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.”

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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Enlarge / Still of Procreate CEO James Cuda from a video posted to X. (credit: Procreate)

On Sunday, Procreate announced that it will not incorporate generative AI into its popular iPad illustration app. The decision comes in response to an ongoing backlash from some parts of the art community, which has raised concerns about the ethical implications and potential consequences of AI use in creative industries.

"Generative AI is ripping the humanity out of things," Procreate wrote on its website. "Built on a foundation of theft, the technology is steering us toward a barren future."

In a video posted on X, Procreate CEO James Cuda laid out his company's stance, saying, "We’re not going to be introducing any generative AI into our products. I don’t like what’s happening to the industry, and I don’t like what it’s doing to artists."

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You might not have to wait long to see what’s going on with the much-pilloried Borderlands movie starring Cate Blanchett and Kevin Hart for yourself from the comfort of your own couch. The box office bomb is reportedly coming to streaming as early as late August, after less than a month in theaters.

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It’ll take me quite a while to get through Sea of Stars, but if my first impressions are anything to go by, it’s going to be a hell of an adventure. This latest indie RPG comes from Quebec’s Sabotage Studio, the developers of the acclaimed The Messenger.

The developers were kind enough to send over a review key for me to look at the game. I’ve been plugging away at it over the past couple of days, with about 12 hours of progress done. Given that I’m not even halfway done, it’s easy to expect the review will take some time.

But one thing’s for sure: Sea of Stars is living up to the hype and then some. It’s a grand and engaging adventure that’s satisfying in its combat and enticing in its story. And despite a few incredibly minor issues that will hopefully be patched out, it’s set its hooks deep into me already.

Fire of the sun, light of the moon

Let’s talk about the combat first. I already had an idea of how this played, thanks to the demo released back in February. In practice, it’s already been a consistently fun and rewarding combat system, and I can see it appealing to both retro fans and newbies.

Much has been made of the game’s comparisons to games like Super Mario RPG, Illusion of Gaia, and Chrono Trigger. And they’re certainly warranted; any fan of 90s RPGs will be right at home here. I also got a substantial whiff of Mario & Luigi in it, especially with the combo moves. You have to juggle a few factors at once, including elemental weaknesses, enemy positions, charging enemy attacks, and available magic points and boost power.

While it’s a deep and layered combat system, it’s also very approachable. If you’ve never played an RPG before, Sea of Stars would be an excellent first choice. You can grasp the core concept very easily, and there aren’t so many mechanics and meters to keep track of that it’s overwhelming. The biggest challenge is determining the optimal strategy, which requires paying close attention in the heat of battle.

Feeling like a star

Sea of Stars immediately made a stir thanks to its wonderful aesthetics. You’ve probably already noticed the lovely pixel art through these screenshots, and in action, the game looks absolutely stunning. With beautiful color palettes and some excellent music tracks, it’s already a heavily absorbing adventure.

More than its aesthetics, though, I’m also really into the story and characters so far. With a wacky pirate crew, some excellent party members, and an old order of the Solstice Warriors to talk to, there’s plenty of love and care into these characters. I’ve gotten quite a bit ahead of the introduction, so I won’t be writing any story spoilers here.

Just know that the game takes maybe an hour or two to get going, and then a couple more hours to REALLY get going. For a game that’s expected to take about 25 to 30 hours with no side content, there’s hopefully plenty more great story bits and characters to come.

If there’s one aspect I can criticize Sea of Stars for, it’s that the dialogue needed a bit of a tune-up. Not the words themselves, but rather the grammar; there’s a few typos that needed ironing out. That’s something that could easily be fixed with a few patches, although of course, it’s not the most important factor. I haven’t encountered any other bugs so far, and hopefully that will remain the same throughout the rest of my playthrough!

Sea of Stars shines in its first impressions

I’m happy to report that my first impressions of Sea of Stars are highly positive. The combat is engrossing for both RPG veterans and newcomers, and it’s a beautiful game filled with charming characters and storylines. And while the text perhaps needed one last proofread, it’s hardly enough to take you out of the adventure.

Sea of Stars is developed and published by Sabotage Studio. It is available now for Nintendo Switch, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X/S and PC via Steam. You can also play it via Xbox and PC Game Pass. A free demo is available to play right now.

The digital version costs $34.99 USD. A physical version for Nintendo Switch is on the way, but Sabotage Studio hasn’t announced a price yet.

Thanks to Tinsley PR and Sabotage Studio for providing a review key!

The post First Impressions: Sea of Stars [PC] appeared first on Mega Visions.

Unpacking the Drama: The Beef Between Yuno Miles and Kai Cenat The rap world is no stranger to beef, and the latest feud between Yuno Miles and Kai Cenat has caught the attention of fans and fellow artists alike. The diss track, “Not Like Us,” has created quite a stir, with its witty lyrics and […]

The post Yuno Miles drops new Kai Cenat Diss (Not Like Us) – Lyrics / Genius appeared first on 360fov.net.

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 and let’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.

