"Creators aren't getting paid," says Cory Doctorow. "That's because powerful corporations have figured out how to create chokepoints — that let them snatch up more of the value generated by creative work before it reaches creative workers."

But he's doing something about it.

Doctorow's teamed up with Melbourne-based law professor Rebecca Giblin, the director of Australia's Intellectual Property Research Institute, for a new book that first "pulls aside the veil on the tricks Big Tech and Big Content use..." But more importantly, it also presents specific ideas for "how we can recapture creative labor markets to make them fairer and more sustainable." Their announcement describes the book as "A Big Tech/Big Content disassembly manual," saying it's "built around shovel-ready ideas for shattering the chokepoints that squeeze creators and audiences — technical, commercial and legal blueprints for artists, fans, arts organizations, technologists, and governments to fundamentally restructure the broken markets for creative labor."

Or, as they explain later, "Our main focus is action." Lawrence Lessig says the authors "offer a range of powerful strategies for fighting back." Anil Dash described it as "a credible, actionable vision for a better, more collaborative future where artists get their fair due." And Douglas Rushkoff called the book "an infuriating yet inspiring call to collective action."

The book is titled "Chokepoint Capitalism: How Big Tech and Big Content Captured Creative Labor Markets and How We'll Win Them Back." And at one point their Kickstarter page lays down a thought-provoking central question about ownership. "For 40 years, every question about creators rights had the same answer: moar copyright. How's that worked out for artists?" And then it features a quote from Wikipedia co-founder Jimmy Wales. "Copyright can't unrig a rigged market — for that you need worker power, antitrust, and solidarity."

A Kickstarter campaign to raise $10,000 has already raised $72,171 — in its first five days — from over 1,800 backers. That's partly because, underscoring one of the book's points, their Kickstarter campaign is offering "an audiobook Amazon won't sell." While Amazon will sell you a hardcover or Kindle edition of the book.... Audible has a hard and fast rule: if you're a publisher or writer who wants to sell your audiobook on Audible, you have to let it be wrapped in "Digital Rights Management," aka DRM: digital locks that permanently bind your work to the Audible platform. If a reader decides to leave Audible, DRM stops them taking the books they've already bought with them.... Every time Audible sells a book, DRM gives it a little bit more power to shake down authors and publishers. Amazon uses that stolen margin to eliminate competition and lock-in more users, ultimately giving it even more power over the people who actually make and produce books.
The announcement says their book "is about traps like the one Audible lays for writers and readers. We show how Big Tech and Big Content erect chokepoints between creators and audiences, allowing them to lock in artists and producers, eliminate competition, and extract far more than their fair share of revenues from creative labour. No way are we going to let Audible put its locks on our audiobook.

"So we're kickstarting it instead."

The announcement notes that Cory Doctorow himself has written dozens of books, "and he won't allow digital locks on any of them." And then in 2020, "Cory had an idea: what if he used Kickstarter to pre-sell his next audiobook? It was the most successful audiobook crowdfunding campaign in history."

So now Cory's working instead with independent audiobook studio Skyboat Media "to make great editions, which are sold everywhere except Audible (and Apple, which only carries Audible books): Libro.fm, Downpour, Google Play and his own storefront. Cory's first kickstarter didn't just smash all audiobook crowdfunding records — it showed publishers and other writers that there were tons of people who cared enough about writers getting paid fairly that they were willing to walk away from Amazon's golden cage. Now we want to send that message again — this time with a book that takes you behind the curtain to unveil the Machiavellian tactics Amazon and the other big tech and content powerhouses use to lock in users, creators and suppliers, eliminate competition, and extract more than their fair share....

Chokepoint Capitalism is not just a rollicking read, and a delightful listen: it also does good.

Your willingness to break out of the one-click default of buying from the Audible monopoly in support of projects like this sends a clear message to writers, publishers, and policymakers that you have had enough of the unfair treatment of creative workers, and you are demanding change.
Rewards include ebooks, audiobooks, hardcover copies, and even the donation of a copy to your local library. You can also pledge money without claiming a reward, or pledge $1 as a show of support for "a cryptographically signed email thanking you for backing the project. Think of it as a grift-free NFT."

Craig Newmark says the book documents "the extent to which competition's been lost throughout the creative industries, and how this pattern threatens every other worker. There is still time to do something about it, but the time to act is now."

Slashdot reader alaskana98 writes: You may remember it — at the end of Return of the Jedi: Special Edition, a rare glimpse of Coruscant — the seat of the galactic empire — is shown in a celebratory state as news of the empire's defeat at Endor reverberated throughout the patchwork of worlds that make up the Star Wars universe.

