• In a world where smartphones have become extensions of our very beings, it seems only fitting that the latest buzz is about none other than the Trump Mobile and its dazzling Gold T1 smartphone. Yes, you heard that right – a phone that’s as golden as its namesake’s aspirations and, arguably, just as inflated!

    Let’s dive into the nine *urgent* questions we all have about this technological marvel. First on the list: Is it true that the Trump Mobile can only connect to social media platforms that feature a certain orange-tinted filter? Because if it doesn’t, what’s the point, really? We all know that a phone’s worth is measured by its ability to curate the perfect image, preferably one that makes the user look like a billion bucks—just like the former president himself.

    And while we’re on the topic of money, can we talk about the Gold T1’s price tag? Rumor has it that it’s priced like a luxury yacht, but comes with the battery life of a damp sponge. A perfect combo for those who wish to flaunt their wealth while simultaneously being unable to scroll through their Twitter feed without a panic attack when the battery drops to 1%.

    Now, let’s not forget about the *data plan*. Is it true that the plan includes unlimited access to news outlets that only cover “the best” headlines? Because if I can’t get my daily dose of “Trump is the best” articles, then what’s the point of having a phone that’s practically a golden trophy? I can just see the commercials now: “Get your Trump Mobile and never miss an opportunity to revel in your own glory!”

    Furthermore, what about the customer service? One can only imagine calling for assistance and getting a voicemail that says, “We’re busy making America great again, please leave a message after the beep.” If you’re lucky, you might get a callback… in a week, or perhaps never. After all, who needs help when you have a phone that’s practically an icon of success?

    Let’s also discuss the design. Is it true that the Gold T1 comes with a built-in mirror so you can admire yourself while pretending to check your messages? Because nothing screams “I’m important” like a smartphone that encourages narcissism at every glance.

    And what about the camera? Will it have a special feature that automatically enhances your selfies to ensure you look as good as the carefully curated versions of yourself? I mean, we can’t have anything less than perfection when it comes to our online personas, can we?

    In conclusion, while the Trump Mobile and Gold T1 smartphone might promise a new era of connectivity and self-admiration, one can only wonder if it’s all a glittery façade hiding a less-than-stellar user experience. But hey, for those who’ve always dreamt of owning a piece of tech that’s as bold and brash as its namesake, this might just be the device for you!

    #TrumpMobile #GoldT1 #SmartphoneHumor #TechSatire #DigitalNarcissism
    In a world where smartphones have become extensions of our very beings, it seems only fitting that the latest buzz is about none other than the Trump Mobile and its dazzling Gold T1 smartphone. Yes, you heard that right – a phone that’s as golden as its namesake’s aspirations and, arguably, just as inflated! Let’s dive into the nine *urgent* questions we all have about this technological marvel. First on the list: Is it true that the Trump Mobile can only connect to social media platforms that feature a certain orange-tinted filter? Because if it doesn’t, what’s the point, really? We all know that a phone’s worth is measured by its ability to curate the perfect image, preferably one that makes the user look like a billion bucks—just like the former president himself. And while we’re on the topic of money, can we talk about the Gold T1’s price tag? Rumor has it that it’s priced like a luxury yacht, but comes with the battery life of a damp sponge. A perfect combo for those who wish to flaunt their wealth while simultaneously being unable to scroll through their Twitter feed without a panic attack when the battery drops to 1%. Now, let’s not forget about the *data plan*. Is it true that the plan includes unlimited access to news outlets that only cover “the best” headlines? Because if I can’t get my daily dose of “Trump is the best” articles, then what’s the point of having a phone that’s practically a golden trophy? I can just see the commercials now: “Get your Trump Mobile and never miss an opportunity to revel in your own glory!” Furthermore, what about the customer service? One can only imagine calling for assistance and getting a voicemail that says, “We’re busy making America great again, please leave a message after the beep.” If you’re lucky, you might get a callback… in a week, or perhaps never. After all, who needs help when you have a phone that’s practically an icon of success? Let’s also discuss the design. Is it true that the Gold T1 comes with a built-in mirror so you can admire yourself while pretending to check your messages? Because nothing screams “I’m important” like a smartphone that encourages narcissism at every glance. And what about the camera? Will it have a special feature that automatically enhances your selfies to ensure you look as good as the carefully curated versions of yourself? I mean, we can’t have anything less than perfection when it comes to our online personas, can we? In conclusion, while the Trump Mobile and Gold T1 smartphone might promise a new era of connectivity and self-admiration, one can only wonder if it’s all a glittery façade hiding a less-than-stellar user experience. But hey, for those who’ve always dreamt of owning a piece of tech that’s as bold and brash as its namesake, this might just be the device for you! #TrumpMobile #GoldT1 #SmartphoneHumor #TechSatire #DigitalNarcissism
    9 Urgent Questions About Trump Mobile and the Gold T1 Smartphone
    We don’t know much about the new Trump Mobile phone or the company’s data plan, but we sure do have a lot of questions.
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  • Ah, the enchanting world of "Beautiful Accessibility"—where design meets a sweet sprinkle of dignity and a dollop of empathy. Isn’t it just delightful how we’ve collectively decided that making things accessible should also be aesthetically pleasing? Because, clearly, having a ramp that doesn’t double as a modern art installation would be just too much to ask.

    Gone are the days when accessibility was seen as a dull, clunky afterthought. Now, we’re on a quest to make sure that every wheelchair ramp looks like it was sculpted by Michelangelo himself. Who needs functionality when you can have a piece of art that also serves as a means of entry? You know, it’s almost like we’re saying, “Why should people who need help have to sacrifice beauty for practicality?”

    Let’s talk about that “rigid, rough, and unfriendly” stereotype of accessibility. Sure, it’s easy to dismiss these concerns. Just slap a coat of trendy paint on a handrail and voilà! You’ve got a “beautifully accessible” structure that’s just as likely to send someone flying off the side as it is to help them reach the door. But hey, at least it’s pretty to look at as they tumble—right?

    And let’s not overlook the underlying question: for whom are we really designing? Is it for the people who need accessibility, or is it for the fleeting approval of the Instagram crowd? If it’s the latter, then congratulations! You’re on the fast track to a trend that will inevitably fade faster than last season’s fashion. Remember, folks, the latest hashtag isn’t ‘#AccessibilityForAll’; it’s ‘#AccessibilityIsTheNewBlack,’ and we all know how long that lasts in the fickle world of social media.

    Now, let’s sprinkle in some empathy, shall we? Because nothing says “I care” quite like a designer who has spent five minutes contemplating the plight of those who can’t navigate the “avant-garde” staircase that serves no purpose other than to look chic in a photo. Empathy is key, but please, let’s not take it too far. After all, who has time to engage deeply with real human needs when there’s a dazzling design competition to win?

    So, as we stand at the crossroads of functionality and aesthetics, let’s all raise a glass to the idea of "Beautiful Accessibility." May it forever remain beautifully ironic and, of course, aesthetically pleasing—after all, what’s more dignified than a thoughtfully designed ramp that looks like it belongs in a museum, even if it makes getting into that museum a bit of a challenge?

