparalleled resources of MIT.nano; an artist’s high-tech toolbox for investigating the hidden structures and beauty of our material universe.
High ambitions and critical thinking
The class was initiated by Tobias Putrih, lecturer in ACT, and is taught with the assistance of Ardalan SadeghiKivi MArch ’23, and Aubrie James SM ’24. Central to the success of the class has been the collaboration with co-instructor Vladimir Bulović, the founding director of MIT.nano and Fariborz Maseeh Chair in Emerging Technology, who has positioned the facility as an open-access resource for the campus at large — including MIT’s community of artists. “Creating Art, Thinking Science” unfolds the 100,000 square feet of cleanroom and lab space within the Lisa T. Su Building, inviting participating students to take advantage of cutting-edge equipment for nanoscale visualization and fabrication; in the hands of artists, devices for discovering nanostructures and manipulating atoms become tools for rendering the invisible visible and deconstructing the dynamics of perception itself.
The expansive goals of the class are tempered by an in-built criticality. “ACT has a unique position as an art program nested within a huge scientific institute — and the challenges of that partnership should not be underestimated,” reflects Putrih. “Science and art are wholly different knowledge systems with distinct historical perspectives. So, how do we communicate? How do we locate that middle ground, that third space?”
An evolving answer, tested and developed throughout the partnership between ACT and MIT.nano, involves a combination of attentive mentorship and sharing of artistic ideas, combined with access to advanced technological resources and hands-on practical training.
“MIT.nano currently accommodates more than 1,200 individuals to do their work, across 250 different research groups,” says Bulović. “The fact that we count artists among those is a matter of pride for us. We’ve found that the work of our scientists and technologists is enhanced by having access to the language of art as a form of expression — equally, the way that artists express themselves can be stretched beyond what could previously be imagined, simply by having access to the tools and instruments at MIT.nano.”
A playground for experimentation
True to the spirit of the scientific method and artistic iteration, the class is envisioned as a work in progress — a series of propositions and prototypes for how dialogue between scientists and artists might work in practice. The outcomes of those experiments can now be seen installed in the first and second floor galleries at MIT.nano. As part of the facility’s five-year anniversary celebration, the class premiered an exhibition showcasing works created during previous years of “Creating Art, Thinking Science.”
Visitors to the exhibition, “zero.zerozerozerozerozerozerozerozeroone” (named for the numerical notation for one nanometer), will encounter artworks ranging from a minimalist silicon wafer produced with two-photon polymerization (2PP) technology (“Obscured Invisibility,” 2021, Hyun Woo Park), to traces of an attempt to make vegetable soup in the cleanroom using equipment such as a cryostat, a fluorescing microscope, and a Micro-CT scanner (“May I Please Make You Some Soup?,” 2022, Simone Lasser).
These works set a precedent for the artworks produced during the fall 2023 iteration of the class. For Ryan Yang, in his senior year studying electrical engineering and computer science at MIT, the chance to engage in open discussion and experimental making has been a rare opportunity to “try something that might not work.” His project explores the possibilities of translating traditional block printing techniques to micron-scale 3D-printing in the MIT.nano labs.
Yang has taken advantage of the arts curriculum at MIT at an early stage in his academic career as an engineer; meanwhile, Ameen Kaleem started out as a filmmaker in New Delhi and is now pursuing a master’s degree in design engineering at Harvard GSD, cross-registered at MIT.
Kaleem’s project models the process of abiogenesis (the evolution of living organisms from inorganic or inanimate substances) by bringing living moss into the MIT.nano cleanroom facilities to be examined at an atomic scale. “I was interested in the idea that, as a human being in the cleanroom, you are both the most sanitized version of yourself and the dirtiest thing in that space,” she reflects. “Drawing attention to the presence of organic life in the cleanroom is comparable to bringing art into spaces where it might not otherwise exist — a way of humanizing scientific and technological endeavors.”
Consciousness, immersion, and innovation
The students draw upon the legacies of landmark art-science initiatives — including international exhibitions such as “Cybernetic Serendipity” (London ICA, 1968), the “New Tendencies” series (Zagreb, 1961-73), and “Laboratorium” (Antwerp, 1999) — and take inspiration from the instructors’ own creative investigations of the inner workings of different knowledge systems. “In contemporary life, and at MIT in particular, we’re immersed in technology,” says Putrih. “It’s the nature of art to reveal that to us, so that we might see the implications of what we are producing and its potential impact.”
By fostering a mindset of imagination and criticality, combined with building the technical skills to address practical problems, “Creating Art, Thinking Science” seeks to create the conditions for a more expansive version of technological optimism; a culture of innovation in which social and environmental responsibility are seen as productive parameters for enriched creativity. The ripple effects of the class might be years in the making, but as Bulović observes while navigating the exhibition at MIT.nano, “The joy of the collaboration can be felt in the artworks.”
Seated at the grand piano in MIT’s Killian Hall last fall, first-year student Jacqueline Wang played through the lively opening of Mozart’s “Sonata in B-flat major, K.333.” When she’d finished, Mi-Eun Kim, pianist and lecturer in MIT’s Music and Theater Arts Section (MTA), asked her to move to the rear of the hall. Kim tapped at an iPad. Suddenly, the sonata she'd just played poured forth again from the piano — its keys dipping and rising just as they had with Wang’s fingers on them, the resonance of its strings filling the room. Wang stood among a row of empty seats with a slightly bemused expression, taking in a repeat of her own performance.
“That was a little strange,” Wang admitted when the playback concluded, then added thoughtfully: “It sounds different from what I imagine I’m playing.”