One might imagine that most viewers at that time might have thought — "Oh, cool, so that's what Coruscant looks like" — then went on with their lives rarely to think about that scene ever again. In a recent ScreenRant article ,they take a deeper dive into what happened on Coruscant...
Yes, it turns out that both the later movies and licensed books revealed that Darth Vader's Galactic Empire survived: [C]itizens who set off fireworks, toppled statues of the Empire, and attacked stormtroopers were met with violent retaliation from Imperial forces, resulting in numerous extrajudicial killings and executions of civilians. Coruscant continued to serve as an Imperial stronghold until its liberation by the New Republic, which happened a year later in canon and two years later in Legends.... [T]he X-Wing novels mention that the Empire brutally quelled this initial uprising, and the Star Wars: Mara Jade — By the Emperor's Hand comic series showed Stormtroopers executing civilians via firing squad. Aftermath similarly describes civilians fighting against Imperial security forces after toppling a statue of Palpatine....

Users of Google "must recalibrate their thinking on what Google is and how information is returned to them," warns an Assistant Professor at the School of Information and Library Science at UNC-Chapel Hill.

In a new book titled The Propagandists' Playbook, they're warning that simple link-filled search results have been transformed by "Google's latest desire to answer our questions for us, rather than requiring us to click on the returns." The trouble starts when Google returns inaccurate answers "that often disrupt democratic participation, confirm unsubstantiated claims, and are easily manipulatable by people looking to spread falsehoods." By adding all of these features, Google — as well as competitors such as DuckDuckGo and Bing, which also summarize content — has effectively changed the experience from an explorative search environment to a platform designed around verification, replacing a process that enables learning and investigation with one that is more like a fact-checking service.... The problem is, many rely on search engines to seek out information about more convoluted topics. And, as my research reveals, this shift can lead to incorrect returns... Worse yet, when errors like this happen, there is no mechanism whereby users who notice discrepancies can flag it for informational review....

The trouble is, many users still rely on Google to fact-check information, and doing so might strengthen their belief in false claims. This is not only because Google sometimes delivers misleading or incorrect information, but also because people I spoke with for my research believed that Google's top search returns were "more important," "more relevant," and "more accurate," and they trusted Google more than the news — they considered it to be a more objective source....

This leads to what I refer to in my book, The Propagandists' Playbook, as the "IKEA effect of misinformation." Business scholars have found that when consumers build their own merchandise, they value the product more than an already assembled item of similar quality — they feel more competent and therefore happier with their purchase. Conspiracy theorists and propagandists are drawing on the same strategy, providing a tangible, do-it-yourself quality to the information they provide. Independently conducting a search on a given topic makes audiences feel like they are engaging in an act of self-discovery when they are actually participating in a scavenger-hunt engineered by those spreading the lies....

Rather than assume that returns validate truth, we must apply the same scrutiny we've learned to have toward information on social media.
Another problem the article points out: "Googling the exact same phrase that you see on Twitter will likely return the same information you saw on Twitter.

"Just because it's from a search engine doesn't make it more reliable."

"Apple is set to expand ads to new areas of your iPhone and iPad in search of its next big revenue driver," reports Bloomberg.

The Verge writes that Apple "could eventually bring ads to more of the apps that come pre-installed on your iPhone and other Apple devices, including Maps, Books, and Podcasts." According to a report from Bloomberg's Mark Gurman, Apple has internally tested search ads in Maps, which could display recommendations when you search for restaurants, stores, or other nearby businesses. Apple already implements a similar advertising model on the App Store, as developers can pay to have their app promoted on a search page for a particular query, like "puzzle games" or "photo editor." As noted by Gurman, ads on Maps could work in the same way, with businesses paying to appear at the top of search results when users enter certain search terms.

Gurman believes that Apple could introduce ads to its native Podcasts and Books apps as well. [Gurman describes this as "likely".] This could potentially allow publishers to place ads in areas within each app, or pay to get their content placed higher in search results. Just like Maps, Podcasts and Books are currently ad-free.... Gurman mentions the potential for advertising on Apple TV Plus, too, and says the company could opt to create a lower-priced ad-supported tier, something both Netflix and Disney Plus plan on doing by the end of this year.
Bloomberg points out that Apple is already displaying ads inside its News app — where some of the money actually goes back to news publishers. ("Apple also lets publishers advertise within their stories and keep the vast majority of that money.")

And while you can disable ad personalization — which 78% of iOS users have done — Bloomberg notes that "Another ironic detail here is that the company's advertising system uses data from its other services and your Apple account to decide which ads to serve. That doesn't feel like a privacy-first policy."

