Patchrobe

While the main thing that would make Raspberry Pi's diminutive $25 / $35 Linux setups better would be if we could get our hands on them faster, the team behind it is already working on improvements like this prototype camera seen above. The add-on is slated to ship later this year and plugs into the CSI pins left exposed right in the middle of each unit. According to the accompanying blog post, the specs may be downgraded from the prototype's 14MP sensor to keep things affordable, although there's no word on an exact price yet. Possible applications include robotics and home automation, but until the hackers get their hands on them you'll have to settle for one pic from the Pi's POV after the break and a few more at the source linked below.

Continue reading Raspberry Pi team shows off pics of (and taken with) prototype camera add-on

Raspberry Pi team shows off pics of (and taken with) prototype camera add-on originally appeared on Engadget on Sat, 19 May 2012 04:33:00 EDT. Please see our terms for use of feeds.

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If you found yourself longing for the minor tweaks Samsung made to the Galaxy Tab 10.1 in Germany earlier this year, you may be in luck: Apple's filed for a preliminary injunction against the slate stateside. It isn't the first one, either, Cupertino filed something similar back in February, though it didn't quite pass legal muster. After gaining some headway earlier this week, Cook's crew is in for round two, according to FOSS Patents, asking for Judge Koh to rule in their favor without a new hearing. Concerned consumers, however, can sidestep the whole mess by simply opting for an injunction-exempt Galaxy Tab 2. Details and speculation can be found at the source link below, just in case you aren't already sick to death of the whole Samsung / Apple spat.

Apple files (again) for a preliminary ban against the Samsung Galaxy Tab 10.1 originally appeared on Engadget on Sat, 19 May 2012 02:29:00 EDT. Please see our terms for use of feeds.

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Prague-based Boad Design's "Izolator" collection of stemware is more than just a quirky take on an every-day item. These ridged wine stems are ergonomically designed to fit comfortably and securely in your hand—meaning few spills and shattered glasses. More »

Let's face it, whether you're down at the laundromat or feeding the meter on a busy street, you can never find enough quarters when you need'em. Know what effectively sidesteps that lack of foresight? NFC, that's what. And that tap-to-pay convenience is ready to roll out for folks in Oakland, CA courtesy of Atlanta-based Parkmobile. There's no great mystery to the company's purpose -- the name says it all -- as it specializes in payment solutions for (what else?) parking. With the installment of special near field-equipped stickers on meters throughout that West Coast city, fine-fearing citizens will now have one extra payment option beyond the outfit's currently available mobile app and internet transactions. Naturally, you'll have to sign-up online to get started, but after that you'll never have to fear the meter maid again.

Continue reading Parkmobile adds NFC to its parking payment repertoire

Parkmobile adds NFC to its parking payment repertoire originally appeared on Engadget on Sat, 19 May 2012 01:21:00 EDT. Please see our terms for use of feeds.

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An advocacy group known as One has designed a sorta genius giant towable inkjet printer that prints messages of peaceful protest, in non-toxic water-soluble paint, on city streets. More »

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We here at Engadget tend to spend a lot of way too much time poring over the latest FCC filings, be it on the net or directly on the ol' Federal Communications Commission's site. Since we couldn't possibly (want to) cover all the stuff that goes down there individually, we've gathered up an exhaustive listing of every phone and / or tablet getting the stamp of approval over the last week. Enjoy!

Continue reading FCC Fridays: May 18, 2012

FCC Fridays: May 18, 2012 originally appeared on Engadget on Fri, 18 May 2012 23:52:00 EDT. Please see our terms for use of feeds.

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Station Saint-Martin along Paris's Metro Line 8 & 9 was closed in 1939, at the start of WWII, and although reopened once the war had ended, the station was ultimately shutter for good due its close proximity (100m) to another Metro station. More »

In discussions about artists like Amanda Palmer using Kickstarter, plenty of people continue to insist that their success was made possible by their traditional industry backgrounds. We've already gone over lots of reasons why this is silly, most notably the fact that such artists do a lot of work and certainly don't coast on anything. But it also usually ignores the artists themselves, who more often than not clearly say that they are going it alone because traditional structures were holding them back. The fact that creators who have received some amount of benefit from labels/studios/publishers decide to move on anyway, and then see their careers grow, doesn't say less about platforms like Kickstarter, it says even more.