    #BeautifulAccessibility #DesignWithEmpathy #AccessibilityMatters #DignityInDesign #IronyInAccessibility
    Ah, the enchanting world of "Beautiful Accessibility"—where design meets a sweet sprinkle of dignity and a dollop of empathy. Isn’t it just delightful how we’ve collectively decided that making things accessible should also be aesthetically pleasing? Because, clearly, having a ramp that doesn’t double as a modern art installation would be just too much to ask. Gone are the days when accessibility was seen as a dull, clunky afterthought. Now, we’re on a quest to make sure that every wheelchair ramp looks like it was sculpted by Michelangelo himself. Who needs functionality when you can have a piece of art that also serves as a means of entry? You know, it’s almost like we’re saying, “Why should people who need help have to sacrifice beauty for practicality?” Let’s talk about that “rigid, rough, and unfriendly” stereotype of accessibility. Sure, it’s easy to dismiss these concerns. Just slap a coat of trendy paint on a handrail and voilà! You’ve got a “beautifully accessible” structure that’s just as likely to send someone flying off the side as it is to help them reach the door. But hey, at least it’s pretty to look at as they tumble—right? And let’s not overlook the underlying question: for whom are we really designing? Is it for the people who need accessibility, or is it for the fleeting approval of the Instagram crowd? If it’s the latter, then congratulations! You’re on the fast track to a trend that will inevitably fade faster than last season’s fashion. Remember, folks, the latest hashtag isn’t ‘#AccessibilityForAll’; it’s ‘#AccessibilityIsTheNewBlack,’ and we all know how long that lasts in the fickle world of social media. Now, let’s sprinkle in some empathy, shall we? Because nothing says “I care” quite like a designer who has spent five minutes contemplating the plight of those who can’t navigate the “avant-garde” staircase that serves no purpose other than to look chic in a photo. Empathy is key, but please, let’s not take it too far. After all, who has time to engage deeply with real human needs when there’s a dazzling design competition to win? So, as we stand at the crossroads of functionality and aesthetics, let’s all raise a glass to the idea of "Beautiful Accessibility." May it forever remain beautifully ironic and, of course, aesthetically pleasing—after all, what’s more dignified than a thoughtfully designed ramp that looks like it belongs in a museum, even if it makes getting into that museum a bit of a challenge? #BeautifulAccessibility #DesignWithEmpathy #AccessibilityMatters #DignityInDesign #IronyInAccessibility
    Accesibilidad bella: diseñar para la dignidad y construir con empatía
    Más que una técnica o una guía de buenas prácticas, la accesibilidad bella es una actitud. Es reflexionar y cuestionar el porqué, el cómo y para quién diseñamos. A menudo se percibe la accesibilidad como algo rígido, rudo y poco amigable, estéticamen
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  • Hey everyone!

    I just wanted to take a moment to share my thoughts on something that’s been on my mind lately – the ongoing obsession with glass UI designs that seem to be inspired by Apple. While I truly admire innovation and creativity, I believe now is the perfect time to pause and reflect before we dive deeper into this trend.

    Isn’t it fascinating how technology evolves? Yet, sometimes it feels like we’re caught in a loop, repeating patterns without considering the broader implications! Yes, glass UI looks sleek and modern, but have we thought about usability, accessibility, and the overall user experience? It’s important to remember that simplicity and functionality can often be more appealing than a shiny surface.

    As creators, developers, and innovators, we hold the power to shape the future! Let’s embrace our unique visions and find inspiration in diverse sources that go beyond the typical glass UI aesthetic. Instead of getting swept away by trends, let’s innovate with purpose! How about focusing on designs that evoke warmth and connection?

    Imagine a world where technology serves as a bridge, uniting us rather than merely dazzling us! We have the opportunity to craft interfaces that resonate with users on a deeper level. Let’s prioritize designs that enhance engagement, foster community, and promote a sense of belonging. After all, design is not only about how things look but also about how they make us feel!

    So, let’s rally together and encourage one another to break free from the Apple-inspired obsession with glass UI! Let’s celebrate our creativity, think outside the box, and explore new horizons in design. The future is bright, and it’s filled with endless possibilities!

    Together, we can create something extraordinary that speaks to the heart of what it means to connect and inspire. Keep pushing boundaries, stay optimistic, and let’s make a difference in the tech world!

    #Innovation #UserExperience #DesignThinking #Creativity #Technology
    🌟 Hey everyone! 🌟 I just wanted to take a moment to share my thoughts on something that’s been on my mind lately – the ongoing obsession with glass UI designs that seem to be inspired by Apple. 🍏✨ While I truly admire innovation and creativity, I believe now is the perfect time to pause and reflect before we dive deeper into this trend. Isn’t it fascinating how technology evolves? Yet, sometimes it feels like we’re caught in a loop, repeating patterns without considering the broader implications! 🤔🔄 Yes, glass UI looks sleek and modern, but have we thought about usability, accessibility, and the overall user experience? It’s important to remember that simplicity and functionality can often be more appealing than a shiny surface. 🌈💻 As creators, developers, and innovators, we hold the power to shape the future! 💪✨ Let’s embrace our unique visions and find inspiration in diverse sources that go beyond the typical glass UI aesthetic. Instead of getting swept away by trends, let’s innovate with purpose! How about focusing on designs that evoke warmth and connection? 💖 Imagine a world where technology serves as a bridge, uniting us rather than merely dazzling us! 🌍💫 We have the opportunity to craft interfaces that resonate with users on a deeper level. Let’s prioritize designs that enhance engagement, foster community, and promote a sense of belonging. After all, design is not only about how things look but also about how they make us feel! ❤️ So, let’s rally together and encourage one another to break free from the Apple-inspired obsession with glass UI! 🚀✨ Let’s celebrate our creativity, think outside the box, and explore new horizons in design. The future is bright, and it’s filled with endless possibilities! 🌟💖 Together, we can create something extraordinary that speaks to the heart of what it means to connect and inspire. Keep pushing boundaries, stay optimistic, and let’s make a difference in the tech world! 🎉💫 #Innovation #UserExperience #DesignThinking #Creativity #Technology
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  • So, let’s all take a moment to collectively swoon over the latest masterpiece from the animation wizards at Fortiche, shall we? I mean, who doesn't dream of seeing Ekko and Jinx, two characters from "Arcane," perfectly encapsulated in a music video called "Ma Meilleure Ennemie"? Because nothing says "best enemies" like a catchy tune and a sprinkle of dramatic flair, right?

    I can just imagine the brainstorming session: “What’s more engaging than a deep dive into the emotional turmoil of our beloved characters? Oh, I know! Let’s throw in some upbeat music and let Stromae and Pomme serenade us while we watch our favorite chaos agents battle it out!” Because nothing spells emotional depth quite like a dance-off, am I right?

    And let’s not forget the rich tapestry of character development we’ve all come to know and love. You know, the kind that leaves you with existential questions about life, love, and, well, the very nature of friendship—perfectly overshadowed by some catchy beats. Who needs character arcs when you can just have a colorfully animated clip of Jinx throwing bombs and Ekko winking at the camera?

    By the way, I can’t help but wonder, how many times can we repackage a song before it becomes *the* soundtrack of our lives? “Ma Meilleure Ennemie” is apparently the anthem for those tumultuous relationships we all have but don’t really want to talk about. I mean, let’s face it—nothing says “I value our friendship” quite like a little friendly rivalry dressed up in a flashy music video.

    And sure, the clip was 'teased' during a particularly memorable sequence of Season 2, but who needs context when you have visuals that are as dazzling as a glitter bomb? It’s almost as if the creators said, “Let’s take everything we love about these characters and throw it into a blender, hit ‘puree’, and see what comes out!” Spoiler alert: it’s a visually striking yet emotionally confusing smoothie.

    But hey, kudos to Fortiche for giving us this delightful distraction. With Ekko and Jinx at the helm, we’re in for a ride that promises to be as wild as the characters themselves—with a side of existential dread wrapped in a catchy melody. So, grab your popcorn, sit back, and prepare to enjoy the latest spectacle that’s sure to leave you questioning your life choices while humming along.

    #Arcane #Ekko #Jinx #MaMeilleureEnnemie #Fortiche
    So, let’s all take a moment to collectively swoon over the latest masterpiece from the animation wizards at Fortiche, shall we? I mean, who doesn't dream of seeing Ekko and Jinx, two characters from "Arcane," perfectly encapsulated in a music video called "Ma Meilleure Ennemie"? Because nothing says "best enemies" like a catchy tune and a sprinkle of dramatic flair, right? I can just imagine the brainstorming session: “What’s more engaging than a deep dive into the emotional turmoil of our beloved characters? Oh, I know! Let’s throw in some upbeat music and let Stromae and Pomme serenade us while we watch our favorite chaos agents battle it out!” Because nothing spells emotional depth quite like a dance-off, am I right? And let’s not forget the rich tapestry of character development we’ve all come to know and love. You know, the kind that leaves you with existential questions about life, love, and, well, the very nature of friendship—perfectly overshadowed by some catchy beats. Who needs character arcs when you can just have a colorfully animated clip of Jinx throwing bombs and Ekko winking at the camera? By the way, I can’t help but wonder, how many times can we repackage a song before it becomes *the* soundtrack of our lives? “Ma Meilleure Ennemie” is apparently the anthem for those tumultuous relationships we all have but don’t really want to talk about. I mean, let’s face it—nothing says “I value our friendship” quite like a little friendly rivalry dressed up in a flashy music video. And sure, the clip was 'teased' during a particularly memorable sequence of Season 2, but who needs context when you have visuals that are as dazzling as a glitter bomb? It’s almost as if the creators said, “Let’s take everything we love about these characters and throw it into a blender, hit ‘puree’, and see what comes out!” Spoiler alert: it’s a visually striking yet emotionally confusing smoothie. But hey, kudos to Fortiche for giving us this delightful distraction. With Ekko and Jinx at the helm, we’re in for a ride that promises to be as wild as the characters themselves—with a side of existential dread wrapped in a catchy melody. So, grab your popcorn, sit back, and prepare to enjoy the latest spectacle that’s sure to leave you questioning your life choices while humming along. #Arcane #Ekko #Jinx #MaMeilleureEnnemie #Fortiche
    Arcane : Ekko et Jinx réunis dans le clip Ma Meilleure Ennemie
    Les équipes du studio d’animation Fortiche dévoilent le clip de la chanson Ma Meilleure Ennemie. Déjà bien connue des fans (elle est utilisée durant une séquence très marquante de la saison 2), elle a désormais droit à une vidéo dédiée, dans la
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  • NVIDIA helps Germany lead Europe’s AI manufacturing race