Bloomberg's conclusion? "Now the only question is whether the customers of Apple — a champion of privacy and clean interfaces — are ready to live with a lot more ads."

An anonymous reader quotes a report from Ars Technica: Amazon will expand its Amazon One palm print checkout system to dozens of Whole Foods locations, marking the most significant expansion of the technology that was introduced in 2020. Amazon One allows customers to speedily check out at retail locations using only their palm prints after storing a scan of their hand via an interface at Amazon's kiosks. The palm print data is encrypted and stored on Amazon's servers. And before you worry too much about COVID-19 transmission or future pandemics, Amazon One works when you hover your palm over the scanner -- unlike some handprint tech.

Amazon initially added the technology in its Amazon Go stores and the now-shuttered Amazon Books retail locations. It then made its way to several Whole Foods locations in the Seattle area. (Amazon has owned the Whole Foods grocery chain since 2017.) Now, Amazon Go will expand to 65 Whole Foods stores across California. The rollout starts in Malibu and Santa Monica, with more locations adopting it in Los Angeles, Santa Cruz, and the Bay Area over the next few weeks. Amazon previously rolled the tech out to a few select locations in California, but never at this scale.

Crunchyroll announced that it's acquired Right Stuf, one of the world's leading online anime superstores. "Expanding Crunchyroll's eCommerce offerings, the acquisition aims to serve anime fans and collectors an even wider array of merchandise for online purchase including manga, home video, figures, games, music and everything in between," writes the company in a post. From the report: Founded in 1987, Right Stuf is a leading consumer source for anime pop culture merchandise online. By visiting its eCommerce portal, enthusiasts and collectors can find thousands of products, including Blu-rays, manga books, music, figurines, collectables, and more. Right Stuf also offers licensed anime home video products through its own label.

"For 35 years, Right Stuf's mission has been to connect anime fans with the products they love," said Shawne Kleckner, CEO of Right Stuf. "Joining forces with Crunchyroll allows us to accelerate and scale this effort more than ever before. There has never been a more exciting time to be an anime fan than today!" Kleckner and the Right Stuf team will join Crunchyroll's Emerging Businesses organization, led by Terry Li. Sony acquired Crunchyroll for $1.175 billion from AT&T, in a deal that closed in August 2021.

An anonymous reader writes: Haven't seen recommendation threads on Slashdot of late. Was curious what my fellow readers have watched and read this year that you enjoyed?

The chief executive officer of Pearson, one of the world's largest textbook publishers, said he hopes technology like non-fungible tokens and the blockchain could help the company take a cut from secondhand sales of its materials as more books go online. From a report: The print editions of Pearson's titles -- such as "Fundamentals of Nursing," which sells new for $70.88 -- can be resold several times to other students without making the London-based education group any money. As more textbooks move to digital, CEO Andy Bird wants to change that. "In the analogue world, a Pearson textbook was resold up to seven times, and we would only participate in the first sale," he told reporters following the London-based company's interim results on Monday, talking about technological opportunities for the company. "The move to digital helps diminish the secondary market, and technology like blockchain and NFTs allows us to participate in every sale of that particular item as it goes through its life," by tracking the material's unique identifier on the ledger from "owner A to owner B to owner C," said Bird, a former Disney executive.

iPhone and iPad users looking to subscribe to Netflix via the streaming platform's iOS app are being redirected to an external website which removes the need to pay the App Store tax. From a report: As 9To5Mac reports, the redirection looks to be rolling out globally and takes advantage of a new iOS API that allows apps classed as "reader apps" to sign-up new users and manage their accounts outside of the App Store.

Reader apps, as described by Apple, provide one or more digital content types -- including magazines, newspapers, books, audio, music, or video -- as its primary function. That includes popular services such as Spotify, Zinio, Amazon Kindle, and YouTube. In the case of Netflix, new customers are diverted to a separate website at the tap of a button in the app to enter personal data, choose a payment method, and select a streaming plan. This update ensures transactions are no longer Apple's responsibility and all subscription management is therefore completed by Netflix. Once signed up, the Netflix iOS app should provide full content access.

On July 7th Art News explained how 95-year-old Austrian artist Herbert W. Franke "has recently become a sensation within the art world the crypto space," describing the digital pioneer as a computer artist using algorithms and computer programs to visualize math as art. Last month, the physicist and science fiction writer was behind one of the most talked about digital artworks at a booth by the blockchain company Tezos at Art Basel. Titled MONDRIAN (1979), the work paid tribute to artist Piet Mondrian's iconic geometric visuals using a program written on one of the first home computers.

