Why OTF Knives are Objectively Better than Folding Knives

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Speed settles a lot of arguments. Ask anyone who carries a knife daily and they’ll eventually get around to the deployment question: how fast can you get the blade out, how cleanly, and with how many fingers occupied. Folders demand a pivot, a swing, and depending on the locking mechanism, a deliberate wrist motion before the blade is truly ready. OTF knives skip all of that. One thumb movement sends the blade straight out the front in a single linear motion, and it locks automatically. There’s no arc, no fiddle factor, and no grip position the hand needs to be in before deployment works. That mechanical simplicity is a genuine advantage that compounds across every use case, whether it’s emergency cutting, utility tasks, or the kind of one-handed operation that makes a real difference when your other hand is occupied.

The A3 Delta, the A5 Spry, and the Spry Mini all operate on that same core principle: forward, fast, locked. Tekto’s folder range earns its place as refined everyday carry, but the OTF models are engineered around the reality that access speed and single-hand operation are non-negotiable for a tool you actually rely on. The A5 Spry, carrying an S35VN blade in a precision-contoured handle, represents the tactical end of that thinking. The A3 Delta Mini takes the same OTF discipline and packages it into a compact, California-legal form. The through-line across the range is a commitment to the mechanism itself, treating the out-the-front action as a feature worth designing around, a mechanical conviction rather than a marketing angle.

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Single-Motion Deployment Changes the Entire Calculation

The A3 Delta

The core mechanical difference between a folder and an OTF comes down to the number of steps involved in getting the blade ready. A folder, even a fast one with ball bearings, requires the user to find a stud or flipper, apply pressure in a specific direction to initiate a pivot, and wait for the lock to engage. That sequence takes a fraction of a second for a practiced user, but it’s still a sequence. An OTF knife reduces that sequence to a single linear push. The thumb finds the switch and moves it forward; the knife does the rest. This removes the pivot, the swing, and the lock engagement from the user’s list of responsibilities.

This single-motion system translates to a higher degree of real-world reliability. When one hand is busy holding something in place, there’s no need to adjust your grip or use a second hand to get the blade out. The best OTF designs place the deployment switch exactly where the thumb naturally falls, making the act of gripping the knife and deploying it part of the same fluid motion. It’s a small ergonomic detail that makes a huge operational difference, turning the knife into an extension of the hand in a way a folder’s more complex mechanics can’t quite match.

Grip Position Has No Bearing on Whether the Knife Opens

The A5 SPRY

Folders have a specific vulnerability that rarely gets acknowledged: they require a deliberate, practiced grip to open reliably. The thumb has to find its target, and the wrist needs to be oriented correctly for the blade to swing out without obstruction. In calm, controlled conditions, this is a minor point of practice. But in a hurry, or when wearing gloves, or when your hands are wet or cold, that small dependency becomes a legitimate failure point. OTF knives are functionally immune to this problem. Because the blade travels on an internal, linear track, the mechanism doesn’t care how the handle is being held.

This operational consistency is one of the strongest arguments for the OTF format, and it becomes even more apparent in smaller knives. Compact folders can be notoriously fiddly, with tiny thumb studs and short handles that are hard to manage. A compact OTF, however, deploys with the same authority as its full-sized counterpart. Models with blade lengths under two inches still offer an excellent blade-to-handle ratio and a full, confident grip, proving that the mechanism scales down without losing its inherent mechanical advantage.

Retraction Is as Fast as Deployment, and That Actually Matters

The A5 SPRY MINI

Closing a folding knife is a deliberate act. You have to consciously disengage the liner lock, frame lock, or button lock, then carefully fold the blade back into the handle, making sure your fingers are clear. On a well-made folder, it’s a secure process, but it requires your full attention. An OTF knife retracts with the same speed and simplicity as it deploys. A single pull on the switch sends the blade back into the handle, where it locks just as securely as it does when open. The knife is either fully engaged or fully stowed, with no hazardous in-between state.