This sentiment is not limited to music, or to independent creators. Kickstarter is getting a lot of attention, and that's bound to attract bigger and bigger names. The latest, sent in by jtomic, is a feature film called The Canyons which involves some pretty serious Hollywood talent. The script is written by Bret Easton Ellis (author of American Psycho) and directed by Paul Schrader (as in, the guy who wrote Taxi Driver and the screenplay for Raging Bull). Ellis, Schrader and the producer are putting up a bunch of the money themselves and turning to Kickstarter for the rest—all because they want to escape the confines of Hollywood:

The film is a collaborative effort stewarded by former Lionsgate producer Braxton Pope as a response to the changing landscape of the film industry. Pope, Ellis and Schrader are partly financing the film themselves through Pope’s new company Sodium Fox in order to maintain complete creative control of the distinct source material. According to Schrader, “We all experienced the frustrations of financing and institutional censorship. But now, with advances in digital photography and distribution, we can tell a story in the manner we choose. Movies are changing and we’re changing with it.”

They expand on this in the video, which includes some excellent comments from all three creators. Pope talks about how the Hollywood process encourages "groupthink" and makes it hard for a film to stay true to the artists' vision. Schrader and Ellis both compare the current revolution in film to that of a hundred years ago when the medium was in its infancy, and are clearly excited about the prospect of making a film without notes from meddlesome studio execs.

There are some pretty cool funding tiers too, many of which are unsurprisingly sold out. The cast itself is being largely crowdsourced through an online audition platform, netting undiscovered talent from around the world, and anyone who pledges at least $10 gets to vote on finalists. For $500, Ellis and Pope offered to watch your short film and share their honest reactions (with links) to their followers on Twitter & Facebook (all 10 slots for that one are already sold out). For $1,500 they'll do the same with a feature-length film. For $5,000, Ellis reviews your novel (again, sold out) or Schrader gives you notes on your script (a few left at time of writing). One lucky backer has already snagged the single $10,000 "De Niro's Money Package", which comes with a money clip autographed by Robert De Niro and given to Schrader on the set of Taxi Driver.

So there can be absolutely no doubt that these guys are using their momentum from the traditional Hollywood system to make this project possible—but I'm at a loss as to how that says anything good about Hollywood. I doubt any of these creators had any real need to finance a film themselves, but they saw a growing opportunity to go directly to their fans and make movies the way they really want to make them, and they jumped on it. That's not coasting on the past—it's embracing the future.

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Ready for your latest tour through the dense and meandering wording of patent applications? Well, dig in, because it's Microsoft's turn to confuse lawyers the world over with this latest USPTO doc, submitted in November of 2010. The filing describes a computer-based program that would, essentially, analyze a primary device's installed applications, cross-reference it with a different device and then either migrate that software batch or suggest similar apps to download on a secondary unit. Sounds a lot like a potential Windows Phone Marketplace recommendation / app transfer engine to us, but what exactly Redmond intends to use this pending patent for is anyone's guess. As always, if you care to sacrifice a few minutes of your life to mind-numbing legal jargon, then by all means hit up the source link below.

Microsoft patent application outlines system to recommend and transfer apps across devices originally appeared on Engadget on Fri, 18 May 2012 22:35:00 EDT. Please see our terms for use of feeds.

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As much as we all complain about trolls, have you ever really taken the time to get to know one? Or, better yet, to get to know Patton Oswalt's hilarious rendition of real-life, under-the-bridge type internet trolldom? You should! You can: More »

The day Grayson James Walker was born, his parents—Heather and Patrick Walker, of Memphis, Tennessee—knew their time with him would be brief. Grayson had been diagnosed in utero with a rare neural tube birth defect called Anencephaly, in which a baby is born without parts of the brain and skull. More »

Here is Part II of our excerpt from Chapter 1 of Reframing Fair Use by Patricia Aufderheide and Peter Jaszi, which is our May selection for the Techdirt Book Club. You can read Part I here. We'll have another excerpt soon, and will be scheduling the author chat in the near future.

