0 Comentários
0 Compartilhamentos
88 Visualizações
Diretório
Diretório
-
Faça o login para curtir, compartilhar e comentar!
-
3DPRINTINGINDUSTRY.COMAxtra3D reports Q1 growth, makes two new announcements at Rapid + TCT 2025High-speed SLA printer manufacturer Axtra3D announced a new silicone material and reseller partnership at Rapid + TCT 2025, alongside strong Q1 2025 performance. At the Detroit tradeshow, the manufacturer announced general availability of Spectroplast’s TrueSilX50, a new 100% pure silicone formulation developed exclusively for the company’s Lumia X1 3D printer. Tailored for industrial and healthcare use, the material marks a notable development in silicone 3D printing, as the first pure silicone processed through photopolymerization rather than extrusion. It expands the manufacturer’s Axtra Solutions portfolio and aligns with its broader aim to present Hi-Speed SLA as a practical option alongside conventional AM methods. Combining laser and Digital Light Processing (DLP) systems, the Lumia X1 is central to this approach. Its hybrid scanning setup allows for faster throughput, reportedly up to ten to twenty times quicker than standard SLA systems, while maintaining resolution and part fidelity. For industries where both speed and precision are critical, this combination of capabilities is attracting growing interest. Freshly printed silicone parts using Axtra3D’s Lumia X1 printer with TrueSilX50 material. Photo via Axtra3D. Durable, biocompatible silicone material The new TrueSilX50 silicone material is designed to match the mechanical performance of molded silicone, offering a Shore A hardness of 48, elongation at break of 330%, and a tear strength of 22N/m. Potential applications include medical devices, wearables, gaskets, enclosures, and household components. Biocompatibility testing is currently underway, and the company expects the material to pass key evaluations for cytotoxicity, skin irritation, and sensitization, based on the track record of previous Spectroplast formulations. Surface finish is another area of focus, for the manufacturer. TrueSilX50 aims to address the layering artifacts often seen with extruded silicone by offering a smooth, isotropic finish that preserves detail in complex geometries. According to the company, the printing workflow has been optimized for consistency and repeatability, with minimal post-processing required and no reduction in material performance. “Since our inception, Axtra3D has focused on delivering advanced, reliable manufacturing solutions,” said Rajeev Kulkarni, CSO of Axtra3D. He continues, “With our proven success in mold production, expanding into true silicone AM is the next significant step.” He further explained that this silicone formulation and its Hybrid PhotoSynthesis (HPS) process ensure that parts retain the mechanical and chemical properties ideal for medical devices, wearable technology, and industrial components and seals. The biocompatibility, durability, and precision significantly increase its breadth of applications.A strong financial quarter Axtra3D has also reported one of its strongest quarters to date, with growth in both unit placements and revenue. The company attributes this performance to a combination of its customer-friendly business models, Hi-Speed SLA technology, and novel materials range. The simultaneous laser and DLP scanning architecture in the Lumia X1 allows users to bypass compromises commonly associated with SLA, DLP, and liquid crystal display (LCD) systems, particularly in balancing throughput, resolution, and build size. As a result, customers are able to produce detailed parts more efficiently and at greater scale. In application, the company explained that its technology has enabled faster development cycles, such as moving from design to injection mold within a single shift using ceramic molds. For silicone 3D printing, TrueSilX50 is intended to provide the mechanical and chemical properties needed for durable, production-grade parts across sectors including medical, consumer, and industrial products. As per Axtra3D, service bureaus and manufacturers using the system have reported shorter lead times, lower costs, improved output quality, and greater operational efficiency, with some also seeing new revenue opportunities. Highlighting the announcement, Frank Herzog, Founder of Concept Laser and an investor through HZG Group, called Axtra3D’s Q1 performance a sign of steady growth and market fit, crediting its technical focus, customer-first approach, and experienced team. He added that it remains one of HZG’s most rewarding investments. Axtra3D’s Lumia X1 3D printer. Photo via Axtra3D. Widening HPS and Lumia X1 adoption with a reseller deal As part of this global expansion, Axtra3D has announced a new reseller partnership with Additive Plus, a California-based industrial 3D printing solutions provider. This partnership is expected to strengthen the availability of the Lumia X1 and its underlying HPS technology, making it easier for businesses to adopt high-performance photopolymerization systems. Additive Plus brings experience in integrating advanced 3D printing workflows for sectors such as aerospace, automotive, biomedical, and education. By joining Axtra3D’s reseller network, the company will offer technical support and implementation expertise to customers seeking high-speed and high-precision solutions. “We are excited to join forces with Axtra3D and bring their innovative Hi-Speed SLA technology to our customers,” said Ashkhen Ovsepyan, CEO of Additive Plus. She further described the Lumia X1 as a step change in photopolymerization 3D printing and expressed confidence in delivering its precision, speed, and surface quality benefits to customers. The partnership also marks another step in Axtra3D’s efforts to build a global channel strategy that ensures broader access to its Hi-Speed SLA technology. According to both companies, the goal is to support businesses looking to scale their production while maintaining accuracy and material performance. What 3D printing trends should you watch out for in 2025? How is the future of 3D printing shaping up? To stay up to date with the latest 3D printing news, don’t forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook. While you’re here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays. Featured image shows freshly printed silicone parts using Axtra3D’s Lumia X1 printer with TrueSilX50 material. Photo via Axtra3D. Ada Shaikhnag With a background in journalism, Ada has a keen interest in frontier technology and its application in the wider world. Ada reports on aspects of 3D printing ranging from aerospace and automotive to medical and dental.0 Comentários 0 Compartilhamentos 138 Visualizações
