Image: 2KFollowing concerns that the upcoming Borderlands 4 would match Mario Kart World's $80 price tag, Gearbox Software founder Randy Pitchford has provided a pretty tone deaf response on social media when a fan addressed the topic directly. As covered by IGN, Pitchford stated that "if you're a real fan, you'll find a way" when addressing the potential $80 price for Borderlands 4. He notes that he was able to do the same for Starflight on the Sega Genesis back in 1991. Pitchford's comment went down about as well as you'd expect. One user replied with "No way you actually said this s***....", while another said "As someone who's been a big supporter of this franchise, this is a slap in the face". It's important to note that the price for Borderlands 4 hasn't been finalised at the time of writing, but Take-Two's boss Strauss Zelnick has not ruled it out, stating that people would be “willing to pay for the very best". There's currently no release date for Borderlands 4 on the Switch 2, but the game is scheduled to launch on other platforms later this year on 12th September 2025 after the launch date was moved forward. Pitchford also appeared in a recent Creator's Voice video for the Switch 2, praising the Switch 2 and calling it "very powerful". "We don't feel like we're fighting the system" Mad world What do you make of Randy Pitchford's response here? Let us know with a comment down below. [source x.com, via ign.com] Related Games See Also Share:0 0 Nintendo Life’s resident horror fanatic, when he’s not knee-deep in Resident Evil and Silent Hill lore, Ollie likes to dive into a good horror book while nursing a lovely cup of tea. He also enjoys long walks and listens to everything from TOOL to Chuck Berry. Hold on there, you need to login to post a comment... Related Articles The First Review For Fantasy Life i: The Girl Who Steals Time Is In A fantasy score? Nintendo Switch 2 Final Tech Specs Have Been Confirmed GameChat has a "significant impact on system resources" Nintendo Apologises For "Error" With Mention Of Switch 2 VRR TV Support "The incorrect information was initially published" 27 Upcoming Nintendo Switch 2 Games We're Excited For In 2025 The very best Switch 2 games coming soon 12 Switch Games Are Getting Free Switch 2 Upgrades, Here's What You Can Expect Nintendo's free updates arrive next month

AI is evolving fast, and access to valuable insights and powerful networking shouldn’t be reserved for those who pay top dollar. We’re rolling back TechCrunch Sessions: AI ticket prices! Save up to $300 on your pass, and get an extra 50% off when you bring a plus-one. Learn from the brightest minds in AI and forge meaningful connections — while locking in the biggest savings before the doors open on June 5 at UC Berkeley’s Zellerbach Hall. Whether you’re pioneering, building, funding, or just diving into the world of AI, this immersive experience is for you. We welcome everyone, from industry pros and founders to academics and AI die-hards. Join us for a full day of cutting-edge programming, where you’ll learn from and engage with leading minds in the field, including: Anthropic co-founder Jared Kaplan, taking attendees through a behind-the-scenes look at hybrid reasoning models. A peek behind the scenes of how OpenAI works with startups, with Hao Sang of their GTM team. Tanka founder and CEO Kisson Lin, on why your next founder will be an AI. The two winners of our Audience Choice competition: Cohere’s Yann Stoneman on using generative AI in privacy-driven companies, and the Global Innovation Forum’s Hua Wang on moving swiftly while maintaining compliance. And that’s just the beginning — many more interactive and insightful sessions fill the day. Check out the full TC Sessions: AI agenda here. Some of the many AI pioneers leading main stage and breakout sessions at TechCrunch Sessions: AI, taking place on June 5 at UC Berkeley’s Zellerbach Hall.Image Credits:TechCrunch And that’s on top of our consistent focus on networking opportunities, with attendees getting the chance to set up 1:1 sessions, meet with peers and potential partners, and start the relationships that lead to big deals down the road. When the event itself is done, you’ll also get the chance to keep the momentum rolling with side events hosted by partners across Berkeley, California, including Tanka, Toyota, and MyHomie. Just because our event is done doesn’t mean your perks for getting a ticket should be, after all. Remember, these massive ticket savings are only for a limited time, so act now and head here to reserve your slot at one of the most exciting events within the AI space this year!

