Pokemon Labyrinth Board Game $17 (was $30) See at Amazon See more Pokemon games Super Mario Labyrinth Board Game $24 (was $30) See at Amazon See more Mario games The Nintendo-themed editions of Ravensburger's Labyrinth board game are discounted for a limited time at Amazon. The best deal is on Pokemon Labyrinth, which is up for grabs for only $17 (was $30). The Super Mario version of the fast-paced and highly replayable classic has also received a price cut to $24 (was $30). Continue Reading at GameSpot

Miliastra Wonderland is another word for games that players can enjoy as their Manekin in Genshin Impact. Manekin are alternative characters you can create and also give them a build to use in Genshin Impact. After arriving at the lobby, players can choose one of many Miliastra Wonderlands to enjoy either alone or with friends.

Countdown to GTC Washington, DC: What to Watch Next Week Next week, Washington, D.C., becomes the center of gravity for artificial intelligence. NVIDIA GTC Washington, D.C., lands at the Walter E. Washington Convention Center Oct. 27-29 and for those who care about where computing is headed, this is the moment to pay attention.The headline act: NVIDIA founder and CEO Jensen Huangs keynote address on Tuesday, Oct. 28, at 12 p.m. ET. Expect more than product news expect a roadmap for how AI will reshape industries, infrastructure and the public sector.Before that, the pregame show kicks off at 8:30 a.m. ET with Brad Gerstner, Patrick Moorhead and Kristina Partsinevelos offering sharp takes on whats coming.But GTC offers more than a keynote. It provides full immersion: 70+ sessions, hands-on workshops and demos covering everything from agentic AI and robotics to quantum computing and AI-native telecom networks. Its where developers meet decision-makers, and ideas turn into action. Exhibits-only passes are still available.Bookmark this space. Starting Monday, NVIDIA will live-blog the news, the color and the context, straight from the floor.

By TREVOR HOGGImages courtesy of Union VFX and Sony/Columbia Pictures.Partners in crime for over 23 years, filmmaker Danny Boyle, cinematographer Anthony Dod Mantle and Union VFX Co-Founder Adam Gascoyne have reunited for 28 Years Later, the third instalment of the zombie franchise established by Boyle and Alex Garland, which continues to explore the downward spiral of humanity as civilization gives way to primeval chaos. Danny and Anthony arent making traditional visual effects-driven films, notes Adam Gascoyne, Visual Effects Supervisor. Everything we do has to feel embedded in the photography, very much in the background. That means theres a huge amount of planning to give them the freedom to shoot organically and focus on performance, without visual effects interfering in that process.A significant landmark is the causeway that connects Holy Island to the mainland.The film is intimate, but it has moments of huge cinematic scope. Balancing those, especially across unconventional footage formats, was the real challenge. But its what made the project so creatively satisfying.Adam Gascoyne, Visual Effects SupervisorServing as points of reference were the first two films. We went back to 28 Days Later and 28 Weeks Later to study the aesthetic and mood, particularly how they handled realism and chaos, Gascoyne states. The first film especially had such a gritty, DIY sensibility that we wanted to retain, while expanding the scale. There were early conversations around continuity and where the story might go next, so we tried to lay groundwork visually without limiting future storytelling. Like the onscreen characters, Boyle is instinctual. Danny communicates in terms of emotion and rhythm. Hes very instinctual and might not say, I want a 3D fluid simulation here. But hell say, This needs to feel like a rupture. Or, Like a moment of beautiful violence. Its up to us to interpret that visually, and thats what makes working with him exciting. He gives you the room to be creative, as long as it stays true to the world. Holy Island (Lindisfarne) is a tidal island in Northumberland, England where the protagonists reside.Union VFX constructed the full tidal causeway in CG, including FX-driven water, mist, seaweed and bioluminescent interactions when characters stepped in.Arrows were all digital, including impacts and blood.The Happy Eater and Causeway sequences were heavily planned in the advance. We used previs for layout, timings, and to coordinate the choreography with stunts and practical effects, Gascoyne remarks. For complex effects sequences, like the gas explosion and tidal interaction, postvis helped evolve the final shots while working in parallel with the edit. Visual research was conducted for a variety of