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2025-05-13 16:44:25 ·

Talking Point: Are You Excited At All For Switch 2 GameChat?
Student lounge around.It's been nearly six weeks since the Switch 2 Direct, and we're now only three-and-a-half more away from the system's launch.
Overall, we were pretty impressed with the hour-long presentation Nintendo assembled to officially pull back the curtain at the start of April.
Yes, some mixed messaging and unanswered questions could — and should — have been avoided, but the reveal itself contained loads of great games and a decent look at the hardware.
A solid opening salvo after years of speculation.If we had any notes, we probably wouldn't have spent five minutes discussing a voice and video chat feature like it was some revolutionary new concept in video game communication.
But hey, maybe with some distance from the announcement, we'd understand the angle and appreciate the approach a little more! Several weeks on, though, and we're still not really sold on or excited about GameChat.Read the full article on nintendolife.com
Source: https://www.nintendolife.com/features/talking-point-are-you-excited-at-all-for-switch-2-gamechat" style="color: #0066cc;">https://www.nintendolife.com/features/talking-point-are-you-excited-at-all-for-switch-2-gamechat
#talking #point #are #you #excited #all #for #switch #gamechat

Talking Point: Are You Excited At All For Switch 2 GameChat?
Student lounge around.It's been nearly six weeks since the Switch 2 Direct, and we're now only three-and-a-half more away from the system's launch. Overall, we were pretty impressed with the hour-long presentation Nintendo assembled to officially pull back the curtain at the start of April. Yes, some mixed messaging and unanswered questions could — and should — have been avoided, but the reveal itself contained loads of great games and a decent look at the hardware. A solid opening salvo after years of speculation.If we had any notes, we probably wouldn't have spent five minutes discussing a voice and video chat feature like it was some revolutionary new concept in video game communication. But hey, maybe with some distance from the announcement, we'd understand the angle and appreciate the approach a little more! Several weeks on, though, and we're still not really sold on or excited about GameChat.Read the full article on nintendolife.com Source: https://www.nintendolife.com/features/talking-point-are-you-excited-at-all-for-switch-2-gamechat #talking #point #are #you #excited #all #for #switch #gamechat

WWW.NINTENDOLIFE.COM

Talking Point: Are You Excited At All For Switch 2 GameChat?

Student lounge around.It's been nearly six weeks since the Switch 2 Direct, and we're now only three-and-a-half more away from the system's launch. Overall, we were pretty impressed with the hour-long presentation Nintendo assembled to officially pull back the curtain at the start of April. Yes, some mixed messaging and unanswered questions could — and should — have been avoided, but the reveal itself contained loads of great games and a decent look at the hardware. A solid opening salvo after years of speculation.If we had any notes, we probably wouldn't have spent five minutes discussing a voice and video chat feature like it was some revolutionary new concept in video game communication. But hey, maybe with some distance from the announcement, we'd understand the angle and appreciate the approach a little more! Several weeks on, though, and we're still not really sold on or excited about GameChat.Read the full article on nintendolife.com

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Game Developer partage un lien

2025-05-13 16:34:41 ·

25 years in, Havok unveils royalty-free pricing for budgets up to $20 million
For 25 years the logo of middleware tech company Havok has graced the loading screens of big-budget games from across the industry.
Its plugins drive the ragdoll and particle physics of games like Helldivers 2, its cloth simulation technology makes the capes of Destiny 2 flap in the wind, and its pathfinding tech helps the monstrosities of Elden Ring wander the The Lands Between.Despite how far its name has traveled, the company's kept a low profile in that time, letting its clients take the bulk of the credit for the boundary-pushing physics.
But economic shifts in the industry seemed to drive the company to surface at the 2025 Game Developers Conference.At the event, Havok announced a new pricing model for developers working on budgets under $20 million.
The company's normally high-end offerings haven't been affordable for many developers, and while they aren't ready to support low budget indies just yet, general manager David Cochrane told Game Developer that the company now wants to work with studios with "tens" of employees, not necessarily "hundreds."Developers on those lower budgets can now license tools like Havok Physics and Havok Navigation for the low low price of $50,000 per Havok product.
There's no royalty fee, and studios can also use plug-in versions of the tools for Unreal Engine.Related:To see a company known for selling premium tools for big-budget games open up to the lower-tier market is quite a phenomenon—especially in an era where the biggest hits of 2025 include Clair Obscure: Expedition 33 and RuneScape Dragonwilds.
Small games are becoming bigger hits—and to hear Cochrane tell it, Havok seems to be following the trend.Havok is the rare middleware company to last 25 yearsCochrane explained to Game Developer that Havok began planning the new pricing scheme after studying how many mid-sized studios were planning more ambitious games using Unreal Engine.
Havok is a "good fit" for Unreal he said, and to see developers embracing the kinds of solutions Havok offers—but not being able to afford its offerings—began to shift their thinking.It's the kind of adaptation Havok has made repeatedly over the last 25 years, following what Cochrane described as the "creativity" of developers.
But it's not the kind of creativity you might think of at first glance.
Cochrane praised the gameplay advancements and new kinds of ideas that emerged from the last two-and-a-half decades, but the company's primary focus has been the creativity of technical problem-solving the industry has produced.
"The industry has always found creative ways to deliver games that make the most of the of their chosen platform," he said, alluding to the ways developers adapt to online networking or "diversity of hardware." Most recently, he said Havok has paid close attention to the rise of powerful handheld devices like the Nintendo Switch and Steam Deck—and how developers are making "new kinds of games" suited for those devices.Related:But not every trend Havok's been around for has stuck.
He recalled the rise of early Facebook games around 2009-2012.
If that trend had stayed around, Havok would have been in a tough spot since Facebook games don't need expensive physics or cloth simulation technology.
"There was almost a sense of 'was the whole industry gonna have to pivot hard toward this?'" he recalled.It didn't.
"There can be a new style of game that comes along—whether that's a live service, or whether it's a social game, or whatever—when MAU numbers are high, the whole industry will take notice, but the game industry always tends to drift back toward an equilibrium which involves many different types of games across many different platforms."So even with the surge of fast-followers for UGC games like Roblox and Minecraft—few of which need Havok's high-end physics and cloth technology—Cochrane said there will still be an audience for games gushing with plentiful particles.Related:The next space for innovation: AI navigationLike everyone else at GDC, Cochrane had a lot to say about AI—but not the same kind of AI that had everyone else aflutter.Cochrane explained that Havok's most overlooked product its its AI navigation tech—but it's also one the most quietly groundbreaking pieces in the company's portfolio.
"What we're really seeing now is an increased diversity in the the scale of different characters that [players] come across in a game," he said.
Games have had enormous enemies for years, but newer pathfinding tech allows gigantic creatures to share space with smaller in-game characters instead of having their own dedicated areas.Image via Havok.He referenced FromSoftware's Elden Ring here, a game where players can be fighting twisted knights in ruins one minute, then be ambushed by a dragon the next, often in the same area.
It's not the only game in 2025 we've seen playing with new ideas of what NPCs should be doing in a game.
Just hours later the folks at Bloober Team showed us the ambitious combat system of Cronos: The New Dawn, and earlier this year we were surprised by how the massive monsters of Eternal Strands were able to smoothly navigate through the game's open environments.He called this evolution a "common theme" across the industry—one that makes for a fascinating pairing with Havok's decision to chase smaller studios.
"The reality is...the sizes of worlds that people are dealing with at the moment are stressing some of the historic techniques that would have been used to build [methods] for navigation," he said.
"Some of the things we're doing is showing ways in which we can have very memory-efficient representations for navigation.
We can allow characters to navigate across large worlds that might include streamed geometry in and out.""Now you won't actually hold the whole game world in memory at one point in time, but you still want NPCs that can actually navigate naturally through those larger environments.
That's an area we're investing a lot in."Game Developer and GDC are sibling organizations under Informa Tech.
Source: https://www.gamedeveloper.com/programming/25-years-in-havok-unveils-royalty-free-pricing-for-budgets-up-to-20-million" style="color: #0066cc;">https://www.gamedeveloper.com/programming/25-years-in-havok-unveils-royalty-free-pricing-for-budgets-up-to-20-million
#years #havok #unveils #royaltyfree #pricing #for #budgets #million

25 years in, Havok unveils royalty-free pricing for budgets up to $20 million
For 25 years the logo of middleware tech company Havok has graced the loading screens of big-budget games from across the industry. Its plugins drive the ragdoll and particle physics of games like Helldivers 2, its cloth simulation technology makes the capes of Destiny 2 flap in the wind, and its pathfinding tech helps the monstrosities of Elden Ring wander the The Lands Between.Despite how far its name has traveled, the company's kept a low profile in that time, letting its clients take the bulk of the credit for the boundary-pushing physics. But economic shifts in the industry seemed to drive the company to surface at the 2025 Game Developers Conference.At the event, Havok announced a new pricing model for developers working on budgets under $20 million. The company's normally high-end offerings haven't been affordable for many developers, and while they aren't ready to support low budget indies just yet, general manager David Cochrane told Game Developer that the company now wants to work with studios with "tens" of employees, not necessarily "hundreds."Developers on those lower budgets can now license tools like Havok Physics and Havok Navigation for the low low price of $50,000 per Havok product. There's no royalty fee, and studios can also use plug-in versions of the tools for Unreal Engine.Related:To see a company known for selling premium tools for big-budget games open up to the lower-tier market is quite a phenomenon—especially in an era where the biggest hits of 2025 include Clair Obscure: Expedition 33 and RuneScape Dragonwilds. Small games are becoming bigger hits—and to hear Cochrane tell it, Havok seems to be following the trend.Havok is the rare middleware company to last 25 yearsCochrane explained to Game Developer that Havok began planning the new pricing scheme after studying how many mid-sized studios were planning more ambitious games using Unreal Engine. Havok is a "good fit" for Unreal he said, and to see developers embracing the kinds of solutions Havok offers—but not being able to afford its offerings—began to shift their thinking.It's the kind of adaptation Havok has made repeatedly over the last 25 years, following what Cochrane described as the "creativity" of developers. But it's not the kind of creativity you might think of at first glance. Cochrane praised the gameplay advancements and new kinds of ideas that emerged from the last two-and-a-half decades, but the company's primary focus has been the creativity of technical problem-solving the industry has produced. "The industry has always found creative ways to deliver games that make the most of the of their chosen platform," he said, alluding to the ways developers adapt to online networking or "diversity of hardware." Most recently, he said Havok has paid close attention to the rise of powerful handheld devices like the Nintendo Switch and Steam Deck—and how developers are making "new kinds of games" suited for those devices.Related:But not every trend Havok's been around for has stuck. He recalled the rise of early Facebook games around 2009-2012. If that trend had stayed around, Havok would have been in a tough spot since Facebook games don't need expensive physics or cloth simulation technology. "There was almost a sense of 'was the whole industry gonna have to pivot hard toward this?'" he recalled.It didn't. "There can be a new style of game that comes along—whether that's a live service, or whether it's a social game, or whatever—when MAU numbers are high, the whole industry will take notice, but the game industry always tends to drift back toward an equilibrium which involves many different types of games across many different platforms."So even with the surge of fast-followers for UGC games like Roblox and Minecraft—few of which need Havok's high-end physics and cloth technology—Cochrane said there will still be an audience for games gushing with plentiful particles.Related:The next space for innovation: AI navigationLike everyone else at GDC, Cochrane had a lot to say about AI—but not the same kind of AI that had everyone else aflutter.Cochrane explained that Havok's most overlooked product its its AI navigation tech—but it's also one the most quietly groundbreaking pieces in the company's portfolio. "What we're really seeing now is an increased diversity in the the scale of different characters that [players] come across in a game," he said. Games have had enormous enemies for years, but newer pathfinding tech allows gigantic creatures to share space with smaller in-game characters instead of having their own dedicated areas.Image via Havok.He referenced FromSoftware's Elden Ring here, a game where players can be fighting twisted knights in ruins one minute, then be ambushed by a dragon the next, often in the same area. It's not the only game in 2025 we've seen playing with new ideas of what NPCs should be doing in a game. Just hours later the folks at Bloober Team showed us the ambitious combat system of Cronos: The New Dawn, and earlier this year we were surprised by how the massive monsters of Eternal Strands were able to smoothly navigate through the game's open environments.He called this evolution a "common theme" across the industry—one that makes for a fascinating pairing with Havok's decision to chase smaller studios. "The reality is...the sizes of worlds that people are dealing with at the moment are stressing some of the historic techniques that would have been used to build [methods] for navigation," he said. "Some of the things we're doing is showing ways in which we can have very memory-efficient representations for navigation. We can allow characters to navigate across large worlds that might include streamed geometry in and out.""Now you won't actually hold the whole game world in memory at one point in time, but you still want NPCs that can actually navigate naturally through those larger environments. That's an area we're investing a lot in."Game Developer and GDC are sibling organizations under Informa Tech. Source: https://www.gamedeveloper.com/programming/25-years-in-havok-unveils-royalty-free-pricing-for-budgets-up-to-20-million #years #havok #unveils #royaltyfree #pricing #for #budgets #million

