Studies and Lessons Learnt from the Analysis of 85 Small and  researchgate.net

Data Analytics and Its Impacts on Small Businesses  Business.com

Author Hi Gamedev! :DSo I'm using some existing models from other games for a PRIVATE mod im working on (so no restributing, don't wanna rip of talented artists and using existing meshes form games due to cost). But when i import them into blender or 3ds max the modeling software tells me it's got overlapping vertices. Is this normal with game models or is every vertex supposed to be welded?Kind regards! Maybe. They might not be duplicates, it could be that there was additional information which was lost, such as two points that had different normal information or texture coordinates even though they're at the same position.It could be normal for that project, but no, in general duplicate verts, overlapping verts, degenerate triangles, and similar can cause rendering issues and are often flagged by tools.  If it is something you extracted it might be the result of processing that took place rather than coming from the original, like a script that ends up stripping the non-duplicate information or that ends up traversing a mesh more than once.Most likely your warning is exactly the same one artists in the game would receive, and they just need to be welded, fused, or otherwise processed back into place. Advertisement It's normal. Reasons to split a mesh edge of geometrically adjacent triangles are:Differing materials / textures / uv coordsEdge should show discontinutiy in lighting (e.g. cube) instead smooth shading (e.g. sphere)Dividing mesh into smaller pieces for fine grained cullingThus, splitting models and duplicating vertices is a post process necessary to use them in game engines, while artists keep the original models to do changes and for archivation.Turning such assets back to editable models requires welding with a tolerance of zero, or eventually a very small number. Issues might still remain. Other things, e.g. the original cage of a subdivision model, or Nurbs control points, etc. can't be reconstructed that easily. Author Hi Guy's so i usually use this tutorial if i get overlapping:The reason im asking this is because: Does it matter if faces are welded or not if i convert them to meshlets like Nvidias asteroids? Or should they still be welded then?Does it matter how small/large the mesh is when welding by distance?Kind regards! That is another “it depends on the details” question. There might be visual artifacts or not, depending on the details. There can be performance differences depending on the details. There are reasons to do it that we're already covered, a vertex can have far more than just position data which would make them different despite both being at the same location. There are details and choices beyond just the vertex positions overlapping.  Newgamemodder said:Does it matter if faces are welded or not if i convert them to meshlets like Nvidias asteroids?Usually no. You need to regenerate the meshlets anyway after editing a model. It's done by a preprocessing tool, and the usual asset pipeline is: Model from artist → automated tool to split edges where needed to get one mesh per material, compute meshlet clusters, quantization for compression, reorder vertices for cache efficiency, etc → save as asset to ship with the game.So meshlets do not add to the risks from welding vertices which you already have (e.g. accidental corruption of UV coordinates or merging of material groups). Artwork is not affected from meshlets in general.However, this applies to games production, not to modding. Things like Nanite and meshlets ofc. make it even harder to mod existing assets, since modders don't have those automated preprocessing tools if devs don't provide them.Newgamemodder said:Does it matter how small/large the mesh is when welding by distance?Yes. Usually you give a distance threshold for the welding, so the scale of the model matters. My advise is to use the smallest threshold possible and observing UVs, which should not change from the welding operation. 

Anthropic has unveiled a custom collection of Claude AI models designed for US national security customers. The announcement represents a potential milestone in the application of AI within classified government environments. The ‘Claude Gov’ models have already been deployed by agencies operating at the highest levels of US national security, with access strictly limited to those working within such classified environments. Anthropic says these Claude Gov models emerged from extensive collaboration with government customers to address real-world operational requirements. Despite being tailored for national security applications, Anthropic maintains that these models underwent the same rigorous safety testing as other Claude models in their portfolio. Specialised AI capabilities for national security The specialised models deliver improved performance across several critical areas for government operations. They feature enhanced handling of classified materials, with fewer instances where the AI refuses to engage with sensitive information—a common frustration in secure environments. Additional improvements include better comprehension of documents within intelligence and defence contexts, enhanced proficiency in languages crucial to national security operations, and superior interpretation of complex cybersecurity data for intelligence analysis. However, this announcement arrives amid ongoing debates about AI regulation in the US. Anthropic CEO Dario Amodei recently expressed concerns about proposed legislation that would grant a decade-long freeze on state regulation of AI. Balancing innovation with regulation In a guest essay published in The New York Times this week, Amodei advocated for transparency rules rather than regulatory moratoriums. He detailed internal evaluations revealing concerning behaviours in advanced AI models, including an instance where Anthropic’s newest model threatened to expose a user’s private emails unless a shutdown plan was cancelled. Amodei compared AI safety testing to wind tunnel trials for aircraft designed to expose defects before public release, emphasising that safety teams must detect and block risks proactively. Anthropic has positioned itself as an advocate for responsible AI development. Under its Responsible Scaling Policy, the company already shares details about testing methods, risk-mitigation steps, and release criteria—practices Amodei believes should become standard across the industry. He suggests that formalising similar practices industry-wide would enable both the public and legislators to monitor capability improvements and determine whether additional regulatory action becomes necessary. Implications of AI in national security The deployment of advanced models within national security contexts raises important questions about the role of AI in intelligence gathering, strategic planning, and defence operations. Amodei has expressed support for export controls on advanced chips and the military adoption of trusted systems to counter rivals like China, indicating Anthropic’s awareness of the geopolitical implications of AI technology. The Claude Gov models could potentially serve numerous applications for national security, from strategic planning and operational support to intelligence analysis and threat assessment—all within the framework of Anthropic’s stated commitment to responsible AI development. Regulatory landscape As Anthropic rolls out these specialised models for government use, the broader regulatory environment for AI remains in flux. The Senate is currently considering language that would institute a moratorium on state-level AI regulation, with hearings planned before voting on the broader technology measure. Amodei has suggested that states could adopt narrow disclosure rules that defer to a future federal framework, with a supremacy clause eventually preempting state measures to preserve uniformity without halting near-term local action. This approach would allow for some immediate regulatory protection while working toward a comprehensive national standard. As these technologies become more deeply integrated into national security operations, questions of safety, oversight, and appropriate use will remain at the forefront of both policy discussions and public debate. For Anthropic, the challenge will be maintaining its commitment to responsible AI development while meeting the specialised needs of government customers for crtitical applications such as national security. (Image credit: Anthropic) See also: Reddit sues Anthropic over AI data scraping Want to learn more about AI and big data from industry leaders? Check out AI & Big Data Expo taking place in Amsterdam, California, and London. The comprehensive event is co-located with other leading events including Intelligent Automation Conference, BlockX, Digital Transformation Week, and Cyber Security & Cloud Expo. Explore other upcoming enterprise technology events and webinars powered by TechForge here. The post Anthropic launches Claude AI models for US national security appeared first on AI News.

Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. Our smartphones have transformed the way we take photos and videos and our relationship to these digital memories. Most of us will snap at least some pictures and clips every day with the gadget that’s always close at hand. If you want to get more creative with photos on your phone, you can. Sometimes you’re going to want to take a picture remotely, without your phone in your hand and your finger over the shutter button—maybe you’re taking a wide shot of a large group, or you want to capture a lot of your surroundings. Not only is this possible, there are multiple ways to go about it, no matter which flavor of phone you own. You can pick the one that you find the easiest to use, or switch between them as you need. Use your smartwatch If you’ve got an Apple Watch, it comes with a Camera app. Image: Raagesh C/Unsplash If you’ve got a smartwatch to match your smartphone, you can use it to take photos remotely, as long as you’re within about 33 feet (10 meters) of the phone. Get your handset in position first, then load up the relevant app on your watch—though you can then go back and readjust the phone if needed. With the Apple Watch and an iPhone, the app you want on your wrist is the Camera Remote app, which comes preinstalled. A viewfinder screen from your iPhone will appear: Use the digital crown to zoom, and the shutter button (in the middle) to take a shot. By default, a three-second timer is used, but you can change this by tapping the button with the three dots (lower right). For those of you with an Android phone and a Wear OS smartwatch, you can use Google’s default Camera app, which you should find preinstalled on your watch. Launch it from your wrist, and the Camera app should open on your connected phone: You can zoom using the slider on the right, and take a photo (with a three-second delay) by tapping the shutter button with a 3 on it. To change this delay, tap the three lines at the top. Use your voice Settings for Voice Control on iOS. Screenshot: Apple No matter what phone you have, it’ll come with support for voice commands—and one of those commands will let you take photos. This will only work where your phone is close enough to hear you, and where you’re happy to talk to it, but it can be useful in certain situations for remote controlling the camera app. On the iPhone, Siri can open the Camera app but won’t actually take a photo. To enable voice controlled capture, open Settings and choose Accessibility > Voice Control, then turn the feature on. The same page has a Commands menu where you can set up your custom voice command for taking photos, which will work from the viewfinder screen. On Android, it’s even easier: Just say “hey Google, take a photo”—you can even add a number of seconds for a timer countdown. Gemini is now the default assistant for this task: To make sure it responds to voice commands, open the app, tap your profile picture (top right), then choose Settings > “Hey Google ” & Voice Match. Use the timer Configuring the timer on a Pixel phone. Screenshot: Google This is a really straightforward one, and you don’t need any extra apps or devices to get it set up. Your phone’s camera app comes with a timer control, so you can position the shot, set the timer, and then get in the frame. There’s a bit of guesswork involved, especially if you’re using your phone’s rear camera (as you won’t be able to see yourself), but it’s a simple option. On the iPhone, you can tap the arrow near the top of the Camera app screen to reveal extra camera options at the bottom. Scroll through the icons until you reach the one that looks like a stopwatch. Tap this, and you can choose between a 3-second, 5-second, and 10-second delay when you press the shutter button. On Pixel phones, tap the gear icon (lower left in portrait mode) to find the timer control: As on the iPhone, the delay options are 3 seconds, 5 seconds, or 10 seconds. If you’re using the Camera app on a Galaxy phone, tap the four dots (to the right in portrait mode), then the timer icon (which looks like a stopwatch), and you get the same delay options. Use another method The latest Pixel phones have a Connected Cameras feature too. Screenshot: Google You’ve got yet more options for this if you need them. One is to use a simple Bluetooth clicker as a remote control: There are a whole host to choose from, such as this CamKix model that will cost you a mere $5.49. They work across iOS and Android and are easy to connect to your camera app. If you have two Pixel 9 phones, you can also use a special feature called Connected Cameras. You can find it from Settings by tapping Connected devices > Connection preferences > Connected Cameras: You get a brief explanation of what the feature does, and you can turn it on via the Use Connected Cameras toggle switch. This is a niche use case, as it only works with two handsets from the Pixel 9 series (at least for now). But if those are the phones you and your family have, you can use one to take photos through the camera of the other; head to the official guide from Google for more details on how it works.