IN THIS VIDEO: Dungeon Drafters is like a card battle game with roguelite elements. I'm not sure if the gameplay is similar but it kinda reminded me of Yu-Gi-Oh although I never played the game, just watched the anime. LOL!

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IN THIS VIDEO: Ravendawn has new Medium and Large Community Lands for everyone and you can get a Baby Minotaur Companion for FREE. Ravendawn is a free-to-play MMORPG with a pixel art style graphics.

Hello fellow gamers! I'm here livestreaming myself doing random online things somewhat related to gaming like checking and reading my E-mails, going through Steam, reading Twitter posts, watching videos in YouTube or Rumble and everything else in between. 

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• VPN » ProtonVPN » https://go.getproton.me/SHtQ

PC Specs

• CPU » AMD Ryzen 5 3400G
• GPU » NVIDIA GeForce GTX 1050
• RAM » 16 GB Generic Memory

FTC Disclosure: This post or video contains affiliate links, which means I may receive a commission for purchases made through my links.

IN THIS VIDEO: A press release for a game called Orion Haste, a Contra Style Shoot Em Up game set in Orion hence the name Orion Haste. Save humanity from an alien race and become a hero of humankind.

Hello fellow gamers! I'm here livestreaming myself doing random online things somewhat related to gaming like checking and reading my E-mails, going through Steam, reading Twitter posts, watching videos in YouTube or Rumble and everything else in between. 

For comments, questions or reactions then please post them in the comments section below. Also, please like the video, share the video, follow the channel and enable notifications.

Thank you for watching!

Links

• Rumble » https://rumble.com/register/kabalyero
• Twitter » https://twitter.com/kabalyero
• Website » https://www.kabalyero.info
• Ko-fi » https://ko-fi.com/kabalyero
• VPN » ProtonVPN » https://go.getproton.me/SHtQ

PC Specs

• CPU » AMD Ryzen 5 3400G
• GPU » NVIDIA GeForce GTX 1050
• RAM » 16 GB Generic Memory

FTC Disclosure: This post or video contains affiliate links, which means I may receive a commission for purchases made through my links.

Targus Targets Sustainability and Innovation With Their Ecosmart Line of Products Read More »

Since the beginning of the hobby, starting at a tavern has been the most cliche and stereotypical beginning for medieval fantasy campaigns in TTRPGs. They are that way for a reason! Taverns are meeting places for all different kinds of people to group up and find missions to get started. The tavern keeper always has some gossip or information to give, maybe some rats to kill in the attic. There is always that mysterious person in the shadows as well, ready to approach the group of wacky individuals and make a team out of them. I, however, come here to offer you something that is far better (in my opinion) than the tavern beginning, and it can easily be applied to any TTRPG.

The Wedding

Note that even though I say a wedding, many sort of similar parties apply. A “fiesta de quinceañera“, a funeral, a bachelor party, or any sort of meeting that encompasses people from different areas connected to one same person or group of people works fine. All of these usually have events going on during the meeting in which everyone is invited to participate. Apart from that, people are put in groups or they self-gravitate into forming smaller groups of people to chat with. Once they are all together in one same spot, within the same subgroup, it’s time for something to go wrong or have someone recruit the group.

I tried this approach at the start of two of the last campaigns I ran: one for Pathfinder 2e, the other for City of Mist (which you can see in a soon to come Spanish Actual Play by RolDe10). The Pathfinder campaign involved the wedding of the Emperor’s right-hand man, having all party members meet up and put into one table together with one NPC that was going to be important to the story. During the event, there is an assassination attempt on the Emperor’s right-hand man, and the story starts from there. For City of Mist, all player characters meet during the “fiesta de quinceañera” (an event celebrated in Latin America when a woman turns 15) and the birthday girl never appears, because she was kidnapped. Both events are kind of similar, having the players meet at an event without knowing each other (or having a few connections with each other), and something happens that kickstarts the campaign.

The best tutorial

Both times I ran this kickstart event for a campaign, I was teaching the players how to play the game. At the same time, they were getting to better know their characters. These meetings usually have events going on in them. It is pretty usual for weddings to have games, or have the classical “grasp the flower bouquet”. Think of them as the first checks or interactions the players will have with the system. It’s a no-risk situation that players always want to participate in because they are just fun. Even if they decide to have their character not participate in it, that also shows the kind of character the player is playing.

In Media Res

In media res, which is Latin for “in the middle of,” means dropping the players into the action from the very start. I have tried this several times, and it has never failed me. It immediately hooks the players and gets them into character. Being in the middle of a celebratory event, you can have them start in some low-risk but action-heavy event, such as dancing with an important NPC, or carrying a plate full of food as a waiter. Once you have them there, they describe their character, what they are doing and how, and they make a first roll. Players get to know a bit about the system immediately, allowing them to better know how their actions have consequences.

Campaign Kickoff

Once the big meeting has occurred, and all the key parts of the campaign have been introduced (players and important NPCs), it’s time to show what the campaign will be all about. This can happen by having something or someone break into the meeting, or by having an NPC approach the player characters to fill them in with information. As I said, I used both an assassination attempt, and a kidnapping as past examples and both worked excellently. Having a knight of the king break in, having the mother of the birthday person abducted by an alien, or having an NPC approach the PCs because they did extremely well in an event that transpired there could work just as well.