WWW.GAMEDEVELOPER.COM

25 years in, Havok unveils royalty-free pricing for budgets up to $20 million

For 25 years the logo of middleware tech company Havok has graced the loading screens of big-budget games from across the industry. Its plugins drive the ragdoll and particle physics of games like Helldivers 2, its cloth simulation technology makes the capes of Destiny 2 flap in the wind, and its pathfinding tech helps the monstrosities of Elden Ring wander the The Lands Between.Despite how far its name has traveled, the company's kept a low profile in that time, letting its clients take the bulk of the credit for the boundary-pushing physics. But economic shifts in the industry seemed to drive the company to surface at the 2025 Game Developers Conference.At the event, Havok announced a new pricing model for developers working on budgets under $20 million. The company's normally high-end offerings haven't been affordable for many developers, and while they aren't ready to support low budget indies just yet, general manager David Cochrane told Game Developer that the company now wants to work with studios with "tens" of employees, not necessarily "hundreds."Developers on those lower budgets can now license tools like Havok Physics and Havok Navigation for the low low price of $50,000 per Havok product. There's no royalty fee, and studios can also use plug-in versions of the tools for Unreal Engine.Related:To see a company known for selling premium tools for big-budget games open up to the lower-tier market is quite a phenomenon—especially in an era where the biggest hits of 2025 include Clair Obscure: Expedition 33 and RuneScape Dragonwilds. Small games are becoming bigger hits—and to hear Cochrane tell it, Havok seems to be following the trend.Havok is the rare middleware company to last 25 yearsCochrane explained to Game Developer that Havok began planning the new pricing scheme after studying how many mid-sized studios were planning more ambitious games using Unreal Engine. Havok is a "good fit" for Unreal he said, and to see developers embracing the kinds of solutions Havok offers—but not being able to afford its offerings—began to shift their thinking.It's the kind of adaptation Havok has made repeatedly over the last 25 years, following what Cochrane described as the "creativity" of developers. But it's not the kind of creativity you might think of at first glance. Cochrane praised the gameplay advancements and new kinds of ideas that emerged from the last two-and-a-half decades, but the company's primary focus has been the creativity of technical problem-solving the industry has produced. "The industry has always found creative ways to deliver games that make the most of the of their chosen platform," he said, alluding to the ways developers adapt to online networking or "diversity of hardware." Most recently, he said Havok has paid close attention to the rise of powerful handheld devices like the Nintendo Switch and Steam Deck—and how developers are making "new kinds of games" suited for those devices.Related:But not every trend Havok's been around for has stuck. He recalled the rise of early Facebook games around 2009-2012. If that trend had stayed around, Havok would have been in a tough spot since Facebook games don't need expensive physics or cloth simulation technology. "There was almost a sense of 'was the whole industry gonna have to pivot hard toward this?'" he recalled.It didn't. "There can be a new style of game that comes along—whether that's a live service, or whether it's a social game, or whatever—when MAU numbers are high, the whole industry will take notice, but the game industry always tends to drift back toward an equilibrium which involves many different types of games across many different platforms."So even with the surge of fast-followers for UGC games like Roblox and Minecraft—few of which need Havok's high-end physics and cloth technology—Cochrane said there will still be an audience for games gushing with plentiful particles.Related:The next space for innovation: AI navigationLike everyone else at GDC, Cochrane had a lot to say about AI—but not the same kind of AI that had everyone else aflutter.Cochrane explained that Havok's most overlooked product its its AI navigation tech—but it's also one the most quietly groundbreaking pieces in the company's portfolio. "What we're really seeing now is an increased diversity in the the scale of different characters that [players] come across in a game," he said. Games have had enormous enemies for years, but newer pathfinding tech allows gigantic creatures to share space with smaller in-game characters instead of having their own dedicated areas.Image via Havok.He referenced FromSoftware's Elden Ring here, a game where players can be fighting twisted knights in ruins one minute, then be ambushed by a dragon the next, often in the same area. It's not the only game in 2025 we've seen playing with new ideas of what NPCs should be doing in a game. Just hours later the folks at Bloober Team showed us the ambitious combat system of Cronos: The New Dawn, and earlier this year we were surprised by how the massive monsters of Eternal Strands were able to smoothly navigate through the game's open environments.He called this evolution a "common theme" across the industry—one that makes for a fascinating pairing with Havok's decision to chase smaller studios. "The reality is...the sizes of worlds that people are dealing with at the moment are stressing some of the historic techniques that would have been used to build [methods] for navigation," he said. "Some of the things we're doing is showing ways in which we can have very memory-efficient representations for navigation. We can allow characters to navigate across large worlds that might include streamed geometry in and out.""Now you won't actually hold the whole game world in memory at one point in time, but you still want NPCs that can actually navigate naturally through those larger environments. That's an area we're investing a lot in."Game Developer and GDC are sibling organizations under Informa Tech.

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GamingBolt partage un lien

2025-05-13 16:25:34 ·

Ninja Theory May Have Teased Next Project With Blurry Photo
After having released Senua’s Saga: Hellblade 2, developer Ninja Theory is now seemingly working on an entirely new project.
As caught by ResetEra user Bishop89, a post on the studio’s official Instagram account shows off the team working together, looking at a blurred-out screen that might just be a tease for the studio’s next game.
While not much in the way of details can be gleaned from the picture, the blurry screen does indicate that the new project would have a more vibrant colour palatte than what we saw from Senua’s Saga: Hellblade 2, which largely kept to darker, moodier colours to better exemplifies its core themes and violent story.
With the release of this picture, speculation has begun in the comments section of the Instagram post, with fans of the studio guessing that the tease might be for anything from a return to classic action adventure games from Ninja Theory’s history like Heavenly Sword and Enslaved: Odyssey to the West, to even some wild theories like a follow-up to 2013’s DmC: Devil May Cry, which featured an entirely new take on Capcom’s stylish combat franchise.
It is worth noting that, right as Senua’s Saga: Hellblade 2 was about to come out, rumours started circulating that the next project by Ninja Theory had already been greenlit.
Unfortunately, no official announcement has been made yet from either Ninja Theory or Microsoft.
In the meantime, more recent rumours indicate that the studio might also be working on porting Senua’s Saga: Hellblade 2 over to the PS5.
The game, originally released on PC and Xbox Series X/S, would join other Xbox titles like Sea of Thieves and Indiana Jones and the Great Circle in expanding its audience by coming out on Sony’s console.
Ninja Theory is also reportedly working on another title, dubbed Project: MARA.
The game is slated to be an experimental horror game that has an emphasis on photorealistic visuals, and “real-world and grounded representation of mental terror.” No new details about Project: MARA have been revealed since 2021, however.
In the meantime, check out our review of Senua’s Saga: Hellblade 2.
Source: https://gamingbolt.com/senuas-saga-hellblade-2-developer-might-have-teased-next-project-with-blurry-photo" style="color: #0066cc;">https://gamingbolt.com/senuas-saga-hellblade-2-developer-might-have-teased-next-project-with-blurry-photo
#ninja #theory #may #have #teased #next #project #with #blurry #photo

Ninja Theory May Have Teased Next Project With Blurry Photo
After having released Senua’s Saga: Hellblade 2, developer Ninja Theory is now seemingly working on an entirely new project. As caught by ResetEra user Bishop89, a post on the studio’s official Instagram account shows off the team working together, looking at a blurred-out screen that might just be a tease for the studio’s next game. While not much in the way of details can be gleaned from the picture, the blurry screen does indicate that the new project would have a more vibrant colour palatte than what we saw from Senua’s Saga: Hellblade 2, which largely kept to darker, moodier colours to better exemplifies its core themes and violent story. With the release of this picture, speculation has begun in the comments section of the Instagram post, with fans of the studio guessing that the tease might be for anything from a return to classic action adventure games from Ninja Theory’s history like Heavenly Sword and Enslaved: Odyssey to the West, to even some wild theories like a follow-up to 2013’s DmC: Devil May Cry, which featured an entirely new take on Capcom’s stylish combat franchise. It is worth noting that, right as Senua’s Saga: Hellblade 2 was about to come out, rumours started circulating that the next project by Ninja Theory had already been greenlit. Unfortunately, no official announcement has been made yet from either Ninja Theory or Microsoft. In the meantime, more recent rumours indicate that the studio might also be working on porting Senua’s Saga: Hellblade 2 over to the PS5. The game, originally released on PC and Xbox Series X/S, would join other Xbox titles like Sea of Thieves and Indiana Jones and the Great Circle in expanding its audience by coming out on Sony’s console. Ninja Theory is also reportedly working on another title, dubbed Project: MARA. The game is slated to be an experimental horror game that has an emphasis on photorealistic visuals, and “real-world and grounded representation of mental terror.” No new details about Project: MARA have been revealed since 2021, however. In the meantime, check out our review of Senua’s Saga: Hellblade 2. Source: https://gamingbolt.com/senuas-saga-hellblade-2-developer-might-have-teased-next-project-with-blurry-photo #ninja #theory #may #have #teased #next #project #with #blurry #photo