This bidirectional action has practical value in any scenario where a tool needs to be put away quickly and safely. It also introduces a level of safety that folders can’t offer. A half-closed folder is a risk; a retracted OTF is a mechanically secured object. The confidence this provides is tangible for anyone who uses their knife frequently throughout the day. The crisp, reliable action of modern OTF mechanisms, both in and out, is a testament to how mature the engineering has become.

The Slim Profile Comes Without Mechanical Trade-offs

The A3 DELTA MINI

Many thin folding knives make compromises to achieve their slim profile. The pivot area is often a point of weakness, and a thin handle can make a strong locking mechanism difficult to integrate. OTF knives, by their very nature, are built on a linear chassis. The internal mechanism runs along the length of the handle, not across its width. This means the design can be inherently slim and narrow without sacrificing the strength of the lock or the reliability of the deployment. Thinness is a natural byproduct of the OTF’s structure, not an afterthought achieved by removing material.

This structural advantage allows for knives that are remarkably easy to carry while still being built from robust, high-performance materials. It’s common to see OTF models with a handle width of less than half an inch that are still equipped with premium steels like S35VN, rated for exceptional hardness and edge retention. These builds demonstrate that a slim, pocket-friendly profile and genuine, hard-use strength are not mutually exclusive concepts. The OTF format delivers both, proving you don’t have to choose between a comfortable carry and a capable tool.

The Blade Style Options Are No Longer an OTF Limitation

One of the oldest criticisms leveled against OTF knives was a perceived lack of versatility in blade shapes. For a long time, the market was dominated by a few basic drop point or dagger styles. That criticism is now completely outdated. The modern OTF category has evolved to a point where it offers the same full spectrum of blade geometries available in the high-end folder market. Whether you need the piercing capability of a tanto, the slicing efficiency of a drop point, or the specialized profile of a dagger, there is an OTF knife built for the task.

This expansion of options has effectively eliminated the last significant advantage that folders held. It is now common for a single, popular OTF model to be offered in multiple blade configurations, and even in both full-size and compact versions. This allows users to select the precise tool they need without having to abandon the superior mechanical advantages of the OTF platform. Blade selection used to be a compelling reason to stick with a folder; today, it’s just another area where OTF knives have achieved, and in some cases surpassed, parity.

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The post Why OTF Knives are Objectively Better than Folding Knives first appeared on Yanko Design.

Furniture That Borrows Its Bones From Architecture

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Most furniture design conversations orbit the same fixed points: material choices, color palettes, the eternal debate between form and function. SeongJin Hwang isn’t really interested in that conversation. With the YY Series, his studio TPGF takes a hard left turn and asks a more structural question: what if furniture borrowed its logic directly from architecture?

It sounds like a thought experiment, but the result is a collection of pieces that feel genuinely original. The series consists of two objects, the Y1 side table and the Y6 lounge chair, both built around what Hwang calls a “Y structure,” a truss-inspired configuration that mirrors the load-bearing frameworks found in bridges and buildings. The name isn’t arbitrary. Y1 uses the structure once; Y6 repeats it six times. Simple math, surprisingly compelling design.

Designer: SeongJin Hwang

What makes this interesting isn’t just the aesthetic, though the aesthetic is striking enough on its own. Look at the Y6 chair and you’ll see something that reads almost like a miniature industrial site: bolted steel joints, criss-crossing metal rods, ribbed panel surfaces. It doesn’t look like furniture trying to reference architecture. It looks like architecture that happens to be the right size to sit in. That’s a harder trick to pull off than it sounds.

The truss is one of the oldest structural tools in engineering. Builders have used triangulated frameworks to distribute weight and resist bending since well before modern steel construction, and architects have long made a visual language out of it. Steel bridges, industrial warehouses, airport terminals, concert stages; the truss pattern is everywhere once you start noticing it. Hwang’s premise is that this visual and structural logic belongs in the domestic sphere too, not as decoration, but as genuine engineering applied at a smaller, more intimate scale.

