Tutorial: How to Quickly Add Window Lights to 3D Buildings Modern Cityscape Collection: www.thepixellab.net/modern-cityscape-collectionWant to have your 3D buildings light up at night? It's easy!What will we learn in this tutorial?Modern Cityscape Collection: www.thepixellab.net/modern-cityscape-collectionWindow textures: ambientcg.comIn this quick tutorial, Ill show you how to make your windows glow and light up realistically in 3D renders when you go to night time mode.Its super easy, but the results are great. I hope you learn something new! This will be in Octane and Cinema 4D but you can replicate this easily in any 3D app or render engine. Good luck!Want to get this building plus a ton of other ones? Check out Modern Cityscape Collection:Learn More HereWant More Quick Tips?If you want more of these, head to our YouTube channel, leave a comment, and subscribe!Leave a Comment and Subscribe Here

Crpatos House | Rafael GamoThe evolution of contemporary residential architecture is increasingly defined by the negotiation between built form and its immediate environment. Crpatos, a residence designed by Ignacio Urquiza Arquitectos in Mexico City, is a refined exercise in this dialogue. Working within strict urban constraints, the project utilizes spatial voids, material transparency, and an integrated landscape strategy to dissolve the boundaries between interior and exterior. Crpatos House Technical InformationArchitects1-11: Ignacio Urquiza Arquitectos Interior Design: Vieyra EstudioLocation: Mexico City, MexicoSite Area: 400 mBuilt Area: 700 mConstruction Year: 2022Photographs: Rafael Gamo, Estudio Urquiza (Ignacio Urquiza), Arturo ArrietaThe intention is to camouflage the house with the immediate surroundings; the glazing system, along with the light gray stucco, calms the light in the interior and gives the cold and rigid volume a feeling of unexpected warmth. Ignacio Urquiza ArquitectosCrpatos House PhotographsAerial View | Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael Gamo Rafael GamoCrpatos House Design IntentSituated in a low-density residential district of Mexico City, Crpatos responds to zoning regulations that limit construction to one residence per 1,000 m. However, the sitesubdivided prior to these restrictionspresents unique spatial challenges, measuring only 10 meters in width and 40 meters in depth. These dimensional constraints, coupled with stringent setback requirements (5 meters at the front and rear, 3 meters on the sides), dictated the volumetric configuration of the house.Rather than viewing these regulations as limitations, the design team leveraged them as generative forces shaping the architectural strategy. The intent was to maximize interior space while fostering a seamless relationship with the exterior. A perimeter gardenconceived as a cloud forestenvelops the structure, creating a microclimate that regulates temperature and enhances the sensory experience of the home. At the center, a vertical courtyard introduces another layer of permeability, reinforcing the dialogue between enclosure and openness.Spatial Organization and Architectural CompositionThe house is organized across four levels, each responding to a specific programmatic function while maintaining a cohesive spatial narrative. The basement accommodates auxiliary spaces such as a gym, office, childrens play area, and wine cellarfunctions that require privacy and thermal stability.On the ground floor, the homes social areas are arranged in direct relationship with the surrounding garden, emphasizing fluid movement and a sense of expansiveness within the narrow site. The second floor houses three bedrooms, structured around the central void to ensure natural ventilation and daylight penetration. Above, the rooftop terrace extends the living space, integrating play areas for children and offering panoramic views over the surrounding urban fabric.Circulation within Crpatos is defined by a sequence of voidsboth horizontal and verticalthat fragment the houses massing. Double-height spaces, bridges, and covered terraces introduce a dynamic interplay of compression and release, allowing occupants to experience an ever-shifting perception of volume and enclosure. This strategy mitigates the inherent rigidity of the box-like form, creating a simultaneously structured and fluid architecture.Materiality, Light, and PerceptionA duality between solidity and lightness, opacity and reflection characterizes material selection in Crpatos. The primary structural framework consists of steel, chosen for its capacity to enable large spans while maintaining a degree of visual lightness. Glass, in turn, is deployed not merely as a means of enclosure but as an active participant in the buildings atmospheric conditions. The blue-green tinted glazing functions as a reflective surface, capturing the sky, landscape, and adjacent structures, thereby transforming the house throughout the day.The faades stucco finish, rendered in a subdued gray tone, interacts with light to soften the structures materiality. This muted palette was deliberately selected from Le Corbusiers Pantone series, chosen to harmonize with the lush greenery of the surrounding landscape. The juxtaposition of raw, industrial materials with softer, organic elements creates a nuanced dialogue between the built environment and nature.Internally, the composition of materials is equally considered. Interior designer Lorena Vieyras layering of texturesranging from polished concrete floors to soft furnishingsproduces an interplay of tactile contrasts. Curtains, used as a mediating element between interior and exterior conditions, modulate light and give the spaces a sense of depth. This careful curation of materials ensures that the house, despite its rigid geometries, maintains a feeling of warmth and inhabitable comfort.Crpatos House PlansGround Floor | Estudio UrquizaUpper Floor | Estudio UrquizaRooftop | Estudio UrquizaLongitudinal Section | Estudio UrquizaSide Elevation | Estudio UrquizaCrpatos House Image GalleryAbout Ignacio UrquizaIgnacio Urquiza is a Mexican architect and founder of IUA Ignacio Urquiza Arquitectos. He isknown for his context-driven approach that integrates structure, materiality, and landscape. His work emphasizes spatial fluidity, natural light, and the relationship between architecture and its surroundings, creating functional and poetic projects.Credits and Additional NotesArchitectural Firm: IUA Ignacio Urquiza ArquitectosArchitect in Charge: Ignacio Urquiza SeoaneLead Architect: Ignacio Urquiza SeoaneDesign Team: Ana Laura Ochoa, Anet Carmona, Michela Lostia di Santa SofiaInterior Design Firm: Vieyra EstudioInterior Designer: Lorena VieyraInterior Design Team: Jimena TrejoStructure: Moncad, Jorge CadenaEngineering: IE Ortega, Enrique OrtegaFirm: Aldaba JardinesLandscape Architect: Thalia Davidoff