Something to look forward to: This year's Summer Game Fest presentation ended with a reveal trailer for Resident Evil Requiem, which Capcom confirmed is the ninth mainline title in the long-running survival horror game series. Details on the upcoming title are scant, but it is set to launch on PC and current-generation consoles in a few months. Capcom has not yet revealed gameplay details for Resident Evil Requiem, as the initial trailer focuses on the story, characters, and locations. The game's scenario appears to draw heavily from the franchise's history, likely to celebrate the 30th anniversary of the original Resident Evil's 1996 release. Much of the trailer highlights the ruins of Raccoon City, suggesting that players will revisit the setting of the series' first three entries. Brief shots clearly show the decayed remains of the city's police station – where much of Resident Evil 2 and 3 took place – with layouts that appear nearly identical to those in the 2019 and 2020 remakes. Another shot depicts the city's deserted landscape, featuring a crater at its center left by the missile that destroyed the town following the events of RE3. Additionally, the game's protagonist is FBI agent Grace Ashcroft, the daughter of one of the main characters from Resident Evil Outbreak, an online multiplayer spin-off released for the PlayStation 2 in 2003. The game's website mentions technological advancements, suggesting it will showcase the next evolution of Capcom's RE Engine. This graphics engine debuted in 2017 with Resident Evil 7, which was known for its impressive level of realism and surprisingly fast performance. However, more recent titles using the engine, such as Dragon's Dogma II and the enormously successful Monster Hunter Wilds, are far more demanding, in part due to their massive open-world environments. Capcom's shift toward open-world games has led some to speculate that the next Resident Evil title might adopt a similar gameplay structure, representing a stark contrast to the franchise's traditional preference for isolated locations. A ruined city would provide a fitting backdrop for such a radical change, but it's difficult to say what Capcom has planned. // Related Stories Other games revealed this week include Atomic Heart II, Game of Thrones: War for Westeros, Dying Light: The Beast, Lego Voyagers, Killer Inn, Felt That Boxing, Nioh 3, 007 First Light, Lumines Arise, Marvel Tōkon, Thief VR, Mortal Kombat Legacy Kollection, and more. More new titles are expected to debut this weekend during the Xbox Games Showcase 2025 on Sunday, June 8, at 1 pm ET. Resident Evil Requiem launches on February 27 on Steam, PlayStation 5, and Xbox Series consoles.

ZDNET's key takeaways The Pixel 9 is Google's latest baseline flagship phone, with prices starting at $800. It comes with the new Tensor G4 processor, an updated design, a bigger battery, and a slightly higher asking price. The hardware improvements over last year's model are relatively small. more buying choices At Amazon, the 256GB Google Pixel 9 is on sale for $649, a $250 discount. This deal applies to all color options except Peony (pink).I had a chance to attend the Made by Google event back in August 2024, and after the keynote wrapped up, I was more excited to go hands-on with the baseline version of the Pixel 9 than the Pro or the Pro XL. Why? Because the Pixel 9's accessibility makes it a fascinating device, and one I recommend for a handful of reasons.Also: I changed 10 settings on my Pixel phone to significantly improve the user experienceI'm spoiling this review right at the top, but it's true. Google's latest entry-level flagship, the Pixel 9, is here, with prices starting at $799. Even though its hardware is a minor improvement over the Pixel 8, it's an impressive phone overall. It offers a new design, slightly upgraded performance, slightly better cameras, a slightly bigger battery, and a host of new AI features.Google has positioned the Pixel 9 as the default Android alternative to the iPhone 16, partly because it looks like one. Google gave the entire Pixel 9 family flat sides with rounded corners, which makes it look like something from a design lab in Cupertino. The good news is that it makes these phones look and feel great. details View at Best Buy In fact, they're my favorite-looking Pixel phones yet. The Pixel 9 feels especially unique while still offering a premium feel that's blissfully cold to the touch when you pick it up. The sides are aluminum, while the front and back feature Corning Gorilla Glass Victus 2. The whole thing is IP68-rated for water and dust resistance, and it's just the right size for use with one hand. Max Buondonno/ZDNETAnother characteristic of the Pixel is its nice display, and the Pixel 9 definitely has one. It features a 6.3-inch Actua display that is a tenth of an inch bigger than the Pixel 8. The sharp 2424x1080 resolution, OLED panel, and 120Hz dynamic refresh rate give the Pixel 9 exceptional visuals, whether you're just reading email or watching your favorite movie. This year, the screen can reach way up to 2,700 nits of brightness, making it one of the brightest Android phones you can buy.Also: I replaced my Pixel 9 Pro XL with the 9a for a month - and it was pretty dang closeAlso, its performance feels better. Powered by the new Tensor G4 processor, 12GB of RAM, and 128GB or 256GB of storage, the Pixel 9 is a screamer. It's one of the most responsive Android phones I've used all year, and that's just with the standard version of this phone.The cameras are also impressive. Google kept the same 50MP main camera as last year but swapped the old 12MP ultra-wide for a new 48MP 123-degree camera. Photos are simply stunning on this phone, and Google's post-processing algorithms do a great job of retaining details and contrast. Video quality is also very good, especially with the company's Video Boost technology. This phone can easily rival any device that costs $200+ more. Max Buondonno/ZDNETIf there's a downside to the hardware, it's the inclusion of the lower-quality 10.5MP selfie camera, whereas the Pro phones get a new 42MP camera. There's also an extra telephoto camera on the Pro model, so you won't get the same zoom quality on the regular Pixel 9.Regarding this phone's AI features, Google has jammed quite a bit into the Pixel 9. Not only does it ship with the company's Gemini chatbot out of the box, but thanks to the Tensor G4 processor, it also comes with Gemini Live, so you can have real-life conversations with it.Also: I found a physical keyboard for my Pixel 9 Pro that isn't a jokeIt requires a Google One AI Premium plan, but you'll get one for free if you buy a Pixel 9. I've asked it