Meta is testing a new subscription service for Instagram that offers users "exclusive" features like the ability to post Stories for longer than 24 hours. Screenshots promoting "Instagram Plus" have been spotted by users in the Philippines and Mexico in recent days.
According to screenshots shared by social media consultant Matt Navarra, a subscription to Instagram Plus comes with a number of Story-focused features not otherwise available to Instagram users. This includes the ability to create multiple "audiences" for Stories posts, see info about who has rewatched your Story, search the list of people who have viewed your Story, preview Stories posts, extend Stories longer than 24 hours and create "spotlight" Stories. It also mentions something called “super hearts” for reacting to Stories.
A spokesperson for Meta confirmed the test to Engadget, saying that Instagram Plus is currently available in “a few countries,” but didn’t say which. A dedicated help page on Meta's website says that this feature is not available to everyone right now.” The spokesperson confirmed the feature list shown below, and added that “preview” would allow people to see some of another user’s Story without “showing up as a viewer” and that Stories posts could be extended for an additional 24 hours. “Our hope from these tests is to understand what’s most valuable to people in a premium feature set,” the spokesperson said.
A list of features that come with Instagram Plus subscriptions.
Threads
It seems that early versions of the service are priced fairly cheaply, with the prices in the Philippines landing at 65 PHP (about $1.07 in USD) a month and in Mexico at $39 MXN (about $2.15 in USD) a month. Meta is also offering prospective users a free one-month trial of the service.
The idea seems to be closely modeled after Snapchat+, which also offers bonus features to the app's power users. Launched in 2022, the service has racked up more millions of subscribers and has become a significant driver of non-advertising revenue for the company.
Now, Meta is looking to boost its subscription revenue too. The company said earlier this year it would test new types of subscriptions, including those focused on AI features. Elsewhere, Meta has also been pushing its Meta Verified subscriptions more aggressively. Over the last several weeks, I've repeatedly seen promotions for discounted Meta Verified plans with an initial one-month trial starting at $1 (the cheapest Meta Verified plans typically start at $14.99/month). The company has also recently tested link-sharing features in Instagram captions for subscribers and limits on link-sharing on Facebook for non-subscribers.
This article originally appeared on Engadget at https://www.engadget.com/social-media/meta-is-testing-an-instagram-plus-subscription-service-with-exclusive-features-181215180.html?src=rss
Match Group and its subsidiary OkCupid has finally settled a lawsuit with the Federal Trade Commission that dates back to its alleged sharing of user data back in 2014. According to the lawsuit, the FTC accused OkCupid of inappropriately sharing personal user data that includes photos and location info with a third party company, Clarifai, which offers AI-powered software for uses like facial recognition and content moderation.
According to the FTC, OkCupid's privacy policy at the time noted that the company wouldn't share a user's personal information with others, except for some cases including "service providers, business partners, other entities within its family of businesses." However, the lawsuit accused OkCupid of sharing three million photos of its users to Clarifai, which the FTC claims is a "unrelated third party" that didn't fall under the allowed entities. On top of that, the lawsuit alleged that OkCupid didn't inform its users of this data sharing, nor give them a chance to opt out.
"While we do not admit any wrongdoing, we have settled this matter with the FTC with no monetary penalty to resolve an issue from 2014 and move forward," an OkCupid spokesperson told Engadget, adding that the allegations don't reflect how OkCupid operates today. "Over the years, we have further strengthened our privacy practices and data governance to ensure we meet the expectations of our users."
Moving forward, the settlement would "permanently prohibit" Match Group, which owns OkCupid, and Humor Rainbow, which operates OkCupid, from misrepresenting what kind of personal information it collects, the purpose for collecting the data and any consumer choices to prevent data collection. Even after the 2014 incident, OkCupid was found with security flaws that could've exposed user account info but, which were quickly patched in 2020.
This article originally appeared on Engadget at https://www.engadget.com/cybersecurity/okcupid-settles-ftc-case-on-alleged-misuse-of-its-users-personal-data-175159228.html?src=rss
I love fried chicken as much as the next person. Probably more. So when KFC Brazil announced it was offering to customize your actual clothes with a fabric texture inspired by its iconic crispy coating, I had questions. Not the skeptical kind. More the “can they do that with a tote bag, and if so, when?” kind.