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Ninja Theory May Have Teased Next Project With Blurry Photo

After having released Senua’s Saga: Hellblade 2, developer Ninja Theory is now seemingly working on an entirely new project. As caught by ResetEra user Bishop89, a post on the studio’s official Instagram account shows off the team working together, looking at a blurred-out screen that might just be a tease for the studio’s next game. While not much in the way of details can be gleaned from the picture, the blurry screen does indicate that the new project would have a more vibrant colour palatte than what we saw from Senua’s Saga: Hellblade 2, which largely kept to darker, moodier colours to better exemplifies its core themes and violent story. With the release of this picture, speculation has begun in the comments section of the Instagram post, with fans of the studio guessing that the tease might be for anything from a return to classic action adventure games from Ninja Theory’s history like Heavenly Sword and Enslaved: Odyssey to the West, to even some wild theories like a follow-up to 2013’s DmC: Devil May Cry, which featured an entirely new take on Capcom’s stylish combat franchise. It is worth noting that, right as Senua’s Saga: Hellblade 2 was about to come out, rumours started circulating that the next project by Ninja Theory had already been greenlit. Unfortunately, no official announcement has been made yet from either Ninja Theory or Microsoft. In the meantime, more recent rumours indicate that the studio might also be working on porting Senua’s Saga: Hellblade 2 over to the PS5. The game, originally released on PC and Xbox Series X/S, would join other Xbox titles like Sea of Thieves and Indiana Jones and the Great Circle in expanding its audience by coming out on Sony’s console. Ninja Theory is also reportedly working on another title, dubbed Project: MARA. The game is slated to be an experimental horror game that has an emphasis on photorealistic visuals, and “real-world and grounded representation of mental terror.” No new details about Project: MARA have been revealed since 2021, however. In the meantime, check out our review of Senua’s Saga: Hellblade 2.

·27 Vue

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Yanko Design partage un lien

2025-05-13 16:07:35 ·

Real-life simulating Tamagotchi is nostalgic, challenging, and really fun

The virtual pet Tamagotchi is kept alive by feeding it right and clearing its droppings, but the game has lost its luster.
The egg-shaped tiny computer game that had the world in a frenzy once is rekindled from the ruins, in a bolder, bigger, and humanized format, by a YouTuber, and we are amazed at the detail and finesse Terence Grover has managed in his version of the Tamagotchi.
Comprising 3D components and Raspberry Pi as the brain, Grover’s Tamagotchi is a representation of real life.
The entire creation is based on the classic Tamagotchi game, but it is tied closely to Abraham Maslow’s pyramid of hierarchy of needs, building up from physiological needs to safety, love and belonging, to esteem and self-actualization at the top.
The game is simple: keep the virtual pet alive, catering to all possible human needs.
You miss one, and the Tamagotchi is no more!
Designer: Terence Grover
According to Grover, the idea of the real-life simulating Tamagotchi was born from the intention to “build a parody of life simulator games,” which would combine pixel art, game design, electronics, and humor.
The result is this fun game, that gets serious as you take the Tamagotchi through all the life’s hardships – Job, Debt, etc, Grover says – to earn money that you need to feed and keep the little creature alive.
So instead of the cute creature and the simple feeding game, you are here negotiating the “cynical arc of human life,” going through all the levels of Maslow’s pyramid to increase your pet’s life expectancy.
The entire building and rebuilding process is detailed in an interestingly edited YouTube video, which is getting one prominent reaction: Why so few views? The video that has amassed a little above 2.5k views in five days (at the time of writing) is filled with comments such as, “I don’t understand why it’s not viral.
He literally did everything right.” Another commenter writes, “Great video, the storytelling is spot on.
The amount of work you put into this video is crazy.” Grover has gone a tad fast with his voice over, which hasn’t gone down too well with some viewers, suggesting he go a little slower, “You have all the right content, but you are talking so fast that I have no idea what is actually going on.”
Back to the real-life simulating Tamagotchi.
Based on a random set of events and scenarios, it has a Raspberry Pi computer connected to a physical RGB LED matrix.
It is controlled by three tactile buttons, like on the classic game device.
It features a series of unlockable minigames based on “education, job, housing, socializing, hobby, rest, food” that you must toggle to keep the animated pet alive, whose life may be influenced by the choices you make.
Find the logic interesting, you can head over to Grover’s Github to download.
The post Real-life simulating Tamagotchi is nostalgic, challenging, and really fun first appeared on Yanko Design.
Source: https://www.yankodesign.com/2025/05/13/real-life-simulating-tamagotchi-is-nostalgic-challenging-and-really-fun/?utm_source=rss&utm_medium=rss&utm_campaign=real-life-simulating-tamagotchi-is-nostalgic-challenging-and-really-fun" style="color: #0066cc;">https://www.yankodesign.com/2025/05/13/real-life-simulating-tamagotchi-is-nostalgic-challenging-and-really-fun/?utm_source=rss&utm_medium=rss&utm_campaign=real-life-simulating-tamagotchi-is-nostalgic-challenging-and-really-fun
#reallife #simulating #tamagotchi #nostalgic #challenging #and #really #fun

Real-life simulating Tamagotchi is nostalgic, challenging, and really fun
The virtual pet Tamagotchi is kept alive by feeding it right and clearing its droppings, but the game has lost its luster. The egg-shaped tiny computer game that had the world in a frenzy once is rekindled from the ruins, in a bolder, bigger, and humanized format, by a YouTuber, and we are amazed at the detail and finesse Terence Grover has managed in his version of the Tamagotchi. Comprising 3D components and Raspberry Pi as the brain, Grover’s Tamagotchi is a representation of real life. The entire creation is based on the classic Tamagotchi game, but it is tied closely to Abraham Maslow’s pyramid of hierarchy of needs, building up from physiological needs to safety, love and belonging, to esteem and self-actualization at the top. The game is simple: keep the virtual pet alive, catering to all possible human needs. You miss one, and the Tamagotchi is no more! Designer: Terence Grover According to Grover, the idea of the real-life simulating Tamagotchi was born from the intention to “build a parody of life simulator games,” which would combine pixel art, game design, electronics, and humor. The result is this fun game, that gets serious as you take the Tamagotchi through all the life’s hardships – Job, Debt, etc, Grover says – to earn money that you need to feed and keep the little creature alive. So instead of the cute creature and the simple feeding game, you are here negotiating the “cynical arc of human life,” going through all the levels of Maslow’s pyramid to increase your pet’s life expectancy. The entire building and rebuilding process is detailed in an interestingly edited YouTube video, which is getting one prominent reaction: Why so few views? The video that has amassed a little above 2.5k views in five days (at the time of writing) is filled with comments such as, “I don’t understand why it’s not viral. He literally did everything right.” Another commenter writes, “Great video, the storytelling is spot on. The amount of work you put into this video is crazy.” Grover has gone a tad fast with his voice over, which hasn’t gone down too well with some viewers, suggesting he go a little slower, “You have all the right content, but you are talking so fast that I have no idea what is actually going on.” Back to the real-life simulating Tamagotchi. Based on a random set of events and scenarios, it has a Raspberry Pi computer connected to a physical RGB LED matrix. It is controlled by three tactile buttons, like on the classic game device. It features a series of unlockable minigames based on “education, job, housing, socializing, hobby, rest, food” that you must toggle to keep the animated pet alive, whose life may be influenced by the choices you make. Find the logic interesting, you can head over to Grover’s Github to download. The post Real-life simulating Tamagotchi is nostalgic, challenging, and really fun first appeared on Yanko Design. Source: https://www.yankodesign.com/2025/05/13/real-life-simulating-tamagotchi-is-nostalgic-challenging-and-really-fun/?utm_source=rss&utm_medium=rss&utm_campaign=real-life-simulating-tamagotchi-is-nostalgic-challenging-and-really-fun #reallife #simulating #tamagotchi #nostalgic #challenging #and #really #fun

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Real-life simulating Tamagotchi is nostalgic, challenging, and really fun

The virtual pet Tamagotchi is kept alive by feeding it right and clearing its droppings, but the game has lost its luster. The egg-shaped tiny computer game that had the world in a frenzy once is rekindled from the ruins, in a bolder, bigger, and humanized format, by a YouTuber, and we are amazed at the detail and finesse Terence Grover has managed in his version of the Tamagotchi. Comprising 3D components and Raspberry Pi as the brain, Grover’s Tamagotchi is a representation of real life. The entire creation is based on the classic Tamagotchi game, but it is tied closely to Abraham Maslow’s pyramid of hierarchy of needs, building up from physiological needs to safety, love and belonging, to esteem and self-actualization at the top. The game is simple: keep the virtual pet alive, catering to all possible human needs. You miss one, and the Tamagotchi is no more! Designer: Terence Grover According to Grover, the idea of the real-life simulating Tamagotchi was born from the intention to “build a parody of life simulator games,” which would combine pixel art, game design, electronics, and humor. The result is this fun game, that gets serious as you take the Tamagotchi through all the life’s hardships – Job, Debt, etc, Grover says – to earn money that you need to feed and keep the little creature alive. So instead of the cute creature and the simple feeding game, you are here negotiating the “cynical arc of human life,” going through all the levels of Maslow’s pyramid to increase your pet’s life expectancy. The entire building and rebuilding process is detailed in an interestingly edited YouTube video, which is getting one prominent reaction: Why so few views? The video that has amassed a little above 2.5k views in five days (at the time of writing) is filled with comments such as, “I don’t understand why it’s not viral. He literally did everything right.” Another commenter writes, “Great video, the storytelling is spot on. The amount of work you put into this video is crazy.” Grover has gone a tad fast with his voice over, which hasn’t gone down too well with some viewers, suggesting he go a little slower, “You have all the right content, but you are talking so fast that I have no idea what is actually going on.” Back to the real-life simulating Tamagotchi. Based on a random set of events and scenarios, it has a Raspberry Pi computer connected to a physical RGB LED matrix. It is controlled by three tactile buttons, like on the classic game device. It features a series of unlockable minigames based on “education, job, housing, socializing, hobby, rest, food” that you must toggle to keep the animated pet alive, whose life may be influenced by the choices you make. Find the logic interesting, you can head over to Grover’s Github to download. The post Real-life simulating Tamagotchi is nostalgic, challenging, and really fun first appeared on Yanko Design.

