This normal-looking acoustic guitar has Bluetooth and an innovative looping function that lets you jam to your own tune.

Amazfit finally made an affordable, attractive watch that made me rethink a fitness trackers value proposition.

Kingman Brewsters Eel Brook House is one of several contemporary contributions to the small town of Fogo Island, Newfoundland, that have appeared subsequent to the successful establishment of the Fogo Island Inn, seen in the distance to the right. Photo by Julian ParkinsonPROJECT Eel Brook House, Fogo Island, NewfoundlandDESIGNER Kingman Brewster StudioTEXT Michael CarrollPHOTOS Alex Fradkin, unless otherwise notedDesigned by Todd Saunders with Sheppard Case Architects, the Fogo Island Inn recently marked a significant milestoneits tenth anniversary. Over the past decade, both the Inn and Fogo Island Arts have become integral to the cultural, economic, and environmental fabric of this remote island (population 2,700) off the northeast coast of Newfoundland. Given that my familys saltbox summer home is in Notre Dame Bay, about 15 nautical miles from Fogo, Ive had the privilege of visiting the island on numerous occasions and observing how contemporary architecture has come to shape this place.The Eel Brook House opens towards the shoreline, where its central structure is supported directly on the exposed bedrock. In contrast, glazing is limited on the street side to maintain privacy. Photo by Alex FradkinThe Fogo Island project, spearheaded by Newfoundland native Zita Cobbs Shorefast Foundation, has been transformative, injecting new life into the islands economy and spurring real estate development. Its model is not dissimilar to other global examples where remote locations have embraced the arts and tourism to fuel redevelopment. Marfa, Texas, and Naoshima Island in Japan come to mind as places that I have visited and have also redefined themselves through the intersection of art, culture, and isolation.Marfa, once a sleepy military base near the U.S.-Mexico border, is now an internationally recognized art destination, largely thanks to the 1996 establishment of the Donald Judd Foundation. The townwith its minimalist galleries, art installations, and hotelshas attracted a creative community that has turned Marfa into a vibrant art colony. Similarly, Naoshima Island, located in the Seto Inland Sea of Japan, has evolved into a cultural hub, transformed from an industrial centre known for copper smelting, shipbuilding, and salt production. Home to just over 3,000 residents, Naoshima has drawn global attention with 10 projects by Tadao Andoincluding the Benesse House art museum, Chichu Art Museum, and the upcoming Naoshima New Museum of Art. Together, these have made the island an architectural and cultural mecca.Fogo Island, like Marfa and Naoshima, exists at the crossroads of the local and the global, the remote and the proximate, the vernacular and the contemporary. Tensions inevitably arise as locals and outsiders interact with the islands distinct geography and culture, while the architecturerooted in tradition, but designed with an eye to the futureacts as a mediator in this evolving dynamic.Over the past several decades, rural Newfoundland has experienced profound changes. Many small outport villages, once thriving with local stores, post offices, small restaurants, gas stations and the like, have dwindled or disappeared altogether. In their place, larger urban centres with suburban box stores have grown. While Fogo Island has experienced some of this broader rural decline, the opening of the Inn and its associated cultural and commercial developments initially spurred hope for renewal. However, in recent years, some businesses that flourished in the Inns wake have closed. For J.K. Contemporary, the designer transformed a historic schoolhouse into a distinctly sculptural presence. Photo courtesy Kingman BrewsterFor J.K. Contemporary, the designer transformed a historic schoolhouse into a distinctly sculptural presence. Photo courtesy Kingman BrewsterOn a trip to Fogo last summer, it was thus a delight to see several new developments on the island. All three projects that caught my eyethe J.K. Contemporary Gallery, the Bangbelly Bistro, and the Eel Brook Housewere authored by a new local designer, Kingman Brewster.Brewster, who studied at Yale and Dalhousie University, moved from New York City to Fogo over a decade ago. As an architectural consultant to Shorefast, he led the design and construction of several key projects on the island. After Shorefasts completion of the Orange Lodge, Fishingmans Hall, and Punt Premises, he decided to continue to live on Fogo with his growing family, and establish a practice here.The J.K. Contemporary is a discrete 24-foot cubic structure with a gable roof, perched on a rocky mount of land. The structure was originally built in 1840 as the St. George Anglican School; its renovation has transformed it into a distinctly contemporary building. From the road, the gallery appears as a looming sculptural structure, with its spruce clapboard walls painted black. The structure opens towards the west with a generous entry area and exterior deck. The east and west end gable walls are each punctuated with a porthole windowa feature that echoes historic local buildingsallowing shafts of sunlight to enter the tall gallery space.Bangbelly Bistro repurposes an existing building. Photo courtesy