-
REALTIMEVFX.COMVFX Reel - FeedbackHi ^u^ I’m Raed, I dont really know if I can ask for a demo reel feedback here. but I would really appreciate feedback on my demo reel please as I am second guessing my skills at every turn. I’ve been a senior VFX artist for 1.5 years now and the game industry it tough right now This is a vimeo link of my demo reel Demo Reel 2025 on Vimeo I would really appreciate some feedback to help me know where I stand Thank you and Wish you all the best <30 Comentários 0 Compartilhamentos 128 Visualizações
-
WWW.ARCHITECTURAL-REVIEW.COMCompetition: Isola apartment, MilanAn open international ideas contest featuring an €9,000 prize fund is seeking concepts to reimagine a typical tenement-style apartment in Milan’s Isola district (Deadline: 12 September) The ‘Milan Design District’ competition – organised by TerraViva Competitions and supported by Material Bank – invites architects, designers, interior designers, artists and students to transform an apartment inside Via Arese 18 into a ‘masterpiece of contemporary design that embodies Milan’s avant-garde spirit.’ The call for concepts aims to identify a range of solutions that could be used to re-imagine Milan’s classic traditional tenement-style ‘Casa di Ringhiera’ buildings. Concepts must provide a home for a single person or a couple aged under 40 working in the architecture or design industry. Contest site: Via Arese 18 in Isola, Milan According to the brief: ‘The competition challenges designers to rethink urban living in Milan, blending tradition with bold, future-forward interiors that prioritise both aesthetics and functionality. ‘Proposals should create a cohesive apartment for a young professional or couple, embracing flexibility, innovative spatial solutions and a strong design identity. ‘How can contemporary interiors foster a sense of community while offering personal retreat? How can design bridge tradition and progress? With this challenge, designers are invited to push boundaries, embracing daring creativity to craft a vision for the future of urban living in one of the world’s great design capitals.’ Located a short distance from Milano Porta Garibaldi railway station, Isola is a popular residential district in the centre of Milan. Local landmarks include Boeri Studio’s Bosco Verticale residential skyscrapers and the Isola Pepe Verde community gardens which were the focus of an architectural competition in 2018. In 2023, TerraViva held an earlier contest for new housing at the abandoned Cascina Lossano complex in rural Italy. Taiwan and Italy-based Corrado Kay Hwa Severino, Luca Quadro, Jacopo Leccia and Giorgio Martellono won the €5,000 top prize with a vernacular architecture concept featuring a new greenhouse. The latest competition comes four years after London’s PLP Architecture, New York’s Diller Scofidio + Renfro, Carlo Ratti Associati of Turin and Gross Max of Edinburgh were named winners of an international competition to masterplan an Olympic Village for the 2026 Milan Winter Olympics at Porta Romana on the other side of the city. Contest site: Via Arese 18 in Isola, Milan The ‘Milan Design District’ competition seeks proposals to transform an apartment within a prominent corner complex located at Via Arese 18 in Isola. Proposals may reconfigure the interior walls and introduce new partitions but existing window locations must be retained. Concepts will be judged on originality, creative interpretation of the programme, interior design, contemporary approach, sensitive use of materials and colours, and graphic representation. Submissions should include two digital A1 panels, a short written description and a visual mood board. Judges will include Joachim Stumpp from Material Bank, Stefania Carraro of Milan-based SDA Bocconi, Harrison Stallan from OMA of Rotterdam, Tatiana Dimou of Tatiana Dimou Architects in Greece and Giulio Ubini of TUC Studio in Milan. The overall winner – to be announced on 13 October – will receive a €5,000 top prize while a second prize of €2,000 and third prize of €1,000 will also be awarded along with a Material Bank ‘best mood board’ award worth €1,000. How to apply Deadline: 12 September 2025 Fee: Until 13 June: €59; from 13 June to 8 August: €79; from 7 August to 12 September: €109 Competition funding source: Terraviva & Material BankContact details: Project funding source: (no funding) Owner of site(s): Private info@terravivacompetitions.comVisit the competition website for more information 2025-04-14 Merlin Fulcher Share0 Comentários 0 Compartilhamentos 108 Visualizações
-
