In today’s fast-paced world, finding ways to increase efficiency and streamline daily tasks is essential for maintaining a balanced and productive lifestyle. iPhone shortcuts, a robust feature within iOS, provide a seamless method to automate routine activities and customize your interactions with your device. By leveraging the power of these shortcuts, you can enhance your […]
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It isn’t Iron Man’s suit, but it’s still a pretty big augmentation to humans and their capabilities.
The promise of great technology is to make life easy for everyone… the only problem is that a lot of times, it takes YEARS before great technology can become accessible to everyone. EVs were very niche before they weren’t, DARPA (the defense research wing of the US government) played a pivotal role in developing the internet for communication on the front lines in the 1960s before the internet finally became household technology. Cameras were incredibly specialist equipment before they became small enough to fit into a smartphone, and exoskeletons were originally developed for military personnel to give them superhuman strength, before ending up in warehouses to allow workers to lift heavy objects without using all their energy. If you went online, chances are you wouldn’t be able to simply buy an exoskeleton for yourself (or you’d probably end up paying thousands of dollars for it), but the folks at Dnsys are hoping to make the technology accessible to all humans.
The $599 X1 is an exoskeleton that aids with mobility by giving your legs an extra set of mechanical muscles. Powerful enough to reduce the energy you spend walking/running/trekking by a staggering 50% and reduce your load by nearly 83 lbs, the Dnsys X1 runs on a set of 900W motors that output 1.2 horsepower with a top speed of 27km/h (16.7mph), allowing you to walk, climb, and run with more agility and less exertion. The entire device, which straps to your waist and thighs, weighs a paltry 1.6 kilograms (3.5 lbs) and has a battery that offers a range of 25 kilometers, allowing you to push your boundaries further without being restrained by your human limitations.
Designer: Dnsys
Click Here to Buy Now: $599 $1198 (50% off) Hurry! Only 10 left of 890. Raised over $1,000,000.
The X1 hopes to shatter the misconception that exoskeletons just belong in warehouses. Quite like Apple’s Vision Pro became one of the first VR headsets to actually be seen in real society, with people wearing them in cafes and subways, the Dnsys X1 aims at being the exoskeleton for all kinds of outdoor use. You could be an explorer or trekker looking to cover lots of ground, a backpacker trying to walk large distances with a heavy backpack, a photographer looking to navigate an outdoor location with a lot of gear, or just a fitness enthusiast looking to get in your movement while protecting your knees and legs from strain or injuries. The X1 gives your legs a set of helping hands (or helping legs, if you want to switch the idiom), allowing you to move faster, farther, and with much less energy.
The hallmark of the Dnsys X1 is its ultra-lightweight construction, weighing a mere 1.6kg, thanks to the utilization of aerospace-grade aluminum alloy and carbon fiber. This not only ensures durability but significantly reduces weight, making it an unobtrusive companion for any journey. The exoskeleton’s sophisticated motor, the DNA-1, embodies sheer power, delivering 1.2 horsepower and a torque of 50 Nm/kg, which, in simpler terms, is similar to the power performance of a Formula One race car.
Making an exoskeleton isn’t as easy as simply slapping motors onto a body brace. The X1 employs advanced AI algorithms to adapt to the user’s walking pattern, offering instantaneous walking assistance that makes every step feel lighter. This AI innovation, combined with state-of-the-art motion sensors, enables the device to conserve up to 50% of the user’s energy, essentially halving the strain of carrying heavy loads during challenging treks or climbs. Imagine exploring the wild with the ability to walk or run with less fatigue, climb higher, and embark on longer adventures, all while protecting your knees and reducing the risk of physical exertion-related injuries. The X1’s clever design also enables all kinds of movements, aiding you with walking forwards and backwards, sideways, upwards, or even any odd movement that would result from you walking on an uneven path or terrain.
Different modes let you achieve different tasks. A regular mode gives you a maximum range of 25 kilometers (15.5 miles), aiding with load reduction and energy conservation, while a Boost mode, activated simply by pressing a button on the sides, gives you the full effect of the X1’s 1.2 horsepower output. The regular mode is perfect for walking and climbing, while the boost mode is the equivalent of going full throttle, allowing for more machine power that gives you maximum speeds of 27km/h or 16.7mph. Conversely, instead of having the X1 boost your performance, you can even flip to a Workout mode which restrains your walking ability, making you put more effort in. Designed to be the equivalent of training with weights or resistance bands, this mode is for maximizing your exercise, making it perfect for strength training and isokinetic exercise. The resistance mode also helps reduce impact on your knees during downhill walks, helping prevent injuries.
The X1 starts at $599, a massive 50% reduction over its original $1198 retail price. It includes an app that also works to monitor device status in real-time, and track medical-grade health data such as hip joint mobility and step frequency. Each X1 ships with a smart battery capable of kinetic energy recovery (KERS) for high efficiency, a charging dock, and a charging cable. The Dnsys X1 ships globally starting July 2024.
Click Here to Buy Now: $599 $1198 (50% off) Hurry! Only 10 left of 890. Raised over $1,000,000.
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The following includes spoilers for “The Devil’s Chord.”