Days before this, Franke, who studied physics in Vienna following World War II and started working at Siemens in 1953, where he conducted photographic experiments after office hours, launched 100 images from his famed series "Math Art" (1980-95) as NFTs on the Quantum platform. The drop was meant to commemorate his birthday on May 14 and to raise funds for his foundation. The NFTs sold out in 30 seconds, with the likes of pioneering blockchain artist Kevin Abosch purchasing a few.
In one of his last interviews, Franke told the site that blockchain "is a totally new environment, and this technology is still in its early stages, like at the beginning of computer art. But I am convinced that it has opened a new door for digital art and introduced the next generation to this new technology." It echoed something he'd said in his first book, published in 1957, which he later quoted in the interview (a full 65 years later). "Technology is usually dismissed as an element hostile to art. I want to try to prove that it is not..."

This morning, long-time Slashdot reader Qbertino wrote: The German IT news site heise reports (article in German) that digital art pioneer, SF author ("The Mind Net") and cyberspace avantgardist Herbert W. Franke has died at age 95. His wife recounted on his Twitter account: "Herbert loved to call himself the dinosaur of computer art. I am [...] devastated to announce that our beloved dinosaur has left the earth.

"He passed away knowing there is a community of artists and art enthusiasts deeply caring about his art and legacy." Among much pioneering work he founded one of the worlds first digital art festivals "Ars Electronica" in Austria in 1979.
Franke's wife is still running the Art Meets Science web site dedicated to Franke's work. Some highlights from its biography of Franke's life: Herbert W. Franke, born in Vienna on May 14, 1927, studied physics and philosophy at the University of Vienna and received his doctorate in 1951... An Apple II was his first personal computer which he bought 1980. He developed a program as early as 1982 that used a midi interface to control moving image sequences through music....

Only in recent years has "art from the machine" begun to interest traditional museums as a branch of modern art. Franke, who from the beginning was firmly convinced of the future importance of this art movement, has also assembled a collection of computer graphics that is unique in the world, documenting 50 years of this development with works by respected international artists, supplemented by his own works....

As a physicist, Franke was predestined to bring science and technology closer to the general public in popular form due to his talent as a writer, which became apparent early on. About one-third of his nearly fifty books, as well as uncounted journal articles...

Franke's novels and stories are not about predicting future technologies, nor about forecasting our future way of life, but rather about the intellectual examination of possible models of our future and their philosophical as well as ethical interpretation. In this context, however, Franke attaches great importance to the seriousness of scientific or technological assessments of the future in the sense of a feasibility analysis. In his opinion, a serious and meaningful discussion about future developments can basically only be conducted on this basis. In this respect, Franke is not a typical representative of science fiction, but rather a visionary who, as a novelist, deals with relevant questions of social future and human destiny on a high intellectual level.

An anonymous reader quotes a report from Popular Science: Internet Archive, a non-profit digital library and a massive repository of online artifacts, has been collecting mementos of the ever-expanding World Wide Web for over two decades, allowing users to revisit sites that have since been changed or deleted. But like the web, it too has evolved since its genesis, and in the aughts, it also began to offer a selection of ebooks that any internet user can check out with the creation of a free account. That latter feature has gotten the organization in some trouble. Internet Archive was sued by a suite of four corporate publishers in 2020 over copyright controversies -- with one side saying that what Internet Archive does is preservation, and the other saying that it's piracy, since it freely distributes books as image files without compensating the author. Last week, the ongoing case entered a new chapter as the nonprofit organization filed a motion for summary judgment, asking a federal judge to put a stop to the lawsuit, arguing that their Controlled Digital Lending program "is a lawful fair use that preserves traditional library lending in the digital world" since "each book loaned via CDL has already been bought and paid for." On Friday, Creative Commons issued a statement supporting Internet Archive's motion.

In 2006, Internet Archive started a program for digitizing books both under copyright and in the public domain. It works with a range of global partners, including other libraries, to scan materials onto its site (Cornell University made a handy guide on what works fall under copyright vs. the public domain). For copyrighted books, Internet Archive owns the physical books that they created the digital copies from and limits their circulation by allowing only one person to borrow a title at a time. Book publishers, namely Hachette Book Group, HarperCollins, John Wiley Sons, and Penguin Random House, were not keen on this practice, and they have been seeking financial damages for the 127 books (PDF) shared under copyright. Vox estimated that if the publishers win, Internet Archive would have to pay $19 million, which is about "one year of operating revenue."