The Y1 side table is the more understated piece. On its own, a single Y structure can’t carry the load a table demands, so Hwang grounds it in a concrete block. The contrast is the point. Concrete is gravity and mass; the steel Y above it is precision and tension. Together they read like a tiny architectural section model that also holds your coffee. The rigor is real, but so is the playfulness.

The Y6 chair scales the idea up and out. Six repeating Y modules form the base and back support, creating a dense pattern of interconnected joints that distributes weight the same way a truss distributes structural stress. From the side profile, the chair looks almost impossibly mechanical, like a piece of stage rigging folded into a sitting position. From above, the bolted tabletop surface turns the ribbed panel into something straight out of an architectural rendering.

The most honest way to describe the YY Series is as furniture made by someone who wasn’t willing to forget what they learned in an architecture program the moment they sat down at a design desk. That’s not a criticism. The tendency to treat furniture and architecture as completely separate disciplines with only occasional, surface-level overlap has always felt a little artificial to me. Buildings and the objects inside them share an ongoing conversation about structure, material, and human use. The YY Series makes that conversation explicit rather than decorative.

Whether these pieces belong in a gallery or a living room is a fair question. The steel and concrete combination isn’t exactly warm, and the mechanical density of the Y6 chair isn’t for everyone’s taste. But that’s part of what makes it worth paying attention to. The YY Series isn’t trying to soften architecture into something livable. It’s inviting you to live inside the logic of architecture directly, bolts, trusses, load paths, and all.

The studio received recognition for the YY Series at the Architecture Madrid Award in October 2024. For a design rooted so firmly in structural thinking, that feels like exactly the right room to be noticed in. The work is worth tracking, and SeongJin Hwang is a designer worth knowing.

The post Furniture That Borrows Its Bones From Architecture first appeared on Yanko Design.

The Lounge Chair That Makes Geometry Feel Like a Hug

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Most furniture gets described in one of two ways: you either call it comfortable or you call it beautiful. Rarely do you call it both, and almost never do you say a chair made you stop mid-scroll to figure out if it was real. The Bublyk lounge chair by Ukrainian designer Andrii Kovalskyi managed all three in a single glance.

The name is a clue. Bublyk is the Ukrainian word for a ring-shaped bread, essentially a bagel’s Eastern European cousin, and once you know that, you can’t unsee it. The torus geometry at the heart of the design, that classic ring form, is suddenly the most obvious and delightful thing in the room. But Kovalskyi doesn’t stop at one shape. He stacks cylindrical volumes alongside the torus, letting them collide and nestle against each other until the whole thing reads less like furniture and more like a soft, living sculpture that decided to sit down.

Designer: Andrii Kovalskyi

What makes this concept genuinely interesting is how Kovalskyi managed to make hard geometric forms feel warm. Torus and cylinder are architectural, mathematical shapes. They belong in textbooks and CAD files. But wrapped in a granular, speckled upholstery that carries the warmth of hand-woven textile, these volumes lose their rigidity entirely. The result is a monolithic form that still feels inviting, like a piece of abstract art you are actually allowed to sit in.

The upholstery deserves its own moment. Versions of the chair use fabrics from Kvadrat Febrik’s Sprinkles collection, and the effect is layered and compelling. Up close, each chair reads like a field of tiny woven dots and shifting patterns, the kind of surface your hands would instinctively want to reach out and touch. From a distance, the texture gives each piece an almost painterly depth, one that shifts in tone with the light. It’s the kind of material decision that elevates a strong silhouette into something that genuinely rewards sustained attention.

The collection spans a range of configurations and colorways. One version wraps the torus body in a cylindrical bolster backrest, giving it a composed, upright posture. Another presents just the torus form, low and reclining, balanced on two short cylinder legs. Viewed side by side, the variations feel like family, different personalities sharing the same underlying design logic. The colorways lean into the boldness: deep crimson reds, powdery blues, warm ochre yellows, earthy burnt oranges. None of these chairs are trying to disappear into a wall.