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2025-05-13 14:37:15 ·

Amazon renews Fallout months before season 2's premiere
The second season of the Fallout TV series doesn't even have a concrete release date in December yet, but Amazon has already renewed the show for a third season. Amazon has announced that it has greenlit the new season at its annual presentation in New York City. The company said Fallout has had more than 100 million viewers since it dropped on Prime Video in April 2024 and remains one of its top-three most watched titles ever. If you'll recall, the live adaptation was so well-received, Fallout 4 enjoyed a resurgence in sales nearly a decade after its release. Amazon also renewed the series for a second season just a few days after the first season debuted on its streaming service. Based on the video game franchise of the same name, Fallout is set 200 years into the future after an apocalyptic event. In the story, the humans who survived the apocalypse hid in luxury fallout shelters where their descendants remained for hundreds of years. The show follows Lucy as she leaves her shelter after an attack by outsiders to find her father who'd been kidnapped. Along the way, she meets more characters, including a squire from the Brotherhood of Steel and a ghoul bounty hunter. Amazon has yet to reveal season 3's story, which doesn't come as a surprise, seeing as the second season has yet to drop. But season 2 will pick up from where the first one had left off and will take viewers from the Mojave wastelands to New Vegas.This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/amazon-renews-fallout-months-before-season-2s-premiere-143028657.html?src=rss" style="color: #0066cc; text-decoration: none;">https://www.engadget.com/entertainment/streaming/amazon-renews-fallout-months-before-season-2s-premiere-143028657.html?src=rss
style="margin-top: 10px; font-style: italic; color: #666;">المصدر: https://www.engadget.com/entertainment/streaming/amazon-renews-fallout-months-before-season-2s-premiere-143028657.html?src=rss" style="color: #0066cc; text-decoration: none;">www.engadget.com
#0066cc;">#amazon #renews #fallout #months #before #season #2039s #premiere

Amazon renews Fallout months before season 2's premiere
The second season of the Fallout TV series doesn't even have a concrete release date in December yet, but Amazon has already renewed the show for a third season. Amazon has announced that it has greenlit the new season at its annual presentation in New York City. The company said Fallout has had more than 100 million viewers since it dropped on Prime Video in April 2024 and remains one of its top-three most watched titles ever. If you'll recall, the live adaptation was so well-received, Fallout 4 enjoyed a resurgence in sales nearly a decade after its release. Amazon also renewed the series for a second season just a few days after the first season debuted on its streaming service. Based on the video game franchise of the same name, Fallout is set 200 years into the future after an apocalyptic event. In the story, the humans who survived the apocalypse hid in luxury fallout shelters where their descendants remained for hundreds of years. The show follows Lucy as she leaves her shelter after an attack by outsiders to find her father who'd been kidnapped. Along the way, she meets more characters, including a squire from the Brotherhood of Steel and a ghoul bounty hunter. Amazon has yet to reveal season 3's story, which doesn't come as a surprise, seeing as the second season has yet to drop. But season 2 will pick up from where the first one had left off and will take viewers from the Mojave wastelands to New Vegas.This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/amazon-renews-fallout-months-before-season-2s-premiere-143028657.html?src=rss
المصدر: www.engadget.com
#amazon #renews #fallout #months #before #season #2039s #premiere

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Amazon renews Fallout months before season 2's premiere

The second season of the Fallout TV series doesn't even have a concrete release date in December yet, but Amazon has already renewed the show for a third season. Amazon has announced that it has greenlit the new season at its annual presentation in New York City. The company said Fallout has had more than 100 million viewers since it dropped on Prime Video in April 2024 and remains one of its top-three most watched titles ever. If you'll recall, the live adaptation was so well-received, Fallout 4 enjoyed a resurgence in sales nearly a decade after its release. Amazon also renewed the series for a second season just a few days after the first season debuted on its streaming service. Based on the video game franchise of the same name, Fallout is set 200 years into the future after an apocalyptic event. In the story, the humans who survived the apocalypse hid in luxury fallout shelters where their descendants remained for hundreds of years. The show follows Lucy as she leaves her shelter after an attack by outsiders to find her father who'd been kidnapped. Along the way, she meets more characters, including a squire from the Brotherhood of Steel and a ghoul bounty hunter. Amazon has yet to reveal season 3's story, which doesn't come as a surprise, seeing as the second season has yet to drop. But season 2 will pick up from where the first one had left off and will take viewers from the Mojave wastelands to New Vegas.This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/amazon-renews-fallout-months-before-season-2s-premiere-143028657.html?src=rss

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2025-05-13 13:52:37 ·

#333;">‘Spider-Man Noir’ Series Debut First Look Image

Nicolas Cage can now add his name to the small list of actors who have played the same character in live-action and animation.That’s him as the title character from Spider-Man Noir the upcoming Prime Video television series.
Amazon unveiled the first image of Cage in costume as part of their upfront presentation this week.
You can’t say it doesn’t look like the Spider-Man Noir Cage voiced in the animated Spider-Man: Into the Spider-Verse movie, right down to those bright white goggles.In a fun twist, Amazon also announced the Spider-Man Noir show will be available to screen in both color and black and white — in homage to the character’s film noir style alternate reality.In addition to Cage, the cast of the show includes Lamorne Morris, Brendan Gleeson, Abraham Popoola, Li Jun Li, Karen Rodriguez, and Jack Huston.MarvelMarvelloading...READ MORE: Every Spider-Man Movie and Spinoff, Ranked From Worst to BestHere is the synopsis for Spider-Man Noir from Amazon:Spider-Noir is a live-action series based on the Marvel comic Spider-Man Noir.
Spider-Noir tells the story of an aging and down on his luck private investigator (Cage) in 1930s New York, who is forced to grapple with his past life as the city’s one and only superhero.Spider-Man Noir is being showrun by Oren Uziel and Steve Lightfoot.
The pair developed the show along with Spider-Verse producers Phil Lord, Christopher Miller, and Amy Pascal.Amazon has not confirmed a premiere date for the show, but they did say the series will first be available on the MGM+ cable channel, and then will be available one day later on Prime Video.Get our free mobile app2000s Movies That Got Bad Reviews That Are Actually GoodThese underrated films deserved better reviews than they got from most critics.

#666;">المصدر: https://screencrush.com/spider-man-noir-series-first-image/" style="color: #0066cc; text-decoration: none;">screencrush.com

#0066cc;">#spiderman #noir #series #debut #first #look #image #nicolas #cage #can #now #add #his #name #the #small #list #actors #who #have #played #same #character #liveaction #and #animationthats #him #title #fromspiderman #upcoming #prime #video #television #seriesamazon #unveiled #costume #part #their #upfront #presentation #this #weekyou #cant #say #doesnt #like #voiced #animatedspiderman #into #spiderversemovie #right #down #those #bright #white #gogglesin #fun #twist #amazon #also #announced #thespiderman #noirshow #will #available #screen #both #color #black #andwhite #homage #characters #film #style #alternate #realityin #addition #cast #show #includeslamorne #morris #brendan #gleeson #abraham #popoola #jun #karen #rodriguez #jack #hustonmarvelmarvelloadingread #more #every #movie #spinoff #ranked #from #worst #besthere #synopsis #for #noirfrom #amazonspidernoir #based #marvel #comic #noirspidernoir #tells #story #aging #luck #private #investigator #1930s #new #york #forced #grapple #with #past #life #citys #one #only #superherospiderman #noiris #being #showrun #oren #uziel #steve #lightfootthe #pair #developed #along #withspiderverse #producers #phil #lord #christopher #miller #amy #pascalamazon #has #not #confirmed #premiere #date #but #they #did #mgm #cable #channel #then #beavailableone #day #later #videoget #our #free #mobile #app2000s #movies #that #got #bad #reviews #are #actually #goodthese #underrated #films #deserved #better #than #most #critics

‘Spider-Man Noir’ Series Debut First Look Image

Nicolas Cage can now add his name to the small list of actors who have played the same character in live-action and animation.That’s him as the title character from Spider-Man Noir the upcoming Prime Video television series. Amazon unveiled the first image of Cage in costume as part of their upfront presentation this week. You can’t say it doesn’t look like the Spider-Man Noir Cage voiced in the animated Spider-Man: Into the Spider-Verse movie, right down to those bright white goggles.In a fun twist, Amazon also announced the Spider-Man Noir show will be available to screen in both color and black and white — in homage to the character’s film noir style alternate reality.In addition to Cage, the cast of the show includes Lamorne Morris, Brendan Gleeson, Abraham Popoola, Li Jun Li, Karen Rodriguez, and Jack Huston.MarvelMarvelloading...READ MORE: Every Spider-Man Movie and Spinoff, Ranked From Worst to BestHere is the synopsis for Spider-Man Noir from Amazon:Spider-Noir is a live-action series based on the Marvel comic Spider-Man Noir. Spider-Noir tells the story of an aging and down on his luck private investigator (Cage) in 1930s New York, who is forced to grapple with his past life as the city’s one and only superhero.Spider-Man Noir is being showrun by Oren Uziel and Steve Lightfoot. The pair developed the show along with Spider-Verse producers Phil Lord, Christopher Miller, and Amy Pascal.Amazon has not confirmed a premiere date for the show, but they did say the series will first be available on the MGM+ cable channel, and then will be available one day later on Prime Video.Get our free mobile app2000s Movies That Got Bad Reviews That Are Actually GoodThese underrated films deserved better reviews than they got from most critics.

المصدر: screencrush.com

#spiderman #noir #series #debut #first #look #image #nicolas #cage #can #now #add #his #name #the #small #list #actors #who #have #played #same #character #liveaction #and #animationthats #him #title #fromspiderman #upcoming #prime #video #television #seriesamazon #unveiled #costume #part #their #upfront #presentation #this #weekyou #cant #say #doesnt #like #voiced #animatedspiderman #into #spiderversemovie #right #down #those #bright #white #gogglesin #fun #twist #amazon #also #announced #thespiderman #noirshow #will #available #screen #both #color #black #andwhite #homage #characters #film #style #alternate #realityin #addition #cast #show #includeslamorne #morris #brendan #gleeson #abraham #popoola #jun #karen #rodriguez #jack #hustonmarvelmarvelloadingread #more #every #movie #spinoff #ranked #from #worst #besthere #synopsis #for #noirfrom #amazonspidernoir #based #marvel #comic #noirspidernoir #tells #story #aging #luck #private #investigator #1930s #new #york #forced #grapple #with #past #life #citys #one #only #superherospiderman #noiris #being #showrun #oren #uziel #steve #lightfootthe #pair #developed #along #withspiderverse #producers #phil #lord #christopher #miller #amy #pascalamazon #has #not #confirmed #premiere #date #but #they #did #mgm #cable #channel #then #beavailableone #day #later #videoget #our #free #mobile #app2000s #movies #that #got #bad #reviews #are #actually #goodthese #underrated #films #deserved #better #than #most #critics

SCREENCRUSH.COM

‘Spider-Man Noir’ Series Debut First Look Image

Nicolas Cage can now add his name to the small list of actors who have played the same character in live-action and animation.That’s him as the title character from Spider-Man Noir the upcoming Prime Video television series. Amazon unveiled the first image of Cage in costume as part of their upfront presentation this week. You can’t say it doesn’t look like the Spider-Man Noir Cage voiced in the animated Spider-Man: Into the Spider-Verse movie, right down to those bright white goggles.In a fun twist, Amazon also announced the Spider-Man Noir show will be available to screen in both color and black and white — in homage to the character’s film noir style alternate reality.In addition to Cage, the cast of the show includes Lamorne Morris, Brendan Gleeson, Abraham Popoola, Li Jun Li, Karen Rodriguez, and Jack Huston.MarvelMarvelloading...READ MORE: Every Spider-Man Movie and Spinoff, Ranked From Worst to BestHere is the synopsis for Spider-Man Noir from Amazon:Spider-Noir is a live-action series based on the Marvel comic Spider-Man Noir. Spider-Noir tells the story of an aging and down on his luck private investigator (Cage) in 1930s New York, who is forced to grapple with his past life as the city’s one and only superhero.Spider-Man Noir is being showrun by Oren Uziel and Steve Lightfoot. The pair developed the show along with Spider-Verse producers Phil Lord, Christopher Miller, and Amy Pascal.Amazon has not confirmed a premiere date for the show, but they did say the series will first be available on the MGM+ cable channel, and then will be available one day later on Prime Video.Get our free mobile app2000s Movies That Got Bad Reviews That Are Actually GoodThese underrated films deserved better reviews than they got from most critics.