In the most recent filings, the publishers accused Internet Archive of amassing "a collection of more than three million unauthorized in-copyright ebooks -- including more than 33,000 of the Publishers' commercially available titles -- without obtaining licenses to do so or paying the rightsholders a cent for exploiting their works. Anybody in the world with an internet connection can instantaneously access these stolen works via IA's interrelated archive.org and openlibrary.org websites." In its defense, Internet Archive, which is being represented by the Electronic Frontier Foundation, says that "libraries have been practicing CDL in one form or another for more than a decade," and that Internet Archive lends its digitized books on an "owned-to-loaned basis, backstopped by strong technical protections to enforce lending limits."

An anonymous reader writes: Posing as a scholar, a Chinese woman spent years writing alternative accounts of medieval Russian history on Chinese Wikipedia, conjuring imaginary states, battles, and aristocrats in one of the largest hoaxes on the open-source platform. The scam was exposed last month by Chinese novelist Yifan, who was researching for a book when he came upon an article on the Kashin silver mine. Discovered by Russian peasants in 1344, the Wikipedia entry goes, the mine engaged more than 40,000 slaves and freedmen, providing a remarkable source of wealth for the Russian principality of Tver in the 14th and 15th centuries as well as subsequent regimes. The geological composition of the soil, the structure of the mine, and even the refining process were fleshed out in detail in the entry.

Yifan thought he'd found interesting material for a novel. Little did he know he'd stumbled upon an entire fictitious world constructed by a user known as Zhemao. It was one of 206 articles she has written on Chinese Wikipedia since 2019, weaving facts into fiction in an elaborate scheme that went uncaught for years and tested the limits of crowdsourced platforms' ability to verify information and fend off bad actors. "The content she wrote is of high quality and the entries were interconnected, creating a system that can exist on its own," veteran Chinese Wikipedian John Yip told VICE World News. "Zhemao single-handedly invented a new way to undermine Wikipedia."

Yifan was tipped off when he ran the silver mine story by Russian speakers and fact-checked Zhemao's references, only to find that the pages or versions of the books she cited did not exist. People he consulted also called out her lengthy entries on ancient conflicts between Slavic states, which could not be found in Russian historical records. "They were so rich in details they put English and Russian Wikipedia to shame," Yifan wrote on Zhihu, a Chinese site similar to Quora, where he shared his discovery last month and caused a stir. The scale of the scam came to light after a group of volunteer editors and other Wikipedians, such as Yip, combed through her past contributions to nearly 300 articles. "As a punishment, Zhemao and her affiliated accounts were suspended permanently," adds VICE World News. "Most of her articles were deleted based on community consensus. Some Wikipedians even wrote to experts, seeking help to separate the wheat from the chaff." A spokesperson of the Wikimedia Foundation told VICE World News in an email that volunteers are still "continuing to review additional articles that may have been affected."

The report goes on to say that Zhemao speaks neither English nor Russian and is a housewife with only a high school degree. She came clean in an apology letter issued on her Wikipedia account last month. "The hoax started with an innocuous intention," reports VICE. "Unable to comprehend scholarly articles in their original language, she pieced sentences together with a translation tool and filled in the blanks with her own imagination. [...] Before long, they had accumulated into tens of thousands of characters, which she was reluctant to delete."

"The alternative accounts were imaginary friends she 'cosplayed' as she was bored and alone, given her husband was away most of the time and she didn't have any friends. She also apologized to actual experts on Russia, whom she had attempted to cozy up to and later impersonated."

EU lawmakers gave the thumbs up on Tuesday to landmark rules to rein in tech giants such as Alphabet unit Google, Amazon, Apple, Facebook and Microsoft, but enforcement could be hampered by regulators' limited resources. From a report: In addition to the rules known as the Digital Markets Act (DMA), lawmakers also approved the Digital Services Act (DSA), which requires online platforms to do more to police the internet for illegal content. Companies face fines of up to 10% of annual global turnover for DMA violations and 6% for DSA breaches. Lawmakers and EU states had reached a political deal on both rule books earlier this year, leaving some details to be ironed out. The European Commission has set up a taskforce, with about 80 officials expected to join up, which critics say is inadequate. Last month it put out a 12 million euro ($12.3 million) tender for experts to help in investigations and compliance enforcement over a four-year period. EU industry chief Thierry Breton sought to address enforcement concerns, saying various teams would focus on different issues such as risk assessments, interoperability of messenger services and data access during implementation of the rules.