Still, Soft, StrongOpposing geometry and materials define Odamis new interior for Hay SushiByKelly Pau March 13, 2025Interiors, International (Kurtis Chen)SHAREThe concrete, industrial box that houses Torontos Hay Sushi Spring Garden location may seem like an odd pairing for a restaurant serving raw, light Japanese fare, but local firmOdamis ongoing practice of merging dichotomies finds the softness in the buildings strong foundations. Located in the ground-floor podium of a 1990s residential tower, the restaurants interior takes its cues from the menus focus on impactful offerings that arent overly decorative. As such, Odami balances the locations industrial nature with contrasting tones to cohere the client identity with the site. The building had formerly undergone years of disparate renovations that lessened its street presence and spatial quality. The architects stripped back the 2,500-square-foot space, choosing to reveal and revel in the locations industrial nature. They restored the concrete floors and walls, and floor-to-ceiling windows. This introduced a heavy geometry to the space given the structural columns and beams now exposed. To lighten these elements, Odami incorporated opposing geometry: circular apertures, arched doorways, curved cocktail bar, and spherical pendants for lighting.Read more about the restaurant on aninteriormag.com. RestaurantsToronto

The Essex County Registry of Deeds and Probate Courthouse on Federal Street in Salem, Massachusetts, was built in 1909 from plans by Boston architect, Clarence Blackall. The Neo-Classical courthouse adds to the rich tapestry of Civic buildings there, showcasing the ever-evolving tastes in architecture as the buildings become more contemporary as you move westward down the street. The two-story granite and cast-stone faced brick masonry building is cross-shaped in plan, consisting of a three-bay wide gable-end entrance with Ionic porch of six fluted columns supporting a dentilled entablature and pediment. The central bay within the entry porch contains a large double-door entrance with elaborate architrave and a scrolling pediment incorporating Classical motifs and a Greek god bust. The building underwent a massive restoration in 2017, and was renamed the Thaddeus Buczko Building after retired First Justice Thaddeus M. Buczko.

PlacesMy Week at the American Sign MuseumReport from this incredible museum, which celebrates its 25th anniversary with a new book this year.Better LettersMar 13, 2025 12 min readLarge-scale neon at the American Sign Museum.When I visited the American Sign Museum in 2015, my ability to focus on the location itself was somewhat overwhelmed by the Letterheads 40 event that was in full swing there. Then, on the last day, we hit the road for the original Better Letters Circus tour, but I swore that one day I'd return.That day came last Monday, when I turned up for a week of research for a book I'm writing to celebrate the museum's 25th anniversary.Pre-Order the Book HereArriving at the museum on the first day I was greeted by this display of local and iconic Cincinnati signage. The Cincinnati Gardens were once a major sports and entertainment venue, and to avoid confusion the final 'S' was moved and augmented for this reinstallation at the museum.It was an incredible week in an incredible place, but I was initially awestruck by everything there was to take in; it was like the 'freeze' from the 'fight, flight, or freeze' responses to threats, but with a positive twist!'Messy vitality' is embedded in the museum's approach to displaying its wares, which at first hits you hard, and then invites you in to take a closer look.After I'd pulled myself together, I got to work on learning everything I could from the exhibits, and the people that have brought it all together. This included time in the expansive library, where I set up my work station for the week, and a trip to the nearby storage facility where there is a vast collection of artefacts queuing up to get into the main buidling.This point-of-purchase sign for Nu-Enamel paints was one of my favourite pieces from the collection of 'one day, maybe' items in the museum's nearby storage facility.Even with a whole week, long days due to jetlag, and an access-all-areas pass, I still feel like I've only scratched the surface of what the museum has to offer. Luckily I'll be back for Letterheads 50 in June, but in the meantime, here's a taste of my week at the American Sign Museum.The LetterwallWhen you first enter the museum, you're greeted by the Letterwall, which provides myriad examples of the materials and production methods used for creating letters and signs.The museum showcases the numerous ways that different materials can be used and combined to create a seemingly endless variety of letterforms.The museum's collections span about one hundred years from 18701970.Painting & GildingThe museum should be a place of pilgrimage for sign painters, with everything from showcards to kit boxes and giant glue-chipped and gilded signs. (I'll follow up on this post with another piece focusing on some more of the 'Ye Olde Sign Shoppe' goodness that I came across.)The intricately gilded and painted portfolio of George C. Brooke dates from 1870, which makes it the oldest item in the museum's displays.Keith Knecht's kit box is one of my favourite items at the museum, and I was able to get a look at the back side on this visit. There will be more from Knecht in 'Meet the Letterheads' in BLAG 07, and I've previously shared even ore kit boxes from the museum.Original sketches from Chicago's Beverly Sign Co. (Check out the new book on the firm, and the feature about them in BLAG 06.)Flick the SwitchThe museum is overflowing with illuminated signs, from early incandescent bulbs to neon and backlit plastics. Their collective brilliance is truly awesome, but there was also something special about seeing them unplugged, including the various details that are only visible this way.With museum founder and curator Tod Swormstedt, checking out some of the details on the huge Howard Johnson's sign that is a centrepiece of the museum's Main Street exhibit.Sign shop