Interviews A Minecraft Movie: Piotr Karwas (VFX Supervisor) & Elizabeth “Liz” Bernard (Animation Supervisor) – Digital Domain By Vincent Frei - 20/05/2025 With 20+ years in film and advertising, Piotr Karwas has supervised VFX for top directors including David Fincher and Tim Burton. His recent work includes The Electric State, Elevation, he’s here today to talk about the Digital Domain work on A Minecraft Movie. After discussing The Electric State with us a few months ago, Elizabeth ‘Liz’ Bernard is back—this time to talk about her work on A Minecraft Movie. How did you and Digital Domain get involved on this show? Piotr Karwas: We were approached by the Warner Bros. VFX team as they were looking to bring on an additional vendor to help complete the remaining visual effects work. It was also an opportunity to be the best dad ever, since both of my kids are huge Minecraft fans. How was the collaboration with Director Jared Hess and VFX Supervisor Dan Lemmon? Piotr Karwas: I’ve known Dan Lemmon since our time working together at Digital Domain. We collaborated on several projects in the early 2000s, so it was a great opportunity to team up again. As for Jared, I’ve been a fan of his work ever since his first feature, Napoleon Dynamite. Years ago, I also had the chance to briefly work on his film Gentlemen Broncos. The blend of Jared’s signature humor with the global phenomenon of Minecraft was simply too exciting to pass up. I knew I wanted to be involved. Although Digital Domain joined the project later in the production process, we quickly got up to speed and delivered our work on time, despite some challenges. What are the sequences made by Digital Domain? Piotr Karwas: Our primary focus was the final battle sequence, but we also contributed to several fully live-action shots featuring set extensions and some CG animation, primarily around the entrance to the mine. Could you walk us through the process of creating the 500+ Piglins and Iron Golems clashing in that 360° battlefield? What were some of the major technical challenges in making that sequence come to life? Piotr Karwas: One of the key creative challenges was striking the right balance between honoring the iconic look and feel of the game while delivering a cinematic, action-packed experience. The goal was to blend a sense of realism through the movement and design of characters and environments with the charm and style of the Minecraft universe. Under the guidance of Jared and Dan, and in close collaboration with the other vendors, we were able to craft something truly unique. The battle unfolds during the Piglin invasion, as the sunny atmosphere of the Overworld begins to transform into a darker, more menacing environment reminiscent of the Nether. The entire battlefield was designed to function seamlessly in both visual states, capturing the warmth and cheer of the original Overworld, while also supporting its dramatic shift into a hellish landscape filled with fire and gloom. Additionally, the stylized world of Minecraft presented some technical hurdles, especially in large scale crowd sequences. The characters’ unconventional anatomy, limited range of motion, and signature fighting styles added an extra layer of complexity but also pushed us to be creative and innovative. Liz Bernard: We started out with 10 piglins, each of which had 2-6 costumes, plus 8 weapons and 2 torches. We were able to get a lot of variety out of that for our piglin horde. The golem army was smaller and more uniform, and golems are too powerful to be messing around with weapons. Instead, they prefer to use their iron arms to smash through their opponents, so we didn’t have as many different iterations, costumes, and such for the iron golems. In Animation, we moved as fast as possible to clean up and modify a big pile of motion capture so that we could provide our Crowds team with over 300 unique animation cycles and clips. Those clips included everything from golems doing windmill arm attacks, to piglins hacking at golem legs with axes and swords, to baby piglins running around in circles, freaking out. Although we started with motion capture for most of the piglin actions, transferring those actions from a full sized human mocap actor onto 10 different blocky piglins with giant angular heads and different body proportions meant each mocap clip needed a lot of adjustment. For example, piglins cannot raise their square little arms very high because their shoulders will quickly crash into the head. Once we had ploughed through that chunk of work, our Crowds team strung those actions together in Autodesk’s Golaem software to create the crowds seen in the backgrounds of our shots. In the mid-ground, we animated a custom set of longer battle vignettes that we could reuse in a number of shots by reorienting them to camera and offsetting their timing. And of course, there was quite a lot of hero animation to fill in the foreground and tell the story of the ebb and flow of battle. Minecraft is known for its blocky aesthetic. How was the animation rigging approached to stay true to that while enhancing the characters’ performance for live action? Liz Bernard: The piglins, hoglins, and wolves were rigged as pretty standard fleshy characters. The wolves had blocky chests and hips, which our Rigging team kept relatively stiff to preserve the original block shape even when we posed the characters in action. Because we were in a hurry on this fast-paced show, we needed to get rigs into Animation’s hands as quickly as possible, so we ended up relying on our shot modeling/sculpting team to adjust some of the characters’ bodies after animation was approved. They paid special attention to the final look of their shoulders, elbows, and knees, to make sure that the bend at each joint stayed as blocky as possible. The iron golems were a lot trickier to get right because they were made of stiff blocks of metal, had no deforming parts, and their joints were extremely simple. We discovered right away that making an iron golem walk meant instant intersections where the legs attach to the hips and the arms attach to the shoulders. So, to solve that problem and get the golems engaged in the battle, we had to give the animators complete control over every body part. This is not something we typically do because it’s easy to go overboard and end up “off model,” but in this scenario, it was absolutely required. This level of control gave the animators the option to offset body parts to achieve the necessary range of movement without visible intersections on screen or gaps in silhouette. Houdini was used to procedurally generate environments for the film. What were some of the most challenging aspects of creating such vast, dynamic landscapes? Piotr Karwas: The environments posed a unique challenge, not just because of their blocky nature, but because it was essential to make the Overworld feel like a tangible, real place. Some design choices were influenced by physical sets that had been built, while others drew inspiration from the real world. We focused on introducing a sense of natural imperfection, subtle elements like slightly uneven lines, worn edges, scuff marks, scattered debris, dirt, and even touches of realistic vegetation. All of this had