    Germany and NVIDIA are building possibly the most ambitious European tech project of the decade: the continent’s first industrial AI cloud.NVIDIA has been on a European tour over the past month with CEO Jensen Huang charming audiences at London Tech Week before dazzling the crowds at Paris’s VivaTech. But it was his meeting with German Chancellor Friedrich Merz that might prove the most consequential stop.The resulting partnership between NVIDIA and Deutsche Telekom isn’t just another corporate handshake; it’s potentially a turning point for European technological sovereignty.An “AI factory”will be created with a focus on manufacturing, which is hardly surprising given Germany’s renowned industrial heritage. The facility aims to give European industrial players the computational firepower to revolutionise everything from design to robotics.“In the era of AI, every manufacturer needs two factories: one for making things, and one for creating the intelligence that powers them,” said Huang. “By building Europe’s first industrial AI infrastructure, we’re enabling the region’s leading industrial companies to advance simulation-first, AI-driven manufacturing.”It’s rare to hear such urgency from a telecoms CEO, but Deutsche Telekom’s Timotheus Höttges added: “Europe’s technological future needs a sprint, not a stroll. We must seize the opportunities of artificial intelligence now, revolutionise our industry, and secure a leading position in the global technology competition. Our economic success depends on quick decisions and collaborative innovations.”The first phase alone will deploy 10,000 NVIDIA Blackwell GPUs spread across various high-performance systems. That makes this Germany’s largest AI deployment ever; a statement the country isn’t content to watch from the sidelines as AI transforms global industry.A Deloitte study recently highlighted the critical importance of AI technology development to Germany’s future competitiveness, particularly noting the need for expanded data centre capacity. When you consider that demand is expected to triple within just five years, this investment seems less like ambition and more like necessity.Robots teaching robotsOne of the early adopters is NEURA Robotics, a German firm that specialises in cognitive robotics. They’re using this computational muscle to power something called the Neuraverse which is essentially a connected network where robots can learn from each other.Think of it as a robotic hive mind for skills ranging from precision welding to household ironing, with each machine contributing its learnings to a collective intelligence.“Physical AI is the electricity of the future—it will power every machine on the planet,” said David Reger, Founder and CEO of NEURA Robotics. “Through this initiative, we’re helping build the sovereign infrastructure Europe needs to lead in intelligent robotics and stay in control of its future.”The implications of this AI project for manufacturing in Germany could be profound. This isn’t just about making existing factories slightly more efficient; it’s about reimagining what manufacturing can be in an age of intelligent machines.AI for more than just Germany’s industrial titansWhat’s particularly promising about this project is its potential reach beyond Germany’s industrial titans. The famed Mittelstand – the network of specialised small and medium-sized businesses that forms the backbone of the German economy – stands to benefit.These companies often lack the resources to build their own AI infrastructure but possess the specialised knowledge that makes them perfect candidates for AI-enhanced innovation. Democratising access to cutting-edge AI could help preserve their competitive edge in a challenging global market.Academic and research institutions will also gain access, potentially accelerating innovation across numerous fields. The approximately 900 Germany-based startups in NVIDIA’s Inception program will be eligible to use these resources, potentially unleashing a wave of entrepreneurial AI applications.However impressive this massive project is, it’s viewed merely as a stepping stone towards something even more ambitious: Europe’s AI gigafactory. This planned 100,000 GPU-powered initiative backed by the EU and Germany won’t come online until 2027, but it represents Europe’s determination to carve out its own technological future.As other European telecom providers follow suit with their own AI infrastructure projects, we may be witnessing the beginning of a concerted effort to establish technological sovereignty across the continent.For a region that has often found itself caught between American tech dominance and Chinese ambitions, building indigenous AI capability represents more than economic opportunity. Whether this bold project in Germany will succeed remains to be seen, but one thing is clear: Europe is no longer content to be a passive consumer of AI technology developed elsewhere.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.
    #nvidia #helps #germany #lead #europes
    NVIDIA helps Germany lead Europe’s AI manufacturing race
    Germany and NVIDIA are building possibly the most ambitious European tech project of the decade: the continent’s first industrial AI cloud.NVIDIA has been on a European tour over the past month with CEO Jensen Huang charming audiences at London Tech Week before dazzling the crowds at Paris’s VivaTech. But it was his meeting with German Chancellor Friedrich Merz that might prove the most consequential stop.The resulting partnership between NVIDIA and Deutsche Telekom isn’t just another corporate handshake; it’s potentially a turning point for European technological sovereignty.An “AI factory”will be created with a focus on manufacturing, which is hardly surprising given Germany’s renowned industrial heritage. The facility aims to give European industrial players the computational firepower to revolutionise everything from design to robotics.“In the era of AI, every manufacturer needs two factories: one for making things, and one for creating the intelligence that powers them,” said Huang. “By building Europe’s first industrial AI infrastructure, we’re enabling the region’s leading industrial companies to advance simulation-first, AI-driven manufacturing.”It’s rare to hear such urgency from a telecoms CEO, but Deutsche Telekom’s Timotheus Höttges added: “Europe’s technological future needs a sprint, not a stroll. We must seize the opportunities of artificial intelligence now, revolutionise our industry, and secure a leading position in the global technology competition. Our economic success depends on quick decisions and collaborative innovations.”The first phase alone will deploy 10,000 NVIDIA Blackwell GPUs spread across various high-performance systems. That makes this Germany’s largest AI deployment ever; a statement the country isn’t content to watch from the sidelines as AI transforms global industry.A Deloitte study recently highlighted the critical importance of AI technology development to Germany’s future competitiveness, particularly noting the need for expanded data centre capacity. When you consider that demand is expected to triple within just five years, this investment seems less like ambition and more like necessity.Robots teaching robotsOne of the early adopters is NEURA Robotics, a German firm that specialises in cognitive robotics. They’re using this computational muscle to power something called the Neuraverse which is essentially a connected network where robots can learn from each other.Think of it as a robotic hive mind for skills ranging from precision welding to household ironing, with each machine contributing its learnings to a collective intelligence.“Physical AI is the electricity of the future—it will power every machine on the planet,” said David Reger, Founder and CEO of NEURA Robotics. “Through this initiative, we’re helping build the sovereign infrastructure Europe needs to lead in intelligent robotics and stay in control of its future.”The implications of this AI project for manufacturing in Germany could be profound. This isn’t just about making existing factories slightly more efficient; it’s about reimagining what manufacturing can be in an age of intelligent machines.AI for more than just Germany’s industrial titansWhat’s particularly promising about this project is its potential reach beyond Germany’s industrial titans. The famed Mittelstand – the network of specialised small and medium-sized businesses that forms the backbone of the German economy – stands to benefit.These companies often lack the resources to build their own AI infrastructure but possess the specialised knowledge that makes them perfect candidates for AI-enhanced innovation. Democratising access to cutting-edge AI could help preserve their competitive edge in a challenging global market.Academic and research institutions will also gain access, potentially accelerating innovation across numerous fields. The approximately 900 Germany-based startups in NVIDIA’s Inception program will be eligible to use these resources, potentially unleashing a wave of entrepreneurial AI applications.However impressive this massive project is, it’s viewed merely as a stepping stone towards something even more ambitious: Europe’s AI gigafactory. This planned 100,000 GPU-powered initiative backed by the EU and Germany won’t come online until 2027, but it represents Europe’s determination to carve out its own technological future.As other European telecom providers follow suit with their own AI infrastructure projects, we may be witnessing the beginning of a concerted effort to establish technological sovereignty across the continent.For a region that has often found itself caught between American tech dominance and Chinese ambitions, building indigenous AI capability represents more than economic opportunity. Whether this bold project in Germany will succeed remains to be seen, but one thing is clear: Europe is no longer content to be a passive consumer of AI technology developed elsewhere.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. #nvidia #helps #germany #lead #europes
    WWW.ARTIFICIALINTELLIGENCE-NEWS.COM
    NVIDIA helps Germany lead Europe’s AI manufacturing race
    Germany and NVIDIA are building possibly the most ambitious European tech project of the decade: the continent’s first industrial AI cloud.NVIDIA has been on a European tour over the past month with CEO Jensen Huang charming audiences at London Tech Week before dazzling the crowds at Paris’s VivaTech. But it was his meeting with German Chancellor Friedrich Merz that might prove the most consequential stop.The resulting partnership between NVIDIA and Deutsche Telekom isn’t just another corporate handshake; it’s potentially a turning point for European technological sovereignty.An “AI factory” (as they’re calling it) will be created with a focus on manufacturing, which is hardly surprising given Germany’s renowned industrial heritage. The facility aims to give European industrial players the computational firepower to revolutionise everything from design to robotics.“In the era of AI, every manufacturer needs two factories: one for making things, and one for creating the intelligence that powers them,” said Huang. “By building Europe’s first industrial AI infrastructure, we’re enabling the region’s leading industrial companies to advance simulation-first, AI-driven manufacturing.”It’s rare to hear such urgency from a telecoms CEO, but Deutsche Telekom’s Timotheus Höttges added: “Europe’s technological future needs a sprint, not a stroll. We must seize the opportunities of artificial intelligence now, revolutionise our industry, and secure a leading position in the global technology competition. Our economic success depends on quick decisions and collaborative innovations.”The first phase alone will deploy 10,000 NVIDIA Blackwell GPUs spread across various high-performance systems. That makes this Germany’s largest AI deployment ever; a statement the country isn’t content to watch from the sidelines as AI transforms global industry.A Deloitte study recently highlighted the critical importance of AI technology development to Germany’s future competitiveness, particularly noting the need for expanded data centre capacity. When you consider that demand is expected to triple within just five years, this investment seems less like ambition and more like necessity.Robots teaching robotsOne of the early adopters is NEURA Robotics, a German firm that specialises in cognitive robotics. They’re using this computational muscle to power something called the Neuraverse which is essentially a connected network where robots can learn from each other.Think of it as a robotic hive mind for skills ranging from precision welding to household ironing, with each machine contributing its learnings to a collective intelligence.“Physical AI is the electricity of the future—it will power every machine on the planet,” said David Reger, Founder and CEO of NEURA Robotics. “Through this initiative, we’re helping build the sovereign infrastructure Europe needs to lead in intelligent robotics and stay in control of its future.”The implications of this AI project for manufacturing in Germany could be profound. This isn’t just about making existing factories slightly more efficient; it’s about reimagining what manufacturing can be in an age of intelligent machines.AI for more than just Germany’s industrial titansWhat’s particularly promising about this project is its potential reach beyond Germany’s industrial titans. The famed Mittelstand – the network of specialised small and medium-sized businesses that forms the backbone of the German economy – stands to benefit.These companies often lack the resources to build their own AI infrastructure but possess the specialised knowledge that makes them perfect candidates for AI-enhanced innovation. Democratising access to cutting-edge AI could help preserve their competitive edge in a challenging global market.Academic and research institutions will also gain access, potentially accelerating innovation across numerous fields. The approximately 900 Germany-based startups in NVIDIA’s Inception program will be eligible to use these resources, potentially unleashing a wave of entrepreneurial AI applications.However impressive this massive project is, it’s viewed merely as a stepping stone towards something even more ambitious: Europe’s AI gigafactory. This planned 100,000 GPU-powered initiative backed by the EU and Germany won’t come online until 2027, but it represents Europe’s determination to carve out its own technological future.As other European telecom providers follow suit with their own AI infrastructure projects, we may be witnessing the beginning of a concerted effort to establish technological sovereignty across the continent.For a region that has often found itself caught between American tech dominance and Chinese ambitions, building indigenous AI capability represents more than economic opportunity. Whether this bold project in Germany will succeed remains to be seen, but one thing is clear: Europe is no longer content to be a passive consumer of AI technology developed elsewhere.(Photo by Maheshkumar Painam)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.
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  • Punctured Photographs by Yael Martínez Illuminate the Daily Ruptures of Systemic Violence