Kingman BrewsterThe Bangbelly Bistro is named after a Newfoundland boiled pudding consisting of flour, molasses, soda, and seal-fat. It was founded by Ian Sheridan and Caitlyn Terry, who met working at the Fogo Island Inn. The restaurant, which occupies a renovated existing building, first opened in 2018, and has since expanded to include a take-out venue. The renovation features a large open room clad in white-painted wood boards, and adorned with a curated array of objects that create a contemporary yet historic atmosphere.Eel Brook Houses composition is inspired by traditional Newfoundland homesteads composed of a main house with several outbuildings. Photo by Julian ParkinsonThe most architectural of Kingmans body of work to-date is the Eel Brook House. Situated along the main road of Joe Batts Arm, it adjoins a small stream that empties into the nearby harbour. The projects owners, a professional couple from Boston, had visited the Fogo Island Inn on several occasions and had subsequently developed a deep connection to the people, the culture, and the rugged geography of the island. Inspired by the design of the Fogo Island Inn and studios, the couple commissioned Brewster to design them a home that would be both contemporary and contextual. The result is a structure composed of three pavilions, connected by two enclosed walkways and a wraparound deck.The home is inspired by traditional Newfoundland homesteads that were sometimes comprised of a main house and a series of outbuildings that included a store house, a wood house, an outhouse, and even a milk house where perishable items would be stored. In Kingmans scheme, the east-most element is the biscuit boxa two-storey, rectangular 17x 24 structure that contains a ground floor guest room, bathroom and utility room with a second-floor primary bedroom and ensuite bath. The centre stage structure, measuring 16 x 40, contains a large open room with expansive windows and sliding glass doors, allowing access to an expansive cedar deck, and views to the harbour and the North Atlantic beyond, where icebergs from Greenland are often sighted in the spring. This public room includes a kitchen, dining and living area. Built-in cabinetry along the entire south wall of the room includes a fireplace with sheet metal surround.A salvaged barn door seals off a square-plan meditation room from the rest of the home. Photo by Alex FradkinThe third component of the house is the shedan 11 x 11 meditation and exercise room, one step down from a connecting bridge. It features a locally salvaged barn door mounted on a rolling track. When the door is closed, the room becomes cozily insular and removed from the rest of the house. Formally, it is the most experimental of the pavilions: with its flat roof, two small square windows facing the street, and a large, fixed glass unit facing the harbour. One can imagine the magical quality of this room during a storm, with the sea on the horizonor the drama of an aurora borealis, seen from both its windows and large overhead skylight.Interior connections link between the pavilion-like volumes, while giving access to outdoor decks. Photo by Alex FradkinGiven the projects proximity to the street, it feels very private upon entry. Openings along the street side have been limited to 30 square windows, and the two glass-lined bridges that connect the pavilions have been angled obliquely to limit any direct views inside. The houses thermal and acoustic insulation is ensured by its triple-glazed Schco windows and its R-60 super-insulated walls. The exteriors rainscreen, sourced from UAB Degmeda in Lithuania, is composed of shou-sugi-ban-style vertical spruce cladding mounted on battens. The fire-tempered boards meet the roof eaves cleanly, while zero-detailed window surrounds and minimalist exterior railings also contribute to an abstracted form that subtly contrasts with the local vernacular.The living area offers views to the harbour and the North Atlantic beyond. Photo by Alex FradkinIt is refreshing to think that, even in this remote part of the world, contemporary architecture is part of what makes a place feel grounded and real. Remote places like Fogo, Marfa and Naoshima and their effects remind us that architecture can play a significant role in how we perceive and shape a place. If anything, the various architectural projects on Fogo Island are not merely about buildingsbut represent a dialogue about culture, community, and balancing local authenticity with global influences in an increasingly homogenized world. In this desire to seek out places that inspire, it is not surprising that two of Brewsters most recent potential clients come fromwhere else but Marfa, Texas. Just when you think you are in the middle of nowhere, the outside world comes knocking at your door.Michael Carroll, NLAA is a registered Canadian architect based in Atlanta, where he is an Associate Professor of Architecture at Kennesaw State University.CLIENT Janetta Stringfellow and Eric Schwartz | DESIGNER Kingman Brewster | INTERIORS Kingman Brewster Studio | CONTRACTORTriple T Construction | AREA174 m2 | BUDGET Withheld | COMPLETION Spring 2023ENERGY USE INTENSITY (PROJECTED, SEASONAL USE) 35 kWh/m2/year | WATER USE INTENSITY (PROJECTED, SEASONAL USE) 0.3 m3/m2/yearAs appeared in theFebruary 2025issue of Canadian Architect magazine The post The Fogo Island Effect appeared first on Canadian Architect.