things. We referenced astrophotography by Dan Monk at Kielder Forest for the Causeways night sky, imagining what the world might look like without light pollution for 28 years. We also looked at bioluminescent sea creatures, real-world miasma gas, tidal erosion and disaster zone photography. For digital crowds, we studied riot footage and mass movement behavior to get a sense of uncontrolled chaos. The Causeway Chase was the most complex sequence to execute as it features 130 shots that are mostly fully CG.Complicating matters was the choice of camera. The iPhone shoot was one of the biggest technical curveballs, Gascoyne acknowledges. We had 20-camera and 10-camera iPhone rigs, some hand-held and some bar-mounted for bullet-time shots. Matching and syncing these in post meant solving issues around chroma subsampling, stabilisation artifacts, clipped highlights and unrecorded focus shifts. Creatively, we had to make a forgotten, devolved world believable. One where nature has reclaimed infrastructure and humanity has gone feral. But it still had to feel intimate and human. Streamlining the visual effects process was not having to divide the digital augmentation among multiple vendors. Union VFX, being sole vendor, helped maintain consistency and allowed us to work fluidly across teams in London and Montral. We built custom tools to handle iPhone media, matchmove multi-cam rigs, and simulate natural phenomena like water and gas. Our pipeline had to be nimble. We had over 950 shots across the film, many of them subtle, and some incredibly complex, Gascoyne says. Danny [Boyle, director] communicates in terms of emotion and rhythm. Hes very instinctual and might not say, I want a 3D fluid simulation here. But hell say, This needs to feel like a rupture. Or, Like a moment of beautiful violence. Its up to us to interpret that visually, and thats what makes working with him exciting. He gives you the room to be creative, as long as it stays true to the world.Adam Gascoyne, Visual Effects SupervisorThe world had to feel like it had been abandoned for decades, so Union VFX used procedural vegetation and overgrowth simulations to help show how nature had reclaimed space.Different stages of Inflected are encountered throughout 28 Years Later. We worked closely with prosthetics to build a multi-stage progression system, from early infection to full degeneration, Gascoyne states. Our role was to augment with subtle eye shifts, facial damage or infection bloom. We kept everything grounded, our job was never to overwrite their excellent work, but to push it further when needed. Impacting the creation of digital doubles was the prevailing nudity. There was little to no wardrobe or props to hide behind, so digital doubles had to stand up to full scrutiny, Gascoyne states. We developed anatomical shaders with nuanced textures for scars, grime and infection markers that blended cleanly with prosthetics. For crowds, we varied limb damage and posture stages to give a sense of physical deterioration without relying on costume coverage. The skies had to be reimagined for a world that has been without light pollution for 28 years.An important aspect of the environmental work was the overgrown vegetation. The world had to feel like it had been abandoned for decades, so we used procedural vegetation and overgrowth simulations to help show how nature had reclaimed space, Gascoyne describes. Sky replacements were frequent and important, particularly in sequences like the Causeway, where the fully CG aurora sky helped give a sense of time passing and nature expanding. The wildlife was expanded upon. We used digital deer, rats and occasional digital horses where safety or logistics prevented practical shots. The CG animals were integrated to feel completely part of the world. Pivotal to the narrative is the isthmus and the tide going in and out. Only a short water section was available on set, about 100 meters, but the script demanded something that felt 1.5 miles long. We built out the full tidal causeway in CG, including effects-driven water, mist, seaweed and bioluminescent interactions when characters stepped in. The waterline was animated based on real tidal cycle data, and the sky was a full CG aurora nebula with flocks of 10,000 murmuration birds. Visual effects worked closely with prosthetics to build a multi-stage progression system, from early Infection to full degeneration.The limited dynamic range of the iPhone 15 Pro Max meant that Union VFX had to match clipped whites and edge roll-off in their CG, especially in effects like explosions.Visual effects collaborated closely with stunts and special effects. From early prep, we were embedded in conversations with the stunt and special effects