    “El Hombre y la Montaña”. All images courtesy of This Book Is True, shared with permission
    Punctured Photographs by Yael Martínez Illuminate the Daily Ruptures of Systemic Violence
    June 13, 2025
    Grace Ebert

    The Mexican state of Guerrero lies on the southern Pacific coast and is home to the popular tourist destination of Acapulco. It’s also one of the nation’s most violent areas due to drug trafficking and cartel presence, and is one of six states that account for nearly half of the country’s total homicides.
    For artist and photographer Yael Martínez, the reality of organized crime became more pronounced when, in 2013, three of his family members disappeared. He began to speak with others in his community who had experienced similar traumas and to connect threads across the borders of Mexico to Honduras, Brazil, and the United States.
    “Itzel at home,” Guerrero, Mexico
    Luciérnagas, which translates to fireflies, comes from Martínez’s meditation on this extreme brutality that “infiltrates daily life and transforms the spirit of a place,” a statement says. Now published in a volume by This Book Is True, the poetic series punctures dark, nighttime photographs with minuscule holes. When backlit, the images bear a dazzling constellation of light that distorts the images in which violence isn’t depicted but rather felt.
    In one work, for example, a man holding a firework stands in a poppy field, a perforated cloud of smoke enveloping his figure. He’s performing an annual ritual on the sacred hill of La Garza, and the setting exemplifies a poignant contradiction between ancestral cultures and a crop that has been subsumed by capitalism and is essential to cartel power. A statement elaborates:

    We don’t see death in Luciérnaga, but its omnipresence is felt throughout, lingering in the shadows of each photograph. Each image painfully underwritten by the result of a calculated violence that visited unseen and undetected, leaving behind the immense void of a vanished loved one. And yet there is always a sense of hope that informs the making of this work.