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2025-05-13 13:47:29 ·

#333;">Why one obscure app could help crumble Meta’s empire

If the question, “Who is Meta’s biggest rival?” were on a Family Feud survey, TikTok would likely be the winning answer.
In the Federal Trade Commission’s antitrust case against the Facebook and Instagram owner, the government’s response probably wouldn’t even make the top 10: a small blockchain-based platform called MeWe.
MeWe looks a fair amount like Facebook at first glance, except that you make an account using the Frequency blockchain — which the company explains is a decentralized protocol that lets you move your social connections to other (mostly hypothetical at this point) apps that support Frequency.
The company says 20 million users have joined, but when I make a MeWe account and log in, I scroll through my autopopulated feed and think, “Who are these people?” I search for a few of my Verge colleagues, figuring if anyone has tried this obscure app, it might be one of them, but I come up short.
I try some public figures: Tim Cook? Jeff Bezos? Mark Zuckerberg? There are some accounts with these names, but it seems unlikely they’re the ones I have in mind.The claim that MeWe is a closer competitor to Facebook and Instagram than TikTok might be baffling if you’re not steeped in antitrust law or the specifics of the FTC’s complaint.
Meta CEO Zuckerberg testified he hadn’t even heard of the app before this case was filed.
But the FTC has spent the past three weeks laying out its logic.
Using Meta’s own internal discussions about how it views itself and its competition, it says that Meta has historically, and to this day, competed in a market for connecting with friends and family online — and when it saw its dominance in that space threatened by the rise of Instagram and WhatsApp, it bought them to squash the competition.Whether Judge James Boasberg buys this could determine who wins the case — if the FTC can also show that Meta acted illegally through its acquisitions of Instagram and WhatsApp to solidify its alleged monopoly power.Antitrust law is supposed to ensure fair competition, which usually means that people have options for a useful class of goods and services — what’s known as a relevant market.
The FTC says that here, that market is “personal social networking services,” or PSNs: spaces where a core purpose is helping people connect with friends and family.
While there are many online platforms that overlap with Meta’s services, the FTC argues that virtually none of them serve that market.
If internet users want to find and hang out with people they know — as opposed to, say, watching influencers or making work connections — then it’s Mark Zuckerberg’s way or… in the government’s telling, Snapchat, BeReal, and MeWe.
Beyond that core definition, PSNs have some other unique features and norms: The apps feature a social graph of users’ friends and family connections, as opposed to mapping users primarily based on their interests.
Users can look up and find people they know in real life.
And they come to the app to share personal updates with those people.Facebook and Instagram increasingly display videos and photos from influencers and celebrities, but the FTC argues personal social networking remains a core service.
It used Instagram chief Adam Mosseri’s testimony to most clearly make this point.
In that testimony as well as posts to his own Instagram account, Mosseri said that it’s still important for the app to connect users with their friends.
The FTC argues that even if that use case is a smaller portion of what Meta’s apps do these days, it’s still a significant need users have that can virtually only be fulfilled by Facebook and Instagram.
While someone might connect with people they know in real life on LinkedIn, they likely won’t primarily share personal updates there.
And while they also could follow and interact with people they know on TikTok or YouTube, they’re more likely to passively watch videos from people they don’t.Meta says this is an entirely wrong way to think about it.
Social media platforms compete for users’ time and attention, so whether a particular app is squarely aimed at so-called friends and family sharing is beside the point.
Facebook and Instagram have evolved to show more content from people like influencers, shifting further from the use case the FTC says Meta has illegally dominated.
The company has already landed some important points that could help its case, and it will get more time to push back on the agency’s framing when it calls its own witnesses in the coming weeks.But as the FTC’s case-in-chief continues into its fifth week, its argument for Meta’s dominance is becoming a lot clearer.Why do people use Facebook?When defining a market, each side is trying to answer a key question: why are people choosing one particular company’s product? A lot of goods and services compete with each other in some sense, but this doesn’t mean they serve the same niche.
In the case of sodas, for example, “you could buy lemon-lime, but many people would never see that as a close substitute for buying Coke or Pepsi,” says George Washington Law professor and former FTC Chair Bill Kovacic.
In the tech world, Netflix has claimed its biggest competitors are Fortnite and sleep — but those comparisons probably wouldn’t stand up in court.The FTC says that outside of Facebook and Instagram, only apps like Snapchat and MeWe can fulfill a users’ desire to broadcast personal updates with friends and family online.
To make its case, it brought in a string of executives from other social media companies to explain why their apps can’t quite scratch the same itch for users.
Strava’s former VP of connected partnerships Mateo Ortega testified that sure, users of the fitness-tracking social media app could share baby photos on the platform, but they probably wouldn’t unless it was in a running stroller.
“It’s all about fitness, and while you can post other stuff, it just doesn’t seem as relevant,” he said.
“You could buy lemon-lime, but many people would never see that as a close substitute for buying Coke or Pepsi”Pinterest’s former head of user growth Julia Roberts testified that users who come to Pinterest “expecting it to be like other social media apps … tend to be confused about how to use the product.” That’s because the app is so much not about connecting with other people that it works much differently from other social media platforms.
Pinterest is more about finding things users are interested in, she said, so “following is not a big part of the Pinterest experience.”TikTok has a tab where users can watch videos from their friends — identified as people who mutually follow each other.
But head of operations Adam Presser testified only about 1 percent of videos watched on the platform are there.
The company doesn’t think of itself as competing with Meta’s apps for personal social networking, he testified.
And even though side-by-side screenshots of TikTok, Instagram Reels, and YouTube Shorts look identical, Presser said, “when you click out of this view for these other platforms, you would get to essentially what I think of as their core business,” which for Instagram, includes a feed and stories that often contain at least some content from family and friends.At times, Meta’s cross-examination of rival company executives showed the limits of apps’ similarities.
When questioning Apple director of product marketing Ronak Shah, Meta sought to show that group chats in Apple’s messaging feature could serve as a social media feed for friends and family sharing.
But Shah testified that feed would be limited to 32 people at most, and users can’t just look up each others’ profiles like they would on social platforms.
Still, Meta pointed out, Apple’s messages app is listed under social media on its own app store.However, Meta also made important arguments about why the judge should question the FTC’s framing.
It pointed out that some documents from TikTok and YouTube owner Google claiming their products are very different from Meta’s were submitted to foreign officials to try to avoid getting drafted into potentially frustrating regulations.
It also pointed out when TikTok briefly went dark in the US ahead of a (now-aborted) ban, users flocked to Meta apps, showing consumers see it as a substitute on at least some level.
That’s because, Meta argued, competition for users is really about winning their time and attention.Companies can “sometimes make mistakes.
They misjudge who their users are”But X VP of product Keith Coleman testified it’s not that useful to think about competition this way.
Instead, “it’s much more helpful to understand what people are trying to accomplish in their lives and to try to help them accomplish that.” Under former CEO Jack Dorsey, then-Twitter leaned into focusing on news and users’ interests, Coleman testified, because that’s why people were coming to the platform.
Coleman was later surprised at how his own website characterized the product in its help center as a “service for friends, family, and coworkers to communicate and stay connected through the exchange of quick, frequent messages.” “I can’t believe that’s on the website,” he said.
“That’s pretty wacky.”This point was “a caution that not everything a company writes down or says is necessarily decisive in establishing what the boundary of a market is,” Kovacic said.
Companies can “sometimes make mistakes.
They misjudge who their users are.”There are real ramifications for internet users here.
Going back to Netflix’s comparisons, if the streaming video service went down, some people would probably be happy to play a video game or get a few hours of shut-eye instead.
But others would be frustrated that they couldn’t watch a movie, which is why it’s good that Hulu, HBO, and Amazon Prime Video also exist.
The FTC’s argument isn’t that Meta owns the only social apps on the internet, it’s that the company faces little competition for a service many people specifically want — so the fact that you probably don’t know anyone using MeWe is sort of the point.How will the judge decide?Ultimately, Boasberg’s market definition — whether it’s Meta’s, the FTC’s, or his own — will come down to a few things: how Meta views itself, how competitors see it, and his own intuition, says Kovacic.
”Notice how much the FTC has been questioning Meta witnesses on the basis of its own internal documents,” he says.
“Does the story in the courtroom match the story of your own internal documents?” So far, the documents have shown that Meta has clocked that at least some portion of users come to its products to connect with family and friends, but also that the rise of TikTok has had it looking over its shoulder.
In September 2020, Meta told its board that Instagram revenue would be “meaningfully lower” than planned in the second half of the fiscal year because TikTok was drawing users’ attention.
But other internal documents have shown Meta’s well aware that at different points in time, users have come to its apps to connect with family and friends, and worriedly took note of other apps entering that space.
In a 2018 presentation, Meta found that the highest percentage of surveyed users said they come to Facebook, Instagram, and Snap to “see daily casual moments” and “see special moments.” By contrast, users came to Twitter’s feed for news and YouTube’s for entertainment.
And even as Instagram expands into entertainment, the FTC notes that it still advertises its sign-up page as a place to “see photos and videos from your friends.”“Instagram will always need to focus on friends”In a 2018 email, Zuckerberg told Mosseri that “Instagram will always need to focus on friends.” And even though a lot has changed in the social media landscape since then, Mosseri testified that to this day on the app, “friends are an important part of the experience.” Even though users may share fewer of their own updates on Facebook and Instagram, Mosseri admitted that two friends talking in the comments of a public figure’s post counts as an interaction between friends — and one that Instagram actively tries to facilitate.Meta has argued that this special focus on friends and family sharing makes up a shrinking portion of its offerings as it works to compete with fierce rivals like TikTok.
But the FTC says it’s still significant enough to monopolize.
It’s a scenario that came up in another major tech monopolization case, Kovacic says: the late-1990s lawsuit US v.
Microsoft.
In that case, Microsoft argued the Justice Department was ignoring how computing would soon move beyond the personal computer to the Internet of Things, meaning it couldn’t truly lock up the computing ecosystem as much as the government alleged.“Judge Jackson in the Microsoft case said, yeah, those things are happening, but not happening fast enough to deny you real market power in this PC and laptop-based market that the Justice Department is emphasizing,” Kovacic says.Still, he adds, a market niche can at some point become so small that it’s no longer significant in the eyes of antitrust law.
“You can have a process of change that ultimately renders the market segment unimportant,” he says.
“And the hard task of analysis for the judge is to say, has it already happened?”See More:

#666;">المصدر: https://www.theverge.com/antitrust/665308/meta-ftc-antitrust-trial-market-definition-tiktok-mewe-snap" style="color: #0066cc; text-decoration: none;">www.theverge.com

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Why one obscure app could help crumble Meta’s empire

If the question, “Who is Meta’s biggest rival?” were on a Family Feud survey, TikTok would likely be the winning answer. In the Federal Trade Commission’s antitrust case against the Facebook and Instagram owner, the government’s response probably wouldn’t even make the top 10: a small blockchain-based platform called MeWe. MeWe looks a fair amount like Facebook at first glance, except that you make an account using the Frequency blockchain — which the company explains is a decentralized protocol that lets you move your social connections to other (mostly hypothetical at this point) apps that support Frequency. The company says 20 million users have joined, but when I make a MeWe account and log in, I scroll through my autopopulated feed and think, “Who are these people?” I search for a few of my Verge colleagues, figuring if anyone has tried this obscure app, it might be one of them, but I come up short. I try some public figures: Tim Cook? Jeff Bezos? Mark Zuckerberg? There are some accounts with these names, but it seems unlikely they’re the ones I have in mind.The claim that MeWe is a closer competitor to Facebook and Instagram than TikTok might be baffling if you’re not steeped in antitrust law or the specifics of the FTC’s complaint. Meta CEO Zuckerberg testified he hadn’t even heard of the app before this case was filed. But the FTC has spent the past three weeks laying out its logic. Using Meta’s own internal discussions about how it views itself and its competition, it says that Meta has historically, and to this day, competed in a market for connecting with friends and family online — and when it saw its dominance in that space threatened by the rise of Instagram and WhatsApp, it bought them to squash the competition.Whether Judge James Boasberg buys this could determine who wins the case — if the FTC can also show that Meta acted illegally through its acquisitions of Instagram and WhatsApp to solidify its alleged monopoly power.Antitrust law is supposed to ensure fair competition, which usually means that people have options for a useful class of goods and services — what’s known as a relevant market. The FTC says that here, that market is “personal social networking services,” or PSNs: spaces where a core purpose is helping people connect with friends and family. While there are many online platforms that overlap with Meta’s services, the FTC argues that virtually none of them serve that market. If internet users want to find and hang out with people they know — as opposed to, say, watching influencers or making work connections — then it’s Mark Zuckerberg’s way or… in the government’s telling, Snapchat, BeReal, and MeWe. Beyond that core definition, PSNs have some other unique features and norms: The apps feature a social graph of users’ friends and family connections, as opposed to mapping users primarily based on their interests. Users can look up and find people they know in real life. And they come to the app to share personal updates with those people.Facebook and Instagram increasingly display videos and photos from influencers and celebrities, but the FTC argues personal social networking remains a core service. It used Instagram chief Adam Mosseri’s testimony to most clearly make this point. In that testimony as well as posts to his own Instagram account, Mosseri said that it’s still important for the app to connect users with their friends. The FTC argues that even if that use case is a smaller portion of what Meta’s apps do these days, it’s still a significant need users have that can virtually only be fulfilled by Facebook and Instagram. While someone might connect with people they know in real life on LinkedIn, they likely won’t primarily share personal updates there. And while they also could follow and interact with people they know on TikTok or YouTube, they’re more likely to passively watch videos from people they don’t.Meta says this is an entirely wrong way to think about it. Social media platforms compete for users’ time and attention, so whether a particular app is squarely aimed at so-called friends and family sharing is beside the point. Facebook and Instagram have evolved to show more content from people like influencers, shifting further from the use case the FTC says Meta has illegally dominated. The company has already landed some important points that could help its case, and it will get more time to push back on the agency’s framing when it calls its own witnesses in the coming weeks.But as the FTC’s case-in-chief continues into its fifth week, its argument for Meta’s dominance is becoming a lot clearer.Why do people use Facebook?When defining a market, each side is trying to answer a key question: why are people choosing one particular company’s product? A lot of goods and services compete with each other in some sense, but this doesn’t mean they serve the same niche. In the case of sodas, for example, “you could buy lemon-lime, but many people would never see that as a close substitute for buying Coke or Pepsi,” says George Washington Law professor and former FTC Chair Bill Kovacic. In the tech world, Netflix has claimed its biggest competitors are Fortnite and sleep — but those comparisons probably wouldn’t stand up in court.The FTC says that outside of Facebook and Instagram, only apps like Snapchat and MeWe can fulfill a users’ desire to broadcast personal updates with friends and family online. To make its case, it brought in a string of executives from other social media companies to explain why their apps can’t quite scratch the same itch for users. Strava’s former VP of connected partnerships Mateo Ortega testified that sure, users of the fitness-tracking social media app could share baby photos on the platform, but they probably wouldn’t unless it was in a running stroller. “It’s all about fitness, and while you can post other stuff, it just doesn’t seem as relevant,” he said. “You could buy lemon-lime, but many people would never see that as a close substitute for buying Coke or Pepsi”Pinterest’s former head of user growth Julia Roberts testified that users who come to Pinterest “expecting it to be like other social media apps … tend to be confused about how to use the product.” That’s because the app is so much not about connecting with other people that it works much differently from other social media platforms. Pinterest is more about finding things users are interested in, she said, so “following is not a big part of the Pinterest experience.”TikTok has a tab where users can watch videos from their friends — identified as people who mutually follow each other. But head of operations Adam Presser testified only about 1 percent of videos watched on the platform are there. The company doesn’t think of itself as competing with Meta’s apps for personal social networking, he testified. And even though side-by-side screenshots of TikTok, Instagram Reels, and YouTube Shorts look identical, Presser said, “when you click out of this view for these other platforms, you would get to essentially what I think of as their core business,” which for Instagram, includes a feed and stories that often contain at least some content from family and friends.At times, Meta’s cross-examination of rival company executives showed the limits of apps’ similarities. When questioning Apple director of product marketing Ronak Shah, Meta sought to show that group chats in Apple’s messaging feature could serve as a social media feed for friends and family sharing. But Shah testified that feed would be limited to 32 people at most, and users can’t just look up each others’ profiles like they would on social platforms. Still, Meta pointed out, Apple’s messages app is listed under social media on its own app store.However, Meta also made important arguments about why the judge should question the FTC’s framing. It pointed out that some documents from TikTok and YouTube owner Google claiming their products are very different from Meta’s were submitted to foreign officials to try to avoid getting drafted into potentially frustrating regulations. It also pointed out when TikTok briefly went dark in the US ahead of a (now-aborted) ban, users flocked to Meta apps, showing consumers see it as a substitute on at least some level. That’s because, Meta argued, competition for users is really about winning their time and attention.Companies can “sometimes make mistakes. They misjudge who their users are”But X VP of product Keith Coleman testified it’s not that useful to think about competition this way. Instead, “it’s much more helpful to understand what people are trying to accomplish in their lives and to try to help them accomplish that.” Under former CEO Jack Dorsey, then-Twitter leaned into focusing on news and users’ interests, Coleman testified, because that’s why people were coming to the platform. Coleman was later surprised at how his own website characterized the product in its help center as a “service for friends, family, and coworkers to communicate and stay connected through the exchange of quick, frequent messages.” “I can’t believe that’s on the website,” he said. “That’s pretty wacky.”This point was “a caution that not everything a company writes down or says is necessarily decisive in establishing what the boundary of a market is,” Kovacic said. Companies can “sometimes make mistakes. They misjudge who their users are.”There are real ramifications for internet users here. Going back to Netflix’s comparisons, if the streaming video service went down, some people would probably be happy to play a video game or get a few hours of shut-eye instead. But others would be frustrated that they couldn’t watch a movie, which is why it’s good that Hulu, HBO, and Amazon Prime Video also exist. The FTC’s argument isn’t that Meta owns the only social apps on the internet, it’s that the company faces little competition for a service many people specifically want — so the fact that you probably don’t know anyone using MeWe is sort of the point.How will the judge decide?Ultimately, Boasberg’s market definition — whether it’s Meta’s, the FTC’s, or his own — will come down to a few things: how Meta views itself, how competitors see it, and his own intuition, says Kovacic. ”Notice how much the FTC has been questioning Meta witnesses on the basis of its own internal documents,” he says. “Does the story in the courtroom match the story of your own internal documents?” So far, the documents have shown that Meta has clocked that at least some portion of users come to its products to connect with family and friends, but also that the rise of TikTok has had it looking over its shoulder. In September 2020, Meta told its board that Instagram revenue would be “meaningfully lower” than planned in the second half of the fiscal year because TikTok was drawing users’ attention. But other internal documents have shown Meta’s well aware that at different points in time, users have come to its apps to connect with family and friends, and worriedly took note of other apps entering that space. In a 2018 presentation, Meta found that the highest percentage of surveyed users said they come to Facebook, Instagram, and Snap to “see daily casual moments” and “see special moments.” By contrast, users came to Twitter’s feed for news and YouTube’s for entertainment. And even as Instagram expands into entertainment, the FTC notes that it still advertises its sign-up page as a place to “see photos and videos from your friends.”“Instagram will always need to focus on friends”In a 2018 email, Zuckerberg told Mosseri that “Instagram will always need to focus on friends.” And even though a lot has changed in the social media landscape since then, Mosseri testified that to this day on the app, “friends are an important part of the experience.” Even though users may share fewer of their own updates on Facebook and Instagram, Mosseri admitted that two friends talking in the comments of a public figure’s post counts as an interaction between friends — and one that Instagram actively tries to facilitate.Meta has argued that this special focus on friends and family sharing makes up a shrinking portion of its offerings as it works to compete with fierce rivals like TikTok. But the FTC says it’s still significant enough to monopolize. It’s a scenario that came up in another major tech monopolization case, Kovacic says: the late-1990s lawsuit US v. Microsoft. In that case, Microsoft argued the Justice Department was ignoring how computing would soon move beyond the personal computer to the Internet of Things, meaning it couldn’t truly lock up the computing ecosystem as much as the government alleged.“Judge Jackson in the Microsoft case said, yeah, those things are happening, but not happening fast enough to deny you real market power in this PC and laptop-based market that the Justice Department is emphasizing,” Kovacic says.Still, he adds, a market niche can at some point become so small that it’s no longer significant in the eyes of antitrust law. “You can have a process of change that ultimately renders the market segment unimportant,” he says. “And the hard task of analysis for the judge is to say, has it already happened?”See More:

المصدر: www.theverge.com

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#everything #writes #down #necessarily #decisive #establishing #boundary #kovacic #saidcompanies #arethere #ramifications #heregoing #netflixs #streaming #video #happy #play #game #hours #shuteye #insteadbut #frustrated #couldnt #movie #good #hulu #hbo #amazon #prime #existthe #isnt #owns #faces #little #specifically #fact #dont #sort #pointhow #decideultimately #boasbergs #intuition #kovacicnotice #been #basis #saysdoes #story #courtroom #match #far #shown #clocked #had #looking #over #shoulderin #september #told #board #revenue #meaningfully #lower #planned #second #half #fiscal #year #drawing #attentionbut #aware #worriedly #took #note #entering #spacein #presentation #found #highest #percentage #surveyed #snap #daily #casual #moments #special #contrast #came #twitters #youtubes #entertainmentand #expands #entertainment #notes #advertises #signup #page #place #friendsinstagram #always #focus #friendsin #email #changed #landscape #since #experience #may #fewer #admitted #two #talking 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WWW.THEVERGE.COM