to be carefully integrated into the strict, grid-based aesthetic of the Minecraft universe. Our environment team rose to the challenge and delivered a highly detailed immersive location, while working under a demanding production schedule. What were the biggest challenges in adapting Minecraft’s creatures and characters into a live-action setting while retaining their iconic charm? Liz Bernard: Because we came onto the project towards the end of shot production, we were able to use other vendors’ work as a rough guide for how our characters should move and behave. The Iron Golems in particular were a fun challenge, and although Sony had a few shots that we could refer to for the overall movement, it was up to us to establish their combat style. We researched how the golems fight in the game, which, as it turns out, is quite simple. We stuck with the game’s stiff legged walk, simple straight arm swings and skyward scoops to match the game’s iron golem attack style as closely as we could. However, purely matching the game wasn’t going to look quite right in a live action environment with human actors. So, on top of the simple performance, we layered weight shifts to counterbalance the heavy arms. We also added some additional step patterns to get them into position to attack piglins so that they would appear clever and more agile without straying too far from the game aesthetic. We also improved the contacts between the golems’ arms and each piglin to really sell the sense of effort and weight in each attack and hit. The destruction of the Overworld Portal seems like a monumental task. How was such an epic scene created, and what role did the environment and FX teams play in bringing it to life? Piotr Karwas: One of the biggest challenges was figuring out the mechanics of how large-scale destruction would play out in the Minecraft world. We had to carefully determine which elements would follow real-world physics and which could behave in a more stylized, game inspired way. We also spent considerable time designing the post-collapse remains to ensure they were visually compelling and cohesive for the staging of the shots that followed. The portal destruction sequence, in particular, appeared in the two widest shots of the entire sequence. These moments required both armies to be on screen, complete with fallen Iron Golems, defeated or pork-chopped Piglins, and digital doubles for every actor. It was a massive technical, logistical, and creative undertaking. We worked on these shots all the way to the final hour. Can you describe the bespoke zombification transformation pipeline developed for the Piglins? How did this process differ from traditional character transformations? Piotr Karwas: By the time we joined the project, the zombification effect had already been largely developed by Weta FX. One of our main challenges was matching their established look while ensuring visual consistency across both their shots and ours. At the same time, we knew we had to push the effect further. After all, this was the grand finale, where the evil army was being defeated. We also wanted the transformation to feel distinct, especially when applied to large numbers of Piglins. To achieve that, we went as far as building complete skeletal systems that could be revealed during the transformation. How was lighting handled to simulate firelit nighttime chaos? What tools or techniques were critical in creating that atmosphere? Piotr Karwas: To achieve the most realistic look, we used actual fire simulations to drive the lighting on both the characters and the environment. We initially started with just a few fires, but Jared was drawn to the striking visual accents and the warm hues they cast on the characters. As a result, we ended up populating the scenes with hundreds of fires. The air was also filled with atmospheric elements like smoke, ash, and embers, all contributing to a richly textured, apocalyptic feel in every shot. To manage this across numerous shots, we developed semi-automated methods to batch simulate the effects efficiently. How was humor incorporated into the animation, especially with subtle gags like pork chops dropping onto the battlefield or background antics? What approach was used to time these moments? Liz Bernard: We had a good time adding easter eggs and gags into this epic battle scene! Piotr let me know early on that Jared would welcome goofy touches, especially on background characters, so I made sure to pass that information on to my team of animators. What did I get back? Nose picks, butt scratches, belly slaps, and all sorts of goofy behaviour in the background. We usually didn’t center those things in the action unless it was called for in the script (in fact, Jared and Dan had to pull us back a few times), but if you look carefully, you’ll find maximum silliness all over the place. And, of course, I have to mention the Great Hog here. He was probably our funniest character and the most challenging to animate. His style of movement was dictated by his unusual proportions, in particular, his itty-bitty legs and long chunky arms. Those stumpy legs meant his stride was super short unless he broke out into a full quadruped gallop, which our team animated with extra oomph and effort to get a good laugh. The Great Hog’s low rider pants took a dive after one particularly strenuous sprint across the battlefield to attack Natalie. When he rose up on hind legs in anticipation of smashing her with his giant blocky fists, Jared wanted to make sure that the audience could see clearly the gag that his butt crack was showing. In VFX, we traditionally call a gradient of options that we would pitch to the client a “wedge.” In this case, we needed to get a read on how low to go with the pants before we simulated them in CFX, so we sent over a “wedge” for the pants and butt crack for Jared to pick from. In this case, I guess it was actually…a wedgie. How was the visual humor seamlessly integrated into the more intense action sequences, and was there a particular moment that captured this balance perfectly? Liz Bernard: The visual humour was baked into the action from the get-go, from game to storyboards to previsualization. I mean, there’s something inherently funny about dozens of piglins in shorts getting smacked high up into the air and then poof! turning into porkchops. When I welcomed each animator to the show, I made a point of mentioning that they were a little more free to tell jokes with pantomime on this show than they might be used to on more realistic productions. Because we were always in a mindset to make each shot as funny as possible without distracting from the story points, the flavour in animation dailies was always funny. My team pitched piglins getting run over by the Great Hog by accident, baby piglins riding on an iron golem attempting to attack its head, some utterly hilarious slow-mo action with exaggerated overlap a la Baywatch, a hoglin and piglin rider mugging for the camera as they gallop by in the foreground, wolves clamped on by their teeth to the waistband of the Great Hog, and a whole lot of over-acted melodramatic writhing as the piglins zombified after the portal collapsed. You don’t have to tell animators twice to be silly. With