05/30/2012
05/29/2012
Ball So Hard: 'Pianists in Paris' Covers 'Ni**as in Paris' on a Grand Piano
Source: http://feedproxy.google.com/~r/TheAtlantic/~3/TkG6pvPUu8E/story01.htm
05/28/2012
The Surprising Lessons of This Past TV Season
Source: http://feedproxy.google.com/~r/TheAtlantic/~3/5VuVSxLAmhk/story01.htm
Facebook reportedly back to building phones, recruiting former iPhone engineers
If the HTC Status' dedicated Facebook button fell shy of satisfying your obsessive social networking needs, sit tight: the house of Zuckerberg may be building a slab of tech just for you. According to the New York Times Bits blog, those old Facebook phone rumors are making a comeback. A handful of Facebook employees and engineers familiar with the matter reportedly say that the firm is collecting former Apple engineers, specifically, ones that worked on the iPhone and iPad. Like Zuckerberg said, mobile is the company's top focus, and one employee says the man at the top is afraid of getting overlooked in a sea of apps. "Mark is worried that if he doesn't create a mobile phone in the near future that Facebook will simply become an app on other mobile platforms." Facebook has focused on deep integration with other devices for some time, but a dedicated handset could take the freshly public company in new directions. Reports suggest that the rumored device is still in its infancy, and there's no word on form factor or OS, of course. Up for some speculation? Check out the source link below for Bits' full take.
Facebook reportedly back to building phones, recruiting former iPhone engineers originally appeared on Engadget on Sun, 27 May 2012 16:29:00 EDT. Please see our terms for use of feeds.
Permalink
The Next Web | 
New York Times (Bits) | Email this | CommentsSource: http://www.engadget.com/2012/05/27/facebook-reportedly-building-phone-with-iphone-engineers/
FAIR ISAAC FACTSET RESEARCH SYSTEMS F5 NETWORKS EPICOR SOFTWARE
05/27/2012
Does the Supreme Court Believe in Double Jeopardy Protections?
Source: http://feedproxy.google.com/~r/TheAtlantic/~3/ZerocJjr3JQ/story01.htm
VERIFONE HOLDINGS VEECO INSTRUMENTS VARIAN SEMICONDUCTOR EQUIPMENT ASSOCIATES UNITED ONLINE
05/26/2012
Insert Coin: PressurePen stylus lets you make all kinds of lines on your tablet
In Insert Coin, we look at an exciting new tech project that requires funding before it can hit production. If you'd like to pitch a project, please send us a tip with "Insert Coin" as the subject line.
If you're like Charles Mangin, you love your iPad or Android tablet, but wish it was a little more Wacom-esque. But why wait for hardware manufacturers to bring the styli to you? Mangin has concocted the PressurePen, a pressure-sensitive stylus that plugs into a tablet's audio jack. The peripheral sends a tone to the tablet based on how far the tip of the pen is pushed in. The tone affects the thickness of the pen stroke, helping you alternate the sizes of lines more naturally than on a standard tablet.
Mangin is shooting for $10,000 over on his Kickstarter page, with a little under a week and around $4,000 left to go. Those who pledge $60 or more will get a PressurePen to call their own. Mangin will also be open sourcing the plans for the pen, so those with access to a 3D printer will be able to make their own shell at home. Video of a PressurePen prototype in action after the break.
Continue reading Insert Coin: PressurePen stylus lets you make all kinds of lines on your tablet
Insert Coin: PressurePen stylus lets you make all kinds of lines on your tablet originally appeared on Engadget on Fri, 25 May 2012 14:13:00 EDT. Please see our terms for use of feeds.
PermalinkTechnabob | PressurePen, Kickstarter | Email this | CommentsSource: http://www.engadget.com/2012/05/25/insert-coin-pressurepen-stylus-lets-you-make-all-kinds-of-lines/
VERISIGN VERIFONE HOLDINGS VEECO INSTRUMENTS VARIAN SEMICONDUCTOR EQUIPMENT ASSOCIATES
Spotify In A Box: Why Sharing Will Never Be Stopped
Most people will be familiar with Moore's Law, usually stated in the form that processing power doubles every two years (or 18 months in some versions.) But just as important are the equivalent compound gains for storage and connectivity speeds, sometimes known as Kryder's Law and Nielsen's Law respectively.
To see why, consider that the IBM PC XT had a 10 Mbyte hard drive when it was launched in 1983, which meant you couldn't even fit a single song on it. Similarly, the first widely-used modem, the 1981 Hayes Smartmodem, had a maximum speed of 300 baud: to transfer a digitized song using a dial-up connection would have taken around 500 hours.
With those kind of figures, it's easy to see why the recording industry underestimated the threat that file sharing would become once the Internet arrived: based on the past, it was almost inconceivable that people would ever swap music between computers. Of course, once that did start to happen, and the shape of the future became obvious to many, the industry nonetheless wilfully ignored the facts and the trends at every turn, when instead it should have taken the lead in re-inventing media for the Internet age.