Why one obscure app could help crumble Meta’s empire

If the question, “Who is Meta’s biggest rival?” were on a Family Feud survey, TikTok would likely be the winning answer. In the Federal Trade Commission’s antitrust case against the Facebook and Instagram owner, the government’s response probably wouldn’t even make the top 10: a small blockchain-based platform called MeWe. MeWe looks a fair amount like Facebook at first glance, except that you make an account using the Frequency blockchain — which the company explains is a decentralized protocol that lets you move your social connections to other (mostly hypothetical at this point) apps that support Frequency. The company says 20 million users have joined, but when I make a MeWe account and log in, I scroll through my autopopulated feed and think, “Who are these people?” I search for a few of my Verge colleagues, figuring if anyone has tried this obscure app, it might be one of them, but I come up short. I try some public figures: Tim Cook? Jeff Bezos? Mark Zuckerberg? There are some accounts with these names, but it seems unlikely they’re the ones I have in mind.The claim that MeWe is a closer competitor to Facebook and Instagram than TikTok might be baffling if you’re not steeped in antitrust law or the specifics of the FTC’s complaint. Meta CEO Zuckerberg testified he hadn’t even heard of the app before this case was filed. But the FTC has spent the past three weeks laying out its logic. Using Meta’s own internal discussions about how it views itself and its competition, it says that Meta has historically, and to this day, competed in a market for connecting with friends and family online — and when it saw its dominance in that space threatened by the rise of Instagram and WhatsApp, it bought them to squash the competition.Whether Judge James Boasberg buys this could determine who wins the case — if the FTC can also show that Meta acted illegally through its acquisitions of Instagram and WhatsApp to solidify its alleged monopoly power.Antitrust law is supposed to ensure fair competition, which usually means that people have options for a useful class of goods and services — what’s known as a relevant market. The FTC says that here, that market is “personal social networking services,” or PSNs: spaces where a core purpose is helping people connect with friends and family. While there are many online platforms that overlap with Meta’s services, the FTC argues that virtually none of them serve that market. If internet users want to find and hang out with people they know — as opposed to, say, watching influencers or making work connections — then it’s Mark Zuckerberg’s way or… in the government’s telling, Snapchat, BeReal, and MeWe. Beyond that core definition, PSNs have some other unique features and norms: The apps feature a social graph of users’ friends and family connections, as opposed to mapping users primarily based on their interests. Users can look up and find people they know in real life. And they come to the app to share personal updates with those people.Facebook and Instagram increasingly display videos and photos from influencers and celebrities, but the FTC argues personal social networking remains a core service. It used Instagram chief Adam Mosseri’s testimony to most clearly make this point. In that testimony as well as posts to his own Instagram account, Mosseri said that it’s still important for the app to connect users with their friends. The FTC argues that even if that use case is a smaller portion of what Meta’s apps do these days, it’s still a significant need users have that can virtually only be fulfilled by Facebook and Instagram. While someone might connect with people they know in real life on LinkedIn, they likely won’t primarily share personal updates there. And while they also could follow and interact with people they know on TikTok or YouTube, they’re more likely to passively watch videos from people they don’t.Meta says this is an entirely wrong way to think about it. Social media platforms compete for users’ time and attention, so whether a particular app is squarely aimed at so-called friends and family sharing is beside the point. Facebook and Instagram have evolved to show more content from people like influencers, shifting further from the use case the FTC says Meta has illegally dominated. The company has already landed some important points that could help its case, and it will get more time to push back on the agency’s framing when it calls its own witnesses in the coming weeks.But as the FTC’s case-in-chief continues into its fifth week, its argument for Meta’s dominance is becoming a lot clearer.Why do people use Facebook?When defining a market, each side is trying to answer a key question: why are people choosing one particular company’s product? A lot of goods and services compete with each other in some sense, but this doesn’t mean they serve the same niche. In the case of sodas, for example, “you could buy lemon-lime, but many people would never see that as a close substitute for buying Coke or Pepsi,” says George Washington Law professor and former FTC Chair Bill Kovacic. In the tech world, Netflix has claimed its biggest competitors are Fortnite and sleep — but those comparisons probably wouldn’t stand up in court.The FTC says that outside of Facebook and Instagram, only apps like Snapchat and MeWe can fulfill a users’ desire to broadcast personal updates with friends and family online. To make its case, it brought in a string of executives from other social media companies to explain why their apps can’t quite scratch the same itch for users. Strava’s former VP of connected partnerships Mateo Ortega testified that sure, users of the fitness-tracking social media app could share baby photos on the platform, but they probably wouldn’t unless it was in a running stroller. “It’s all about fitness, and while you can post other stuff, it just doesn’t seem as relevant,” he said. “You could buy lemon-lime, but many people would never see that as a close substitute for buying Coke or Pepsi”Pinterest’s former head of user growth Julia Roberts testified that users who come to Pinterest “expecting it to be like other social media apps … tend to be confused about how to use the product.” That’s because the app is so much not about connecting with other people that it works much differently from other social media platforms. Pinterest is more about finding things users are interested in, she said, so “following is not a big part of the Pinterest experience.”TikTok has a tab where users can watch videos from their friends — identified as people who mutually follow each other. But head of operations Adam Presser testified only about 1 percent of videos watched on the platform are there. The company doesn’t think of itself as competing with Meta’s apps for personal social networking, he testified. And even though side-by-side screenshots of TikTok, Instagram Reels, and YouTube Shorts look identical, Presser said, “when you click out of this view for these other platforms, you would get to essentially what I think of as their core business,” which for Instagram, includes a feed and stories that often contain at least some content from family and friends.At times, Meta’s cross-examination of rival company executives showed the limits of apps’ similarities. When questioning Apple director of product marketing Ronak Shah, Meta sought to show that group chats in Apple’s messaging feature could serve as a social media feed for friends and family sharing. But Shah testified that feed would be limited to 32 people at most, and users can’t just look up each others’ profiles like they would on social platforms. Still, Meta pointed out, Apple’s messages app is listed under social media on its own app store.However, Meta also made important arguments about why the judge should question the FTC’s framing. It pointed out that some documents from TikTok and YouTube owner Google claiming their products are very different from Meta’s were submitted to foreign officials to try to avoid getting drafted into potentially frustrating regulations. It also pointed out when TikTok briefly went dark in the US ahead of a (now-aborted) ban, users flocked to Meta apps, showing consumers see it as a substitute on at least some level. That’s because, Meta argued, competition for users is really about winning their time and attention.Companies can “sometimes make mistakes. They misjudge who their users are”But X VP of product Keith Coleman testified it’s not that useful to think about competition this way. Instead, “it’s much more helpful to understand what people are trying to accomplish in their lives and to try to help them accomplish that.” Under former CEO Jack Dorsey, then-Twitter leaned into focusing on news and users’ interests, Coleman testified, because that’s why people were coming to the platform. Coleman was later surprised at how his own website characterized the product in its help center as a “service for friends, family, and coworkers to communicate and stay connected through the exchange of quick, frequent messages.” “I can’t believe that’s on the website,” he said. “That’s pretty wacky.”This point was “a caution that not everything a company writes down or says is necessarily decisive in establishing what the boundary of a market is,” Kovacic said. Companies can “sometimes make mistakes. They misjudge who their users are.”There are real ramifications for internet users here. Going back to Netflix’s comparisons, if the streaming video service went down, some people would probably be happy to play a video game or get a few hours of shut-eye instead. But others would be frustrated that they couldn’t watch a movie, which is why it’s good that Hulu, HBO, and Amazon Prime Video also exist. The FTC’s argument isn’t that Meta owns the only social apps on the internet, it’s that the company faces little competition for a service many people specifically want — so the fact that you probably don’t know anyone using MeWe is sort of the point.How will the judge decide?Ultimately, Boasberg’s market definition — whether it’s Meta’s, the FTC’s, or his own — will come down to a few things: how Meta views itself, how competitors see it, and his own intuition, says Kovacic. ”Notice how much the FTC has been questioning Meta witnesses on the basis of its own internal documents,” he says. “Does the story in the courtroom match the story of your own internal documents?” So far, the documents have shown that Meta has clocked that at least some portion of users come to its products to connect with family and friends, but also that the rise of TikTok has had it looking over its shoulder. In September 2020, Meta told its board that Instagram revenue would be “meaningfully lower” than planned in the second half of the fiscal year because TikTok was drawing users’ attention. But other internal documents have shown Meta’s well aware that at different points in time, users have come to its apps to connect with family and friends, and worriedly took note of other apps entering that space. In a 2018 presentation, Meta found that the highest percentage of surveyed users said they come to Facebook, Instagram, and Snap to “see daily casual moments” and “see special moments.” By contrast, users came to Twitter’s feed for news and YouTube’s for entertainment. And even as Instagram expands into entertainment, the FTC notes that it still advertises its sign-up page as a place to “see photos and videos from your friends.”“Instagram will always need to focus on friends”In a 2018 email, Zuckerberg told Mosseri that “Instagram will always need to focus on friends.” And even though a lot has changed in the social media landscape since then, Mosseri testified that to this day on the app, “friends are an important part of the experience.” Even though users may share fewer of their own updates on Facebook and Instagram, Mosseri admitted that two friends talking in the comments of a public figure’s post counts as an interaction between friends — and one that Instagram actively tries to facilitate.Meta has argued that this special focus on friends and family sharing makes up a shrinking portion of its offerings as it works to compete with fierce rivals like TikTok. But the FTC says it’s still significant enough to monopolize. It’s a scenario that came up in another major tech monopolization case, Kovacic says: the late-1990s lawsuit US v. Microsoft. In that case, Microsoft argued the Justice Department was ignoring how computing would soon move beyond the personal computer to the Internet of Things, meaning it couldn’t truly lock up the computing ecosystem as much as the government alleged.“Judge Jackson in the Microsoft case said, yeah, those things are happening, but not happening fast enough to deny you real market power in this PC and laptop-based market that the Justice Department is emphasizing,” Kovacic says.Still, he adds, a market niche can at some point become so small that it’s no longer significant in the eyes of antitrust law. “You can have a process of change that ultimately renders the market segment unimportant,” he says. “And the hard task of analysis for the judge is to say, has it already happened?”See More:

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#333;">Round-up: Canadian-led exhibitions at the 2025 Venice Biennale

