Neuroscience research into people with aphantasia, who don’t experience mental imagery, is revealing how imagination works and demonstrating the sweeping variety in our subjective experiences. Introduction Two years ago, Sarah Shomstein realized she didn’t have a mind’s eye.

Around 1425, the Florentine artist Masaccio painted the first major works in one-point perspective. That revolutionized what artists could do ever after. In Paris in 1839, Louis-Jacques-Mandé Daguerre demonstrated his new photographic invention.

Production Crate: https://bit.ly/blackthornVFX

PLAY on Windows: https://blackthornprod-games.itch.io/piece-by-piece

PLAY on Web: https://www.newgrounds.com/portal/view/829585

Jonas Tryoller: https://www.youtube.com/c/JonasTyroller Sokpop: https://www.youtube.com/c/sokpopcollective/videos Code Monkey: https://www.youtube.com/c/CodeMonkeyUnity

Yän: https://www.youtube.com/c/Y%C3%A4nGamedev/videos

In this video, 6 game developers spend 4 hours each making a video game without any communication! Liam began work prototyping the game, then passed it on to me, then Aran from Sokpop, Jonas Tyroller, Code Monkey, and Yän!

We ended up creating a cool spaceship building/survival experience.

0:00 - Intro 0:15 - Liam 1:03 - Noa 2:27 - Sokpop 3:58 - Jonas Tryoller 7:12 - Code Monkey 9:08 - Yän

Today I am releasing the new AO486 DOS Shareware pack to the public. This includes an all new DOS Frontend interface developed by BBond007 (https://www.youtube.com/user/binarybond007). The pack is 100% shareware and opensource so it can be shared freely to give a great base for future packs and to show off all the new features. There are no Commercial products in this release. Over 100 games, 30 DOS shareware screensavers, MOD and MIDI Music, Music Players, and shareware DOS applications all built on the FreeDOS OS.

Shareware Pack includes: Over 100 DOS Shareware titles that have been tested and configured for the MiSTer AO486 PC Core. ANSI art and gamecards built for each game. MyMenu Features: MyMenu is a DOS frontend designed to allow you to quickly launch DOS games, applications, scripts, and music.

Launch scripts, exe, bat, or any custom extension that you configure in the MyMenu.ini configuration file. Add any game to C:\Games\My Cool Game Name\ and it will now show in MyMenu automatically. We have tested up to 10,000 games in the list!

Other Feature: DOS Long File Name support Autorun.bat -- Autorun any game Readme.ans -- ANSI Readme and gamecard for each game! ANSI and ASCII art support for browsing ANSI and creating custom game cards for the interface ANSi Terminal (COM) and (Console) support Quickly set MiSTer core speed and cache options Screensavers CGA/VGA Support Music player integration for MOD, MIDI, XM, A2M, and MP3. Terminal Support for MidiLink, Serial, and BBS connection.

Github scripts integration and updates coming!

bbond007's MidiLink: https://github.com/bbond007/MiSTer_MidiLink

Latest release located at: https://github.com/flynnsbit/DOS_Shareware_MyMenu Under Releases.

Introduction and History lesson 00:00 Pack Demonstration: 05:00 MyMenu DOS Interface: 06:00 Autorun.bat and README.ANS Demo: 10:05 Doom Demo: 11:23 Edit Autorun.bat: 12:30 Broken games moved: 12:55 MyMenu ANSi: 13:11 MyMenu Apps/Games/Music/Ansi: 14:00 MyMenu Music and MIDI Demo: 14:23 MyMenu ANSI Art examples: 15:51 MyMenu Quick feature list and readme: 16:21 MyMenu F1 Menu: 17:20 MyMenu MT32-Pi Integration Menu: 17:58 MyMenu Screensavers: 18:21 MyMenu.ini configuration options: 18:45 MyMenu Screensavers config and demo: 19:40 MyMenu Utilities and Memory Management: 22:37 Explosiv! Screensaver Setup: 24:00 MP3's and Internet Radio on MiSTer: 25:14 Download Midilink: 25:41 MP3 Music Tracks and Internet Radio in AO486: 26:00 WHAT IS THIS SONG!!? : 28:06 Mp3 songs as Music track in DOS games: 28:25 MyMenu MP3 Quicklinks: 29:15 Internet Radio Playlists as Music Track in DOS: 29:31 Internet Radio in DOS - Classic Rock: 30:38 Internet Radio in DOS - Dance: 31:48 MyMenu Color Templates and Themes: 32:20 MiSTer console control of MP3s from batch scripts in DOS: 33:56 DOS Doom w/ Doom Eternal Mp3 Soundtrack in DOS Demo scripted: 35:57 DOS Earthworm Jim w/ MP3 Music Playlist: 38:02 DOS SimCity 2000 w/ MP3 Music Playlist: 39:23 Conclusion and Download: 40:00