The concept is called the KFC Wardrobe, created by Lola\TBWA Brasil. The logic behind it is almost too simple to ignore. KFC’s most recognizable feature, that golden, seasoned crust Colonel Sanders spent a lifetime protecting, shares a lot of DNA with what fashion has always celebrated: something original, textured, and completely impossible to replicate. The KFC Wardrobe takes that parallel seriously and makes it completely, earnestly literal.
Designer: Lola\TBWA Brasil
Here’s how it worked: buy a medium bucket of KFC fried chicken, bring your own clothing to the brand’s flagship store in São Bernardo do Campo, and show your receipt. Eligible items included jackets, coats, jeans, skirts, bucket hats, tote bags, and waist bags. Leave them behind, and within three weeks, they’d come back to your door with a fabric treatment that mimics the texture of fried chicken breading applied to the surface. Crunchier. More textured. Somehow more interesting than before.
The promotion ran for just three days, from March 27 to 29, which makes “limited edition” feel like an understatement. It kicked off during Design Week at BAFU, described as one of São Paulo’s most prominent and respected creative hubs. KFC set the whole thing up as Colonel Sanders’ atelier. An atelier. For a fried chicken brand. I had to read that phrase twice before I could fully commit to it, and then I decided it was actually one of the most correct things anyone has said about fashion in years.
It’s worth noting that KFC has been leaning into fashion for a while now, and with increasing conviction. KFC Australia dropped a streetwear collection during Australia’s Fashion Week in 2023. KFC UK has been particularly active, releasing a ten-piece distressed leather range with Aries and collaborating with designer Sinead Gorey on a London Fashion Week show, both in 2025. At this point, the brand has clearly decided it belongs at the table, and the fashion world has quietly and somewhat bafflingly agreed.
But the KFC Wardrobe does something the earlier drops didn’t. It doesn’t ask you to buy a new KFC product. It asks to work with what you already have. That’s a fundamentally different creative stance. Most brand-adjacent fashion moves are wearable advertisements dressed up in aesthetic language. This one is a genuine collaboration with your existing wardrobe, and that’s more interesting and, honestly, a lot more respectful. KFC isn’t asking you to represent the brand. It’s asking to be part of your look, on your terms.
Fernanda Harb, KFC Brazil’s marketing director, described the initiative as a way to “expand the relationship and closeness between the brand and its customers beyond just food.” Lola\TBWA made that statement mean something real by developing an actual textile treatment, not a printed graphic or an embroidered logo, but a physical crunch-inspired texture applied to fabric. The crispy coating became the design language. That’s a design decision, not just a marketing one, and the difference shows.
The whole thing works because the metaphor at its center is genuinely earned. Fashion has always celebrated what can’t be copied. So has Colonel Sanders, for decades. You can eat KFC your whole life and never come close to the recipe. The KFC Wardrobe takes that same mystery and stitches it into your denim jacket, and that’s a creative idea worth wearing more than once.
KFC Brazil committed to the bit fully and without apology. And now there are people walking around São Paulo in textured, crunch-finished jackets, wearing their taste on their sleeves, quite literally. Fashion has come full circle, and I’ve never been this hungry for what comes next.
Over the last 50 years, Apple reimagined personal computers, catalyzed the era of the smartphone, enlarged an iPhone and called it the iPad and garnered a strong position in wearable tech through its Watch series and its AirPods. It also popularized software and services like its App Store, FaceTime, iCloud, iMessages and many more. For a lot of us, the first time we pinched-to-zoom on a photo was likely on an iPhone.
However, Apple gives and it takes away. Things have had to change, be removed and consumers have to move on to whatever's new. For better or worse, the weight of Apple's influence has led to entire product categories following suit. Or, more typically, there's resistance, complaining and then… following suit. With the benefit of hindsight, most of these cases are examples of Apple seeing where technology was going and getting ahead of a transition that would have been inevitable. Often, these transitions have caused short-term pain for some, but time has proven Apple (mostly) correct about dropping older tech.
As Sir Arthur Quiller-Couch once said: murder your darlings. Here are some of the darlings we’ve lost over the years.
The death of the disk drive (1998)
This is a two-parter. The iMac G3 marked Steve Jobs' return. The colorful all-in-one Mac was a new start in many ways. In 1998, Apple ditched the standard ports and myriad cable types of personal computers, going all in on USB and a little-known thing called the internet. (In fact, that’s what the ‘i’ in iMac stands for.)