That feels intentional. Much of contemporary furniture design has been running hard toward quiet luxury: restrained silhouettes, neutral tones, pieces that function as background. Bublyk pushes in the opposite direction. It wants to be the first thing you notice when you walk into a room, and the piece people ask about when they visit. Whether that boldness translates into commercial production remains to be seen, since this is still a concept, but the appetite for character-driven furniture has been building for a while.

One of Kovalskyi’s renders shows the modular components stacked into abstract, totem-like arrangements, hinting at a broader system potential. If these volumes can be reconfigured or mixed across pieces, Bublyk stops being a single statement chair and becomes something closer to a design language. That is a genuinely compelling idea, the kind of thinking that separates a good concept from a lasting one.

Kovalskyi has been designing original furniture and interior objects since 2016, working out of Lviv, Ukraine. His practice spans furniture, lighting, and 3D visualization, and his work consistently shows a willingness to treat form as something to play with, rigorously but also with a sense of humor. The Bublyk chair captures that balance well. The name alone, borrowed from a humble ring-shaped bread, keeps the whole project grounded even as the visual ambition reaches upward.

Comfort is built into the promise. The ergonomics, shaped by the geometry and supported by the granular upholstery, suggest this isn’t purely a sculptural exercise. A person is supposed to sit in it and feel held. If Kovalskyi delivers that in production, Bublyk won’t just be a chair people admire from across the room. It’ll be the one nobody wants to get up from.

The post The Lounge Chair That Makes Geometry Feel Like a Hug first appeared on Yanko Design.

The Hisense XR10 Packs 6,000 Lumens, Liquid Cooling, and Devialet Audio Into One Very Serious 4K Projector

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Home theater has always been a game of compromises. You either spend a fortune on a TV large enough to feel cinematic, or you buy a budget projector and spend the rest of your evenings squinting at a washed-out image the moment someone turns a light on. The sweet spot, a projector bright enough to hold its own in a lit room at genuinely cinematic scale, has historically lived at a price point that makes most people close the browser tab. Hisense thinks it has finally cracked that equation with the XR10, a 4K triple laser projector that debuted at CES 2026 and has now officially opened for pre-order.

The XR10 throws a 4K UHD image anywhere from 65 to 300 inches, powered by a triple laser light source rated at 6,000 ANSI lumens and a lifespan of 25,000 hours. That brightness figure is the headline: most home projectors top out well below 4,000 lumens, making ambient light their mortal enemy. Hisense pairs that output with Dolby Vision, HDR10+, and IMAX Enhanced certification, a 17-element glass lens, and a 2.1-channel audio system co-developed with Devialet and tuned with input from the Opéra de Paris. The pre-order price sits at $5,299.99, down from a retail tag of $6,999.99, with a free HT Saturn 4.1.2 wireless sound system thrown in.

Designer: Hisense

The XR10 operates across a 0.84 to 2.0:1 throw ratio with 2.39x optical zoom and lens shift, which means you are not locked into a single position in your room to hit your target screen size. A seven-level iris adjustment and the 17-element glass lens work together to give you granular control over the image, while the native 6,000:1 contrast ratio and up to 60,000:1 dynamic contrast ensure the picture holds depth whether you are watching a sunlit action sequence or a shadow-heavy thriller. Color coverage reaches 118 percent of BT.2020, which puts the XR10 well above the color volume of most consumer displays at any price.

Hisense brought in Devialet, the award-winning French audio engineering firm behind some of the most acoustically serious speakers on the consumer market, to develop the XR10’s built-in 2.1-channel system. Two 8W speakers pair with a 15W subwoofer, the whole profile tuned with input from the Opéra de Paris, and the system supports both Dolby Digital and DTS Virtual:X. Thermal management comes via a dual-channel liquid cooling system that keeps operating temperatures stable without generating the kind of fan noise that pulls you out of a quiet scene.