The 4 steps to make it work

In essence, this meeting will be separated into 4 different steps:

1. In Media Res Start. Start with a bang to instantly drop the players into the game. Have them rolling from early on and you will have them interested in no time.
2. The First Meeting. Players are put together at the start of the meeting. Maybe there was no one else they knew at the party so they are put with each other, maybe it’s a mere coincidence. Note that not all player characters must be together at the start, but it is recommended most of them do. That way it is not as difficult to put them together to continue the campaign.
3. The Mini Events: Just like minigames, the mini events are risk-free reasons for the players to interact with the system through their characters, as well as getting to know important NPCs. In funerals this may be doing a whole oratory about the now deceased person, in birthday parties hitting the piñata, etc.
4. Campaign Kickoff: Have something happen that sets the player characters in motion to work together for the duration of the campaign.

Conclusion

Simple, right? Next time you start a campaign, no matter the game system, try doing so with a wedding or similar event! You will see in no time how great of a campaign starter it is. It will also catch your players by surprise, who might be expecting another tavern beginning!

Have you ever started your campaign with a similar event? If so, let me know in the comments below, so we all can inspire each other campaign starters!

In the heart of the Joseph Grimaldi Park in London, visitors can find an art installation that marries history, music, and playful interaction.

 Titled "An Invitation to Dance on the Grave," this unique piece by Henry Krokatsis invites participants to step or dance on the metal plates of two "musical graves." — Read the rest

The post Stepping on graves isn't rude here: London's musical tombstone experience appeared first on Boing Boing.

In 2011, artist John Sauve was commissioned to create a public sculpture on a park hilltop in Lyon Charter Township, Michigan. The "Man In The City" is a 20-foot tall metal sculpture of a gentleman in silhouette. Visible from the I-96 freeway, the sculpture became a beloved landmark in the area. — Read the rest

The post Mystery solved of who destroyed this beloved Michigan landmark sculpture… and why appeared first on Boing Boing.

I visited the fantastic exhibit about Mad Magazine at the Norman Rockwell Museum in Stockbridge, Massachusetts. Its collection of Mad original art and artifacts is absolutely amazing.

First, I love the Norman Rockwell Museum — I've been visiting for decades, and recommend it for everyone. — Read the rest

The post Mad Magazine at the Norman Rockwell Museum appeared first on Boing Boing.

Yes, if you have followed our development a bit, that might be a bit of a surprise. But we have been asked why we don't call this release 1.0, and the majority of us developers discussed this and decided that indeed this release is a major milestone that deserves the big 1.0 number.

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.”

Read more...

Yes, if you have followed our development a bit, that might be a bit of a surprise. But we have been asked why we don't call this release 1.0, and the majority of us developers discussed this and decided that indeed this release is a major milestone that deserves the big 1.0 number.

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.”

Title: Thimbleweed Park
Type of Game: Adventure, Point-and-Click
Developer: Terrible Toybox
Publisher: Terrible Toybox
Released: March 30, 2017
Platforms Available: PC, Mac, Linux, Xbox One, PlayStation 4, Nintendo Switch, iOS, Android
Platform Reviewed: PC
Level of Maturity: Teen 13+
Reading Time: 6 minutes

Pixel Nostalgia Meets Modern Mobile

Firing up Thimbleweed Park on my phone, I couldn’t help but grin. As a guy who’s been point-and-clicking since floppy disks were a thing, I was curious to see how this deliberately retro game would hold up not just on mobile but on PC, Playstation Xbox, Nintendo and Mac same time!

The Bold Retro Aesthetic

Let’s get this out of the way: Thimbleweed Park looks old. Really old. We’re talking “EGA graphics from 1987” old. It’s a bold choice, especially considering some of the gorgeous adventure games that have come out in recent years. Games like Grim Fandango, Broken Sword, or even the later Monkey Island entries showed how the genre could evolve visually while keeping its puzzle-solving soul.

But you know what? The ultra-retro look works. It’s not just nostalgia – though there’s plenty of that. The pixel art is sharp, detailed, and surprisingly expressive. Plus, it runs smooth as butter on mobile, which is a big plus in my book.

Quirky Characters and Clever Writing

The game follows five quirky characters as they stumble through a murder mystery in the oddball town of Thimbleweed Park. The writing is clever, with plenty of fourth-wall-breaking jokes and pop culture references that had me chuckling.

Brain-Teasing Puzzles in Your Pocket

Puzzle-wise, Thimbleweed Park doesn’t pull its punches. If you picked “hard” mode like I did, be prepared for some serious head-scratchers. The multi-character gameplay adds layers to the puzzles that I really dug. Switching between characters felt natural on the touchscreen, making it easy to try out different solutions.Speaking of touchscreens, this game feels right at home on mobile. The point-and-click interface that once needed a mouse now works perfectly with taps and swipes. I found myself pulling out my phone for quick puzzle-solving sessions during lunch breaks or while waiting for the bus.