In doing so, it also ditched the 3.5-inch floppy disk drive — although it did have a read-only optical disk drive. Even with sluggish internet and USB transfer speeds at the time, the convenience was plain to see and it led to a decade of thumb drives of ever-increasing storage limits. High-capacity alternatives to the floppy disk, like the Zip disk and even Minidisc, attempted to bridge the gap, but never gained the widespread traction and adoption of the original disk drive. But flash drives and, later, internet-based file storage quickly made them obsolete anyway. Apple was just a little early with its dismissal.
Portable music players (2007)
Despite Apple’s iPod being the de facto music player at the time, it was supplanted by the company’s own biggest hit: the iPhone. At its peak, the iPod made Apple the zeitgeisty tech company it is today. It dominated the MP3 player market, and by 2006, iPods were responsible for 40 percent of the company’s revenue. And that was before the era of Apple including a free U2 album with every iTunes account.
When the iPhone launched in June 2007, it was swiftly followed by the iPod Touch in September. This was the iPhone without the phone part — indicating how the company saw the future of music listening. You didn’t need an iPod if you already had an iPhone in your pocket. It’s the best example of Apple cannibalizing a product that defined a decade with something far more impressive and, eventually, more successful.
It was a slow death. Ignoring the countless MP3-playing rivals, (RIP Zune), Apple dropped the classic iPod in 2014. It soon did the same to the tiny iPod nano and iPod shuffle in 2017. Finally, the company discontinued the iPod Touch in May 2022.
The physical smartphone keyboard (2007 plus change)
Unsplash / Thai Nguyen
When the iPhone’s capacitive screen and touch keyboard landed, there was a learning curve. Moving from physical keys (whether it was a 9-key alphanumeric version or the BlackBerry’s QWERTY experience) to a touch screen, especially on the tiny 3.5-inch panel of the first iPhone, wasn’t easy.
But it was the future. Physical keyboards took up physical space on devices — especially as those screens grew and grew. The adoption of touch keyboards sped up, thanks to third-party keyboard apps on Android, like Swype, SwiftKey and many others, introducing different input methods, smarter predictive text, typing algorithms and even touch heatmaps. Software keyboards were intrinsically more versatile, supporting multiple languages, infinite key arrangements and eventually emoji galleries. A colon-ellipsis smiley soon didn’t hit the same.
The death of the disk drive, part 2 (2008)
The MacBook Air, introduced by Steve Jobs in 2008, was famously pulled from a manila envelope to demonstrate its ultraportable design. To achieve that slimness, it had to ditch the internal optical drive entirely, making it the first MacBook without one. That move kickstarted an era of ultraportable laptops.
It was a major break from what laptop users were used to, and Apple tried to offer people some options. Apple introduced "Remote Disc," a feature which allowed the Air to wirelessly use the optical drive of a nearby Mac or PC, and offered an external USB SuperDrive as an optional accessory. (I've used mine exactly once since I bought it in 2013.)
While it was considered underpowered compared to Windows competitors, the original MacBook Air set a new design standard for the industry. It positioned Apple’s Macs for a future of App Store software installations, faster internet connectivity, and the rise of streaming media, cloud storage, and the rest. Apple’s MacBook Pro and MacBooks eventually followed suit, ditching optical drives in 2012.
Adobe Flash (2010)
Apple
In the early days of the iPhone, Apple famously refused to support Adobe Flash. This was in the early 2000s, too, when much of the web was built with Flash for animations and video support. The iPhone and iPad notably lacked support, creating a fractured browsing experience for years.
In April 2010, just as the first iPad arrived, Steve Jobs published his "Thoughts on Flash" open letter, criticizing its poor security and a lack of touch-friendliness. Many Flash games and interfaces interacted with the mouse cursor's precise position, something that was invisible on the touchscreen iPhone.
It was also a calculated move. By denying Adobe access to the rapidly growing iOS user base, Apple forced developers to choose between sticking with the aging Flash or embracing open standards like HTML5. Also, by making Flash-based games and tools incompatible, it nudged those developers (and iPhone users) toward the App Store for those very games and tools (and more). There, Apple could curate and monetize those creations.
In a move described by Apple marketing executive Phil Schiller as "courage,” nixing the headphone socket ended up becoming the biggest headline to come from the iPhone 7 launch in 2016. Every flagship iPhone since has lacked the jack, with the most recent iPhone to include it being the original iPhone SE.
To make the change more palatable, Apple bundled a Lightning-to-3.5mm adapter (expect more dongle chat later) with the iPhone 7, 8 and X. In-box headphones also swapped from the typical jack to Lightning. Naturally, this meant you couldn’t charge the phone while you listened to music, unless you already had a pair of wireless headphones.
