Researchers from the Department of Mechanical Engineering at Virginia Tech have introduced a continuous fiber reinforcement (CFR) deposition tool designed for multi-axis 3D printing, significantly enhancing mechanical performance in composite structures. Led by Kieran D. Beaumont, Joseph R. Kubalak, and Christopher B. Williams, and published in Springer Nature Link, the study demonstrates an 820% improvement in maximum load capacity compared to conventional planar short carbon fiber (SCF) 3D printing methods. This tool integrates three key functions: reliable fiber cutting and re-feeding, in situ fiber volume fraction control, and a slender collision volume to support complex multi-axis toolpaths. The newly developed deposition tool addresses critical challenges in CFR additive manufacturing. It is capable of cutting and re-feeding continuous fibers during travel movements, a function required to create complex geometries without material tearing or print failure. In situ control of fiber volume fraction is also achieved by adjusting the polymer extrusion rate. A slender geometry minimizes collisions between the tool and the printed part during multi-axis movements. The researchers designed the tool to co-extrude a thermoplastic polymer matrix with a continuous carbon fiber (CCF) towpreg. This approach allowed reliable fiber re-feeding after each cut and enabled printing with variable fiber content within a single part. The tool’s slender collision volume supports increased range of motion for the robotic arm used in the experiments, allowing alignment of fibers with three-dimensional load paths in complex structures. The six Degree-of-Freedom Robotic Arm printing a multi-axis geometry from a CFR polymer composite. Photo via Springer Nature Link. Mechanical Testing Confirms Load-Bearing Improvements Mechanical tests evaluated the impact of continuous fiber reinforcement on polylactic acid (PLA) parts. In tensile tests, samples reinforced with continuous carbon fibers achieved a tensile strength of 190.76 MPa and a tensile modulus of 9.98 GPa in the fiber direction. These values compare to 60.31 MPa and 3.01 GPa for neat PLA, and 56.92 MPa and 4.30 GPa for parts containing short carbon fibers. Additional tests assessed intra-layer and inter-layer performance, revealing that the continuous fiber–reinforced material had reduced mechanical properties in these orientations. Compared to neat PLA, intra-layer tensile strength and modulus dropped by 66% and 63%, respectively, and inter-layer strength and modulus decreased by 86% and 60%. Researchers printed curved tensile bar geometries using three methods to evaluate performance in parts with three-dimensional load paths: planar short carbon fiber–reinforced PLA, multi-axis short fiber–reinforced samples, and multi-axis continuous fiber–reinforced composites. The multi-axis short fiber–reinforced parts showed a 41.6% increase in maximum load compared to their planar counterparts. Meanwhile, multi-axis continuous fiber–reinforced parts absorbed loads 8.2 times higher than the planar short fiber–reinforced specimens. Scanning electron microscopy (SEM) images of fracture surfaces revealed fiber pull-out and limited fiber-matrix bonding, particularly in samples with continuous fibers. Schematic illustration of common continuous fiber reinforcement–material extrusion (CFR-MEX) modalities: in situ impregnation, towpreg extrusion, and co-extrusion with towpreg. Photo via Springer Nature Link. To verify the tool’s fiber cutting and re-feeding capability, the researchers printed a 100 × 150 × 3 mm rectangular plaque that required 426 cutting and re-feeding operations across six layers. The deposition tool achieved a 100% success rate, demonstrating reliable cutting and re-feeding without fiber clogging. This reliability is critical for manufacturing complex structures that require frequent travel movements between deposition paths. In situ fiber volume fraction control was validated through printing a rectangular prism sample with varying polymer feed rates, road widths, and layer heights. The fiber volume fractions achieved in different sections of the part were 6.51%, 8.00%, and 9.86%, as measured by cross-sectional microscopy and image analysis. Although lower than some literature reports, the researchers attributed this to the specific combination of tool geometry, polymer-fiber interaction time, and print speed. The tool uses Anisoprint’s CCF towpreg, a pre-impregnated continuous carbon fiber product with a fiber volume fraction of 57% and a diameter of 0.35 mm. 3DXTECH’s black PLA and SCF-PLA filaments were selected to ensure consistent matrix properties and avoid the influence of pigment variations on mechanical testing. The experiments were conducted using an ABB IRB 4600–40/2.55 robotic arm equipped with a tool changer for switching between the CFR-MEX deposition tool and a standard MEX tool with an elongated nozzle for planar prints. Deposition Tool CAD and Assembly. Photo via Springer Nature Link. Context Within Existing Research and Future Directions Continuous fiber reinforcement in additive manufacturing has previously demonstrated significant improvements in part performance, with some studies reporting tensile strengths of up to 650 MPa for PLA composites reinforced with continuous carbon fibers. However, traditional three-axis printing methods restrict fiber orientation to planar directions, limiting these gains to within the XY-plane. Multi-axis 3D printing approaches have demonstrated improved load-bearing capacity in short-fiber reinforced parts. For example, multi-axis printed samples have shown failure loads several times higher than planar-printed counterparts in pressure cap and curved geometry applications. Virginia Tech’s tool integrates multiple functionalities that previous tools in literature could not achieve simultaneously. It combines a polymer feeder based on a dual drive extruder, a fiber cutter and re-feeder assembly, and a co-extrusion hotend with adjustable interaction time for fiber-polymer bonding. A needle-like geometry and external pneumatic cooling pipes reduce the risk of collision with the printed part during multi-axis reorientation. Measured collision volume angles were 56.2° for the full tool and 41.6° for the hotend assembly. Load-extension performance graphs for curved tensile bars. Photo via Springer Nature Link. Despite these advances, the researchers identified challenges related to weak bonding between the fiber and the polymer matrix. SEM images showed limited impregnation of the polymer into the fiber towpreg, with the fiber-matrix interface remaining a key area for future work. The study highlights that optimizing fiber tow sizing and improving the fiber-polymer interaction time during printing could enhance inter-layer and intra-layer performance. The results also suggest that advanced toolpath planning algorithms could further leverage the tool’s ability to align fiber deposition along three-dimensional load paths, improving mechanical performance in functional parts. The publication in Springer Nature Link documents the full design, validation experiments, and mechanical characterization of the CFR-MEX tool. The work adds to a growing body of research on multi-axis additive manufacturing, particularly in combining continuous fiber reinforcement with complex geometries. Take the 3DPI Reader Survey — shape the future of AM reporting in under 5 minutes. Ready to discover who won the 20243D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights. Featured photo shows the six Degree-of-Freedom Robotic Arm printing a multi-axis geometry. Photo via Springer Nature Link. Anyer Tenorio Lara Anyer Tenorio Lara is an emerging tech journalist passionate about uncovering the latest advances in technology and innovation. With a sharp eye for detail and a talent for storytelling, Anyer has quickly made a name for himself in the tech community. Anyer's articles aim to make complex subjects accessible and engaging for a broad audience. In addition to his writing, Anyer enjoys participating in industry events and discussions, eager to learn and share knowledge in the dynamic world of technology.

