Events Letterheads Per L'Horta: An Intimate International Meet The masses amass in Almàssera for an inspiring four days painting in the Valencian sun. Better Letters Jun 5, 2025 • 8 min read Letterheads Per L'Horta in Almàssera, Valencia, 1–4 May 2025. This time last month, over 45 guests from 11 countries were feeling the post-Letterheads blues after four days in the small town of Almàssera, just outside Valencia, Spain. Letterheads Per L'Horta was organised by Nico Barrios, and it was a wonderfully intimate experience, with a host of activities to enjoy and learn from.Something that made the event feel extra special was the involvement of people from the local community, who were just as much a part of it as those that had travelled from as far afield as Australia and Mexico to attend. This included bidding in the auction for a souvenir of the long weekend in May spent with friends, new and old.Almàssera and L'HortaAlmàssera is a small town set within a vast expanse of small-scale agricultural production. While each plot of land is known as a huerto (allotment), they are collectively referred to as horta, which doesn't really have a direct translation. The Horta Nord (North Horta) that surrounds Almàssera is the largest and best surviving example of this type of terrain.We were based in the town's Museu de l'Horta (Horta Museum), which consists of an old and a modern building with a yard between them that housed the panel jam area.A traditional alquería (farmhouse) in l'horta, a view down on the meet, and the tents protecting the panel jam area.Inside the modern building there was a selection of pieces from Juan Nava's 2022 Gráfica Urbana de Valencia (Urban Graphics of Valencia) exhibition. There was also a trip down memory lane for Valencian locals in the form of another exhibition, L'ombra de les lletres (the shadow of the letters), with photos of signs spanning the period 1880–2000.L'ombra de les lletres was originally curated by Tomàs Gorria in 2024. Pedal PowerAlmàssera, and the city of Valencia, are easily navigated by bicycle, which Nico used to facilitate a cycling tour of the old signs of l'horta. In addition to the stories of the individual companies advertised, he was also able to identify the painters responsible for some of the signs.The tour took guests into the heart of l'horta, which, as a largely agricultural area, boasts a surprising number of old and hand-painted signs.Panel JammingAfter a windy first day or so, the event was bathed in beautiful Mediterranean sunshine. The protective tents were essential, although those in the middle had to carefully manage their colour schemes in light of the red hue they cast across the easels.Getting painty in l'horta: Nathan Collis, Xis Gomes, Maria Cano, Mike Meyer, and Loughlin Brady Smith.Panels set to dry in the early evening sun.WorkshopsAcross the first three days, Thursday to Saturday, there was a series of lettering and calligraphy workshops that were also open to those outside of the Letterheads event proper.Pictured are workshops being led by Ester Gradolí, Juanjo López, and Joan Quiros.TV TimeThe meet was profiled in the local newspaper on the day before it opened, and then a TV crew turned up to cover proceedings.Local press coverage and Letterheads Per L'Horta host Nico Barrios being interviewed for the TV report. 0:00 /1:34 Letterheads Per L'Horta makes the news! If you look closely at the top of the paper that Daniel Esteve Carbonell is working on it says "Collons de rètol" (it's only a fucking sign) which clearly escaped the attention of the censors. Talks & DemosIn addition to workshops, the museum building also hosted a busy programme of talks. These were delivered by the Asociación de Diseñadores de la Comunidad Valenciana (Valencian Graphic Design Association), the errorerror.studio creative typography studio, graphic designer Juan Nava, and type designer Juanjo López.Juan Nava talking about the evolution of his Letras Recuperadas (Recovered Letters) project, previously featured here at bl.ag online.One of the highlights was hearing from veteran local sign painters Ricardo Moreno and Paco Vivó, both of whom appear in the Tipos Que Importan film that was screened. They were interviewed by Nico and brought a host of goods with them, including their sign kits, photographic portfolios, work samples, books, and other reference materials.Ricardo (in glasses) and Paco (with beard) were mobbed after talking about their lives on the brush in Valencia.Following the session, everyone moved outside to watch Paco Vivó paint one of the motifs that he produced many times in his career: the Pepsi-Cola bottle top.Paco Vivó painted his demonstration piece on a canvas which was subsequently sold in the auction.Meanwhile, over in the town square, David Vanderh had set up his screenprinting station to apply Nico's event design in a single colour to any material that the public brought to him.The live screenprinting was in just blue, while the official event t-shirt