teams, Gascoyne explains. Our digital enhancements were always designed around what was captured practically, like blood impacts or interaction with the gas cloud. The bullet-time iPhone rig, used for capturing gore in motion, was developed collaboratively with grips, camera and effects teams to preserve performance while enhancing it digitally. Most of the principal photography was captured on location. Greenscreen was used only where absolutely necessary, like safety work or high-risk interactions. For instance, in gas cloud scenes or crowd extensions, we often worked from roto and grayscreen due to the iPhones limitations with color keying. The blood and gore had to feel real, not exploitative. Danny wanted it to hit emotionally, not gratuitously. For example, the CG arrows and their impacts were grounded in realistic physics, but enhanced to show how brutal and sudden violence can feel in that world. Many impacts were practical, but we helped extend the gore in edit or amplify the timing digitally. Prosthetic arrows were digitally extended.We referenced astrophotography by Dan Monk at Kielder Forest for the Causeways night sky, imagining what the world might look like without light pollution for 28 years. We also looked at bioluminescent sea creatures, real-world miasma gas, tidal erosion and disaster zone photography. For digital crowds, we studied riot footage and mass movement behavior to get a sense of uncontrolled chaos.Adam Gascoyne, Visual Effects SupervisorMixing formats from XL1s to GoPros is a trademark of Anthony Dod Mantle. With iPhones, stabilization artifacts were a concern, Gascoyne notes. We couldnt rely on built-in smoothing, so we disabled it and corrected it manually. The limited dynamic range meant that we had to match clipped whites and edge roll-off in our CG, especially in effects like explosions. Chroma subsampling [4:2:2] meant greenscreen was unreliable, so for larger studio setups we used grayscreen and leaned heavily on roto. Matchmove was complicated by the unrecorded zoom/focus data, but overall, the iPhone footage brought a raw immediacy that worked beautifully with the story.As the sole visual effects vendor, Union VFX was responsible for 950 shots, many of which were subtle and some incredibly complex.The Causeway Chase was the most complex sequence to execute. Its 130 shots long, most of which are fully CG. We had to build the entire environment, tidal water, bioluminescence, a vast CG sky and animate 10,000 birds. Everything had to interact rain, feet in water, light bouncing off surfaces. Its ambitious, but were incredibly proud of how it turned out. Maintaining realism while embracing scale was the biggest challenge. The film is intimate, but it has moments of huge cinematic scope, Gascoyne remarks. Balancing those, especially across unconventional footage formats, was the real challenge. But its what made the project so creatively satisfying. Gascoyne is looking forward to audience reaction to certain scenes. The Happy Eater sequence is a favorite. Its eerie, visually rich and emotionally intense. The CG gas and explosion were tricky, but they pay off. The Causeway Chase, too. Between the sky, the tide and the birds, its epic but grounded in emotion. The production was a unique experience for Gascoyne. Working on something that felt like both a return and a reinvention was incredibly rewarding. We hope the audience feels the grit and scale of this world and never notices most of what we did. Matching and syncing all the iPhones in post meant solving issues around chroma subsampling, stabilisation artifacts, clipped highlights and unrecorded focus shifts.Watch a dramatic VFX breakdown video from Union VFX that showcases the creative design work and depth of detail and that bring out all the horror in 28 Years Later.Click here: https://vimeo.com/1094786468?fl=pl&fe=vl

Ive had the honor of working on Halo for nearly two decades, and Ive been lucky to share so many incredible moments with players along the way. Todays announcement is one Ill never forget: Halo is coming to PlayStation.For nearly 25 years, Halo has offered players an epic sci-fi universe to explore, unforgettable characters to meet, and exhilarating gameplay to experience together. From large-scale battles to friendships formed over late-night co-op sessions, Halo has always been more than just a game its about the players whove made it part of their lives.From the beginning, we wanted to build a world with stories and experiences that bring people together. And now, for the first time, PS5 players will get to be part of that journey too.Play VideoBack to the beginningWere going back to where it all began the legendary campaign from Halo: Combat Evolved. This is the story