numerous questions that were similar to web queries ("What's the best place to live near New York City that's relatively affordable," "How many stars are in the sky -- wait, in the galaxy?") and it answered them all with ease -- even with speech interruptions. It's in the early stages, but it's exciting technology that could change how we use our phones.You also get features like Add Me, which allows you to take a picture of your friends, then have them take a picture of you in the same place, and merge the two so no one's left out. I've played around with it during my testing, which worked surprisingly well. There are also some nice updates to Magic Editor for framing your photos. Max Buondonno/ZDNETGoogle also included two new AI-powered apps on the Pixel 9 series: Pixel Screenshots and Pixel Studio. With the former, you can organize your screenshots and search through them with AI prompts, allowing you to easily reference information like Wi-Fi passwords or recipes. Meanwhile, the latter lets you generate images on the fly and customize them with text, stickers, and other effects. I've enjoyed using both apps in my limited testing time, but I'll need to play with them over the long run to see whether they're worth it.Also: The best Google Pixel phones to buy in 2025I found battery life to be quite good. There's a 4,700mAh cell inside that can last all day on a charge and then some, which means you won't need to worry about this phone's battery after a long day. Google includes 45W charging support on the Pixel 9 series, which is awesome, but you'll need to buy a separate wall adapter to take advantage of it. In addition, there's 15W wireless charging (not Qi2, notably) and 5W reverse wireless charging called "Battery Share."ZDNET's buying adviceIf your budget is $800, it's hard not to recommend Google's Pixel 9, especially while it's on sale at $250 off. Sure, the Samsung Galaxy S24 is a tough competitor, but I actually think this is the better buy. It gives you access to some useful new AI features, and you get all the perks of the Pixel experience, like excellent software, display quality, and cameras. The Pixel 9 Pro and Pixel 9 Pro XL models may be flashier, but the baseline version of Google's flagship phone should not be overlooked. This article was originally published on August 22, 2024, and was updated on June 6, 2025 What are the tariffs in the US? The recent US tariffs on imports from countries like China, Vietnam, and India aim to boost domestic manufacturing but are likely to drive up prices on consumer electronics. Products like smartphones, laptops, and TVs may become more expensive as companies rethink global supply chains and weigh the cost of shifting production.Smartphones are among the most affected by the new US tariffs, with devices imported from China and Vietnam facing steep duties that could raise retail prices by 20% or more. Brands like Apple and Google, which rely heavily on Asian manufacturing, may either pass these costs on to consumers or absorb them at the expense of profit margins. The tariffs could also lead to delays in product launches or shifts in where and how phones are made, forcing companies to diversify production to countries with more favorable trade conditions. Show more Featured reviews

Published June 7, 2025 10:00am EDT close Tennessee DMV experiencing long lines ahead of REAL ID deadline May 7 is the deadline to get a REAL ID, and some DMVs are facing large crowds and major backup. FOX's Asher Reed spoke with FOX 35 Orlando from outside a DMV in Antioch, Tennessee, with more on the issue. NEWYou can now listen to Fox News articles! If you've received a text message claiming to be from your state's Department of Motor Vehicles (DMV) and threatening you with fines or penalties unless you pay up, you're not alone. A new wave of scam texts is sweeping across the country, targeting drivers in states like Connecticut, Pennsylvania, Georgia, Florida, New York, California, Illinois, New Jersey, Virginia, Colorado, Vermont, Texas, North Carolina and even Washington, D.C.These messages look official and urgent, warning you about supposed unpaid tickets or tolls and demanding immediate payment. But don't be fooled, as these texts are sophisticated scams designed to steal your personal information or money. The scammers are getting better at making their messages look real, so it can be tricky to spot the fraud. But with a few simple tips, you can learn how to recognize these scams and protect yourself before you click or respond. DMV scam text. (Kurt "CyberGuy" Knutsson)How the DMV scam text message worksThese scam messages vary slightly depending on the state you're in, but they’re generally structured in the same way. The text threatens consequences, such as credit score damage, revoked driving privileges, suspended vehicle registration or increased toll fees, if you do not pay the bill you have supposedly incurred. To make the message appear legit, the scammers often include a date for penalties to begin, a fake administrative code and a link that appears to be an official DMV website.FBI WARNS OF SCAM TARGETING VICTIMS WITH FAKE HOSPITALS AND POLICEPro tip: If you're instructed to copy the link into your browser rather than clicking it directly, it's a scam. A person receiving a scam text message on their phone. (Kurt "CyberGuy" Knutsson)Why DMV text scams are so convincingThe scam relies on two key elements to be effective: fear and a sense of urgency. These are two powerful psychological motivators that can send you into a panic since your driving privileges are at risk, or you're facing financial consequences. The aim is to get you to act hastily without pausing to verify the source. The messages also mimic legitimate government communications by including familiar terms, official-sounding codes and web addresses that appear authentic. Here is an example of what the text might look like: DMV scam text. (Kurt "CyberGuy" Knutsson)States known to have issued warnings about DMV scam texts (as of June 2025):ConnecticutPennsylvaniaGeorgiaFloridaNew YorkCaliforniaIllinoisNew JerseyVirginiaColoradoVermontTexasNorth CarolinaWashington, D.C.Reports are surfacing across the U.S., and the list of affected states is likely to continue growing as more residents come forward.How to spot and avoid DMV text message scamsIf you receive a suspicious text message claiming to be from your state's DMV and demanding payment or personal information, follow these steps to protect yourself:1. Be skeptical of any message creating urgency or panic: Scammers rely on fear and urgency to trick you into acting without thinking. If a message pressures you to act immediately, that's a major red flag.2. Check for obvious red flags: Look for signs like strange sender addresses, awkward language, misspellings or links that don't match your state's official DMV website.3. Do not click any links or reply, and use strong antivirus software: Legitimate DMVs will not ask for payments, personal details or sensitive information via unsolicited text messages. 