Smart platform duties fall to Hisense’s VIDAA OS, with Netflix, Amazon Prime Video, Disney+, and Apple TV all available natively. AirPlay 2 and Miracast handle screen mirroring, and the connectivity spec runs to Wi-Fi 7, Bluetooth 5.4, HDMI 2.1, HDMI 2.0, USB 3.0, and Gigabit Ethernet, with eARC and CEC support rounding out the audio integration options. For a device sitting in your living room as a permanent installation, that connectivity stack is exactly what you want.

At $5,299.99 during the pre-order window, the XR10 is not an impulse purchase, and Hisense knows it. The full retail price of $6,999.99 puts it in direct conversation with high-end OLED televisions, and that is precisely the comparison Hisense wants buyers making. A 300-inch OLED does not exist. The XR10 does, and right now you can pre-order one with a free surround sound system included.

The post The Hisense XR10 Packs 6,000 Lumens, Liquid Cooling, and Devialet Audio Into One Very Serious 4K Projector first appeared on Yanko Design.

Tati Ferrucio’s Onda Clog Is the Most Geologically Correct Shoe Ever Made

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The Yeezy Foam Runner opened a strange and genuinely productive door in footwear design, proving that a monolithic, organically sculpted clog could capture serious cultural attention. Tati Ferrucio‘s Onda walks through that same door but ends up somewhere quite different. Where the Foam Runner borrows loosely from athletic heritage, the Onda goes fully geological, its dense flowing ridges reading more like layered sandstone strata than anything borrowed from a sportswear archive. The comparison is worth making once and then setting aside, because the Onda has its own logic and it holds together well on its own terms.

That logic starts with landscape. Ferrucio drew directly from waves, sand patterns, stone surfaces, and tree bark, treating nature as the original generative designer and asking what footwear would look like if it followed the same rules. The cutouts are sculpted voids, not punched holes, and the ribbing on the sole wraps continuously into the upper so there is no visual seam between base and body. It reads as a single carved object, the kind of thing you might find in a tide pool if tide pools produced wearable foam.

Designer: Tati Ferrucio

Ferrucio developed the Onda using Vizcom, an AI-assisted design platform that takes a designer’s sketch and generates a field of iterated possibilities rather than a single resolved outcome. The workflow is worth pausing on because it explains something about the result. The Onda does not look like a design that was decided in one session; it looks like a form that accumulated, the way sediment does, layer by layer under consistent pressure from the same directional force. Just FYI, Vizcom did not generate the design; Ferrucio directed it, feeding creative intention into each round of iteration and pulling the form toward her reference material until the surface stopped arguing with itself and settled into something coherent.

Positioned along the sides of the upper, the cutouts allow water and sand to escape when moving through wet or granular terrain, which is a functional requirement in a clog built for outdoor use. But structurally, they also reduce material mass without compromising the integrity of the upper, and visually, they create depth in the silhouette that a solid body would not have. The oval void near the heel is particularly well resolved; it sits inside the ribbed surface like a window cut into a canyon wall, framed by ridges on all sides, and gives the rear of the shoe a formal completeness that most clogs never bother to achieve.

Three colorways exist in the current lineup: a grey-blue that photographs like wet stone, a sand beige that almost disappears against the layered rock surfaces in the campaign imagery, and a sage green that reads somewhere between sea glass and weathered copper depending on the light. Each one is photographed in a context that suits it specifically, which is the kind of creative direction that signals a designer who thought carefully about what the object is actually communicating and to whom. The grey-blue sits on a rocky riverbed in shallow water. The beige is shot against sedimentary cliff faces in warm light. The green lands on dry sand with hard shadows. Every environment reinforces the geological reference without stating it out loud.