When people talk about UX, it’s usually about the things they can see and interact with, like wireframes and prototypes, smart interactions, and design tools like Figma, Miro, or Maze. Some of the outputs are even glamorized, like design systems, research reports, and pixel-perfect UI designs. But here’s the truth I’ve seen again and again in over two decades of working in UX: none of that moves the needle if there is no collaboration. Great UX doesn’t happen in isolation. It happens through conversations with engineers, product managers, customer-facing teams, and the customer support teams who manage support tickets. Amazing UX ideas come alive in messy Miro sessions, cross-functional workshops, and those online chats (e.g., Slack or Teams) where people align, adapt, and co-create. Some of the most impactful moments in my career weren’t when I was “designing” in the traditional sense. They have been gaining incredible insights when discussing problems with teammates who have varied experiences, brainstorming, and coming up with ideas that I never could have come up with on my own. As I always say, ten minds in a room will come up with ten times as many ideas as one mind. Often, many ideas are the most useful outcome. There have been times when a team has helped to reframe a problem in a workshop, taken vague and conflicting feedback, and clarified a path forward, or I’ve sat with a sales rep and heard the same user complaint show up in multiple conversations. This is when design becomes a team sport, and when your ability to capture the outcomes multiplies the UX impact. Why This Article Matters Now The reason collaboration feels so urgent now is that the way we work since COVID has changed, according to a study published by the US Department of Labor. Teams are more cross-functional, often remote, and increasingly complex. Silos are easier to fall into, due to distance or lack of face-to-face contact, and yet alignment has never been more important. We can’t afford to see collaboration as a “nice to have” anymore. It’s a core skill, especially in UX, where our work touches so many parts of an organisation. Let’s break down what collaboration in UX really means, and why it deserves way more attention than it gets. What Is Collaboration In UX, Really? Let’s start by clearing up a misconception. Collaboration is not the same as cooperation. Cooperation: “You do your thing, I’ll do mine, and we’ll check in later.” Collaboration: “Let’s figure this out together and co-own the outcome.” Collaboration, as defined in the book Communication Concepts, published by Deakin University, involves working with others to produce outputs and/or achieve shared goals. The outcome of collaboration is typically a tangible product or a measurable achievement, such as solving a problem or making a decision. Here’s an example from a recent project: Recently, I worked on a fraud alert platform for a fintech business. It was a six-month project, and we had zero access to users, as the product had not yet hit the market. Also, the users were highly specialised in the B2B finance space and were difficult to find. Additionally, the team members I needed to collaborate with were based in Malaysia and Melbourne, while I am located in Sydney. Instead of treating that as a dead end, we turned inward: collaborating with subject matter experts, professional services consultants, compliance specialists, and customer support team members who had deep knowledge of fraud patterns and customer pain points. Through bi-weekly workshops using a Miro board, iterative feedback loops, and sketching sessions, we worked on design solution options. I even asked them to present their own design version as part of the process. After months of iterating on the fraud investigation platform through these collaboration sessions, I ended up with two different design frameworks for the investigator’s dashboard. Instead of just presenting the “best one” and hoping for buy-in, I ran a voting exercise with PMs, engineers, SMEs, and customer support. Everyone had a voice. The winning design was created and validated with the input of the team, resulting in an outcome that solved many problems for the end user and was owned by the entire team. That’s collaboration! It is definitely one of the most satisfying projects of my career. On the other hand, I recently caught up with an old colleague who now serves as a product owner. Her story was a cautionary tale: the design team had gone ahead with a major redesign of an app without looping her in until late in the game. Not surprisingly, the new design missed several key product constraints and business goals. It had to be scrapped and redone, with her now at the table. That experience reinforced what we all know deep down: your best work rarely happens in isolation. As illustrated in my experience, true collaboration can span many roles. It’s not just between designers and PMs. It can also include QA testers who identify real-world issues, content strategists who ensure our language is clear and inclusive, sales representatives who interact with customers on a daily basis, marketers who understand the brand’s voice, and, of course, customer support agents who are often the first to hear when something goes wrong. The best outcomes arrive when we’re open to different perspectives and inputs. Why Collaboration Is So Overlooked? If collaboration is so powerful, why don’t we talk about it more? In my experience, one reason is the myth of the “lone UX hero”. Many of us entered the field inspired by stories of design geniuses revolutionising products on their own. Our portfolios often reflect that as well. We showcase our solo work, our processes, and our wins. Job descriptions often reinforce the idea of the solo UX designer, listing tool proficiency and deliverables more than soft skills and team dynamics. And then there’s the team culture within many organisations of “just get the work done”, which often leads to fewer meetings and tighter deadlines. As a result, a sense of collaboration is inefficient and wasted. I have also experienced working with some designers where perfectionism and territoriality creep in — “This is my design” — which kills the open, communal spirit that collaboration needs. When Collaboration Is The User Research In an ideal world, we’d always have direct access to users. But let’s be real. Sometimes that just doesn’t happen. Whether it’s due to budget constraints, time limitations, or layers of bureaucracy, talking to end users isn’t always possible. That’s where collaboration with team members becomes even more crucial. The next best thing to talking to users? Talking to the people who talk to users. Sales teams, customer success reps, tech support, and field engineers. They’re all user researchers in disguise! On another B2C project, the end users were having trouble completing the key task. My role was to redesign the onboarding experience for an online identity capture tool for end users. I was unable to schedule interviews with end users due to budget and time constraints, so I turned to the sales and tech support teams. I conducted multiple mini-workshops to identify the most common onboarding issues they had heard directly from our customers. This led to a huge “aha” moment: most users dropped off before the document capture process. They may have been struggling with a lack of instruction, not knowing the required time, or not understanding the steps involved in completing the onboarding process. That insight reframed my approach, and we ultimately redesigned the flow to prioritize orientation and clear instructions before proceeding to the setup steps. Below is an example of one of the screen designs, including some of the instructions we added. This kind of collaboration is user research. It’s not a substitute for talking to users directly, but it’s a powerful proxy when you have limited options. But What About Using AI? Glad you asked! Even AI tools, which are increasingly being used for idea generation, pattern recognition, or rapid prototyping, don’t replace collaboration; they just change the shape of it. AI can help you explore design patterns, draft user flows, or generate multiple variations of a layout in seconds. It’s fantastic for getting past creative blocks or pressure-testing your assumptions. But let’s be clear: these tools are accelerators, not oracles. As an innovation and strategy consultant Nathan Waterhouse points out, AI can point you in a direction, but it can’t tell you which direction is the right one in your specific context. That still requires human judgment, empathy, and an understanding of the messy realities of users and business goals. You still need people, especially those closest to your users, to validate, challenge, and evolve any AI-generated idea. For instance, you might use ChatGPT to brainstorm onboarding flows for a SaaS tool, but if you’re not involving customer support reps who regularly hear “I didn’t know where to start” or “I couldn’t even log in,” you’re just working with assumptions. The same applies to engineers who know what is technically feasible or PMs who understand where the business is headed. AI can generate ideas, but only collaboration turns those ideas into something usable, valuable, and real. Think of it as a powerful ingredient, but not the whole recipe. How To Strengthen Your UX Collaboration Skills? If collaboration doesn’t come naturally or hasn’t been a focus, that’s okay. Like any skill, it can be practiced and improved. Here are a few ways to level up: Cultivate curiosity about your teammates.Ask engineers what keeps them up at night. Learn what metrics your PMs care about. Understand the types of tickets the support team handles