that first introduced players to the Master Chief, a super-soldier leading humanitys fight for survival, and Cortana, the AI who became his closest ally. Its where we met the Covenant, an alien alliance waging war against humanity, and uncovered the mystery of the Halo ring an ancient megastructure holding secrets that could change the fate of the galaxy.For some of you, itll be a chance to revisit a classic in a completely new light. For others, itll be the very first time setting foot on the ring and discovering what makes Halo unforgettable.View and download imageDownload the imagecloseCloseDownload this imageWhat to expectHalo: Campaign Evolved has been rebuilt from the ground up to honor the original while modernizing the experience. The full campaign returns with every mission enhanced through high-definition visuals and all-new cinematics. Weve also evolved the gameplay experience itself with smoother controls and movement, as well as improved wayfinding and combat flow. The soundtrack has been fully remastered, while the sound design has been rebuilt to deliver a more immersive experience.Top: Halo: Combat Evolved (2001), Bottom: Halo: Campaign EvolvedCombat feels sharper than ever, with nine additional weapons from across the series added to the arsenal. Youll also find new challenges woven into the experience, including three brand-new prequel missions starring the Master Chief and Sgt. Johnson a decorated Marine whos been at Chiefs side since the beginning. These missions are set before the events of Halo: Combat Evolved and introduce new environments, gameplay, and characters.Vehicles remain a hallmark of Halos sandbox, and this time youll have even more freedom to wreak havoc. For the first time in Halo: CE, you can hijack enemy rides and even take control of the Covenants massive Wraith tank. And if youre looking for a new challenge or just want to shake things up, the campaign includes the largest set of Skulls ever optional modifiers that remix missions with randomized weapons, enemies, and environments for endless ways to play. Some Skulls push your limits, like one that disables your HUD entirely for a greater challenge, while others prove that not every fight has to be serious (yes, Grunt headshots still burst into confetti).Top: Halo: Combat Evolved (2001), Bottom: Halo: Campaign EvolvedBetter togetherWhat makes Halo special isnt just the gameplay, its who you play it with. Bringing Halo to PlayStation means even more players can share in that experience. In Halo: Campaign Evolved, you can jump into four-player online co-op with friends or kick it old school with two-player couch co-op on your PlayStation- now with cross-play and cross-progression across console and PC.Play VideoLooking aheadHalo: Campaign Evolved is coming in 2026, launching day and date on PlayStation 5. Well have more to share in the months ahead, but for now, you can wishlist today.As the Master Chief once said: I think were just getting started.

It: Welcome to Derry premieres this weekend, taking viewers back to 1962 to witness a new group of kids tormented by an ancient, fear-fueled clown. Much of the original It centers on kids and teens facing terrifying danger, so its no surprise the series follows suit. However, HBOs Welcome to Derry pushes the scares even further than Andy Muschiettis recent It films, and the series sets this brutal new tone faster than audiences may expect.

First, a recap:Ambient animations are the kind of passive movements you might not notice at first. However, they bring a design to life in subtle ways. Elements might subtly transition between colours, move slowly, or gradually shift position. Elements can appear and disappear, change size, or they could rotate slowly, adding depth to a brands personality.In Part 1, I illustrated the concept of ambient animations by recreating the cover of a Quick Draw McGraw comic book as a CSS/SVG animation. But I know not everyone needs to animate cartoon characters, so in Part 2, Ill share how ambient animation works in three very different projects: Reuven Herman, Mike Worth, and EPD. Each demonstrates how motion can enhance brand identity, personality, and storytelling without dominating a page.Reuven HermanLos Angeles-based composer Reuven Herman didnt just want a website to showcase his work. He wanted it to convey his personality and the experience clients have when working with him. Working with musicians is always creatively stimulating: theyre critical, engaged, and full of ideas.Reuvens classical and jazz background reminded me of the work of album cover designer Alex Steinweiss.I was inspired by the depth and texture that Alex brought to his designs for over 2,500 unique covers, and I wanted to incorporate his techniques into my illustrations for Reuven.To bring Reuvens illustrations to life, I followed a few core ambient animation principles:Keep animations slow and smooth.Loop seamlessly and avoid abrupt changes.Use layering to build complexity.Avoid distractions.Consider accessibility and performance.followed by their straight state:The first step in my animation is to morph the stave lines between states. Theyre made up of six paths with multi-coloured strokes. I started with the wavy lines:<!