combined this with a striking orange.Panels on Show and on SaleOn the Sunday, a small exhibition was mounted with the panels that folks could bid on in the auction. This was an open invitation, with those from the neighbourhood stopping by to inspect and snag some goods.Panels getting ready for new owners in the charity auction.Panels by Veronika Skilte (Vermut), Joe Coleman (Mental on the Rental), Rachel E Millar (Rotulos, Gracias), and Victor Calligraphy.This panel (right) by Joe Coleman was inspired by the truck lettering that was a lucky incidental on the earlier cycling tour.The auction raised over 2,000€ in support of those affected by the devastating DANA floods in 2024.The assembled crowd were ready with open wallets as the auction got underway.The auction was expertly hosted by Mike Meyer and Nico Barrios, with Nil Muge logging all the winning bids and accounting for the cash payments.Thank YouAs with any event, the photos never show the challenges that must be overcome behind the scenes. Some of these were substantial but Nico took each one in his stride, maintaining a smile throughout. Thank you, Nico, for facilitating these special days that will live long in the collective memory.Letterheads Per L'Horta host Nico Barrios.Letterheads Per L'Horta was hosted by Nico Barrios with the support of the following organisations: AVV Carraixet d'Almàssera; Ajuntament d'Almàssera; BLAG; A.S. Handover; 1 Shot; ADCV; gráffica. Also check out the event's dedicated Instagram account, @letterheadsperlhorta, for even more photos and videos. More LetterheadsFuture Meets

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Schemes include jobs in Liverpool, Bradford and NewcastleRachel Reeves has announced £15bn for transport projects in the north of England, the Midlands and the West Country to stimulate growth outside of the South-east. The chancellor unveiled a funding package this morning for a raft of rail, tram and bus projects ahead of the government’s spending review, due next week, which is expected to include cuts to many departmental budgets. It is also expected to be part of the government’s 10-year infrastructure strategy, which will be announced later this month. Rachel Reeves delivering her speech in Manchester this morning Tram schemes have been handed the biggest investments, including £2.5bn to extend Manchester’s network to Stockport and £2.4bn to expand Birmingham’s network to the city’s planned ‘sports quarter’. A long-awaited tram network in West Yorkshire will get £2.1bn to start construction of the first two lines by 2028, along with new bus stations in Bradford and Wakefield, while South Yorkshire’s tram network has been handed £2.1bn for renewal works and bus service. Liverpool has been allocated £1.6bn to improve links to locations in the city including the new Everton Stadium, and the North East will get £1.8bn to extend the Newcastle to Sunderland Metro via Washington. Other funding packages include £2bn for the East Midlands to improve road, rail and bus links between Derby and Nottingham and £800m for rail upgrades in the West of England. Some of these projects were part of former prime minister Rishi Sunak’s Network North plan, which backed schemes including the West Yorkshire tram system to compensate for the decision to scrap HS2 north of Birmingham. Network North was put on ice following Labour’s election victory last year after Reeves claimed the programme had not been fully funded. The money will be part of a five-year funding allocation from 2027/28 to 2031/32.  >> Also read: It’s time for trams – and Britain needs to catch up >> Also read: Traffic in Towns: 60 years on from Colin Buchanan’s prophetic report

House of the Future | 1956 Photograph Exhibited at the 1956 Ideal Home Exhibition in London, the House of the Future by Alison and Peter Smithson is a visionary prototype that challenges conventions of domesticity. Set within the context of post-war Britain, a period marked by austerity and emerging optimism, the project explored the intersection of technology, material innovation, and evolving social dynamics. The Smithsons, already recognized for their theoretical rigor and critical stance toward mainstream modernism, sought to push the boundaries of domestic architecture. In the House of the Future, they offered not merely a dwelling but a speculative environment that engaged with the promise and anxieties of the atomic age. House of the Future Technical Information Architects: Alison and Peter Smithson Location: Ideal Home Exhibition, London, United Kingdom Client: Daily Mail Ideal Home Exhibition  Gross Area: 90 m2 | 970 Sq. Ft. Construction Year: 1956 Photographs: Canadian Centre for Architecture and Unknown Photographer The House of the Future should be a serious attempt to visualize the future of our daily living in the light of modern knowledge and available materials. – Alison and Peter Smithson 1 House of the Future Photographs 1956 Photograph © Klaas Vermaas | 