It’s a new year, and that means new works are entering the public domain, and that means it’s time for the latest installment of our public domain game jam, Gaming Like It’s 1929!

If you’ve been itching to get started on your entry, now’s the time — you’ve got until the end of the month to make an analog or digital game based on works from 1929 that entered the public domain today. For more information and some examples of works you could draw from, check out our announcement post and the game jam page on Itch. We’ll bring you more updates throughout the month, and then in February we’ll be choosing winners in six categories (check out last year’s winners and our series of winner spotlight posts if you need some more inspiration!)

We can’t wait to see what you come up with — good luck, and happy New Year/Public Domain Day!

LEGO bricks might look simplistic, but did you know there’s an actual science behind their sizes? Enter LDUs — LEGO Draw Units — the minuscule measurement standard that allows those tiny interlocking pieces to fit together seamlessly. In a recent video [Brick Sculpt] breaks down this fascinating topic.

So, what is an LDU precisely? It’s the smallest incremental size used to define LEGO’s dimensions. For context, a standard LEGO brick is 20 LDUs wide, and a single plate is 8 LDUs tall. Intriguingly, through clever combinations of headlight bricks, jumper plates, and even rare Minifig neck brackets, builders can achieve offsets as tiny as 1 LDU! That’s the secret sauce behind those impossibly detailed LEGO creations.

We already knew that LEGO is far more than a toy, but this solidifies that theory. It’s a means of constructing for anyone with an open mind – on its own scale. The video below explains in detail how to achieve every dimension possible. If that inspires you to build anything, dive into these articles and see if you can build upon this discovery!

A central theme of Walled Culture the book (free digital versions available) and this blog is that the copyright industry is never satisfied. Now matter how long the term of copyright, publishers and recording companies want more. No matter how harsh the punishments for infringement, the copyright intermediaries want them to be even more severe.

Another manifestation of this insatiability is seen in the ever-widening use of Internet site blocking. What began as a highly-targeted one-off in the UK, when a court ordered the Newzbin2 site to be blocked, has become a favored method of the copyright industry for cutting off access to thousands of sites around the world, including many blocked by mistake. Even more worryingly, the approach has led to blocks being implemented in some key parts of the Internet’s infrastructure that have no involvement with the material that flows through them: they are just a pipe. For example, last year we wrote about courts ordering the content delivery network Cloudflare to block sites. But even that isn’t enough it seems. A post on TorrentFreak reports on a move to embed site blocking at the very heart of the Internet. This emerges from an interview about the Brazilian telecoms regulator Anatel:

In an interview with Tele.Sintese, outgoing Anatel board member Artur Coimbra recalls the lack of internet infrastructure in Brazil as recently as 2010. As head of the National Broadband Plan under the Ministry of Communications, that’s something he personally addressed. For Anatel today, blocking access to pirate websites and preventing unauthorized devices from communicating online is all in a day’s work.

Here’s the key revelation spotted by TorrentFreak:

“The second step, which we still need to evaluate because some companies want it, and others are more hesitant, is to allow Anatel to have access to the core routers to place a direct order on the router,” Coimbra reveals, referencing IPTV [Internet Protocol television] blocking.

“In these cases, these companies do not need to have someone on call to receive the [blocking] order and then implement it.”

Later on, Coimbra clarifies how far along this plan is:

“Participation is voluntary. We are still testing with some companies. So, it will take some time until it actually happens,” Coimbra says. “I can’t say [how long]. Our inspection team is carrying out tests with some operators, I can’t say which ones.”

Even if this is still in the testing phase, and only with “some” companies, it’s a terrible precedent. It means that blocking – and thus censorship – can be applied automatically, possibly without judicial oversight, to some of the most fundamental parts of the Internet’s plumbing. Once that happens, it will spread, just as the original single site block in the UK has spread worldwide. There’s even a hint that might already be happening. Asked if such blocking is being applied anywhere else, Coimbra replies:

“I don’t know. Maybe in Spain and Portugal, which are more advanced countries in this fight. But I don’t have that information,” Coimbra responds, randomly naming two countries with which Brazil has consulted extensively on blocking matters.

Although it’s not clear from that whether Spain and Portugal are indeed taking this route, the fact that Coimbra suggests that they might be is deeply troubling. And even if they aren’t, we can be sure that the copyright industry will keep demanding Internet blocks and censorship at the deepest level until they get them.

Follow me @glynmoody on Mastodon and on Bluesky. Originally posted to Walled Culture.

Within the confines of a small, ovoid frames, Caroline Dewison, of A House of Wonders, crafts miniature scenes laden with remarkable detail. Building upon previous mystical vistas inspired by the woodlands surrounding her studio in Warrington, England, the artist’s most recent ventures forge a deeper path toward the otherworldly.

Hovering above minuscule streams and valleys, UFOs contrast sharply against Dewison’s hand-painted nature scenes. The artist has been fascinated by the possibility of beings on other planets since childhood and continues to explore this speculation.

“In my lifetime, it’s gone from there being just us to scientists finding hundreds and thousands of exoplanets, many with the possibility of life,” she explains. “I would like to think that we’re not alone.” Within each diorama, the flying saucers are cleverly affixed to jut outward from two-dimensional backgrounds, furthering a sense of depth.

Along with revisiting her lifelong interest in the extraterrestrial, the artist has also rekindled her relationship with automata. She relishes problem-solving and the logistical aspects of constructing kinetic pieces, sharing, “I love working out how to create a moving piece of art and really enjoy engineering the mechanism to add life to my work.” As a result, the tiny UFOs make a dynamic appearance as well, rotating and drifting above foreign crop circles and thickets of pine.

While Dewison still mainly works with laser-cut plywood, Jesmonite, acrylic paint, clay, and a 3D-printing pen, she is also working on constructing new designs for frames.

A busy year is ahead of the artist. Dewison’s work is currently on view as part of Small Works | Big Impact at Momentum Gallery in Asheville, and later this month, her dioramas will be featured in the Oddities and Curiosities Expo in Melbourne with Beinart Gallery. Find Dewison’s miniatures for sale in her shop, A House of Wonders, and keep an eye on Instagram for new work, upcoming shows, and more.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Inside Miniature Dioramas, Flying Saucers Drift Across Extraterrestrial Landscapes appeared first on Colossal.