For a show about time (and space) travel interwoven with British pop culture since its start in 1963, a trip to visit the Beatles is an obvious premise. So obvious that this is the second time we’ve had a “what if” episode hinging on the Fab Four’s cultural impact. After all, both the Beatles and Doctor Who became global cultural exports as Britain flexed its post-imperial soft power. But while there’s plenty of material to mine in that premise, this isn’t an episode that’s interested in doing that, relegating the Beatles to little more than window dressing.
This has always been a trick in Doctor Who’s toolbox, especially when Russell T. Davies is in charge. He loves dangling an idea, or eye-catching visual, to lure in an audience before moving the focus to something else. I’m reminded of the kung-fu monks from “Tooth and Claw” which looked great in the trailers but had no real impact on the story. It’s “Tooth and Claw” that “The Devil’s Chord” feels similar to — an early season one episode that doesn’t quite work in and of itself, but does spend a lot of its time gesturing to this year’s recurring themes. (FilmStories reported from a recent Q&A, where Davies said that this episode lacked a central plot and was, instead, "Just some subplots.")
But to understand that, and my stance, we’re going to have to take a little look at The Context before we get to examining the meat. You see, during its history, Doctor Who has bent itself to fit the vision of its primary creative figure and Davies is a voracious watcher of TV. He’s obsessed with the form and format of TV as much as its content, and this is reflected in his work. His episodes often develop with news reports, CCTV clips and deeper forms of exposition revealed through screens. “Bad Wolf” is a great example, where the show lands at a TV studio that’s making sci-fi versions of the then-current pantheon of British reality TV.
Davies also trusts his audience to instinctively know the unspoken rules of TV even if they can’t name them. Which is why I think it’s worth looking at “The Devil’s Chord” as an episode that is, for want of a better phrase, collapsing in on itself. When Mrs. Flood talks to the camera at the end of “Church on Ruby Road,” it felt Deliberately Wrong, especially after she was seemingly unaware of the TARDIS earlier in the episode. Here, the numerous fourth wall breaks and lapses in storytelling are similarly an intentional sign of How Wrong Things Are. What starts out as a by-the-numbers celebrity historical quickly collapses into a fever dream like Sam Lowry’s descent into madness at the end of Brazil.
We open in a concert hall in 1925 as a teacher outlines the basics of music theory for a young child. He shows off that he has “discovered” The Devil’s Chord and, by playing it, unleashes Maestro (Jinkx Monsoon), the embodiment of music. Maestro is a godlike elemental force and a child of the Toymaker – featured villain of the 60th Anniversary special episode “The Giggle.” After praising the musician for their genius, Maestro then sucks the music out of their heart and eats it like cotton candy before staring into the camera and playing the show's theme tune on the piano.
When the titles end (notice the theme is playing out of the jukebox) it’s clear Ruby has been on the TARDIS for some time. She asks the Doctor if it would be possible to visit the recording of the Beatles’ first album at the EMI’s studios on Abbey Road. Before they open the doors, she asks if it might be worth them changing into less conspicuously modern clothes and they spring off to sample the delights of the TARDIS wardrobe, complete with a wig for the Doctor.
The pair sneak into George Martin’s producer’s booth but quickly spot something is wrong with the scene in front of them. Rather than playing any of Please Please Me’s big and recognizable hits, they’re turning out mop-top music about animals. The Doctor doesn’t know it yet but Maestro has spent the last few decades swallowing all of the music out of people’s hearts. It’s a genius way to get around the fact that, even with all the cash thrown at Get Back and Disney’s vast bank balance, Doctor Who still can’t readily afford to license Beatles songs.
Next door, (famous British singer / TV presenter / notorious diva) Cilla Black is similarly stricken with a case of the muzaks while a concert orchestra is just about mustering a version of Three Blind Mice. The Doctor and Ruby head to the canteen to corner John and Paul to try and find out what went wrong with history. They then head to the roof with a piano, where Ruby plays a tune she wrote to help a friend get over a breakup. But once the Doctor hears Maestro’s giggle, he sprints away, hiding in a nearby basement.
The Doctor explains that any villain who laughs is tied to the Toymaker and is a sign of the fractured universe. Fighting the Toymaker in “The Giggle” was sufficiently draining and difficult, especially given how powerful these elemental forces are, that he doesn’t want to do it again. Maestro is hunting for them, but the Doctor uses his sonic screwdriver to kill all of the sound in the area. (The Doctor knows just enough about how the form and format of TV works to turn the tables on their opponent.) Maestro works out how to undo the blocking – with some magnificent sound editing — but is then distracted from their pursuit of the Doctor by an older woman Ruby had inspired to play the piano.
The eagle-eyed among you will notice that this is the second time in two episodes that Ruby has inspired another person to be bold to their detriment. Her words were enough to encourage Eric to try and take on the bogeyman single-handed in “Space Babies,” nearly imperiling him. The older woman isn’t so lucky and gets consumed by Maestro
Because of how long Doctor Who has run, it's often its own source material. Ruby, once they’ve escaped, assumes that everything is okay because she recalls listening to music as a child and so therefore Maestro can’t have won. So, in a scene pulled from “Pyramids of Mars,” the Doctor takes her to 2024 in the TARDIS to show the wreckage of the alternate future. Because while she’s protected from the ravages of continuity by the fact she’s traveling through time, the rest of the universe isn’t so lucky.
