Somewhere in a closet, a perfectly good LEGO minifigure is staring through a plastic bag at the back of a cardboard box. It has a tiny printed face, a surprisingly elaborate hat, and absolutely no audience. Every serious LEGO collector knows the feeling: shelves fill up fast, display cases sell at fixed sizes, and at some point the collection starts living in labeled ziplock bags rather than anywhere it can actually be seen. LEGO has released over 775 Collectible Minifigures across 51 series since 2010, with new figures arriving three times a year, which makes the storage problem a permanent one for anyone collecting seriously. Stephen Peaple, a British-born collector now based in Perth, Australia, had thousands of them and spent four years building the solution he could not find anywhere.

Finity Frames puts a collection on the wall in a clean white grid. A single frame carries 16 spaces, but removable dividers let you make room for bigger figures or pack in a crowd. When the collection grows, connected frames share edges so the display extends as one continuous piece without visual seams or doubled-up borders. Your next minifigure gets a spot without requiring a complete wall makeover. The system is injection-molded ABS, ships flat-packed, and the connection method that makes all of it work is patented.

Designer: Stephen Peaple

Click Here to Buy Now: $55. Hurry, only 5/16 left!

A Display System That Grows With Your LEGO Collection

Every Finity Frame is built around a seamless edge connection where neighboring frames share a single border, eliminating the doubled-up edge and any visual gap at the join. This is the core innovation that solves the fixed-size problem inherent in every other display case on the market. It means you can start with a single frame for one series of figures and expand outward in any direction, at any time, without having to replace your original investment. The aesthetic is clean and continuous, looking like a single, cohesive unit no matter how large it gets.

This design approach also makes the system more efficient as it grows. Peaple makes the math explicit: the first frame measures 312mm across, and each connected frame adds just 298mm, because one edge is always shared. This reduces material waste and lowers the cost per additional frame. A 2×2 Collector, for instance, cannot be broken apart into four 1×1 Starters, since it doesn’t include the extra pieces. For context, the most prominent fixed-case competitors max out around 190 minifigures. The Finity Frames Showcase holds 1,056, and two of them together can display over 2,100 figures as a single, unified piece.

Built for Customization and Creative Play

Each Finity Frame ships with three horizontal and three vertical internal slats, forming a standard 4×4 grid. This sixteen-space layout is not arbitrary; it maps exactly to one complete Collectible Minifigures series, which traditionally ships with 16 unique figures. The slats are removable in any combination, yielding 64 different internal layouts. You can pull the vertical dividers out, double-stack figures with jumper plates, and a 1×1 Starter can hold up to 88 minifigures. This flexibility lets you create custom spaces for dioramas, larger vehicles, or oversized figures like the Hulk who need a little extra room.

The system’s dimensions are precisely calibrated to the LEGO System of Play. Internal slats are exactly one brick wide, and the frame edges are exactly two bricks wide. Each compartment accepts a 6×8 LEGO plate or four 3×4 minifigure plates, the same stands that come with CMF packs. This means removing the acrylic cover turns the frame into a wall-mounted baseplate where builds can bridge continuously across spaces and frames. Peaple calls this “bridging,” a feature that turns a static display into a creative canvas. Every horizontal slat even has a built-in row of six studs for securing figures or small builds.

Designed for Collectors of All Kinds

A magnetic Perspex acrylic cover protects the collection from dust and removes in a single pull. It’s made from UV-stable material with built-in absorbers to block harmful light, preventing the slow fading that can damage valuable figures over time. The frame itself is a gallery-white, UV-treated ABS plastic, a color choice meant to disappear behind the collection rather than compete with it. Everything is designed to last, preserving the collection while keeping it easily accessible. The magnetic attachment is secure but quick, so you can get to your figures without fussing with clips or latches.

Flipping the horizontal slats 180 degrees turns the studded surfaces into flat shelves, opening the frame to almost any small-scale collectible. A single 64x64x49mm space can hold Funko Pocket POPs, Be@rbricks, Sonny Angels, or even shot glasses. Removing dividers creates double-height spaces for larger items like vintage Kenner 3¾” figures, Super7 ReAction figures, Playmobil sets, or graded collectible cards in their hard cases. It’s a true cabinet of curiosities, designed for a LEGO collection but adaptable enough for just about anything else that deserves a spot on the wall.

