Thinkspace Gallery in Los Angeles has a new group show opening this weekend of truly breathtaking work by artists KuKula, Audrey Kawasaki, Amy Sol, Brandi Milne, and Stella Im Hultberg, who created the magnificent piece seen here. The opening reception is Friday evening from 7pm-11pm and all five artists will be in attendance. The exhibit is titled "Smitten." And I am. The gallery has posted a behind the scenes photo set on Flickr of some of the artwork and the artist's studios. Link to Flickr set, Link to ThinkSpace (via Juxtapoz)
Previously on BB:
• Stella Im Hultberg's beautiful drawings Link
• Amy Sol in Juxtapoz Link
• Audrey Kawasaki interview on MacTribe Link
• Audrey Kawasaki at Roq La Rue Link
Here's a video archive of about 40-odd vintage punk (and post-punk, power pop, and new wave, and I don't want to argue about it) music performances. Most of them appear to have been taped between 1979 and 1983, in fine old dive bars in and around Boston. Link, link 2. Bands both famous and obscure: Buzzcocks, Clash, Siouxsie and the Banshees, Specials, Mission of Burma, Gang of Four, Dead Kennedys, Stranglers, Stiff Little Fingers, XTC... (thanks, Oz)
upcoming Fark tagline:Link to archived audio for "Fark.com: Making Money Off of Goofy News" [Ed. Note: So goofy!] on All Things Considered.
Boss must pay $32,300 to employee after forcing her to go drinking with fellow employees.
"Better get lawyered up, Drew, there's legal precedent now."
"If we lose, then what the hell, at least we died trying"
Drew Curtis also has a book coming out soon -- can't wait to get my hands on a copy.
Link to pre-order "It's Not News It's Fark: How Mass Media Tries to Pass Off Crap as News" (which comes out on May 31).
BoingBoing buddy extraordinaire Gareth Branwyn says,
When my wife and I first saw Spinal Tap, we laughed so hard, several people around us got up and moved. We laughed pretty much from the moment that Marty DeBergi entered the first scene, in his USS Ooral Sea cap, till the credits rolled. We'd both been involved in rock and roll and it was just too spot on for its own good. So, seeing that there was a new Spinal Tap short, a sort of "where are they now?," in advance of their reunion at the Live Earth Concerts, I was hoping for similar dumb-funny fits of giddiness.Link
It didn't disappoint. The vid opens on the set of Marty DeBergi's new film, "The Hills Have Eyes with Macular Degeneration." Hoping to get the band back together for Live Earth, Marty seeks out the members, now not talking to each other. Nigel is a ranch hand on a miniature horse farm, David runs a hip-hop production company, called Back Alley, in a former colonic irrigation clinic. Derek talks to Marty from a rehab center, via webcam, where he's being treated for Internet addiction. Marty, the affable lunk, manages to get the band talking again and to agree to reunite for the benefit.
If you're a Tap fan, you'll likely get as big a kick out of this as I did. Wonder who the drummer will be at Live Earth? Too bad Mick Fleetwood has thus far defied the band's drummer curse. He's still with us (as far as anyone can tell), but no word if he'll mount the exploding drum stool for the upcoming shows.
Previously on BoingBoing:
I'm presently about 18,000 words into this -- final length is probably somewhere north of 30,000 words -- and I'm planning on reading about 30 minutes' worth of audio every week.
I piloted the mecha through the streets of Detroit, hunting wumpuses. The mecha was a relic of the Mecha Wars, when the nation tore itself to shreds with lethal robots, and it had the weird, swirling lines of all evolutionary tech, channelled and chopped and counterweighted like some freak dinosaur or a racecar.
I loved the mecha. It wasn't fast, but it had a fantastic ride, a kind of wobbly strut that was surprisingly comfortable and let me keep the big fore and aft guns on any target I chose, the sights gliding along on a perfect level even as the neck rocked from side to side.
The pack loved the mecha too. All six of them, three aerial bots shaped like bats, two ground-cover streaks that nipped around my heels, and a flea that bounded over buildings, bouncing off the walls and leaping from monorail track to rusting hover-bus to balcony and back. The pack's brains were back in dad's house, in the old Comerica Park site. When I found them, they'd been a pack of sick dogs, dragging themselves through the ruined city, poisoned by some old materiel. I had done them the mercy of extracting their brains and connecting them up to the house network. Now they were immortal, just like me, and they knew that I was their alpha dog. They loved to go for walks with me.
Created by: toadstool57
Sentence: Jill did a mimeopath of herself in her prom dress, handing it out to everyone she knew and didn't know.
Etymology: mimeograph, psychopath
Last week, the AACS consortium made history by issuing legal threats against the 1.8 million web-pages (and counting) that mentioned its secret code for preventing HD-DVD discs from being copied.
In effect, AACS-LA (the AACS Licensing Authority) claimed that it owned a randomly chosen 128-bit number, and that anyone who possessed or transmitted that number was breaking the law. Moreover, it claimed to own millions more random numbers -- claimed that the US Digital Millennium Copyright Act, which criminalises telling people how to break anti-copying software, gave it exclusive dominion over its many keys.
Why should the AACS get all the fun? Princeton prof Ed Felten has come up with a great way of giving out legally protected 128-bit numbers to anyone who wants them. If he gives out 2^128 of these, then all 128-bit numbers will be owned and no one will ever be able to use a 128-bit key without breaking the law. Good times.