    Luciérnagas is available from This Book Is True. Find more from Martínez on Instagram.
    “Toro”, Guerrero, Mexico
    “Abuelo-Estrella”, Cochoapa El Grande, Guerrero, Mexico
    “Levantada de Cruz”“El Río de la Memoria y Mis Hijas”Next article
    #punctured #photographs #yael #martínez #illuminate
    Punctured Photographs by Yael Martínez Illuminate the Daily Ruptures of Systemic Violence
    “El Hombre y la Montaña”. All images courtesy of This Book Is True, shared with permission Punctured Photographs by Yael Martínez Illuminate the Daily Ruptures of Systemic Violence June 13, 2025 Grace Ebert The Mexican state of Guerrero lies on the southern Pacific coast and is home to the popular tourist destination of Acapulco. It’s also one of the nation’s most violent areas due to drug trafficking and cartel presence, and is one of six states that account for nearly half of the country’s total homicides. For artist and photographer Yael Martínez, the reality of organized crime became more pronounced when, in 2013, three of his family members disappeared. He began to speak with others in his community who had experienced similar traumas and to connect threads across the borders of Mexico to Honduras, Brazil, and the United States. “Itzel at home,” Guerrero, Mexico Luciérnagas, which translates to fireflies, comes from Martínez’s meditation on this extreme brutality that “infiltrates daily life and transforms the spirit of a place,” a statement says. Now published in a volume by This Book Is True, the poetic series punctures dark, nighttime photographs with minuscule holes. When backlit, the images bear a dazzling constellation of light that distorts the images in which violence isn’t depicted but rather felt. In one work, for example, a man holding a firework stands in a poppy field, a perforated cloud of smoke enveloping his figure. He’s performing an annual ritual on the sacred hill of La Garza, and the setting exemplifies a poignant contradiction between ancestral cultures and a crop that has been subsumed by capitalism and is essential to cartel power. A statement elaborates: We don’t see death in Luciérnaga, but its omnipresence is felt throughout, lingering in the shadows of each photograph. Each image painfully underwritten by the result of a calculated violence that visited unseen and undetected, leaving behind the immense void of a vanished loved one. And yet there is always a sense of hope that informs the making of this work. Luciérnagas is available from This Book Is True. Find more from Martínez on Instagram. “Toro”, Guerrero, Mexico “Abuelo-Estrella”, Cochoapa El Grande, Guerrero, Mexico “Levantada de Cruz”“El Río de la Memoria y Mis Hijas”Next article #punctured #photographs #yael #martínez #illuminate
    WWW.THISISCOLOSSAL.COM
    Punctured Photographs by Yael Martínez Illuminate the Daily Ruptures of Systemic Violence
    “El Hombre y la Montaña” (December 31, 2020). All images courtesy of This Book Is True, shared with permission Punctured Photographs by Yael Martínez Illuminate the Daily Ruptures of Systemic Violence June 13, 2025 Grace Ebert The Mexican state of Guerrero lies on the southern Pacific coast and is home to the popular tourist destination of Acapulco. It’s also one of the nation’s most violent areas due to drug trafficking and cartel presence, and is one of six states that account for nearly half of the country’s total homicides. For artist and photographer Yael Martínez, the reality of organized crime became more pronounced when, in 2013, three of his family members disappeared. He began to speak with others in his community who had experienced similar traumas and to connect threads across the borders of Mexico to Honduras, Brazil, and the United States. “Itzel at home,” Guerrero, Mexico Luciérnagas, which translates to fireflies, comes from Martínez’s meditation on this extreme brutality that “infiltrates daily life and transforms the spirit of a place,” a statement says. Now published in a volume by This Book Is True, the poetic series punctures dark, nighttime photographs with minuscule holes. When backlit, the images bear a dazzling constellation of light that distorts the images in which violence isn’t depicted but rather felt. In one work, for example, a man holding a firework stands in a poppy field, a perforated cloud of smoke enveloping his figure. He’s performing an annual ritual on the sacred hill of La Garza, and the setting exemplifies a poignant contradiction between ancestral cultures and a crop that has been subsumed by capitalism and is essential to cartel power. A statement elaborates: We don’t see death in Luciérnaga, but its omnipresence is felt throughout, lingering in the shadows of each photograph. Each image painfully underwritten by the result of a calculated violence that visited unseen and undetected, leaving behind the immense void of a vanished loved one. And yet there is always a sense of hope that informs the making of this work. Luciérnagas is available from This Book Is True. Find more from Martínez on Instagram. “Toro” (2018), Guerrero, Mexico “Abuelo-Estrella” (December 21, 2020), Cochoapa El Grande, Guerrero, Mexico “Levantada de Cruz” (2021) “El Río de la Memoria y Mis Hijas” (2022) Next article
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  • DISCOVERING ELIO

    By TREVOR HOGG

    Images courtesy of Pixar.

    The character design of Glordon is based on a tardigrade, which is a microscopic water bear.

    Rather than look at the unknown as something to be feared, Pixar has decided to do some wish fulfillment with Elio, where a lonely adolescent astrophile gets abducted by aliens and is mistaken as the leader of Earth. Originally conceived and directed by Adrian Molina, the coming-of-age science fiction adventure was shepherded by Domee Shi and Madeline Sharafian, who had previously worked together on Turning Red.
    “Space is often seen as dark, mysterious and scary, but there is also so much hope, wonder and curiosity,” notes Shi, director of Elio. “It’s like anything is ‘out there.’ Elio captures how a lot of us feel at different points of our lives, when we were kids like him, or even now wanting to be off of this current planet because it’s just too much. For Elio, it’s a rescue. I feel that there’s something so universal about that feeling of wanting to be taken away and taken care of. To know that you’re not alone and somebody chose you and picked you up.”

    The character design of Glordon is based on a tardigrade, which is a microscopic water bear.

    There is a stark contrast between how Earth and the alien world, known as the Communiverse, are portrayed. “The more we worked with the animators on Glordon and Helix, they began to realize that Domee and I respond positively when thosecharacters are exaggerated, made cute, round and chubby,” states Sharafian, director of Elio. “That automatically started to differentiate the way the Earth and space feel.” A certain question had to be answered when designing the United Nations-inspired Communiverse. “It was coming from a place of this lonely kid who feels like no one wants him on Earth,” Shi explains. “What would be heaven and paradise for him? The Communiverse was built around that idea.” A sense of belonging is an important theme. “It’s also inspired by Adrian Molina’s backstory, and our backstories too, of going to animation college,” Sharafian remarks. “For the first time, we said, ‘This is where everybody like me is!’”

    Green is the thematic color for Elio.

    Visual effects are an important storytelling tool. “Especially, for our movie, which is about this boy going to this crazy incredible world of the Communiverse,” Shi observes. “It has to be dazzling and look spectacular on the big screen and feel like paradise. Elio is such a visual feast, and you do feel like, ‘I want to stay here no matter what. I can’t believe that this place even exists.’ Visual effects are a powerful tool to help you feel what the characters are feeling.” A wishlist became a reality for the directors. “Claudia Chung Saniigave Domee and me carte blanche for wish fulfillment for ourselves,” Sharafian remarks. “What do you want Elio’s outfit in space to look like? It was a difficult costume, but now when we watch the movie, we’re all so proud of it. Elio looks fabulous, and he’s so happy to be wearing that outfit. Who would want to take that off?”

    The Communiverse was meant to feel like a place that a child would love to visit and explore.

    Methodology rather than technology went through the biggest change for the production. “The Communiverse is super complex and has lots of moving pieces. But there’s not much CG can’t do anymore,” notes Claudia Chung Sanii. “Elemental did effects characters. We did long curly hair, dresses, capes, water and fire. What we hadn’t done before was be a part of that design process. How do we get lighting into layout? How do we see the shaders in animation in layout? The tools department was working on a software called Luna which does that. I went to the tools department and asked, ‘Can I play around with it?’ They were like, ‘Okay. But it’s not ready yet.’ Tools will basically be bringing RenderMan and an interactive lighting workflow to the pipeline across all of these DCCs. Because we light in Katana, you can’t get back upstream. The conceit that we were dipping our toe in on Elio was, ‘Whatever you do in lighting, anyone on the pipeline can see it.’”

    The influence of microscopic forms and macro photography grounded the Communiverse in natural phenomena.

    The variety in the Communiverse is a contrast to the regimented world on the military base.

    There were no departmental borders, in particular with cinematography. “We had our layout and lighting DPs start on the same day. Derek Williams wouldn’t shoot anything without Jordan Rempel, our lighting DP, seeing it,” Sanii states. “Jordan would drop in lighting and start doing key lighting as Derek’s team was laying out. It wasn’t like you had to hit the render button, wait for the render to come up and go, ‘Oh, my god, it’s dark! I didn’t know that it was nighttime.’” A new term was adopted. “Meredith Homand I pulled the entire crew and leadership into this mental concept that we called the ‘college project.’ For some of us, college was a time when we didn’t have titles and crafts. You begged, borrowed and stole to hit that deadline. So much of our world has become linear in our process that I wanted to break that down to, ‘No. We’re all working together. The scope of this film is too large for us to wait for each other to finish our piece. If this person is slammed, fine. Figure out a different idea to do it with what tools you have.’”

    Directors Domee Shi and Madeline Sharafian are drawn to chubby, exaggerated and cute characters.

    Forgoing the word ‘no’ led to the technology breaking down. “I remember times when crowdsis dressing all of the aliens and because of forgetting to constrain it to the Communiverse, they all show up at the origin, and you’re going, ‘Why is there a whole party going on over there?’” Sanii laughs. “On Elio, it was always forward. There were no rules about locking things down or not installing over the weekend. It was always like, ‘Put it all in, and we’ll deal with it on Monday.’ There would be some funny stuff. We never QC’d something before walking it into the room. Everyone saw how the sausage was made. It was fun and not fun for Harley Jessupbecause sometimes there would be a big thing in the middle screen, and he would say, ‘Is that finished?’ There was no way we could get through this film if we kept trying to fix the thing that broke.”

    An aerial image of Elio as he attempts to get abducted by aliens.