But this flash-forward, in an echo of the meeting with the Toymaker, flips from a visage of a bombed-out London to a stagey set. Maestro arrives behind a white piano to outline their plan to rid the universe of music, leaving just the aeolian tones of the wind brushing against objects. But the Doctor says that a universe without music, unable to express joy or anger through art, turns sour and destroys itself. It's a feeling I can relate to — like when love becomes so painful in its absence that you'd rather disappear into the void than keep going on. Davies is also a nihilist so many of his episodes have revolved around the dark face of humanity that reveals itself when denied Earthly pleasures.
Escaping back to the ‘60s, the Doctor and Ruby meet Maestro and find the walls of reality are collapsing. Murray Gold’s swirling soundtrack isn’t just the background music, it’s bled into the fabric of the show itself. The Doctor and Ruby start trying to find a chord that will bind Maestro with the Mrs. Mills piano, a (real) fixture of Abbey Road’s studio. As they play, the notes are rendered floating over the piano, but the pair fail to identify the final note before Maestro turns up.
Maestro begins attacking, throwing around musical scores as weapons and hurling the piano into the hall. It’s here that the episode’s coherence starts to sag, the scenes get longer and odder, a wonky version of a standard monster-of-the-week TV show conclusion. The tension builds, and all looks lost, until John and Paul stumble upon the piano in the hallway. They’re able to see the notes hanging in the air over the piano and with their, uh, innate musical nous, and complete the chord to bind the villain. But before they’re whisked away, Maestro has time to reveal they aren’t the only one of the Toymaker’s minions coming, and “the one who waits” is lurking in the background.
Out of nowhere, the episode ends with a big musical number that features the cast dancing through the Abbey Road sets, delighted at the return of music. Even the steps of the road crossing light up as the Doctor and Ruby cut a rug across them. I can’t work out if it’s simply an indulgent sequence, or another big sign that the show’s structure is breaking down. That the Doctor and Ruby are blind to the apparent Wrongness of it all hints at the latter, especially given the deeper context of the song’s title — see below.
There are other signs that Doctor Who is collapsing into its own TV series, including the casting decisions. The older woman who plays the piano is June Hudson, the show’s costume designer from 1978 to 1980 — who famously redesigned the fourth Doctor’s costume. The musician at the piano during the dance number is Murray Gold, while the figures the Doctor and Ruby dance with at the end are Strictly Come Dancing stars Shirley Ballas and Johannes Radebe. Maybe the big nemesis haunting the series will be some form that could threaten its existence as a TV show itself.
It’s worth saying that Doctor Who has an uneasy relationship with “big” villain performances which can turn hard into hamminess. But Jinkx Monsoon manages to pitch Maestro as just big and flamboyant enough to steal every scene they’re in, but never too silly. It’s also the right side of charming and magnetic, and while they don’t have anywhere near enough time to properly face off against Ncuti Gatwa’s Doctor, it’s still a great match-up.
The problem of Susan Twist
As much as I don’t want to get into the weeds here, it’s possible this stuff is going to come up later that I need to flag it. Doctor Who has been running for more than 60 years with a revolving door of creative figures who paid little-to-no attention to consistency. A convenient way to justify these is by suggesting time travel, by its very nature, would always mess up your personal history. But, in latter days, the show has often preferred to overlook the thornier parts of its backstory, like the existence of the Doctor’s granddaughter, Susan.
When the show started, the Doctor was joined on his adventures by Susan and a pair of teachers who followed her home one night. Long before any mention of Time Lords or Gallifrey, she was just the kid figure who often wound up needing rescuing. Then, in “The Dalek Invasion of Earth,” the Doctor exiles her to 22nd century Earth because she wants to kiss a boy. His goodbye speech has been long since de-contextualized and made to sound noble. But it is essentially him going “yeah, you’re interested in boys now, so you go make babies (eww babies) and stay here while I go off running around the universe.” Yes, it is a bit yikes.
This ties in with a small body of writing about this trope in children’s literature about the way female characters are treated when reaching adulthood. In combination with a sexual awakening, this is often used as justification to dump them out of the narrative. It’s even called “The Problem of Susan,” albeit named after Neil Gaiman’s rebuttal of what happens to Susan at the end of The Chronicles of Narnia. If you’d like to learn more, you can read Elizabeth Sandifer’s essay on "The Dalek Invasion of Earth" which talks about this in some detail.
Why is this relevant? Because when Davies’ returned to Doctor Who, he cast the same actress in two different episodes. Susan Twist played Mrs. Merridew in "Wild Blue Yonder" and was seen again in "The Church on Ruby Road," which sent keen-eyed fans into a frenzy. She pops up here as a tea lady and, on the roof of Abbey Road; the Doctor even talks about the fact another of his incarnations is living in Shoreditch in 1963 with his granddaughter. That the episode ends with a musical number called “There’s always a Twist at the end” with Ncuti Gatwa winking to camera is as big a neon sign as you could hope for.