WWW.THISISCOLOSSAL.COMSpotlight on Drawing: Discover Five Artists Ahead of The Other Art Fair BrooklynLauren Ly, “Convenience Store Woman” (2024), edition of 30 Spotlight on Drawing: Discover Five Artists Ahead of The Other Art Fair Brooklyn April 14, 2025 Sponsor The Other Art Fair This Mother’s Day weekend, The Other Art Fair, presented by Saatchi Art, returns to ZeroSpace in Brooklyn for its 15th local edition, running May 8 to 11. Known for putting independent artists front and center, the fair continues to challenge traditional art-world norms by offering direct access to 125 cutting-edge creators. In the lead-up to this spring’s fair, we’re shining a light on the medium of drawing—a form that remains as immediate and intimate as ever. Whether through figurative studies, whimsical illustrations, or expressive linework, these five standout artists are using drawing to push boundaries and connect with viewers in fresh, personal ways. Lauren Ly draws cozy, detail-rich interiors inspired by childhood nostalgia, literature, and imagined worlds filled with comfort and whimsy. Steve Moors, “The Audition” (2024), edition of 12 Trained in documentary photography, Steve Moors now crafts expressive digital prints that unite hand drawing, design, and photographic sensibility. Andrea Cáceres is a NYC-based illustrator blending playful design with storytelling across brands, products, books—and her own pet brand. Ben Lenovitz, “Mow Mow” NYC artist Ben Lenovitz transforms everyday pets into charming characters, a practice born from serendipity (and irony—he’s allergic!). Charles Buckley, “Don’t Look Up” (2024) Shaped by West Coast roots and NYC energy, Charles Buckley creates nostalgic ink drawings inspired by found photos and memories. Beyond the artwork, The Other Art Fair offers a lively and immersive visitor experience. Featured artist and New York Times bestselling author Anna Marie Tendler invites guests to sit for a portrait within her richly styled photographic tableau—an extension of her celebrated series Rooms in the First House. Illustrator Joe Kraft brings a whimsical twist to art appreciation with an interactive scavenger hunt across the venue. Artist Kelli Kikcio will offer a curated selection of flash designs so you can take art home with you permanently in the form of a machine-free tattoo (Thursday and Friday only). Each day at the fair offers fresh, hands-on experiences led by artists. Visitors can receive a complimentary fantasy hand-drawn illustration from Ben Lenovitz (Thursday only) and personalize their fashion with on-the-spot patch sewing by OOH Baby (Friday only). Over the weekend, take part in hands-on paper flower making with Summer Space Studio (Saturday and Sunday )—perfect for a Mother’s Day moment.The fair turns up the energy with Friday Late, a special evening curated with Secret NYC. Featuring DJs, interactive installations, and local sips, it’s a vibrant snapshot of Brooklyn’s creative pulse.Whether you’re an art collector, a curious newcomer, or simply seeking a creative escape, The Other Art Fair Brooklyn promises bold work, boundary-breaking talent, and a true celebration of artistic energy.Grab your tickets now to experience Brooklyn’s artistic energy firsthand. Next article0 Comentários 0 Compartilhamentos 118 Visualizações
-
WWW.FOXNEWS.COM4-legged hydrogen-powered robot you can actually ridePublished April 14, 2025 6:00am EDT close 'CyberGuy': 4-legged hydrogen-powered robot you can actually ride Kawasaki's CORLEO is a hydrogen-powered, AI-driven rideable robot. Tech expert Kurt Knutsson reports on this new way of thinking about off-road transportation. What if your next off-road ride wasn’t on a motorcycle or ATV but on a robot that moves like a wolf? Kawasaki Heavy Industries has introduced something that feels straight out of a video game: CORLEO, a hydrogen-powered, four-legged robot prototype designed to be ridden by humans. Unveiled at the Osaka-Kansai Expo 2025, this futuristic machine is built to handle rugged terrain with ease, combining cutting-edge robotics and sustainable energy.Let’s take a closer look at what makes CORLEO so cutting-edge.STAY PROTECTED & INFORMED! GET SECURITY ALERTS & EXPERT TECH TIPS – SIGN UP FOR KURT’S ‘THE CYBERGUY REPORT’ NOW Hydrogen-powered, four-legged robot concept (Kawasaki Heavy Industries) (Kurt "CyberGuy" Knutsson)A new way to explore the outdoorsCORLEO isn’t your typical off-road vehicle. Instead of wheels, it has four robotic legs that move independently, allowing it to handle uneven ground like rocks, grass and steep inclines. Kawasaki says the design was inspired by the skeletal structure of lions. The name CORLEO is derived from Cor Leonis, the brightest star in the constellation Leo. Riders mount it like they would a horse, but instead of gripping handlebars or using pedals, you control CORLEO with your body. Lean forward, and it moves ahead. Shift your weight to the side, and it adjusts its steps accordingly.CORLEO is also environmentally friendly. It uses a battery paired with a 150cc hydrogen engine. The hydrogen engine generates electricity, which is stored in the battery. Kawasaki has been pushing hydrogen-powered vehicles for years, and CORLEO is their latest effort to combine sustainability with innovation. Hydrogen-powered, four-legged robot concept (Kawasaki Heavy Industries) (Kurt "CyberGuy" Knutsson)What makes CORLEO special?CORLEO isn’t just about getting from point A to point B. It’s packed with advanced features that make it feel like something out of the future.AI-powered navigation: The robot uses artificial intelligence to stay balanced and adapt its movements in real time. Whether you’re on rocky trails or steep hills, CORLEO adjusts to keep you stable.Body movement control: No buttons or levers here. CORLEO responds directly to how you shift your weight. It’s designed to feel natural and intuitive, even for beginners.Heads-up display: A small screen gives you all the info you need while riding, like how much hydrogen fuel is left, navigation tips and even details about weight distribution.Slip-resistant hooves: Instead of wheels, each leg ends in rubber hooves that grip different surfaces securely. This makes it perfect for exploring areas where traditional vehicles might struggle. Hydrogen-powered, four-legged robot concept (Kawasaki Heavy Industries) (Kurt "CyberGuy" Knutsson)Designed for adventureCORLEO's sleek design is as impressive as its tech. Built with durable materials like metal and carbon fiber, it’s tough enough for outdoor adventures while still looking futuristic. Fans of video games might notice some similarities to designs from Horizon Zero Dawn, which reportedly inspired some of its aesthetics. Hydrogen-powered, four-legged robot concept (Kawasaki