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph Design Intent and Spatial Organization At the heart of the House of the Future lies a radical rethinking of spatial organization. Departing from conventional room hierarchies, the design promotes an open, fluid environment. Walls dissolve into curved partitions and adjustable elements, allowing for flexible reinterpretation of domestic spaces. Sleeping, dining, and social areas are loosely demarcated, creating a dynamic continuity that anticipates the contemporary concept of adaptable, multi-functional living. Circulation is conceived as an experiential sequence rather than a rigid path. Visitors enter through an air-lock-like vestibule, an explicit nod to the futuristic theme, and are drawn into an environment that eschews right angles and conventional thresholds. The Smithsons’ emphasis on flexibility and continuous movement within the house reflects their belief that domestic architecture must accommodate the evolving rhythms of life. Materiality, Technology, and the Future Materiality in the House of the Future embodies the optimism of the era. Plastics and synthetic finishes dominate the interior, forming seamless surfaces that evoke a sense of sterility and futility. Often associated with industrial production, these materials signaled a departure from traditional domestic textures. The smooth, malleable surfaces of the house reinforce the Smithsons’ embrace of prefabrication and modularity. Technological integration is a key theme. The design includes built-in appliances and concealed mechanical systems, hinting at a utopian and disquieting automated lifestyle. Bathrooms, kitchens, and sleeping pods are incorporated as interchangeable modules, underscoring the house as a system rather than a static structure. In doing so, the Smithsons prefigured later discourses on the “smart home” and the seamless integration of technology into daily life. This material and technological strategy reflects a critical understanding of domestic labor and convenience. The house’s self-contained gadgets and synthetic surfaces suggest a future in which maintenance and domestic chores are minimized, freeing inhabitants to engage with broader cultural and social pursuits. Legacy and Influence The House of the Future’s influence resonates far beyond its exhibition. It prefigured the radical experimentation of groups like Archigram and the metabolist visions of the 1960s. Its modular approach and embrace of technology also foreshadowed the high-tech movement’s fascination with flexibility and systems thinking. While the project was ephemeral, a temporary installation at a trade fair, its theoretical provocations endure. It questioned how architecture could not only house but also anticipate and shape new living forms. Moreover, it crystallized the Smithsons’ ongoing interrogation of architecture’s social role, from their later brutalist housing schemes to urban design theories. In retrospect, the House of the Future is less of a resolved design proposal and more of an architectural manifesto. It embodies a critical tension: the optimism of technological progress and the need for architecture to respond to human adaptability and social evolution. As we confront contemporary challenges like climate crisis, digital living, and shifting social paradigms, the Smithsons’ speculative experiment remains an evocative reminder that the architecture of tomorrow must be as thoughtful and provocative as the House of the Future. House of the Future Plans Axonometric View | © Alison and Peter Smithson via CCA Floor Plan | © Alison and Peter Smithson, via CCA Floor Plan | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA House of the Future Image Gallery About Alison and Peter Smithson Alison and Peter Smithson were British architects and influential thinkers who emerged in the mid-20th century, celebrated for their critical reimagining of modern architecture. Their work, including projects like the House of the Future, the Robin Hood Gardens housing complex, and the Upper Lawn Solar Pavilion, consistently challenged conventional notions of domesticity, urbanism, and materiality. Central to their practice was a belief in architecture’s capacity to shape social life, emphasizing adaptability, flexibility, and the dynamic interactions between buildings and their users. They were pivotal in bridging the gap between post-war modernism and the experimental architectural movements of the 1960s and 1970s. Credits and Additional Notes Banham, Reyner. Theory and Design in the First Machine Age. MIT Press, 1960. Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture. Thames & Hudson, 2000. Smithson, Alison, and Peter Smithson. The Charged Void: Architecture. Monacelli Press, 2001. OASE Journal. “Houses of the Future: 1956 and Beyond.” OASE 75, 2007. Vidler, Anthony. Histories of the Immediate Present: Inventing Architectural Modernism. MIT Press, 2008. Canadian Centre for Architecture (CCA). “House of the Future.”