salespeople used these portable sample kits to show the variety of colours that can be achieved by combining different glass coatings with either neon or argon (and mercury) in the tubes.Neon in full effect on this 1963 McDonald's sign that features Ronald's predecesor, the Speedy mascot.Signs, signs, signs on Main Street, and every alley that comes off it.This one is from the 1930s and was once illuminated with actual gas flames for PennFuel Gas / Counties Gas Co. Needless to say, it remains switched off for display in the museum.If you're interested in the era of illuminated signs before neon, then museum founder Tod Swormstedt gets deeper into it in his Tod Talks Live! The Lightbulb Era talk, part of the wider 'Tod Talks' series.Main Street DetailsThe flagship exhibit at the museum is the Main Street installation. This blends original signs with complementary shopfronts and displays from contemporary craftspeople. The exhibit was completed in two phases: 2012 for the opening at the current Camp Washington site, and 2024 (profiled in BLAG 06).The Main Street Reunion Project (2012) on YouTube.The opening spread from Mark Oatis' account of the second round of intense activity on Main Street (2024) in BLAG 06.My visit was enriched enormously by getting to spend time on Main Street with some of those that had the vision and the skills to realise it. These were museum founder and curator Tod Swormstedt, the architect Paul Muller, construction maestro Sean Druley, and David & Suze Butler, who brought together and managed the teams that customised each individual shop.Window panel for the jewellers by Noel B. Weber, Elaine Wallis' Snapper's Tavern mural, and concave gilded letters behind glass by Jeff Lang for the tailors.The windows in the shops are then filled with a huge array of smaller items from the museum's collections. These range from DIY sign kits, to point-of-purchase signs, to fun stuff like toys.The Blitz Beer point-of-purchase sign is animated by a rotating disc set behind the outer ring.Justin GreenIn the same display as the toys and games are original drawings from Justin Green's 'Sign Game' series. Sadly I never got to meet Justin on my 2015 visit, but I did see his widow Carol Tyler on this trip. I also passed by some of his work, and the ghost sign that he talks in front of in Sign Painters. (Check out Married to Comics to learn more about Justin, Carol, and their relationship.)"Great Moments in Sign History: When Pathfinder landed this July 4th, its tiny Sojourner robot car went sightseeing across the red planet's surface. Within a month it had located graphic evidence of an ancient civilization. Pictured above is some decaying signage, apparently of a gaming district much like Earth's Las Vegas.Great Moments in Sign History: When Pathfinder landed this July 4th, its tiny Sojourner robot car went sightseeing across the red planet's surface. Within a month it had located graphic evidence of an ancient civilization. Pictured above is some decaying signage, apparently of a gaming district much like Earth's Las Vegas."From the hand of Justin Green at Shake It Records and the Blue Jay Restaurant.As I was taking this photo, a man started making a beeline for me shouting something about photos and cameras, so I made haste in the opposite direction. There's more about this sign in the story of Chuck Keiger who painted it.Lights, Camera, Action!While the whole book team was in town, a local TV station came in to do a live broadcast from the museum. Each of us was interviewed, and of course the signs made the perfect backdrop for shooting.Going live with Jen on Local 12, and the book team. From left: Erin Holland, Natalie Grilli, Ioanna Paraskevopoulos, Jen from Local 12, Kathy Kikkert, and some guy in a Manning Signs t-shirt. Behind us is Bob, the West Coast name for Frisch's iconic 'Big Boy' sign, right in the middle of Main Street.Local 12 interviews American Sign Museum book photographer Natalie Grilli for the morning show, at 25:00 on YouTube. Also available here.Kathy Kikkert and yours truly talking signs and the book for Local 12, at 49:05 on YouTube. Also available here.When Better Letters Met Jenna HomenJenna Homen has been involved with BLAG since the very beginning, and in addition to sub-editing each issue, she now writes the regular 'Shop Talk' column. When I told her about the trip, she hinted that she might try to come along for some of it, and I was chuffed when she followed through on the idea.Jenna Homen and John Cox enjoying the inside of the new Main Street sign shop.Jenna was first out of the blocks with her write-up of her visit, which you can read in full here, including a look at my first ever taste of Cincinnati's famous Chili. It was lovely to hang out, and to do so in such an inspirational location, so thank you for coming Jenna!Team BLAG: Sam Roberts & Jenna Homen.Behind-the-ScenesI have no idea how the museum's founder and curator Tod Swormstedt decides what is included in the public displays, and what gets left outside. (In fact, it's a question I'll be putting to him for the book!) As part of the visit, I was lucky to get to see some of the stuff that isn't on general display.These shelves of antique and vintage sign painting and gilding materials are in the museum's nearby storage facility. There's also plenty like this in the museum itself.Paint, brushes, and metal leaf. The weight of that tin of Dutch Boy white lead was quite something.In addition to a case of gilded samples from Raymond LeBlanc, the museum has the original reverse glass piece that features as a step-by-step in his Gold Leaf Techniques book. This is in founder Tod Swormstedt's office, so knock on his door if you want to get a look.By the time you read this, the inside of Main Street's sign shop may be open to the public. These are some of the pieces in the extensive display of Mike Stevens' showcard and lettering work which now fills two walls. We'll be profiling Stevens and his showcards in BLAG 07.More Mike Stevens.Also in the storage facility is this three-part sign that was painted, and signed, by Mohammad Alis father, Cassius Marcellus Clay Sr. Read the American Sign Museum entry, and check out more celebrity sign painters in this bl.ag online post.Support Your Local LibraryNot surprisingly the museum has a vast library with over a century of publications straddling all aspects of signs and sign making. This includes a full set of bound Signs of the Times magazines dating back to the first issue from 