Doctor Who fans — never ones to not scour the text, metatext and paratext of each episode — took Twist’s repeated casting as a signpost. They assumed, not unjustifiably, that this series would feature a twist about Susan, and that Davies was subtly signaling this to diehard fans. Given Twist’s appearance here, and that we get a song saying the quiet part out loud, seems to vindicate those theories. Unless, of course, it’s all a triple bluff, but I’m not sure how anyone could game that successfully. The only question that remains, of course, is what Davies' plan is, and how exactly it’ll play out in the next six episodes.
This article originally appeared on Engadget at https://www.engadget.com/doctor-who-the-devils-chord-review-is-this-madness-010056449.html?src=rssThe following includes spoilers for “Space Babies.”
You can’t help but admire Russell T. Davies’ audacity. He plucks the rights to make Doctor Who from the BBC. He gets Disney+ to write an enormous check to bring the show to life in a way never before attempted. Then, with so much money at stake and a months-long promotional campaign, he opens season one and the door to new fans with this.
We kick off at the end of “The Church on Ruby Road,” with the Doctor's latest companion, Ruby Sunday (Millie Gibson), entering the TARDIS for the first time. The Doctor introduces himself and offers a quick run-through of the premise for the folks at home. They’re an alien, adopted by the Time Lords of Gallifrey who were then wiped out. That leaves the Doctor (once again) as the last of their kind; a quasi-immortal time traveler who can go anywhere in the universe.
To set the scene, the pair hop back to prehistoric Wyoming to gaze at a detailed vista of some CGI dinosaurs. This is the show boasting about what it can do even for a throwaway scene with its new bigger budget. And it helps banish the memories of some of the less successful attempts to do a dinosaur episode from way back when.
Ruby is already savvy to the conventions of the time-travel genre and asks about the risks to causality if she steps on a butterfly. The Doctor dismisses this idea out of hand before Ruby does and causes unutterable damage to the timeline. The butterfly is quickly revived and the Doctor nips back into the TARDIS to activate the Butterfly Compensator. Which is as close as this show gets to saying that it has never been a hard sci-fi show and it never will be.
For their next trip, they travel into the far future, landing on a space station that grows babies for colony projects. The bowels of the vessel are being stalked by an eyeless, teeth-heavy monster while the upper deck is crewed by talking babies. Mere seconds after proving the show can do decent-looking dinosaurs, it overreaches and adds an appallingly creepy CGI mouth to a baby. I’ve seen this done in movies, and commercials, and it never works, and please God stop trying.
The Doctor and Ruby encounter the crew, a bunch of babies with the minds of preschoolers and the mouths of adults, or something. They’ve been left to run the station, with pulleys and cables letting them control specific onboard functions, and smart strollers to carry them around. The only other presence on the ship is an AI, NAN-E, which acts as a comforting voice for the kids.
Ruby’s genre-savviness kicks in again here, and she notices there’s almost a storybook quality to the situation. A bunch of kids being menaced by an unwelcome, bogeyman-esque presence below, and the need for a hero to step in and rescue them. The pair give the babies some much-needed cuddles and are then invited to another part of the station by NAN-E.
On the way, the pair discuss origin stories and how Ruby, following on from the events of “The Church on Ruby Road,” wants to use the TARDIS to find out who her parents are. While they talk, snow — the same snow that fell when Ruby was left on the steps of the eponymous church — starts to fall inside the corridor. Ruby’s memories and history are somehow seeping through into the present, or she’s able to do something to alter the universe.
But they can’t focus on that too much, since they’re interrupted by NAN-E, who turns out not to be an AI, but a person. Jocelyn Sancerre (Golda Rosheuvel) is the last adult crew member, who stayed on the station to care for the children when everyone else was ordered to leave. The government of the planet below pulled funding for the stations and ordered the adults to leave, abandoning the children in place. But, because the planet is also anti-abortion, they wouldn’t terminate the as-yet unborn babies, preferring them to slowly die from external factors. Geez, do you think they might be talking about us?
Much as this will be framed as a post-Roe story by US audiences, it’s worth saying the UK’s Conservative Party has taken a similar approach. In 2010, the Labour government had worked to greatly reduce child poverty and homelessness with a number of targeted programs. These were quickly unwound by the incoming Conservatives, not only undoing all of those gains but making the issue a lot worse. So much so that the UN – the UN! – of all people upbraided the nation.
The streak of saying the quiet part out loud continues when, while hatching a plan to save the babies, they opt to take them to another planet in the system. It’s a world that takes in refugees, but you have to turn up on the planet’s doorstep to get any help, because it won’t lift a finger to help rescue people in need from further afield. Again, this is a not-so oblique reference to the UK’s monstrous policy of attempting to block refugees from reaching the country via sea. It is a point of enormous pride for the Prime Minister that he has boasted about his work to prevent boat crossings.
This is made all the more painful as, for a brief moment, the country was reconsidering its approach following the death of Alan Kurdi, a two-year-old boy who drowned while attempting passage to Europe from Syria. The image of his body became a harrowing and defining image of the day, but the press quickly worked to stifle any pro-migrant sentiment, enabling the country to engage in an enormous boondoggle by spending millions of pounds building a detention center in Rwanda to forcibly-relocate people seeking asylum in the UK as a “deterrent.”