most frequently. The more you care about their challenges, the more they'll care about yours. Get comfortable facilitating.You don’t need to be a certified Design Sprint master, but learning how to run a structured conversation, align stakeholders, or synthesize different points of view is hugely valuable. Even a simple “What’s working? What’s not?” retro can be an amazing starting point in identifying where you need to focus next. Share early, share often.Don’t wait until your designs are polished to get input. Messy sketches and rough prototypes invite collaboration. When others feel like they’ve helped shape the work, they’re more invested in its success. Practice active listening.When someone critiques your work, don’t immediately defend. Pause. Ask follow-up questions. Reframe the feedback. Collaboration isn’t about consensus; it’s about finding a shared direction that can honour multiple truths. Co-own the outcome.Let go of your ego. The best UX work isn’t “your” work. It’s the result of many voices, skill sets, and conversations converging toward a solution that helps users. It’s not “I”, it’s “we” that will solve this problem together. Conclusion: UX Is A Team Sport Great design doesn’t emerge from a vacuum. It comes from open dialogue, cross-functional understanding, and a shared commitment to solving real problems for real people. If there’s one thing I wish every early-career designer knew, it’s this: Collaboration is not a side skill. It’s the engine behind every meaningful design outcome. And for seasoned professionals, it’s the superpower that turns good teams into great ones. So next time you’re tempted to go heads-down and just “crank out a design,” pause to reflect. Ask who else should be in the room. And invite them in, not just to review your work, but to help create it. Because in the end, the best UX isn’t just what you make. It’s what you make together. Further Reading On SmashingMag “Presenting UX Research And Design To Stakeholders: The Power Of Persuasion,” Victor Yocco “Transforming The Relationship Between Designers And Developers,” Chris Day “Effective Communication For Everyday Meetings,” Andrii Zhdan “Preventing Bad UX Through Integrated Design Workflows,” Ceara Crawshaw

Home Meta and Yandex Spying on Android Users Through Localhost Ports: The Dying State of Online Privacy News Meta and Yandex Spying on Android Users Through Localhost Ports: The Dying State of Online Privacy 7 min read Published: June 4, 2025 Key Takeaways Meta and Yandex have been found guilty of secretly listening to localhost ports and using them to transfer sensitive data from Android devices. The corporations use Meta Pixel and Yandex Metrica scripts to transfer cookies from browsers to local apps. Using incognito mode or a VPN can’t fully protect users against it. A Meta spokesperson has called this a ‘miscommunication,’ which seems to be an attempt to underplay the situation. Wake up, Android folks! A new privacy scandal has hit your area of town. According to a new report led by Radboud University, Meta and Yandex have been listening to localhost ports to link your web browsing data with your identity and collect personal information without your consent. The companies use Meta Pixel and the Yandex Metrica scripts, which are embedded on 5.8 million and 3 million websites, respectively, to connect with their native apps on Android devices through localhost sockets. This creates a communication path between the cookies on your website and the local apps, establishing a channel for transferring personal information from your device. Also, you are mistaken if you think using your browser’s incognito mode or a VPN can protect you. Zuckerberg’s latest method of data harvesting can’t be overcome by tweaking any privacy or cookie settings or by using a VPN or incognito mode. How Does It Work? Here’s the method used by Meta to spy on Android devices: As many as 22% of the top 1 million websites contain Meta Pixel – a tracking code that helps website owners measure ad performance and track user behaviour. When Meta Pixel loads, it creates a special cookie called _fbp, which is supposed to be a first-party cookie. This means no other third party, including Meta apps themselves, should have access to this cookie. The _fbp cookie identifies your browser whenever you visit a website, meaning it can identify which person is accessing which websites. However, Meta, being Meta, went and found a loophole around this. Now, whenever you run Facebook or Instagram on your Android device, they can open up listening ports, specifically a TCP port (12387 or 12388) and a UDP port (the first unoccupied port in 12580-12585), on your phone in the background.  Whenever you load a website on your browser, the Meta Pixel uses WebRTC with SDP Munging, which essentially hides the _fbp cookie value inside the SDP message before being transmitted to your phone’s localhost.  Since Facebook and Instagram are already listening to this port, it receives the _fbp cookie value and can easily tie your identity to the website you’re visiting. Remember, Facebook and Instagram already have your identification details since you’re always logged in on these platforms. The report also says that Meta can link all _fbp received from various websites to your ID. Simply put, Meta knows which person is viewing what set of websites. Yandex also uses a similar method to harvest your personal data. Whenever you open a Yandex app, such as Yandex Maps, Yandex Browser, Yandex Search, or Navigator, it opens up ports like 29009, 30102, 29010, and 30103 on your phone.  When you visit a website that contains the Yandex Metrica Script, Yandex’s version of Meta Pixel, the script sends requests to Yandex servers containing obfuscated parameters.  These parameters are then sent to the local host via HTTP and HTTPS, which contains the IP address 127.0.0.1, or the yandexmetrica.com domain, which secretly points to 127.0.0.1. Now, the Yandex Metrica SDK in the Yandex apps receives these parameters and sends device identifiers, such as an Android Advertising ID, UUIDs, or device fingerprints. This entire message is encrypted to hide what it contains. The Yandex Metrica Script receives this info and sends it back to the Yandex servers. Just like Meta, Yandex can also tie your website activity to the device information shared by the SDK. Meta’s Infamous History with Privacy Norms This is not something new or unthinkable that Meta has done. The Mark Zuckerberg-led social media giant has a history of such privacy violations.  For instance, in 2024, the company was accused of collecting biometric data from Texas users without their express consent. The company settled the lawsuit by paying $1.4B.  Another of the most famous lawsuits was the Cambridge Analytica scandal in 2018, where a political consulting firm accessed private data of 87 million Facebook users without consent. The FTC fined Meta $5B for privacy violations along with a 100M settlement with the US Securities and Exchange Commission.  Meta Pixel has also come under scrutiny before, when it was accused of collecting sensitive health information from hospital websites. In another case dating back to 2012, Meta was accused of tracking users even after they logged out from their Facebook accounts. In this case, Meta paid $90M and promised to delete the collected data.  In 2024, South Korea also fined Meta $15M for inappropriately collecting personal data, such as sexual orientation and political beliefs, of 980K users. In September 2024, Meta was fined $101.6M by the Irish Data Protection Commission for inadvertently storing user passwords in plain text in such a way that employees could search for them. The passwords were not encrypted and were essentially leaked internally. So, the latest scandal isn’t entirely out of character for Meta. It has been finding ways to collect your data ever since its incorporation, and it seems like it will continue to do so, regardless of the regulations and safeguards in place. That said, Meta’s recent tracking method is insanely dangerous because there’s no safeguard around it. Even if you visit websites in incognito mode or use a VPN, Meta Pixel can still track your activities.  The past lawsuits also show a very identifiable pattern: Meta doesn’t fight a lawsuit until the end to try to win it. It either accepts the fine or settles the lawsuit with monetary compensation. This essentially goes to show that it passively accepts and even ‘owns’ the illegitimate tracking methods it has been using for decades. It’s quite possible that the top management views these fines and penalties as a cost of collecting data. Meta’s Timid Response Meta’s response claims that there’s some ‘miscommunication’ regarding Google policies. However, the method used in the aforementioned tracking scandal isn’t something that can simply happen due to ‘faulty design’ or miscommunication.  We are in discussions with Google to address a potential miscommunication regarding the application of their policies – Meta Spokesperson This kind of unethical tracking method has to be deliberately designed by engineers for it to work perfectly on such a large scale. While Meta is still trying to underplay the situation, it has paused the ‘feature’ (yep, that’s what they are calling it) as of now. The report also claims that as of June 3, Facebook and Instagram are not actively listening to the new ports. Here’s what will possibly happen next: A lawsuit may be filed based on the report. An investigating committee might be formed to question the matter. The company will come up with lame excuses, such as misinterpretation or miscommunication of policy guidelines. Meta will eventually settle the lawsuit or bear the fine with pride, like it has always done.  