1906. The library was where I set up for the week, and it can be visited by appointment, which I highly recommend.One of two original drawings for Signs of the Times. It's signed H.C. Williamson, NY, 15, which I guess is the year 1915. It doesn't correspond to any of the covers in the period that the magazine had that masthead, so it was either rejected or wasn't intended as a cover design.Aside from some of the classics like Atkinson's Sign Painting and Strong's Book of Designs, this book caught my eye. It was published in 1941 by the Ohio State Conference of Sign and Pictorial Artists' Local Unions to "improve, extend, and develop more business for the benefit of our craft". There are echoes of the 1935 Modernize Main Street publication, although this more recent book contains a series of technical illustrations in the back pages.0:00 /0:09One box I opened had a number of flipbooks inside. These were the 1922 'Instructograph' series, which claimed to be "The First Employment of Moving Pictures in Teaching Show Card Writing". The eight flipbooks, which were later published as a chunky compendium, covered paletting, the basic strokes, and the construction of the letter 'A' shown here.The Instructograph series was published by the American Show Card School in Toronto, Canada.All Play and No WorkThe week was a brilliant way to immerse myself in the museum ahead of knuckling down to write the book. Sometimes work doesn't feel like work, and I'm excited about the next stage of collaborating with the wonderful team that the museum has brought together for this special publication.The American Sign Museum: Celebrating 25 Years will be out in the Autumn/Fall, and is now available for pre-order.Pre-Order the BookEnjoying my work with photographer Natalie Grilli and designer Kathy Kikkert at the Mom 'n 'Em cafe near the American Sign Museum. Photos: Mom 'n 'Em staff.Thank you to everyone that was part of an unforgetable week at the museum: All American Sign Museum Staff; David & Suze Butler; Camp Washington Chili; John Cox; David Greene; Natalie Grilli; Erin Holland; Jen at Local 12; Jenna Homen; Kathy Kikkert; Mark Kissling; Mom 'n 'Em Coffee; Paul Muller; Ioanna Paraskevopoulos; Jesse Sandman; Tod Swormstedt; Carol Tyler; Tom Wartman.More Places

Out Here (we is) (2025), cotton and metallic thread hand embroidered on linen, 16 x 20 inches. All images courtesy of Melissa Caldern, shared with permissionMelissa Caldern Preserves Neighborhood Memories in Bold Textured ThreadMarch 13, 2025ArtCraftGrace EbertOn expanses of beige linen, Melissa Caldern immortalizes pockets of a neighborhood or domestic space. Combining imagery from her childhood in the Bronx with her familys native Puerto Rico, the artist translates familiar landscapes and sights into vivid embroideries, preserving her memories in thread. The intimate compositions capture how neighborhoods and communities change, particularly as long-time residents are displaced. Her current body of work, titled Gentrified Landscapes, explores a place that once was but is now between the two spurts of gentrified-led divestment and revitalization and how this particularly affects the Bronx and Puerto Rico.Villa Nueva (Id Still be Puerto Rican even if born on the Moon) (2024), cotton, nylon, and chenille hand embroidered on linen, 24 x 24 inchesCaldern embraces the potential of thread to add texture and emphasize the more conceptual elements of her work. Villa Nueva (Id Still be Puerto Rican even if born on the Moon), for example, drapes soft, green chenille across the composition like a lush cluster of vines. Prone IV | My Underemployed Life series features a green sofa unraveling into tangled fibers that spill off the canvas.In her studio, Caldern focuses on the meditative, entrancing process of stitching. Works begin with a drawing thats transferred to a pattern and freehand rendered onto the linen. She enjoys the slow, methodical movements, which remind her of times I sewed with my grandmother, making Cabbage Patch Kids clothes to sell on the playground before school started for the day. Embroidery takes me to a calm place where only the process matters.Currently, Caldern is working on a few commissions and preparing for a solo exhibition in Puerto Rico. She also recently began a large-scale work titled Bodega Miles that will stretch 40 inches wide and take more than a year to complete. You can follow her progress on Instagram.Prone IV | My Underemployed Life series (2023), cotton and satin thread hand embroidered on linen, 16 x 20 inchesA work in progressComing Soon (2023), cotton and metallic thread hand embroidered on linen, 16 x 20 inchesEl Tiempo Muerto (The Dead Times) (2023), cotton, and metallic thread hand embroidered on linen, 24 x 24 inchesDetail of Coming Soon (2023), cotton and metallic thread hand embroidered on linen, 16 x 20 inchesNext article

Published March 13, 2025 10:00am EDT close Google Chrome privacy tricks Kurt the CyberGuy explains how to increase your security and privacy through Google Chrome on your devices when browsing the web. Chrome extensions are incredibly useful, whether you want to block ads, track the best deals orenhance your browsing experience. They can be downloaded from the Chrome Web Store, which functions like the Play Store but for extensions. However, extensions are easier to mimic and turn into malicious software compared to apps.As we just reported, over 3.2 million users were victimized by a security breach tied to16 malicious browser extensions, highlighting how attackers exploit tools that seem legitimate to spread malware or steal sensitive data.Now, security researchers have discovered a polymorphic attack that allows malicious Chrome extensions to transform into other browser extensions, including password managers, crypto wallets and banking apps, to steal sensitive information.Keep reading to learn how this attack works and how to protect yourself from it.STAY PROTECTED & INFORMED! GET SECURITY ALERTS & EXPERT TECH TIPS SIGN UP FOR KURTS THE CYBERGUY REPORT NOW Chrome browser on smartphone (Kurt "CyberGuy" Knutsson)How the malicious polymorphic attack worksSecurity researchers atSquareX Labs have found a new attack that lets malicious Chrome extensions disguise themselves as legitimate ones, like password managers, crypto wallets and banking apps, to steal sensitive information. This "polymorphic" attack takes advantage of Chromes extension system to trick users while staying under the radar.The attack starts with hackers