How to create famous movie title cards all with practical effects, no CGI needed! Creating famous movie titles of your own can be done easily by following this InCamera practical fx tutorial; where we use the famous The Thing (1982) title sequence as an example of the practical filmmaking techniques used.

We provide an in depth tutorial for this practical effects masterclass and show you in an informative, entertaining show; how to recreate it. Demonstrating a mix of classic and modern practical filmmaking techniques.

INCAMERA OFFICIAL SOCIAL MEDIA ACCOUNTS:

INSTAGRAM - https://www.instagram.com/incamerafx/ TWITTER - https://twitter.com/InCameraFX FACEBOOK - https://www.facebook.com/InCameraTV REDDIT - https://www.reddit.com/user/InCameraFX LINKEDIN - https://www.linkedin.com/company/68500456/ TIK TOK - @InCameraFX

CREDIT/THANKS: All credit to Peter Kuran, who did the practical fx for the original film. All footage from 'The Thing' (1982) courtesy of Universal Pictures. The original 'The Thing' (1982) title burn - https://www.youtube.com/watch?v=NWidoMhF9Qw

EQUIPMENT USED FOR THIS VIDEO: Camera - BlackMagic Pocket Cinema Camera 4k with a small HD 502 monitor, rigged by a Tilta cage. Lighting - Dedo 150w fresnel and used a full ctb gel to bring to it to daylight. Stencils - Stencils were machine cut by an external company from vinyl onto glass. Smoke - Concept Colt 4 smoke machine. Video Editing Software - The retiming and colour grading were all done onAdobe Premiere Pro.

WHY SUBSCRIBE TO INCAMERA? - We post original content monthy. - We have step-by-step, informative & entertaining tutorials on how to create amazing practical effects. - We're extremely engaging with our community across all social media platforms. - We'd love to make InCamera our full time jobs, so need all the support possible!

It has eight arms, three hearts — and a plan. Scientists aren’t sure how the cephalopods got to be so intelligent. To demonstrate how smart an octopus can be, Piero Amodio points to a YouTube video. It shows an octopus pulling two halves of a coconut shell together to hide inside.

The doctrine of the Right-Hand Path is a theory of self-deification encompassing the entirety of the western hermetic tradition.

In 2003, a team of scientists in China managed to create embryos containing a mix of rabbit and human DNA. Most of the biological matter was human, while the rabbit DNA was present only in the mitochondria, the energy-generators of the cells.

In didactic texts, artist talks, personal websites, and private interviews Cory Arcangel describes Super Mario Clouds as “an old Mario Brothers cartridge which I modified to erase everything but the clouds.” Exhibited at the Whitney Museum of American Art in 2004, 2009, 2011, and 2015 the game’s blue sky and leftward floating cloud forms have come to represent not only Arcangel’s twenty-first century pop art practice but one horizon of videogames as an artistic medium. However, attempting to reverse engineer Super Mario Clouds according to the artist’s original source code distributed in exhibition catalogues, documentary videos, DIY websites, and GitHub repositories reveals that Arcangel’s ROM hack does not actually contain Nintendo’s ROM. Despite claims of erasing “everything but the clouds,” there is no erasure. There is a discrepancy between art historical accounts and the technical operations of Arcangel’s artwork. This video documents the history of Super Mario Clouds and demonstrates the results of my own attempt to “erase everything but the clouds,” a ROM hacking exercise that produces a different game altogether. This example of practice-based research and digital art history operates at the intersection of close playing, critical code studies, and media archeology to articulate the intractable materiality of the mechanical, electrical, computational, and even economic processes that characterize videogames as technical media and ultimately disrupt Arcangel’s narrative of erasure.Cast: Patrick LeMieux

In his talk, Paolo makes a case of the origins of VR culture or rather counterculture. Notably by comparing two traditions of VR: the one concerned about extending cinema and simulating reality and the more psychedelic and visionary one that dominate the earliest research in the 90s and sci-fi.The latter has mostly disappeared and has been demonized in the mid-90, which is a great loss. Paolo will make sure this is brought back for indie developers to inspire from.