-- Wavy state --><g fill="none" stroke-width="2" stroke-linecap="round"><path id="p1" stroke="#D2AB99" d="[]"/><path id="p2" stroke="#BDBEA9" d="[]"/><path id="p3" stroke="#E0C852" d="[]"/><path id="p4" stroke="#8DB38B" d="[]"/><path id="p5" stroke="#43616F" d="[]"/><path id="p6" stroke="#A13D63" d="[]"/></g>Although CSS now enables animation between path points, the number of points in each state needs to match. GSAP doesnt have that limitation and can animate between states that have different numbers of points, making it ideal for this type of animation. I defined the new set of straight paths:<!-- Straight state -->const Waves = { p1: "[]", p2: "[]", p3: "[]", p4: "[]", p5: "[]", p6: "[]"};Then, I created a GSAP timeline that repeats backwards and forwards over six seconds:const waveTimeline = gsap.timeline({ repeat: -1, yoyo: true, defaults: { duration: 6, ease: "sine.inOut" }});Object.entries(Waves).forEach(([id, d]) => { waveTimeline.to(`#${id}`, { morphSVG: d }, 0);});Another ambient animation principle is to use layering to build complexity. Think of it like building a sound mix. You want variation in rhythm, tone, and timing. In my animation, three rows of musical notes move at different speeds:<path id="notes-row-1"/><path id="notes-row-2"/><path id="notes-row-3"/>The duration of each rows animation is also defined using GSAP, from 100 to 400 seconds to give the overall animation a parallax-style effect:const noteRows = [ { id: "#notes-row-1", duration: 300, y: 100 }, // slowest { id: "#notes-row-2", duration: 200, y: 250 }, // medium { id: "#notes-row-3", duration: 100, y: 400 } // fastest];[]The next layer contains a shadow cast by the piano keys, which slowly rotates around its centre:gsap.to("shadow", { y: -10, rotation: -2, transformOrigin: "50% 50%", duration: 3, ease: "sine.inOut", yoyo: true, repeat: -1});And finally, the piano keys themselves, which rotate at the same time but in the opposite direction to the shadow:gsap.to("#g3-keys", { y: 10, rotation: 2, transformOrigin: "50% 50%", duration: 3, ease: "sine.inOut", yoyo: true, repeat: -1});The complete animation can be viewed in my lab. By layering motion thoughtfully, the site feels alive without ever dominating the content, which is a perfect match for Reuvens energy.Mike WorthAs I mentioned earlier, not everyone needs to animate cartoon characters, but I do occasionally. Mike Worth is an Emmy award-winning film, video game, and TV composer who asked me to design his website. For the project, I created and illustrated the character of orangutan adventurer Orango Jones.Orango proved to be the perfect subject for ambient animations and features on every page of Mikes website. He takes the reader on an adventure, and along the way, they get to experience Mikes music.For Mikes About page, I wanted to combine ambient animations with interactions. Orango is in a cave where he has found a stone tablet with faint markings that serve as a navigation aid to elsewhere on Mikes website. The illustration contains a hidden feature, an easter egg, as when someone presses Orangos magnifying glass, moving shafts of light stream into the cave and onto the tablet.I also added an anchor around a hidden circle, which I positioned over Orangos magnifying glass, as a large tap target to toggle the light shafts on and off by changing the data-lights value on the SVG:<a href="javascript:void(0);" id="light-switch" title="Lights on/off"> <circle cx="700" cy="1000" r="100" opacity="0" /></a>Then, I added two descendant selectors to my CSS, which adjust the opacity of the light shafts depending on the data-lights value:[data-lights="lights-off"] .light-shaft { opacity: .05; transition: opacity .25s linear;}[data-lights="lights-on"] .light-shaft { opacity: .25; transition: opacity .25s linear;}A slow and subtle rotation adds natural movement to the light shafts:@keyframes shaft-rotate { 0% { rotate: 2deg; } 50% { rotate: -2deg; } 100% { rotate: 2deg; }}Which is only visible when the light toggle is active:[data-lights="lights-on"] .light-shaft { animation: shaft-rotate 20s infinite; transform-origin: 100% 0;}When developing any ambient animation, considering performance is crucial, as even though CSS animations are lightweight, features