Old-School Charm, Modern Sensibilities

What really struck me about Thimbleweed Park is how it captures the spirit of classic adventure games while making smart concessions to modern gaming. The hint system, disguised as an in-game phone hotline, is genius. It preserves the challenge for stubborn old-schoolers like me while preventing casual players from getting permanently stuck.For all its retro trappings, Thimbleweed Park feels fresh. It’s not just imitating the past; it’s building on it. The developers, Ron Gilbert and Gary Winnick, clearly know their stuff. They’ve taken lessons learned from decades of game design and applied them here, resulting in an experience that’s both familiar and new.

The Verdict: A Pixel-Perfect Adventure for the Modern Age

Is it perfect? Nah. Some jokes fall flat, and occasionally, the puzzles cross the line from challenging to frustrating. The ultra-retro graphics might be a turn-off for some players, especially those used to more visually rich adventure games. But for me, Thimbleweed Park hits a sweet spot. It’s a game that respects its roots while embracing the convenience of modern mobile gaming. It’s the kind of game I can lose myself in for hours or play in short bursts, perfect for my not-as-much-free-time-as-I-used-to-have adult life.

If you’re an old-school adventure game fan, Thimbleweed Park is an easy recommendation. It’s like finding a lost LucasArts classic, but one that plays nice with your smartphone. And if you’re new to the genre? Well, prepare for a weird, wild, and wonderfully brain-teasing ride.In a mobile gaming landscape often dominated by quick-hit puzzlers and endless runners, Thimbleweed Park stands out. It’s a proper, meaty adventure game that just happens to fit in your pocket. Whether you’re a veteran pixel-hunter or a curious newcomer, it’s well worth your time.

Now, if you’ll excuse me, I’ve got a murder to solve and a cursed clown to deal with. These puzzles aren’t going to solve themselves!

Where to Buy Thimbleweed Park

Steam (PC, Mac, Linux): Available for $19.99. You can purchase it directly from Steam.
Xbox Store (Xbox One): Available for $19.99. Check it out on the Xbox Store.
PlayStation Store (PS4): Available for $19.99. You can find it on the PlayStation Store.
Nintendo Shop (Switch): Available for $19.99. Purchase it from the Nintendo Shop.
App Store (iOS): Available for $9.99. Download it from the App Store.
Google Play (Android): Available for $9.99. Purchase it from Google Play.
Epic Games Store (PC): Available for $19.99. Purchase it from the Epic Games Store.
GOG (PC): Available for roughly $21. Purchase it from GOG.

Official Page: Visit the official Thimbleweed Park page for more information.
Subreddit: Join the discussion on the Thimbleweed Park Subreddit.

The post Thimbleweed Park: The Body is Starting to Pixelate appeared first on WePlayGames.net: Home for Top Gamers.

Items are a staple part of most games, and they come in a variety of forms. Inevitably, some items end up being far stronger than others, which can make a game feel unbalanced. If you’re looking for some extra strength, these are the top 10 most overpowered items in games.

10 Most Overpowered Items in Games

Stimpack – Fallout Shelter

Although it’s not unique to Fallout Shelter, Stimpacks are a must-have in it. They restore a chunk of health to the characters in your Vault, and you send some with anybody who leaves to explore the Wastelands. The more Stimpacks you have available, the better your chances are for having as many dwellers survive a raid as possible. As your Vault expands, these become more important, since the number of raids increases alongside their difficulty.

The post Top 10 Most Overpowered Items in Games appeared first on GameSkinny.

Before Mariupol, before Gaza, before Hiroshima and Nagasaki and Dresden and the Blitz, there was Guernica. The little Basque town in northern Spain was once the byword for state cruelty following the 1937 bombing of Guernica during Spain's civil war—an unprecedented air attack on a populated city that shocked the global conscience and inspired Pablo Picasso's most famous work, Guernica.

An atrocity is a weird thing for a place to be famous for, but neither tourists nor locals seem very fazed. Guernica, the painting, is such an abstract depiction of civilian suffering that visitors have no problem posing in front of it. Guernica, the town, is a center of Basque culture. For Basques (who know it as Gernika), the violence that moved Picasso nearly a century ago is merely one chapter in a long history of resilience in their quest for freedom.

Predating the Roman Empire and even the Celtic civilization before it, people along the Bay of Biscay have spoken Basque, a language with no known living relatives. Empires have risen and fallen, but Basque Country has preserved its unique culture and laws. From medieval times onward, Spanish monarchs would swear to uphold Basque traditions under a sacred tree in Guernica.

"It is a republic; and one of the privileges [Basques] have most insisted on, is not to have a king," wrote American Founder John Adams in 1786. "Another was, that every new lord, at his accession, should come into the country 
in person, with one of his legs bare, and take an oath to preserve the privileges of the lordship."