Fair use was in eclipse for decades, with judges, lawyers, legal scholars, and creators unsure of its interpretation and convinced of its unreliability. Since the late 1990s, fair use has returned to the scene, and has become a sturdy tool for a wide range of creators and users. This transformation has been remarkable; we discuss it in detail in Chapter 5, and provide highlights here.

It happened in part because of changing scholarship. A generation of legal scholars has developed arguments for fair use as they have analyzed copyright’s effect on cultural expression. At the same time, cultural studies scholars have showcased the relevance of fair use to their work, which often involves analyzing popular culture. Teachers and scholars are beginning to take up the fair use banner, publicly using their rights and encouraging their students to do the same.

Settled, established communities of creators, administrators and users—filmmakers, teachers of English and visual art, librarians, makers of open course ware, poets, and dance archivists--have identified fair use as a necessary tool for them to use to achieve their missions. They have turned to the sturdy tool of consensus interpretation, by making codes of best practices in fair use through their professional associations.

Members of these communities have become active advocates for fair use. Their organizations and representatives have appeared before the Copyright Office to testify about the way that the DMCA, which makes illegal the breaking of encryption on DVDs, limits their ability to employ fair use in their work.

Remix artists of all kinds, working online, have come to adopt the claim of fair use as an anti-corporate banner. They trade information on fair use in conferences and conventions. When they receive takedown notices on YouTube, they issue counter-takedown notices and explain why their uses are fair. Remixers have also gone before the Copyright Office to protest the way that the DMCA impedes their creations, which are often socially critical.

New businesses have flourished employing fair use, and their trade associations have supported them. Google, the Consumer Electronics Association, and the Computer and Communications Industry Association have all advocated for fair use. Legal and professional services for communities of practice, such as lawyers and web developers, have built their fair use expertise to serve their clients better.

Think tanks and advocacy organizations have promoted fair use. The Electronic Frontier Foundation, Public Knowledge, the American Civil Liberties Union, Duke University’s Center for the Study of the Public Domain and the Stanford Fair Use Project have all taken action on fair use. Between the scholars, the creators, artists, and organizations, fair use is emerging out of a twilight existence where, for decades, it had lived. During those decades, many professionals and especially professionals in the corporate media environment—whether broadcast journalism, cable documentary, or newspapers—routinely and extensively employed fair use. But if you weren’t a professional, you might not even have heard of it. That has changed.

The goals of various actors in this resurgence of fair use differ. Some simply want to assert their rights to be able to improve their work, lower their costs and start or grow new businesses. Some want to expand the sphere of freedom of expression, so that copyrighted culture does not become off-limits for new work. Some believe that an expansion of fair use rights is imperative both to keep fair use as copyright policy is tinkered with, and to maintain the crucial principle of balance between owners’ rights and the society’s investment in new cultural creation. Some believe that fair use, exercised to the maximum, will provide concrete experience of the limitations of today’s copyright law, and point to more effective change. They all share a common understanding that individual and community action simply to assert their rights has an immediate and long-range effect on markets and policy.

The resurgence of fair use, the topic of this book, forms part of a much greater discourse in the U.S. and world-wide, critiquing the most stifling, confining features of copyright practice today. That discourse is variously called copyright reform, copyfighting, the copyleft, and cultural/creative/intellectual commons, depending on your angle of entry. Some people call it a movement, though it still lacks evidence of broad social mobilization (as Patrick Burkart has noted for music). The people in this discourse share an acute awareness that copyright policy and practice are tilted unfairly toward ownership rights, in a way that prejudices the health and growth of culture. This broader discourse is evident in many ways, besides the efforts to make fair use more useable: proposals for formal copyright reform; efforts to create copyright-light or copyright-free zones or to expand the public domain; and civil disobedience.