The regulatory authorities are apparently chasing a rat that finds new holes to hide every day. Companies like Meta and Yandex seem to be one step ahead of these regulations and have mastered the art of finding loopholes. More than legislative technicalities, it’s the moral ethics of the company that become clear with incidents like this. The intent of these regulations is to protect personal information, and the fact that Meta and Yandex blatantly circumvent these regulations in their spirit shows the absolutely horrific state of capitalism these corporations are in. Krishi is a seasoned tech journalist with over four years of experience writing about PC hardware, consumer technology, and artificial intelligence.  Clarity and accessibility are at the core of Krishi’s writing style. He believes technology writing should empower readers—not confuse them—and he’s committed to ensuring his content is always easy to understand without sacrificing accuracy or depth. Over the years, Krishi has contributed to some of the most reputable names in the industry, including Techopedia, TechRadar, and Tom’s Guide. A man of many talents, Krishi has also proven his mettle as a crypto writer, tackling complex topics with both ease and zeal. His work spans various formats—from in-depth explainers and news coverage to feature pieces and buying guides.  Behind the scenes, Krishi operates from a dual-monitor setup (including a 29-inch LG UltraWide) that’s always buzzing with news feeds, technical documentation, and research notes, as well as the occasional gaming sessions that keep him fresh.  Krishi thrives on staying current, always ready to dive into the latest announcements, industry shifts, and their far-reaching impacts.  When he's not deep into research on the latest PC hardware news, Krishi would love to chat with you about day trading and the financial markets—oh! And cricket, as well. View all articles by Krishi Chowdhary Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors. More from News View all View all

Few companies in the history of capitalism have amassed as much wealth and influence as Meta.A global superpower in the information space, Meta — the parent company of Facebook, Instagram, WhatsApp, and Threads — has a market cap of $1.68 trillion at the time of writing, which for a rough sense of scale is more than the gross domestic product of Spain.In spite of its immense influence, none of its internal algorithms can be scrutinized by public watchdogs. Its host country, the United States, has largely turned a blind eye to its dealings in exchange for free use of Meta's vast surveillance capabilities.That lack of oversight coupled with Meta's near-omnipresence as a social utility has had devastating consequences throughout the world, manifesting in crises like the genocide of Muslims in Myanmar, or the systemic suppression of Palestinian rights organizations.How do you uncover the harms caused by one of the most powerful companies on earth? In the case of public violence, the evidence isn't hard to trace. However, Meta's unprecedented corporate dynasty also creates less obvious harms, which scores of scholars, researchers, and journalists are devoting entire careers to uncovering.One prominent group of said investigators is GLAAD, the Gay & Lesbian Alliance Against Defamation, which recently released its annual report on social media safety, privacy, and expression for LGBTQ people.The report notes that Meta has undergone a "particularly extreme" ideological shift over the past year, adding harmful exceptions to its content moderation policies while disproportionately suppressing LGBTQ users and their content. The tech giant has also failed to give LGBTQ users sovereignty over their own personal data, which it collects, analyzes, and wields to generate huge profits.While Meta collects all of our data — from which it draws over 95 percent of its revenue — the practice is particularly harmful to LGBTQ users, who then have to contend with algorithmic biases, non-consensual outing, harassment, and in some countries state oppression."It's a dangerous time, certainly for trans people, who as a minority have been so ridiculously maligned, but also a dangerous time for gay people, openly bi[sexual] people, people who are different in any way," says Sarah Roberts, a UCLA professor and Director of the Center for Critical Internet Inquiry.To address these shortcomings and the dangers they introduce, GLAAD made a number of recommendations. One key suggestion was to improve moderation "by providing training for all content moderators focused on LGBTQ safety, privacy and expression." The media advocacy group doesn't mince words, adding that "AI systems should be used to flag for human review, not for automated removals."However, it doesn't look like Meta got the message.Weeks after GLAAD issued its findings, internal Meta documents leaked to NPR revealed the company's plan to hand 90 percent of its privacy and integrity reviews over to "artificial intelligence."This will impact nearly every new feature introduced to its platforms, where human moderators would typically evaluate new features for risks to privacy and safety, and the wellbeing of user groups like minors, immigrants, and LGBTQ people.Meta's internal risk assessment is an already opaque process, and Roberts notes that government attempts at risk oversight, like the EU's Digital Services Act, are likewise a labyrinth of filings which are largely dictated by the social media companies themselves. AI, chock full of biases and prone to errors — as admitted by Meta's own AI chief — is certain to make the situation even worse.Earlier this week, meanwhile, the Wall Street Journal revealed Meta's plans to fully automate advertising via the company's generative AI software, which will allow advertisers to "fully create and target ads" directly, with no human in the loop.This includes hyper-personalized ads, writes the WSJ, "so that users see different versions of the same ad in real time, based on factors such as geolocation."Data hoarders like Meta — which track you even when you're not using its platforms — have long been able to profile LGBTQ users based on gender identify and sexual orientation, including those who aren't publicly out.Removing any human from these already sinister practices serves to streamline operations and distance Meta from its own actions — "we didn't out gay users living under an oppressive government," the company can say, "even if our AI did." It's no coincidence that Meta had already disbanded its "Responsible AI" team as early as 2023.At the root of these decisions — Meta CEO Mark Zuckerberg's right wing turn notwithstanding — is the calculated drive to maximize revenue."If there's no reason to rigorously moderate harmful content, then why pay so many content moderators? Why engage researchers to look into the circulation of this kind of content?" observes Roberts. "There ends up being a real cost savings there.""One of the things I've always said is that content moderation of social media is not primarily about protecting people, it's about brand management," she told Futurism. "It's about the platform managing its brand in order to make the most hospitable environment for advertisers."Sometimes these corporate priorities line up with progressive causes, like LGBTQ user safety or voter registration. But when they don't, Roberts notes, "dollars are dollars.""We are looking at multibillion-dollar companies, the most capitalized companies in the world, who have operated with impunity for many, many years," she said. "How do you convince them that they should care, when other powerful sectors are telling them the opposite?"Share This Article

By CHRIS McGOWAN This image of Jupiter from NASA’s James Webb Space Telescope’s NIRCam (Near-Infrared Camera) shows stunning details of the majestic planet in infrared light. (Image courtesy of NASA, ESA and CSA) Special effects have been used for decades to depict space exploration, from visits to planets and moons to zero gravity and spaceships – one need only think of the landmark 2001: A Space Odyssey (1968). Since that era, visual effects have increasingly grown in realism and importance. VFX have been used for entertainment and for scientific purposes, outreach to the public and astronaut training in virtual reality. Compelling images and videos can bring data to life. NASA’s Scientific Visualization Studio (SVS) produces visualizations, animations and images to help scientists tell stories of their research and make science more approachable and engaging. A.J. Christensen is a senior visualization designer for the NASA Scientific Visualization Studio (SVS) at the Goddard Space Flight Center in Greenbelt, Maryland. There, he develops data visualization techniques and designs data-driven imagery for scientific analysis and public outreach using Hollywood visual effects tools, according to NASA. SVS visualizations feature datasets from Earth-and space-based instrumentation, scientific supercomputer models and physical statistical distributions that have been analyzed and processed by computational scientists. Christensen’s specialties include working with 3D volumetric data, using the procedural cinematic software Houdini and science topics in Heliophysics, Geophysics and Astrophysics. He previously worked at the National Center for Supercomputing Applications’ Advanced Visualization Lab where he worked on more than a dozen science documentary full-dome films as well as the IMAX films Hubble 3D and A Beautiful Planet – and he worked at DNEG on the movie Interstellar, which won the 2015 Best Visual Effects Academy Award. This global map of CO2 was created by NASA’s Scientific Visualization Studio using a model called GEOS, short for the Goddard Earth Observing System. GEOS is a high-resolution weather reanalysis model, powered by supercomputers, that is used to represent what was happening in the atmosphere. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video.” —A.J. Christensen, Senior Visualization Designer, NASA Scientific Visualization Studio (SVS) About his work at NASA SVS, Christensen comments, “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video. This past year we were part of NASA’s total eclipse outreach efforts, we participated in all the major earth science and astronomy conferences, we launched a public exhibition at the Smithsonian Museum of Natural History called the Earth Information Center, and we posted hundreds of new visualizations to our publicly accessible website: svs.gsfc.nasa.gov.” This is the ‘beauty shot version’ of Perpetual Ocean 2: Western Boundary Currents. The visualization starts with a rotating globe showing ocean currents. The colors used to color the flow in this version were chosen to provide a pleasing look. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) The Gulf Stream and connected currents. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Venus, our nearby “sister” planet, beckons today as a compelling target for exploration that may connect the objects in our own solar system to those discovered around nearby stars. (Image courtesy of NASA’s Goddard Space Flight Center) WORKING WITH DATA While Christensen is interpreting the data from active spacecraft and making it usable in different forms, such as for science and outreach, he notes, “It’s not just spacecraft that collect data. NASA maintains or monitors instruments on Earth too – on land, in the oceans and in the air. And to be precise, there are robots wandering around Mars that are collecting data, too.” He continues, “Sometimes the data comes to our team as raw telescope imagery, sometimes we get it as a data product that a scientist has already analyzed and extracted meaning from, and sometimes various sensor data is used to drive computational models and we work with the models’ resulting output.” Jupiter’s moon Europa may have life in a vast ocean beneath its icy surface. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) HOUDINI AND OTHER TOOLS “Data visualization means a lot of different things to different people, but many people on our team interpret it as a form of filmmaking,” Christensen says. “We are very inspired by the approach to visual storytelling that Hollywood uses, and we use tools that are standard for Hollywood VFX. Many professionals in our area – the visualization of 3D scientific data – were previously using other animation tools but have discovered that Houdini is the most capable of understanding and manipulating unusual data, so there has been major movement toward Houdini over the past decade.” Satellite imagery from NASA’s Solar Dynamics Observatory (SDO) shows the Sun in ultraviolet light colorized in light brown. Seen in ultraviolet light, the dark patches on the Sun are known as coronal holes and are regions where fast solar wind gushes out into space. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Christensen explains, “We have always worked with scientific software as well – sometimes there’s only one software tool in existence to interpret a particular kind of scientific data. More often than not, scientific software does not have a GUI, so we’ve had to become proficient at learning new coding environments very quickly. IDL and Python are the generic data manipulation environments we use when something is too complicated or oversized for Houdini, but there are lots of alternatives out there. Typically, we use these tools to get the data into a format that Houdini can interpret, and then we use Houdini to do our shading, lighting and camera design, and seamlessly blend different datasets together.” While cruising around Saturn in early October 2004, Cassini captured a series of images that have been composed into this large global natural color view of Saturn and its rings. This grand mosaic consists of 126 images acquired in a tile-like fashion, covering one end of Saturn’s rings to the other and the entire planet in between. (Image courtesy of ASA/JPL/Space Science Institute) The black hole Gargantua and the surrounding accretion disc from the 2014 movie Interstellar. (Image courtesy of DNEG and Paramount Pictures) Another visualization of the black hole Gargantua. (Image courtesy of DNEG and Paramount Pictures) INTERSTELLAR & GARGANTUA Christensen recalls working for DNEG on Interstellar (2014). “When I first started at DNEG, they asked me to work on the giant waves on Miller’s ocean planet [in the film]. About a week in, my manager took me into the hall and said, ‘I was looking at your reel and saw all this astronomy stuff. We’re working on another sequence with an accretion disk around a black hole that I’m wondering if we should put you on.’ And I said, ‘Oh yeah, I’ve done lots of accretion disks.’ So, for the rest of my time on the show, I was working on the black hole team.” He adds, “There are a lot of people in my community that would be hesitant to label any big-budget movie sequence as a scientific visualization. The typical assumption is that for a Hollywood movie, no one cares about accuracy as long as it looks good. Guardians of the Galaxy makes it seem like space is positively littered with nebulae, and Star Wars makes it seem like asteroids travel in herds. But the black hole Gargantua in Interstellar is a good case for being called a visualization. The imagery you see in the movie is the direct result of a collaboration with an expert scientist, Dr. Kip Thorne, working with the DNEG research team using the actual Einstein equations that describe the gravity around a black hole.” Thorne is a Nobel Prize-winning theoretical physicist who taught at Caltech for many years. He has reached wide audiences with his books and presentations on black holes, time travel and wormholes on PBS and BBC shows. Christensen comments, “You can make the argument that some of the complexity around what a black hole actually looks like was discarded for the film, and they admit as much in the research paper that was published after the movie came out. But our team at NASA does that same thing. There is no such thing as an objectively ‘true’ scientific image – you always have to make aesthetic decisions around whether the image tells the science story, and often it makes more sense to omit information to clarify what’s important. Ultimately, Gargantua taught a whole lot of people something new about science, and that’s what a good scientific visualization aims to do.” The SVS produces an annual visualization of the Moon’s phase and libration comprising 8,760 hourly renderings of its precise size, orientation and illumination. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) FURTHER CHALLENGES The sheer size of the data often encountered by Christensen and his peers is a challenge. “I’m currently working with a dataset that is 400GB per timestep. It’s so big that I don’t even want to move it from one file server to another. So, then I have to make decisions about which data attributes to keep and which to discard, whether there’s a region of the data that I can cull or downsample, and I have to experiment with data compression schemes that might require me to entirely re-design the pipeline I’m using for Houdini. Of course, if I get rid of too much information, it becomes very resource-intensive to recompute everything, but if I don’t get rid of enough, then my design process becomes agonizingly slow.” SVS also works closely with its NASA partner groups Conceptual Image Lab (CIL) and Goddard Media Studios (GMS) to publish a diverse array of content. Conceptual Image Lab focuses more on the artistic side of things – producing high-fidelity renders using film animation and visual design techniques, according to NASA. Where the SVS primarily focuses on making data-based visualizations, CIL puts more emphasis on conceptual visualizations – producing animations featuring NASA spacecraft, planetary observations and simulations, according to NASA. Goddard Media Studios, on the other hand, is more focused towards public outreach – producing interviews, TV programs and documentaries. GMS continues to be the main producers behind NASA TV, and as such, much of their content is aimed towards the general public. An impact crater on the moon. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Image of Mars showing a partly shadowed Olympus Mons toward the upper left of the image. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Mars. Hellas Basin can be seen in the lower right portion of the image. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Mars slightly tilted to show the Martian North Pole. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Christensen notes, “One of the more unique challenges in this field is one of bringing people from very different backgrounds to agree on a common outcome. I work on teams with scientists, communicators and technologists, and we all have different communities we’re trying to satisfy. For instance, communicators are generally trying to simplify animations so their learning goal is clear, but scientists will insist that we add text and annotations on top of the video to eliminate ambiguity and avoid misinterpretations. Often, the technologist will have to say we can’t zoom in or look at the data in a certain way because it will show the data boundaries or data resolution limits. Every shot is a negotiation, but in trying to compromise, we often push the boundaries of what has been done before, which is exciting.”