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

NookNinja Member Jan 15, 2025 504 tokyo Switch 2 is hype. hype season is here. God knows that I am more hyped about this than anyone. But there is one section of the hardware I feel they really fucked up The damn Joycon trofts on sides of the tablet are colored. WHY Should have been like this man, i swear to god. what the hell were they thinking? I buy all the joycon colors. What are they going to do? make a green joycon with blue and red inside?! WHAT THE FUCK. my OCD is not ready for this.. I legit might not buy more joycon because of this.  Wrexis Member Nov 4, 2017 29,759 NookNinja said: Should have been like this man, i swear to god. what the hell were they thinking? Click to expand... Click to shrink... "The blue one goes in the blue slot, the red one goes in the red slot." I can see why they did it.  OhhEldenRing Member Aug 14, 2024 2,964 Maybe they'll have a plain grey Switch2 at some point like the OG and absent the joy con. I suspect those internal colours are specific to the joy cons they are packaged with. Still doesn't solve your problem lol  PapaJustify Member Nov 3, 2017 1,325 Germany What if they are not selling new colors seperately anymore but only in a Switch 2 bundle with the matching color on the device? Or they do sell seperately but you have to live with matching a green Joy-Con insert with a blue port on your Switch 2.  Aleh Member Oct 27, 2017 20,211 It's silly but annoying yeah. At least it won't be a real issue since you can't see the mismatch when they're attached   Liam Allen-Miller Member Nov 2, 2017 8,037 Shibuya NookNinja said: [...] I buy all the joycon colors. What are they going to do? make a green joycon with blue and red inside?! WHAT THE FUCK. my OCD is not ready for this.. I legit might not buy more joycon because of this. Click to expand... Click to shrink... Well, I don't want to tell you what to do with your money, but maybe not having to buy every color Joy-Con isn't such a bad thing! :P Real talk I have to imagine future units will have different color schemes. When I was looking at the demo unit at my local Bic Camera I was thinking the same thing, that it was an odd choice.  Pentagon Member Mar 14, 2025 73 Much like themes, you're going to get two colours the whole generation and you're going to like it, dammit!   Dukie85 Chicken Chaser Member Oct 25, 2017 3,165 NookNinja said: Switch 2 is hype. hype season is here. God knows that I am more hyped about this than anyone. But there is one section of the hardware I feel they really fucked up The damn Joycon trofts on sides of the tablet are colored. WHY Should have been like this man, i swear to god. what the hell were they thinking? I buy all the joycon colors. Click to expand... Click to shrink... Peer, is that you?   SixelAlexiS Member Oct 27, 2017 9,267 Italy NookNinja said: Switch 2 is hype. hype season is here. God knows that I am more hyped about this than anyone. But there is one section of the hardware I feel they really fucked up The damn Joycon trofts on sides of the tablet are colored. WHY Should have been like this man, i swear to god. what the hell were they thinking? I buy all the joycon colors. What are they going to do? make a green joycon with blue and red inside?! WHAT THE FUCK. my OCD is not ready for this.. I legit might not buy more joycon because of this. Click to expand... Click to shrink... I'm more annoyed by the first image not working :P   Shahadan Member Oct 27, 2017 5,620 Bluer and Redder edition Or they will color the black part and leave the blue and red for maximum ugliness. Or better yet they change the inner colors but release a switch 2 model with matching trofts, each time. You'll have to buy them all  KaladinSB Member Oct 27, 2017 844 They have the PLUS and MINUS indicator so the inner plastic doesn't have to color match. You'd only have to push through the agony for a few seconds when you see the green joycon going in or out of the blue slot or train yourself to do it blindfolded.   OP OP NookNinja Member Jan 15, 2025 504 tokyo i hate that there is color on the inside of the grooves. infuriating. It will bother me every time I put something that doesnt match it on there. WHY   OP OP NookNinja Member Jan 15, 2025 504 tokyo Liam Allen-Miller said: Well, I don't want to tell you what to do with your money, but maybe not having to buy every color Joy-Con isn't such a bad thing! :P Real talk I have to imagine future units will have different color schemes. When I was looking at the demo unit at my local Bic Camera I was thinking the same thing, that it was an odd choice. Click to expand... Click to shrink... but what if they make green ones? or red? I'll need purple ones and Yellow.. Real talk? What if they do a dpad one. PLEASE GOD.  Delaney Member Oct 25, 2017 3,947 Maybe the joycons this time around do something like the Chroma Dualsenses while keeping the blue-orange inside.   OP OP NookNinja Member Jan 15, 2025 504 tokyo Delaney said: Maybe the joycons this time around do something like the Chroma Dualsenses while keeping the blue-orange inside. Click to expand... Click to shrink... So every joycon 2 has to have some element of blue and red? so lame   Duffking Member Oct 27, 2017 6,799 They'll make pure blue/red ones and sell them to you for extra in 6 months.   Killyoh Member Oct 28, 2017 1,809 Paris, France   Windrunner Sly Member Oct 25, 2017 7,836 Calm down, it's not that serious.  