The grown ups can’t mull their problems for long as Eric, one of the babies (sorry, space babies) heads down to the lower level to tackle this bogeyman. There’s a telling moment where Ruby sprints out to rescue the child far ahead of the Doctor, continuing a thread from the Christmas special: Ruby Sunday is willing to throw herself head-first into the action rather than waiting for help, steel pipe in hand. Doctor Who has always thrived when the companions — a name we’ve been saddled with since 1963 — are active figures in the narrative. Every one of the show’s sidekicks, bar one, has their ardent fans, but commanding figures like Sarah Jane and Ace are always the most beloved.
Once the baby is rescued by the other babies wielding a gas pipe as a flamethrower, they’re sent back upstairs while the Doctor and Ruby take on the bogeyman. Ruby’s assumptions are proved further right when it turns out the alien is actually a bogey-man, as in made of snot. The station’s malfunctioning systems sought to build an appropriate environment for the kids, and used children’s literature as its template.
Jocelyn works out that she can force the bogeyman toward an airlock while keeping the Doctor and Ruby safe. She then exposes the monster to the void of space, but the Doctor can’t be so cruel to another lonely, misunderstood figure. He makes his way into the airlock room and closes the door to seal them both in to save the bogeyman’s life.
The episode ends with the Doctor realizing that the station can eject its six full years worth of soiled diapers to propel it towards the refugee planet. It’s entirely fair game to resolve a crisis precipitated by rogue bodily fluids with a poop joke.
Crisis averted, he and Ruby walk back to the TARDIS where he gives her a key and welcomes her to the team, before adding that, as much as she may want to, he can’t take her back to the moment she was abandoned. He covertly begins scanning Ruby to work out what exactly is her deal, and why she’s capable of bending the universe. (And yes, there are shades of the Impossible Girl arc in how this is playing out.)
The TARDIS lands back at Ruby’s home, smashing up the kitchen and the Christmas dinner therein.
I imagine it won’t be long after the episode airs that the usual corners of the internet will scream culture war. Davies was always a political writer and feels a duty to be unapologetic about his viewpoint on current-day matters. His original tenure on the show was rooted at the tail-end of the Blair and Brown years, fueled by righteous fury around the invasion of Iraq. This is, again, all the more surprising given it’s being broadcast on Disney+, the model of conservative restraint.
During his first tenure, Davies would begin the production of every episode with a tone meeting which outlined how each episode would maintain a consistent feeling in the writing, acting and direction. By comparison, “Space Babies” lurches wildly: Poop and fart jokes in one scene, unsettling horror in the next, weighty examinations of human morality between. The scenes of Jocelyn’s adult dialog being run through the “nanny filter” is a good source of comedy, it’s just odd that they’re juxtaposed with high drama.
But that’s more or less what makes Doctor Who one of the best shows on TV — its ability to do anything it damn well pleases. If the weirdness of what you’ve just seen appeals then you’ve just become a Doctor Who fan. If it didn’t, then you might find the next episode will serve up what you were looking for.
This article originally appeared on Engadget at https://www.engadget.com/doctor-who-space-babies-review-bet-you-didnt-expect-that-000030277.html?src=rss
Smartphones have evolved to be more than potent gaming devices with constant evolution in processing power. Titles like Genshin Impact, COD Warzone, Car X Street and Asphalt 9: Legends have high-end graphics comparable to consoles and PC titles. Of course, there are capable phones that can play these games at the highest settings without breaking a sweat.
The perfect alibi for serious smartphone gamers who want to gain tactical advantage is a gaming controller. Yes, the likes of 8BitDo Pro 2, Backbone One, GameSir G8 Galileo and Razer Kishi V2 elevate the gaming experience on a smartphone but they are bulky for sure. Imagine holding a 6.8-inch smartphone with the controller mounted on it. This calls for a compact and lightweight option that is easy to carry around and a treat to use.
Designer: Wootae Kim
The Mini Controller is an option for mobile gamers who don’t want to carry around the bulk and also like the compact form factor of the gadget for better ergonomics. Everything on this dongle-sized controller is kept to the minimum with a round joystick, D-Pad buttons and shoulder trigger buttons. This cool gaming controller can be used both in Bluetooth mode and connected mode depending on the titles you want to play. In the latter mode, the accessory can be plugged into the USB-C port and the joystick can be used for the directional control and the on-screen buttons for other input.
The Bluetooth mode works best for FPS shooters and racing games where you want total multidirectional control without missing a move. The connected mode is ideal for playing MMO titles and strategy games like Clash of Clans that require movement in the two-dimensional plane. The designer intends to pitch this controller to Gen-Z mobile gamers who like to explore fresh options. It is easily pocketable just like your earbuds case or can be hooked to a keychain. Also, the availability of the Mini Controller in peppy color options makes it best suited for the younger generation.
The post A mini controller for your mobile gamers who love minimalism first appeared on Yanko Design.