Douglas Cardinals design, intended to provide a studio for a composer, is a spiral palisade made of vertical logs.The geometry shuts out external sound, and the space is often used by writers who appreciate its areas for concentration. Photo by Rita TaylorThe Leighton Artist Studios (originally the Leighton Artists Colony) at Banff Centre for Arts and Creativity stands as a rare example of architecturally designed artist studios within a public institution. Opened in 1985, the original commission consisted of eight standalone studios, each designed by a different architect, and included retreats for writers, composers and visual artists. (Two additional studios were later added, one in 1988 and the other in 2009.) Forty years later, they remain actively used, and offer a vital exploration of how architecture can nurture the creative work of artists.In 1983, at the height of a global recession, Banff Centre circulated a call for proposals among a prominent long-list of architects across Canada, soliciting sensitive architectural solutions to the problem of designing a workspace which facilitates the creative processes of other artists. Banff Centre leadership encouraged design concepts that were innovative and expressive, in addition to being functional and meeting the challenges of this unique site.The architects selected for the commission were a veritable whos who: Douglas Cardinal (Edmonton), Ian Davidson (Vancouver), Michael Evamy (Calgary), Guy Grin-Lajoie (Montreal), Peter Hemingway (Vancouver), Richard Henriquez (Vancouver), Ron Thom (Toronto), and Fred Valentine (Calgary). The group of studios they crafted would be named to honour David and Peggy Leighton. David Leighton was President of Banff Centre from 1970 to 1982. Together, they were a remarkable couple credited with turning Banff Centre into a year-round, world-class institution. As architectural critic Stephanie White commented at the time, the assigning of eight small buildings on one site to eight separate architects was highly untraditional but it demonstrated Banff Centres commitment to respecting individual creativity and human need. She noted further, usually the need for buildings is perceived, but not the need for architecture, remarking upon the design consideration given to the commissioning of these studios.The circular Hemingway Studio offers a place of focus for writers. Photo by Donald LeeWriters retreatsThe Leighton Artist Studios are set away from the more bustling areas of the Banff Centre campus in a secluded, forested area, entered by way of a simple timber-and-concrete footbridge designed by artist Les Manning (c.1985, rebuilt in 2023). As a group of buildings, each studio is distinctive, but they appear cohesive as a group of small-scale, mostly wood constructions.The design of the studios provides a snapshot of Canadian architecture at the time, and especially the influence of postmodernism. The studios reference an eclectic array of places and objects that communicate a concept of retreat, nodding to the cabin, lakehouse, cathedral, boat, and mountain, as well as to seashells and crystals. Even within their modest footprintsvarying from 300 square feet for a writers studio to 600 square feet for a visual arts studioeach studio delineates spaces of pause, spaces of movement, spaces for the imagination. The designs are not simply concerned with housing technical and material processes, but prioritize ideas of artistic labour that involve the mind, imagination and spirit. As a group, the studios explore and validate the solitary, behind-the-scenes processes that underlie much creative work.For example, the circular floorplan of the Hemingway Studio, designed for writers, provides an elegant sense of containment and focus. Writers working in this studio comment on how the loftiness of the conical ceiling above the primary workspace invites a heightened sense of thought, supporting concentration. A private outdoor deck offers a serene space for reading and contemplation. The kitchen and washroom amenities buffer noise from the entry side of the studio, creating a sense of threshold and providing privacy.The Evamy Studios dynamic prismatic geometry reflects the varied stages of the creative process. Photo by Rita TaylorMichael Evamys drawing for the east elevation of his studio, designed for a writer. Banff Centre for Arts and Creativity archivesThe Evamy Studio, also designed for a writer, is one of the more ambitiousand eccentricdesigns. From the front elevation, the studio appears as a modest cabin. But the interior experience is one of being inside a glass crystal, with a complex prismatic roof arrayed with skylights. Angled windows positioned above and around the artists workspace create an immersive experience of the forestthe space is anchored to the ground, yet open to the sky and sheltered by the trees. In a subtle way, the glazing organizes the studio interior, providing space for the many possible moods of the artistfrom stillness and respite, to restlessness, curiosity and wonderechoing different aspects of the creative process.The Henriquez Studio occupies a converted boat. Photo by Rita TaylorBy contrast, the Henriquez Studio, also a writers studio, is a restored and re-purposed fishing boat mounted on a wooden cradle, with a pitched acrylic roof overhead. It is an idiosyncratic found object, re-framed as architecture and presented in such a way as to offer novelty and inspiration. While the physical dimensions of the boat are constrained, this studio offers space for imagination: windows above the custom writing bench offer a sense of openness and possibility, a pull-out bunk opposite a small galley invites the writer to recline and read or dream. Deck chairs offer space in the sun.Each of these writers studios deploys very different strategies to slow time, deter distraction, and support focus. Their interior furnishings regulate postures of the artists body at work, typically prioritizing various modes of sitting: on an office chair, couch or deckchair; working with eyes down or eyes straight ahead. Windows and skylights mediate the artists relationship to the outside world; natural light contributes towards creating atmospheres that suggest a frame of mind.Douglas Cardinals design, intended to provide a studio for a composer, is a spiral palisade made of vertical logs.The geometry shuts out external sound, and the space is often used by writers who appreciate its areas for concentration. Photo by Rita TaylorCardinal Studio, plan. Banff Centre for Arts and Creativity archivesThe Cardinal Studio was intended for a composer, but is often used by writers. It takes the form of a spiral palisade constructed of heavy vertical