Five Sizes, Starting at $65 USD

The five frame sizes run from the 1×1 Starter at 12.3×12.3 inches (up to 88 minifigures) to the 4×3 Showcase at 47.4×35.7 inches (up to 1,056), with the 1×2 Duo, 2×2 Collector, and 3×2 Lifestyle filling in between. All frames run 55mm deep without the cover, 61mm with, and production units are estimated at 0.9 to 1.1kg for the 1×1 (roughly 2 lbs).

Retail pricing starts at AU$99 (roughly US$65) for the Starter and reaches AU$835 (roughly US$550) for the Showcase. Any size can be extended later through a Frame Extender on finityframes.com, where you input what you already own and order only the additional sets required. The system ships flat-packed globally, with US distribution in place through the manufacturing partner.

Click Here to Buy Now: $55. Hurry, only 5/16 left!

The post This Expandable LEGO Frame System Finally Solves the Collector Storage Nightmare first appeared on Yanko Design.

Windows 11 dans une machine virtuelle sur un Mac Apple Silicon, ça se fait depuis looooongtemps avec des outils comme Parallels ou UTM. Mais tart, l'outil en ligne de commande qui crée et clone des VM comme on le ferait avec des conteneurs, n'en est pas capable, parce que la virtualisation d'Apple sur laquelle il repose ne gère officiellement que macOS et Linux.

Sauf qu'un dev nommé Mustafa Akin, vient de publier un fork qui permet d'installer Windows 11 avec tart sans un seul clic.

Je viens de le tester sur mon Mac Studio M4 Max avec l'ISO française de Windows 11 et j'ai trouvé que ça fonctionnait super, d'où ce petit tuto.

Ce qu'il vous faut avant de commencer

Pour vous lancer là dedans, il vous faut donc un Mac Apple Silicon sous macOS 26.6 ou 27, Xcode pour compiler tout ça, et bien sûr une ISO de Windows 11 ARM64 ( faudra vous démerder ensuite avec la licence ). Par contre, faut le savoir, ce fork repose sur deux réglages privés d'Apple, non documentés, qu'une mise à jour de macOS pourra shooter à tout moment. Donc ne montez pas votre futur homelab là dessus sans un plan de repli.

Compiler tart et créer la VM

Sur son site, Mustafa Akin publie un binaire tout fait, mais j'ai préféré compiler le programme car le script de création du paquet de son fork signe proprement l'application en local avec le droit de virtualisation qui va bien.

git clone --branch windows-guest-extras https://github.com/mustafaakin/tart.git
cd tart
git checkout e4c623c
./scripts/package-windows-preview.sh 0.1.0-windows-preview
export PATH="$PWD/dist/windows-preview/tart.app/Contents/MacOS:$PATH"

La commande export rend ce tart.app accessible au niveau du système prioritaire devant un éventuel tart déjà installé. Il ne reste alors qu'à lui passer votre ISO... tart téléchargera alors les pilotes virtio-win et WinFsp, fabriquera son propre média d'installation et démarrera Windows sans rien demander de plus.

tart create win11 --from-iso ~/Downloads/Win11_Arm64.iso

Ça m'a pris en tout et pour tout 26 minutes pour obtenir cette VM Windows fonctionnelle. Notez également que l'installation force l'anglais américain et que d'autres langues peuvent poser souci mais avec mon ISO française, l'interface est bien restée en français. Seul le clavier est resté en QWERTY au départ.