Slashdot reader DevNull127 writes: The BBC looks at a 100-year art project in which famous authors write books that will not be published until the year 2113. An annual ceremony takes place near a forest of sapling trees which will be turned into paper in the year 2113 and then used for printing those books.
From the article: It began with the author Margaret Atwood, who wrote a story called Scribbler Moon, and since then the library has solicited submissions from all over the world... All the manuscripts will be stored for almost a century inside locked glass drawers in a hidden corner of Oslo's main public library, within a small, wooden repository called the Silent Room. In 2114, the drawers will be unlocked, and the trees chopped down — and 100 stories hidden for a century will finally be published in one go.
It's part of Scottish artist Katie Paterson's fascination with the passage of time: One of her first works, Vatnajokull (the sound of) [included] a phone number that anyone could call to listen to an Icelandic glacier melting. Dial the number, and you'd be routed to a microphone beneath the water in the Jökulsárlón lagoon on Iceland's south coast, where blue-tinged icebergs calve away and float towards the sea....

One of her most recent exhibitions in Edinburgh, Requiem at Ingleby Gallery, featured 364 vials of crushed dust, each one representing a different moment in deep time. Vial #1 was a sample of presolar grains older than the Sun, followed by powdered four-billion-year-old rocks, corals from prehistoric seas, and other traces of the distant past. A few visitors were invited to pour one of the vials into a central urn: when I was there in June, I poured #227, a four-million-year-old Asteroidea fossil, a kind of sea star....

Of all her work exploring the long-term though, Future Library is the project most likely to be remembered across time itself. Indeed, it was deliberately created to be. And this year its longevity was ensured: Oslo's city leaders signed a contract formally committing them and their successors to protect the forest and library over the next 100 years.

Monday Amazon posted a 15-second teaser trailer on Twitter for their upcoming Prime Video series The Lord of the Rings: the Rings of Power (premiering September 2nd) — drawing on two lavish one-minute trailers released earlier in the year.

"The first season of Amazon's show will be the most expensive season of television ever produced," reports IndieWire: Season 1 has a $465 million budget. Amazon Studios chief Jennifer Salke stated in May 2021 that she was "pretty confident" that the show will draw the required viewership to make the money worth spent.

Back in 2017, when it was reported that Amazon had bought the rights to "The Lord of the Rings" — winning a bidding war against Netflix — the number reported with that sale was $250 million. That number alone made it the most expensive television series ever, but later, The Hollywood Reporter reported that the whole series would end up costing more than $1 billion, due to production expenses (casting, producers, visual effects, etc.). "The Lord of the Rings" film trilogy's own Elijah Wood reacted to that particular figure during an interview, saying, "That's crazy to me." For context, the Peter Jackson trilogy grossed $2.92 billion worldwide. The combined budget for all three films was $281 million.

That $250 million rights deal for "The Lord of the Rings" also came with a five-season commitment for the series. A guaranteed five seasons should also guarantee at least one full story told from beginning to end, even though there's always the possibility of more, depending on the series' success. The deal also allowed for the potential of spin-off series, which could mean the potential for even more of Middle-earth outside just this adaptation. In November 2019, Deadline confirmed that Amazon had officially ordered a second season of the series and that it was already in the works. According to the report, the official early renewal means that there will be a shorter wait time between the first two seasons come release.

However, the series may not ever get out of the Second Age — which is, again, 3,441 years long, so it's got a lot to work with — as, according to Tolkien scholar and "The Lord of the Rings" consultant Tom Shippey, the estate of J.R.R. Tolkien has refused to grant Amazon permission to film anything other than the Second Age, as to not alter the history of the more fleshed out Third Age. "But you can add new characters and ask a lot of questions..."
The tagline of the newly-released trailer? "Nothing is evil...in the beginning."

In 2019 Shippey was quoted as saying the first season would have either 20 episodes or 22 episodes, though this year Amazon said a number "hasn't been officially announced."

And there's one other thing we know. There will be orcs (and some of their backstory), according to IGN's exclusive interview with the show's executive producer — and the head of its prosthetic department.

93-year-old Peter Higgs was awarded a Nobel Prize nine years ago after the Large Hadron Collider experiments finally confirmed of the existence Higgs boson particles he'd predicted back in 1964. "This discovery was a seminal moment in human culture," says physicist Frank Close, who's written the new book Elusive: How Peter Higgs Solved the Mystery of Mass .

But Scientific American reports there's more to the story: For years, the significance of the prediction was lost on most scientists, including Higgs himself. But gradually it became clear that the Higgs boson was not just an exotic sideshow in the particle circus but rather the main event. The particle and its associated Higgs field turned out to be responsible for giving all other particles mass and, in turn, creating the structure of galaxies, stars and planets that define our universe and enable our species... Yet the finding, however scientifically thrilling, pushed a press-shy Peter Higgs into the public eye. When he shared the Nobel Prize in Physics the next year, Higgs left his home in Edinburgh and camped out at a pub across town on the day of the announcement so the prize committee wouldn't be able to reach him.
Physicist Close shares more details in an interview with Scientific American: Close: One of the biggest shocks I had when I was interviewing him was when he said the discovery of the boson "ruined [his] life." I thought, "How can it ruin your life when you have done some beautiful mathematics, and then it turns out you had mysteriously touched on the pulse of nature, and everything you've believed in has been shown to be correct, and you've won a Nobel Prize? How can these things amount to ruin?" He said, "My relatively peaceful existence was ending. My style is to work in isolation and occasionally have a bright idea." He is a very retiring person who was being thrust into the limelight.