Some propose copyright reform to shrink the monopoly claims of owners. Veteran legal scholar Pamela Samuelson has proposed reconceptualizing copyright law from a blank slate. She imagines a simpler, shorter copyright law, grounded in principles rather than the “obese Frankenstein monster” it has become through stakeholder pressure and endless tinkering. Neil Netanel has proposed a range of tweaks to pull back the extent of copyright protection, such as limiting copyright length and dropping protection against the preparation of derivative work, so that less licensing is needed. Lawrence Lessig also has argued for simplifying and minimizing copyright protection for owners.

Some people offer suggestions to improve the efficiency of licensing, which today is messy, clumsy, and frustrating. Prof. David Lange, for instance, proposed increased use of statutory (or compulsory) licensing schemes, such those that allow today for the retransmission of TV signals by cable and satellite systems. Others have suggested new voluntary digital platforms through which users could make “micro-payments,” tiny payments for each individual access to copyrighted material offered commercially. Legal scholar William Fisher has proposed a voluntary collective administration system, akin to those that today enable public performances and broadcasts of music, and to collect licensing payments through Internet service providers and distribute them to copyright owners and artists whose material is used online. Some copyright owners, including the Association of Commercial Stock Images Licensors, are even toying with how to restructure their own licensing schemes, to eliminate archaisms such as regional rights in a transnational Internet age.

The ideas and projects all respond to the real problem that copyright law now fits ever more poorly the way people are actually making culture. They may well take some time to become useful, though. The big stumbling block both to fundamental copyright reform and to licensing reform is that large copyright holders—key stakeholders in any change in licensing schemes—are not able to agree on what they would like to do. They do not know what business models will be most relevant in a few years, so living with a lumbering, archaic licensing system with a lot of holes in it looks better to them than change that might have unanticipated downsides. As major stakeholders in any legislative reform, they will stall, derail or rewrite legislation in the same unbalanced direction as today, until their interests shift with shifting business models. As major actors in licensing, they will collaborate on new methods of licensing when they understand how emerging business models favor their interests.

Another part of this broad copyright critique is a range of efforts to expand copyright-free and copyright-light zones, discussed by David Bollier and James Boyle. People in this arena often invoke the phrases “the public domain,” “open access,” and “Creative Commons.” Projects such as open source software (collaboratively created and freely offered software), open source (free and accessible to all) academic and scientific journals and databases, and OpenCourseWare (freely available curriculum materials) offer such alternative zones. The various Creative Commons licenses contribute to this alternative zone by offering a way for creators to give their work away more easily, although with conditions, by labelling it appropriately.

These efforts have indeed created significant copyright-light zones, as well as creating enormous enthusiasm for a more flexible copyright policy. They work well for people who want to give their work away and share it without economic reward. A pool of noncommercial works now exists, but it is tiny compared with the field of copyrighted and often-commercial work. Viacom and News Corp will continue to copyright their holdings and treat them as assets. The existence of copyright- light zones, however large, does not address the frequent need that people have to access mass commercial culture to make new cultural expression.

Finally, copyright critique is seen in opposition and resistance, such as giddy, open flouting of copyright law by “culture jammers,” pranksters and appropriation artists. Burkart describes this work as part of the incipient and still-inchoate cyberliberties social movement, taking up “the politics of symbolic action,” typically “weapons of the weak.” These people and groups—Negativeland, the Yes Men, Adbusters magazine and others—position themselves on the margins of official culture, and see themselves as reclaiming culture one image or gesture at a time. They also see themselves as challenging the terms of long and strong copyright. Ironically, many times the uses they make of copyrighted material are actually completely legal fair uses.

This broad and diverse discourse calling for changes in long and strong copyright thus has many faces and approaches, each with opportunities and limitations. They add up to a broad public awareness of trouble around long and strong copyright. Within this discourse, efforts to make fair use more useable stand out because they can be done now, by people in many walks of life; they can be publicized and celebrated, thus spreading the word; and because using this right expands its range of uses.