Heavy Industries) (Kurt "CyberGuy" Knutsson)What’s next for CORLEO?Right now, CORLEO is still in the prototype phase, so there are some unanswered questions, like how fast it can go or how far it can travel on a full tank of hydrogen. And while the idea of riding a robotic wolf sounds amazing, we’ll have to wait a while before it becomes available. Kawasaki estimates it could take up to 25 years before something like CORLEO hits the market.Still, this concept shows where off-road vehicles could be headed in the future. Kawasaki sees CORLEO as an alternative to traditional motorcycles or ATVs, something that could make exploring tough terrains safer, easier and more sustainable. Hydrogen-powered, four-legged robot concept (Kawasaki Heavy Industries) (Kurt "CyberGuy" Knutsson)Kawasaki’s bigger robotics visionCORLEO is part of Kawasaki’s growing focus on robotics. The company has been making industrial robots for decades and recently expanded into new areas like collaborative robots (designed for manufacturing) and educational robots for classrooms. For example:The CL Series robots are built for heavy-duty tasks like welding and palletizing in extreme environments.Kawasaki’s uniquely developed dual-armed SCARA robot can coexist and collaborate with humans.With CORLEO, Kawasaki is showing how its expertise in robotics can go beyond factories and classrooms into outdoor adventures. Hydrogen-powered, four-legged robot concept (Kawasaki Heavy Industries) (Kurt "CyberGuy" Knutsson)Kurt's key takeawaysKawasaki’s CORLEO is an entirely new way of thinking about off-road transportation. By combining robotics, AI and clean energy, Kawasaki is imagining a future where adventure meets sustainability. While we might not see robots like CORLEO on trails anytime soon, it’s worth thinking about how this technology could change outdoor adventures forever. Who wouldn’t want to ride a robot inspired by nature’s most agile creatures?Would you feel safe riding a robot like Kawasaki's CORLEO across rugged terrain? Why or why not? Let us know by writing us atCyberguy.com/Contact.For more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Cyberguy.com/Newsletter.Follow Kurt on his social channels:Answers to the most-asked CyberGuy questions:New from Kurt:Copyright 2025 CyberGuy.com. All rights reserved. Kurt "CyberGuy" Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on "FOX & Friends." Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.0 Comentários 0 Compartilhamentos 123 Visualizações
-
WWW.COMPUTERWEEKLY.COMIntroducing the EuroStack initiative: Could this turn the tide on hyperscale cloud in Europe?If you have not heard of EuroStack, you might first guess it’s merely an EU-centred walled garden for IT. However, the idea is more about levelling the global playing field by building a much more open, collaborative stack. Francesco Bonfiglio, CEO of cloud exchange platform Dynamo, an Italian cloud services company, says EuroStack’s all about teaming up to create a European tech ecosystem alternative, including cloud. The concept answers a new wave of protectionist practice and sovereignty concerns that have increasingly come to the fore worldwide. “We need to do something. We understand the importance of digital infrastructures, and cloud in particular, as a new strategic infrastructure for the economy, societies, politics and democracy in general,” Bonfiglio tells Computer Weekly. The hegemony of giant tech firms, often in the US, has continued to loom larger. In cloud, this is signified by the growing dominance of hyperscalers – especially Amazon Web Services (AWS), Microsoft and Google. Of course, the power of Silicon Valley stems in part from capital investments over decades that cannot today be easily replicated. However, that’s not to say nothing can be done. A EuroStack pitch document came out in January 2025 which notes that 2024’s Draghi competitiveness report identified that a failure to take “full advantage of the digital revolution” is a key cause of Europe acquiring an “economic laggard” status. An industry-driven initiative, EuroStack therefore seeks to develop an integrated digital ecosystem, with an entire value chain encompassing software, services, hardware and solutions. According to the 100 or so organisations involved so far, the IT environment has become “fundamentally extractive, with data and economic rents appropriated through unfair bargains between super-dominant providers and us, the dependents”. A growing body of laws and regulations representing “multiple attempts” at competition intervention have failed – and slowed home-grown companies further with compliance demands. “Further, the ‘occupation’ of spaces is massively accelerating as US hyperscalers are aggressively marketing AI tools and services as key to European growth and prosperity,” it says. The topline objective is to boost security, redundancy and resilience, opportunities, sovereignty and governance through direct industry action, bottom-up rather than top-down. This should be supported by five policy pillars: Recognise and define a European digital industrial policy (EDIP) across European commission functions. Build strategic digital infrastructures, first by aggregating “best of breed” existing assets and supporting them with integration platforms, then by increasing industry collaboration. Support this aggregation with public and private investments, including in costly parts of the value chain. Select aligned interventions and measure results in terms of business outcomes that drive economic autonomy. Seek cooperation with third-party states that share common goals. In a sense, EuroStack appears a successor to a more or less stillborn Gaia-X. Bonfiglio says the Gaia-X concept had “the political message” but less of a clear action plan. One key for EuroStack is ensuring organisations and consumers trust digital services and platforms. Technological quality and innovation is available in Europe, if not always adequately commercialised. Also, many remain nervous about