logs. It is almost entirely enclosed, save for southwest-facing, full-height windows providing views and light. Conceptually, the spiral form of the studio refers to a seashell, an introverted design that shuts out external noise and disperses internal sounds. However, this studio also has the feeling of a sweatlodge with its single-wide entry and sense of weighty enclosure. While Douglas Cardinal, the only Indigenous architect included in the commission, did not name the sweatlodge in his design, his unique vision and approach produces an almost cave-like interior experience, oriented towards the setting sun and protected from the harsh cold of the winters. Cardinals studio offers a counterpoint to the cabin-like, post-and-beam designs that are more prevalent among the Leighton Studios.The Thom Studio includes north-facing skylights. Photo by Rita TaylorPainters lightA common theme throughout the architecture is the prioritization of introversion and privacy as necessary for an artist to be immersed in their work. Each studio is self-contained, with kitchenette and washroom. (Artists do not sleep in these studios; accommodations are provided elsewhere on campus). The main doors, windows and patios to each of the studios are oriented to face away from one anotherand away from the main path through the sitefurther signaling withdrawal and retreat. The luxury of solitude combined with the quietness of nature creates spaces conducive to focused workspaces that allow the mind and imagination to flow freely without intrusion, distraction, judgement, or the pressure to present.Two visual arts studios elaborate on these ideas. The Gerin-Lajoie Studio, with its high roofline that echoes the angles of nearby Rundle Mountain, is a relatively spacious studio whose design and layout anticipates use by a painter. A long wall with east-facing skylights provides an obvious vertical surface for canvas painting at large scale. A seating area opposite, beneath a picture window, provides light and viewing distance to step back, sit down and contemplate the days work. Although few visual artists today maintain a painting practice in the way that the architecture of this studio implies, the generous spatial volume and controlled light accommodates a range of visual arts and inter-disciplinary practices.The Thom Studio, which draws on the typology of a lakehouse, also proves itself as an enduring studio design for visual artists, providing long walls and skylights for indirect north light. Its square floorplan allows flexibility for visual artists to organize the space in accordance with the needs of their practice, whether they are working across vertical and horizontal surfaces or three-dimensionally, with sufficient viewing distance to assess works in progress. It also offers a feeling of centredness and stability, conducive to long periods of concentrated work. The understated interior arrangement of this studio maximizes studio space, with a narrow kitchenette and washroom at the front, and glass doors leading onto a small private porch at back, facing a narrow ravine where deer and elk often find shelter.An overall view of the Leighton Studios, with the Valentine Studio in the foreground. Photo by Rita TaylorComposers studiosTwo studios designed for composers complete the architectural commission. The Davidson Studio, with a small enclosed vestibule on the north side of the building, is organized on a diagonal, directing users of this studio towards framed views. It organizes amenities at the points of a star-shaped plan, maximizing floor space and providing flexibility of use. An offset entry vestibule adds to a sense of privacy, separating the main space of the studio from the front door.The Valentine Studio, also for a composer or musician, nods to a larger Fred Valentine-designed building on campus that was designed almost concurrentlythe Jeanne and Peter Lougheed building, opened in 1988, housing Banff Centres new media studios and production facilities. Both of these buildings draw on the typology of a cathedral, with a gabled roofline supported by trusses and featuring clerestory windows. While the larger building includes studios and production facilities arranged over three floors around a central enclosed walkway, the Valentine Studio is organized along a nave and transept arrangement. The apse area of the cathedral-like plan is enclosed by floor-to-ceiling windows and comprises the primary workspace for the artist. This studio would seem to make a spiritual analogy between the idea of a church and the nature of an artists work, indicative of the reverence with which these studios were designed as special places for creative work.Building for creativity, building for the futureWhat is common to each of these designs is a sensitivity and attunement to the introverted, mind-focused, idea-based nature of creative work, and thereby the need for spaces that support both concentration and inspiration. Each architect has brought their personality and creative expression to the interpretation of the brief, offering distinct ideas about what an artist is and the specific conditions that would nurture their work.Sometimes these interpretations are limiting, but they reflect prevailing ideas and biases of the time. For example, it is necessary to point out the predominantly white, male view of art and architecture embodied by these buildingswhereas the majority of todays participants in Leighton Studio programs are women, and increasingly, Indigenous and racialized women who juggle simultaneously a range of artistic, professional and care-giving responsibilities. Also notable is the lack of discourse at the time about ideas of place and place-based typologiesmany of the architectural concepts presented in these designs refer to places other than Banff. The fields of art and architecture have changed in the past 40 years, and continue to need to change.All the sameand given that artists are increasingly working at their kitchen tables or sharing studio spaces in contexts of increasing rental precaritythe Leighton Artist Studios refer to an understanding and valuing of what artists do, and the conditions needed to support creative work. A residency in one of these studios continues to be a deeply validating experience for artists, providing them with the space, time and solitude necessary to be fully immersed in their work, and to realize their creative potential.Haema Sivanesan is Director, Leighton Artist Studios and Program Partnerships at Banff Centre for Arts and Creativity.As appeared in theFebruary 2025issue of Canadian Architect magazine The post Forty Years On: The Leighton Artist Studios appeared first on Canadian Architect.