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. Verify directly with your DMV: If you're concerned the message might be real, contact your state's DMV using the official website or a trusted phone number. Never use the contact information provided in the suspicious text.5. Consider a Personal Data Removal Service: Your personal information is widely available online, which can make you a bigger target for these types of scams, therefore you might look into a personal data removal service. These services work by submitting opt-out requests to data brokers that collect and sell your information, helping to reduce your digital footprint and making it harder for scammers to find your contact details. GET FOX BUSINESS ON THE GO BY CLICKING HEREWhile no service can guarantee the complete removal of your data from the internet, a data removal service is really a smart choice. They aren’t cheap — and neither is your privacy.  These services do all the work for you by actively monitoring and systematically erasing your personal information from hundreds of websites. It’s what gives me peace of mind and has proven to be the most effective way to erase your personal data from the internet.  By limiting the information available, you reduce the risk of scammers cross-referencing data from breaches with information they might find on the dark web, making it harder for them to target you. Check out my top picks for data removal services here.6. Delete the message immediately and block the sender: Removing the text helps prevent accidental clicks and reduces the risk of falling for the scam later. Also, be sure to block phone numbers and texts that send spam or scam messages, reducing future risk.7. Register your number with the National Do Not Call Registry: While this won't stop all scams, it can help reduce unwanted communications.8. Don't provide any personal or financial information: Never share your Social Security number, driver's license number, banking information, or passwords in response to an unsolicited text.9. If you clicked the link or gave out information, act quickly: If you accidentally entered personal or financial information, contact your bank, credit card provider or local law enforcement right away to minimize potential damage.10. Keep your phone's security features updated: Ensure your device's operating system and security software are current to help block known scam numbers and malicious links.11. Report the scam: Forward the message to 7726 (SPAM) to alert your mobile provider and help block similar messages in the future. Mark the message as junk or spam within your messaging app, if possible. File a complaint with the Federal Trade Commission at reportfraud.ftc.gov or the FBI's Internet Crime Complaint Center at ic3.gov.Kurt’s key takeawaysScam texts pretending to be from the DMV are getting more convincing, but you don't have to be their next victim. Staying skeptical of urgent messages, double-checking anything that seems off and never clicking suspicious links can go a long way in protecting your personal information. Remember, the real DMV will never pressure you for payment or sensitive details over text. By staying alert, you can help prevent these scams and keep your personal information and money secure.CLICK HERE TO GET THE FOX NEWS APPShould tech companies and telecom providers be doing more to protect you from scam texts, or does the responsibility ultimately fall on you to keep your digital life safe? Let us know by writing to us at Cyberguy.com/ContactFor more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Cyberguy.com/NewsletterAsk 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 Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

Substance 3D Modeler, ZBrush & Blender Workflow with Corey GoochThis workshop guides artists through the process of designing and sculpting a conceptual mech in VR using Adobe Substance 3D Modeler. ZBrush is used to fine-tune the model’s details, and the final presentation is taken care of in Blender. Over the course of 7 hours, Corey Gooch, Visual Development Artist and 3D Specialist at Studio ARTILUS, discusses the fundamentals of sculpting in Substance 3D Modeler and walks through a series of videos detailing the creation of a carefully crafted autonomous mech. Beginner and intermediate-level artists will have the opportunity to learn Corey’s professional approach to reference collection and integration into Substance 3D Modeler. They will also explore all of the basics of its VR sculpting tools and discover detailed explanations of tools and techniques for achieving organic and mechanical forms. Corey also offers strategies for placing key design features and balancing functionality with form.Moving into ZBrush, Corey demonstrates how to optimize the deforming components for rigging and texturing, and achieve the finer details that cannot (yet) be achieved in VR alone. Techniques for preparing your mech for animation, posing, and 3D printing considerations are also covered. In the final portion of the workshop, Corey jumps into Blender to provide a cursory and high-level overview of rigging, texturing, animating, and how to prepare models for 3D printing. Throughout the workshop, Corey shares the thought processes behind why he designs the way he does and how his chosen tools work together to achieve his vision. Artists will gain helpful insight into Corey’s decision-making process, which focuses on functionality and effective problem-solving during a creative workflow. By completing this workshop, artists will have a solid grasp of at least 80 percent of the tools in Substance 3D Modeler and have sound insights into how to sculpt, refine, and bring their concepts to life using ZBrush and Blender. Corey has provided his .smod raw sculpt file and ZBrush .cfg file as a downloadable resource with this workshop.WATCH NOW