The Onda is a mere concept at this stage, developed in collaboration with Vizcom as a demonstration of what AI-assisted industrial design can produce when the designer maintains genuine creative authority over the process. Whether it goes into production depends on factors Ferrucio has not specified, but as a design object it makes a coherent and confident argument: that the clog format, for all its utilitarian plainness, has more formal ambition available to it than most brands have been willing to extract.

The post Tati Ferrucio’s Onda Clog Is the Most Geologically Correct Shoe Ever Made first appeared on Yanko Design.

Bethesda is shutting down The Elder Scrolls: Blades on June 30

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It's a sad day for the dozens of players still grinding The Elder Scrolls: Blades. Bethesda announced that it's permanently shutting down the servers for its free-to-play mobile spinoff on June 30. First spotted on Reddit, The Elder Scrolls: Blades has already been delisted from the App Store and Google Play store, and is currently unavailable on the Nintendo Store.

In the meantime, players will receive a free bundle of Gems and Sigils, while all items in the in-game store are available for just one Gem or Sigil each. With a server shutdown imminent, The Elder Scrolls: Blades' will at least cross its six-year mark since its official release was in 2020 for Android, iOS and Nintendo Switch. The dungeon-crawling spinoff did see early success when more than one million iOS users downloaded the game during the first week of its early access period, but it never amounted to the commercial success of Bethesda's mainline titles.

In the end, The Elder Scrolls: Blades ended up with a "Generally Unfavorable" score on Metacritic, with critics calling it "repetitive" and filled with microtransactions. The shutdown doesn't come as a total surprise, since Bethesda also killed off its other spinoff, The Elder Scrolls: Legends, by halting development in 2019 and ultimately taking the game's servers offline in January 2025. For anyone who still wants to play a mobile spinoff of Bethesda's fantasy world, there's still The Elder Scrolls: Castles. 

This article originally appeared on Engadget at https://www.engadget.com/gaming/bethesda-is-shutting-down-the-elder-scrolls-blades-on-june-30-191016852.html?src=rss

The Avatar fighting game will release on July 2 for PC and consoles

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The fighting game community is going to have their hands full this summer between the release of Marvel Tōkon: Fighting Souls and Avatar Legends: The Fighting Game. The studio behind the 2D fighting game based in the Avatar universe announced that a July 2 release date with a trailer that shows off new gameplay and a base price of $29.99.

The game will launch with 12 characters, encompassing both the heroes and villains from Avatar: The Last Airbender and The Legend of Korra. The game's developer, Gameplay Group International, said that there are more than 900 hand-drawn frames for each character, which makes the game look like it came directly out of the beloved TV series. Avatar Legends: The Fighting Game will feature both casual and ranked matches, using a rollback netcode to ensure smooth frame-by-frame action between players, along with crossplay across PS5, Xbox Series X and S, Nintendo Switch 2 and PC.

For those more interested in the lore, there will be a single-player story mode and a gallery mode with "never before seen art." Avatar Legends: The Fighting Game is currently available for pre-order, starting at $29.99, but there's a $59.99 deluxe edition that includes a digital art book, music soundtrack, unique HUDs and a Year 1 Pass, which adds five additional characters that will be released in the future. Those who pre-order will also get a Samurai skin for Appa, exclusive character colors and voting privilege for the Year 1 Pass characters.

This article originally appeared on Engadget at https://www.engadget.com/gaming/the-avatar-fighting-game-will-release-on-july-2-for-pc-and-consoles-174614552.html?src=rss

The Erica by Craft House Is the Tiny Home That Thinks Vertically

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Tiny living has always been a negotiation. You trade square footage for freedom, density for mobility, and somewhere in that exchange, comfort usually takes the first hit. The Erica by Craft House is a direct response to that tradeoff, a 24-foot towable tiny home that refuses to accept the ceiling as a ceiling. Craft House, a builder with roots across Poland, Austria, and Ireland, designed the Erica around a simple but underused idea: when you can’t build out, build up.