Of course, this move was ultimately instrumental in making true wireless earbuds ubiquitous. While Apple wasn’t remotely the first company to introduce wireless earbuds (and then headphones), the removal of the headphone jack undoubtedly sped up adoption. Pour one out for the Bragi Dash, the Jabras, the Jaybirds of this world.
Conveniently, alongside the aforementioned iPhone 7, Apple announced the AirPods. Features like one-tap setup and automatic pairing brought the convenience people expected of Apple and put it into a tiny white case.
Despite early resistance and "bragging" from rivals who clung onto the headphone jack, at this point, the socket is mostly confined to cheaper smartphones or phones aimed at audiophiles (hi, Sony) or mobile gamers (ASUS ROG).
Eventually, the iPad Pro also lost its headphone jack, and the rest of the company's tablets followed. The only non-Mac device to keep the jack? The iPod Touch, which had one until its discontinuation in 2022.
Bespoke ports (2016)
Engadget
2016 was the year of donglegate. Apple’s MacBook Pro redesign that year was another drastic shift in the laptop's history. Chasing ever-thinner profiles and less port fuss, Apple stripped away nearly every legacy connector that professionals relied on. This was particularly jarring after the previous-generation MacBook Pro (2015) was often cited as the peak of utility, with a MagSafe charging port, two Thunderbolt 2 ports, two USB-A ports, not to mention a full-size HDMI port and an SD card slot.
Those were replaced with four (or on the cheapest 13-inch MBP only two!) Thunderbolt 3 USB-C ports and a headphone jack. For power users (like some Engadget editors), it demanded dongles (possibly multiple ones) in order to connect your USB-A thumb drive, wired internet, SD cards, external screens and well, at that point, pretty much everything. Many were particularly furious with the loss of the MagSafe charging connector. Of course, this also meant that one of those USB-C ports would be used primarily to charge the MBP. This sped up the availability of USB-C peripherals and accessories — perhaps because everyone was sick of carrying around so many dongles and hubs — but we still have USB-A devices. HDMI is everywhere. I still have SD Cards.
Eventually, Apple course-corrected itself. The 2021 MacBook Pro redesign reintroduced the SD card reader and HDMI port, and even MagSafe returned, freeing up a USB-C port.
This article originally appeared on Engadget at https://www.engadget.com/big-tech/50-years-of-apple-pushing-tech-forward-for-better-or-worse-170025862.html?src=rss
Uber has acquired Blacklane, a Berlin-based startup that offers chauffeur services and bookings through its app, with plans to expand further into the luxury travel industry. Blacklane, founded in 2011, acts as a liaison between independent local chauffeur services and travelers looking for a more premium ride. According to Uber, the deal is subject to regulatory approvals but is expected to close by the end of 2026.
"This partnership marks a significant milestone in Blacklane’s next chapter and is a powerful step-change in introducing our service to new markets globally," Jens Wohltorf, founder and CEO of Blacklane said in a press release. Uber didn't disclose the acquisition details and it's not clear if Uber Elite and Blacklane will compete against each other.
Currently, Blacklane is available in at least 500 cities across more than 60 countries. Besides on-demand chauffeur hailing, the startup offers long-distance rides from city to city, airport pickup with flight tracking, and by-the-hour bookings. Uber's acquisition of Blacklane comes several weeks after it launched Uber Elite as an invite-only service for its "luxury ride experience." Besides Uber Elite and Blacklane, another luxury hailing service has recently entered the US market. Earlier this month, Wheely announced its US debut with New York City as its first location, with five others to be announced in the coming years. Blacklane also currently operates in New York City, along with several dozen other cities in the US.
This article originally appeared on Engadget at https://www.engadget.com/transportation/uber-to-acquire-berlin-based-chauffeur-hailing-app-to-ramp-up-its-luxury-travel-efforts-163855603.html?src=rss
Heat is one of the most underestimated side effects of climate change, particularly in cities where built-up surfaces trap warmth long after the sun has gone down. Air conditioning has become a near-necessity in many parts of the world, yet millions of people can’t access it, either because they can’t afford it or because they simply have no home to cool. For them, that absence can be genuinely dangerous.
Cool Retreats is a direct response to that reality. Rather than a single structure, it’s a collection of four different solar-powered public pavilions, each built to provide free cooling, shade, and a place to rest to anyone who needs it. The project is specifically aimed at public parks and open areas, particularly in cities where those who need relief the most often have the fewest options.