data handling, privacy and intellectual property (IP). “We need to make that simple,” Bonfiglio says. “We need transparency, controllability and interoperability. And if you want to lock me in, I won’t let you in.” Cloud federation has to go beyond technical federation too because no single operator will invest in becoming interoperable with another without related business opportunities. Concretely, cloud services providers Aruba, Ionos and Dynamo have just introduced the Sovereign European Cloud API (SECA) as a best-in-class industry standard for cloud infrastructure management. The next requirement is for potential customers to be able to find the European solutions they need. Bonfiglio says providers all over the world can and perhaps should build their own version of EuroStack, even organisations from the US itself: “They don’t want to be hostage to these three private companies either.” Cloud infrastructure services investment globally is still growing. Canalys reported 20% year over year to Q4 2024 and similar for 2025. However, 64% of that total spend is on AWS, Microsoft Azure and Google Cloud. Bonfiglio estimates that European providers have less than a 10% share of the market – and that share is shrinking, with most European datacentre capacity already either owned or rented by hyperscalers. “In 2028, hyperscalers will likely control 75% of our datacentres. It’s an application of ancient colonisation techniques – only now it’s not tea plantations but GW and square metres,” says Bonfiglio. “But we can start to change this now, leveraging our existing assets.” Nicky Stewart, senior adviser at the Open Cloud Coalition, retains doubts regarding strategy. After all, managing change across 27 member states remains “incredibly complex”. Regulation needs harmonisation, or even strengthening, and addressing competition could be simpler, she suggests. “Certainly the hyperscalers have become all-powerful in technology; there’s been fast growth, enormous concentration, and, if you like, anti-competitive business practices,” Stewart says. “Buyers don’t always want the homogeneous, one-size-fits-all answer when it can be better provided with better customer service – and often keener pricing – by other cloud providers.” Stevenage-based cloud services provider Civo is also a member of the Open Cloud Coalition. Chief commercial officer Simon Hansford adds that options are needed, with digital sovereignty entailing differential data handling. Some data is far more important and private. The way you handle, store and share it should recognise that. “Which doesn’t mean it doesn’t travel abroad, but that we put more economic value on it,” adds Hansford. EuroStack as it is envisaged would better recognise the value of data and related industries. If you do not have sovereignty over a given resource, you control how you drive value. “A clear example might be Airbus. Europe decided to build its own aircraft, rather than becoming a manufacturing site or maintenance site for Boeing, which would have been very easy to do,” says Hansford. Today, this appears to have been a good decision. Without recognition of value, it can be very difficult to develop a local ecosystem – from education, training and certification to OEM – that drives jobs and businesses beyond indirect sales and services. “The majority of Europe’s cloud professionals are in sales, marketing, pre-sales engineering and the like. AWS and Microsoft might say they’ve got 1,000-2,000 people in the UK, but if they’re all pre-sales, there’s no research or core engineering done there,” Hansford points out. “We have got to start creating demand by moving money away from the hyperscalers into our local industry.” Solange Viegas Dos Reis, chief legal officer at French infrastructure-as-a-service (IaaS) provider OVHCloud, points out that Amazon, Microsoft and Google have power that extends beyond cloud as well. “They have more and more power, and use that to strengthen what they have in other markets too,” she says. OVHCloud has signed up. With EuroStack, business and industry have finally understood the direct impact that politics, and indeed geopolitics, can have on economics, she says, adding: “We need to get rid of dependencies on other countries where the political pressure can have a direct effect on us.” Freedom of choice and innovation might be achieved by having a more open provider or by developing some smaller stacks with collaborative interoperability and transparency, with “good strategic partners” from outside the EU also involved. She notes that when your data is hosted on hyperscaler servers, there is a risk that your activity competes with one or more of theirs, because they are so large and dominant. Or that it can be accessed by other governments for reasons with which you would not agree. Data and digital sovereignty is about more than competition. “EuroStack makes me hope that we may go faster and be more precise on the needs,” she says. “It’s quite ambitious, for sure, but it’s driven by economics, business and industry, and with strong leaders. It’s not just a couple of lawyers in the room trying to make more regulation.” Tackling the issues with regulation, top down, has not worked so far. Of course, it’s a challenge, not least because it involves companies from diverse sectors up and down tech stacks. And there will likely be resistance from some. “We must coordinate everyone and identify the common challenges and elements,” Viegas Does Reis says. “But the objective will benefit all the world, the whole tech ecosystem.” Mark Neufurth, lead strategist and programme manager for SECA at cloud services provider Ionos, agrees that EuroStack models an initiative that could benefit organisations worldwide, and that is important. “While there’s no [actual EuroStack progress] development as of now, Europe has to develop a ‘target picture’ in the light of current politics, which are changing fast,” he says. “Otherwise, we will be out of business in a matter of years in terms of digitisation