One of the keys to an aligned, well-functioning, and efficient office space is the furniture we place in it. We spend the majority of our day sitting on our office chairs or typing away on our desks whether we’re working in our home office or a corporate one. Hence, these pieces of furniture need to be not only comfortable but ergonomic, and aesthetic as well. It is important to find furniture designs that are excellent at helping us maintain a good posture, while also being super comfy to work in, and merging well with the overall office interior and aesthetic. And one such furniture design is the Plenum Cabin by Jaime Hayon for Fritz Hansen.
Designer: Jaime Hayon for Fritz Hansen
Designed by Jaime Hayon for the Danish brand Fritz Hansen, this series of enclosed seats is called the Plenum Cabin, and they offer comfortable spaces within the corporate workplace. The Plenum Cabins have been designed to serve as meeting spots for productive and informal meetings in office environments. They also function as integral focal points in open-plan interiors.
“With Plenum Cabin, my aim was to craft a space within a space – a haven for intimate conversations and informal gatherings,” said Hayon. “It’s not just a cabin – it’s an invitation to connect, to share, and to experience the best of human interaction in the workplace.” The Plenum Cabin features seats with a high back to provide privacy, as well as foam cushions to offer utmost comfort. The furniture pieces can be upholstered in a range of recycled textiles.
The unique booth has been equipped with a table, an internal cable management system, and an integrated screen. The various features help in creating a productive working environment, allowing employees to work in peace and streamline their schedules. The work booth is also pretty aesthetic to look at it, it has a contemporary appeal, which allows it to seamlessly merge with different kinds of office spaces.
The post Contemporary Work Booths Serve As Little Oases Of Comfort & Productivity In Your Hectic Office first appeared on Yanko Design.
Apple will reportedly focus its first round of generative AI enhancements on beefing up Siri’s conversational chops. Sources speaking with The New York Times say company executives realized early last year that ChatGPT made Siri look antiquated. The company allegedly decided that the large language model (LLM) principles behind OpenAI’s chatbot could give the iPhone’s virtual assistant a much-needed shot in the arm. So Apple will reportedly roll out a new version of Siri powered by generative AI at its WWDC keynote on June 10.
Apple Senior Vice Presidents Craig Federighi and John Giannandrea reportedly tested ChatGPT for weeks before the company realized that Siri looked outdated. (I would argue that the epiphany came about a decade late.) What followed was what The NYT describes as Apple’s “most significant reorganization in more than a decade.”
The company sees generative AI as a once-in-a-decade tentpole area worth shifting heaps of resources to address. You may recall the company canceled its $10 billion “Apple Car” project earlier this year. Apple reportedly reassigned many of those engineers to work on generative AI.
Apple executives allegedly fear AI models could eventually replace established software like iOS, turning the iPhone into “a dumb brick” by comparison. The clunky, awkward and overall unconvincing first wave of dedicated AI gadgets we’ve reviewed, like the Human AI Pin and Rabbit R1, aren’t good enough to pose a threat. But that could change as software evolves, other smartphone makers incorporate more AI into their operating systems and other hardware makers have a chance to innovate.
So, at least for now, it appears Apple isn’t launching direct competitors to generative AI stalwarts like ChatGPT (words), Midjourney (images) or ElevenLabs (voices). Instead, it will start with a new Siri and updated iPhone models with expanded memory to better handle local processing. In addition, the company will reportedly add a text-summarizing feature to the Messages app.
Apple’s first foray into generative AI, if The NYT’s sources are correct, sounds like less of an immediate threat to creators than some had imagined. At its May iPad event, the company ran a video plugging the new iPad Pro that showed various creative tools crushed by a hydraulic press. The clip accidentally served as the perfect metaphor for the (legitimate) fears of artists, musicians and other creators, whose work AI models have trained on — and who stand to be replaced by those same tools as they become more normalized for content creation.
On Thursday, Apple apologized for the ad and said it canceled plans to run it on TV.
Samsung and Google have already loaded their flagship phones with various generative AI features that go far beyond improving their virtual assistants. These include tools for editing photos, generating text and enhancing transcription (among other things). These features typically rely on cloud-based servers for processing, whereas Apple’s approach will allegedly prioritize privacy and handle requests locally. So Apple will apparently start with a more streamlined approach that sticks to improving what’s already there, as well as keeping most or all processing on-device.
The New York Times’ sources add that Apple’s culture of internal secrecy and privacy-focused marketing have stunted its AI progress. Former Siri engineer John Burkey told the paper that the company’s tendency to silo off the information various divisions share with each other has been another primary culprit in Siri’s inability to evolve far past where the assistant was when it launched a day before Steve Jobs died in 2011.
This article originally appeared on Engadget at https://www.engadget.com/apples-big-ai-rollout-at-wwdc-will-reportedly-focus-on-making-siri-suck-less-203035673.html?src=rss
The great thing about phones is their ability to do a whole multitude of tasks. The terrible thing about them is that they discharge at the most inconvenient time, and suddenly you’re left with 5% battery and no charger or charging point in sight. The wireless MagSafe power bank was designed for pretty much this occasion, allowing you to quickly snap a device onto the back of your phone for extra juice… and while Apple’s own MagSafe Power Bank isn’t on the shelves anymore, the (Re)Classic from Native Union does the job remarkably well. Measuring just .086cm thick (that’s as thick as your iPhone), the (Re)Classic attaches to your iPhone’s back (or any smartphone with the MagSafe sticker), letting you easily and wirelessly charge your phone. The slim design merges right into your iPhone’s profile, so you don’t have to contend with a bulky power bank that makes handling your phone difficult.