such a large-scale project, how did the animation and VFX teams collaborate to maintain a cohesive style across both departments? Were there any specific moments where this collaboration stood out? Liz Bernard: This was a ripsnorter of a project timeline, so all departments were hitting the ground running and developing their parts of the project concurrently. That’s always challenging and requires a lot of communication to pull off. We had a bullpen of experienced folks in our show leadership, and knowing what each other’s departments could and couldn’t do saved us a lot of time as we ramped up. For example, we were able to establish a single groundplane early in our animation schedule, which helped us avoid having to adjust the character’s feet contacts to an evolving environment even as artists were still building the overworld battlefield. The Environments team did a great job set dressing the environment after we had placed our animation and crowds’ characters, so that we did not need to worry about running through plants, pebbles, fires, or corpses. The FX department established a workflow with the Crowds team to “porkchop” any crowds piglin that got smacked by crowds’ iron golems. Setting these rules and criteria helped each department streamline their processes. And, our production team did an absolutely incredible job making sure that every department stayed on target, communicated their roadblocks and breakthroughs effectively downstream (and sometimes upstream!), and adjusted the schedule to compensate. I think the moment where this collaboration really shone was when we saw all of the zombification shots at the end of the sequence starting to fall into place. One day, it felt like we had all of them left to tackle, and the next, we had our methodology kinks worked out and they all started to drop like dominoes. Piotr Karwas: As Liz mentioned, the schedule was extremely tight, especially for executing the film’s grand finale. We had to move quickly and strategically, knowing that things would evolve and change throughout production. I’m incredibly grateful to our amazing team at Digital Domain. Across all four locations, Los Angeles, Vancouver, Montreal, and Hyderabad, our artists worked around the clock to bring it all to life. Yes, there were long hours, high stress, and the usual frustrations with technology that doesn’t always behave but in the end, it was all absolutely worth it. Seeing kids enjoy the movie so much made everything worthwhile. Chicken Jockey! Looking back on the project, what aspects of the visual effects are you most proud of? Piotr Karwas: Without a doubt, the Great Hog’s butt crack was the highlight for me. Liz Bernard: Just the sheer scale of this thing is wild. This is one of those “more is more” kinds of projects that don’t come around so often in our world of photorealistic visual effects. Nothing was supposed to be “real” here, everything was exaggerated, every frame we produced was chock full of crazy action, over the top humor, and easter eggs. I’m very proud of our animation team for embracing this hilarious show in a more cartoony style that we don’t often have the opportunity to tackle. And, man, it tickles me that the fans got such a huge kick out of it all when the movie hit theatres. What else can you ask for? How long have you worked on this show? Piotr Karwas: About six months Liz Bernard: Just six months from start to finish. What’s the VFX shots count? Piotr Karwas: Digital Domain delivered 187 shots not including omits. What is your next project? Piotr Karwas: A Minecraft Movie I hope. Jokes aside, I’m looking at a whole slate of different projects. Liz Bernard: All I can say right now is that it’s a science fiction film that comes out in 2026. Stay tuned! A big thanks for your time. WANT TO KNOW MORE?Digital Domain: Dedicated page about A Minecraft Movie on Digital Domain website. © Vincent Frei – The Art of VFX – 2025

A research team at the University of Arkansas has demonstrated that molecular dynamics (MD) simulations can reveal key mechanisms behind silicon nanoparticle crystallization during laser-induced forward transfer (LIFT) printing. The findings are detailed in a non-peer-reviewed preprint available on arXiv, where the authors show how nanoparticle size and cooling rate affect the ability of silicon to solidify into single-crystalline structures during flight, a development with potential implications for additive manufacturing of optoelectronic materials. Molecular-level insight into LIFT printing Laser-induced forward transfer (LIFT) is a promising technique for direct-write micro- and nanoscale printing of functional materials. Unlike conventional additive manufacturing processes that build parts layer by layer, LIFT uses a pulsed laser to eject material droplets from a donor film, enabling high-resolution patterning of metals, polymers, and semiconductors. While LIFT has been applied to amorphous silicon printing, the atomic-level dynamics of silicon crystallization during droplet flight remain poorly understood. To address this, researchers Youwen Liang and Wan Shou used MD simulations to analyze how size and thermal conditions influence silicon nanoparticle behavior during solidification. Simulated crystallization of silicon nanoparticles during LIFT printing. Image via Liang & Shou. Size and cooling rate determine crystal structure The simulations revealed a strong correlation between nanoparticle diameter and crystallization potential. Particles smaller than 4 nm failed to crystallize, even under slow cooling conditions, while larger particles (8–12 nm) exhibited latent heat release and structural ordering, key signatures of crystallization. The study also found that slow cooling rates are essential to promote crystallization. At higher cooling rates, supercooling effects dominated, resulting in amorphous structures. Under controlled thermal conditions, the researchers observed the formation of single-crystal-like silicon nanoparticles, with nucleation beginning just beneath the particle’s surface. The authors suggest that single-crystal formation in-flight is achievable, provided that droplet size and cooling rate are carefully controlled, a finding that may inform future single-crystal silicon additive manufacturing.Crystallization begins beneath the surface A key finding is that crystallization rarely initiates at the particle surface. Instead, nucleation typically begins ~5 Å beneath the outer layer, within what the researchers describe as a structurally distinct sub-surface region. These early nuclei then migrate toward the particle center, where crystal growth accelerates. Simulations also showed that surface atoms remain more mobile and disordered, even at low temperatures. Using bond order parameters (BOP), radial distribution functions (RDF), coordination numbers, and mean square displacement (MSD), the researchers tracked the atomic structure evolution throughout solidification. Comparison of atomic structures from MD simulations. Image via Liang & Shou. Towards single-crystal 3D printing The ability to predict and control crystallization at the nanoscale opens new possibilities for high-performance printed electronics, where grain boundaries can reduce efficiency and durability. By