The Solar Ceiling Fan Pavilion is the most straightforward of the four, an open-frame structure with tilted solar panels across its roof and a row of ceiling fans hanging beneath. The logic is elegantly direct: sunlight hits the panels, the panels power the fans, and the space below stays cool. On cooler days, when the fans aren’t running, the surplus electricity feeds back into the local power grid.
The Solar Breeze Oasis Pavilion scales things up with a prefabricated, modular, octagonal steel structure that can be installed as a single unit or linked with others to form larger configurations. Inside, five solar-powered ceiling fans circulate air above seating areas and worktables, and solar-powered outlets let people charge their devices. The rooftop solar array also collects rainwater, which can be stored and used within the park.
Cool Spots are the most self-contained of the group. Each cylindrical module sits on a circular concrete base, with four large benches arranged around a central table and a solar-powered ceiling fan overhead. Built-in night lights and power ports extend their usefulness well into the evening, and the modules can run off batteries charged by their own solar arrays or pull power from the local grid as needed.
The Cooling Cone is the most visually striking of the four, a stacked, louvered structure that tapers into a cone at the top, where a solar panel powers a ceiling fan mounted just below it. The partially enclosed perimeter, made up of curved, slotted panels, provides both shade and ventilation. It’s the kind of structure that draws you in from the outside and keeps you comfortable once you’re there.
What ties all four together is their shared philosophy: cooling public space shouldn’t require a power bill, complex infrastructure, or permanent construction. Each structure is prefabricated, recyclable, and solar-powered, designed to go where it’s needed most and run without ongoing costs. It’s a reminder that public design can be both socially conscious and sustainable at the same time, without one ever having to come at the expense of the other.
Microsoft's Copilot is getting even better at research thanks to a new feature that combines the power of both OpenAI's ChatGPT and Anthropic's Claude. In a blog post announcing Copilot Cowork's availability, Microsoft debuted the Critique feature that will be used in Microsoft 356 Copilot's Researcher tool. Unlike the standard Copilot, Researcher is designed to tackle more complex tasks with multiple steps.
Now, Researcher is getting even better at that with the Critique feature that uses GPT responses, which are then refined by Claude. In a blog post, Microsoft said that, "this architecture creates a powerful feedback loop that delivers higher-quality results across factual accuracy, analytical breadth, and presentation," adding that Researcher's process is similar to what you see in "academic and professional research settings." Microsoft claims the upgrade scores somewhat higher (compared to the most recent Perplexity Deep Research models) on the Deep Research Accuracy, Completeness, and Objectivity benchmark. On its own, Anthropic has a Research feature that can use multiple Claude agents to provide a comprehensive response to more complex requests.
If you prefer doing research with a little more autonomy, Microsoft also added the Model Council feature that's available as an alternative option for Researcher. With Model Council, you'll get side-by-side responses from both Anthropic and OpenAI, with a report that shows where the models agree and disagree. Both features are currently available in Microsoft 365 Copilot's Frontier program, which acts as a early access space for the company's AI innovations.
This article originally appeared on Engadget at https://www.engadget.com/ai/microsofts-research-assistant-can-now-use-multiple-ai-models-simultaneously-154558628.html?src=rss
Productivity apps have become one of the more ironic problems of modern work life. The tools meant to keep us focused are apps that live on the same devices responsible for most of our distractions. Switching to a timer app means unlocking a phone, and unlocking a phone means notifications, messages, and a dozen other things competing for your attention before you’ve even started the clock.
Thomas Curnow of Tomato Clocks had that contradiction in mind when he created the Roma Mk. 1, a purely analog study timer built around the Pomodoro Technique. The method is simple and widely used, working in focused intervals broken up by short rests, but it works best when the timing happens completely off-screen. The Roma Mk. 1 is designed to make that as easy and satisfying as possible.
At the center of the design are two analog gauges, one for tracking a work interval and one for the break that follows. There are no menus to navigate and no app to open. You set the dials, get to work, and let the timer do the rest. The whole interaction takes a second, and that simplicity is precisely the point. It keeps the focus on the task at hand rather than the device managing it.
The build quality reinforces that philosophy. Each unit is laser-cut from premium Australian timber and assembled by hand in Melbourne, giving it a warmth and solidity that’s hard to find in mass-produced productivity gadgets. The brass switches used for input have a tactile snap to them, the kind of satisfying physical feedback that makes the act of starting a session feel deliberate rather than incidental.