Installer le pilote et l'agent à la mano

L'auteur écrit sur son blog que l'install de l'agent doit se faire manuellement pour l'instant mais ce qu'il a oublié de préciser c'est que le pilote viosock, celui qui relie le Mac à la VM, n'est pas dans la liste des pilotes que tart injecte (viostor, viogpudo, NetKVM, viorng et viofs). Résultat, chez moi, tart exec ne fonctionnait pas. Comme ce pilote se trouve dans l'ISO virtio-win que tart a gardée dans son cache, il suffit donc de le copier dans un dossier partagé, contenant l'agent publié avec la préversion :

hdiutil attach -readonly -nobrowse ~/.tart/cache/windows/sha256:303f7ae40dad495d6ae474fdc571df58958a4dbc5c37a522d80f9a203867949d.iso
mkdir -p ~/tart-share
cp -R /Volumes/virtio-win-0.1.302/viosock/w11/ARM64 ~/tart-share/viosock
hdiutil detach /Volumes/virtio-win-0.1.302
curl -L -o ~/tart-share/tart-guest-agent.exe https://github.com/mustafaakin/tart/releases/download/windows-preview-0.1.0/tart-guest-agent.exe
tart run win11 --dir=share:$HOME/tart-share

Comme la commande tart run garde la main, laissez-la tourner et ouvrez un second terminal pour la suite, en y refaisant l'export ci-dessous depuis le dossier tart, sinon vous appellerez un autre tart.

export PATH="$PWD/dist/windows-preview/tart.app/Contents/MacOS:$PATH"

Au démarrage, la session admin (mot de passe admin) s'ouvre alors toute seule et vous arrivez sur le bureau. Le dossier partagé apparaît sur le lecteur Z:, dans un dossier share. Ouvrez PowerShell en administrateur (et n'oubliez pas que le clavier est en QWERTY) pour installer le pilote, puis déclarer l'agent comme tâche lancée à l'ouverture de session, parce que c'est dans cette session que sont le presse-papiers et le bureau :

pnputil /add-driver Z:\share\viosock\viosock.inf /install
mkdir "C:\Program Files\Tart"
copy Z:\share\tart-guest-agent.exe "C:\Program Files\Tart\"
$a = New-ScheduledTaskAction -Execute "$env:SystemRoot\System32\conhost.exe" -Argument '--headless "C:\Program Files\Tart\tart-guest-agent.exe" --run-agent'
$t = New-ScheduledTaskTrigger -AtLogOn -User $env:USERNAME
$s = New-ScheduledTaskSettingsSet -ExecutionTimeLimit ([TimeSpan]::Zero) -RestartCount 999 -RestartInterval (New-TimeSpan -Minutes 1)
$p = New-ScheduledTaskPrincipal -UserId $env:USERNAME -LogonType Interactive -RunLevel Highest
Register-ScheduledTask -TaskName "Tart Guest Agent" -Action $a -Trigger $t -Settings $s -Principal $p
Start-ScheduledTask -TaskName "Tart Guest Agent"
Get-Service VirtioSocketWSP

Le service VirtioSocketWSP doit alors afficher Running. S'il n'existe pas, c'est que le pilote n'est pas passé et tart exec ne répondra pas. Relisez alors la sortie de pnputil et vérifiez que le dossier viosock contient bien viosock.inf.

Vérifier que le terminal de Windows répond

Retournez ensuite dans le terminal du Mac et entrez cette commande pour connaitre le numéro de version du Windows :

tart exec win11 cmd /c ver
Microsoft Windows [version 10.0.26200.8037]

Informations système dans la VM : Windows 11 Famille, build 26200, sur une "Apple Virtualization Generic Platform" en ARM64

L'intérêt de tout ça c'est surtout d'avoir un Windows jetable. Vous devez arrêtez d'abord la VM de base avec tart exec win11 shutdown /s /t 0 puis pour cloner la VM, faites un : tart clone win11 w1 . C'est instantané, et y'a plus qu'à la démarrer avec un tart run w1 --no-graphics.

Avec --no-graphics ça démarre sans fenêtre et vous pouvez alors lancer ce que vous voulez avec tart exec. Ensuite pour tout stopper, un petit tart stop w1, et un tart delete w1 pour supprimer la VM et voilà...