    Part of the design of the Coummuniverse was inspired by Chinese puzzle balls.

    A former visual effects art director at ILM, Harley Jessup found his previous experiences on projects like Innerspace to be helpful on Elio. “I liked that the directors wanted to build on the effects films from the 1980s and early 1990s,” reflects Jessup. “I was there and part of that. It was fun to look back. At the time, the techniques were all practical, matte paintings and miniatures, which are fun to work with, but without the safety net of CG. One thing Dennis Murenwas keen on, was how people see things like the natural phenomenon you might see in a microscopic or macro photography form. We were using that. I was looking at the mothership of Close Encounters of the Third Kind, which Dennis shot when he was a young artist. It was nice to be able to bring all of that history to this film.”
    Earth was impacted by a comment made by Pete Docter. “He said, ‘The military base should feel like a parking lot,” Jessup reveals. “You should know why Elio wants to be anywhere else. And the Communiverse needs to be inviting. We built a lot of contrast into those two worlds. The brutalist architecture on the military base, with its hard edges and heavy horizontal forms close to the earth, needed to be harsh but beautiful in its own way, so we tried for that. The Communiverse would be in contrast and be all curves, translucent surfaces and stained-glass backlit effects. Things were wide open about what it could be because each of the aliens are from a different climate and gravity. There are some buildings that are actually upside down on it, and the whole thing is rotating inside like clockwork. It is hopefully an appealing, fun world. It’s not a dystopian outer space.”

    Exploring various facial expressions for Elio.

    A tough character to get right was Aunt Olga, who struggles to be the guardian of her nephew.

    Character designs of Elio and Glordon. which shows them interacting with each other.

    Architecture was devised to reflect the desired tone for scenes. “In the Grand Assembly Hall where each alien has a desk and booth, the booth is shaped like an eyelid that can close or open,” Jessup explains. “It increases the feeling that they’re evaluating and observing Elio and each of the candidates that have come to join the Communiverse.” A couple of iconic cinematic franchises were avoided for aesthetic reasons. “As much as I love Star Wars and Star Trek, we wanted to be different from those kinds of aliens that are often more humanoid.” Ooooo was the first alien to be designed. “We did Ooooo in collaboration with the effects team, which was small at that time. She was described as a liquid supercomputer. We actually used the wireframe that was turning up and asked, what if it ended up being this network of little lights that are moving around and can express how much she was thinking? Ooooo is Elio’s guide to the Communiverse; her body would deform, so she could become a big screen or reach out and pluck things. Ooooo has an ability like an amoeba to stretch.”
    Flexibility is important when figuring out shot design. “On Elio, we provided the layout department with a rudimentary version of our environments,” states David Luoh, Sets Supervisor. “It might be simple geometry. We’re not worried necessarily about shading, color and material yet. Things are roughly in place but also built in a way that is flexible. As they’re sorting out the camera and testing out staging, they can move elements of the set around. Maybe this architectural piece needs to be shifted or larger or smaller. There was a variation on what was typically expected of set deliveries of environments to our layout department. That bar was lowered to give the layout department something to work with sooner and also with more flexibility. From their work we get context as to how we partner with our art and design department to build and finalize those environments.”