and digital things.” That’s all while the hyperscalers are still coming to, for instance, Berlin or wherever to take advantage of local innovation, Neufurth adds. Meanwhile, EuroStack has seven layers and takes a “huge work package” to get it off the ground. Software, hardware and services must be defined, resourced and built. Local problems, including potential inertia, must be overcome. That said, there are already European designs for low-energy chips here, and the cloud API standard SECA, so that should all help, Neufurth says. Of course, economies of scale must be developed. Other organisations, in other countries, can and should develop similar initiatives, including the UK – but partnering is key. Overall, however, the vision will take years, even decades, to materialise, Neufurth adds. “Nonetheless, we need this. It’s essential that we emancipate ourselves a bit from China and the USA,” he says. “And there’ll be less of a single point for failures, and of course better competition.” Read more about competition in the cloud market CCS Insight’s Bola Rotibi looks at the Competition and Markets Authority’s plans to regulate the public cloud. With the dominant hold that Amazon and Microsoft has on the global cloud market under scrutiny by regulators across the world, could 2025 usher in a new era of cloud competition?0 Comentários 0 Compartilhamentos 109 Visualizações
-
WWW.FORBES.COMEnterprise IT’s Inflection Point: How IT And IoT Are Shaping A New EraThe responsibilities that have defined IT’s estate and its core responsibilities for decades are increasingly untenable using traditional approaches and means.0 Comentários 0 Compartilhamentos 98 Visualizações
-
WWW.TECHSPOT.COMAtari 2600: The Atlantis of Game ConsolesMany stories have been told about an ancient power that tried to conquer the world, only to be punished for its hubris and vanish. This power wasn't Atlantis – it was Atari. Following the home version of arcade sensation Pong, the Atari 2600 became a cornerstone of the second generation of gaming consoles. With replaceable cartridges and a programmable CPU instead of hardwired transistors, it aimed to bring the arcade experience into the home – and succeeded, becoming the first game console owned by millions. The Atari 2600's downfall was just as spectacular as its rise. In Japan, it became known as the "Atari shock." In the U.S., it was called the video game crash. Despite this, the 2600 survived and remained on the market into the 1990s, competing with Nintendo until newer players took its place. Image credit: darkrisingmitch TechSpot's Legends of Tech Series The iconic tech gadgets that shaped our world. From groundbreaking gaming consoles to revolutionary mobile devices and music players, discover the legends of technology. The Rise of 1D Graphics When Atari began working on Project Stella in 1975, there was little to compare it to. The company quickly realized that the biggest obstacle to affordability was the high cost of RAM at the time. The Fairchild Channel F, which beat Atari to market, had 2KB of VRAM – enough for a 104 x 60 resolution and four colors across the entire screen. Atari hired Jay Miner to develop the console's Television Interface Adaptor (TIA), which would render graphics line by line, allowing for 160 pixels per line and up to 192 lines per frame. Each line was limited to four colors and five non-identical objects. Games like Video Chess used clever techniques to avoid drawing many different objects on the exact same line: Unlike today's dot-matrix displays, which can refresh a full frame at once, CRT televisions of the era drew pixels one at a time. The TIA used 20 bits of register memory to render a blocky, two-color background on one side of the screen, then mirrored or duplicated it on the other – unless instructed otherwise while the line was being drawn. The 2600 was so underpowered that it couldn't even hold a full game screen in memory. Developers had to draw the screen line by line, in real time, as it was being sent to the TV. That meant perfect timing down to the microsecond, or the display would break. Devs called this technique "racing the beam." Warner Communications acquired Atari in 1976, accelerating development. The following year, the Atari Video Computer System (VCS) launched at $190 (about $1,000 today). The console was bundled with three controllers: one 8-direction joystick and two rotary paddles, each with a single action button. Internally, the Atari 2600 was nicknamed "Stella," after the bicycle owned by one of the engineers. The name stuck with the development team long before the console was officially branded as the Atari VCS. "Stella" lives on today as the name of a popular emulator and a nostalgic reference among retro gaming fans. At first, the console's sales did not impress. Atari didn't yet have the game library to justify the cost. The pack-in game was Combat, based on the arcade hit Tank. That game didn't fully utilize the console's capabilities, using the same four colors for all lines. Even celebrity endorsements from Pelé, Kareem Abdul-Jabbar, and Pete Rose didn't boost early sales much. The console's first killer app was Space Invaders, released in 1980. With an all-black background and rows of identical enemies, it held up surprisingly well against its arcade counterpart. Space Invaders was the first officially licensed arcade port for a home console. Its success quadrupled Atari 2600 sales practically overnight – people bought the console just to play that game. It set the standard for using hit arcade titles to drive home console adoption. Over time, it sold more than six million units. A wave of pixelated aliens descends in Space Invaders on the Atari 2600 – gaming's first killer app that helped launch the home console revolution. Atari went from a $75 million company to a $2 billion empire in just a few years. During this explosive growth, the company developed a reputation for being both brilliant and wildly unprofessional. Atari's headquarters were