Here’s how we do it. First, we generate a fresh pseudorandom integer, just for you. Then we use your integer to encrypt a copyrighted haiku, thereby transforming your integer into a circumvention device capable of decrypting the haiku without your permission. We then give you all of our rights to decrypt the haiku using your integer. The DMCA does the rest.My number is AF BC 9C 5D DA 6B 7A A8 7C 33 A1 2B E7 D3 EA 11. You aren't allowed to know this number. I also reloaded the page and generated a few more numbers. I'm not telling you what they are, but I'll be setting up a Google alert for them and if I catch you using them, I'm gonna take your house away. Link
The haiku is copyright 2007 by Edward W. Felten:
We own integers,
Says AACS LA.
You can own one too.
AACS vows to fight people who publish the key
AACS DRM body censors Cory's class blog
Digg users revolt over AACS key
Secret AACS numbers, the photoshopped edition
Side effect of AACS turmoil: MSM turns on Web 2.0? UPDATED
Blu-Ray AND HD-DVD broken - processing keys extracted
EFF explains the law on AACS keys
More AACS spoofs: WOW protest, and PSA vid: Think Before You Post
HD-DVD/Blu-Ray cracker muslix64 interviewed
Web-page aggregates links to "forbidden numbers" used to break HD-DVD
Update: Bo sez, "I figured I might need a 128-bit number someday and was afraid that mean-spirited jerks like Cory would take them all and threaten to sue me if I used one. So I decided that I'd grab my own before they were all gone. I figured other people might be in a situation like me, so I decided to publish my number as a line of text and offer it to the world with a Creative Commons Attribution-Share Alike license. So even if all the other numbers are gone, anyone wants to use "C6 8C 14 E1 9F 29 2A 6B 9E 6C C7 38 D2 80 9E 27" to encrypt something is welcome to do so. Just be sure you give me credit! (That means you, too, AACS-LA! Don't get any funny ideas!)"
The BBC has turned its back on its promise to deliver a remixable, DRM-free archive of its video materials to the British public, citing lame excuses like, "It will cost a lot to negotiate rights," and "It might make us less effective at selling DVDs to Americans." Instead, it has opted for the "iPlayer," a crippling technology that infects PCs and makes them incapable of saving and using some of the files on their hard-drives. At the core of this is a Microsoft technology, the WMV file-format. It's illegal for British entrepreneurs to build devices that play WMV without permission and a license from Microsoft, and Microsoft specifies what features WMV players must and must not have.
The upshot is that British TV -- when recorded over the air -- can be stored forever, shared, re-used, and recorded using anyone's tools. British entrepreneurs can make recorders for it. British people can save it and use it as they see fit within the law.
But British TV -- when delivered over the Internet -- infects your computer. It deletes itself after a set period. It can't be used for any purpose other than watching it. And no one is allowed to make a player for it without Microsoft's permission.
The Trustees heard that 80 percent of the respondents didn't want DRM and especially didn't want Microsoft DRM. But rather than giving the BBC orders to deliver its free-to-air video in free-to-net formats, they gave it permission to sell out the license-fee payers who are required by law to support the BBC.
Look: the BBC radiates its TV offerings in all directions at the speed of light from its broadcast towers. DRM doesn't stop copying (and it never has, and it never will). But even if it did -- if I can record my BBC TV over the air and make it available, the presence of DRM on the iPlayer just discriminates against the least technically literate Brits, who don't know about UKNova, which is filled with every BBC show aired, without DRM.
It also turns license payers who watch TV on their computers without restrictions into criminals. It criminalises the act of watching the TV that, by law, you are required to pay for.
They also instructed the BBC to stop making MP3s of public-domain classical music available, because the classical music industry is "precarious." That's smart -- we'll improve the health of the classical music industry by making sure that no one under 35 with an iPod can listen to it. Nice one, Trustees.
Indeed, if the goal of this report was to ensure that the BBC has no relevance to the 21st century, then mission accomplished. Who needs a "public service broadcaster" that criminalises its viewers, privileges monopolistic foreign software giants, and takes every measure to stop its audience watching telly in the way they see fit?
Photo gallery of super-realistic WWII military scenes. Link (Thanks, Andy!)
It is forbidden to attempt to solve ApeLad's puzzle, or write down the answer. You have been warned. Link
Previously on Boing Boing:
• Digg users revolt over AACS key
• Secret AACS numbers, the photoshopped edition
• Ed Felten explains the AACS revolt
• EFF explains the law on AACS keys
• AACS DRM body censors Cory's class blog
• New AACS crack "can't be revoked"
• AACS vows to fight people who publish the key
This was roughly my 3rd time ever going to a McDonalds... and my last. I ate some raw chicken before noticing and spitting it out in horror, I didn't expect good food, but I did expect cooked food. FYI, I did look at it before eating it, as raking the great blobs of mayo off took some effort. I can't even think of chicken now without feeling like I'm adrift on a choppy sea.Link
PRESS DEMOCRAT: In 1993, you developed the first commercial Web site -- known as the Global Network Navigator. How did you come up with the idea?Link
DOUGHERTY: Late in 1991, I saw a demonstration of the Web from Tim Berners-Lee, its founder, and I became a believer. I began showing it to others and watched as they were amazed by its power -- that you could use a single program to access information on servers around the world. I remember saying: "That page just came from Italy. Just like that." You'd have to remind everyone that it wasn't coming from a local hard disk. I knew this was the future for publishing. I set out to organize a team to build a site but it was never clear how we could make money on it. Before Yahoo, GNN was an early attempt to create a directory of links to what you could find on the World Wide Web; it was also a magazine with some articles on how to explore this new world. We sold GNN to AOL in 1995 for millions, although AOL didn't deliver on the promise to scale it up. (Editor's note: the site is viewable at www.oreilly.com/gnn)