Paolo Pedercini | http://molleindustria.org/ Molleindustria | Italy Paolo Pedercini is a game developer, artist and educator. He teaches digital media production and experimental game design at the School of Art at Carnegie Mellon University. Since 2003 he works under the project name “Molleindustria” producing provocative games addressing issues of social and environmental justice (McDonald's videogame, Oiligarchy, Phone Story), religion (Faith Fighter) and labor and alienation (Every Day the Same Dream, Unmanned).

A MAZE. http://a-maze.net A MAZE. / Berlin http://amaze-berlin.de

Twitter http://twitter.com/amazefest Facebook http://facebook.com/amaze.festival

Video recording by SAE http://sae.edu Video editing by Nomi http://www.thenomi.com

“I use bits and pieces of others’ personalities to form my own,” Nirvana frontman Kurt Cobain once wrote, wisely demonstrating that cutting and pasting from pop culture always makes for more intriguing combinations than simply plucking an idea from one's own mind.

I just came back from two jam packed weeks at Transmediale festival, 2017. Morehshin Allahyari and I were involved in a wealth of events, mostly in relation to our #Additivism project. Including: On the Far Side of the Marchlands: an exhibition at Schering Stiftung gallery, featuring work by Catherine Disney, Keeley Haftner, Brittany Ransom, Morehshin and myself.

Photos from the event are gathered here.

The 3D Additivist Cookbook european launch: held at Transmediale on Saturday 4th Feb.

Audio of the event is available here.

Singularities: a panel and discussion conceived and introduced by Morehshin and myself. Featuring Luiza Prado & Pedro Oliveira (A parede), Rasheedah Phillips, and Dorothy R. Santos.

Audio of the entire panel is available here. The introduction to the panel – written by Morehshin and myself – can be found below. Photos from the panel are here.

Alien Matter exhibition: curated by Inke Arns as part of Transmediale 2017. Featuring The 3D Additivist Cookbook and works by Joey Holder, Dov Ganchrow, and Kuang-Yi Ku.

Photos from the exhibition can be found here.

Singularities Panel delivered at Transmediale, Sunday 5th February 2017 Introduction by Morehshin Allahyari and Daniel Rourke   Morehshin: In 1979, the Iranian Islamic revolution resulted in the overthrowing of the Pahlavi deen-as-ty and led to the establishment of an Islamic republic. Many different organizations, parties and guerrilla groups were involved in the Iranian Revolution. Some groups were created after the fall of Pahlavi and still survive in Iran; others helped overthrow the Shah but no longer exist. Much of Iranian society was hopeful about the coming revolution. Secular and leftist politicians participated in the movement to gain power in the aftermath, believing that Khomeini would support their voice and allow multiple positions and parties to be active and involved in the shaping of the post-revolution Iran. Like my mother – a Marxist at the time – would always say: The Iranian revolution brought sudden change, death, violence in unforeseen ways. It was a point, a very fast point of collapse and rise. The revolution spun out of control and the country was taken over by Islamists so fast that people weren’t able to react to it; to slow it; or even to understand it. The future was now in the hands of a single party with a single vision that would change the lives of generations of Iranians, including myself, in the years that followed. We were forced and expected to live in one singular reality. A mono authoritarian singularity. In physics, a singularity is a point in space and time of such incredible density that the very nature of reality is brought into question. Associated with elusive black holes and the alien particles that bubble out of the quantum foam at their event horizon, the term ‘singularity’ has also been co-opted by cultural theorists and techno-utopianists to describe moments of profound social, political, ontological or material transformation. The coming-into-being of new worlds that redefine their own origins. For mathematicians and physicists, singularities are often considered as ‘bad behaviour’ in the numbers and calculations. Infinite points may signal weird behaviours existing ‘in’ the physical world: things outside or beyond our ability to comprehend. Or perhaps, more interestingly, a singularity may expose the need for an entirely new physics. Some anomalies can only be made sense of by drafting a radically new model of the physical world to include them. For this panel we consider ‘bad behaviours’ in social, technological and ontological singularities. Moments of profound change triggered by a combination of technological shifts, cultural mutations, or unforeseen political dramas and events. Like the physicists who comprehend singularities in the physical world, we do not know whether the singularities our panelists highlight today tell us something profound about the world itself, or force us to question the model we have of the world or worlds. Daniel: As well as technological or socio-political singularities, this panel will question the ever narcissistic singularities of ‘I’, ‘here’ and ‘now’ – confounding the principles of human universality upon which these suppositions are based. We propose ‘singularities’ as eccentric and elusive figures in need of collective attention. It is no coincidence that ‘Singularity’ is often used as a term to indicate human finitude. Self-same subjects existing at particular points in time, embedded within particular contexts, told through a singular history or single potential future. The metaphor of the transformative Singularity signals not one reality ‘to come’, nor even two realities – one moved from and one towards – but of many, all dependant on who the subject of the singularity is and how much autonomy they are ascribed. The ‘Technological’ Singularity is a myth of the ‘transhumanists’, a group of mainly Western, commonly white, male enthusiasts, who ascribe to the collective belief that technology will help them to become ‘more than human’… ‘possessed of drastically augmented intellects, memories, and physical powers.’ As technological change accelerates, according to prominent Transhumanist Ray Kurzweil, so it pulls us upwards in its wake. Kurzweil argues that as the curve of change reaches an infinite gradient reality itself will be brought into question: like a Black Hole in space-time subjects travelling toward this spike will find it impossible to turn around, to escape its pull. A transformed post-human reality awaits us on the other side of the Technological Singularity. A reality Kurzweil and his ilk believe ‘we’ will inevitably pass into in the coming decades. In a 2007 paper entitled ‘Droppin’ Science Fiction’, Darryl A. Smith explores the metaphor of the singularity through Afro-American and Afrofuturist science fiction. He notes that the metaphor of runaway change positions those subject to it in the place of Sisyphus, the figure of Greek myth condemned to push a stone up a hill forever. For Sisyphus to progress he has to fight gravity as it conspires with the stone to pull him back to the bottom of the slope. The singularity in much science fiction from black and afro-american authors focusses on this potential fall, rather than the ascent:

“Here, in the geometrics of spacetime, the Spike lies not at the highest point on an infinite curve but at the lowest… Far from being the shift into a posthumanity, the Negative Spike is understood… as an infinite collapsing and, thus, negation of reality. Escape from such a region thus requires an opposing infinite movement.”

The image of a collective ‘push’ of the stone of progress up the slope necessarily posits a universal human subject, resisting the pull of gravity back down the slope. A universal human subject who passes victorious to the other side of the event horizon. But as history has shown us, technological, social and political singularities – arriving with little warning – often split the world into those inside and those outside their event horizons. Singularities like the 1979 Iranian revolution left many more on the outside of the Negative Spike, than the inside. Singularities such as the Industrial Revolution, which is retrospectively told in the West as a tale of imperial and technological triumph, rather than as a story of those who were violently abducted from their homelands, and made to toil and die in fields of cotton and sugarcane. The acceleration toward and away from that singularity brought about a Negative Spike so dense, that many millions of people alive today still find their identities subject to its social and ontological mass. In their recent definition of The Anthropocene, the International Commission on Stratigraphy named the Golden Spike after World War II as the official signal of the human-centric geological epoch. A series of converging events marked in the geological record around the same time: the detonation of the first nuclear warhead; the proliferation of synthetic plastic from crude oil constituents; and the introduction of large scale, industrialised farming practices, noted by the appearance of trillions of discarded chicken bones in the geological record. Will the early 21st century be remembered for the 9/11 terrorist event? The introduction of the iPhone, and Twitter? Or for the presidency of Donald J Trump? Or will each of these extraordinary events be considered as part of a single, larger shift in global power and techno-mediated autonomy? If ‘we’ are to rebuild ourselves through stronger unities, and collective actions in the wake of recent political upheavals, will ‘we’ also forego the need to recognise the different subjectivities and distinct realities that bubble out of each singularity’s wake? As the iPhone event sent shockwaves through the socio-technical cultures of the West, so the rare earth minerals required to power those iPhones were pushed skywards in value, forcing more bodies into pits in the ground to mine them. As we gather at Transmediale to consider ai, infrastructural, data, robotic, or cyborgian revolutions, what truly remains ‘elusive’ is a definition of ‘the human’ that does justice to the complex array of subjectivities destined to be impacted – and even crafted anew – by each of these advances. In his recent text on the 2011 Fukushima Daiichi nuclear disaster Jean-Luc Nancy proposes instilling “the condition of an ever-renewed present” into the urgent design and creation of new, mobile futures. In this proposition Nancy recognises that each singularity is equal to all others in its finitude; an equivalence he defines as “the essence of community.” To contend with the idea of singularities – plural – of ruptures as such, we must share together that which will forever remain unimaginable alone. Morehshin: This appeal to a plurality of singularities is easily mistaken for the kinds of large scale collective action we have seen in recent years around the world. From the Arab Springs, and Occupy Movement through to the recent Women’s March, which took place not 24 hours after the inauguration of Donald Trump. These events in particular spoke of a universal drive, a collective of people’s united against a single cause. Much has been written about the ‘human microphone’ technique utilized by Occupy protesters to amplify the voice of a speaker when megaphones and loud speakers were banned or unavailable. We wonder whether rather than speak as a single voice we should seek to emphasise the different singularities enabled by different voices, different minds; distinct votes and protestations. We wonder whether black and brown protestors gathered in similar numbers, with similar appeals to their collective unity and identity would have been portrayed very differently by the media. Whether the radical white women and population that united for the march would also show up to the next black lives matter or Muslim ban protests. These are not just some academic questions but an actual personal concern… what is collectivism and for who does the