Ce qui ne marche pas

En tout cas, n'en faites pas votre Windows de tous les jours car il n'y a ni son ni accélération graphique, pas de possibilité de suspendre le Windows et la virtualisation imbriquée se fige dès que Windows veut démarrer WSL2 ou Hyper-V.

La commande Get-Tpm confirme aussi l'absence de TPM. Et selon l'auteur, le disque est le point faible de ce Windows ARM 64 sous tart, en partie parce que tart rempli très vite les SSD avec ses logs. Pensez aussi à changer le mot de passe, puisque le compte est admin avec le mot de passe admin, et que SSH est ouvert sur le réseau interne de tart.

Mais pour tester des logiciels Windows ou scripter des trucs, ça tient bien la route.

Source : Mustafa Akin

There’s something wonderfully strange about walking up to a framed picture on your wall and telling it what to paint next. Say “paint my dog as a Japanese ink painting,” and the frame generates and displays a new piece. No file transfers, no app navigation, no creative software required. Jitrainno’s Smart Canvas runs on this premise: a voice and text-prompted AI art frame built around an E-Ink Spectra 6 color display, the matte, paper-like panel technology that draws zero power in static mode and reads under ambient light the way a canvas does. It comes in three solid-wood sizes, 7.5, 13.3, and 31.5 inches (named the Echo-7, Echo-13, and Echo-31 respectively), all with built-in batteries and Wi-Fi.

Jitrainno is a Hong Kong-based multidisciplinary team with in-house expertise spanning hardware R&D, E-Ink engineering, AI integration, firmware, and cloud services. They developed a proprietary color rendering layer on top of the Spectra 6 panel, tuned specifically for skin tone accuracy, landscape depth, and smooth gradient transitions. That kind of layered engineering, building custom display algorithms rather than shipping a panel with factory defaults, is what separates a team that genuinely understands display science from one that simply sourced a good component. The project moved from inception and industrial design in June 2025 to a production validation run by May 2026, a fast but not reckless pace for hardware at this scale. Global fulfillment is estimated for November 2026.

Designer: Jitrainno

Click Here to Buy Now: $289 $469 (38% off). Hurry, only 157/250 left! Raised over $132,000.

E-Ink Spectra 6 is the most capable color e-paper panel currently available to consumer product makers, using six primary pigments: black, white, red, yellow, blue, and green. It achieves up to 200 pixels per inch and draws zero power in static display mode, meaning the canvas can stay on your wall for days between charges. The paper-like surface reflects ambient light rather than projecting it, eliminating the glowing-rectangle problem that has defined every LCD-based digital art frame since the Kodak EasyShare era. Jitrainno’s self-developed rendering and color optimization layer is designed to preserve the subtle details that make an image feel closer to paper art. Based on early reviews, it reads more like a framed print than a screen, which is the bar the whole product needs to clear.

Speaking a prompt aloud and watching a new image materialize on the wall is a genuinely new behavioral ritual, and I think it’s the feature that will hook most people. Users can create images from text or voice prompts, explore different visual styles, and generate variations of their ideas, with AI used as a creative tool within the artwork creation experience. The product page demos a prompt like “a cute green dinosaur in a sunny prehistoric scene, soft watercolor and colored-pencil storybook style,” which apparently renders accurately enough to land on a kid’s wall. The AI side routes through third-party commercial image generation services via official APIs, supporting text-to-image and image-based creative generation within the experience. They also confirm they do not use user content to train their own foundation models, a meaningful distinction in a market where that commitment is far from universal.

AI generation is only one of several ways to populate the canvas. The app supports content from AI-generated art, a free art gallery called Daily Drops, the phone camera, the user’s photo library, and personal collections. Daily Drops streams a rotating selection of curated artwork that users can filter by mood or scene type and push directly to the display. The phone camera connection opens the obvious use case of photographing a physical painting, a landscape, or a face and sending it to the frame instantly. That breadth of sourcing makes the Smart Canvas a capable display platform in its own right, with AI generation sitting as a feature rather than a crutch.