More than a century of Spanish revolutions and crackdowns gradually eroded Basque autonomy. Then, in July 1936, the pro-fascist Gen. Francisco Franco launched a mutiny against the Third Spanish Republic. In a bid for Basque support, the besieged Republicans quickly restored self-government to the region. By April 1937, Guernica was the last pro-Republican community standing between Franco's forces and the major city of Bilbao. With German and Italian air support, Franco moved to take the town.

"Guernica, the most ancient town of the Basques and the centre of their cultural tradition, was completely destroyed yesterday afternoon by insurgent air raiders," reported British war correspondent George Steer a day after the first wave of bombers struck. "In the form of its execution and the scale of the destruction it wrought, no less than in the selection of its objective, the raid on Guernica is unparalleled in military history."

"Guernica was not a military objective," Steer continued. "The object of the bombardment was seemingly the demoralization of the civil population and the destruction of the cradle of the Basque race."

Steer's report shocked Picasso, who had been commissioned by the Spanish Republic to make a display for the World's Fair in Paris. He abandoned his previous plans and painted Guernica within a few weeks. The artist's dramatic response to this tragedy—which was controversial at the time seeing as the World's Fair was meant to be a feel-good cultural exhibition—was showcased next to photos of dead children and propaganda films about Franco's cruelty.

What was once "unparalleled" too soon became routine. Following the raid on Guernica, the Imperial Japanese military launched a massive invasion of Shanghai. (A photo of a Chinese boy in the rubble, titled "Bloody Sunday," became another symbol of the brutality of air wars.) World War II saw air warfare escalate dramatically, culminating in hundreds of thousands killed in carpet bombing, firebombing, and atomic bombing.

Today, Guernica is a sleepy, peaceful town. Franco's death in 1975 marked Spain's return to a constitutional monarchy, restoring significant political autonomy to the Basque people. The Guernica town hall flies both a Spanish flag and a Basque flag while most other buildings don't bother with the Spanish one. A nearby gift shop sells Basque nationalist souvenirs—keychains with Basque crosses, fridge magnets with pastoral scenes—while Basque-language punk rock emanates from the speakers.

A replica of Guernica sits near the holy tree where the (now elected) leader of Basque Country once again takes the oath of office, and tourists flock to take photos next to the mural. What was once a jarring disruption to cultural tradition is now cultural tradition itself.

The post Guernica's Recovery From Ruin appeared first on Reason.com.

These days, computer users take collaboration software for granted. Google Docs, Microsoft Teams, Slack, Salesforce, and so on, are such a big part of many people’s daily lives that they hardly notice them. But they are the outgrowth of years of hard work done before the Internet became a thing, when there was a thorny problem: How could people collaborate effectively when everyone’s using a stand-alone personal computer?

The answer was groupware, an early term for collaboration software designed to work across multiple computers attached to a network. At first, those computers were located in the same office, but the range of operation slowly expanded from there, forming the highly collaborative networked world of today. This post will trace some of this history, starting from early ideas formed at Stanford Research Institute by the team of famed computer pioneer Douglas Engelbart, to a smaller company, Lotus, that hit the market with its groupware program, Notes, at the right time, to Microsoft’s ill-fated attempt to enter the groupware market, including never before seen footage of Bill Gates on Broadway.

In the early days of the computing era, when IBM’s PC reigned supreme, collaboration was difficult. Ross Anthony Willis/Fairfax Media/Getty Images

How the PC made us forget about collaboration for a while

Imagine that it’s the early-to-mid-1980s and that you run a large company. You’ve invested a lot of money into personal computers, which your employees are now using—IBM PCs, Apple Macintoshes, clones, and the like. There’s just one problem: You have a bunch of computers, but they don’t talk to one another.

If you’re in a small office and need to share a file, it’s no big deal: You can just hand a floppy disk off to someone on the other side of the room. But what if you’re part of an enterprise company and the person you need to collaborate with is on the other side of the country? Passing your colleague a disk doesn’t work.

The new personal-computing technologies clearly needed to do more to foster collaboration. They needed to be able to take input from a large group of people inside an office, to allow files to be shared and distributed, and to let multiple users tweak and mash information with everyone being able to sign off on the final version.

The hardware that would enable such collaboration software, or “groupware” as it tended to be called early on, varied by era. In the 1960s and ’70s, it was usually a mainframe-to-terminal setup, rather than something using PCs. Later, in the 1980s, it was either a token ring or Ethernet network, which were competing local-networking technologies. But regardless of the hardware used for networking, the software for collaboration needed to be developed.

Stanford Research Institute engineer Douglas Engelbart is sometimes called “the father of groupware.”Getty Images

Some of the basic ideas behind groupware were first forged at the Stanford Research Institute by a Douglas Engelbart–led team, in the 1960s, working on what they called an oN-Line System (NLS). An early version of NLS was presented in 1968 during what became known as the “Mother of All Demos.” It was essentially a coming-out party for many computing innovations that would eventually become commonplace. If you have 90 minutes and want to see something 20-plus years ahead of its time, watch this video.

In the years that followed, on top of well-known innovations like the mouse, Engelbart’s team developed tools that anticipated groupware, including an “information center,” an early precursor of the server in a client-server architecture, and tracking edits made to text files by different people, an early precursor of version control.