uploading what looks like a harmless extension to the Chrome Web Store. It might even have real features, like an AI-powered marketing tool, to convince users to install and pin it to their browser.Once installed, the malicious extension scans the victims browser for other extensions. It can do this in two ways. If it has permission to use the "chrome.management" API, it grabs a list of installed extensions directly. If not, it injects code into web pages to check for unique files or resources tied to certain extensions.If it finds a targeted extension, like 1Password, the malicious extension reports back to an attacker-controlled server. The attacker then tells it to impersonate the real extension by disabling it if permissions allow, changing its name and icon and displaying a fake login popup that looks just like the real thing. Fake extension page (SquareX)Social engineering makes things worseTo steal user credentials, the malicious extension triggers a fake "Session Expired" prompt when the victim tries to log in to a website. This tricks them into thinking they need to reenter their credentials for their password manager or banking app. When they do, the stolen data is sent straight to the attackers.After collecting the credentials, the extension switches back to its original form. It restores the legitimate extension, making everything look normal so the victim doesnt suspect anything. This shows just how dangerous malicious Chrome extensions can be and why stronger security measures are needed to protect users.We reached out to Google, and a spokesperson told CyberGuy,"We appreciate the work of the research community and we've received the report. We are constantly investing in ways to improve the security of the Chrome Web Store, and we take appropriate action when we learn of emerging threats."WHAT IS ARTIFICIAL INTELLIGENCE (AI)? Google Chrome extension on a laptop (Kurt "CyberGuy" Knutsson)5 ways you can protect your personal dataHere are five ways to safeguard your sensitive information and maintain your online privacy.1.Keep your browser and extensions up to date: Outdated software is a goldmine for cybercriminals. Bugs or security gaps in old versions of your browser or extensions can be exploited to inject malicious code, steal data or take control of your system. Updates patch these vulnerabilities, making them a critical line of defense. Turn on automatic updates for your browser (e.g., Chrome, Firefox, Edge) so youre always running the latest version without thinking about it. See my guide onkeeping your devices and apps updated for more information.2. Install extensions only from trusted sources:Official browser stores like the Chrome Web Store or Firefox Add-ons have rules and scans to catch bad actors, but theyre not perfect. Extensions from random websites or third-party downloads are far more likely to hide malware or spyware. Stick to the official store for your browser; dont download extensions from sketchy links.GET FOX BUSINESS ON THE GO BY CLICKING HERE3. Have strong antivirus software:The best way to safeguard yourself from malicious links that install malware, potentially accessing your private information, is to have 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.4. Update your passwords: Change passwords for any accounts that may have been affected by the extension and use unique, strong passwords for each account. Consider using a password manager. This can help you generate and store strong, unique passwords for all your accounts. Get more details about mybest expert-reviewed password managers of 2025 here.5.Invest in personal data removal services: If your personal data gets stolen by the extension, its crucial to act quickly to reduce your risk of identity theft and scams. While no service promises to remove all your data from the internet, having a removal service is great if you want to constantly monitor and automate the process of removing your information from hundreds of sites continuously over a longer period of time.Check out my top picks for data removal services here.Kurts key takeawayThe malicious extension highlights that Google isnt doing enough to keep malware off its platform. Security researchers pointed out that the Chrome Web Store lacks protections against these types of attacks, such as blocking sudden changes to an extensions icon or HTML, or at least alerting users when such changes occur. The problem isnt limited to the Chrome Web Store. The Play Store also hosts malicious apps from time to time, affecting millions of users. Google needs to step up its security efforts and put user privacy front and center.CLICK HERE TO GET THE FOX NEWS APPDo you trust Google to keep malicious apps and extensions off its platforms? 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 toCyberguy.com/Newsletter.Ask Kurt a question or let us know what stories you'd like us to cover.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 Kurts free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

pressmaster - stock.adobe.comNewsGovernment announces inevitable end to Payments Services RegulatorThe government has abolished the Payments Services Regulator and will move responsibilities to Financial Conduct AuthorityByKarl Flinders,Chief reporter and senior editor EMEAPublished: 13 Mar 2025 12:58 The government has canned the Payments Services Regulator (PSR) to reduce red tape as part of its Plan for Change. PSR activities will be transitioned to the Financial Conduct Authority (FCA), which will provide one port of call to payments system providers rather having to deal with multiple regulators.In November 2024, a speech given by chancellor of the exchequer Rachel Reeves at Mansion House, London, made the move inevitable, according to fintech industry expert and CEO at The Finanser, Chris Skinner.Hesaid the decision was announced tacitly in November, adding: The issue was that the PSR was often on a collision course with the FCA, so it got confusing. Therefore, the National Payments Vision determined that the FCA would take precedent on any regulatory matters, which begged the question, Why would you need another regulator with no power?In November, following the Mansion House meeting, Skinner wrote about the UKs National Payments Vision: There are two regulators involved in payments: the FCA and the PSR. The consultation discovered that the two authorities often work separately and are uncoordinated. Decision: the FCA will lead anything that requires payments regulation