Fair use is not necessarily a popular phrase for all in this broader collection of copyright critics. Some regard it as hopelessly compromised because of technologies such as encryption, which override a user’s will to excerpt. Some believe that exemptions such as fair use are good but that fair use is too murky or unclear to be a helpful exemption. Some believe that fair use partakes too much of the status quo, and that another copyright-free world is possible. One way that concern is expressed is to argue that it is too limited a doctrine, and that we need to reach beyond it to accomplish our goals.

In fact, under the current interpretation, fair use does apply in a wide variety of situations. They range from making copies of TV programs on our DVRs to creating digitally annotated critical texts to making an archive of the worst music videos ever to making relevant curriculum digitally available to students. Fair use has evolved, having different functions at different moments in U.S. history. Today it has an ever-growing importance and value within copyright, as a primary vehicle to restore copyright to its constitutional purpose, and the transformativeness standard assists in creating that value. Fair use is like a muscle; unused, it atrophies and exercise makes it grow. Its future is open; vigorous exercise will not break fair use.

Fair use will continue to be important, no matter what the success of other aspects of long and strong copyright protests and proposals. Even if we could wave a magic wand and execute reform of copyright policy that rolls back some of the longest, strongest terms in copyright policy, fair use would still be an important tool to free up recent culture for referencing in new work. Even if licensing were much easier than it is today, it would never address all the needs people have for use of copyrighted material. Even if copyright-light zones vastly expanded, the need to access the copyrighted material existing outside those zones without permission or payment would still remain. Sometimes people need to use materials that the copyright owner simply will not license to them. Fair use will be important to anyone working in the cultural mainstream. Culture jamming can be fun, although some culture jammers are actually just employing their fair use rights without knowing it. But most creators, teachers, learners and sharers of information don’t see themselves as criminals or pirates, and don’t want to.

Reclaiming fair use plays a particular and powerful role in the broader range of activities that evidence the poor fit between today's copyright policy and today's creative practices. In a world where the public domain has shrunk drastically, it creates a highly valuable, contextually defined, “floating” public domain. The assertion of fair use is part of a larger project of reclaiming the full meaning of copyright policy—not merely protection for owners but the nurturing of creativity, learning, expression. Asserting fair use rights and defending the rights of others to use them is a crucial part of constructing saner copyright policy.

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When it comes to ACTA and TPP, China is the elephant in the room -- or maybe that should be the dragon in the room. For without China's participation, these treaties designed to reduce counterfeiting will have little effect. And despite rather desperate optimism on the part of some that China will rush to sign up, its comments so far suggest otherwise.

A crucial factor here is China's own copyright framework, since this will inevitably color its perception of the terms of any treaty that it might sign. That makes the outcome of a planned third revision of its copyright laws highly pertinent to the fate of treaties like ACTA and TPP. A paper reviewing the current proposals, written by Hong Xue, Director of the Institute for Internet Policy & Law at Beijing Normal University, provides some valuable insights into the likely evolution of China's copyright law. Unfortunately, the signs are not good: the Draft fails to review several misconceptions, such as "the more the better" (more copyright protection and enforcement, the better economic growth and social development), "one size fits all" and "modeling on US law" (on draconic enforcement rather than general and robust limitations and exceptions). It is unfortunately that China, the largest country by both population and Internet users, despite its fast-growing economy, seems keeping on the old track and missing the opportunities to revamp its Copyright Law in the new century. In the area of limitations and exceptions, the latest draft makes things worse than today's rules: According to the [current] Copyright Law, anyone may use a work for personal study, research and appreciation. The Draft, however, restrict the scope of private use to "making one copy of a work for personal study and research." It is annoying to exclude from the private use personal "appreciation", which is inherently hard to distinct from personal study and research, particularly on the Internet. It is even more worrisome to restrict private use to reproduction of a work. Under the Copyright Law, use of a work may include reproduction, translation, adaptation (such as remix or sampling), as far as the use is private. The Draft, however, only allows for reproduction and restricts to one copy. That's crazy at a time when more and more people are using digital content in new ways that include precisely these things like remixing, sampling and adapting.