In 2008, Mortis Ghost made a game with his friend, composer Alias Conrad Coldwood. It was a surreal roleplaying game about a baseball player fighting ghosts called Off. He shared it for free on a French-speaking forum, where it garnered a small audience. One player was a French artist who was inspired to make a piece of fan art, which she shared with her then-girlfriend. I was very intrigued, says Quinn K, now a writer and game developer. At the time, she was a 15-year-old living in Austria who had no idea how influential Off would be for her, nor she for Off.After beating the game, K lay awake at night thinking about the ending. Something had gotten its hooks in me, she says. Wanting to show it to more friends, she resolved to translate the game from French to English neither of which were her first language. I wasnt the right person for the job, she says. I was just the person that did it.Fan translation for games is often a tricky process, not just because of linguistics but also technical limitations and potential copyright claims by the original developers. But K knew it was possible to make her version work because there was already a partial translation, and when she contacted Ghost, he gave his approval. With the help of some friends in proofreading and asset creation, she put together a translation of the 10-ish-hour RPG by 2011. She posted it on the forums for a website called Starmen.net, which was popular among fans of the Mother / EarthBound series. K was partially inspired by a Mother 3 translation, and other Mother fans quickly connected with the similar vibes in Off. After the initial release, K put out an improved version in 2012. By 2013, Off was an astonishing success, says Ghost, with users who discovered it on the Starmen forums spreading it via fan creations like art and cosplay to DeviantArt and Tumblr. On the latter, it was the sixth-most-talked-about game of the year, behind major franchises like Pokmon, Animal Crossing, Kingdom Hearts, The Legend of Zelda, and Mass Effect. Unlike those established hits, Off was free, spread only through word of mouth, and was still clearly finding a devoted audience.Despite its popularity, K was aware that the translation wasnt perfect. A lot of people rip [it], and I get why, she says. It was full of very severe flaws, just born from the fact that Im neither an English native speaker nor a French native speaker. So it was possible to make mistakes in both languages. There were also other fans making their own translations or patches that added to Ks work. One of these, released in 2017 by artist Lady Saytenn, added an option for the batter to be referred to with they / them pronouns.It was full of very severe flawsThat inspired me so much, says K. Having had a few years of space from Off, and having improved in both English and French as well as grown a bit wiser as a person, she embarked on making a third version of her translation. This time, she collaborated directly with Lady Saytenn, as well as another artist who created image assets, Rosie Brewster.K categorizes the second translation as the one that most millennials have played, while the third reached a younger wave of fans. K says that she was actually surprised to find that many people who encountered Off through the third translation hold it in high regard because back when it first came out, that translation was not particularly popular.Some changes were straightforward, like correcting pop culture references that K had been unaware of, as well as an error where she had interpreted the French word femme as wife, rather than woman. It can mean either, but Ks choice changed the implication of a key line, and Ghost let her know it wasnt what he originally intended.Image: FangamerHowever, some fans felt that the newest translation was overly sanitized; K says she deliberately made some characters a little less crass since a big sign of an inexperienced translator is swearing a lot. She also removed an instance of the R-slur, which upset some edgy people. More nuanced was the shift to clearer language and a tendency to stick more closely to the original lines. The 2.0 translation had been vague and sometimes confusing in a way that players appreciated; it seemed to reflect the atmosphere of the game. The little weirdnesses [in the 2.0 translation] really twist the knife on how strange and off putting the world of the game is, says K.Im excited to rediscover the game.But some of that was down to Ks imperfect French and English, so in the third version, she chose to clarify some lines, leading some players to feel that she had removed an aspect of whimsy and poetry that they had actually enjoyed. These are tensions inherent to the act of translation, which is always adaptive. Now that Off is getting an official remaster, there will be a fourth version later this year, and its not clear how theyll balance clarity and atmosphere, as well as its own adaptation, with Ks. The announcement was careful to acknowledge Ks work and says that the remaster will be based on Ks translation. Shes also been paid for what was once years of fan labor. But it does seem that the script is in the process of being readapted by professional localizers. (Publisher Fangamer did not respond to requests for confirmation.)For K, the readaptation is a good thing. The one thing I can say from everything Ive seen of their updated version of the translation is theyve improved it in every conceivable way, she says. Im excited to rediscover the game.Image: FangamerOn the other hand, its a strange feeling to be most well known for the work that you did on somebody elses work, says K, who has made several of her own games and is now working on Blanksword, a roguelike RPG very strongly inspired by Off. Ghost, too, says hes changed a lot in the 17 years since Offs original release. I am of course very proud to have produced a game that has touched so many people, but I think that the game now belongs much more to the community, he says. He is currently working on a new game called Help.The remake wont just feature an improved script but will also have updated combat mechanics, new animations, and some additional content written by Ghost. The goal was to completely preserve the original atmosphere, while polishing everything that could be [polished], he says. As with all remakes, this will be a difficult balancing act; adding in the complex adaptive work of translation, there will always be divided opinions over which of the now four major versions is the best.But Ks efforts undeniably made Off what it is today, and the remake acknowledging and building on that history is a rare step in an industry where fan translations are usually unacknowledged at best and taken down at worst.See More:

While your Windows computer should be pretty well locked down with a password or maybe even some kind of biometric protection, its impossible to guarantee that no one else is ever going to get access to it, whether its a thief swiping your unlocked laptop from a coffee shop or one of your kids wanting to play a few games while youre doing something else. Whatever the reason, knowing how to hide files and folders from view can be really useful. These files wont pop up during normal file browsing, and theyll be difficult to find even if someone is specifically looking for them.And youve got a choice of ways to go about it, ranging from features built into File Explorer to third-party options.Using Windows File ExplorerYou can hide files and folders inside File Explorer. Screenshot: MicrosoftBy default, Windows File Explorer hides certain files and folders from view. Typically, these are important system files, which shouldnt be accessed or edited. You can see these files and folders if you want to:From any File Explorer window, click the three dots in the top toolbar.Click Options on the menu that pops up.On the View tab, enable Show hidden files, folders and drives.Click OK to confirm.To hide any of your own files or folders:Right-click on the file or folder.Choose Properties from the context menu.On the General tab, check the Hidden box.Click OK to confirm.As long as File Explorer is configured to not show hidden files and folders, the items youve selected wont be visible. This applies wherever File Explorer is used so in dialogs for opening files inside applications, for example.Its a quick and easy way of protecting files and folders you dont want to be seen, but its hardly the most secure anyone who knows their way around File Explorer will be able to get it to show hidden files again. If you need something more comprehensive, youll have to turn to a third-party tool.Using Folder LockFolder Lock protects selected files and folders with a password. Screenshot: NewSoftwares.netThere are several third-party tools to pick from here, which dont so much hide your files and folders as lock them from view. If someone accesses your Windows system, theyll be able to see that something is hidden, but theyre not going to be able to get at whatever youve locked away.The best option Ive used personally is Folder Lock. Its straightforward and reliable, and while there is a Pro version you can get for $39.95, the free version will be enough for most people. You get 1GB of space inside your locker, and you can keep it synced between two devices.During the setup process, youll be asked where you want to store your locker. Its a good idea to have it buried deep in some subfolders rather than sitting somewhere prominent like the desktop. You also need to specify an email address and password for gaining access to your digital locker.If Folder Lock isnt running, your locker wont be visible in File Explorer. To add files to your locker and see what youve stored in it, launch the app from the Start menu and log in. By default, your locker automatically opens in File Explorer (in settings, you can change it so its sitting on your homescreen instead if you want):Drag files and folders into your locker folder to hide them.Double-click on locked files and folders to open them.To hide everything, click Lock on the Folder Lock panel.Whenever your locker is open, it works like any other folder in Windows. You can delete files, duplicate files, and copy and paste them in the normal way. As soon as you lock it or close Folder Lock, they vanish from view.The program also includes a Secrets section, where you can store passwords, notes, and credit card information, and a Safeguard feature for securely shredding digital files (overwriting them with random data, essentially).Everything is encrypted using AES 256-bit encryption and you can back up your locker to a cloud storage service (such as OneDrive, Google Drive, or Dropbox) for extra peace of mind.See More:

Scrap Raylib Powered Visual Programming Language / News / February 1, 2025 / No Code, Programming LanguageThere is a new Visual Programming language available, Scrap. It is a free and open source (GPL v3 licensed) project that is heavily inspired by the Scratch programming language, which was made using the excellent C/C++ Raylib game framework. The big difference between Scrap and Scratch is a focus on advanced users and performance.Key differences of Scrap from Scratch include:Faster runtime (Still not faster than Turbowarp because Scrap is interpretedfor now)The addition of separate else if, else blocks (C-end blocks as i call them), which eliminates a lot of nested checks with if-else blocks (i.e. more flexible variant of if-else block in Snap!)Variables can have a lifetime, which avoids variable name conflicts and allows to make temporary variablesCustom blocks can return values and can be used as an argument for other blockVarious string manipulation blocks and bitwise operator blocksData type conversion functionsMore strict checks for [[] = []] and [[] != []] blocks. Now they are case sensitive and will check data type for equalityLists are now a data type instead of a different type of variable, this allows nesting lists inside a list (although its not very convenient as of right now)The code runs in a separate thread. This solves some performance issues compared to ScratchModularized interface. Most of the interface can be rearranged or moved to another tabScrap is available on Windows and Linux.Key LinksScrap GitHubScrap DownloadsRaylib FrameworkYou can learn more about Scrap in the video below.