This edition of the Venice Biennale includes 65 national pavilions, 11 collateral events, and over 750 participants in the international exhibition curated by Italian architect and engineer Carlo Ratti. Entitled Intelligens: Natural Artificial Collective, its stated aim is to make Venice a ‘living laboratory’. But Ratti’s exhibition in the Arsenale has been hit by mixed reviews. The AJ’s Rob Wilson described it as ‘a bit of a confusing mess’, while other media outlets have called the robot-heavy exhibit of future-facing building-focused solutions to the climate crisis a ‘tech-bro fever dream’ and a ‘mind-boggling rollercoaster’ to mention a few. It is a distinct shift away from the biennale of two years ago twhen Ghanaian-Scottish architect Lesley Lokko curated the main exhibitions, including 89 participants – of which more than half were from Africa or the African diaspora – in a convincing reset of the architectural conversation.Advertisement This year’s National Pavilions and collateral exhibits, by contrast, have tackled the largest themes in architecture and the world right now in a less constrained way than the main exhibitions. The exhibits are radical and work as a useful gauge for understanding what’s important in each country: decarbonisation, climate resilience, the reconstruction of Gaza, and an issue more prevalent in politics closer to home: gender wars. What's not to miss in the Giardini? British Pavilion (photography: Chris Lane) UK Pavilion The British Pavilion this year, which won a special mention from the Venetian jury, is housing a show by a British-Kenyan collab titled GBR – Geology of Britannic Repair. In it, the curators explore the links between colonialism, the built environment and geological extraction. Focusing on the Rift Valley, which runs from east Africa to the Middle East, including Palestine, the exhibition was curated by the Nairobi-based studio cave_bureau, UK-based curator, writer and Farrell Centre director Owen Hopkins and Queen Mary University professor Kathryn Yusoff. The pavilion’s façade is cloaked by a beaded veil of agricultural waste briquettes and clay and glass beads, produced in Kenya and India, echoing both Maasai practices and beads once made on Venice’s Murano, as currency for the exchange of metals, minerals and slaves. The pavilion’s six gallery spaces include multisensory installations such as the Earth Compass, a series of celestial maps connecting London and Nairobi; the Rift Room, tracing one of humans’ earliest migration routes; and the Shimoni Slave Cave, featuring a large-scale bronze cast of a valley cave historically used as a holding pen for enslaved people.Advertisement The show also includes Objects of Repair, a project by design-led research group Palestine Regeneration Team (PART), looking at how salvaged materials could help rebuild war-torn Gaza, the only exhibit anywhere in the Biennale that tackled the reconstruction of Gaza face-on – doing so impressively, both politically and sensitively. Read more here. Danish Pavilion (photography: Hampus Berndtson) Demark Pavilion A firm favourite by most this year, the Danish exhibition Build of Site, curated by Søren Pihlmann of Pihlmann Architects, transforms the pavilion, which requires renovation anyway, into both a renovation site and archive of materials. Clever, simple and very methodical, the building is being both renewed while at the same time showcasing innovative methods to reuse surplus materials uncovered during the construction process – as an alternative to using new resources to build a temporary exhibition. The renovation of the 1950s Peter Koch-designed section of the pavilion began in December 2024 and will be completed following the biennale, having been suspended for its duration. On display are archetypal elements including podiums, ramps, benches and tables – all constructed from the surplus materials unearthed during the renovation, such as wood, limestone, concrete, stone, sand, silt and clay. Belgian Pavilion (photography: Michiel De Cleene) Belgium Pavilion If you need a relaxing break from the intensity of the biennale, then the oldest national pavilion in the Giardini is the one for you. Belgium’s Building Biospheres: A New Alliance between Nature and Architecture brings ‘plant intelligence’ to the fore. Commissioned by the Flanders Architecture Institute and curated by landscape architect Bas Smets and neurobiologist Stefano Mancuso, the exhibit investigates how the natural ‘intelligence’ of plants can be used to produce an indoor climate – elevating the role of landscape design and calling for it to no longer serve as a backdrop for architecture. Inside, more than 200 plants occupy the central area beneath the skylight, becoming the pavilion’s centrepiece, with the rear space visualising ‘real-time’ data on the prototype’s climate control performance. Spanish Pavilion (photography: Luca Capuano) Spain Pavilion One for the pure architecture lovers out there, models (32!), installations, photographs and timber structures fill the Spanish Pavilion in abundance. Neatly curated by architects Roi Salgueiro Barrio and Manuel Bouzas Barcala, Internalities shows a series of existing and research projects that have contributed to decarbonising construction in Spain. The outcome? An extensive collection of work exploring the use of very local and very specific regenerative and low-carbon construction and materials – including stone, wood and soil. The joy of this pavilion comes from the 16 beautiful timber frames constructed from wood from communal forests in Galicia. Polish Pavilion (photography: Luca Capuano) Poland Pavilion Poland’s pavilion was like Marmite this year. Some loved its playful approach while others found it silly. Lares and Penates, taking its name from ancient Roman deities of protection, has been curated by Aleksandra Kędziorek and looks at what it means and takes to have a sense of security in architecture. Speaking to many different anxieties, it refers to the unspoken assumption of treating architecture as a safe haven against the elements, catastrophes and wars – showcasing and elevating the mundane solutions and signage derived from building, fire and health regulations. The highlight? An ornate niche decorated with tiles and stones just for … a fire extinguisher. Dutch Pavilion (photography: Cristiano Corte) Netherlands Pavilion Punchy and straight to the point, SIDELINED: A Space to Rethink Togetherness takes sports as a lens for looking at how spatial design can both reveal and disrupt the often-exclusionary dynamics of everyday environments. Within the pavilion, the exhibit looks beyond the large-scale arena of the stadium and gymnasium to investigate the more localised and intimate context of the sports bar, as well as three alternative sports – a site of both social production and identity formation – as a metaphor for uniting diverse communities. The pavilion-turned-sports bar, designed by Koos Breen and Jeannette Slütter and inspired by Asger Jorn’s three-sided sports field, is a space for fluidity and experimentation where binary oppositions, social hierarchies and cultural values are