CL02 Cabin / VinkluSave this picture!© Razvan DrinceanuCabins & Lodges•Valea lui Enache, Romania Architects: Vinklu Area Area of this architecture project Area:  55 m² Year Completion year of this architecture project Year:  2025 Photographs Photographs:Razvan Drinceanu Manufacturers Brands with products used in this architecture project Manufacturers:  DÉCOR SEBMOB, ENIPAU, MIRADEX, MM THERM, PRO METAL CONT 2004, Topciment Lead Architects: Stefan Pavaluta More SpecsLess Specs Save this picture! Text description provided by the architects. An ideal rural scenario, well-oriented and connected, tries to outline the premises of a seasonal residence. I first had contact with O&A online, having been recommended by a good acquaintance from London, the clients being in the central area of ​​Europe, I in Bucharest, and the construction site in Arges. The kind of equation that always attracts me, if the intentions are aligned. The situation at that time had the wreckage of a first failed attempt, already erected on the ground, and a small annex at the bottom of the lot, at the highest point of the area. The decision was for a full project, but with a phased implementation. So we started with the small body, in order to have better control and a final evaluation of our collaboration, but also of the executors. Being a more rural area, the expectations regarding the quality of the result had to be proportionate from the start. The annex was a construction with a small footprint, maximum 25 sqm, built in the past by the family, with vaulted walls bordered by a wooden structure at the top that served as a lantern. During the dismantling stage, we discovered that it had no pillars at the corners (or in general), and the concrete slab with a large belly in the middle. In the end, only the walls remained, which were reinforced with interior-exterior mesh.Save this picture!Save this picture!Save this picture!Save this picture!Leaving aside the condition of the construction and the poor materials, the position and proportion of the annex were harmonious, and the intention was to preserve these aspects from the start. The solution proposed an extension with an interior staircase area and a reconfiguration of the gaps/orientations from the inside to the outside. Structurally, the base remains intact, reinforced, and the superstructure is timber-framed. Finally, the exterior finish in black autoclaved wood completes and reveals the proposed scenario. The height and dimensions slightly exceed the initial image. The choice of exterior color is a direct response to the context, offering different images and visual relationships depending on the season. The entrance porch mediates the relationship between the module and the exterior through a fine metal structure, proportionate to the tall surrounding vegetation. The slats and semi-circular areas spatially define the moments of approaching the house. In the same tone, the rest of the functional areas inside are supported by their own connections to the exterior. The veranda pergola transforms into a deep balcony for the living area, and the foundation of the house articulates into a small terrace for the night area.Save this picture!Functionally, downstairs is the entrance with the night area, and upstairs the entire living area with kitchen, dining, living room, and a small bathroom. Along the same lines, downstairs we have smaller gaps, and there is a panoramic orientation of some windows of considerable size, which offers a cinematic sensation in direct relation to the exterior. The house being well-positioned among the trees, any movement and change of nature can be watched, studied, and heard. Continuing the space-function relationship, the ground floor offers regular, intimate spaces, while the staircase opens the living area with a generous space and a gabled ceiling. The context being the main "reason", the finishes are clean, neutral, to further strengthen this relationship. In the living area, the furniture pieces define the micro-functions necessary for living, and are combined in a balanced way through proportion, color, and materiality.Save this picture!Save this picture!Save this picture!By reconverting the annex and using natural materials, local teams, off-site construction methods, we tried, in the true and local sense of the expression – minimal impact on the environment and sustainable architecture. The "design" itself is a direct result of the architectural process and the context, a stratification of functional and architectural solutions permanently correlated with proportions and materiality.Save this picture! Project gallerySee allShow less Project locationAddress:Valea lui Enache, RomaniaLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeVinkluOffice••• MaterialWoodMaterials and TagsPublished on June 01, 2025Cite: "CL02 Cabin / Vinklu" 01 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030468/cl02-cabin-vinklu&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

ZDNET's key takeaways The 12-inch Microsoft Surface Pro is available now starting at $799 for the Platinum color, and $899 for the new Violet and Ocean colors. The 12-inch version is exceedingly thin and light with a fast-charging battery, and the refreshed form factor looks more premium. The 256GB of storage is not enough for a device at this price point, and the cost adds up quickly, as the keyboard, mouse, and even the power adapter are sold separately. more buying choices Microsoft's 2025 12-inch Surface Pro is thinner, lighter, and a little more affordable, with a battery-efficient Snapdragon X Plus processor and refreshed design. The latest version of the Surface Pro rounds out the lineup with a more affordable option focused on ultra-long battery life, new colors, and redesigned accessories to show off Windows' latest Copilot+ PC features. Also: I recommend this HP laptop to creatives and business pros alike - especially at nearly 50% offI recently replaced my laptop with the 12-inch Surface Pro for more than two weeks now, and the Surface Pro seems to me to be more of an addition to the current lineup than a standalone upgrade, particularly in comparison to the enterprise models Microsoft released in January.The 2025 Surface Pro has relatively modest hardware, with 16GB of RAM and 256GB or 512GB of UFS storage, instead targeting a more everyday consumer who makes use of on-device AI and appreciates the ultraportability.  details View at Best Buy Besides the smaller form factor, this year's Surface Pro comes in two new colors: Violet and Ocean (a blueish gray). The default Platinum color starts at $799, whereas the other two will run you $899, bringing the starting price a little further away from that advertised low price (and we haven't even bought the keyboard yet). I must admit that the design on the 12-inch tablet looks better. It looks more like a premium tablet (and more like an iPad) with rounded corners, thin bezels, and the webcam moved to the back corner of the device. Also: Microsoft unveils new AI agent customization and oversight features at Build 2025Additionally, I'm a fan of the new Violet and Ocean colorways, which aren't what I'd call "bold", but at least they're not the same desaturated pastels we see everywhere else. The colors extend to the Surface Pro keyboards, which are updated by removing the alcantara fabric on the front of the keyboard for a cleaner, monochromatic matte look. Instead, the fabric is relegated to the back of the keyboard case, which has a more premium tablet feel for storage and transport. The Surface keyboard is functional and satisfying to type on, with springy keys and a responsive, premium trackpad.  Kyle Kucharski/ZDNETAdditionally, the tablet snaps to the keyboard a little tighter and closer to the tablet now, with no gap in the hinge, giving it a slightly smaller footprint on the desk. The Surface Pen also magnetically snaps to the back of the 12-inch instead of storing on the keyboard. This requires you to store the device with the fabric facing down, as you don't want to squish the pen. When throwing the Surface Pro in a bag, the Pen also tends to stay put but can come unattached if you're not paying attention. Microsoft wants to show off its new AI-driven Copilot+ features, and the 12-inch Surface Pro is a good conduit for marketing them to the consumer, especially with its attractive price point and the 45 TOPS Qualcomm Hexagon NPU. Also: I've tested dozens of work laptops - but I'd take this Lenovo to the office everydayFor example, the long-awaited Recall feature is still in Preview mode, but it's getting closer to a useful state. Other applications that leverage AI processes, particularly ones for creators like Capcut, Davinci Resolve, and DJay Pro should feel smooth and snappy. This makes it a very AI-ready device for everyday users who don't need high-end hardware for demanding creative projects.  