under their remit, where it collides with the PSR. Basically, all new regulatory changes required in the payments space will be lead by the FCA.The government said the announcement does not result in any immediate changes to the PSRs remit or ongoing programme of work. The regulator will continue to have access to its statutory powers until legislation is passed by Parliament to enact these changes.Prime minister Keir Starmer said: For too long, the previous government hid behind regulators deferring decisions and allowing regulations to bloat and block meaningful growth.The government said the decision follows complaints from businesses that the regulatory environment was too complex, with payment system firms having to engage with three different regulators, costing them time, money and resource. FCA CEO Nikhil Rathi said that the changed payments landscape means now is the right time to put in place a more streamlined regulatory framework. Doing so is a natural next step, following recent work to improve co-ordination and clarity on regulatory responsibilities, adding that he welcomes the deep expertise of PSR colleagues within the FCA.The government said: The entire regulatory landscape will continue to be reviewed and finessed as part of a wider government effort to kickstart economic growth and make regulators work for the country, rather than block progress.Skinner added that the PSRs role was created due to the large and diverse payments sector as a result of fintech. Regulations were moving to more granularity and, with so many fintech payment services rising in the past decade, it demanded a specific body to oversee the industry.He outlined some of the market diversity: Bear in mind we were talking prepaid cards, contactless payment services and electronic money institutions. Now that market has matured, a dedicated regulator is no longer needed.Chancellor Reeves said that the regulatory system has become burdensome to the point of choking off innovation, investment and growth, adding that the government would free businesses from that stranglehold.Read more about payments regulationUK government wants tech partner to help it embed open banking functionality into its Gov.uk Pay platform.UK payments regulator confirms changes to rules around repaying customers who lose money to authorised push payment fraudsters.Banking code of practice organisation wants banks to monitor where authorised push payment scammers are sending stolen money.In The Current Issue:Digital twins map the world and guide strategic decisionsLiverpool reinvents customer service through digital platformDownload Current IssueSecuring Your Crown Jewels Networks GenerationSUSECON 2025: An evolved portfolio of 'validated' infrastructure tools Open Source InsiderView All Blogs

clrcrmckNewsDriving licence data could be used for police facial recognitionThe governments Crime and Policing Bill could allow police to access the UK driving licence database for use in facial recognition watchlists, but the Home Office denies biometric data would be repurposed in this wayBySebastian Klovig Skelton,Data & ethics editorPublished: 13 Mar 2025 12:55 Human rights group Liberty has said the UK governments proposed Crime and Policing Bill will transform the countrys driving licence database into a de-facto facial recognition database, enabling police to access the biometric information of millions of people who have never committed a crime.Introduced to Parliament on 25 February 2025, the Home Office-sponsored bill will introduce a range of measures to extend police powers in the UK, including bans on wearing face coverings or using pyrotechnics during protests, and the introduction of respect orders to address so-called anti-social behaviour.The Crime and Policing Bill will also enable police to access driving licence information from the Driver and Vehicle Licensing Agency (DVLA), which holds more than 52 million driver records. Access to driving licence information will be controlled by as-yet unspecified regulations to be created by the secretary of state, who will also draft a code of practice about how the information can be made available and used.The secretary of state will also be obliged to publish an annual report on how driving licence information is being used by police.While the bill makes no explicit reference to facial recognition technology in the text or supporting documents, the measures are substantively similar to those contained in the previous Conservative governments Criminal Justice Bill, which then-policing minister Chris Philp said could allow police and law enforcement, including the NCA [National Crime Agency], to access driving licence records to do a facial recognition search.Human rights group Liberty said that although the current Labour government has denied the regulation-making powers contained in the bills driving licence information provisions would be used for facial recognition purposes, the proposals which closely mirror those put forward by the last government could still enable this invasive use of the technology.This would represent a huge step in broadening the use of facial recognition technology away from police databases to everyone with a driving licence, it said. Every photo on the DVLA database could be accessed by the police and essentially form a digital police line-up. If this is the intention, then the government should be transparent and invite proper scrutiny rather than sneaking through rights-restricting legislation.A Home Office spokesperson told Computer Weekly it was categorically untrue that the DVLA database would be accessed by police for facial recognition purposes, stating: These provisions will have no impact on facial recognition.In a written submission to Parliament about the previous governments attempts to link the DVLA database to facial recognition systems, privacy group Big Brother Watch said it represented a huge, disproportionate expansion of police surveillance powers that would place the majority of Britons in a digital police line-up, without their consent.It added that setting a precedent where police are able to access a non-police database to sift through millions of peoples biometric data would be deeply concerning for privacy rights. In a rights-respecting country, the public would no less expect police forces to access their facial biometrics from the DVLA database than they would expect them to access their DNA biometric from NHS databases, it said.Commenting on the