like blur filters and drop shadows can still strain lower-powered devices. Its also critical to consider accessibility, so respect someones prefers-reduced-motion preferences:@media screen and (prefers-reduced-motion: reduce) { html { scroll-behavior: auto; animation-duration: 1ms !important; animation-iteration-count: 1 !important; transition-duration: 1ms !important; }}When an animation feature is purely decorative, consider adding aria-hidden="true" to keep it from cluttering up the accessibility tree:<a href="javascript:void(0);" id="light-switch" aria-hidden="true"> []</a>With Mikes Orango Jones, ambient animation shifts from subtle atmosphere to playful storytelling. Light shafts and soft interactions weave narrative into the design without stealing focus, proving that animation can support both brand identity and user experience. See this animation in my lab.EPDMoving away from composers, EPD is a property investment company. They commissioned me to design creative concepts for a new website. A quick search for property investment companies will usually leave you feeling underwhelmed by their interchangeable website designs. They include full-width banners with faded stock photos of generic city skylines or ethnically diverse people shaking hands.For EPD, I wanted to develop a distinctive visual style that the company could own, so I proposed graphic, stylised skylines that reflect both EPDs brand and its global portfolio. I made them using various-sized circles that recall the companys logo mark.The point of an ambient animation is that it doesnt dominate. Its a background element and not a call to action. If someones eyes are drawn to it, its probably too much, so I dial back the animation until it feels like something youd only catch if youre really looking. I created three skyline designs, including Dubai, London, and Manchester.In each of these ambient animations, the wheels rotate and the large circles change colour at random intervals.Next, I exported a layer containing the circle elements I want to change colour.<g id="banner-dots"> <circle class="data-theme-fill" []/> <circle class="data-theme-fill" []/> <circle class="data-theme-fill" []/> []</g>Once again, I used GSAP to select groups of circles that flicker like lights across the skyline:function animateRandomDots() { const circles = gsap.utils.toArray("#banner-dots circle") const numberToAnimate = gsap.utils.random(3, 6, 1) const selected = gsap.utils.shuffle(circles).slice(0, numberToAnimate)}Then, at two-second intervals, the fill colour of those circles changes from the teal accent to the same off-white colour as the rest of my illustration:gsap.to(selected, { fill: "color(display-p3 .439 .761 .733)", duration: 0.3, stagger: 0.05, onComplete: () => { gsap.to(selected, { fill: "color(display-p3 .949 .949 .949)", duration: 0.5, delay: 2 }) }})gsap.delayedCall(gsap.utils.random(1, 3), animateRandomDots) }animateRandomDots()The result is a skyline that gently flickers, as if the city itself is alive. Finally, I rotated the wheel. Here, there was no need to use GSAP as this is possible using CSS rotate alone:<g id="banner-wheel"> <path stroke="#F2F2F2" stroke-linecap="round" stroke-width="4" d="[]"/> <path fill="#D8F76E" d="[]"/></g>#banner-wheel { transform-box: fill-box; transform-origin: 50% 50%; animation: rotateWheel 30s linear infinite;}@keyframes rotateWheel { to { transform: rotate(360deg); }}CSS animations are lightweight and ideal for simple, repetitive effects, like fades and rotations. Theyre easy to implement and dont require libraries. GSAP, on the other hand, offers far more control as it can handle path morphing and sequence timelines. The choice of which to use depends on whether I need the precision of GSAP or the simplicity of CSS.By keeping the wheel turning and the circles glowing, the skyline animations stay in the background yet give the design a distinctive feel. They avoid stock photo clichs while reinforcing EPDs brand identity and are proof that, even in a conservative sector like property investment, ambient animation can add atmosphere without detracting from the message.Wrapping upFrom Reuvens musical textures to Mikes narrative-driven Orango Jones and EPDs glowing skylines, these projects show how ambient animation adapts to context. Sometimes its purely atmospheric, like drifting notes or rotating wheels; other times, it blends seamlessly with interaction, rewarding curiosity without getting in the way. Whether it echoes a composers improvisation, serves as a playful narrative device, or adds subtle distinction to a conservative industry, the same principles hold true:Keep motion slow, seamless, and purposeful so that it enhances, rather than distracts from, the design.