contested and reshaped – complete with jerseys and football scarfs (currently a must-have fashion item) worn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here. Performance inside the Nordic Countries Pavilion (photography: Venla Helenius) Nordic Countries Pavilion Probably the most impactful national pavilion this year (and with the best tote bag by far), the Nordic Countries have presented an installation with performance work. Curated by Kaisa Karvinen, Industry Muscle: Five Scores for Architecture continues Finnish artist Teo Ala-Ruona’s work on trans embodiment and ecology by considering the trans body as a lens through which to examine modern architecture and the built environment. The three-day exhibition opening featured a two-hour performance each day with Ala-Ruona and his troupe crawling, climbing and writhing around the space, creating a bodily dialogue with the installations and pavilion building itself, which was designed by celebrated Modernist architect Sverre Fehn. The American pavilion next door, loudly (country music!) turns its back on what’s going on in its own country by just celebrating the apathetical porch, making the Nordic Countries seem even more relevant in this crucial time. Read Derin Fadina’s review for the AJ here. German Pavilion (photography: Luca Capuano) Germany Pavilion An exhibit certainly grabbing the issue of climate change by its neck is the German contribution, Stresstest. Curated by Nicola Borgmann, Elisabeth Endres, Gabriele G Kiefer and Daniele Santucci, the pavilion has turned climate change into a literal physical and psychological experience for visitors by creating contrasting ‘stress’ and ‘de-stress’ rooms. In the dark stress room, a large metal sculpture creates a cramped and hot space using heating mats hung from the ceiling and powered by PVs. Opposite is a calmer space demonstrating strategies that could be used to reduce the heat of cities, and between the two spaces is a film focusing on the impacts of cities becoming hotter. If this doesn’t highlight the urgency of the situation, I’m not sure what will. Best bits of the Arsenale outside the main exhibitions Bahrain Pavilion (photography: Andrea Avezzù) Bahrain Pavilion Overall winner of this year’s Golden Lion for best national participation, Bahrain’s pavilion in the historic Artiglierie of the Arsenale is a proposal for living and working through heat conditions. Heatwave, curated by architect Andrea Faraguna, reimagines public space design by exploring passive cooling strategies rooted in the Arab country’s climate, as well as cultural context. A geothermal well and solar chimney are connected through a thermo-hygrometric axis that links underground conditions with the air outside. The inhabitable space that hosts visitors is thus compressed and defined by its earth-covered floor and suspended ceiling, and is surrounded by memorable sandbags, highlighting its scalability for particularly hot construction sites in the Gulf where a huge amount of construction is taking place. In the Arsenale’s exhibition space, where excavation wasn’t feasible, this system has been adapted into mechanical ventilation, bringing in air from the canal side and channelling it through ductwork to create a microclimate. Slovenian Pavilion (photography: Andrea Avezzù) Slovenia Pavilion The AJ’s Rob Wilson’s top pavilion tip this year provides an enjoyable take on the theme of the main exhibition, highlighting how the tacit knowledge and on-site techniques and skills of construction workers and craftspeople are still the key constituent in architectural production despite all the heat and light about robotics, prefabrication, artificial intelligence and 3D printing. Master Builders, curated by Ana Kosi and Ognen Arsov and organised by the Museum of Architecture and Design (MAO) in Ljubljana, presents a series of ‘totems’ –accumulative sculpture-like structures that are formed of conglomerations of differently worked materials, finishes and building elements. These are stacked up into crazy tower forms, which showcase various on-site construction skills and techniques, their construction documented in accompanying films. Uzbekistan Pavilion (photography: Luca Capuano) Uzbekistan Pavilion Uzbekistan’s contribution explores the Soviet era solar furnace and Modernist legacy. Architecture studio GRACE, led by curators Ekaterina Golovatyuk and Giacomo Cantoni have curated A Matter of Radiance. The focus is the Sun Institute of Material Science – originally known as the Sun Heliocomplex – an incredible large-scale scientific structure built in 1987 on a natural, seismic-free foundation near Tashkent and one of only two that study material behaviour under extreme temperatures. The exhibition examines the solar oven’s site’s historical and contemporary significance while reflecting on its scientific legacy and influence moving beyond just national borders. Applied Arts Pavilion (photography: Andrea Avezzù) V&A Applied Arts Pavilion Diller Scofidio + Renfro (DS+R) is having a moment. The US-based practice, in collaboration with V&A chief curator Brendan Cormier, has curated On Storage, which aptly explores global storage architectures in a pavilion that strongly links to the V&A’s recent opening of Storehouse, its new (and free) collections archive in east London. Featured is a six-channel (and screen) film entitled Boxed: The Mild Boredom of Order, directed by the practice itself and following a toothbrush, as a metaphor for an everyday consumer product, on its journey through different forms of storage across the globe – from warehouse to distribution centre to baggage handlers down to the compact space of a suitcase. Also on display are large-format photographs of V&A East Storehouse, DS+R’s original architectural model and sketchbook and behind-the-scenes photography of Storehouse at work, taken by emerging east London-based photographers. Canal Café (photography: Marco Zorzanello) Canal café Golden Lion for the best participation in the actual exhibition went to Canal Café, an intervention designed by V&A East Storehouse’s architect DS+R with Natural Systems Utilities, SODAI, Aaron Betsky and Davide Oldani. Serving up canal-water espresso, the installation is a demonstration of how Venice itself can be a laboratory to understand how to live on the water in a time of water scarcity. The structure, located on the edge of the Arsenale’s building complex, draws water from its lagoon before filtering it onsite via a hybrid of natural and artificial methods, including a mini wetland with grasses. The project was recognised for its persistence, having started almost 20 years ago, just showing how water scarcity, contamination