proposal in the Crime and Policing Bill, Liberty added that police should never be allowed access to a database containing millions of biometric records of people who are not on a wanted list, have never committed a crime, and did otherwise not consent to the use of their information in this way.Liberty further added that the proposed code of practice should not be accepted as a safeguard. There should be primary legislation governing the overall police use of facial recognition. It should not be piecemeal in this way, it said.As it stands, the UK has no legislation explicitly covering the police use of facial recognition technologies, although successive governments have repeatedly affirmed it is covered a by comprehensive legal framework, which consists of a patchwork of existing legislation.While there has been limited Parliamentary scrutiny of facial recognition in the form of written questions and answers over the years, there has only been one formal debate on how police are using the technology in Parliament, which was held in November 2024.This marked the first time MPs openly discussed police use of the tech in the eight years since live facial recognition (LFR) was first deployed by the Metropolitan Police at Notting Hill Carnival in August 2016.Since that initial deployment, there have been repeated calls from Parliament and civil society for new legal frameworks to govern law enforcements use of LFR technology. These include three separate inquiries by the Lords Justice and Home Affairs Committee (JHAC) into shoplifting,police algorithmsandpolice facial recognition; two of theUKs former biometrics commissioners,Paul WilesandFraser Sampson; anindependent legal reviewby Matthew Ryder QC; theUKs Equalities and Human Rights Commission; and theHouse of Commons Science and Technology Committee, which called for a moratorium on LFR as far back as July 2019.Attempts to link facial recognition systems with UK databases created for other purposes have been ongoing for a number of years.In October 2023, Philp outlined his intention to give police forces access to the UKs passport database, claiming it would enhance their facial recognition capabilities to help catch shoplifters and other criminals.While Philps proposals were blasted by human rights and privacy groups, UK regulators also took issue. For example, the then-biometrics and surveillance commissioner of England and Wales, Fraser Sampson, told theBBCit was important for police to avoid giving people the impression theyre on a digital line-up.The state has large collections of good-quality photographs of a significant proportion of the population drivers and passport holders being good examples which were originally required and given as a condition of, say, driving and international travel, he said.If the state routinely runs every photograph against every picture of every suspected incident of crime simply because it can, there is a significant risk of disproportionality and of damaging public trust, added Sampson.Scottish biometrics commissioner Brian Plastow also said it would be egregious to link the UKs passport database with facial recognition systems, arguing it would be unethical and potentially unlawful.The suggestion that images given voluntarily to UK government agencies for a specific purpose by law-abiding citizens to obtain a UK passport or UK driving licence should then be capable of being routinely accessed by the police and bulk washed against images from low-level crime scenes is neither proportionate nor strictly necessary and would significantly damage public trust, he said at the time.Read more about facial recognition technologyMet Police challenged on claim LFR supported by majority of Lewisham residents: A community impact assessment for the Met Polices deployment of live facial-recognition tech in Lewisham brings into question the forces previous claims to Computer Weekly that its use of the technology is supported by the majority of residents.Ban predictive policing and facial recognition, says civil society: A coalition of civil society groups is calling for an outright ban on predictive policing and biometric surveillance in the UK.ICO reprimands Essex school for illegal facial recognition use: The Information Commissioners Office has reprimanded Chelmer Valley High School in Chelmsford for introducing facial recognition and failing to conduct a legally required data protection impact assessment and obtain the explicit consent of students.In The Current Issue:Digital twins map the world and guide strategic decisionsLiverpool reinvents customer service through digital platformDownload Current IssueSecuring Your Crown Jewels Networks GenerationSUSECON 2025: An evolved portfolio of 'validated' infrastructure tools Open Source InsiderView All Blogs

Adam Breeden/ZDNETZDNET's key takeawaysThe Formovie Cinema Edge 4K UST projector is available now for $1,799 at Amazon.It has a sturdy construction and sleek design.It's great for cinematic viewing, although it could greatly benefit from having a dedicated sound system.The first ultra short-throw (UST) projectors hit the mainstream market in the US as early as 2014. (Thank you, Sony.) Collectively, they've come a long way since then in terms of design, performance, and affordability. Yet, even today, most USTs resemble the size and shape of a VCR from the early 2000s.Also:I tested this portable 4K projector, and it got bright enough to replace my TVWhile Formovie's flagship Cinema Edge Theater UST projector debuted a decade later with an upgraded Theatre Premium model, and the more affordable baseline Cinema Edge, they represent the progress that's been made in the home entertainment market.For the past month, I've been testing theFormovie Cinema Edge, which currently retails for $1,799, at our Louisville testing lab for this review. details View at Target Out-of-box impressionsFormovie's Cinema Edge follows the traditional UST projector design. Its flat, boxy form factor is common among USTs, and this one is fairly sleek and compact, weighing just over 15 pounds and measuring 18 x 12 x 3.6 inches. Its innards and capabilities, though, are in a different class than any television peripheral made two decades ago.Also: This 4K projector delivers an immersive viewing experience that can replace my TVThe Cinema Edge has two adjustable feet on the front for elevating the unit as needed. I didn't find that necessary at all, but it's a helpful option because you'll want to make every physical