collective function? When we talk about futures and worlds and singularities, whose realities are we talking about? Who is going to go to Mars with Elon Musk? And who will be left? As we put this panel together, in the last weeks, our Manifesto’s apocalyptic vision of a world accelerated to breaking point by technological progress began to seem strangely comforting compared to the delirious political landscape we saw emerging before us. Whether you believe political mele-ee-ze, media delirium, or the inevitable implosion of the neo-liberal project is to blame for the rise of figures like Farage, Trump or – in the Philippines – the outspoken President Rodrigo Duterte, the promises these figures make of an absolute shift in the conditions of power, appear grand precisely because they choose to demonize the discrete differences of minority groups, or attempt to overturn truths that might fragment and disturb their all-encompassing narratives. Daniel: The appeal to inclusivity – in virtue of a shared political identity – often instates those of ‘normal’ body, race, sex, or genome as exclusive harbingers of the-change-which-should – or so we are told, will – come. A process that theorist Rosi Braidotti refers to as a ‘dialectics of otherness’ which subtly disguises difference, in celebration of a collective voice of will or governance. Morehshin: Last week on January 27, as part of a plan to keep out “Islamic terrorists” outside of the United States Trump signed an order, that suspended entry for citizens of seven countries for 90 days. This includes Iran, the country I am a citizen of. I have lived in the U.S. for 9 years and hold a green-card which was included in Trump’s ban and now is being reviewed case by case for each person who enters the U.S.. When the news came out, I was already in Berlin for Transmediale and wasn’t sure whether I had a home to go back to. Although the chaos of Trump’s announcement has now settled, and my own status as a resident of America appears a bit more clear for now, the ripples of emotion and uncertainty from last week have coloured my experience at this festival. As I have sat through panels and talks in the last 3 days, and as I stand here introducing this panel about elusive events, potential futures and the in betweenness of all profound technological singularities… the realities that feel most significant to me are yet to take place in the lives of so many Middle-Easterners and Muslims affected by Trump’s ban. How does one imagine/re-imagine/figure/re-figure the future when there are still so many ‘presents’ existing in conflict? I grew up in Iran for 23 years, where science fiction didn’t really exist as a genre in popular culture. I always think we were discouraged to imagine the future other than how it was ‘imagined’ for us. Science-fiction as a genre flourishes in the West… But I still struggle with the kinds of futures we seem most comfortable imagining. THANKS   We now want to hand over to our fantastic panelists, to highlight their voices, and build harmonies and dissonances with our own. We are extremely honoured to introduce them: Dorothy Santos is a Filipina-American writer, editor, curator, and educator. She has written and spoken on a wide variety of subjects, including art, activism, artificial intelligence, and biotechnology. She is managing editor of Hyphen Magazine, and a Yerba Buena Center for the Arts fellow, where she is researching the concept of citizenship. Her talk today is entitled Machines and Materiality: Speculations of Future Biology and the Human Body. Luiza Prado and Pedro Oliveira are Brazilian design researchers, who very recently wrapped up their PhDs at the University of the Arts Berlin. Under the ‘A Parede’ alias, the duo researches new design methodologies, processes, and pedagogies for an onto-epistemological decolonization of the field. In their joint talk and performance, Luiza and Pedro will explore the tensions around hyperdense gravitational pulls and acts of resistance. With particular focus on the so-called “non-lethal” bombs – teargas and stun grenades – manufactured in Brazil, and exported and deployed all around the world. Rasheedah Phillips is creative director of Afrofuturist Affair: a community formed to celebrate, strengthen, and promote Afrofuturistic and Sci-Fi concepts and culture. In her work with ‘Black Quantum Futurism’, Rasheedah derives facets, tenets, and qualities from quantum physics, futurist traditions, and Black/African cultural traditions to celebrate the ability of African-descended people to see “into,” choose, or create the impending future. In her talk today, Rasheedah will explore the history of linear time constructs, notions of the future, and alternative theories of temporal-spatial consciousness.      