and flooding are still major concerns both globally and, more locally, in the tourist-heavy city of Venice. And what else? Holy See Pavilion (photography: Andrea Avezzù) The Holy See Much like the Danish Pavilion, the Pavilion of the Holy See is also taking on an approach of renewal this year. Over the next six months, Opera Aperta will breathe new life into the Santa Maria Ausiliatrice Complex in the Castello district of Venice. Founded as a hospice for pilgrims in 1171, the building later became the oldest hospital and was converted into school in the 18th century. In 2001, the City of Venice allocated it for cultural use and for the next four years it will be managed by the Dicastery for Culture and Education of the Holy See to oversee its restoration. Curated by architect, curator and researcher Marina Otero Verzier and artistic director of Fondaco Italia, Giovanna Zabotti, the complex has been turned into a constant ‘living laboratory’ of collective repair – and received a special mention in the biennale awards. The restoration works, open from Tuesday to Friday, are being carried out by local artisans and specialised restorers with expertise in recovering stone, marble, terracotta, mural and canvas painting, stucco, wood and metal artworks. The beauty, however, lies in the photogenic fabrics, lit by a warm yellow glow, hanging from the walls within, gently wrapping the building’s surfaces, leaving openings that allow movement and offer glimpses of the ongoing restoration. Mobile scaffolding, used to support the works, also doubles up as furniture, providing space for equipment and subdividing the interior. Togo Pavilion (photography: Andrea Avezzù) Togo Pavilion The Republic of Togo has presented its first pavilion ever at the biennale this year with the project Considering Togo’s Architectural Heritage, which sits intriguingly at the back of a second-hand furniture shop. The inaugural pavilion is curated by Lomé and Berlin-based Studio NEiDA and is in Venice’s Squero Castello. Exploring Togo’s architectural narratives from the early 20th century, and key ongoing restoration efforts, it documents key examples of the west African country’s heritage, highlighting both traditional and more modern building techniques – from Nôk cave dwellings to Afro-Brazilian architecture developed by freed slaves to post-independence Modernist buildings. Some buildings showcased are in disrepair, despite most of the modern structures remaining in use today, including Hotel de la Paix and the Bourse du Travail, suggestive of a future of repair and celebration. Estonian Pavilion (photography: Joosep Kivimäe) Estonia Pavilion Another firm favourite this year is the Estonian exhibition on Riva dei Sette Martiri on the waterfront between Corso Garibaldi and the Giardini.  The Guardian’s Olly Wainwright said that outside the Giardini, it packed ‘the most powerful punch of all.’ Simple and effective, Let Me Warm You, curated by trio of architects Keiti Lige, Elina Liiva and Helena Männa, asks whether current insulation-driven renovations are merely a ‘checkbox’ to meet European energy targets or ‘a real chance’ to enhance the spatial and social quality of mass housing. The façade of the historic Venetian palazzetto in which it is housed is clad with fibre-cement insulation panels in the same process used in Estonia itself for its mass housing – a powerful visual statement showcasing a problematic disregard for the character and potential of typical habitable spaces. Inside, the ground floor is wrapped in plastic and exhibits how the dynamics between different stakeholders influence spatial solutions, including named stickers to encourage discussion among your peers. Venice Procuratie (photography: Mike Merkenschlager) SMAC (San Marco Art Centre) Timed to open to the public at the same time as the biennale, SMAC is a new permanent arts institution in Piazza San Marco, on the second floor of the Procuratie, which is owned by Generali. The exhibition space, open to the public for the first time in 500 years, comprises 16 galleries arranged along a continuous corridor stretching over 80m, recently restored by David Chipperfield Architects. Visitors can expect access through a private courtyard leading on to a monumental staircase and experience a typically sensitive Chipperfield restoration, which has revived the building’s original details: walls covered in a light grey Venetian marmorino made from crushed marble and floors of white terrazzo. During the summer, its inaugural programme features two solo exhibitions dedicated to Australian modern architect Harry Seidler and Korean landscape designer Jung Youngsun. Holcim's installation (photography: Celestia Studio) Holcim x Elemental Concrete manufacturer Holcim makes an appearance for a third time at Venice, this time partnering with Chilean Pritzker Prize-winning Alejandro Aravena’s practice Elemental – curator of the 2016 biennale – to launch a resilient housing prototype that follows on from the Norman Foster-designed Essential Homes Project. The ‘carbon-neutral’ structure incorporates Holcim’s range of low-carbon concrete ECOPact and is on display as part of the Time Space Existence exhibition organised by the European Cultural Centre in their gardens. It also applies Holcim’s ‘biochar’ technology for the first time, a concrete mix with 100 per cent recycled aggregates, in a full-scale Basic Services Unit. This follows an incremental design approach, which could entail fast and efficient construction via the provision of only essential housing components, and via self-build. The Next Earth at Palazzo Diedo (photography: Joan Porcel) The Next Earth At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikythera (apparently taking its name from the first-known computer) have come together to create the exhibition The Next Earth: Computation, Crisis, Cosmology, which questions how philosophy and architecture must and can respond to various planet-wide crises. Antikythera’s The Noocene: Computation and Cosmology from Antikythera to AI looks at the evolution of ‘planetary computation’ as an ‘accidental’ megastructure through which systems, from the molecular to atmospheric scales, become both comprehensible and composable. What is actually on display is an architectural scale video monolith and short films on AI, astronomy and artificial life, as well as selected artefacts. MIT’s Climate Work: Un/Worlding the Planet features 37 works-in-progress, each looking at material supply chains, energy expenditure, modes of practice and deep-time perspectives. Take from it what you will. The 19th International Venice Architecture Biennale remains open until Sunday, 23 November 2025.