Slashdot

harrymcc writes "The last ten years have been an amazing era for tech — and full of amazingly dumb moments. I rounded up scads of them. I suspect you'll be able to figure out which company is most frequently represented, but Apple, Google, Twitter, Facebook, Sony, and many others are all present and accounted for, too."

jrincayc writes "It's nearly the end of 2009. If the 1790 copyright maximum term of 28 years was still in effect, everything that had been published by 1981 would be now be in the public domain — like the original Ultima and God Emperor of Dune — and would be available for remixing and mashing up. If the 1909 copyright maximum term of 56 years (if renewed) were still in force, everything published by 1953 would now be in the public domain, freeing The City and the Stars and Forbidden Planet. If the 1976 copyright act term of 75* years (* it's complicated) still applied, everything published by 1934 would now be in the public domain, including Murder on the Orient Express. But thanks to the Sonny Bono Copyright Term Extension Act, nothing in the US will go free until 2018, when 1923 works expire." Assuming Congress doesn't step in with a Copyright Extension Act of 2017. What are the odds?

maccallr writes "The DarwinTunes experiment needs you! Using an evolutionary algorithm and the ears of you the general public, we've been evolving a four bar loop that started out as pretty dismal primordial auditory soup and now after >27k ratings and 200 generations is sounding pretty good. Given that the only ingredients are sine waves, we're impressed. We got some coverage in the New Scientist CultureLab blog but now things have gone quiet and we'd really appreciate some Slashdotter idle time. We recently upped the maximum 'genome size' and we think that the music is already benefiting from the change."

cowmix writes "When TPM came out ten years ago, its utter crappiness shocked me to the core and wounded a entire generation of geeks. My inner child had been abused and betrayed. I moped around, talking to no one, for almost two weeks. I couldn't bring myself to see #2 or #3, whatever they were called. Now, a decade later, comes Star Wars: The Phantom Menace Review, the ultimate, seven-part, seventy minute analysis of this mother of all train wrecks. Not only does it nail how the film blows, but tells us why. Time, apparently, does not heal all wounds." Or, if you prefer all 7 parts embedded in one page, you can check out slashfilm's aggregation.

thomst writes "A week ago, Rob McKenna, the Attorney General of Washington State, filed suit against DirecTV, alleging 16 counts of unfair, deceptive, and unethical business practices. The charges include failure to disclose important contract information (such as early termination fees, 'service maintenance' fees, and rebate terms), misrepresentation, 'negative option' billing, 'unconscionable enforcement of contract to which there has been no mutual consent,' failure to honor promotional offers, and 'imposing charges when no service has been provided.' The complaint is available online (PDF). MSNBC's Bob Sullivan states that McKenna's office received 375 complaints against DirecTV in the 11.5 months before he filed suit, and 59 additional complaints in the 24 hours immediately after the filing was announced. Sullivan's story also states, 'McKenna said he'd been working with DirecTV for months in an attempt to avoid a court battle, and he was surprised DirecTV refused to change its business practices voluntarily.'"

uglyduckling writes "A grassroots Facebook campaign has pushed the 1990s Rage Against the Machine song 'Killing in the Name Of' to the top of the British music charts for Christmas. The campaign was planned to prevent the X-Factor winner from charting Christmas number one, as has been the case for the past four years. It was supposedly a kick against the commercialism of Christmas and commercial dominance in the music scene, although Rage and the X-Factor winner Joe McElderry were actually signed to the same label. Despite this minor detail, it's interesting to note that this is the first song to reach the number one spot through downloads alone in the UK, and is a testament to the organizational power of social networking sites like Facebook. The Facebook group also asked for donations to charity, and has raised £70,000 for the homeless charity Shelter."

Dave Knott writes "The notable science fiction screenwriter and director Dan O'Bannon has died at the age of 63. O'Bannon's career began with a writing credit for John Carpenter's Dark Star and he went on the write many enduring science fiction and horror films such as Blue Thunder, Lifeforce, Screamers and Total Recall. He was also an occasional director, whose credits include The Return Of The Living Dead, the campy horror film that made popular the zombie chant of 'braaiiiinnnsss.' However, he will be best remembered as the writer of Alien, one of the all-time classics of both the science fiction and horror genres. O'Bannon died after a 30 year battle with Crohn's disease and is survived by his wife, Diane, and son, Adam."

We've discussed the Netflix Prize numerous times as the contest ran, including the news two years ago that the anonymity of the dataset had been broken. Now reader azoblue sends in this excerpt from Wired: "An in-the-closet lesbian mother is suing Netflix for privacy invasion, alleging the movie rental company made it possible for her to be outed when it disclosed insufficiently anonymous information about nearly half-a-million customers as part of its $1 million contest to improve its recommendation system. ... The lead attorney on the new suit, Joseph Malley, recently reached a multimillion-dollar settlement with Facebook over its failed Beacon program, which drew fire in part for sharing users’ Blockbuster rentals with their friends. ... If a data set reveals a person's ZIP code, birthdate and gender, there's an 87 percent chance that the person can be uniquely identified." The suit turns on the question of whether Netflix should have known that their dataset's anonymity could be broken, two years before researchers demonstrated that.