Published June 2, 2025 10:00am EDT close 'CyberGuy' warns of cyberscams costing Americans billions a year Tech expert Kurt Knutsson joins "Fox & Friends" to warn of new cyberscams and give tips on how to avoid them. NEWYou can now listen to Fox News articles! Given the number of phishing scams we have all faced over the past decade, most of us have developed a basic skill to spot and avoid obvious phishing emails or SMS messages. Cybercriminals are aware of this, and they have evolved their tactics by shifting to more complex and convincing schemes designed to bypass skepticism and lure victims.Their goal remains the same: to trick you into handing over sensitive information, especially credit card data. One of the latest examples is the rise in subscription scam campaigns. Scammers are creating incredibly convincing websites selling everything from shoes and clothes to electronics, tricking people into signing up for monthly subscriptions and willingly providing their credit card information. Facebook is being used as the primary platform to promote these new and sophisticated scams. A woman shopping online (Kurt "CyberGuy" Knutsson)What you need to knowBitdefender researchers have uncovered a massive and highly coordinated subscription scam campaign involving more than 200 active websites designed to look like real online stores. These sites, often promoted through Facebook ads, sell everything from clothes and electronics to beauty products, but the real goal is to trick users into signing up for recurring payments, often without realizing it.One of the most common lures is the "mystery box" scam, where you are promised a surprise package at a bargain price. These offers are made to look fun and harmless, but behind the scenes you are giving away personal and credit card information while unknowingly agreeing to hidden subscription terms, often written in tiny fine print.The scam doesn’t stop there. Once you’re convinced and reach the checkout page, scammers often layer in a second scam, like loyalty cards or VIP memberships that further lock you into payments. It’s all designed to confuse you, overwhelm you with supposed perks and make the scam feel like a good deal.Researchers found that many of these websites share a single Cyprus address, possibly tied to offshore entities linked to the Paradise Papers. Despite being spread across different categories and brand names, the sites often use the same layouts, AI agents and payment structures, all pointing to a centralized fraud network.Scammers frequently rotate the brands they impersonate and have started moving beyond mystery boxes, now peddling low-quality products, counterfeit goods, fake investment schemes, dubious supplements and more. To avoid automatic detection, they employ several tactics. These include running multiple versions of an ad, with only one of which is actually malicious while the others display harmless product images, uploading ad images from platforms like Google Drive so they can be swapped out later and cropping visuals to alter recognizable patterns. Listing fake products (Bitdefender) (Kurt "CyberGuy" Knutsson)The scam is expandingWhat started with simple "mystery box" scams has grown into a sprawling, coordinated campaign. These scams now feature fake surveys, tiered "VIP" memberships and deceptive credit systems that make the purchase process intentionally confusing. Users are promised deep discounts or access to exclusive deals, but in reality they’re just being locked into recurring payments.Many of the scam websites trace back to the same physical address in Cyprus, pointing to what appears to be a centralized operation. Researchers also found links to entities mentioned in the Paradise Papers, suggesting these fraudsters are hiding behind offshore infrastructure.And it’s not just mystery boxes anymore. The same scam format is being used to sell low-quality goods, fake supplements and even bogus investment opportunities. With high-quality site design, aggressive advertising and increasingly sophisticated tactics, subscription scams are becoming the new face of online fraud. A person shopping online (Kurt "CyberGuy" Knutsson)10 proactive measures to take to protect your dataEven as scammers become more sophisticated, there are practical steps you can take right now to protect your personal and financial information from subscription fraud and other online threats. Here are ten proactive measures to help keep your data safe:1) Always read the fine print: One of the simplest yet most effective ways to protect yourself from subscription scams is to slow down and read the fine print, especially on checkout pages. Scammers often hide recurring payment terms in small or lightly colored text that’s easy to miss. What seems like a one-time purchase could actually sign you up for a biweekly or monthly charge. Taking just a moment to scan for hidden terms before hitting "Pay" can help you avoid weeks of silent billing.2) Avoid mystery box or VIP-style deals: These offers often prey on curiosity and the promise of surprise or luxury for a low fee. In reality, the "mystery" is the trap: you might receive nothing or a low-quality item while being unknowingly enrolled in a recurring subscription. Scammers use the illusion of exclusivity or urgency to pressure quick decisions.3) Don’t trust ads blindly on social media: Facebook, Instagram and other