adjustment you can before activating keystone correction (generally speaking). Notably, I also never needed to use the keystone correction to get a proportional and sharp focus from edge to edge.The remote control has dedicated buttons for Netflix and YouTube, and a Google Assistant button for voice commands using its Google TV platform. Disappointingly, Formovie did not include AAA batteries in the box, and the remote does not come with a solar panel for infinite charging.Unboxing and setup is easy, although finding your ideal picture settings might take a minute. (More on that later.) First, I wanted to see how Cinema Edge's image is oriented on our big screen.Projection parametersTo qualify as a UST projector, the device must have a throw ratio of less than 0.40:1. With a 0.23:1 ratio, the Cinema Edge can ostensibly produce an 80-inch image while placed just 5.5 inches away from the projection surface.At the lab, my protocol is to achieve the largest and clearest projection possible. While testing, I found the sweet spot to be 25 inches from lens to screen to project a 150-inch image (at the resting height of a typical coffee table). Note that I said "lens to screen." The lens is situated at the front of the unit, which means the back of it (nearest to your screen) may be as close as 15 inches. Adam Breeden/ZDNETThis is all to say: setting the Cinema Edge -- or any UST -- within a foot from your wall surface to get a clear 16:9 image of that size is about as good as it gets.I should also note the unit emitted very little fan noise whilst setting it up. And its auto-shut off sensor, which dims the laser when something interrupts the path of its photons, spared me from being blinded at least twice.Testing the performanceWatching 4K nature footage on YouTube is an excellent way to check a TV's or projector's full potential in terms of color and brightness. The Cinema Edge did not disappoint.Supporting both HDR10 and HLG HDR, the Cinema Edge is plenty bright and its colors are vibrant, even when set on Movie mode -- a mode that often dampens vibrancy in favor of color accuracy. The clownfish swimming among coral looked like they were on the other side of a huge glass aquarium. A close-up of a butterfly emerging from its chrysalis included expressly clear detail. The images on our 150-inch screen looked superb, despite the Cinema Edge lacking Dolby Vision or HDR10+. These features are reserved for the pricier Theater and Theater Premium models.Also: Hisense's new laser projector is so sharp and vivid, it may just replace your 4K TVThe Cinema Edge's light source is an ALPD (advanced laser phosphor display), driven by a DLP (digital light processing) microchip equipped with XPR fast-switch pixel shifting. All these technical initialisms translate into 4K HD resolution with a color gamut rating of 110% of Rec.709 and a contrast ratio of 3000:1. Formovie rates the Cinema Edge as putting out 2,100 lumens, although most measurements reach about 1,900. It's certainly not the brightest 4K projector available, but it's plenty bright for a UST costing under $2,000. Adam Breeden/ZDNETWhile I cycled through my usual testing of picture modes and myriad slider settings, I eventually landed back at the defaults. This is partly because the default settings were already balanced just fine on our ALR screen, and partly because fiddling with the various sliders and options became highly convoluted.Every adjustment I made yielded decent contrast and ample color saturation. Where shadow detail felt lacking, I increased Adaptive Luma (a "dynamic" contrast setting) without touching other contrast controls to get a deeper black with stronger highlights. I didn't mind the slight soap opera effect of the default settings, but frame interpolation can be deactivated through the MJC (motion judder cancellation) setting.Also:I changed these 3 settings on my projector for the best picture qualityAfter so many tweaks with positive outcomes, I become prone to choice paralysis. This plethora of variables, though, can be an asset to those who are highly discerning (i.e., picky) with their visual preferences. From adjusting Local Contrast to Color Temperature, the options feel limitless. If you get a Cinema Edge, take your time to find the best combination for your eyeballs.Connectivity and audio experienceThe Cinema Edge's power plug port is on the rear left side. The backside also has its array of two HDMI ports, an eARC port, two USB ports, a 3.5mm line-out jack, an S/PDIF, and an ethernet port. Its faade has a soft aesthetic that resembles a speaker grill -- which it is.Behind that are two 15-watt speakers with Dolby Audio and DTS-HD, a setup that provided ample volume for our sound-dampened testing room. In a larger, more acoustic viewing area, the audio quality might leave you cold, although that can be easily remedied with the attachment of asoundbar.Some things to noteFor each streaming platform I visited (Netflix, YouTube, Disney+, etc.), the Formovie Cinema Edge looked just shy of exceptional, which is a favorable verdict for a 4K UST at $1,799. While I wasn't disappointed with its performance in any way, it's worth noting that the Cinema Edge lacks certain features, and these are justified by its price point.Also: How to disable ACR on your TV (and stop companies from spying on you)It has no 3D support, no Dolby Vision, no VRR, and is limited to a 60Hz framerate. This latter spec makes it fine for enjoying beautiful scenery, dramatic moviescapes, and casual gaming -- although it does feature ALLM (auto low latency mode) to mitigate input lag.ZDNET's buying adviceUltimately, the Cinema Edge is a single laser ultra short throw device. If you want extra color vibrancy and luminescence, be prepared to spend about $1,000 more for the Theater Premium version, a triple laser projector, at $2,799. Even stretching your budget to that extreme, you'll still be paying a little over half the price of a triple-laser like theHisense LQ9.If it makes sense for you to buy a UST because you can configure your viewing area accordingly, then the Cinema Edge is a good bet. Keep in mind that, like any UST, the Cinema Edge must be positioned front and center to your screen or projection wall, whether above or below it. (Some portable units might be positioned in a corner and still yield a sharp 16:9 projection after keystone adjustment.) The Cinema Edge can also be mounted on your ceiling, just inches from your projection wall, with the image inverted.Featured reviews