adjusting droplet size and cooling profiles, LIFT could eventually enable on-demand printing of single-crystal semiconductors, bypassing traditional lithography or epitaxy methods. While the current results are based on simulations, they provide a foundational framework for experimental validation and future process optimization in nanoscale additive manufacturing.Crystallization Control in Additive Manufacturing Achieving precise control over crystallization during additive manufacturing is pivotal for enhancing material properties and performance. In polymer-based 3D printing, researchers from the Air Force Research Laboratory, Cornell University, and Boeing have successfully mapped the crystallization process of poly(ether ether ketone) (PEEK) during fused filament fabrication. Utilizing synchrotron-based microbeam wide-angle X-ray scattering (WAXS), they provided a detailed 2D map of PEEK crystallization process in the initial seconds post-extrusion. This study revealed that higher print bed temperatures delay the onset of crystallization but result in a higher final degree of crystallinity, thereby enhancing the mechanical properties of the printed parts. In metal additive manufacturing, researchers in Japan demonstrated the fabrication of single-crystal nickel using selective laser melting (SLM). By optimizing laser parameters and using a flat-top beam profile, they achieved homogenous, single-crystal structures without a pre-existing seed, a breakthrough with potential for high-temperature aerospace components such as turbine blades.These studies highlight the central role of thermal management and process design in crystallization control. The current MD simulation of silicon nanoparticle solidification during LIFT builds upon this foundation, offering atomic-level insights into nucleation and growth. Such fundamental understanding is essential to push the boundaries of precision-engineered, crystallinity-controlled 3D printed materials. Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us onLinkedIn and subscribe to the 3D Printing Industry YouTube channel to access more exclusive content. At 3DPI, our mission is to deliver high-quality journalism, technical insight, and industry intelligence to professionals across the AM ecosystem. Help us shape the future of 3D printing industry news with our2025 reader survey. Feature Image shows comparison of atomic structures from MD simulations. Image via Liang & Shou.

I’ve been thinking about art deco. The style recently turned 100, and after it arrived via the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, its influence quickly proliferated around the world: One can see its streamline sensibility in New York’s skyline; hotels that line Miami Beach; bus stations across the U.S.; the UNESCO-designated World Heritage city of Asmara, Eritrea; in Mumbai, India; and the Kavanagh Building in Buenos Aires, among other venues. It has a syncretic, catholic vibe in that its geometric directives were combined with vernacular material cultures to create distinct local varieties. Art deco’s optimistic eclecticism absorbed the aesthetic flourishes of art nouveau and cubism alongside rapid transformations in building technology. It arrived in a moment of societal change: Just four years after its eponymous fair, squarely in the middle of the Roaring Twenties, the great crash struck in 1929. (The resulting depression contributed in part to the rise of the Nazi Party in Germany.) In my view, art deco embodies the aspirations of a society that was rapidly concentrating capital, which makes sense that it is experiencing a comeback today. Our current moment bears a striking resemblance to that time: We too have emerged from a global pandemic, are dealing with the rise of fascism, and are grappling with extreme wealth inequality. Architects of that era were responding to rapid changes in technology, just as contemporary practitioners are now. But we have the added anxiety of the climate crisis. While art deco’s formal exuberance was revelatory, these days the same showy flourishes often land as wasteful, overwrought, even lame. Which is to say: Architecture’s long capital-P Project of exploring ever-more-complicated forms has finally come to an end. The heroic pursuit of formal complexity for its own sake feels like a bygone thing. The urgent question is not “Can we build it?” but “Should we build it?” Our technology is sufficiently advanced that all manner of shapes and assemblies are within our reach to imagine, though having the money or construction ability to realize them is another story entirely. This provocation is in part the premise of “Crisis Formalism,” a smart issue of Flash Art Volumes guest edited by Michael Abel and Nile Greenberg of the New York–based ANY, a partnership in architecture, scenography, theory, and design. Their introduction begins: “If we recognize that architecture is at a tipping point—in which form, once immediate and vital, risks dissolving into a haze of proliferating crises—then the moment calls for a fundamental rethinking of form itself, not as an outcome of crisis but as its very cause.” ANY’s contents help us exit the tailspin of architecture’s sublime uselessness, in Manfredo Tafuri’s description. We can move beyond the caveman logic: If form bad and architect make form, then… architecture bad? Uh, not really. Architects should still make things, but perhaps they should be making maintenance plans or organization charts or business plans or adaptive reuse scenarios or affordable housing. Making form is necessary but easy; it’s the rest of the stuff that is hard. What’s needed is a deeper, more thoughtful accounting of form’s impacts, material flows, and complicities. We ought to train ourselves to see form’s shadow. Robert Wilson’s Parzival: A Chair with a Shadow (Martien Mulder) Theater artist Robert Wilson does exactly this with Parzival: A Chair with a Shadow, the chair pictured above as photographed by Martien Mulder. The seat includes a built version of its shadow. “A chair and its shadow—and its shadow’s shadow” and, correspondingly, “the shadow’s shadow—and its chair,” Dung Ngo writes at the end of Robert Wilson: Chairs, a new book published by Ngo’s August Editions and Raisonné. Wilson’s chairs become characters in his plays, so this new publication documents his cast of furniture. This resonates. Wilson, who earned a degree in architecture at Pratt after landing in Brooklyn from his hometown of Waco, Texas, writes in the introduction: “I never thought of theater design as decoration, but as something architectural.” Across this issue, we are on a search for the rationales beneath form, from our news to features on material uses to a Focus section on facade expertise to a Q&A about the future of museums to an excerpt from Sérgio Ferro’s forthcoming book. Much like a century ago, with everything going on in the world, it feels like the right time to press ahead—not to discard architecture’s value but to reexamine what anchors it in our wider culture. It’s like the opening of the poem “Tear It Down” by Jack Gilbert: “We find out the heart only by dismantling what / the heart knows.” Later, a line of welcome direction: “We must unlearn the constellations to see the stars.”