Designer: Native Union
Touted to be Native Union’s slimmest power bank ever, the (Re)Classic packs a cool 5000mAh battery that matches the one inside your iPhone, giving you a full 100% worth of extra charge to pull you through the day or even through a weekend with moderate phone use. 15W of wireless charging gets your phone juiced at the fastest wireless charging speed possible, and if that doesn’t satisfy you, plugging your phone into the power bank’s USB-C port bumps up charging speeds to 20W. The (Re)Classic supports pass-through charging too, which means you can charge the power bank WHILE it’s charging your phone or any other device.
Notably, though, it’s Native Union’s design choices that make the (Re)Classic such a nifty pick. Unlike most power banks that have housing made from either plastic or metal, the (Re)Classic opts for Yatay
, a premium plant-based leather alternative made in Italy. The vegan leather feels just as premium and comfortable as regular leather while giving your power bank a distinctly different aesthetic from the plastic ones you’d find online, or the fancy metal ones that can often give your phone an industrial aesthetic which many may not like.
The Yatay-leather power bank works directly with your phone, or even complements Native Union’s own cases, which have a similar design language. LED lights on the (Re)Classic’s body let you know how much battery your power bank has, and Native Union even ships one of their top-selling braided charging cables along with each $69.99 (Re)Classic Power Bank.
The post Native Union’s snap-on MagSafe Power Bank gives your iPhone an extra 5000mAh battery first appeared on Yanko Design.
Samsung’s HW-Q990C was the best overall soundbar I tested last year, mostly due to its stellar audio and the fact that a subwoofer and rear speakers came with it. The company didn’t change much for the 2024 version, the HW-Q990D, but one tweak delivers a feature last year’s model should’ve had: HDMI 2.1. There are some new audio modes too, but you can find those on other Samsung soundbars. The Q990D is as powerful as ever, but it’s still pricey at $2,000. If you already bought a Q990C, the company hasn’t given you a reason to upgrade just yet.
The biggest addition on the Q990D is HDMI 2.1. With this, Samsung addressed my main criticism of the Q990C, which debuted last year at a time when much of the competition had already adopted the standard. HDMI 2.1 delivers 4K passthrough at 120 frames per second, which will improve the visuals if you connect your PlayStation 5 or Xbox Series X directly to the soundbar.
The Q990D also arrives with new audio modes. Private Listening turns off all of the front-firing drivers and uses only the rear satellite speakers. It’s basically an expanded version of the night mode a lot of companies offer on soundbars, aimed at reducing boomy bass when family or roommates might be asleep. My house has an open floor plan and my TV faces towards the hallway to the bedrooms, which means any soundbar will beam noise in that direction. Private Listening sends the audio the opposite way, and while you have to sacrifice some overall quality, it’s good enough for all the times you need to be quieter.
There’s also a new Party Play mode that provides more balanced sound between the soundbar and rear speakers for a better experience when you’re hosting a rager. When this is active, you get the full audio range rather than just the channels specifically programmed for the speakers behind you. I actually turned the speakers around and faced them out of the living room to project the re-tuned audio into other communal spaces. This makes a bigger difference for movies and TV because music already plays from the rear speakers with more balanced levels.
These two modes aren’t unique to the Q990D; the rest of the 2024 Q-series lineup will be able to use them too. This is the first time I’ve tested them though, and it’s notable that they actually work well on Samsung’s most expensive soundbar.
The combination of a driver-packed soundbar, large subwoofer and more-robust rear speakers produces immersive sound that envelops my living room. Whether you’re listening to music or the soundscape of Dune, the Q990D retains the sonic prowess of its predecessor. Dolby Atmos content from Disney+ is as immersive as ever. I could hear the finer details of Knowhere in the opening scenes of Guardians of the Galaxy Vol. 3, including the life-like reverb of Radiohead’s “Creep” playing over a loudspeaker. The directional sounds of the town, including the hustle and bustle of people moving around, make it seem like you’re standing right there.
For music, there’s deep, boomy bass when a track calls for it, and that crisp detail that I heard in movies is here too. Justice’s Hyperdrama shows off the Q990D’s range, with driving low-end tone on songs like “Neverender” accompanied by textured synths. Quieter genres like jazz are a blanket of sound too, with albums like Miles Davis’ Kind of Blue offering subtleties that make you feel like you’re in the studio.
The thing I like most about the Q990D is that everything you need for a complete surround sound setup is included in the box. The subwoofer and rear speakers come with the soundbar and don’t require an additional purchase. Those satellite speakers also house up-firing and side-firing drivers, which isn’t always the case on comparable accessories from the competition. And the setup is as easy as plugging everything in because pairing with the rest of the system happens automatically.