infamous for hot tubs, booze-fueled meetings, impromptu parties, and even open drug use. At one point, founder Nolan Bushnell installed a hot tub on-site, and stories of poker games in the office only added to the company's mythos. The First "Easter Egg" One of the most iconic stories from the Atari 2600 era is about the game Adventure, released in 1980. The game's creator, Warren Robinett, was frustrated that Atari didn't credit developers for their work. So he secretly added a hidden room that displayed the message: "Created by Warren Robinett" While hidden features had appeared in earlier games – dating back to the 1973 video game Moonlander – Adventure is notable for being the first instance where such a hidden message was referred to as an "Easter egg." The term was coined by Steve Wright, Atari's Director of Software Development, who likened the experience to a traditional Easter egg hunt. Robinett kept the secret for over a year, hiding it even from other Atari employees. The company only discovered the hidden message after players uncovered it post-release. Rather than remove it, Atari embraced the idea, and Easter eggs soon became a fun and beloved tradition in the gaming world. The First Third-Party Studio Image credit: MasonJarring Four programmers at Atari were known as the "Fantastic Four": David Crane, Alan Miller, Bob Whitehead, and Larry Kaplan. They were responsible for some of Atari's most critically acclaimed games, as well as the operating system for the company's upcoming line of home computers. Yet, they received no public credit for their work – and no royalties from the sales of the games they developed. An internal memo circulated to Atari programmers in early 1979 revealed that the games created by the four accounted for 60% of Atari's total game sales. Miller drafted a proposal inspired by standard practices in the music industry (in which Warner, Atari's parent company, was involved), and the group presented it to Atari's new CEO, Ray Kassar. Kassar threw the four out of his office, famously saying they were "no more important than the guy on the assembly line who puts the cartridges together." The CEO failed to acknowledge the difference between the importance of a job and the value of the person doing it. Image credit: MasonJarring Together with businessman Jim Levy, the four decided to found their own company to develop games for the VCS. In this new studio, programmers would receive royalties and even a dedicated page about them in the game manual. They initially called themselves "VSync," but realizing the term wasn't widely understood by the public, they changed the name to Activision. Activision's best-selling title for the VCS was Pitfall! – an endless platformer that used pseudo-random number generation to create the same level layout for every player. A classic moment from Pitfall! on the Atari 2600 – players swing over crocodile-infested pits in one of the earliest and most iconic platformers in gaming history. Activision eventually became one of the largest third-party publishers in the world, with franchises like Call of Duty, Tony Hawk, and Crash Bandicoot under its belt. The company underwent several transformations, first through the Activision Blizzard merger, and later by becoming a wholly owned subsidiary of Microsoft's gaming division. Atari sued Activision in 1980, but the case was settled within two years. As part of the settlement, Activision agreed to pay royalties to Atari. This resolution set a precedent that allowed dozens of other companies to begin developing games for the VCS. In gaming's early days, experienced developers were rare by definition – the industry itself was brand new. Many early games were created by pioneers who were learning as they went: electrical engineers, comp sci geeks, hackers, and tinkerers exploring uncharted territory. They may have lacked formal training in game design, but they made up for it with raw creativity, technical ingenuity, and a willingness to invent the rules as they went. Before the Internet, it could take weeks between the launch of a game and its first reviews in game magazines, which most people weren't subscribed to anyway. When seeing a game on the shelf, most people had no way to know whether it was any good. This situation could actually benefit Atari as long as the quality of its own games remained consistent. Well… about that. Hubris Leads to Sinking Image credit: DrAg0r The new arcade sensation Pac-Man was released for the VCS in 1982, replacing Combat as the console's pack-in game. Atari was confident that the entire game – including a two-player mode – could fit on a standard 4KB ROM chip. To prevent the ghosts from appearing on the same scanline, they were programmed to flicker constantly, ensuring they never appeared in the same frame. The game featured only one maze, and the sound effects were greatly inferior to those of the arcade version. Ms. Pac-Man, released the following year on an 8KB cartridge, was tragic proof that it could have been done much better. The Atari 2600 had only 128 bytes of RAM, and cartridges were initially limited to 4KB of ROM. Developers soon discovered a technique called "bank switching," which allowed cartridges to swap between multiple 4KB banks of code, effectively expanding the game's size without changing the hardware. This trick enabled increasingly complex games like Pitfall! and River Raid. Later in 1982, E.T. became the most successful movie of all time. Warner CEO Steve Ross began negotiations with Steven Spielberg and Universal Studios to release a video game adaptation in time for the holiday season. Developer Howard Scott Warshaw was given just five weeks to create it. The result? Not as bad as you might expect. The game was simplistic and flawed in several ways, but it was fully functional. Reviews at the time were largely positive. So why is it now considered one of the worst games ever made? First, it was basically unplayable without reading the manual first. The graphics often clashed with