The International Architecture Exhibition – La Biennale di Venezia, has returned, with its grand opening held in early May.
The exhibition runs until November 23, 2025
The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion.
But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival.
Here’s a round-up of the Canadian work in Venice.
Picoplanktonics.
Photo credit: Valentina Mori
Picoplanktonics led by Living Room Collective
Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art.
The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.”
The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components.
It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment.
The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee.
Etude Ile Verte by Atelier Pierre Thibault.
Photo credit Alex Lesage
Les boucaneries de l’île Verte by Atelier Pierre Thibault
Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec.
His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte.
With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy.
This includes community greenhouses, artist studios, and gathering places.
The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.”
The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project.
Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach.
The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale.
The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation.
The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences.
Image courtesy of WZMH Architects
Speedstac by WZMH Architects as part of Living With…Combined Intelligences
As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt.
Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine.
With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures.
The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment.
Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution.
The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects.
The Vivre Avec / Living With exhibition is hosted in the French Pavilion.
Presentation, Northern Horizons.
Photo credit: Blouin Orzes architectes
Northern Horizons by Blouin Orzes architectes as part of Time Space Existence
Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens.
Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000.
Their contribution is based on their recent publication, Northern Journeys.
Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens.
View of Commercial and Residential Towers from Seymour and West Georgia Streets.
Image credit: Henriquez Partners Studio
BC Glass Sea Sponge
Another contribution to Time Space Existence is the work of Henriquez Partners Studio.
The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver.
The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline.
Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure.
These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation.
This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance.
The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use.
Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency.
Henriquez Partners’ contribution is on display at Palazzo Bembo.
Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development
Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition
Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation.
In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast.
The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing.
Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.”
The project will be on display in the French Pavilion.
The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale:
On Storage
Brendan Cormier is a Canadian writer, curator, and urban designer based in London.
He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum.
Prior to this he served as the managing editor of Volume Magazine.
La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R).
It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R.
From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence
Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada.
The Curse of Dimensionality
Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP.
She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London.
Oceanic Refractions
Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator.
Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms.
SpaceSuits.Us: A Case for Ultra Thin Adjustments
Charles Kim is a designer currently based in Boston.
Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability.
Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile.
Uncommon Knowledge: Plants as Sensors
Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design.
She is interested in the intersections between landscape, architecture, and the history of technology.
Doxiadis’ Informational Modernism
Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program.
Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow.
Blue Garden: The Architecture of Emergence
Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist.
Her practice is focused on addressing and combatting issues surrounding the climate crisis.
After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H.
Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London.
Design as an Astronaut
Dr.
Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration.
The Initiative focuses on helping students take their research into space.
The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon.
Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics.

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Round-up: Canadian-led exhibitions at the 2025 Venice Biennale

The International Architecture Exhibition – La Biennale di Venezia, has returned, with its grand opening held in early May. The exhibition runs until November 23, 2025 The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion. But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival. Here’s a round-up of the Canadian work in Venice. Picoplanktonics. Photo credit: Valentina Mori Picoplanktonics led by Living Room Collective Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art. The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.” The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components. It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment. The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee. Etude Ile Verte by Atelier Pierre Thibault. Photo credit Alex Lesage Les boucaneries de l’île Verte by Atelier Pierre Thibault Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec. His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte. With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy. This includes community greenhouses, artist studios, and gathering places. The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.” The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project. Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach. The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale. The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation. The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences. Image courtesy of WZMH Architects Speedstac by WZMH Architects as part of Living With…Combined Intelligences As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt. Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine. With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures. The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment. Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution. The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects. The Vivre Avec / Living With exhibition is hosted in the French Pavilion. Presentation, Northern Horizons. Photo credit: Blouin Orzes architectes Northern Horizons by Blouin Orzes architectes as part of Time Space Existence Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens. Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000. Their contribution is based on their recent publication, Northern Journeys. Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens. View of Commercial and Residential Towers from Seymour and West Georgia Streets. Image credit: Henriquez Partners Studio BC Glass Sea Sponge Another contribution to Time Space Existence is the work of Henriquez Partners Studio. The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver. The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline. Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure. These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation. This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance. The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use. Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency. Henriquez Partners’ contribution is on display at Palazzo Bembo. Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation. In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast. The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing. Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.” The project will be on display in the French Pavilion. The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale: On Storage Brendan Cormier is a Canadian writer, curator, and urban designer based in London. He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum. Prior to this he served as the managing editor of Volume Magazine. La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R). It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R. From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada. The Curse of Dimensionality Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP. She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London. Oceanic Refractions Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator. Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms. SpaceSuits.Us: A Case for Ultra Thin Adjustments Charles Kim is a designer currently based in Boston. Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability. Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile. Uncommon Knowledge: Plants as Sensors Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design. She is interested in the intersections between landscape, architecture, and the history of technology. Doxiadis’ Informational Modernism Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program. Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow. Blue Garden: The Architecture of Emergence Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist. Her practice is focused on addressing and combatting issues surrounding the climate crisis. After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H. Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London. Design as an Astronaut Dr. Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration. The Initiative focuses on helping students take their research into space. The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon. Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics. The post Round-up: Canadian-led exhibitions at the 2025 Venice Biennale appeared first on Canadian Architect.

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Round-up: Canadian-led exhibitions at the 2025 Venice Biennale

The International Architecture Exhibition – La Biennale di Venezia, has returned, with its grand opening held in early May. The exhibition runs until November 23, 2025 The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion. But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival. Here’s a round-up of the Canadian work in Venice. Picoplanktonics. Photo credit: Valentina Mori Picoplanktonics led by Living Room Collective Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art. The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.” The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components. It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment. The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee. Etude Ile Verte by Atelier Pierre Thibault. Photo credit Alex Lesage Les boucaneries de l’île Verte by Atelier Pierre Thibault Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec. His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte. With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy. This includes community greenhouses, artist studios, and gathering places. The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.” The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project. Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach. The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale. The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation. The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences. Image courtesy of WZMH Architects Speedstac by WZMH Architects as part of Living With…Combined Intelligences As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt. Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine. With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures. The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment. Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution. The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects. The Vivre Avec / Living With exhibition is hosted in the French Pavilion. Presentation, Northern Horizons. Photo credit: Blouin Orzes architectes Northern Horizons by Blouin Orzes architectes as part of Time Space Existence Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens. Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000. Their contribution is based on their recent publication, Northern Journeys. Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens. View of Commercial and Residential Towers from Seymour and West Georgia Streets. Image credit: Henriquez Partners Studio BC Glass Sea Sponge Another contribution to Time Space Existence is the work of Henriquez Partners Studio. The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver. The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline. Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure. These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation. This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance. The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use. Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency. Henriquez Partners’ contribution is on display at Palazzo Bembo. Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation. In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast. The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing. Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.” The project will be on display in the French Pavilion. The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale: On Storage Brendan Cormier is a Canadian writer, curator, and urban designer based in London. He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum. Prior to this he served as the managing editor of Volume Magazine. La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R). It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R. From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada. The Curse of Dimensionality Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP. She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London. Oceanic Refractions Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator. Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms. SpaceSuits.Us: A Case for Ultra Thin Adjustments Charles Kim is a designer currently based in Boston. Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability. Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile. Uncommon Knowledge: Plants as Sensors Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design. She is interested in the intersections between landscape, architecture, and the history of technology. Doxiadis’ Informational Modernism Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program. Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow. Blue Garden: The Architecture of Emergence Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist. Her practice is focused on addressing and combatting issues surrounding the climate crisis. After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H. Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London. Design as an Astronaut Dr. Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration. The Initiative focuses on helping students take their research into space. The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon. Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics. The post Round-up: Canadian-led exhibitions at the 2025 Venice Biennale appeared first on Canadian Architect.

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2025-05-13 13:12:08 ·

#333;">This Triple Boost Pro Adds Three Unfolding Screens to your Laptop

A display manufacturer called Aura has developed this Triple Boost 14" Pro, which adds three screens to any laptop.
It requires only a single USB-C cable running from your laptop to power the thing, and an internal chipset—plus a software driver you need to install—runs the extra displays.
A large kickstand at the rear supports the weight.
The three 14" screens feature a 1920 x 1080 resolution and have matte screen surfaces.
Housed in an aluminum frame, it folds into a briefcase form factor and weighs around 4.7 pounds.
All three of the screens can be folded away from the laptop user, in a sort of presentation mode.
Here's how you deploy the thing:The company's taking pre-orders now for the suspiciously low price of $469 and say it will ship later this month.

#666;">المصدر: https://www.core77.com/posts/136784/This-Triple-Boost-Pro-Adds-Three-Unfolding-Screens-to-your-Laptop" style="color: #0066cc; text-decoration: none;">www.core77.com

#0066cc;">#this #triple #boost #pro #adds #three #unfolding #screens #your #laptop #display #manufacturer #called #aura #has #developed #14quot #which #any #requires #only #single #usbc #cable #running #from #power #the #thing #and #internal #chipsetplus #software #driver #you #need #installruns #extra #displaysa #large #kickstand #rear #supports #weightthe #feature #resolution #have #matte #screen #surfaceshoused #aluminum #frame #folds #into #briefcase #form #factor #weighs #around #poundsall #can #folded #away #user #sort #presentation #mode #here039s #how #deploy #thingthe #company039s #taking #preorders #now #for #suspiciously #low #price #say #will #ship #later #month

This Triple Boost Pro Adds Three Unfolding Screens to your Laptop

A display manufacturer called Aura has developed this Triple Boost 14" Pro, which adds three screens to any laptop. It requires only a single USB-C cable running from your laptop to power the thing, and an internal chipset—plus a software driver you need to install—runs the extra displays. A large kickstand at the rear supports the weight. The three 14" screens feature a 1920 x 1080 resolution and have matte screen surfaces. Housed in an aluminum frame, it folds into a briefcase form factor and weighs around 4.7 pounds. All three of the screens can be folded away from the laptop user, in a sort of presentation mode. Here's how you deploy the thing:The company's taking pre-orders now for the suspiciously low price of $469 and say it will ship later this month.

المصدر: www.core77.com

#this #triple #boost #pro #adds #three #unfolding #screens #your #laptop #display #manufacturer #called #aura #has #developed #14quot #which #any #requires #only #single #usbc #cable #running #from #power #the #thing #and #internal #chipsetplus #software #driver #you #need #installruns #extra #displaysa #large #kickstand #rear #supports #weightthe #feature #resolution #have #matte #screen #surfaceshoused #aluminum #frame #folds #into #briefcase #form #factor #weighs #around #poundsall #can #folded #away #user #sort #presentation #mode #here039s #how #deploy #thingthe #company039s #taking #preorders #now #for #suspiciously #low #price #say #will #ship #later #month

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This Triple Boost Pro Adds Three Unfolding Screens to your Laptop

A display manufacturer called Aura has developed this Triple Boost 14" Pro, which adds three screens to any laptop. It requires only a single USB-C cable running from your laptop to power the thing, and an internal chipset—plus a software driver you need to install—runs the extra displays. A large kickstand at the rear supports the weight. The three 14" screens feature a 1920 x 1080 resolution and have matte screen surfaces. Housed in an aluminum frame, it folds into a briefcase form factor and weighs around 4.7 pounds. All three of the screens can be folded away from the laptop user, in a sort of presentation mode. Here's how you deploy the thing:The company's taking pre-orders now for the suspiciously low price of $469 and say it will ship later this month.

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This Triple Boost Pro Adds Three Unfolding Screens to your Laptop