It’s the sort of object that belongs on a desk permanently, not tucked into a drawer. A wooden timer with analog dials sits comfortably alongside notebooks, pens, and other tools that don’t demand your attention when you’re not using them. That’s a quality digital devices rarely manage, and it matters more than it might seem when you’re trying to build a consistent work habit.
The Pomodoro Technique has been around since the late 1980s, and the basic premise hasn’t changed much since then. What has changed is the environment in which most people try to use it. Screens are everywhere, and the pull of notifications is relentless. A dedicated physical timer doesn’t connect to the internet, doesn’t send alerts, and doesn’t tempt you with anything outside the task you’re working on.
The Roma Mk. 1 is currently available for pre-order at $145, which puts it well above a basic kitchen timer but firmly in the range of a thoughtful, long-term desk tool. It’s handmade, uses real materials, and is designed to last rather than be replaced. For anyone who has tried and failed to stay off their phone during a work session, a well-made analog alternative might be worth far more than what it costs.
The concept is simple enough to say out loud: a computer mouse wrapped in walnut veneer. But when you actually see what designer Eslam Mohammed has put together with the Arche One, the simplicity of that sentence falls apart quickly. This is not a novelty item with a wood sticker slapped on top. It is a full rethinking of what a peripheral can be, and it is entirely a concept, which somehow makes it more compelling, not less.
Mohammed built the Arche One as an exploration, not a product pitch. He wanted to strip out the plastic aggression that defines most tech hardware and replace it with something that feels genuinely crafted. The result is a mouse with a long arching tail, a low organic body, and walnut veneer wrapped around every curve without shortcuts. It sits somewhere between a sculptural object and a piece of furniture, and I keep going back to look at it because it makes me realize how low the bar has been set for peripheral design for decades.
The gaming mouse world in particular has turned aggressive posturing into an aesthetic. Angular bodies, RGB lighting, the visual vocabulary of speed and dominance. Even the more restrained productivity mice from major brands feel like they were designed to be forgotten, not noticed. What Mohammed is proposing, even if only on a screen, is a different brief entirely: make it feel like an object worth keeping.
Form came first in his process. The silhouette reads almost like a comma, or an outstretched hand resting on fine wood. The scroll wheel is machined metal, knurled and precise, sitting flush against warm grain. The underside carries a 26,000 DPI optical sensor, Bluetooth 5.3, USB-C connectivity, and a lithium-polymer battery rated at six months. The specs are serious. The material is not a gimmick dressed up as design. It is the design, or at least inseparable from it.
The production approach is worth pausing on because it says something about how contemporary 3D design is evolving. Mohammed used three separate software programs simultaneously rather than forcing a single tool to carry everything. Houdini handled the cutting simulation. Cinema 4D managed the flow of the veneer layers. Blender took care of modeling and animation, and everything went through Octane for rendering. Each tool doing exactly what it was built for, nothing more, nothing less. The result is cleaner, and the renders have a photographic weight that makes you forget you are looking at a concept. The grain catches light the way real wood does. The curves feel like they have mass.
The Arche One is imagined as a limited run of 300 units, each individually finished in hand-applied satin oil, with the note that grain pattern will vary from piece to piece. That last detail is the one that gets me. In a peripheral market built on identical units rolling off assembly lines, the idea of a mouse where no two pieces look exactly the same is almost radical. It borrows the language of craft objects and heirlooms, the kind of things people keep, pass on, and genuinely care about. That is a different conversation than the one tech hardware usually wants to have.
I think about my own desk, and I think most people have at some point looked down at their mouse and felt nothing. It is a tool, purely functional, there to be used and eventually discarded. The Arche One is a question about whether that has to be true. Whether the relationship between a person and the objects they touch every day for hours at a time could carry some weight, some intention, some warmth. That is not a trivial thing to ask.
Maybe this mouse never gets made. That is fine. Concepts do not need to ship to matter. What Mohammed has done here is demonstrate, convincingly and beautifully, that someone asked the right question. The answer is still being worked out. But the asking is more than enough.
Samsung is preparing to launch the Galaxy Z Fold 8 Wide, a foldable smartphone that pushes the boundaries of mobile design. With its unique 4:3 aspect ratio, this device offers a tablet-like experience in a compact, portable form. By introducing this innovative design, Samsung aims to solidify its position as a leader in the foldable […]