That, to my mind, is why Peter Higgs the person is still elusive to me even though I've known him for 40 years...

Higgs had spent two to three years really trying to understand a particular problem. And because he had done that hard work and was still trying to deepen his understanding of this very profound concept, when a paper turned up on his desk posing a related question, Higgs happened to have the answer because of the work he'd done. He sometimes says, "I'm primarily known for three weeks of my life." I say, "Yes, Peter, but you spent two years preparing for that moment."

Q: The discovery of the Higgs boson came nearly 50 years after Higgs's prediction, and he said he never expected it to be found in his lifetime. What did it mean to him that the particle was finally detected?

He said to me that his first reaction was one of relief that it was indeed confirmed. At that moment he knew [the particle existed] after all, and he felt a profound sense of being moved that that was really the way it was in nature — and then panic that his life was going to change.

Music streaming giant Spotify has revealed that it's intending to make a big splash in the audiobooks business. Trusted Reviews reports: At the company's Investor Day 2022, CEO Daniel Ek revealed that the company would be branching out into audiobooks following its successful music and podcast offerings. Several months ago, Spotify announced its agreement to acquire audiobook distribution platform Findaway, which was a surefire indicator that it was thinking big in this area. Whie that deal has yet to close, Ek has confirmed that he sees audiobooks as "a massive opportunity."

The overall book market today is worth $140 billion, yet audiobooks only represent 6 to 7% of that. In the most developed audiobook markets that figure is closer to 50%, so Spotify as seeing this as a potential $70 billion market that it's going to compete with Amazon and its Audible platform for. Spotify revealed that it's planning to relaunch the audiobook arm of its streaming service later this year. As this suggests, you can already access audiobooks through Spotify, but it's not a particularly well fleshed out offering, and it's not easily accessible. No specifics were mentioned on the pricing of this audiobook offering.

Thane Gustafson is a longtime specialist on Russian energy — and even before Russia invaded Ukraine, he'd pulled together some startling predictions for his new book. The New York Review of Books looks at Klimat: Russia in the Age of Climate Change: About two thirds of Russia is covered in permafrost, a mixture of sand and ice that, until recently, remained frozen year-round. As permafrost melts, walls built on it fracture, buildings sink, railways warp, roads buckle, and pipelines break. Anthrax from long-frozen reindeer corpses has thawed and infected modern herds. Sinkholes have opened in the melting ground, swallowing up whole buildings. Ice roads over frozen water, once the only way to travel in some remote regions, are available for ever-shorter periods. The Arctic coast is eroding rapidly, imperiling structures built close to the water.... As burning, dying, clear-cut forests become carbon producers rather than carbon sinks, they make the problem of climate change even worse. The same is true of melting permafrost, which releases methane, another potent greenhouse gas.

In Klimat, Gustafson maintains that Russia's agricultural exports and revenues will continue to increase until the end of this decade, with global warming of one degree Celsius improving Russian agricultural productivity. But in the 2030s and 2040s the rate of increase will diminish, because of harm to Russian crops caused by drought, heat waves, and torrential rain. Some of these difficulties may be counteracted by rising prices, as climate change compromises the world's food supply, but Russia will also hit the limit of its supply of arable land. Two thirds of European Russia, the country's most fertile agricultural area, is already too dry. Thawed permafrost, meanwhile, is sandy and infertile, and will not make good farmland. Russia will require more resources to produce the same amount of food. More aggressive tactics to increase production (e.g., heavy use xof fertilizer) will ultimately cause acidification and erosion....

[T]he long-term future of the Russian oil industry, like that of the Russian economy, looked dismal even before the new sanctions. West Siberia, long the country's primary source of oil, is running low. The extraction of Arctic oil is already well underway, but it is expensive and relies in part on foreign technology that was sanctioned even before the invasion of Ukraine.... As time goes on, Gustafson argues, the Russian oil industry will be more and more dependent on government tax breaks. A dwindling supply will lose value in a global market that is shifting to renewable energy. In Gustafson's account, most of the factors that will determine the future of Russia's oil exports lie outside its control: exhaustion of its most accessible oilfields, increasing difficulty and expense in reaching remaining sources, damage to oil infrastructure caused by climate change, and reduction in demand from the EU and later from Asia. But Russia's choices have had some effect. Its invasion of Ukraine has vastly accelerated the timeline for this squeeze by prompting new sanctions and informal boycotts...