This unusual lesson took place during a nearly three-week residency at MIT of the Steinway Spirio | r, a piano embedded with technology for live performance capture and playback. “The residency offered students, faculty, staff, and campus visitors the opportunity to engage with this new technology through a series of workshops that focused on such topics as the historical analysis of piano design, an examination of the hardware and software used by the Spirio | r, and step-by-step guidance of how to use the features,” explains Keeril Makan, head of MIT Music and Theater Arts and associate dean of the School of Humanities, Arts, and Social Sciences.
Wang was one of several residency participants to have the out-of-body experience of hearing herself play from a different vantage point, while watching the data of her performance scroll across a screen: color-coded rectangles indicating the velocity and duration of each note, an undulating line charting her use of the damper pedal. Wang was even able to edit her own performance, as she discovered when Kim suggested her rhythmic use of the pedal might be superfluous. Using the iPad interface to erase the pedaling entirely, they listened to the playback again, the notes gaining new clarity.
“See? We don’t need it,” Kim confirmed with a smile.
“When MIT’s new music building (W18) opens in spring 2025, we hope it will include this type of advanced technology. It would add value not just to Wang’s cohort of 19 piano students in the Emerson/Harris Program, which provides a total of 71 scholars and fellows with support for conservatory-level instruction in classical, jazz, and world music. But could also offer educational opportunities to a much wider swath of the MIT community,” says Makan. “Music is the fifth-most popular minor at MIT; 1,700 students enroll in music and theater arts classes each semester, and the Institute is brimming with vocalists, composers, instrumentalists, and music history students.”
According to Kim, the Spirio enables insights beyond what musicians could learn from a conventional recording; hearing playback directly from the instrument reveals sonic dimensions an MP3 can’t capture. “Speaker systems sort of crunch everything down — the highs and the lows, they all kind of sound the same. But piano solo music is very dynamic. It’s supposed to be experienced in a room,” she says.
During the Spirio | r residency, students found they could review their playing at half speed, adjust the volume of certain notes to emphasize a melody, transpose a piece to another key, or layer their performance — prerecording one hand, for example, then accompanying it live with the other.
“It helps the student be part of the learning and the teaching process,” Kim says. “If there’s a gap between what they imagined and what they hear and then they come to me and say, ‘How do I fix this?’ they’re definitely more engaged. It’s an honest representation of their playing, and the students who are humbled by it will become better pianists.”
For Wang, reflecting on her lesson with Kim, the session introduced an element she’d never experienced since beginning her piano studies at age 5. “The visual display of how long each key was played and with what velocity gave me a more precise demonstration of the ideas of voicing and evenness,” Wang says. “Playing the piano is usually dependent solely on the ears, but this combines with the auditory experience a visual experience and statistics, which helped me get a more holistic view of my playing.”
As a first-year undergraduate considering a Course 6 major (electrical engineering and computer science, or EECS), Wang was also fascinated to watch Patrick Elisha, a representative from Steinway dealer M. Steinert & Sons, disassemble the piano action to point out the optical sensors that measure the velocity of each hammer strike at 1,020 levels of sensitivity, sampled 800 times per second.
“I was amazed by the precision of the laser sensors and inductors,” says Wang. “I have just begun to take introductory-level courses in EECS and am just coming across these concepts, and this certainly made me more excited to learn more about these electrical devices and their applications. I was also intrigued that the electrical system was added onto the piano without interfering with the mechanical structure, so that when we play the Spirio, our experience with the touch and finger control was just like that of playing a usual Steinway.”
Another Emerson/Harris scholar, Víctor Quintas-Martínez, a PhD candidate in economics who resumed his lapsed piano studies during the Covid-19 pandemic, visited Killian Hall during the residency to rehearse a Fauré piano quartet with a cellist, violist, and violinist. “We did a run of certain passages and recorded the piano part. Then I listened to the strings play with the recording from the back of the hall. That gave me an idea of what I needed to adjust in terms of volume, texture, pedal, etc., to achieve a better balance. Normally, when you’re playing, because you’re sitting behind the strings and close to the piano, your perception of balance may be somewhat distorted,” he notes.
Kim cites another campus demographic ripe for exploring these types of instruments like the Spirio | r and its software: future participants in MIT’s relatively new Music Technology Master's Program, along with others across the Institute whose work intersects with the wealth of data the instrument captures. Among them is Praneeth Namburi, a research scientist at the MIT.nano Immersion Lab. Typically, Namburi focuses his neuroscience expertise on the biomechanics of dancing and expert movement. For two days during the MTA/Spirio residency, he used the sensors at the Immersion Lab, along with those of the Spirio, to analyze how pianists use their bodies.
“We used motion capture that can help us contrast the motion paths of experts such as Mi-Eun from those of students, potentially aiding in music education,” Namburi recounts, “force plates that can give scientific insights into how movement timing is organized, and ultrasound to visualize the forearm tissues during playing, which can potentially help us understand musicianship-related injuries.”
“The encounter between MTA and MIT.nano was something unique to MIT,” Kim believes. “Not only is this super useful for the music world, but it’s also very exciting for movement researchers, because playing piano is one of the most complex activities that humans do with our hands.”
In Kim’s view, that quintessentially human complexity is complemented by these kinds of technical possibilities. “Some people might think oh, it's going to replace the pianist,” she says. “But in the end it is a tool. It doesn’t replace all of the things that go into learning music. I think it's going to be an invaluable third partner: the student, the teacher, and the Spirio — or the musician, the researcher, and the Spirio. It's going to play an integral role in a lot of musical endeavors.”
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