That woeful history of refusing to accept the implications of rapidly-advancing technologies makes this prediction, found via Slashdot, even more fateful: Technologies that will make it possible to expand disk density include heat-assisted magnetic recording (HAMR), which Seagate patented in 2006. Seagate has already said it will be able to produce a 60TB 3.5-in. hard drive by 2016.
Assuming Seagate or someone else delivers, that 60 terabyte hard disk could store around 10 million typical MP3 files. A year ago, Spotify was said to have 15 million tracks, which means that you could store most of today's Spotify on that future Seagate drive. Spotify is likely to grow even larger by 2016, but it probably won't grow as fast as the storage capacity of hard disks, so there will be some point in the not-too-distant future when you can place all of its holdings on a single hard disk: Spotify in a box.
Obviously, few people will choose to do that, but storing your favorite million songs will not only be realistic, it will be cheap -- and even portable. Provided the transfer rate to and from such disks also keeps up with the growth in capacities -- an indispensable technological requirement, otherwise they become impossible to use -- this means that people will be able to move around huge collections of music, without ever touching an Internet connection. That makes all those three-strikes plans moot, since you won't actually need your broadband line in order to swap files with friends. You'll just plug in your portable hard drives to a common computer and exchange stuff directly (as probably already happens with today's terabyte-sized portable disks.)
In an ideal world, we would also see a kind of constant scaling of the intelligence of the recording industry, such that by 2016 it would finally accept that trying to stop sharing -- whether online or off -- is simply pointless. Somehow, though, I think we'll just have to make do with the other variants of Moore's Law.
Follow me @glynmoody on Twitter or identi.ca, and on Google+
Permalink | Comments | Email This Story
05/25/2012
Don't Let John Yoo Talk You Into Domestic Drone Use by Police
Source: http://feedproxy.google.com/~r/TheAtlantic/~3/QVEaQaOTBiw/story01.htm
Comcast video on-demand comes to Boston area TiVo Premieres Monday
Now that Comcast has started delivering its video on-demand to TiVo Premieres, the company has now revealed the second area where access will be turned on is Boston, starting Monday. The news was announced in a tweet from Head of Corporate Communications Steve Wymer, and as Gizmo Lovers notes, was likely held back as Comcast announced its own X1 platform would launch soon in Boston as well. We're now more than a year past the original announcement, hopefully this is jsut the start of the rollout as it picks up the pace, if the two companies work well together maybe Comcast could be on the list for that six-tuner Pace box at some point.
Comcast video on-demand comes to Boston area TiVo Premieres Monday originally appeared on Engadget on Fri, 25 May 2012 07:04:00 EDT. Please see our terms for use of feeds.
PermalinkGizmo Lovers | @SteveWymer (Twitter) | Email this | CommentsSource: http://www.engadget.com/2012/05/25/comcast-video-on-demand-comes-to-boston-area-tivo-premieres-mond/
05/24/2012
Chris Matthews and Newt Gingrich: The Most Entertaining (and Reptile-Centric) Political Interview Ever
Source: http://feedproxy.google.com/~r/TheAtlantic/~3/6MehbHbJ7i8/story01.htm
VEECO INSTRUMENTS VARIAN SEMICONDUCTOR EQUIPMENT ASSOCIATES UNITED ONLINE UNISYS
You're Only Making Things Worse For Yourself (And Us Too), Media Industries (Part II)
Media industries have made things worse for themselves by training customers to think of ads and other indirect sources of revenue-generation as an inconvenience, a feature of programming best not talked about. Ads are woven into the flow of the programming, and increasingly hidden in product placements and other inline forms of sponsorship. My favorite brand of frozen pizza is now co-marketed with the new "Avengers" movie. The psychology of advertising is subtle and complex—or maybe not.
In either case, the result is that at the most basic level—at the reptilian cortex of the brain—consumers are encouraged to ignore the reality that advertisers pay for or highly subsidize most forms of content. Because the economics of content are kept mysterious, we have no reason to believe that if we enjoy movies, music, books or television shows at the wrong time, or with the wrong people, or without the ads, we're undermining the basic rules of the industry. How can we be expected to understand that doing so is not only dangerous to the continuation of that longstanding model but also a crime, punishable by enormous fines and even possible jail time?
What consumers do see, however, is that as content has been translated, often kicking and screaming, into digital form, the unit cost of production, distribution, and marketing has plummeted. Yet for most media, the price has not decreased proportionally, largely because rightsholders want to protect increasingly uneconomical physical media formats such as hardcover books, newspapers, and movie DVDs.