An all-in-one setup is great, but that also means the Q990D is expensive. At $2,000, this is a considerable investment even if you’re getting everything you need in the package. The Q990D is currently on sale for $1,750, but we don’t know how long that discount will last. For comparison, Sony’s upcoming Bravia Bar 9 is $1,400. The cheapest subwoofer and rear speakers you can get for it are $400 and $350 respectively, which puts your total cost at $2,150. Of course, with Sony you have two options for subs and rears, and you don’t have to buy all of them. LG offers some respite if you want to go that route, with its S95TR coming in at $1,500 and including the subwoofer and rear speakers with up-firing drivers.
The overall size of the soundbar is something else you’ll need to consider. The Q990D houses 11 front-facing speakers, two up-firing drivers and a subwoofer. All of those components need space, and accommodating them means this soundbar ends up being quite large at 48.5 inches wide. While that’s not a deal-breaker per se, it does require some planning, so just know you’ll need ample room.
Like soundbars from other companies, the Q990D has some handy features that are reserved for Samsung TVs. For example, Q-Symphony, which uses your TV speakers in addition to the soundbar to expand the audio capabilities, requires a compatible 2020-2024 Samsung TV. The Q990D sounds great without this, but just know you’re not getting the full bag of tricks unless you also have a supported TV.
Unless you care for the latest HDMI standards, the Q990D doesn’t offer a huge upgrade over last year’s model. Their design and features lists are nearly identical, except for two new sound modes and 4K/120 passthrough. And some of those additions are available on more-affordable Samsung soundbars. So if you already sprang for last year’s Q990C, there’s probably not enough reason to make another sizable investment. If you don’t already own a Samsung flagship soundbar, the Q990D offers boomy, immersive sound in an all-in-one package that now has all the modern conveniences it should.
This article originally appeared on Engadget at https://www.engadget.com/samsung-hw-q990d-soundbar-review-a-small-but-significant-update-180022782.html?src=rssClimate protestors in Germany broke through police barricades on Friday, amid clashes between activists and law enforcement. The protestors either made it onto (according to protestors) or near (according to local police) the grounds of a Tesla gigafactory in Grünheide, Germany, near Berlin. It’s part of a planned five-day demonstration ahead of a local government vote next week to determine whether Tesla’s plant can expand.
Wired flagged social media videos showing activists, many of whom have been camping out in treehouses in nearby forest encampments, running toward a Tesla building on the site. In addition, the German newspaper Welt said at least one person participating was injured. Police reportedly police used pepper spray and batons to try to thwart the crowd, and there were at least some arrests.
A spokesperson for one of the groups participating in the protests told Wired that they broke the police barriers and stormed the Tesla grounds. “Eight hundred people have entered the premises of the gigafactory,” Lucia Mende of Disrupt Tesla said. However, local police posted on X (Musk’s social media platform) that the activists only reached a field facing the site. “We have been able to prevent them from entering so far,” they posted.
At least at first glance, it’s easy to wonder why activists are pouring so much energy into fighting Tesla. After all, despite Musk’s increasingly unhinged right-wing conspiracy-mongering and Nazi-catering on X, other automakers pushing gas-guzzling cars seem like more appropriate targets (not to mention the fossil fuel companies spending big bucks on anti-climate-reform disinformation). However, several factors make the issues at the heart of the protests less simplistic.
A (nonbinding) vote in February showed Grünheide residents opposed the expansion by almost a two-to-one ratio. If for no other reason, the local government having a chance to brush aside the overwhelming will of the voters in the name of capitalism is enough to raise the eyebrows of anyone who balks at minority rule.
Wired notes the area is also one of the most water-scarce in Germany, and residents worry the gigafactory will drain the resource, leaving much less for the humans who live there. The plant could also pollute local water supplies.
Those fears appear to have merit: The plant is licensed to use 1.4 million cubic meters of water annually, and a separate Wired report from Tuesday noted that’s enough to supply for a large town. As for the contamination fears, Tesla was fined in 2019 by the EPA for several hazardous waste violations at a California factory. The company paid a grand total of $31,000 to settle. (Tesla had a market cap of almost $76 billion in 2019.)
But some of the groups protesting have concerns that go much farther than those more immediate issues affecting the locals, instead taking issue with the entire electric vehicle movement. “Companies like Tesla are there to save the car industry, they’re not there to save the climate,” Esther Kamm, spokesperson for Turn Off the Tap on Tesla told Wired.
Another activist, who only gave Wired the name Mara, described the factory as the result of “green capitalism.” She views the EV movement as little more than a theatrical performance in the name of profit. “This has been completely thought up by such companies to have more growth, even in times of an environmental crisis,” she said.
I wouldn’t exactly say flipping the bird to the EV movement is a “workable” solution to the very real and pressing climate crisis. Regardless of your thoughts on the matter, the world needs to move quickly to fend off climate change’s most ravaging effects, and the scientific consensus is that the planned shift to EVs will need to play a central role.
Tesla reportedly told its employees at the factory to work from home on Friday, shutting down the plants for the planned protests. As for Friday’s protests, Welt reports that the situation had calmed by afternoon — at least for now.
This article originally appeared on Engadget at https://www.engadget.com/climate-protestors-clash-with-police-outside-teslas-german-gigafactory-175726961.html?src=rss