By the late 1980s, at a point when the PC had begun to dominate the workplace, Engelbart was less impressed with what had been gained than with what had been lost in the process. He wrote (with Harvey Lehtman) in Byte magazine in 1988:

The emergence of the personal computer as a major presence in the 1970s and 1980s led to tremendous increases in personal productivity and creativity. It also caused setbacks in the development of tools aimed at increasing organizational effectiveness—tools developed on the older time-sharing systems.
To some extent, the personal computer was a reaction to the overloaded and frustrating time-sharing systems of the day. In emphasizing the power of the individual, the personal computer revolution turned its back on those tools that led to the empowering of both co-located and distributed work groups collaborating simultaneously and over time on common knowledge work.
The introduction of local- and wide-area networks into the personal computer environment and the development of mail systems are leading toward some of the directions explored on the earlier systems. However, some of the experiences of those earlier pioneering systems should be considered anew in evolving newer collaborative environments.

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Groupware comes of age

Groupware finally started to catch on in the late 1980s, with tech companies putting considerable resources into developing collaboration software—perhaps taken in by the idea of “orchestrating work teams,” as an Infoworld piece characterized the challenge in 1988. The San Francisco Examiner reported, for example, that General Motors had invested in the technology, and was beginning to require its suppliers to accept purchase orders electronically.

Focusing on collaboration software was a great way for independent software companies to stand out, this being an area that large companies—Microsoft in particular—had basically ignored. Today, Microsoft is the 800-pound gorilla of collaboration software, thanks to its combination of Teams and Office 365. But it took the tech giant a very long while to get there: Microsoft started taking the market seriously only around 1992.

One company in particular was well-positioned to take advantage of the opening that existed in the 1980s. That was the Lotus Development Corporation, a Cambridge, Mass.–based software company that made its name with its Lotus 1-2-3 spreadsheet program for IBM PCs.

Lotus did not invent groupware or coin the word—on top of Engelbart’s formative work at Stanford, the term had been around for years before Lotus Notes came on the scene. But it was the company that brought collaboration software to everyone’s attention.

Ray Ozzie [left] was primarily responsible for the development of Lotus Notes, the first popular groupware solution. Left: Ann E. Yow-Dyson/Getty Images; Right: James Keyser/Getty Images

The person most associated with the development of Notes was Ray Ozzie, who was recruited to Lotus after spending time working on VisiCalc, an early spreadsheet program. Ozzie essentially built out what became Notes while working at Iris Associates, a direct offshoot of Lotus that Ozzie founded to develop the Notes application. After some years of development in stealth mode, the product was released in 1989.

Ozzie explained his inspiration for Notes to Jessica Livingston, who described this history in her book, Founders At Work:

In Notes, it was (and this is hard to imagine because it was a different time) the concept that we’d all be using computers on our desktops, and therefore we might want to use them as communication tools. This was a time when PCs were just emerging as spreadsheet tools and word processing replacements, still available only on a subset of desks, and definitely no networks. It was ’82 when I wrote the specs for it. It had been based on a system called PLATO [Programmed Logic for Automatic Teaching Operations] that I’d been exposed to at college, which was a large-scale interactive system that people did learning and interactive gaming on, and things like that. It gave us a little bit of a peek at the future—what it would be like if we all had access to interactive systems and technology.

Building an application based on PLATO turned out to be the right idea at the right time, and it gave Lotus an edge in the market. Notes included email, a calendaring and scheduling tool, an address book, a shared database, and programming capabilities, all in a single front-end application.

Lotus Notes on Computer Chronicles Fall 1989

As an all-in-one platform built for scale, Notes gained a strong reputation as an early example of what today would be called a business-transformation tool, one that managed many elements of collaboration. It was complicated from an IT standpoint and required a significant investment to maintain. In a way, what Notes did that was perhaps most groundbreaking was that it helped turn PCs into something that large companies could readily use.

As Fortune noted in 1994, Lotus had a massive lead in the groupware space, in part because the software worked essentially the same anywhere in a company’s network. We take that for granted now, but back then it was considered magical:

Like Lotus 1-2-3, Notes is easy to customize. A sales organization, for instance, might use it to set up an electronic bulletin board that lets people pool information about prospective clients. If some of the info is confidential, it can be restricted so not everyone can call it up.
Notes makes such homegrown applications and the data they contain accessible throughout an organization. The electronic bulletin board you consult in Singapore is identical to the one your counterparts see in Sioux City, Iowa. The key to this universality is a procedure called replication, by which Notes copies information from computer to computer throughout the network. You might say Ozzie figured out how to make the machines telepathic—each knows what the others are thinking.

This article reported that around 4,000 major companies had purchased Notes, including Chase Manhattan, Compaq Computer, Delta Air Lines, Fluor, General Motors, Harley-Davidson, Hewlett-Packard, IBM, Johnson & Johnson, J.P. Morgan, Nynex, Sybase, and 3M. While it wasn’t dominant in the way Windows was, its momentum was hard to ignore.