The rooftop terrace is the home’s defining move — an accessible outdoor space that extends livable square footage without touching the home’s road-legal width. It’s the kind of solution that makes you wonder why more tiny home builders haven’t gone there. The home sits on a double-axle trailer and can be fitted with an optional ground-level deck, shifting it from purely mobile to something closer to semi-permanent. That flexibility is part of the appeal; Erica doesn’t force you to choose between a life on wheels and a home that actually feels settled.

Designer: Craft House

Step inside, and the ground floor, finished in Scandinavian spruce, does a convincing job of feeling larger than its 129 square feet. The open-plan layout keeps the kitchen and living area in conversation with each other, which does a lot of the heavy lifting spatially. It’s a simple design decision that pays off immediately.

The kitchen is well-equipped: induction cooktop, oven, fridge, sink, and enough cabinetry to keep things from feeling like a camping setup. The breakfast bar seats two and doubles as a work surface…exactly the kind of multitasking that earns its keep in a space this size. The bathroom sits at the opposite end of the home with a flushing toilet, vanity sink, and glass-enclosed shower. Tight, but complete.

The bedroom is a loft reached via a staircase smartly built out with integrated storage underneath. The ceiling is low, as loft ceilings in tiny homes tend to be, but the tradeoff is a ground floor that stays clear and breathable. A mini-split air conditioning unit handles climate control; a practical choice that doesn’t eat into the floor plan the way bulkier systems would.

Solar power is available as an optional add-on, giving owners a path toward off-grid living without hardwiring it into the base spec. It’s a considered choice that keeps the entry point accessible while leaving room to grow. The Erica isn’t trying to reinvent tiny living — it’s trying to do it better. And in a market full of homes that look alike, that rooftop terrace alone makes it worth a second look.

The post The Erica by Craft House Is the Tiny Home That Thinks Vertically first appeared on Yanko Design.

Bluesky’s next product is an AI assistant that helps build custom social media feeds

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Bluesky is the latest social media platform to throw its hat into the AI chatbot ring. Bluesky, but specifically its chief innovation officer Jay Graber and her new Exploration team, built a new AI assistant called Attie that's designed to help users create custom feeds. Graber called Attie an "agentic social app" that's built on its its open-source framework called the AT Protocol.

To use Attie, users can punch in prompts in natural language to generate social feeds without having to know how to code. On the Attie website, examples include prompts like, "Show me electronic music and experimental sound from people in my network" or "Builders working on agent infrastructure and open protocol design."

An example of a user's prompt for Attie and the feed that's generated from it.
Attie

"It feels more like having a conversation than configuring software," Graber described Attie in a blog post. "You describe the sort of posts you want to see, and the coding agent builds the feed you described."

Graber added that Attie is a separate app from Bluesky and users don't have to use the new AI assistant if they don't want to. However, since Attie and Bluesky were built on the same framework, it could mean there will be some cross-app implementation between the two or any other app built on the AT Protocol. Attie is currently available on an invite-only closed beta, but anyone interested can sign up for the waitlist on its website in the meantime.

This article originally appeared on Engadget at https://www.engadget.com/ai/blueskys-next-product-is-an-ai-assistant-that-helps-build-custom-social-media-feeds-163140902.html?src=rss

DIY Water-Cooled MacBook Neo Just Got A 23% Performance Bump. Here’s How…

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The MacBook Neo’s entire premise rests on one audacious question: can a smartphone chip carry a laptop? Apple’s answer was to drop the A18 Pro from the iPhone 16 into a fanless aluminum chassis and ship it. For everyday tasks, the answer is largely yes. For gaming under sustained load, the answer hits a wall at 105°C, where the chip pulls back its clocks to avoid cooking itself inside a case with no fan and no active cooling to speak of. The MacBook Neo is a genuinely compelling machine, repairability included since Apple ditched adhesive entirely and built the whole thing around screws, but that thermal ceiling is a real and measurable constraint.