When working with raw materials like wood and natural stone, even the discarded fragments carry a quiet beauty. Instead of sending them to the landfill, Belgium-based designer Ariane van Dievoet explores how these remnants can take center stage in her work. The result is a series of one-of-a-kind pieces that prove quality materials can shine, even in their second life.CONNECTIONS side table \\\ Photo: Oksana TkachukThere are a couple of challenges that come with working in discarded or reclaimed materials. The first is reproducibility. Because fragments vary in size, shape, and color, the final design is nearly impossible to replicate. The second is quality. Many fragments, especially those sourced from demolition sites, come with flaws. Rather than see these issues as limitations, van Dievoet embraces them, allowing constraints to shape the work. Creating from materials that have already been used forces me to take into account their shape, thickness, and any breaks, she explains. These constraints are a driving force and inspiration in my creative process.CONNECTIONS side table \\\ Photo: Oksana TkachukHer CONNECTIONS collection takes on the challenge of reproducibility head-on. Instead of striving for uniformity, van Dievoet builds continuity through the frame, crafted from oak sourced in Brussels Sonian Forest, while reclaimed stone ensures every piece is one-of-a-kind. Using a precision water jet cutter, she carves cut-outs that allow the wooden structure to pass through the stone; the stones weight locks everything into place. The result is a system that supports a cohesive product line while celebrating the uniqueness of each reclaimed piece.CONNECTIONS side table \\\ Photo: Oksana TkachukConnections shelf \\\ Photo: Oksana TkachukCONNECTIONS shelf \\\ Photo: Oksana TkachukCONNECTIONS shelf \\\ Photo: Oksana TkachukCONNECTIONS shelf, Collected Matter bookends \\\ Photo: Oksana TkachukCollected Matter bookends \\\ Photo: Oksana TkachukThe Collected Matter and Reflected Matter collections address the issue of flaws. In Collected Matter, materials gathered from production or demolition sites are given a second life as functional objects in their raw state. Each piece whether a bookend, box, or trinket tray becomes a stage for its new owners own collection of objects.Collected Matter bookends \\\ Photo: Oksana TkachukEcho Mirror \\\ Photo: Oksana TkachukRather than concealing imperfections, Reflected Matter series celebrates them through mirrors. Here, natural stone fragments hold mirrors upright, the reflective surface drawing attention to every edge, crack, and contour of the supporting stone. The result is a dialogue between fragment and reflection, flaw and finish.Echo Mirror \\\ Photo: Oksana TkachukEcho Mirror \\\ Photo: Oksana TkachukTethys Mirror \\\ Photo: Oksana TkachukTethys Mirror \\\ Photo: Oksana TkachukTethys Mirror \\\ Photo: Oksana TkachukRift Coffee Table \\\ Photo: Oksana TkachukLastly, the Rift Coffee Table takes a crack at turning breaks into beauty. Inspired by the surface of her Rift Console and the structure of the Dominican Bench, van Divoet transforms a central fissure into the tables defining feature. The split tabletop is unified by a precise geometric cut, creating a balance between disruption and cohesion. Made from reclaimed oak paneling and crafted with a digital milling machine, the light, playful structure fits together seamlessly a surprising revelation that even a crack can be the foundation of something whole.Rift Coffee Table \\\ Photo: Oksana TkachukRift Coffee Table \\\ Photo: Oksana TkachukFragments, flaws, and fissures are often seen as unsightly, but van Dievoet proves otherwise. Instead of discarding these parts, she transforms them into the driving force of her practice, pushing her to create design that is both inspiring and sustainable.Rift Coffee Table \\\ Photo: Oksana TkachukAriane van Dievoet \\\ Photo: Eline WillaertAriane van Dievoets work can be viewed at the Curated design fair, the Forward furniture exhibition at Dutch Design Week in Eindhoven (October 18-26, 2025), and the Caress exhibition by B Collective during the MAD Parcours in Brussels this November. To learn more about her practice, visit arianevandievoet.com.Photography courtesy of Ariane van Dievoet.

