In last summer's
Unlocking the Gates of Alexandria: DRM, Competition and Access to E-Books
, Ana Carolina Bittar of the Fundação Getulio Vargas Law School at São Paulo does an outstanding, thorough, and easily understandable job in explaining the ways in which ebook DRM ends up hurting writers, readers and publishers by shifting market power to the ebook vendors like Amazon, Google Play, Apple and B&N.
Section 1201 of the 1998 Digital Millennium Copyright Act bans jailbreaking devices, even for lawful purposes -- meaning that you can't jailbreak your tractor in order to take it to the service-center of your choosing or fix it yourself.
The game-plan for future Roombas may fit them with cameras that send images of your home to a remote service that identifies obstacles and lets the little robots clean around them -- what could possibly go wrong?
Mike Davis from Ioactive found serious flaws in the high-security the Cyberlock locks used by hospitals, airports and critical infrastructure, but when he announced his findings, he got a legal threat that cited the Digital Millennium Copyright Act.
In the wake of John Deere's claims that the software in its engines means that its farm equipment is "licensed," not "sold," I talked to the Globe and Mail about what digital locks mean for the idea of property in the 21st century.
If a Saturn V rocket had ever exploded on the launchpad, it would have been a catastrophic event. NASA engineers once calculated that the resulting fireball would have been 1048 feet wide and would have hit temperatures as high as 2,500 degrees Fahrenheit. In the hopes of not losing astronauts or launch crew to the inferno, NASA tricked out the Apollo launchpad with some safety systems that still exist today, including an underground, rubber-lined bunker that was accessible from the launch platform via a 200-foot twisty slide. (Which almost sounds like fun, until you consider the context.)
Amy Shira Teitel is one of the few people who have been inside the rubber room recently. In the video above, and she shares photos and stories about it in the video above, at her blog, and on Discovery.com.
It was a live broadcast, and there was a panel of scientists on one side of the studio, with us on the other. I was 23. The programming was a little looser in those days, and if a producer of a late-night programme felt like it, they would do something a bit off the wall. Funnily enough I’ve never really heard it since, but it is on YouTube. They were broadcasting the moon landing and they thought that to provide a bit of a break they would show us jamming. It was only about five minutes long. The song was called Moonhead — it’s a nice, atmospheric, spacey 12-bar blues.
This data visualization of the Apollo 11 moon mission gathers social and technical data from the 1969 lunar landing in video form. The horizontal axis is an interactive timeline.
The horizontal axis is an interactive timeline. The vertical axis is divided into several sections, each corresponding to a data source. At the top, commentators are present in narratives from Digital Apollo and NASA technical debriefings. Just below are the members of ground control. The middle section is a log-scale graph stretching from Earth (~10E9 ft. away) to the Moon. Utterances from the landing CAPCOM, Duke, the command module pilot, Collins, the mission commander, Armstrong, and the lunar module pilot, Aldrin, are plotted on this graph. The graph is partially overlaid on a composite image of the lunar surface.