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Do you remember the Associated Press's 2009 announcement that they had discovered a magic-beans technology that would let them stop people from quoting the news unless they paid for license fees (for quotes as short as 12 words, yet!)?
Since the launch... we heard absolutely nothing about NewsRight. There was a launch, with its newspaper backers claiming it was some huge moment for newspapers, and then nothing.
Well, until now, when we find out that NewsRight quietly shut down. Apparently, among its many problems, many of the big name news organization that owned NewsRight wouldn't even include their own works as part of the "license" because they feared cannibalizing revenue from other sources. So, take legacy companies that are backwards looking, combine it with a licensing scheme based on no legal right, a lack of any actual added value and (finally) mix in players who are scared of cannibalizing some cash cow... and it adds up to an easy failure.
AP's Attempt At DRM'ing The News Shuts Down [Mike Masnick/Techdirt]
(Image: AP: Protect, Point, Pay)
Kristen sez, "The DoomBuggies website has released a version of the Haunted Mansion Corridor of Doors wallpaper in fabric, wallpaper and gift wrap, and according to the DoomBuggies facebook page, it's the same graphic that has been used by Disney. 'This is created from the same artwork that we created for Disney's official Haunted Mansion 40th Anniversary CD box set and CD insert,' according to Jeff Baham, the owner of DoomBuggies.com."
The Center for Copyright Information -- a company established by the RIAA, MPAA and various ISPs -- to oversee the American six-strikes copyright enforcement status has had its company status revoked and faces fines and other penalties. It appears that they forgot to file their government paperwork and pay their fees; they promise that they'll be back online once it's sorted out.
The revocation means that CCI’s articles of organization are void, most likely because the company forgot to file the proper paperwork or pay its fees.
“If entity’s status is revoked then articles of incorporation / organization shall be void and all powers conferred upon such entity are declared inoperative, and, in the case of a foreign entity, the certificate of foreign registration shall be revoked and all powers conferred hereunder shall be inoperative,” the DCRA explains.
Unfortunately for the CCI, the DCRA doesn’t have a strike based system and the company is now facing civil penalties and fines.
It appears that company status was revoked last year which means that other businesses now have the option to take over the name. That would be quite an embarrassment, to say the least, and also presents an opportunity to scammers.
“When a Washington DC corporation is revoked by the DCRA, its name is reserved and protected until December 31st of the year the corporation is revoked. After December 31st, other business entities may use the corporations name,” the DCRA explains on its website.
“Six Strikes” Anti-Piracy Outfit Loses Company Status, Faces Penalties [Ernesto/TorrentFreak]
(Thanks, That Anonymous Coward)
Hacking Politics is a new book recounting the history of the fight against SOPA, when geeks, hackers and activists turned Washington politics upside-down and changed how Congress thinks about the Internet. It collects essays by many people (including me): Aaron Swartz, Larry Lessig, Zoe Lofgren, Mike Masnick, Kim Dotcom, Nicole Powers, Tiffiny Cheng, Alexis Ohanian, and many others. It's a name-your-price ebook download.
Hacking Politics is a firsthand account of how a ragtag band of activists and technologists overcame a $90 million lobbying machine to defeat the most serious threat to Internet freedom in memory. The book is a revealing look at how Washington works today – and how citizens successfully fought back.
Written by the core Internet figures – video gamers, Tea Partiers, tech titans, lefty activists and ordinary Americans among them – who defeated a pair of special interest bills called SOPA (“Stop Online Piracy Act”) and PIPA (“Protect IP Act”), Hacking Politics provides the first detailed account of the glorious, grand chaos that led to the demise of that legislation and helped foster an Internet-based network of amateur activists.
Danny O'Brien from the Electronic Frontier Foundation sez,
The latest round of the Trans-Pacific Partnership starts today in Lima, Peru. Embedded in the trade agreement is an IP chapter that, according to leaks, exports the worst of US copyright law -- DRM blocks, extended copyright terms, ISPs as copyright cops -- without even of the judicial and constitutional counterbalances that US activists have fought so hard for.
In such a giant trade agreement, the Internet issues have sometime risked getting ignored by the mainstream press, and missed by the techies who'd be most affected.
But EFF's international rights director, Katitza Rodriguez, is Peruvian. She's spent the the last month working out of Lima's Escuelab hackerspace, talking to hackers, makers, journalists and artists about the dangers of IP chapter. The result has been petitions, memes, and videos, as well as meetings with politicians and articles in the Peruvian press.
Rogue archivist Carl Malamud sez, "105 law professors and law librarians have endorsed a call to change U.S. Copyright law to exclude edicts of government. Edicts are "the law" and include all pronouncements of government that are binding on citizens and residents, including statutes, regulations, court opinions, and legally-mandated codes. If ignorance of the law is no excuse, then we must all be able to read, know, and speak the law without restraint. The text of the proposed amendment reads:"
“Edicts of government, such as judicial opinions, administrative rulings, legislative enactments, public ordinances, and similar official legal documents are not copyrightable for reasons of public policy. This applies to such works whether they are Federal, State, or local as well as to those of foreign governments.”