Worse, even as the unit cost of media declines, the rules against unauthorized copying have become stricter. It's as if there were suddenly millions of new parking spaces available across Manhattan, but parking lots keep charging more than $10 an hour. And all the meters are suspiciously broken.
How did this happen? Since well before the invention of the photocopier, media industries have pursued a consistent if counter-productive legal strategy of responding to disruptive technologies that decrease costs and open new markets by lobbying for extensions to copyright terms, increased penalties, and criminalizing more behaviors.
Their theory—if there is one—is that technologies that make it cheaper to create and distribute content also make it cheaper to violate copyright (see Napster, et. al.). Cheaper production is ignored, while increased potential for violations requires enhanced penalties that can't, in any case, be enforced. It's a lose-lose-lose strategy for producers, creators, and consumers. And it's a loop we've been stuck in for decades.
One result of that fatal loop is that under current law the concept of fair use—long understood as a safety valve to an otherwise economically-dangerous copyright monopoly—exists in name only. And with copyright terms continually and retroactively extended, almost nothing enters the unrestricted "public domain" anymore, even though the continued expansion of the public domain was the whole point of granting the "limited" copyright monopoly in the first place.
Copyright was designed as a low-cost and largely self-enforcing mechanism for achieving two important goals: incentivizing creators to build the intellectual capital of a new nation and making sure that their efforts could be used and built upon as quickly and as freely as possible. Copyright gives authors a monopoly, which necessarily reduces potential social value. (Economists call it "dead weight loss.")
But there's an essential caveat. Once the limited period of the monopoly expires, all rights are unreserved. The public can do as it pleases with the work—copy it, adapt it, reframe it, anthologize it, mock it. (Some amount of mocking is allowed even before the term expires.) As the Constitution puts it, Congress shall have the power—and not the obligation—"To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries."
But copyright law no longer promotes the progress of anything. It just secures more rights. And patent law, in its own state of disarray, is even worse. It's actually counter-productive, as if to make it a crime just to think about parking.
This dangerous imbalance in the system is the result of misguided efforts to preemptively rescue American content industries from wave after wave of disruptive copying technologies, each seen as the certain destroyer of the content enterprise. Jack Valenti's infamous testimony that the VCR was "to the American film producer and the American public as the Boston strangler is to the woman home alone" is still chilling in both its rhetorical excess and its misreading of the future. (And how was the "American public" threatened at all?)
The imbalance of copyright today is the result of Hollywood's irrational fear of the unknown. As Prof. Tom Bell made visually clear with his 2009 "Mickey Mouse Curve," the regular extension of copyright terms and penalties, especially in the last hundred years, has not been based on the reasoned deliberation of Congress so much as the unrelenting lobbying of the Disney Corporation, determined to spend whatever it must to keep every iota of its creative work out of the public domain. Worse, Disney's obsession is about control, not maximizing profits.
As Bell's curve demonstrates, whenever the earliest works of Disney are about to lose copyright protection, Congress steps in to extend it retroactively. This is no coincidence. But it is ironic coming from a company whose oeuvre includes so many films based on content (the Hunchback, Hercules, Mulan, Tarzan) that had only recently entered the public domain. Or maybe not ironic at all.
Source: Tom W. Bell
(It is a persistent myth, by the way, that allowing "Steamboat Willie"—itself a parody of a Buster Keaton film—to enter the public domain would mean the end of protection for Mickey Mouse. While freely copying those early cartoons would no longer violate Disney's rights, all the later works would still enjoy their full run of exclusive rights. And Disney's trademarks in its characters and character designs would greatly limit what others could do with Mickey beyond copying the public domain cartoons themselves. Trademarks are valid so long as consumers continue to associate them with a particular source—potentially forever.)
Irrational policy decisions produce unintended consequences. The successful campaign to continually and dramatically extend copyright is increasingly a pyrrhic victory for the content industry. By removing all of the safety valves against abuse of the "limited" monopoly, copyright, as Supreme Court Justice Breyer has argued in dissent, has effectively become permanent. The law is now rewritten solely to protect the interests of a few large rightsholders.
Yet traditional forms of legal enforcement have become nearly impossible. Consumers use a constant supply of disruptive technologies (the cloud, P2P protocols, encryption) to rebel against a dictatorial copyright regime. And the speed of innovation has long-since outstripped the speed of Congress and the courts. Most consumers now see themselves and each other not as lawbreakers but as freedom fighters. Copyright, in its current mutant form, is now firmly on the wrong side of history.
Next: How to Reset the Balance and Save Copyright from Itself
Permalink | Comments | Email This Story
05/23/2012
My New Favorite City
Source: http://feedproxy.google.com/~r/TheAtlantic/~3/5cL6Jl1fGsc/story01.htm
LINEAR TECHNOLOGY LEXMARK INTERNATIONAL LEVEL 3 COMMUNICATIONS LAWSON SOFTWARE
Recent Comments