A 1996 commercial for Notes highlighted its use by FedEx. Other commercials would use the stand-up comedian Denis Leary or be highly conceptual. Rarely, if ever, would these television advertisements show the software.

In the mid-1990’s, it was common for magazines to publish stories about how Notes reshaped businesses large and small. A 1996 Inc. piece, for example, described how a natural-foods company successfully produced a new product in just eight months, a feat the company directly credited to Notes.

“It’s become our general manager,” Groveland Trading Co. president Steve McDonnell recalled.

Notes wasn’t cheap (InfoWorld lists the price circa 1990 as US $62,000), and it was complicated to manage. But the positive results it enabled were immensely hard to ignore. IBM noticed and ended up buying Lotus in 1995, almost entirely to get ahold of Notes. Even earlier, Microsoft had realized that office collaboration was a big deal, and they wanted in.

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Microsoft jumps on the groupware bandwagon

Microsoft’s first foray into collaboration software was its 1992 release of Windows for Workgroups. Despite great efforts to promote the release, the software was not a commercial success. Daltrois/Flickr

Microsoft had high hopes for Windows for Workgroups, the networking-focused variant of its popular Windows 3.1 software suite. To create buzz for it, the company pulled out all the stops. Seriously.

In the fall of 1992, Microsoft paid something like $2 million to put on a Broadway production with Bill Gates literally center stage, at New York City’s Gershwin Theater, one of the largest on Broadway. It was a wild show, and yet, somehow, there is no video of this event currently posted online—until now. The only person I know of who has a video recording of this extravaganza is, fittingly enough, Ray Ozzie, the groupware guru and Notes inventor. Ozzie later served as a top executive at Microsoft, famously replacing Bill Gates as Chief Software Architect in the mid-2000s, and he has shared this video with us for this post:

The 1992 one-day event was not a hit. Watch to see why. (Courtesy of Ray Ozzie and the Microsoft Corporation)

00:00 Opening number
02:23 “My VGA can hardly wait for your CPU to reciprocate”
05:17 Bill Gates enters the stage
27:55 “Get ready, get set” musical number
31:50 Bit with Mike Appe, Microsoft VP of sales
58:30 Bill Gates does jumping jacks

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A 1992 Washington Post article describes the performance, which involved dozens of actors, some of whom were dressed like the Blues Brothers. At one point, Gates did jumping jacks. Gates himself later said, “That was so bad, I thought [then Microsoft CEO] Ballmer was going to retch.” For those who don’t have an extra hour to spend, here is a summary:

To get a taste of the show, watch this news segment from channel 4. Courtesy of Microsoft Corporate Archives

Despite all the effort to generate fanfare, Windows for Workgroups was not a hit. While Windows 3.1 was dominant, Microsoft had built a program that didn’t seem to capture the burgeoning interest in collaborative work in a real way. Among other things, it didn’t initially support the TCP/IP networking protocol, despite the fact that it was the networking technology that was winning the market and enabled the rise of the Internet.

In its original version, Windows for Workgroups carried such a negative reputation in Microsoft’s own headquarters that the company nicknamed it Windows for Warehouses, referring to the company’s largely unsold inventory, according to Microsoft’s own expert on company lore, Raymond Chen.

Unsuccessful as it was, the fact that it existed in the first place hinted at Microsoft’s general acknowledgement that perhaps this networking thing was going to catch on with its users.

Launched in late 1992, a few months after Windows 3.1 itself, the product was Microsoft’s first attempt at integrated networking in a Windows package. The software enabled file-sharing across servers, printer sharing, and email—table stakes in the modern day but at the time a big deal.

This video presents a very accurate view of what it was like to use Windows in 1994.

Unfortunately, it was a big deal that came a few years late. Microsoft itself was so lukewarm on the product that the company had to update it to Windows for Workgroups 3.11 just a year later, whose marquee feature wasn’t improved network support but increased disk speed. Confusingly, the company had just released Windows NT by this point, a program that better matched the needs of enterprise customers.

The work group terminology Microsoft introduced with Windows for Workgroups stuck around, though, and it is actually used in Windows to this day.

In 2024, group-oriented software feels like the default paradigm, with single-user apps being the anomaly. Over time, groupware became so pervasive that people no longer think of it as groupware, though there are plenty of big, hefty, groupware-like tools out there, like Salesforce. Now, it’s just software. But no one should forget the long history of collaboration software or its ongoing value. It’s what got most of us through the pandemic, even if we never used the word “groupware” to describe it.

Google and Yale announced the Nest x Yale smart door lock back in 2017, with the smart features of the lock controlled through the Nest app. However, the company sunset the Nest app in favor of the Google Home app in 2021. Despite “transitioning” to the Google Home app, Google never really managed to get full feature parity with the Nest app. An upcoming Google Home app update could help bridge some of the gaps, finally giving Nest x Yale smart door lock users the ability to use passcodes through it.