Gallery proportions, tactile materials, and Auto-Rotation are deliberate choices to help the Jitrainno Echo series belong in the room like framed art. From the product photography, the proportions are gallery-standard, the profile slim enough to recede into a wall, and the matte panel surface does the visual work of making it belong. A built-in sensor detects whether the frame is in portrait or landscape and automatically switches the artwork’s aspect ratio, with no manual setting required. Connectivity runs in two modes: full cloud-connected (remote upload, AI creation, gallery sync, multi-user sharing) or completely offline (no account, no internet, direct phone-to-frame transfer). The offline option is a genuine design stance in a category where “smart” has almost universally meant always routing through someone else’s server.

The Jitrainno Echo-7 at 7.5 inches (1024×600, 170x236mm) is the tabletop model. The Jitrainno Echo-13 at 13.3 inches (1200×1600, 316.3×416.3mm) works both on a desktop stand and wall-mounted, making it the most flexible of the three. The Jitrainno Echo-31 at 31.5 inches (2560×1440, 603x903mm) is wall-only, the model that reads as a proper statement artwork rather than a gadget trying to pass itself off as one. All three run on E-Ink Spectra 6 full-color panels in solid wood frames, with built-in batteries and USB-C charging. The Jitrainno Echo-13 retails at $469 and the Jitrainno Echo-31 at $1,499, both covered by a one-year manufacturer’s warranty, with global fulfillment estimated to begin November 2026.

Click Here to Buy Now: $289 $469 (38% off). Hurry, only 157/250 left! Raised over $132,000.

The post This Color E-Ink Art Frame Lets You Talk to Your Wall and Watch It Paint New Art first appeared on Yanko Design.

A tennis court in Valencia currently looks like it’s sinking into the ground. Walk up to the edge of the one at Casa Axis and the white lines that normally just mark boundaries start pulling inward, stacking through fake layers of chrome and burgundy until the whole surface reads like a hallway you could fall down. It’s called Hard Court 2, painted by Spanish artist Spok Brillor, and it treats a sports court like a living canvas instead of a slab of asphalt everyone stops noticing the week after the ribbon gets cut.

That’s usually the fate of most site-specific art. A muralist gets a wall, a brand throws a launch party, and within a year the piece turns into background noise nobody actually looks at anymore. Sports facilities have it worse. A court gets painted once, and it stays that exact shade of green or blue for a decade, because nobody budgets for touch-ups, let alone reinvention. Casa Axis, the art and design space Felipe Pantone runs out of a 1975 house outside Valencia, didn’t fix that with a bigger maintenance budget. It fixed it with a rule: the court has to change, every single year, by design.

Designer: Spok Brillor

The rule lives inside C.A.I.O., the Casa Axis International Open, a scrappy little tennis tournament for artists that launched in June 2026. No rankings, no categories, no portfolios required. Just instinct, apparently, and a healthy amount of frustration. The twist is what the winner actually takes home. Instead of a trophy, they get handed the responsibility of repainting the court before the next tournament. Win the match, inherit the canvas.

Lucas Benarroch, known as MRKA, painted the first version in 2025, loosening the court’s regulation markings into loose, hand-drawn lines that felt more like a sketch than a sports surface. He then went on to win the inaugural C.A.I.O., which technically put him back in charge of the next transformation. He passed the job to Spok Brillor instead, who had competed against him in the same tournament. That handoff is the part I find genuinely clever. The competition doesn’t just crown a winner, it forces the winner to make a choice about who gets to shape the space next, which quietly turns a tennis match into a succession plan for an ongoing art piece.

Spok took the opposite approach from MRKA. Where MRKA loosened the geometry, Spok tightened it, repeating the court’s own markings inward through metallic gradients until the actual boundaries get harder to read. Deep reds and burgundies contract through rectangular planes, pale blue and yellow lines cross the surface like reflected metal, and the whole thing sits somewhere between an architectural shaft and a painted portal. It took twelve days to finish, and it’s already scheduled to disappear under whoever wins next year.

I like that this thing is built to be temporary on purpose. Most design work chases permanence, a piece that survives, a brand that lasts forever, a finish that never fades. Hard Court 2 does the opposite. It’s designed to be beaten, literally, by the next person good enough to win a tennis match on top of it. That’s a genuinely strange model for how art gets commissioned, and it works specifically because nobody involved is trying to make something that outlives its usefulness.