Installation view of ‘Midnight March’ at ICA SF. Foreground: “Possessed Ancient Monolith Ghost” (2023), wool on XPS foam and walnut wood, 46 x 40 x 32 inches. Photo by Nicholas Lea Bruno. All images courtesy of the artist, ICA SF, and Jessica Silverman Gallery, shared with permission Descend into ICA SF’s New Space for Masako Miki’s Otherworldly ‘Midnight March’ May 20, 2025 Art Kate Mothes Huddled together like birds of a feather or standing resolutely on their own, Masako Miki’s vibrant, playful sculptures come to life at the Institute of Contemporary Art San Francisco. Whether standing on spindly legs, seated on the ground, or suspended from the ceiling, there is a sense of movement and energy in the room, as if each characterful object could walk or roll away at the slightest provocation. Miki’s solo exhibition Midnight March is now open at ICA SF’s new exhibition space, The Cube, which activates a former bank building as a site for non-traditional exhibition presentations. The Japanese artist sets her mixed-media pieces, which incorporate materials like wool, bronze, wood, ink, and watercolor, into a darkened, starry interior in which each vibrant, cartoonish individual appears to glow. “Umbrella’s Whispers” (2025), wool on XPS foam, walnut wood, 48 1/2 x 14 x 14 inches. Photo by Nicholas Lea Bruno Largely abstract in their nebulous forms, felted textures, and colorful patterns, Miki’s sculptures often hint at a life force inside. A single eye peers from a blue shape in “Enchanting Pine Tree Reaching Clouds” or human-like legs extend to the floor in “Umbrella’s Whispers.” We begin to realize that we’re being observed as much as we are observing. “Midnight March helps us understand deeper aspects of Miki’s ‘othered’ figures and recognize difference as a positive force, even as we are unsettled by it,” says an exhibition statement. The indigo sky throughout the exhibition complements Miki’s two-dimensional works, which she calls Night Parades, welcoming visitors into an experiential context. The artist says, “I hope that my works generate the kind of curiosity and empathy that enables us to come together.” Midnight March continues through December 7 in San Francisco, and you can explore more on the artist’s website and Instagram. “Midnight March (Blue and Red Violet)” (2025), watercolor on paper, 44 5/8 x 63 1/2 x 2 inches. Photo by Phillip Maisel Foreground: “Watcher with Continuous Eyes” (2018), wool on XPS foam, 18 x 56 x 16 inches. Photo by Nicholas Lea Bruno “Enchanted Pine Tree Reaching Clouds” (2024), wool on XPS foam and walnut wood, 32 x 23 x 15 1/2 inches. Photo by Phillip Maisel “Fox Delivering Messages” (2025), patinated bronze, 15 x 11 1/2 x 5 inches. Edition of 4 plus 2 artist’s proofs. Photo by Nicholas Lea Bruno “Ancient Tree Witness” (2023), wool on XPS foam and walnut wood, 76 x 48 x 42 inches. Photo by Steve Ferrera “Awa-dancing Cat Leading the Crowds” (2025), patinated bronze, 15 1/2 x 13 x 7 inches. Edition of 4 plus 2 artist’s proofs. Photo by Nicholas Lea Bruno “Midnight March (Blue and Deep Gray)” (2025), watercolor on paper, 44 5/8 x 63 1/2 x 2 inches. Photo by Phillip Maisel Next article

Published May 20, 2025 10:00am EDT close Google's AI unleashes new powerful scam-busting features for Android The CyberGuy explains steps you can take to protect yourself from scams. Scammers are always coming up with new tricks. Just when you start feeling confident about spotting phishing emails, suspicious links and fake banking apps, they find a new angle. Lately, they have been getting more creative, turning to the built-in features of our phones to pull off their schemes. One of the latest targets is NFC, the technology behind tap-to-pay. It might seem harmless, but a new scam is using it in ways most people would never expect. An Android malware called SuperCard goes beyond just stealing your card details. It gives attackers the ability to use your card remotely for real transactions. And the worst part is that it all begins with something as simple as a text message. An Android phone (Kurt "CyberGuy" Knutsson)What makes SuperCard X different?SuperCard X stands out from other Android malware because of how it operates. As reported by researchers at Cleafy, instead of stealing usernames, passwords or verification codes, it uses a method called NFC relay. This allows attackers to copy card data from a victim's device in real time and use it elsewhere to make payments or withdraw cash. The process does not require physical access to the card or knowledge of the PIN.The malware is offered through a Malware-as-a-Service model, which means different cybercriminals can use it in their own regions. This makes the threat more scalable and harder to contain. Unlike most banking trojans, SuperCard X is not focused on one specific institution. It targets any cardholder regardless of which bank issued their card.Another key difference is how stealthy the malware is. It uses minimal permissions and does not include extra features that would make it easier to detect. This lean approach helps it avoid detection by antivirus software and allows it to operate quietly on infected devices. SuperCardX fully undetectable (FUD | Cleafy) (Kurt "CyberGuy" Knutsson)How the scam worksThe fraud begins with a message sent through SMS or WhatsApp. It pretends to be from a bank and warns the recipient about a suspicious transaction. The message includes a phone number and urges the person to call to resolve the issue. This is the first step in gaining the victim's trust.Once on the phone, the attacker poses as a bank representative and walks the victim through a fake security process. This may include asking them to confirm personal details or adjust settings in their mobile banking app, such as removing spending limits on their card.Next, the attacker asks the victim to install a mobile app that is described as a tool to verify the account or enhance security. In reality, this app contains the SuperCard X malware. After the installation, the attacker instructs the victim to tap their card against the phone. The malware then captures the NFC data from the card and sends it to a second phone controlled by the attacker.Using the copied data, the attacker can make contactless payments or