The Voder was the worlds first voice electronic synthesizer. In 1939 Homer Dudley working at Bell Telephone Laboratories in Murray Hill, New Jersey began to publicly demonstrate the Voder, the first electronic device that could generate continuous human speech electronically.

The Voder was designed for the 1939 World Fair in New York as a showcase of the advanced work being done at Bell Laboratories. It was a manually operated system requiring training, ten finger, two foot paddles, a knee leaver and arm switch to generate sounds. The sounds quality actually was better than most voice synthesizers all the way up to the late 1990s.

This is audio from a radio program recorded live during the broadcast.

From early on in math class, you’re taught that you cannot divide a number by zero. On paper, it doesn’t work out. Do it electronically, and you’ll get an error message. http://goo.gl/K1HGYC

Try do divide by zero with a mechanical calculator and, well, that’s where things get interesting.

YouTuber MultiGlizda recorded the chaos that happens within a Facit ESA-01 mechanical calculator when it’s asked to divide a number by zero. With the case off, viewers are able to see the fascinating inner workings of these old machines in operation, and also demonstrate the dicey nature of the number zero and its division.

YouTube channel numberphile explains that division is based on subtraction; that is, if you want to divide a number by a second number, you just subtract second number from the first number over and over again. So, 20 divided by 5 would be 20 minus 5, which equals 15, minus 5 which equals 10, minus 5 which equals 5, minus 5 which equals 0. Since it took four subtractions to get to zero, the answer is 4.

It’s a bit of a convoluted way of explaining division, but it helps us understand the video below. You see, when you divide 20 by 0, you’ll end up subtracting 0 from 20 an infinite amount of times. And in the case of the Facit ESA-01 mechanical calculator, what winds up happening is the machine attempts to complete the infinite number of operations it believes is necessary to complete the division.

At Facebook’s F8 conference in Silicon Valley, David Marcus, the company’s head of messaging, proudly demonstrated its new suite of chatbots. Users can now get in a conversation with the likes of CNN, H&M, and HP, and ask for help shopping, or the latest headlines.

The 3D Additivist Manifesto is a finalist for Screengrab 7 International Media Arts Award (Dec 2015 - Feb 2016)We’re excited and honoured to be among finalists for #Screengrab7: International Media Arts Award, on the theme of #Resistance:Screengrab7 contains works that not only interrogate the status quo by resisting the doctrine of their inevitability but also demonstrate that these entrenched systems of control are themselves resistant to change. Resistance can be viewed as both a liberating force and an agent of destabilisation. Resistance can disrupt the flow of information, bend the circuitry, jam the signal and hack the network.The video is on show at Pinnacles Gallery, Townsville, Australia, through to February 28th 2016

prostheticknowledge:

3D Printshow - London Last Saturday I had the opportuniry of attending this event and get a first hand look at the industry, as well as attending conferences on the subject related to the arts. A good video round-up of what was there can be found in the video embedded below, put together by ExplainingTheFuture: As well as all the machinery and service demonstrations, there was a conference on digital fabrication entitled ‘A New Medium For The Arts’ I’ve put some impressions together which you can read below. Keep reading

"If I jump on a Goomba, it certainly dies," responds Mario in his new robo-voice. As the video explains, however, this demonstration is about content, not form. It's actually about quite a bit more than even language.

Does this key made using a 3D printer compromise your security? This video demonstrates a plastic bump key for the ABUS E20/E30 6-pin tumbler lock.