Fraggy_the_undead writes "According to German IT news site heise.de, yesterday several 3D showings of Avatar couldn't take place (German; Google translation to English), because the movies were DRM protected such that there had to be a key per copy of the film, per film projector, and per movie server in the theater. The key supplier, by the name Deluxe, was apparently unable to provide a sufficient number of valid keys in time. Moviegoers were offered to get a refund or view an analogue 2D showing instead."

darthvader100 writes "Gizmodo has run an article with some predictions on what future space battles will be like. The author brings up several theories on propulsion (and orbits), weapons (explosives, kinetic and laser), and design. Sounds like the ideal shape for spaceships will be spherical, like the one in the Hitchhiker's Guide movie."

aws910 writes "According to an article on the BBC website, BBC HD lowered the bitrate of their broadcasts by almost 50% and are surprised that users noticed. From the article: 'The replacement encoders work at a bitrate of 9.7Mbps (megabits per second), while their predecessors worked at 16Mbps, the standard for other broadcasters.' The BBC claims 'We did extensive testing on the new encoders which showed that they could produce pictures at the same or even better quality than the old encoders ...' I got a good laugh off of this, but is it really possible to get better quality from a lower bitrate?"

krou writes "A producer from Uruguay who made a short science fiction film and uploaded it to YouTube has landed a film deal with Sam Raimi's Ghost House worth $300 million. The film, which shows spaceships and giant robots attacking Montevideo, the capital of Uruguay, was made by Fede Alvarez for around $30. 'I uploaded (Panic Attack!) on a Thursday and on Monday my inbox was totally full of e-mails from Hollywood studios,' he said. Alvarez is to develop and direct a film based on one of his ideas, but there is no word yet on the writer."

Self Bias Resistor writes "According to a post on the Arcade-Museum forums, ASCAP is demanding an annual $800 licensing fee from at least one operator of a Guitar Hero Arcade machine, citing ASCAP licensing regulations regarding jukeboxes. An ASCAP representative allegedly told the operator that she viewed the Guitar Hero machine as a jukebox of sorts. The operator told ASCAP to contact Raw Thrills, the company that sells the arcade units. The case is ongoing and GamePolitics is currently seeking clarification of the story from ASCAP."

Bruce Perens writes "I'm the creator of the Busybox program. I have released a statement on the past and current Busybox lawsuits, which do not represent my interest."

Hackajar writes "Have you ever caught yourself running for the volume control when a TV commercial comes on? Congresswoman Anna Eshoo (D-CA) has, and is submitting legislation that would require TV commercials in the US to stay at volume levels similar to the programming they are associated with. From the article: 'Right now, the government doesn't have much say in the volume of TV ads. It's been getting complaints ever since televisions began proliferating in the 1950s. But the FCC concluded in 1984 there was no fair way to write regulations controlling the "apparent loudness" of commercials.'"

kamikazearun sends in a TorrentFreak analysis that begins "Claims by the MPAA that illegal downloads are killing the industry and causing billions in losses are once again being shredded. In 2009, the leading Hollywood studios made more films and generated more revenue than ever before, and for the first time in history the domestic box office grosses will surpass $10 billion. ... [N]either the ever-increasing piracy rates nor the global recession could prevent Hollywood having its best year ever in 2009. With an estimated $10.6 billion in consumer spending at the US and Canadian box office, the movie industry will break the 2008 record by nearly a billion dollars."

A story at the BBC notes increasing pressure from the European Commission to set standards that would limit the maximum volume on portable MP3 players. Their reasoning is that it would protect users from damaging their hearing after listening to loud music for extended periods. Quoting: "This follows a report last year warning that up to 10m people in the EU face permanent hearing loss from listening to loud music for prolonged periods. EU experts want the default maximum setting to be 85 decibels, according to BBC One's Politics Show. Users would be able to override this setting to reach a top limit of 100 decibels. ... Some personal players examined in testing facilities have been found to reach 120 decibels, the equivalent of a jet taking off, and no safety default level currently applies, although manufacturers are obliged to print information about risks in the instruction manuals. Modern personal players are seen as more dangerous than stationary players or old-fashioned cassette or disk players because they can store hours of music and are often listened to while in traffic with the volume very high to drown out outside noise."

azoblue writes with news that following MySpace's acquisition and shutdown of imeem, independent artists who sold their music through imeem's Snocap music storefronts (on MySpace and other sites) won't be paid what's owed them. More than 110,000 artists are believed to be affected. The crux of the problem is that MySpace acquired only a certain portion of the assets that were imeem — "the domain name and certain technology and trademarks" — and not imeem’s outstanding debts, including the money imeem owed to artists under the Snocap relationship. According to the article, some artists have been owed money for more than a year. "Napster creator Shawn Fanning co-founded Snocap in 2002 to let artists sell their music through an embeddable storefront widget. At one point, the service was marketed as the exclusive way for artists to sell music on MySpace. Imeem bought Snocap last summer. But because MySpace left most aspects of Snocap out of its acquisition of imeem’s assets, all 110,000 or so of those storefronts are gone. The server that hosts them is offline and so is the Snocap website."

carre4 writes "Blue Destiny Records has sued both Google and Microsoft for allegedly 'facilitating and enabling' distribution of copyrighted songs illegally. The suit alleges that RapidShare runs 'a distribution center for unlawful copies of copyrighted works.' RapidShare is helped by Google and Microsoft, which benefit from the ad relationships, according to the suit. Blue Destiny has attempted to link to pages with RapidShare links to their music via DMCA takedown notices, and Google has, apparently, not complied, while Microsoft's Bing site has removed the links. RapidShare, for its part, is based outside of the US and does not accept DMCA notices."

BubbaDoom writes "In our cubicle-ville, we have programmers intermixed with accounting, customer support and marketing. As programmers, it is our habit to put on our headphones and listen to our portable music players to drown out all of the noise from everyone else. The boss recently sent an email just to the programmers demanding that we do not use our music players at work because he thinks it distracts us from our jobs and causes us to make mistakes. Of course, we've explained to him that prattle from the other people is much, much more distracting, but he insists his policy is the right one. What is the Slashdot community's experience with music at work for programmers?"