In the latest Google Home app v3.19.1.3 update, we found the following strings that reference passcode functionality:

<string name="choose_a_lock_header_description">A guest passcode will be created for this lock</string>
<string name="create_label_header_description">Labels help you identify and organize passcodes</string>
<string name="choose_a_lock_header_title">Choose lock</string>
<string name="create_passcode_label_hint">Passcode label</string>
<string name="edit_label_header_description">Tap label to change. Labels help you identify and organize passcodes.</string>
<string name="create_label_header_text">Create label</string>

The strings reveal that the Google Home app will get passcode-related features. These features will extend to labeling and creating guest passcodes, though there is always room for adding more features in the future.

Now, the strings do not directly reference the Nest x Yale locks. So, there is a chance that Google is building functionality for some future hardware products. However, there’s also a chance that this feature is finally an attempt at bringing feature parity to Nest x Yale lock users, and we believe that to be more likely the case.

Google’s support documentation on Nest x Yale Lock passcodes continues to reference the Nest app for creating and changing the passcodes used to lock and unlock the Google Nest x Yale Lock. We’ve also spotted exasperated Nest x Yale lock users on Reddit trying to figure out how to manage passcodes for their lock in the confused mishmash between the Nest app and the Google Home app. The Nest app redirects them to the Google Home app, but the Google Home app seems to lack functionality around passcodes. So it’s likely that Google could be looking to finally bridge the gap here for existing users. However, this remains speculation on our end.

We’ve reached out to Google for a statement on this finding. We’ll update this article when we hear back from them.

Joshua Howard is a carpenter by trade. He spends his time and expertise every day building spectacular custom homes. He creates precise and immaculate details on a very large scale. Which makes it all the more charming that he scratches his creative itch making quick and lively driftwood wreaths, of which no two are ever […]

The post Joshua Howard’s Driftwood Wreaths appeared first on Make: DIY Projects and Ideas for Makers.

Yes, if you have followed our development a bit, that might be a bit of a surprise. But we have been asked why we don't call this release 1.0, and the majority of us developers discussed this and decided that indeed this release is a major milestone that deserves the big 1.0 number.

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.”

Hello! Welcome back to our regular feature where we write a little bit about some of the games we've been playing over the past few days. This week we play probably the closest thing we're ever likely to get to Bloodborne on PC; we jump back in time in a retro-inspired RPG; and we enjoy the easy delights of this year's Clash Mini.

What have you been playing?

If you fancy catching up on some of the older editions of What We've Been Playing, here's our archive.

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Yes, if you have followed our development a bit, that might be a bit of a surprise. But we have been asked why we don't call this release 1.0, and the majority of us developers discussed this and decided that indeed this release is a major milestone that deserves the big 1.0 number.

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.”

The long-rumored all-digital Xbox Series X is real and coming this fall. It will be white, cheaper, and feature a 1TB SSD as Microsoft continues turning the page on physical games. The platform holder also announced updates to the existing consoles with alternate colors and storage sizes.

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Today, during IGN Live, we got our first real look at the Borderlands movie, and folks, I’m not sure this is going to be very good.

Read more...

I'm currently working on a pixel art game with a 2d tile map and I am aware that to stop texture bleeding you need to pad out each tile. I also find the best result if you pad out each tile by 'stretching' its edge. For example:

becomes -------->

However, to me, padding out each tile manually is a bit tedious and also makes the tilesheet harder to edit since you need to remember to re-pad every time. I'm wondering if there is any software out there which can take in a tilesheet and do all the padding for you?

I'd prefer to edit the tilesheet all in one place rather than edit tiles separately and pack them together. Or is there some way of storing each tile separately but editing them together as though they were in a single tilesheet, and then using a texture packer to pack them together and do everything you need to do for the padding?

What type of assets are used in games like "Brotato"?

Brotato steam page

Video of gameplay

Would these be called vector graphics or are they just really smooth looking sprites? I'm interested in any search terms I could use to learn more about this type of art and how it is made. Thanks for any advice.

If you are looking to get your hands on Dave the Diver's free Godzilla DLC, there is a limited time you will be able to do so.

This DLC adds three new missions to Dave the Diver, each of which will be available after chapter five's close. There are also new dishes to discover, and a number of Godzilla figures scattered throughout the ocean for players to collect.

You can see a little teaser for Dave the Diver's Godzilla DLC in the video below.

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Buying a good Father’s Day gift can be tough if you’re on a budget, especially if your dad is already on the tech-savvy side. Sometimes they may claim they don’t want anything, other times they might buy the thing you’re looking to gift without telling anyone. If you need help jogging your brain, we’ve rounded up a few of the better gadgets we’ve tested that cost less than $50. From mechanical keyboards and security cameras to luggage trackers and power banks, each has the potential to make your dad’s day-to-day life a little more convenient.

Mike "Lottie" Gigliotti is an incredibly talented artist and skater. Vice's new series 'Let it kill you' dives into his drawing practice and the way skating and art come together for him.

Not only is Lottie a prolific artist, but he also owns Lottie's Skateshop, where he sells boards that feature his art.   — Read the rest

The post Mike Gigliotti is an incredibly talented artist and skater appeared first on Boing Boing.