There’s also something honest about tying the transformation to actual competition rather than a curator’s calendar. Nobody at Casa Axis decided in advance that the court needed a refresh this September. It changed because someone won a match and had to make good on the assignment. That’s a small distinction, but it changes how the whole project feels. It’s less a rotating gallery and more a living structure that happens to have paint on it.

Whether this idea scales beyond one backyard court in L’Eliana is a fair question, and probably a “no” for most places. But the instinct behind it, building change into the rules instead of hoping someone remembers to update things later, feels like it’s worth stealing for a lot more than tennis courts.

The post Felipe Pantone’s Tennis Court Refuses to Look the Same Twice first appeared on Yanko Design.

September 2026 TIOBE Index keeps the top 10 unchanged, as Python falls below 18%, C++ widens its lead over Java, and Julia nears the top 20.

The post TIOBE Index for September 2026: Python Drops Below 18% as Julia Nears Top 20 appeared first on TechRepublic.

Find the best Labor Day tech deals for 2026 at Amazon, Walmart, and Best Buy, with savings on laptops, phones, smartwatches, and headphones.

The post Amazon, Walmart, and Best Buy Labor Day Deals: 7 Tech Picks appeared first on TechRepublic.

Two Illinois customers allege Walmart created voiceprints from service calls without obtaining consent required under the state’s biometric privacy law.

The post Walmart Accused of Creating Voiceprints From Customer Service Calls appeared first on TechRepublic.

Walmart is rolling out Apple Pay, Google Pay and other contactless payments at stores nationwide, ending its long-standing reliance on Walmart Pay.

The post Walmart Finally Adds Apple Pay and Google Pay as Tap-to-Pay Arrives appeared first on TechRepublic.

Si vous faites du pixel art, voilà un petit outil qui devrait vous plaire. Pix 2D to 3D prend votre sprite et vous le transforme en modèle 3D voxelisé au format .obj, importable direct dans Blender, Unity ou Godot. Pas la moindre trace d'IA là-dedans, uniquement des maths, et son dev Prashant bosse chez Snaptrude sur du logiciel 3D, donc autant vous dire qu'il maîtrise.

L'idée, c'est de vous épargner la modélisation quand vous montez un jeu en 3D iso ou un 2.5D et qu'il vous manque juste trois caisses et un tonneau pour meubler le décor. Vous dessinez le sprite, vous le passez dans l'app et hop, l'objet 3D ressort de l'autre côté.

Vous avez 4 modes selon ce que vous lui donnez à manger, plus un réglage Auto qui devine le format tout seul en regardant les proportions de votre image.

Single voxelise un sprite unique. Single + Repeated le répète sur les 4 côtés en l'extrudant sur la profondeur de votre choix. Dual accepte une planche à 2 vues (face et dos). Et mon préféré, Quad, avale carrément une planche de 4 vues alignées à l'horizontale dans un ordre bien précis : gauche, face, droite, dos. Résultat, un objet complet visible à 360°.

Si c'est sur ce dernier mode que vous voulez partir, sachez que le développeur conseille de passer par la fonction d'export de Frame d' un éditeur de sprites plutôt que de tout vous taper à la main.

L'interface de Pix 2D to 3D, avec le sélecteur de mode et les réglages de profondeur

L'algorithme calcule l'épaisseur des pixels en fonction de leur distance au bord, et les flancs sont arrondis pour une transition douce. L'outil modifie également les bords pour un effet plus naturel, en supprimant progressivement des voxels, ce qui évite l'aspect rigide et artificiel.

Du coup, pas de GPU qui chauffe, rien à installer à part l'app. Après cet outil est un convertisseur géométrique, pas un devin, hein donc à vous de bien gérer l'alignement du dessin dans les cases au départ. Sur Windows, la dernière pre-release est disponible par contre, pour macOS, il faut utiliser la version précédente et sous Linux, ça se compile facilement avec Go, Node, GTK3 et WebKit2GTK.