Usborne's 1983 classic Introduction to Machine Code for Beginners is an astounding book, written, designed and illustrated by Naomi Reed, Graham Round and Lynne Norman. It uses beautiful infographics and clear writing to provide an introduction to 6502 and Z80 assembler, and it's no wonder that used copies go for as much as $600. I was reminded of it this morning when @amanicdroid tweeted me with a link to a PDF of the book's interior. I'd love to see this book updated for modern computers and reprinted.
What better subject for a t-shirt than an Adventure Time/Katamari Damacy mashup?
This amazing retro-gamer wedding cake was made by Wedding Cakes By Nicole of Bunbury, Australia. The cake pays homage to many of the arcade greats:
I created a 3 tier square cake, with each of the sides representing a popular retro platform game. Topped off with a game off Pong, with the score depicting Stephen's "30" years. The board had a joystick, buttons and coin slot. Pacman (my favourite), Donkey Kong, Frogger & Tetris
Canipre, a Canadian company that helps the entertainment industry send legal threats to people alleged to have infringed copyright, has been caught using several infringing images on its website. Included in the art that Canipre appropriated for commercial gain without permission is a CC-licensed photo that they could have used legally simply by crediting the photographer. Canipre blames its web developer.
I ended up getting a flurry of phone calls and e-mails from a guy named Barry Logan.
Logan claimed that the company used a 3rd party vendor to develop their website and that the vendor had purchased the image from an image bank.
I pointed out to Logan that if that was true, he had basically paid his vendor to rip off other people's creative work. Logan told me that he would contact his web provider and have the image removed. He also told me that he would provide me with the name of the website developer and the name of the image bank where they obtained my photo.
I did notice that they took down my photo, but I have not heard back from Logan regarding the name of the developer and where they sourced my image. I plan to contact Logan later today if he doesn't get back to me. [sic]
The best part is that the company claims it is motivated by a higher calling than mere profit: "[We want to] change social attitudes toward downloading. Many people know it is illegal but they continue to do it... Our collective goal is not to sue everybody… but to change the sense of entitlement that people have, regarding Internet-based theft of property."
Astronaut Chris Hadfield -- the tweeting, tumbling Canadian astronaut who's a one-dude astro-ambassador from the space programme to the Internet -- has produced and released a video of his own performance of David Bowie's "Space Oddity" (AKA the "Major Tom song") on the ISS. He adapts the lyrics a bit to his own situation -- and changes out the whole dying-in-space chorous -- but is otherwise pretty faithful. From the credits, it appears that David Bowie gave permission for this, though that's not entirely clear. I would think that not even a major record label would be hamfisted and cack-handed enough to send a takedown notice over this one (it's been suggested for Boing Boing more than any other link in my memory), but I'm prepared to be surprised.
In The remixing dilemma: The trade-off between generativity and originality [PDF], a paper just published in American Behavioral Scientist, Benjamin Mako Hill and Andrés Monroy-Hernández analyzed a data-set of projects from the Scratch website that had been made available for download and remixing. They were attempting to identify the formalattributes that made some projects more likely to attract remixers. As Mako describes in this summary, they found that the projects that were most remixed were neither overly complex (too intimidating) and finished, nor overly vague and undefined (too uninspiring). The Scratch dataset was a good one to study here, because it includes the number of times each project was viewed as well as the number of remixes it inspired, allowing the authors to calculate the probability that a project will inspire a remix while controlling for its overall popularity:
To test our theory that there is a trade-off between generativity and originality, we build a dataset that includes every Scratch remix and its antecedent. For each pair, we construct a measure of originality by comparing the remix to its antecedent and computing an “edit distance” (a concept we borrow from software engineering) to determine how much the projects differ.
We find strong evidence of a trade-off: (1) Projects of moderate complexity are remixed more lightly than more complicated projects. (2) Projects by more prominent creators tend to be remixed in less transformative ways. (3) Cumulative remixing tends to be associated with shallower and less transformative derivatives. That said, our support for (1) is qualified in that we do not find evidence of the increased originality for the simplest projects as our theory predicted.
We feel that our results raise difficult but important challenges, especially for the designers of social media systems. For example, many social media sites track and display user prominence with leaderboards or lists of aggregate views. This technique may lead to increased generativity by emphasizing and highlighting creator prominence. That said, it may also lead to a decrease in originality of the remixes elicited. Our results regarding the relationship of complexity to generativity and originality of remixes suggest that supporting increased complexity, at least for most projects, may have fewer drawbacks.