Kyle Kucharski/ZDNETRunning Windows on Qualcomm's Snapdragon X Plus chip shouldn't be too much of a problem for most users in this category, as the areas that saw the most issues with compatibility, like gaming and connecting to legacy software, are more likely not to apply to the targeted user. The 12-inch Surface Pro's modest hardware positions itself as a competitive device in the family's lineup. The aforementioned 16GB of RAM and max 512GB of storage, paired with the Snapdragon X Plus and 2196 x 1464 resolution (220 PPI) LCD display that targets everyday users, while its 13-inch siblings can be loaded up with more premium hardware. Also: This ultraportable Windows laptop raised the bar for the MacBook Air (and everything else)That being said, the Snapdragon X Plus processor is snappy and responsive, excelling at tasks that the average consumer cares about: fast startup and app load times, smooth multitasking, and solid battery performance, whether in laptop or tablet mode. During my benchmarking of the 12-inch Surface Pro, I got numbers that place it around other thin and light laptops in the same price range, including Asus' Zenbook A14, which also features the Snapdragon X Plus processor, and HP's OmniBook X 14, one of the first Copilot+ PCs with the Snapdragon X Elite chip from 2024.  Cinebench 24 MCGeekbench 6.2.2 SCGeekbench 6.2.2 MC12-inch Microsoft Surface Pro (Snapdragon X Plus)4182,2529,555Asus Zenbook A14 (Snapdragon X Plus)5412,13310,624HP Omnibook X (Snapdragon X Elite)4702,32613,160 Show more The display is sharp and crisp, but it does cap out at 400 nits of brightness and a 90Hz refresh rate. Since it's a tablet, it's also quite glossy. In the office, for example, I found myself readjusting the device's angle numerous times throughout the day to account for glare from overhead lighting. Also: How to clear the cache on your Windows 11 PC (and why it makes such a big difference)Speaking of using the Surface Pro in the office, it works equally well as a laptop or a tablet, depending on what you need. Detached from the keyboard and armed with the Surface Pen, it becomes a snappy productivity tablet that allows for note taking, prototyping, and freeform idea generation in Windows' Whiteboard app. You can also assign different actions to the Pen, including starting apps or performing functions with the button on the device or the "clicky" on the end. I will say that the Pen's performance can be variable, though. If you're running multiple programs open in the background, you might notice lag while writing, especially if you're moving quickly.  Kyle Kucharski/ZDNETSimilarly, the location of the front-facing HD camera means that it has a slightly downward-up orientation while connected to the keyboard, as the kickstand can only prop it up so high. Consider a clamshell laptop, for example, which can sit at a 90-degree angle or less. In that sense, untethering the keyboard and using it as a tablet might be more optimal for users who make frequent video calls. Also: The best laptops for graphic designers in 2025: Expert tested and reviewedRegarding battery life, the Snapdragon X Plus processor ensures that it drains at a mere trickle when the device is not in use, and is good enough for over a full day's worth of work on one charge. Microsoft advertises 16 hours of battery life, and I got a little over 15 in our video playback test. Regarding more sustained use, I got over 10 hours on a single charge, which isn't far off from the advertised 12 hours without using all the max battery efficiency settings. Couple this with the fact that the Surface Pro charges extremely fast. From a completely dead battery, you'll get to about 50% in 30 minutes, and around 80% in an hour. Of the Surface Pro family, the 12-inch is certainly the most battery efficient and the fastest to charge. ZDNET's buying adviceThe 12-inch Microsoft Surface Pro completes the family's lineup with a thinner, lighter, and more battery-efficient tablet/laptop hybrid with refreshed colors and design. It comes with slightly more modest hardware (16GB of RAM, 256GB of storage) for a lower starting price of $799. If you're looking for a functional 2-in-1 tablet/laptop, enjoy using a stylus, and don't need a ton of local storage, it's a great option, especially for its long-lasting battery. It's an all-around sharp-looking device, and the premium keyboard case provides a satisfying tactile experience. Also: How to clear the cache on your Windows 11 PC (and why it makes such a big difference)The cost of the Surface Pro can quickly add up, however, as the Surface Keyboard, Surface Arc mouse, and power adapter are sold separately, bringing the final cost over the $1,000 mark. Combined with the low amount of local storage and modest memory, I'd recommend this device for users who are committed to the 12-inch form factor and want reliable battery life. Looking for the next best product? Get expert reviews and editor favorites with ZDNET Recommends.Featured reviews

Business Development Associate, eCommerceAppLovinToronto30 minutes agoApplyAbout AppLovinAppLovin makes technologies that help businesses of every size connect to their ideal customers. The company provides end-to-end software and AI solutions for businesses to reach, monetize and grow their global audiences. For more information about AppLovin, visit: www.applovin.com.To deliver on this mission, our global team is composed of team members with life experiences, backgrounds, and perspectives that mirror our developers and customers around the world. At AppLovin, we are intentional about the team and culture we are building, seeking candidates who are outstanding in their own right and also demonstrate their support of others.Fortune recognizes AppLovin as one of the Best Workplaces in the Bay Area, and the company has been a Certified Great Place to Work for the last four years (2021-2024). Check out the rest of our awards HERE.About AppLovin’s eCommerce TeamAppLovin is the market leader in performance advertising for mobile games. In 2024, we expanded into the ecommerce space, enabling brands to reach 150M+ U.S. daily active users in a variety of mobile games—scale that rivals the largest social platforms. In Q4, we reached a $1 billion annual run rate in gross advertiser spend in the ecommerce category alone.Learn more about our fast-growing ecommerce beta: https://ecomm.applovin.com/AppLovin's global team is composed of team members with life experiences, backgrounds, and perspectives that mirror our customers around the world. We are intentional about the team and culture we are building, seeking candidates who are outstanding in their own right and also demonstrate their support of others.About the RoleWe are seeking a driven, analytical, and results-focused Analyst, Business Development to join our fast-paced and expanding eCommerce team. This is a unique opportunity to shape a new business line from the ground up and work at the intersection of performance marketing and business development within the rapidly growing eCommerce space.In this client-facing role, you’ll partner with eCommerce brands to unlock growth by leveraging AppLovin’s marketing platform. You’ll build strong relationships with key stakeholders, help them optimize campaigns, and lead strategic initiatives that drive business outcomes. You’ll also work closely with AppLovin leadership and product experts to evolve our eCommerce advertising solution and drive adoption in the market.ResponsibilitiesOnboard eCommerce brands to our platform and educate them on AppLovin’s eCommerce growth solution.Understand what matters most to your partners and drive an action plan for their growth.Set up new campaigns for success by leveraging best practices for creative and performance targets.Define and analyze metrics to ensure success for our eCommerce partners.Become an expert on AppLovin’s mobile advertising products for eCommerce brands.Partner with the broader AppLovin Business Development team in the region.Basic Qualifications1-3 years of professional experience.Bachelor's degree or higher in related fields.Self-starter and eager to learn.Demonstrate outstanding analytical ability and strategic grasp of the “big picture”.Exceptional communication skills and clearly able to communicate concepts and ideasHave experience prioritizing competing demands.Flexible team-player who can use drive, creativity, and initiative to move the organization forward.Demonstrated experience in handling large data sets, with a strong ability to analyze complex data and identify actionable patterns to drive strategic decision-making and optimize client outcomes.Proven interest in technology. Whether you’re an early adopter of gadgets, or an Excel whiz, or took a computer science class in school and loved it, we are a high tech and big data company where you will constantly have the opportunity to contribute business and product ideas.Preferred QualificationsExperience in the e-commerce space and brand operations.A basic understanding of programming or scripting.A basic understanding of image and video editing software.Understanding of models for intelligent decision making, such as game theory, chess, or poker.AppLovin has become aware of a scam targeting jobseekers with fake “app optimization” and similar roles. We do not ask our candidates to download apps or make any form of payment(s). AppLovin works with applicants through our Careers page and applovin.com email addresses. If you are contacted through other unofficial channels (such as WhatsApp or Telegram) or asked to download an app or make a payment, these contacts are not legitimate. Confirm the information here and contact us directly with any questions.AppLovin is proud to be an equal opportunity employer that is committed to inclusion and diversity. All applicants will be considered for employment without attention to race, color, religion, sex, sexual orientation, gender identity, national origin, veteran or disability status, or other legally protected characteristics. Learn more about EEO rights as an applicant here.If you need assistance and/or a reasonable accommodation due to a disability during the application or recruiting process, please send us a request at accommodations@applovin.com.AppLovin will consider for employment all qualified applicants with criminal histories in a manner consistent with applicable law. If you’re applying for a position in California, learn more here.Please read our Global Applicant Privacy Notice to learn more about how AppLovin processes your personal information. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Gironda Residence | © Simone Bossi Located just steps from Piazza del Popolo in Ravenna, the Renaissance-era Casa Guaccimanni holds centuries of architectural and historical weight. Constructed in the fifteenth century for the Venetian podestà Nicolò Giustinian, the building evolved through noble ownership and later became home to Vittorio and Alessandro Guaccimanni, sons of Risorgimento figure Luigi Guaccimanni. Architecturally, the structure is characterized by a tripartite plan with a central corridor flanked by large rooms, an interior courtyard with a double loggia, and decorative elements spanning Renaissance to Neoclassical periods. Once concealed beneath plaster, its frescoed veranda and exposed wooden ceilings speak to a layered history of intervention, concealment, and rediscovery. Gironda Residence in Casa Guaccimanni Technical Information Architects1-13: Giovanni Mecozzi Architetti Location: Casa Guaccimanni, Via Armando Diaz, Ravenna, Italy Client: Emanuela Docimo Project Years: 2022 – 2024 Original Structure: 15th Century Photographs: © Andrea Sestito, © Simone Bossi, © Omar Sartor The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension. – Giovanni Mecozzi Gironda Residence in Casa Guaccimanni Photographs © Omar Sartor © Andrea Sestito © Andrea Sestito © Andrea Sestito © Omar Sartor © Simone Bossi © Simone Bossi © Simone Bossi © Omar Sartor © Omar Sartor © Omar Sartor © Andrea Sestito © Omar Sartor Design Intent: Reversibility and Temporal Tension The recent architectural project by Giovanni Mecozzi Architetti centers on the noble floor of the palazzo, reinterpreted as a contemporary residence named Gironda. Rather than imposing a new visual regime onto the historic shell, the intervention operates with restraint, foregrounding the building’s original character while establishing new spatial and material conditions. At the core of the project lies a design philosophy rooted in reversibility. Mecozzi’s intervention resists permanence. The furnishings and spatial devices introduced into the historic rooms are self-supporting and detached from the structure. No new element makes physical contact with the floors, ceilings, or walls, preserving the integrity of the original surfaces. This strategy avoids irreversible alterations and allows the architecture to remain temporally flexible. Architect Giovanni Mecozzi articulates this approach succinctly: “The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension.” This spatial tension is not decorative but conceptual, prompting occupants to consider the relationship between historical continuity and contemporary transformation. The design does not attempt to erase time but rather exposes its layers through careful juxtaposition. The project draws conceptual and chromatic inspiration from Ravenna’s early Christian and Byzantine mosaics. Rather than replicate ornamental motifs, Mecozzi extracts abstract qualities such as color, luminosity, and surface texture, integrating them as subtle spatial references throughout the residence. Gironda Residence Material Strategy Access to the residence is organized through a longitudinal hallway that bisects the plan, connecting a balcony on the north façade with a loggia overlooking the garden to the south. This corridor becomes a spine for circulation and orientation, punctuated by entries into five main rooms: the kitchen, veranda, and three independent suites. Each suite functions as a self-contained spatial environment. The original large rooms have been reimagined with integrated volumes housing diverse domestic functions: bathrooms, saunas, walk-in closets, reading nooks, and home cinemas. These new programmatic layers are embedded within freestanding furniture structures, which operate more as inhabitable objects than architectural partitions. Color becomes an operative tool for spatial differentiation. The three principal suites, the Gold Room, the Blue Room, and the Green Room, are introduced chromatically through thresholds that face the main corridor. This prelude of color sets the tone for each room’s unique interior experience. Within, glossy glass tiles, gilded surfaces, and a reduced palette of materials establish a scenographic yet restrained environment. The flooring, a Venetian terrazzo installed during earlier restoration work in the 2000s, has been retained. Its beveled borders and rounded corners respond to the proportions of each room, reinforcing a visual continuity that binds the new interventions with the inherited context. In contrast to the historical envelope, the furniture and spatial devices employ a language of monochromatic forms and minimal detailing, occasionally verging on neoplastic abstraction. This tension between old ornament and new abstraction is one of the project’s defining features. Furnishings curated by Atelier Biagetti, known for their theatrical and ironic sensibility, further enrich the atmosphere. These pieces do not mimic the historical setting but create moments of visual friction and playful ambiguity, enhancing the multi-temporal character of the interiors. Architectural Significance and Cultural Dialogue The Gironda residence exemplifies a growing discourse in contemporary architecture around adaptive reuse that neither mimics nor erases the past. Rather than treating heritage as a constraint or an aesthetic to be curated, Mecozzi engages it as an active agent in spatial transformation. The project is a case study in reversible architecture, where temporality is embedded in the design, not just its historical references. This intervention prompts broader questions about the role of preservation in contemporary practice. Can architectural interventions occupy historic contexts without becoming parasitic or nostalgic? Mecozzi’s project suggests that they can adopt a posture of critical distance and conceptual clarity. Gironda does not attempt to restore Casa Guaccimanni to a previous state or impose a singular vision of modernity. Instead, it crafts a dialogue between past and present, structured through spatial strategies, material choices, and chromatic cues. In doing so, it opens a new chapter in the building’s ongoing life, one that is fully contemporary yet deeply rooted in architectural memory. Gironda Residence in Casa Guaccimanni Plans Floor Plan | © Giovanni Mecozzi Architetti Golden Room Layout | © Giovanni Mecozzi Architetti Door Detail | © Giovanni Mecozzi Architetti Gironda Residence in Casa Guaccimanni Image Gallery About Giovanni Mecozzi Giovanni Mecozzi is an Italian architect based in Ravenna, Italy, and the founder of Giovanni Mecozzi Architetti (GMA), a multidisciplinary studio specializing in architecture, interior design, and landscape projects. After graduating from the University of Ferrara with an architecture degree, Mecozzi gained international experience working in Spain, including collaborating with Mendaro Arquitectos in Madrid. Upon returning to Italy, he co-founded GMA, focusing on projects emphasizing the relationship between architecture, the client, and the context, with a particular interest in renovating and transforming historical buildings.  Credits and Additional Notes Design Team: Giovanni Mecozzi, Cecilia Verdini, Filippo Minghetti Construction: Edilcostruzioni (Leoni Andrea) Electrical Systems: Elektra Service (Andrea Baiardi) Mechanical and Hydraulic Systems: Nuova OLP Structural Alterations: Not applicable (intervention is fully reversible) Custom Furniture: Idea Legno (Paolo Berdondini) Curtains and Fabrics: Selezione Arredamenti, Ravenna Lighting: Viabizzuno (via Tutto Luce, Cesena) Resin Coatings and Flooring: Kerakoll Rugs and Carpeting: Centro Moquette, Rimini Bathroom Furnishings: Salaroli, Ravenna Furniture, Artwork, and Design Objects Selected by: Atelier Biagetti (Milan) Furniture Designers: Alberto Biagetti and Laura Baldassarri