En tout cas, pour des formes simples et plutôt rondes, j'ai trouvé le rendu assez bluffant. Maintenant, si vous préférez rester dans votre éditeur, Pixelorama dispose de sa propre extension de voxélisation, mais sans le mode à 4 vues. Et pour vous rendre compte de ce que donnent des sprites voxélisés à grande échelle, je vous invite à jeter un œil à ce mod voxel de Duke Nukem 3D qui vaut vraiment le coup d'œil.

C'est par ici que ça se passe !

Alors ça, c'est un sacré morceau qui va ravir tous les fans de rétro gaming ! Patchzy, le dev de Wheel Wizard (le launcher de Retro Rewind), vient d'annoncer Mario Kart Wii compiled, ce qu'il présente comme le premier jeu Wii recompilé en natif pour PC. Pas émulé, hein recompilé. Et vous allez voir pourquoi c'est mieux !

alors pour le moment c'est pas encore dispo, mais c'est une annonce qui est faite en amont de la sortie en bêta qui aura lieu au mois d'août. Cette version de Mario Kart est la première recompilation statique d'un jeu Wii. L'avantage de la recompilation, c'est qu'on peut lui ajouter de nouvelles fonctionnalités et il y aura notamment du jeu en ligne, de la 4K (avec les textures de 2008 dedans par contre...), un framerate débloqué, ainsi qu'un support optionnel de Retro Rewind, ce qui lui apportera plus de 200 circuits.

On a donc une date et on a donc cette vidéo qui va vous mettre l'eau à la bouche :

La recompilation statique, pour faire simple, ça prend le code machine du jeu et ça le retraduit en programme natif pour votre PC. Pas de couche d'émulation qui fait tourner une Wii fantôme en arrière-plan, juste un exécutable que vous lancez comme n'importe quel jeu Steam.

La scène sait faire ça sur N64 depuis un moment, et c'est comme ça que Banjo-Kazooie a atterri sur PC en 4K , et quelques projets s'y sont collés sur Xbox 360. Pour ma part, moi je suis en train de coder une espèce de recompilateur universel qui supportera plein de consoles différentes, mais c'est pas encore prêt et je sais pas encore si je mettrai ça sous licence libre ou si ce sera juste un binaire pour mes Patreons. On verra bien, c'est pas fini, et je prends mon temps mais c'est un petit peu mon passe-temps du moment.

Au moment où j'écris cet article, je suis en train de bosser sur la recompilation de l'ensemble des jeux N64 :

Après sur Wii, le terrain n'était pas complètement vierge non plus, puisque DolRecomp, un recompilateur statique GameCube et Wii, traîne sur GitHub depuis le mois de juin. Alors pourquoi est-ce qu'on s'excite tous si on peut déjà faire tourner Mario Kart Wii nickel sous Dolphin depuis des années ?

Eh bien parce que comme je vous le disais, en théorie, un binaire natif, déjà ça vous épargne tous les problèmes liés à l'émulation, je pense à la surcharge que ça peut engendrer sur les petites configs ou les petits lags, ce genre de choses.

Puis en plus ça peut permettre de supporter par exemple des mods. Je pense à Retro Rewind évidemment, mais pourquoi pas aussi implémenter des nouvelles fonctionnalités dans le jeu. Et puis ça suivra les évolutions de votre machine sans que vous ayez à vous traîner un émulateur... C'est ça qui rend par exemple la recompilation PC d'Animal Crossing intéressante.

En tout cas, ce qui est sûr, c'est qu'avec Patchzy, ça va être du lourd ! En plus, comme Nintendo vient d'annoncer la fin des serveurs de Mario Kart Tour pour le 29 septembre, cette bêta d'août va pouvoir prendre le relais donc ça c'est super cool !!

Après côté légal, le projet ne distribue aucun asset Nintendo, ce sera donc à vous de fournir votre propre ROM. On verra bien si ça empêche Nintendo de dégainer ses avocats...