    Regional biomes known as disks are part of the Communiverse. “There are aquatic, lush forest, snow and ice, and hot lava disks,” Luoh remarks. “The hot disk is grounded in the desert, volcanic rock and lava, while for the lush disk we looked at interesting plant life found in the world around us.” The Communiverse is a complex geometric form. “We wanted these natural arrangements of alien districts, and that was all happening on this twisting and curving terrain in a way that made traditional dressing approaches clunky. Oftentimes, you’re putting something on the ground or mounted, and the ground is always facing upward. But if you have to dress the wall or ceiling, it becomes a lot more difficult to manipulate and place on something with that dynamic and shape. You have stuff that casts light, is see-through and shifting over time. Ooooo is a living character that looks like electronic circuitry that is constantly moving, and we also have that element in the walls, floors and bubble transport that carry the characters around.”
    Sets were adjusted throughout the production. “We try to anticipate situations that might come up,” Luoh states. “What if we have a series of shots where you’re getting closer and closer to the Communiverse and you have to bridge the distance between your hero and set extension background? There is a partnership with story, but certainly with our layout camera staging department. As we see shots come out of their work, we know where we need to spend the time to figure out, are we going to see the distant hills in this way? We’re not going to build it until we know because it can be labor-intensive. There is a responsiveness to what we are starting to see as shots get made.” Combining the familiar into something unfamiliar was a process. “There was this curation of being inspired by existing alien sci-fi depictions, but also reaching back into biological phenomena or interesting material because we wanted to ground a lot of those visual elements and ideas in something that people could intuitively grasp on to, even if they were combined or arranged in a way that is surprising, strange and delightful.”
    #discovering #elio
    DISCOVERING ELIO
    By TREVOR HOGG Images courtesy of Pixar. The character design of Glordon is based on a tardigrade, which is a microscopic water bear. Rather than look at the unknown as something to be feared, Pixar has decided to do some wish fulfillment with Elio, where a lonely adolescent astrophile gets abducted by aliens and is mistaken as the leader of Earth. Originally conceived and directed by Adrian Molina, the coming-of-age science fiction adventure was shepherded by Domee Shi and Madeline Sharafian, who had previously worked together on Turning Red. “Space is often seen as dark, mysterious and scary, but there is also so much hope, wonder and curiosity,” notes Shi, director of Elio. “It’s like anything is ‘out there.’ Elio captures how a lot of us feel at different points of our lives, when we were kids like him, or even now wanting to be off of this current planet because it’s just too much. For Elio, it’s a rescue. I feel that there’s something so universal about that feeling of wanting to be taken away and taken care of. To know that you’re not alone and somebody chose you and picked you up.” The character design of Glordon is based on a tardigrade, which is a microscopic water bear. There is a stark contrast between how Earth and the alien world, known as the Communiverse, are portrayed. “The more we worked with the animators on Glordon and Helix, they began to realize that Domee and I respond positively when thosecharacters are exaggerated, made cute, round and chubby,” states Sharafian, director of Elio. “That automatically started to differentiate the way the Earth and space feel.” A certain question had to be answered when designing the United Nations-inspired Communiverse. “It was coming from a place of this lonely kid who feels like no one wants him on Earth,” Shi explains. “What would be heaven and paradise for him? The Communiverse was built around that idea.” A sense of belonging is an important theme. “It’s also inspired by Adrian Molina’s backstory, and our backstories too, of going to animation college,” Sharafian remarks. “For the first time, we said, ‘This is where everybody like me is!’” Green is the thematic color for Elio. Visual effects are an important storytelling tool. “Especially, for our movie, which is about this boy going to this crazy incredible world of the Communiverse,” Shi observes. “It has to be dazzling and look spectacular on the big screen and feel like paradise. Elio is such a visual feast, and you do feel like, ‘I want to stay here no matter what. I can’t believe that this place even exists.’ Visual effects are a powerful tool to help you feel what the characters are feeling.” A wishlist became a reality for the directors. “Claudia Chung Saniigave Domee and me carte blanche for wish fulfillment for ourselves,” Sharafian remarks. “What do you want Elio’s outfit in space to look like? It was a difficult costume, but now when we watch the movie, we’re all so proud of it. Elio looks fabulous, and he’s so happy to be wearing that outfit. Who would want to take that off?” The Communiverse was meant to feel like a place that a child would love to visit and explore. Methodology rather than technology went through the biggest change for the production. “The Communiverse is super complex and has lots of moving pieces. But there’s not much CG can’t do anymore,” notes Claudia Chung Sanii. “Elemental did effects characters. We did long curly hair, dresses, capes, water and fire. What we hadn’t done before was be a part of that design process. How do we get lighting into layout? How do we see the shaders in animation in layout? The tools department was working on a software called Luna which does that. I went to the tools department and asked, ‘Can I play around with it?’ They were like, ‘Okay. But it’s not ready yet.’ Tools will basically be bringing RenderMan and an interactive lighting workflow to the pipeline across all of these DCCs. Because we light in Katana, you can’t get back upstream. The conceit that we were dipping our toe in on Elio was, ‘Whatever you do in lighting, anyone on the pipeline can see it.’” The influence of microscopic forms and macro photography grounded the Communiverse in natural phenomena. The variety in the Communiverse is a contrast to the regimented world on the military base. There were no departmental borders, in particular with cinematography. “We had our layout and lighting DPs start on the same day. Derek Williams wouldn’t shoot anything without Jordan Rempel, our lighting DP, seeing it,” Sanii states. “Jordan would drop in lighting and start doing key lighting as Derek’s team was laying out. It wasn’t like you had to hit the render button, wait for the render to come up and go, ‘Oh, my god, it’s dark! I didn’t know that it was nighttime.’” A new term was adopted. “Meredith Homand I pulled the entire crew and leadership into this mental concept that we called the ‘college project.’ For some of us, college was a time when we didn’t have titles and crafts. You begged, borrowed and stole to hit that deadline. So much of our world has become linear in our process that I wanted to break that down to, ‘No. We’re all working together. The scope of this film is too large for us to wait for each other to finish our piece. If this person is slammed, fine. Figure out a different idea to do it with what tools you have.’” Directors Domee Shi and Madeline Sharafian are drawn to chubby, exaggerated and cute characters. Forgoing the word ‘no’ led to the technology breaking down. “I remember times when crowdsis dressing all of the aliens and because of forgetting to constrain it to the Communiverse, they all show up at the origin, and you’re going, ‘Why is there a whole party going on over there?’” Sanii laughs. “On Elio, it was always forward. There were no rules about locking things down or not installing over the weekend. It was always like, ‘Put it all in, and we’ll deal with it on Monday.’ There would be some funny stuff. We never QC’d something before walking it into the room. Everyone saw how the sausage was made. It was fun and not fun for Harley Jessupbecause sometimes there would be a big thing in the middle screen, and he would say, ‘Is that finished?’ There was no way we could get through this film if we kept trying to fix the thing that broke.” An aerial image of Elio as he attempts to get abducted by aliens. Part of the design of the Coummuniverse was inspired by Chinese puzzle balls. A former visual effects art director at ILM, Harley Jessup found his previous experiences on projects like Innerspace to be helpful on Elio. “I liked that the directors wanted to build on the effects films from the 1980s and early 1990s,” reflects Jessup. “I was there and part of that. It was fun to look back. At the time, the techniques were all practical, matte paintings and miniatures, which are fun to work with, but without the safety net of CG. One thing Dennis Murenwas keen on, was how people see things like the natural phenomenon you might see in a microscopic or macro photography form. We were using that. I was looking at the mothership of Close Encounters of the Third Kind, which Dennis shot when he was a young artist. It was nice to be able to bring all of that history to this film.” Earth was impacted by a comment made by Pete Docter. “He said, ‘The military base should feel like a parking lot,” Jessup reveals. “You should know why Elio wants to be anywhere else. And the Communiverse needs to be inviting. We built a lot of contrast into those two worlds. The brutalist architecture on the military base, with its hard edges and heavy horizontal forms close to the earth, needed to be harsh but beautiful in its own way, so we tried for that. The Communiverse would be in contrast and be all curves, translucent surfaces and stained-glass backlit effects. Things were wide open about what it could be because each of the aliens are from a different climate and gravity. There are some buildings that are actually upside down on it, and the whole thing is rotating inside like clockwork. It is hopefully an appealing, fun world. It’s not a dystopian outer space.” Exploring various facial expressions for Elio. A tough character to get right was Aunt Olga, who struggles to be the guardian of her nephew. Character designs of Elio and Glordon. which shows them interacting with each other. Architecture was devised to reflect the desired tone for scenes. “In the Grand Assembly Hall where each alien has a desk and booth, the booth is shaped like an eyelid that can close or open,” Jessup explains. “It increases the feeling that they’re evaluating and observing Elio and each of the candidates that have come to join the Communiverse.” A couple of iconic cinematic franchises were avoided for aesthetic reasons. “As much as I love Star Wars and Star Trek, we wanted to be different from those kinds of aliens that are often more humanoid.” Ooooo was the first alien to be designed. “We did Ooooo in collaboration with the effects team, which was small at that time. She was described as a liquid supercomputer. We actually used the wireframe that was turning up and asked, what if it ended up being this network of little lights that are moving around and can express how much she was thinking? Ooooo is Elio’s guide to the Communiverse; her body would deform, so she could become a big screen or reach out and pluck things. Ooooo has an ability like an amoeba to stretch.” Flexibility is important when figuring out shot design. “On Elio, we provided the layout department with a rudimentary version of our environments,” states David Luoh, Sets Supervisor. “It might be simple geometry. We’re not worried necessarily about shading, color and material yet. Things are roughly in place but also built in a way that is flexible. As they’re sorting out the camera and testing out staging, they can move elements of the set around. Maybe this architectural piece needs to be shifted or larger or smaller. There was a variation on what was typically expected of set deliveries of environments to our layout department. That bar was lowered to give the layout department something to work with sooner and also with more flexibility. From their work we get context as to how we partner with our art and design department to build and finalize those environments.” Regional biomes known as disks are part of the Communiverse. “There are aquatic, lush forest, snow and ice, and hot lava disks,” Luoh remarks. “The hot disk is grounded in the desert, volcanic rock and lava, while for the lush disk we looked at interesting plant life found in the world around us.” The Communiverse is a complex geometric form. “We wanted these natural arrangements of alien districts, and that was all happening on this twisting and curving terrain in a way that made traditional dressing approaches clunky. Oftentimes, you’re putting something on the ground or mounted, and the ground is always facing upward. But if you have to dress the wall or ceiling, it becomes a lot more difficult to manipulate and place on something with that dynamic and shape. You have stuff that casts light, is see-through and shifting over time. Ooooo is a living character that looks like electronic circuitry that is constantly moving, and we also have that element in the walls, floors and bubble transport that carry the characters around.” Sets were adjusted throughout the production. “We try to anticipate situations that might come up,” Luoh states. “What if we have a series of shots where you’re getting closer and closer to the Communiverse and you have to bridge the distance between your hero and set extension background? There is a partnership with story, but certainly with our layout camera staging department. As we see shots come out of their work, we know where we need to spend the time to figure out, are we going to see the distant hills in this way? We’re not going to build it until we know because it can be labor-intensive. There is a responsiveness to what we are starting to see as shots get made.” Combining the familiar into something unfamiliar was a process. “There was this curation of being inspired by existing alien sci-fi depictions, but also reaching back into biological phenomena or interesting material because we wanted to ground a lot of those visual elements and ideas in something that people could intuitively grasp on to, even if they were combined or arranged in a way that is surprising, strange and delightful.” #discovering #elio