make ATM withdrawals almost instantly. This method allows them to steal funds quickly and leaves little opportunity for banks or victims to intervene in time. A woman scrolling on her phone (Kurt "CyberGuy" Knutsson)8 ways you can stay safe from SuperCard X malware1) Be cautious of suspicious texts and calls. Use strong antivirus software: Fraudulent campaigns often begin with an SMS or call that seems to come from your bank. These messages usually claim there's suspicious activity on your account and urge you to click a link or dial a number to resolve the issue. However, this is a tactic used to gain access to your personal information. Always approach such messages with skepticism.The best way to safeguard yourself from malicious links that install malware, potentially accessing your private information, is to have strong antivirus software installed on all your devices. This protection can also alert you to phishing emails and ransomware scams, keeping your personal information and digital assets safe. Get my picks for the best 2025 antivirus protection winners for your Windows, Mac, Android and iOS devices.2) Avoid installing apps from untrusted sources: One of the key ways malware like SuperCard X spreads is through deceptive apps that victims are persuaded to install. These apps often look harmless, posing as tools for security or account verification. If you receive a link to download an app via SMS, email or messaging apps like WhatsApp, do not click on it. Instead, only download apps from trusted sources, such as the Google Play Store. Additionally, carefully review app permissions and avoid granting unnecessary access, particularly to sensitive data like NFC, location or personal contacts.3) Turn off NFC when not in use: NFC, or Near Field Communication, is a useful feature that allows contactless payments and data exchanges. However, it can be exploited by attackers to capture your card information without you even realizing it. To minimize your risk of falling victim to NFC-based malware like SuperCard X, turn off NFC when you're not actively using it. On most Android devices, you can do this by going to "Settings," then "Connected Devices" or "Connection Preferences," where you’ll find the NFC toggle. By disabling NFC, your phone won't transmit data wirelessly, which helps protect your payment card information from being stolen by nearby attackers.4) Keep a close eye on your bank accounts and cards: If your device has come into contact with the SuperCard or anything similar, it’s possible your banking details are already compromised. That’s why it’s important to regularly check your transaction history for anything odd, like a small payment you don’t remember making or a charge from a strange location could be a sign of misuse. If you spot anything suspicious, report it to your bank right away. It’s also worth checking your credit reports every now and then to catch signs of identity theft before they snowball into bigger issues.5) Use a personal data removal service: If scammers have targeted you once, there's a higher chance they’ll try again, especially if your personal details (like your phone number, address or email) are easily found online. Data removal services scan people-search sites and brokers, then request the removal of your info. This reduces your exposure and helps prevent future phishing or social engineering attacks.While no service can guarantee the complete removal of your data from the internet, a data removal service is really a smart choice. They aren’t cheap and neither is your privacy. These services do all the work for you by actively monitoring and systematically erasing your personal information from hundreds of websites. It’s what gives me peace of mind and has proven to be the most effective way to erase your personal data from the internet. By limiting the information available, you reduce the risk of scammers cross-referencing data from breaches with information they might find on the dark web, making it harder for them to target you. Check out my top picks for data removal services here.6) Contact your bank and freeze your cards: If you think you’ve tapped or handled a suspicious card, or if your phone acted strangely afterward, don’t brush it off. Call your bank and let them know what happened. They can freeze your card to stop any unauthorized payments and issue a new one for added safety. You should also ask them to monitor your account more closely for a while. On top of that, place a fraud alert with a credit bureau so no one can easily open a new line of credit in your name.7) Consider enrolling in identity theft protection services: If you've been targeted by a sophisticated scam like SuperCard X, there's a chance your personal information, not just your card data, may be at risk. Identity theft companies can monitor personal information, like your Social Security number, phone number and email address, and alert you if it is being sold on the dark web or being used to open an account. They can also assist you in freezing your bank and credit card accounts to prevent further unauthorized use by criminals. See my tips and best picks on how to protect yourself from identity theft.8) Report the scam to your national cybercrime authority: Whether or not you lost money, reporting the scam helps authorities track emerging threats and warn others. You can report such fraud to the FBI’s Internet Crime Complaint Center or the Federal Trade Commission. Your report could help catch the people behind the scam or at least shut down their infrastructure.Kurt’s key takeawayThe SuperCard X malware campaign represents a significant shift in how cybercriminals are targeting individuals and financial institutions. By exploiting NFC technology and combining it with social engineering tactics, attackers have found a way to bypass traditional fraud detection systems. What's especially concerning is how quickly these attacks unfold, making them harder to detect before the damage is done. As this threat evolves, it's important for both consumers and institutions to recognize the potential risks of these multilayered fraud strategies.Do you think Google is doing enough to protect you from malware? 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.