Developing AI agents capable of independent decision-making, especially for multi-step tasks, is a significant challenge. DeepSeekAI, a leader in advancing large language models and reinforcement learning, focuses on enabling AI to process information, predict outcomes, and adjust actions as situations evolve. It underlines the importance of proper reasoning in dynamic settings. The new development from DeepSeekAI captures state-of-the-art methods in reinforcement learning, large language models, and agent-based decision-making to ensure that it stays on top of the current AI research and applications. It deals with many common problems, such as decision-making inconsistencies, long-term planning issues, and the inability to adapt to changing conditions. However, AI can take suboptimal actions or even commit errors without a proper reasoning mechanism.Many AI training methodologies suffer from problems of inconsistent processing, which, in turn, leads to errors on tasks that necessitate multiple decision-making rounds. These approaches do not describe an environment that, through the action of AI, provides a complete understanding of the consequences, due to which results are unanalyzed and obscure. Also, training is implemented in a step-by-step procedure by which there are breaks in learning sequences, and reward functions become unstable, resulting in the lack of suitable long-term policy development. Therefore, decision and problem-solving systems become inefficient and ineffective. The DeepSeekAI solves this dilemma by providing more integrated and well-streamlined training, helping AI make good, consistent, dependable decisions while quickly adapting to new environments.Meet RAGEN, the first reproduction of DeepSeek-R1(-Zero) methods for training agentic models, to address challenges in training AI agents for multi-step reasoning and real-world tasks. DeepSeekAI, known for its advancements in large language models and reinforcement learning, developed DeepSeek-R1 to enhance agentic reasoning through structured training. Unlike other methods that struggle with inconsistent batch processing, limited planning, and unstable rewards, RAGEN streamlines training using a two-phase approach: a rollout phase where environment states and model-generated reasoning tokens are processed together and an update phase where only critical tokens (actions and rewards) contribute to learning, ensuring stable batch rollouts and improving decision-making. The framework efficiently prevents instability from variable sequence lengths by generating reasoning and action tokens during rollout, executing only actions in the environment, and reinforcing strategic planning through reward aggregation in the update phase. Tested on the Sokoban puzzle environment, RAGEN showed that smaller models perform comparably to larger ones and that models without explicit instructions adapt well. RAGEN enhances sequential decision-making by reproducing DeepSeek-R1s training methodology, making it valuable for applications like logistics automation and AI assistants.RAGEN enhances the training of AI agents by eliminating inconsistent decision-making, unstable rewards, and planning limitations. By mimicking DeepSeek-R1s approach, it guarantees stable learning and better adaptability. Tested on the Sokoban puzzle, it showed that smaller models perform well as an efficiency indicator. As a baseline for future research, RAGEN can help refine AI training methods, improve reinforcement learning, and support advancements in general-purpose AI systems.Check out the GitHub Page. All credit for this research goes to the researchers of this project. Also,dont forget to follow us onTwitter and join ourTelegram Channel andLinkedIn Group. Dont Forget to join our70k+ ML SubReddit.(Promoted) Divyesh Vitthal JawkhedeDivyesh is a consulting intern at Marktechpost. He is pursuing a BTech in Agricultural and Food Engineering from the Indian Institute of Technology, Kharagpur. He is a Data Science and Machine learning enthusiast who wants to integrate these leading technologies into the agricultural domain and solve challenges.Divyesh Vitthal Jawkhedehttps://www.marktechpost.com/author/divyesh-jawkhede/Light3R-SfM: A Scalable and Efficient Feed-Forward Approach to Structure-from-MotionDivyesh Vitthal Jawkhedehttps://www.marktechpost.com/author/divyesh-jawkhede/Quantization Space Utilization Rate (QSUR): A Novel Post-Training Quantization Method Designed to Enhance the Efficiency of Large Language Models (LLMs)Divyesh Vitthal Jawkhedehttps://www.marktechpost.com/author/divyesh-jawkhede/ByteDance Introduces UI-TARS: A Native GUI Agent Model that Integrates Perception, Action, Reasoning, and Memory into a Scalable and Adaptive FrameworkDivyesh Vitthal Jawkhedehttps://www.marktechpost.com/author/divyesh-jawkhede/Alibaba Researchers Propose VideoLLaMA 3: An Advanced Multimodal Foundation Model for Image and Video Understanding [Recommended] Join Our Telegram Channel

A German startup plans to jumpstart European EVs with an AI-powered brain.Sphere Energy built the system to simulate battery behaviour. The company then predicts a power sources lifetime in numerous scenarios, from driving styles to temperatures on the road.According to Sphere, the insights shrink the battery testing cycle by at least a year. Developing a car, meanwhile, could be completed at least twice as quickly.Sphere envisions endless benefits: manufacturers will save millions, car prices will plummet, and innovations will increase at exponential rates.The startups co-founder, Lukas Lutz, said the plans are unprecedented.The of EU techThe latest rumblings from the EU tech scene, a story from our wise ol' founder Boris, and some questionable AI art. It's free, every week, in your inbox. Sign up now!Nobody right now not even Tesla can accurately estimate the lifetime of their battery, Lutz told TNW. This is something that will be really groundbreaking.A lifeline for European EVs?Sphere unveiled the project last month at the IBM Research Lab in Switzerland.In a futuristic facility overlooking Lake Zurich, the startup introduced an AI brain called Batty.Batty was initially trained on years of testing data from over 1,000 batteries. Car manufacturers