As Russia's income declines, so will its ability to placate its population with cheap household gas and generous welfare policies. This will likely lead to social destabilization, exacerbated by the disruption and suffering caused by climate change and a weakening economy. The Russian war on Ukraine, meanwhile, has resulted in the emigration not only of opposition politicians and journalists but also of professionals, especially younger ones, who have skills marketable elsewhere in the world — for instance, IT specialists, who find it easy to work from safer, freer cities like Bishkek or Tbilisi. The scientists, activists, and businesspeople who might help Russia cope with climate change are also among those likely to emigrate.

Klimat's time horizon of 2050 is short, but Putin's is even shorter: he is now almost seventy years old. After him will come the deluge, the wildfires, the droughts, the collapse.
"Russia will be one of the countries most affected by climate change..." according to the book's description on the Harvard University Press website.

"Lucid and thought-provoking, Klimat shows how climate change is poised to alter the global order, potentially toppling even great powers from their perches."

Amazon will shut its Chinese ebook store next year, pulling a small but prominent business from a market where it's failed to make major inroads against local rivals. From a report: The e-commerce giant will discontinue the Kindle eBook store on June 30, 2023, a spokesperson said in an emailed statement. It promised to continue supporting Kindle readers or refund any device purchases made after January this year.

A remarkably literary critique of the internet appeared recently in Damage magazine — a project of the nonprofit Society for Psychoanalytic Inquiry funded by the American Psychoanalytic Foundation. "There are ways in which the internet really does seem to work like a possessing demon..." argues writer Sam Kriss.

"We tend to think that the internet is a communications network we use to speak to one another — but in a sense, we're not doing anything of the sort. Instead, we are the ones being spoken through." Teens on TikTok all talk in the exact same tone, identical singsong smugness. Millennials on Twitter use the same shrinking vocabulary. My guy! Having a normal one! Even when you actually meet them in the sunlit world, they'll say valid or based, or say y'all despite being British....

Everything you say online is subject to an instant system of rewards. Every platform comes with metrics; you can precisely quantify how well-received your thoughts are by how many likes or shares or retweets they receive. For almost everyone, the game is difficult to resist: they end up trying to say the things that the machine will like. For all the panic over online censorship, this stuff is far more destructive. You have no free speech — not because someone might ban your account, but because there's a vast incentive structure in place that constantly channels your speech in certain directions. And unlike overt censorship, it's not a policy that could ever be changed, but a pure function of the connectivity of the internet itself. This might be why so much writing that comes out of the internet is so unbearably dull, cycling between outrage and mockery, begging for clicks, speaking the machine back into its own bowels....

The internet is not a communications system. Instead of delivering messages between people, it simulates the experience of being among people, in a way that books or shopping lists or even the telephone do not. And there are things that a simulation will always fail to capture. In the philosophy of Emmanuel Lévinas, your ethical responsibility to other people emerges out of their face, the experience of looking directly into the face of another living subject. "The face is what prohibits us from killing...." But Facebook is a world without faces. Only images of faces; selfies, avatars: dead things. Or the moving image in a FaceTime chat: a haunted puppet. There is always something in the way. You are not talking to a person: the machine is talking, through you, to itself.

As more and more of your social life takes place online, you're training yourself to believe that other people are not really people, and you have no duty towards them whatsoever. These effects don't vanish once you look away from the screen.... many of the big conflicts within institutions in the last few years seem to be rooted in the expectation that the world should work like the internet. If you don't like a person, you should be able to block them: simply push a button, and have them disappear forever.
The article revisits a 2011 meta-analysis that found massive declines in young people's capacity for empathy, which the authors directly associated with the spread of social media. But then Kriss argues that "We are becoming less and less capable of actual intersubjective communication; more unhappy; more alone. Every year, surveys find that people have fewer and fewer friends; among millennials, 22% say they have none at all.

"For the first time in history, we can simply do without each other entirely. The machine supplies an approximation of everything you need for a bare biological existence: strangers come to deliver your food; AI chatbots deliver cognitive-behavioral therapy; social media simulates people to love and people to hate; and hidden inside the microcircuitry, the demons swarm..."

So while recent books look for historical antecedents, "I still think that the internet is a serious break from what we had before," Kriss argues. "And as nice as Wikipedia is, as nice as it is to be able to walk around foreign cities on Google Maps or read early modern grimoires without a library card, I still think the internet is a poison."