ETA Prime ran the experiment that every thermally curious engineer has probably daydreamed about: what happens when you actually cool this thing properly? First, a custom copper heat sink bridging the chip to the aluminum shell. Then a liquid-cooled thermoelectric Peltier unit clamped magnetically to the outside. Gaming framerates climbed from 30 to 80 FPS. Cinebench single-core jumped 23.5% over stock. The A18 Pro was never the bottleneck. The cooling was.

Designer: ETA PRIME

The copper heat sink is the more elegant of the two mods, and honestly the more important one. ETA Prime removed the stock graphene pad using a heat gun, cleaned the A18 Pro die with isopropyl alcohol, and applied Noctua thermal paste directly to the chip. A sheet of copper, cut to cover the full mainboard, sits on top. An Arctic TP3 thermal pad on the upper face of the copper makes contact with the MacBook Neo’s aluminum bottom shell when the screws are tightened back down, turning the entire chassis into a proper heat spreader. The graphene pad was cut in half and kept over the surrounding components for protection, but the CPU die itself is now in a real thermal pathway for the first time. With just this mod in place, No Man’s Sky jumped from 30-31 FPS to 58 FPS, average CPU temps dropped to around 83-84°C, and Geekbench 6 multi-core climbed 9.7% while single-core gained 15.2%. A sheet of copper and a tube of paste did what Apple’s entire thermal design could not.

The Peltier cooler is the wilder addition, and it is admittedly overkill in the best possible way. The unit ETA Prime used was originally designed as a phone cooler, a liquid-cooled thermoelectric device with three power settings topping out at 50 watts. One side extracts heat, the other reaches below-freezing temperatures, and ice visibly forms on the cold plate within about a minute of operation. It attaches magnetically to the bottom of the Neo, aligning with the copper heat sink beneath the shell, and pulls the chip’s average idle temp down to 23°C. Under gaming load in No Man’s Sky, the CPU sat at roughly 74°C, and framerates held at 58-59 FPS with VSync engaged. Over a 30-minute sustained session, the machine averaged around 80 FPS at 1408×881 on enhanced settings with Metal scaling set to balanced, compared to the low 30s it would have delivered in stock form.

The benchmark gains with the full liquid cooling setup are worth spelling out. Geekbench 6 multi-core reached 9,394, an 18.6% improvement over the stock 7,921. Single-core hit 3,636, up 17.52%. Cinebench multi-core landed at 1,741 against a stock score of 1,462, a 19% gain, while single-core climbed from 502 to 620, a 23.51% improvement. ETA Prime also tested Fallout 4 running through Crossover, the compatibility layer that lets non-Mac titles run on Apple silicon, and the Neo held a consistent 60 FPS despite relying on SSD swap for additional memory beyond its 8GB ceiling.

The 8GB cap remains the machine’s most stubborn limitation, and no amount of copper or Peltier magic changes that. When the unified memory fills, the Neo starts leaning on SSD swap, which is slower and adds latency that thermal improvements cannot compensate for. It is a real constraint for anyone expecting to run memory-hungry titles at length. That said, the performance ETA Prime extracted here from a chip that costs less than many gaming peripherals is genuinely impressive, and the copper mod in particular requires no permanent modifications and costs almost nothing.

The Peltier is obviously not a portable solution. It draws significant power, runs a liquid loop, and magnetically attaches to the outside of the machine like a barnacle. But the copper mod absolutely is portable, costs next to nothing in materials, and on its own delivers close to double the sustained gaming performance. ETA Prime also tested Fallout 4 running through Crossover on the liquid-cooled setup, hitting a continuous 60 FPS despite the Neo’s 8GB RAM ceiling forcing the system to lean on SSD swap for additional memory. The A18 Pro has more headroom than Apple’s thermal design ever lets it show, and a sheet of copper is apparently all it takes to prove it.

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