A single fault in the cloud revealed just how connected and dependent weve all become and why good UX must plan for failure.Continue reading on UX Collective

I recently reviewed Even Realities G1 smart glasses (they're very cool) and the first real-world thing I used them for was scamming someone. I told a local bartender I had an encyclopedic knowledge of film, and I would answer the hardest movie trivia question he could come up with in exchange for a drink. After a short consultation with Google, dude came back with "Who directed 1922's Cabinet of Dr. Caligari?"I tilted my head thoughtfully and repeated the question as if verifying I heard him right. The AI agent silently did its thing, and in about three seconds, the answer was floating before my eyes, totally invisible to everyone around me. Credit: Stephen Johnson "Robert Wiene?" I asked, feigning uncertainty. Boom! Free drink. It's not the hardest trivia question, but I could have answered literally anything: the date Dr. Caligari was released, the day of the week it was, or the weather that dayall short work. Bartenders know to be wary of bar bets, so this one was watching me like a hawk to make sure I wasn't looking up the answer on my phone or something. He didn't seem to suspect my glasses, and even if he had, it wouldn't have mattered. Even inspected up close, G1s offer no indication of electronics of any kind: No USB port, no flashing light, no visible controls. The AI agent is activated with a subtle tap behind the ear. Repeating the question sends the AI off for the answer, presented in a display that's invisible to everyone but the wearer. You could do the same trick with a pair of Meta Ray-Ban Display glasses or audio-only smart glasses with AI.I don't like deceiving people, so I ended up telling the bartender what was up to and not accepting the drink, but it got me thinking about what more nefarious people than I could do (and probably already are) with AI smart glasses.Just imagine what I did on a bigger level: a team of hustlers at bar trivia silently tapping their temples whenever which actor played? was asked would never lose. It's pretty small stakes, but not hard to imagine. Hypothetically, a hacked pair of smart glasses could be programmed to read the cards in your poker hand and give you the probability of winning in real time, either through the display or whispered in your ear. They could, hypothetically, make counting cards in blackjack effortless and undetectable. Stretching it out further, hypothetically, glasses could scan others players for "tells" that they're bluffing, or read micro-expressions to give a constantly updated read on opponents. Along the same lines, imagine attending a self-help meeting, and the leader, who you have never met, says, "I've had a vision about you" and begins to describe something that happened in your life exactly. All it would take would be glasses that recognize your face (supposedly coming to Meta Displays) connecting to a social media feed, which is then displayed in real time to the leader. Or you could go more subtle and engineer small "serendipities" like mentioning a movie someone recently saw and having exactly their opinion. It would only take a few of these and maybe some mystical patter to convince people you are divine being they should definitely donate to.How to spot tricky smart glassesI could go on, but you get the idea. Luckily, there are some indications when someone is using tech hidden in their eyeglasses. The most important is a general understanding of the possibilities of this technology. If someone seems to know something they shouldn't, ask yourself if their glasses could be the source of their power. Here are some more specific giveaways.Look for identifiable kinds of smart glasses Credit: Meta The most popular display style glasses, Meta Ray-Ban Displays, are distinctive looking, with a fairly obvious camera in one of the corners and a specific look and branding. But other kinds of smart glasses, like the Even Realities G1s mentioned above, are obscure enough that most won't recognize them, and so "normal" looking that most people wouldn't pick them out of lineup.Look for where the tech is hiddenMost smart glasses are still fairly bulky, so look for thick arms or frames where the wires are hidden. But again, that's only most smart glasses; some are totally sleek, with imperceptible tech.Look for a small glint In most situations, the display in display glasses is not visible to anyone but the glasses wearer, but there's still light being projected. In a dark room, you can see a green glow, and even if it's not dark, the display windows are visible if the light hits it just right, as you can see here: Credit: Stephen Johnson But honestly, it's subtle and hard to spot. Listen for the soundsOlder styles of audio-only smart glasses can feed information to wearers, but the open-air speakers mean some sound is bleeding into the atmosphere. You can definitely hear smart glasses if you're in a quiet room and you're trying to. If it's loud, operating glasses becomes problematic for the wearer.Look for the source of controlSmart glasses have to be controlled somehow. Meta Display glasses are operated with a wrist band. G1 glasses' AI agent is powered on by tapping on the frames behind your ear. Anyone who practices for a few hours could make these movements seem natural, but they're there if you know what to look for. Odd movements and speechIt doesn't take advanced stagecraft to operate these kinds of glasses imperceptibly, but it does take something. Tells might include small glances upward to see the display, tapping on glasses, stilted speech while waiting for information to come in, and a reading-a-teleprompter style of talking. Watch for people repeating questions back. But understand, it's hard to spot. When I was conning my bartender, I thought how I repeated the question back was obvious, but my wife said I just seemed a little odd, which suits the personality of a trivia whizz anyway. Smart glasses are powerful tools, like a hammer or a calculator. Like any innocent tool, they can be used for nefarious things, so until manufacturers or regulators require obvious indicators, like flashing lights or visible controls, we have to protect ourselves by paying attention to these small cues and staying skeptical when someone seems to know more than they reasonably should.