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    DISCOVERING ELIO
    By TREVOR HOGG Images courtesy of Pixar. The character design of Glordon is based on a tardigrade, which is a microscopic water bear. Rather than look at the unknown as something to be feared, Pixar has decided to do some wish fulfillment with Elio, where a lonely adolescent astrophile gets abducted by aliens and is mistaken as the leader of Earth. Originally conceived and directed by Adrian Molina, the coming-of-age science fiction adventure was shepherded by Domee Shi and Madeline Sharafian, who had previously worked together on Turning Red. “Space is often seen as dark, mysterious and scary, but there is also so much hope, wonder and curiosity,” notes Shi, director of Elio. “It’s like anything is ‘out there.’ Elio captures how a lot of us feel at different points of our lives, when we were kids like him, or even now wanting to be off of this current planet because it’s just too much. For Elio, it’s a rescue. I feel that there’s something so universal about that feeling of wanting to be taken away and taken care of. To know that you’re not alone and somebody chose you and picked you up.” The character design of Glordon is based on a tardigrade, which is a microscopic water bear. There is a stark contrast between how Earth and the alien world, known as the Communiverse, are portrayed. “The more we worked with the animators on Glordon and Helix, they began to realize that Domee and I respond positively when those [alien] characters are exaggerated, made cute, round and chubby,” states Sharafian, director of Elio. “That automatically started to differentiate the way the Earth and space feel.” A certain question had to be answered when designing the United Nations-inspired Communiverse. “It was coming from a place of this lonely kid who feels like no one wants him on Earth,” Shi explains. “What would be heaven and paradise for him? The Communiverse was built around that idea.” A sense of belonging is an important theme. “It’s also inspired by Adrian Molina’s backstory, and our backstories too, of going to animation college,” Sharafian remarks. “For the first time, we said, ‘This is where everybody like me is!’” Green is the thematic color for Elio. Visual effects are an important storytelling tool. “Especially, for our movie, which is about this boy going to this crazy incredible world of the Communiverse,” Shi observes. “It has to be dazzling and look spectacular on the big screen and feel like paradise. Elio is such a visual feast, and you do feel like, ‘I want to stay here no matter what. I can’t believe that this place even exists.’ Visual effects are a powerful tool to help you feel what the characters are feeling.” A wishlist became a reality for the directors. “Claudia Chung Sanii [Visual Effects Supervisor] gave Domee and me carte blanche for wish fulfillment for ourselves,” Sharafian remarks. “What do you want Elio’s outfit in space to look like? It was a difficult costume, but now when we watch the movie, we’re all so proud of it. Elio looks fabulous, and he’s so happy to be wearing that outfit. Who would want to take that off?” The Communiverse was meant to feel like a place that a child would love to visit and explore. Methodology rather than technology went through the biggest change for the production. “The Communiverse is super complex and has lots of moving pieces. But there’s not much CG can’t do anymore,” notes Claudia Chung Sanii. “Elemental did effects characters. We did long curly hair, dresses, capes, water and fire. What we hadn’t done before was be a part of that design process. How do we get lighting into layout? How do we see the shaders in animation in layout? The tools department was working on a software called Luna which does that. I went to the tools department and asked, ‘Can I play around with it?’ They were like, ‘Okay. But it’s not ready yet.’ Tools will basically be bringing RenderMan and an interactive lighting workflow to the pipeline across all of these DCCs. Because we light in Katana, you can’t get back upstream. The conceit that we were dipping our toe in on Elio was, ‘Whatever you do in lighting, anyone on the pipeline can see it.’” The influence of microscopic forms and macro photography grounded the Communiverse in natural phenomena. The variety in the Communiverse is a contrast to the regimented world on the military base. There were no departmental borders, in particular with cinematography. “We had our layout and lighting DPs start on the same day. Derek Williams wouldn’t shoot anything without Jordan Rempel, our lighting DP, seeing it,” Sanii states. “Jordan would drop in lighting and start doing key lighting as Derek’s team was laying out. It wasn’t like you had to hit the render button, wait for the render to come up and go, ‘Oh, my god, it’s dark! I didn’t know that it was nighttime.’” A new term was adopted. “Meredith Hom [Production Manager] and I pulled the entire crew and leadership into this mental concept that we called the ‘college project.’ For some of us, college was a time when we didn’t have titles and crafts. You begged, borrowed and stole to hit that deadline. So much of our world has become linear in our process that I wanted to break that down to, ‘No. We’re all working together. The scope of this film is too large for us to wait for each other to finish our piece. If this person is slammed, fine. Figure out a different idea to do it with what tools you have.’” Directors Domee Shi and Madeline Sharafian are drawn to chubby, exaggerated and cute characters. Forgoing the word ‘no’ led to the technology breaking down. “I remember times when crowds [department] is dressing all of the aliens and because of forgetting to constrain it to the Communiverse, they all show up at the origin, and you’re going, ‘Why is there a whole party going on over there?’” Sanii laughs. “On Elio, it was always forward. There were no rules about locking things down or not installing over the weekend. It was always like, ‘Put it all in, and we’ll deal with it on Monday.’ There would be some funny stuff. We never QC’d something before walking it into the room. Everyone saw how the sausage was made. It was fun and not fun for Harley Jessup [Production Designer] because sometimes there would be a big thing in the middle screen, and he would say, ‘Is that finished?’ There was no way we could get through this film if we kept trying to fix the thing that broke.” An aerial image of Elio as he attempts to get abducted by aliens. Part of the design of the Coummuniverse was inspired by Chinese puzzle balls. A former visual effects art director at ILM, Harley Jessup found his previous experiences on projects like Innerspace to be helpful on Elio. “I liked that the directors wanted to build on the effects films from the 1980s and early 1990s,” reflects Jessup. “I was there and part of that. It was fun to look back. At the time, the techniques were all practical, matte paintings and miniatures, which are fun to work with, but without the safety net of CG. One thing Dennis Muren [VES] was keen on, was how people see things like the natural phenomenon you might see in a microscopic or macro photography form. We were using that. I was looking at the mothership of Close Encounters of the Third Kind, which Dennis shot when he was a young artist. It was nice to be able to bring all of that history to this film.” Earth was impacted by a comment made by Pete Docter (CCO, Pixar). “He said, ‘The military base should feel like a parking lot,” Jessup reveals. “You should know why Elio wants to be anywhere else. And the Communiverse needs to be inviting. We built a lot of contrast into those two worlds. The brutalist architecture on the military base, with its hard edges and heavy horizontal forms close to the earth, needed to be harsh but beautiful in its own way, so we tried for that. The Communiverse would be in contrast and be all curves, translucent surfaces and stained-glass backlit effects. Things were wide open about what it could be because each of the aliens are from a different climate and gravity. There are some buildings that are actually upside down on it, and the whole thing is rotating inside like clockwork. It is hopefully an appealing, fun world. It’s not a dystopian outer space.” Exploring various facial expressions for Elio. A tough character to get right was Aunt Olga, who struggles to be the guardian of her nephew. Character designs of Elio and Glordon. which shows them interacting with each other. Architecture was devised to reflect the desired tone for scenes. “In the Grand Assembly Hall where each alien has a desk and booth, the booth is shaped like an eyelid that can close or open,” Jessup explains. “It increases the feeling that they’re evaluating and observing Elio and each of the candidates that have come to join the Communiverse.” A couple of iconic cinematic franchises were avoided for aesthetic reasons. “As much as I love Star Wars and Star Trek, we wanted to be different from those kinds of aliens that are often more humanoid.” Ooooo was the first alien to be designed. “We did Ooooo in collaboration with the effects team, which was small at that time. She was described as a liquid supercomputer. We actually used the wireframe that was turning up and asked, what if it ended up being this network of little lights that are moving around and can express how much she was thinking? Ooooo is Elio’s guide to the Communiverse; her body would deform, so she could become a big screen or reach out and pluck things. Ooooo has an ability like an amoeba to stretch.” Flexibility is important when figuring out shot design. “On Elio, we provided the layout department with a rudimentary version of our environments,” states David Luoh, Sets Supervisor. “It might be simple geometry. We’re not worried necessarily about shading, color and material yet. Things are roughly in place but also built in a way that is flexible. As they’re sorting out the camera and testing out staging, they can move elements of the set around. Maybe this architectural piece needs to be shifted or larger or smaller. There was a variation on what was typically expected of set deliveries of environments to our layout department. That bar was lowered to give the layout department something to work with sooner and also with more flexibility. From their work we get context as to how we partner with our art and design department to build and finalize those environments.” Regional biomes known as disks are part of the Communiverse. “There are aquatic, lush forest, snow and ice, and hot lava disks,” Luoh remarks. “The hot disk is grounded in the desert, volcanic rock and lava, while for the lush disk we looked at interesting plant life found in the world around us.” The Communiverse is a complex geometric form. “We wanted these natural arrangements of alien districts, and that was all happening on this twisting and curving terrain in a way that made traditional dressing approaches clunky. Oftentimes, you’re putting something on the ground or mounted, and the ground is always facing upward. But if you have to dress the wall or ceiling, it becomes a lot more difficult to manipulate and place on something with that dynamic and shape. You have stuff that casts light, is see-through and shifting over time. Ooooo is a living character that looks like electronic circuitry that is constantly moving, and we also have that element in the walls, floors and bubble transport that carry the characters around.” Sets were adjusted throughout the production. “We try to anticipate situations that might come up,” Luoh states. “What if we have a series of shots where you’re getting closer and closer to the Communiverse and you have to bridge the distance between your hero and set extension background? There is a partnership with story, but certainly with our layout camera staging department. As we see shots come out of their work, we know where we need to spend the time to figure out, are we going to see the distant hills in this way? We’re not going to build it until we know because it can be labor-intensive. There is a responsiveness to what we are starting to see as shots get made.” Combining the familiar into something unfamiliar was a process. “There was this curation of being inspired by existing alien sci-fi depictions, but also reaching back into biological phenomena or interesting material because we wanted to ground a lot of those visual elements and ideas in something that people could intuitively grasp on to, even if they were combined or arranged in a way that is surprising, strange and delightful.”
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