platforms are a hotbed for these scams, with criminals running paid ads that mimic well-known brands or influencers. These ads often link to professional-looking but fake storefronts. If you’re interested in a deal you see online, don’t click through immediately. Instead, look up the brand or offer in a separate tab and check if it exists outside social media.4) Investigate before you buy: Before purchasing from any unfamiliar site, take a few quick steps to verify its legitimacy. Search the brand's name alongside words like "scam" or "reviews" to see what others have experienced. Look up the company's physical address and check if it actually exists using tools like Google Maps. Make sure the website uses HTTPS, review the site's contact information and cross-check reviews on trusted third-party sites like the Better Business Bureau or Consumer Reports.5) Use strong antivirus software: Adding a strong antivirus program to your devices can provide an extra layer of defense against fraudulent websites and phishing attempts. Strong antivirus software warns you about suspicious links, blocks malicious ads and scans downloads for malware. Get my picks for the best 2025 antivirus protection winners for your Windows, Mac, Android and iOS devices.6) Invest in personal data removal services: Scammers often rely on leaked or publicly available personal information to target victims with convincing subscription scams. Investing in a personal data removal service can help minimize your digital footprint by removing your information from data broker databases and reducing the chances of being targeted in future campaigns. Regularly monitoring and cleaning up your online presence makes it harder for fraudsters to exploit your data for financial gain. Check out my top picks for data removal services here.Get a free scan to find out if your personal information is already out on the web.7) Be cautious with payment methods: Use secure payment options like credit cards, which often offer better fraud protection than wire transfers, gift cards or cryptocurrency.8) Limit personal information shared on social media: Scammers often gather details from public profiles to craft convincing scams. Review your privacy settings and only share necessary information.9) Use strong, unique passwords and enable multifactor authentication: Create strong, unique passwords for each of your online accounts, especially those tied to your finances or shopping. Enable multifactor authentication wherever possible, as this adds an extra layer of security and makes it harder for scammers to access your accounts, even if your password is compromised. Also, consider using a password manager to generate and store complex passwords. Get more details about my best expert-reviewed password managers of 2025 here.10) Keep your devices and software updated: Regularly update your operating system, browsers and apps. Security updates often patch vulnerabilities that scammers exploit to gain access to your information or install malicious software.Kurt’s key takeawayWhile the rise of subscription scams and deceptive ads is concerning, it’s especially troubling that platforms like Facebook continue to allow these fraudulent ads to run unchecked. Facebook has repeatedly failed to adequately vet or prevent these malicious campaigns from reaching vulnerable individuals. The platform’s ad approval system should be more proactive in spotting and blocking ads promoting scams, particularly those that impersonate well-known brands or content creators. How do you feel about Facebook’s role in allowing scam ads to circulate? Let us know by writing us atCyberguy.com/Contact.For more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Cyberguy.com/Newsletter.Follow Kurt on his social channels:Answers to the most-asked CyberGuy questions:New from Kurt:Copyright 2025 CyberGuy.com. All rights reserved. Kurt "CyberGuy" Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on "FOX & Friends." Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

After the celebration ends, college graduates typically face numerous transitions, from moving to a new city and/or starting a new job to taking on student loan payments and other financial responsibilities. College students are often targeted for job scams, but the Better Business Bureau is alerting recent grads about schemes being employed specifically to steal their personal information and money during this transition period. Unpaid tuition scamImagine getting a call after graduation that you have an outstanding tuition payment, and unless you pay the bill immediately, your diploma will be rescinded. Scammers are using this threat to con recent grads—who have, in fact, paid their full tuition—into sending money via wire transfer or prepaid debit card, which cannot be tracked or recovered. Another version of this scam attempts to convince college students (and/or their parents) that they owe tuition and need to pay immediately to ensure they remain enrolled. If you receive an email, text, or call about an unpaid bill, do not engage—instead, contact your school's bursar or financial services office directly. You will typically receive communication from higher education institutions by mail or via a secure student portal—not as an urgent message demanding money.Student loan scamsStudent loans have been targets for scammers for years—made easier by