There's also bad news on the DRM front, which seems closely modeled on the US DMCA: The biggest defect in this regard is that the Draft fails to address whether technological measures may be circumvented for the specified circumstances of limitations and exceptions to rights. For example, it is unclear under the Draft whether a user may circumvent a copy-protection measure on a work so as to make a single copy of work for personal study or research. That's clearly a crucial issue. If circumvention is not allowed, then once again DRM can effectively take away what few rights users are granted in this area.

Finally, China also appears to be following the US in bringing in harsher copyright enforcement and disproportionate damages: Copyright enforcement is tremendously enhanced under the Draft. Regarding civil remedies, damages could be several times of licensing fees if right holder’s actual loss and infringer’s illegal gains cannot be determined. All-in-all, it looks like China has learned nothing from the West's mistakes. Instead, it seems to have taken the misguided view that if the West did it, China must do the same to "catch up". As the paper quoted above emphasizes, this is only a draft, and can still be modified. But based on what it already contains and the fact that organizing resistance against new laws in China is not the easiest of tasks, it looks increasingly likely that China too will be entering a period of copyright maximalism, with all the negative consequences for the Chinese public -- and possibly the world -- that this implies.

Follow me @glynmoody on Twitter or identi.ca, and on Google+

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Cybersecurity and the government have been a volitile combination lately, with proposed bills like SOPA, PIPA, and the still-up-in-the-air CISPA at the center of on-and-off internet outrage. So it's kind of a big deal when the White House replaces its chief of cybersecurity affairs. More »

There's been hints of it coming as early as February, but we now have a smoking gun at the FCC: the Galaxy S III is coming to T-Mobile. A Samsung SGH-T999 has popped up at the agency sporting newly added 1,700MHz AWS support that's the telltale sign of a T-Mobile device, along with the T999 name itself (the T989 is the network's Galaxy S II). It also totes 850MHz and 1,900MHz WCDMA bands being used for HSPA+ data rather than just voice, a clue that the phone is ready for refarmed GSM spectrum. Just in case there was any remaining doubt, we've further spotted a related T999V entry at the Bluetooth SIG with a rather familiar-looking image as well as a Samsung-hosted T999 user agent profile on the web that matches what we know about the Android 4.0 hardware. We have yet to get a look at whether or not the T-Mobile version is any different on the outside, but with the FCC's help, there's not much left to know before the expected summer US launch.

Samsung Galaxy S III for T-Mobile hits FCC, brings future-proofed HSPA+ for good measure originally appeared on Engadget on Fri, 18 May 2012 20:14:00 EDT. Please see our terms for use of feeds.

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The weather is warming up, and backyard barbecues are getting dusted off. What's easier to grill than a good old hot dog? Absolutely nothing. Here are just a few links to get you in the mood for some delicious dogs.

• The Brits have outdone themselves with a new culinary creation: Pizza Hut UK has created a hot dog stuffed pizza crust. American ingenuity just isn't what it used to be. [url]
• If you're really into hot dogs with plentiful toppings, just check out some MLB ballparks. Warning: if you don't like hot dogs, this is a slideshow of more than 20 hot dogs smothered in condiments that'll probably make you sick. [url]
• The Physicians Committee for Responsible Medicine is trying to get people to stop eating hot dogs... with scary billboards that suggest hot dogs are deadly. Some of the billboard ads look like parodies of anti-smoking campaigns, so it's difficult to take them too seriously (though the National Hot Dog & Sausage Council isn't laughing). [url]
• To discover more food-related links, check out what's floating around in StumbleUpon. [url]  

By the way, StumbleUpon can also recommend some good Techdirt articles, too.

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It's an absolutely gorgeous spring afternoon here in New York. The sun is shining, it's not too hot, and there's a slight breeze—the perfect recipe for a rooftop party. But you're going to need a place to lounge, and this set from Aether is a sleek, portable solution. More »

Losing an iPhone is the absolute worst. The inconvenience, the expense... Just terrible. So, when a good samaritan gets in touch to let you know she's found your phone, the appropriate response ought to be gushing, gurgling gratitude. Right? More »