Source

July 2026 TIOBE Index puts Rust in the top 10 for the first time, as Python stays near 19% and the programming language ranking marks 25 years.

The post TIOBE Index July 2026: Rust Enters Top 10 as Index Turns 25 appeared first on TechRepublic.

Learn how to manage projects by using a Gantt chart, and which industries and project types it would benefit most. Discover the history and key features with our guide.

The post The Complete Guide to Gantt Charts: Examples & How to Use One appeared first on TechRepublic.

Most clocks are honest about what they are. They count. They tick. They remind you, with mild urgency, that you are late or almost late or about to be. Robert Spillner’s Luna is not a clock that measures time. It stages it. That’s a subtle but loaded distinction, and it’s exactly why this object is worth paying attention to.

Luna is a fluid wall object that translates the principle of the single-hand watch into a kinetic sculpture, making the moment between past and future perceptible. Behind the hand, a trace of turbulent patterns marks the touched past. Ahead of it stretches calm liquid: the untouched future. The present is the thin, moving line between them. It sounds poetic because it is, but it’s also technically precise, which is kind of the whole point.

Designer: Robert Spillner

Spillner trained as an engineer and initially developed components for Formula 1 cars, used by numerous teams, in a culture where speed, optimization, and victory are everything. With Luna, that paradigm is reversed. Instead of lap times, the focus is on mindful observation; instead of chasing the fastest, it is about pausing, about stillness. The pivot reads like a philosophical reversal, not just a career change, and that tension is embedded in the object itself.

At the heart of Luna is a specially developed fluid Spillner calls Zero Flow Technology. Its core consists of distilled water, additives, micro-particles, and a minimal quantity of genuine lunar dust. The exact composition remains deliberately undisclosed, part of the mystery that invites the observer to immerse themselves in the visual experience rather than merely explain it technically. I think that’s the right call. Part of what makes Luna compelling is that it resists easy explanation. You’re not supposed to look at it and think “clever fluid dynamics.” You’re supposed to feel like time has texture.

The lunar dust takes the cosmic concept to its logical conclusion. These are particles billions of years old that once fell from space to Earth, and they are now carriers of time. Each piece comes with a certificate of authenticity documenting the origin of this cosmic additive. That detail is not just a marketing flourish. It changes the nature of the object.

Aesthetically, Luna presents itself as a square wall or stand object, approximately 400 by 400 millimeters, with a black front and a cast acrylic glass pane at its centre that becomes the stage for the fluid time, framed by a solid, matte-black wooden frame. A small LCD touchscreen, 35 millimeters in diameter, merges the cosmic and digital realms. Time and display brightness can be adjusted easily. The screen is discreet enough that it doesn’t compete with the fluid for visual dominance. It supports the piece without stealing from it, and that balance isn’t easy to pull off.

Luna is handcrafted in Germany as a limited edition. The fluid mixture, developed over years in collaboration with a laboratory, requires weeks of fine-tuning for each unique piece. Every Luna carries an engraved serial number and year of manufacture, signed by the artist, and comes with a certificate for the meteorite dust. Only 99 pieces per year are planned, all made on demand. Luna defines itself clearly as an art object with a time function, not as an industrial small series. That self-awareness matters.

The question people tend to ask about objects like this is whether they’re worth it. I’d reframe the question. Luna isn’t competing with your iPhone or your smartwatch. It’s not trying to optimize anything in your day. It’s making an argument about how we relate to time, which is a thing most of us don’t think about until we’re running out of it. The fact that it’s beautiful while doing this isn’t a bonus. It’s the method. Design, when it’s working at its best, changes how you see the thing it’s describing. Luna does that with time. And for an object that started life inside Formula 1 engineering labs, that’s a remarkable distance to travel.

The post The F1 Engineer Who Turned Time Into a Kinetic Sculpture first appeared on Yanko Design.

Python stays far ahead after another dip; C holds second, Java retakes third from C++, and R rises to eighth as SQL slips, with Delphi steady in tenth.

The post TIOBE Index for May 2026: Top 10 Most Popular Programming Languages appeared first on TechRepublic.