also mix in their own information. The system then simulates a specific batterys life under various conditions.Customers can test the effects of speeding down motorways and crawling around mountains, applying fast and slow chargers, driving in searing summers and freezing winters. Every aspect will impact the batterys degradation.The systems power derives from the transformer architecture the founding stone of todays large language models (LLMs). But Spheres approach doesnt rely solely on text. The startup extends the models scope by integrating time-series data. As a result, the system can simulate a batterys behaviour over years.The approach adds a new twist to the LLM paradigm. While a chatbot predicts the next best word, Batty will predict the next best data point.Car companies have been impressed by the results. According to Sphere, the majority of European manufacturers have already used the tech.Batty could provide a vital boost to the continents EV makers, which are rapidly losing market share to their Chinese rivals.Battery development is a huge pain for them and it shouldnt be, Lutz said. We really want to take away the burden.But batteries are just the start of Spheres ambitions. The company envisions simulating endless energy applications, from electric boats to grid storage.Alongside IBM, the startup is also exploring new levels of simulating batteries.With these foundation AI models, we understand atomic level behaviour intrinsically, Lutz said. But we want to go sub-atomic with quantum. Story by Thomas Macaulay Managing editor Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he e (show all) Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he enjoys playing chess (badly) and the guitar (even worse). Get the TNW newsletterGet the most important tech news in your inbox each week.Also tagged with

The rapid spread of artificial intelligence has people wondering: whos most likely to embrace AI in their daily lives? Many assume its the tech-savvy those who understand how AI works who are most eager to adopt it.Surprisingly, our new research (published in the Journal of Marketing) finds the opposite. People with less knowledge about AI are actually more open to using the technology. We call this difference in adoption propensity the lower literacy-higher receptivity link.This link shows up across different groups, settings, and even countries. For instance, our analysis of data from market research company Ipsos spanning 27 countries reveals that people in nations with lower average AI literacy are more receptive towards AI adoption than those in nations with higher literacy.Similarly, our survey of US undergraduate students finds that those with less understanding of AI are more likely to indicate using it for tasks like academic assignments.The reason behind this link lies in how AI now performs tasks we once thought only humans could do. When AI creates a piece of art, writes a heartfelt response or plays a musical instrument, it can feel almost magical like its crossing into human territory.Of course, AI doesnt actually possess human qualities. A chatbot might generate an empathetic response, but it doesnt feel empathy. People with more technical knowledge about AI understand this.They know how algorithms (sets of mathematical rules used by computers to carry out particular tasks), training data (used to improve how an AI system works) and computational models operate. This makes the technology less mysterious.On the other hand, those with less understanding may see AI as magical and awe inspiring. We suggest this sense of magic makes them more open to using AI tools.Our studies show this lower literacy-higher receptivity link is strongest for using AI tools in areas people associate with human traits, like providing emotional support or counselling. When it comes to tasks that dont evoke the same sense of human-like qualities such as analysing test results the pattern flips. People with higher AI literacy are more receptive to these uses because they focus on AIs efficiency, rather than any magical qualities.Its not about capability, fear, or ethicsInterestingly, this link between lower literacy and higher receptivity persists even though people with lower AI literacy are more likely to view AI as less capable, less ethical, and even a bit scary. Their openness to AI seems to stem from their sense of wonder about what it can do, despite these perceived drawbacks.This finding offers new insights into why people respond so differently to emerging technologies. Some studies suggest consumers favour new tech, a phenomenon called algorithm appreciation, while others show scepticism, or algorithm aversion. Our research points to perceptions of AIs magicalness as a key factor shaping these reactions.These insights pose a challenge for policymakers and educators. Efforts to boost AI literacy might unintentionally dampen peoples enthusiasm for using AI by making it seem less magical. This creates a tricky balance between helping people understand AI and keeping them open to its adoption.To make the most of AIs potential, businesses, educators and policymakers need to strike this balance. By understanding how perceptions of magicalness shape peoples openness to AI, we can help develop and deploy new AI-based products and services that take the way people view AI into account, and help them understand the benefits and risks of AI.And ideally, this will happen without causing a loss of the awe that inspires many people to embrace this new technology.Chiara Longoni, Associate Professor, Marketing and Social Science, Bocconi University; Gil Appel, Assistant Professor of Marketing, School of Business, George Washington University, and Stephanie Tully, Associate Professor of Marketing, USC Marshall School of Business, University of Southern CaliforniaThis article is republished from The Conversation under a Creative Commons license. Read the original article. Story by The Conversation An independent news and commentary website produced by academics and journalists. An independent news and commentary website produced by academics and journalists. Get the TNW newsletterGet the most important tech news in your inbox each week.Also tagged with