gameplay logic – E.T. could fall into pits even if only his head was over them, while his feet were visibly on solid ground. The game may have been an example of a game that was critically acceptable but not commercially successful. In short: it just wasn't fun. Atari made 5 million E.T. cartridges, but most went unsold or were returned. At the time, rumors swirled that unsold copies had been buried in a landfill in New Mexico and covered in concrete. Like many extraordinary stories, it was dismissed as a myth – until 2014, when a dig at the site confirmed the burial of E.T. and other Atari games. The VCS was officially renamed the Atari 2600 with the launch of the Atari 5200, which coincided with the release of E.T. The 5200 became a case study in how not to design a "Pro" version: it was essentially a home computer, but it lacked compatibility with both Atari's earlier consoles and its actual home computers. Its analog joystick didn't automatically return to center, making it deceptively hard to stop moving in games. The 5200 was discontinued in 1984. Savior Over the Ocean The Atari 2600 "Darth Vader" edition, released in 1982, is a special version of the classic console featuring an all-black, design reminiscent of Vader's iconic helmet from Star Wars. It was also the first model to be officially branded as the Atari 2600, dropping the VCS branding. Image: renatobara Atari lost $538 million in 1983, compared to a $300 million profit the previous year. In 1984, the company's home division was sold to someone who knew a thing or two about overcoming adversity: Holocaust survivor and Commodore founder Jack Tramiel. The new owner believed dedicated consoles were merely a temporary stopgap and canceled the launch of the Atari 7800, a true successor to the 2600. Having sold millions of units of the FamiCom console in Japan, Nintendo released it in the US in 1985 under the name Nintendo Entertainment System. Nintendo was careful to avoid using the word "console" in its marketing, branding its cartridges as Game Paks. More significantly, it introduced a lock-out system to prevent third-party publishers from releasing games without Nintendo's approval. Within a year, dedicated consoles became desirable again. A rainbow-striped Atari 2600 Jr. sits ready with Dig Dug loaded. The Atari 7800 was finally released in 1986, but it may have been too late. For backward compatibility with the 2600, it retained the same TIA chip. To reduce costs, it used that chip for audio as well – giving the system dated-sounding audio compared to its competition. Around the same time, a redesigned version of the 2600 – nicknamed the 2600 Jr. – was launched at a $50 price point, accompanied by the slogan: "The fun is back!" The Atari 800XL, part of Atari's 8-bit home computer line, combined gaming and productivity in the early 1980s – featuring built-in BASIC, a full keyboard, and compatibility with Atari 2600 peripherals. By 1991, the market has moved on to the Sega Genesis and Super NES. The Atari 2600 was discontinued on the first day of 1992, along with the rest of Atari's 8-bit home catalog. In its lifetime, the 2600 sold over 30 million units. Retro versions of the console have been released since the early 2000s. The Atari VCS (2021) includes 100 built-in games, while the Atari 2600+ (2023) and 7800+ (2024) brought back support for original Atari 2600 and 7800 cartridges. The Atari 1040ST was a powerful 16-bit home computer from the mid-1980s, known for its built-in MIDI ports, making it a favorite among musicians and a rival to early Macintosh and Amiga systems. The Atari 2600 brought video gaming into millions of homes, though arguably that would have happened anyway years later thanks to home computers. Atari's more enduring legacy was proving that dedicated game consoles could be compact, affordable, and easy to use. That legacy lasted for decades, with home consoles only adding a hard disk in the early 2000s. In the past two decades, gaming consoles have grown increasingly similar to gaming PCs, offering more features but at the expense of simplicity. Still, millions of gamers fondly remember the days of inserting a cartridge and playing instantly – no updates, no installs, just fun.0 Comentários 0 Compartilhamentos 101 Visualizações
-
WWW.DIGITALTRENDS.COMNew Nvidia GPU leaked by the most unlikely sourceAsus has just unveiled a bunch of Hatsune Miku-themed goodies, including a motherboard, PC case, keyboard, mouse, and more. The lineup, made as a homage to the virtual pop sensation, looks pretty dreamy — but one thing in particular caught my eye. Asus may have just revealed one of Nvidia’s upcoming best graphics cards at least a day early. Hatsune Miku is a vocaloid, which is a type of voice synthesizer software that lets users pick a song for Hatsune Miku to sing. Hatsune Miku has achieved worldwide fame, which is presumably why Asus decided to launch a whole lineup centered around the virtual pop star. Recommended Videos As spotted by VideoCardz, there’s a hidden gem among the various upcoming Hatsune Miku-themed products. Asus showcased a GPU with a Hatsune Miku shroud without specifying what GPU this is exactly, but it has previously mistakenly listed the card as an RTX 5060 Ti 8GB, so that’s how we know (despite the information not appearing in the launch video). Related This version of the RTX 5060 Ti, alongside the fun shroud, has a new cooler design. It also sports a standard 8-pin connector, marking a departure from the 16-pin some may have expected. The lineup is one of the biggest we’ve seen centered around a single character. Apart from the GPU, there’s a PC case, motherboard, keyboard, mouse, headset, and even a router. Hatsune Miku fans will be able to build a whole PC following this theme, as the motherboard and the GPU go a long way toward filling the case with matching hardware. You can then pick up some white components, such as RAM and a cooler, to stick to the theme. Editors’ Recommendations0 Comentários 0 Compartilhamentos 92 Visualizações