the starting and stopping of loan forgiveness programs—and recent college grads who are getting ready to make their first payments are common victims. You may get an unsolicited call, text, or email from a company offering debt relief or debt forgiveness services for a fee. In some cases, the company is legit but making false claims, and in others, the whole thing is a scam. They may ask for upfront payment, usually via gift card or wire transfer, and never deliver, or gather a bunch of personal information that can be used to steal your identity. While the status of loan forgiveness can be difficult to follow, you should know the details of your loan, including when payments are due to begin, and look for official sources regarding loan forgiveness options. Job scamsEmployment scams range from fake job listings to unsolicited texts from "recruiters" offering a position while demanding personal information and payment for "training." Recent grads may be promised an entry-level remote role at a completely unrealistic salary, and scammers collect everything from your Social Security number to your bank account information in exchange for the offer. Other schemes have you pay upfront for training or equipment you never receive (because the job isn't real) or pay you too much with a fake check and ask for reimbursement via app or wire transfer. No one is getting too-good-to-be-true jobs in this market. Always do your due diligence on companies before applying for a position or accepting an offer: Review the official website for contact information and job postings, and consider reaching out to HR or employees you locate independently to confirm that a position is legit. Don't ever pay for anything up front. Moving scamsThe moving industry seems to be rife with scams, and recent grads who need to move across town or out of state are not immune. Moving companies may charge more money than was quoted and, in the worst cases, hold your stuff hostage unless you pay. Or they may simply not show after you've paid a deposit for the move. Red flags for moving companies include estimates delivered quickly and with little information collected about your move, full payments demanded before the move, and non-refundable deposits paid via peer-to-peer apps and bank transfers (negating the protection of credit cards). Thoroughly research the company to understand how moving brokers operate, and make sure you get everything in writing.Rental scamsIf you make it through the actual move unscathed, you could still encounter a rental scam. As with job scams, these involve listings that sound too good to be true, with lots of amenities in a desired location at an affordable price. (Like job scams, most renters aren't getting these deals in this market.) Fraudsters may even use real properties in their listings to lure you in. Once they have you, they collect a deposit, first month's rent, and a bunch of personal information while leaving you with nowhere to live. While you may pay your actual rent via Zelle, PayPal, or Venmo, you shouldn't use these services to send a deposit for a rental you haven't seen to a landlord you haven't met. Search the listing on Zillow, Redfin, and other rental sites to look for inconsistencies that could indicate a scam. Verify the address, look at Google street view, and visit (or send someone you trust in your place) before paying any money if you can.

By Peter D. Geldart (Petra Books, 2025) The post-WWII years brought a need to house returned veterans and their new families, along with an excitement about new types and forms of housing. Working in the spirit of the age, 35-year-old Ottawa architect James Strutt in 1959 worked with six clients on round houses—a set of designs intended to reduce building costs by using materials most efficiently, while creating modernist, open-plan spaces.  The designs, inspired by the work of Buckminster Fuller and Frank Lloyd Wright, were for single-floor structures in which a curve of rooms and an open living-dining area surround a central hexagonal service core built of concrete block. The whole is topped by a geometrically complex roof, shaped using tongue-and-groove Western Red Cedar to create a hyperbolic paraboloid, or saddle-like shape. Strutt’s own family home of 1956, built according a similar scheme over six weeks for less than $1,800, survives in the Gatineau Hills, near Ottawa, and is being rehabilitated by the National Capital Commission. Author Peter D. Geldart’s family were the original residents of a Strutt-designed round house. Geldart, who has a background in architecture, gives a thorough overview of the architectural drawings of the six round houses using Strutt’s original hand-drawn materials, now held at the National Archives of Canada. These show variations on the theme, with schemes varying from 1,400 to 2,000 square feet, and extra wings swapped out for carports.  By publishing this material, Geldart hopes to contribute to a contemporary revival of Strutt’s ideas. “Is the concept of a ‘low-cost house of 1,000 sq. ft.’ viable in the 21st century?” he asks. “While the house was built to the standards of the day, it can now be built using modern materials and techniques.”  As appeared in the June 2025 issue of Canadian Architect magazine  The post Book Review: The Round Houses of 1959 Designed by Architect James Strutt appeared first on Canadian Architect.