Mike Kiev - Fotolia News Hacking contest exposes VMware security In what has been described as a historical first, hackers in Berlin have been able to demo successful attacks on the ESXi hypervisor By Cliff Saran, Managing Editor Published: 20 May 2025 16:30 The cyber security team at Broadcom has acknowledged that during the Pwn2Own hacking contest in Berlin in March, there were three successful attacks on the VMware hypervisor.  On March 16, Nguyen Hoang Thach, a security researcher from Star Labs, successfully exploited VMware ESXi. “This is the first time VMware ESXi was exploited in the Pwn2Own hacking event,” Praveen Singh and Monty Ijzerman, from the product security and incident response team in the VMware Cloud Foundation division of Broadcom, wrote on the company’s website.  This is something that has not been achieved before, according to a LinkedIn post by Bob Carver, CEO of Cybersecurity Boardroom. “This was the first time in Pwn2Own’s history, stretching back to 2007, that the hypervisor has been successfully exploited,” he wrote, adding that the hacker was able to deploy a single integer overflow exploit. Singh and Ijzerman also noted that on 17 March, Corentin Bayet, chief technology officer of Reverse Tactics, successfully exploited ESXi by chaining two vulnerabilities. According to Singh and Ijzerman, one of the vulnerabilities used in the exploit was already known. The third successful attack, also on 17 March, was run by Thomas Bouzerar and Etienne Helluy-Lafont, security experts from Synacktiv, who managed to successfully exploit the VMware workstation. Singh and Ijzerman said the team at Broadcom were actively working on the remediation. “We plan to publish a VMware Security Advisory to provide information on updates for the affected products,” they said. Read more VMware stories No workaround leads to more pain for VMware users: There are patches for the latest batch of security alerts from Broadcom, but VMware users on perpetual licences may not have access. VMware patches put spotlight on support: Recent security updates in VMware products have highlighted the challenge IT decision-makers face as they navigate Broadcom licensing changes. While Broadcom has so far committed to providing patches for zero-day exploits, its current strategy to move customers onto VMware Cloud Foundation subscription bundles may leave some VMware users with gaps in their security, especially if their support contract is up for renewal. As Computer Weekly reported earlier this month, Broadcom informed customers it would no longer renew support contracts for VMware products purchased on a perpetual licence basis and that support would only continue for those that moved to a VMware subscription. On 12 May, Broadcom issued a critical security advisory, CVE-2025-22249, which affects the Aria toolset. The Cybersecurity Centre for Belgium said that given the vulnerability requires user interaction, it could be exploited through a phishing attack if a VMware admin clicked on a malicious URL link. “If the user is logged in to their VMware Aria Automation account, the threat actor could gain full control of their account and perform any actions the user has the rights to perform. The vulnerability has a severe impact to the confidentiality and low impact to the integrity of the affected systems,” it warned, urging VMware users to “patch immediately”. Broadcom has issued patches for VMware Aria Automation 8.18.x and version 5.x and 4.x of VMware Cloud Foundation, but it has not provided any workarounds, which means those users running an older version of the tool remain at risk. There are a number of reports that many VMware customers have been sent cease-and-desist emails from Broadcom regarding their perpetual VMware licenses, which demand removal of patches and bug fixes that they may have installed. While details of the successful exploits of the VMware hypervisor have yet to be published, the patches are not yet available, and questions remain as to how widely these will be distributed. In The Current Issue: UK critical systems at risk from ‘digital divide’ created by AI threats UK at risk of Russian cyber and physical attacks as Ukraine seeks peace deal Standard Chartered grounds AI ambitions in data governance Download Current Issue Starburst chews into the fruits of agentic – CW Developer Network Calm settles over digital identity market - for now... (Hark, is that Big Tech on the horizon?) – Computer Weekly Editors Blog View All Blogs

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