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Royal Air Force Historical Society Journal 29
ROYAL AIR FORCE HISTORICAL SOCIETY JOURNAL 29 2 The opinions expressed in this publication are those of the contributors concerned and are not necessarily those held by the Royal Air Force Historical Society. Copyright 2003: Royal Air Force Historical Society First published in the UK in 2003 by the Royal Air Force Historical Society All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or by any information storage and retrieval system, without permission from the Publisher in writing. ISSN 1361-4231 Typeset by Creative Associates 115 Magdalen Road Oxford OX4 1RS Printed by Advance Book Printing Unit 9 Northmoor Park Church Road Northmoor OX29 5UH 3 CONTENTS BATTLE OF BRITAIN DAY. Address by Dr Alfred Price at the 5 AGM held on 12th June 2002 WHAT WAS THE IMPACT OF THE LUFTWAFFE’S ‘TIP 24 AND RUN’ BOMBING ATTACKS, MARCH 1942-JUNE 1943? A winning British Two Air Forces Award paper by Sqn Ldr Chris Goss SUMMARY OF THE MINUTES OF THE SIXTEENTH 52 ANNUAL GENERAL MEETING HELD IN THE ROYAL AIR FORCE CLUB ON 12th JUNE 2002 ON THE GROUND BUT ON THE AIR by Charles Mitchell 55 ST-OMER APPEAL UPDATE by Air Cdre Peter Dye 59 LIFE IN THE SHADOWS by Sqn Ldr Stanley Booker 62 THE MUNICIPAL LIAISON SCHEME by Wg Cdr C G Jefford 76 BOOK REVIEWS. 80 4 ROYAL AIR FORCE HISTORICAL SOCIETY President Marshal of the Royal Air Force Sir Michael Beetham GCB CBE DFC AFC Vice-President Air Marshal Sir Frederick Sowrey KCB CBE AFC Committee Chairman Air Vice-Marshal -
Fairlight News 9
NAB 1999 ISSUE THE FAIRLIGHT ESP NEWS BULLETIN Image Group Post Superdupe Recording On Track with MFX3plus Networks with MediaLink and MediaLink nderscoring the increasing shift Utowards real-time networking solutions in high-end, multiple-room audio post studios, Superdupe Recording in New York City has installed Fairlight’s MediaLink fast audio networking solution to link its six Fairlight MFX3plus digital audio workstations and one Fairlight FAME integrated digital audio production system. According to Karen Carelli, General Manager Superdupe Recording, the implementation of networking will enhance the company’s workflow. “MediaLink is the logical extension of the latest technology because it gives us the ability to link our MFX3plus workstations Superdupe Recording’s new MFX3plus workstations communicate with MediaLink - and thereby link different projects. Now (L-R) Henri Perotti, Mitch Rayboy, Glenn Navia, Bill Smith and Gary Arnold we can work in store-and-forward mode or, if it’s a major project with short Neil Karsh, Vice President of Audio Services Superdupe Recording specializes in audio deadlines, using multiple workstations in for the New York Media Group including post production for top level advertising real-time,” Carelli noted. Superdupe agrees. “Our goal is to become agencies, as well as cable and broadcast “It’s also exciting because it’s the first time an extremely integrated audio post studio television clients. Superdupe Recording is Image Group Post rides into the new millennium with Fairlight - (L-R) John Wilkinson, in quite a while that Superdupe Recording and we believe that with MediaLink and part of the New York Media Group family Audio Assistant; Frank Lanzer, Chief Audio Engineer; James Krieger, Audio Editor. -
United States Court of Appeals for the Ninth Circuit
Case: 10-55946 04/03/2013 ID: 8576455 DktEntry: 66 Page: 1 of 114 Docket No. 10-55946 In the United States Court of Appeals for the Ninth Circuit COLUMBIA PICTURES INDUSTRIES, INC., DISNEY ENTERPRISES, INC., PARAMOUNT PICTURES CORPORATION, TRISTAR PICTURES, INC., TWENTIETH CENTURY FOX FILM CORPORATION, UNIVERSAL CITY STUDIOS LLLP, UNIVERSAL CITY STUDIOS PRODUCTIONS, LLLP and WARNER BROS. ENTERTAINMENT, INC., Plaintiffs-Appellees, v. GARY FUNG and ISOHUNT WEB TECHNOLOGIES, INC., Defendants-Appellants. _______________________________________ Appeal from a Decision of the United States District Court for the Central District of California, No. 06-CV-05578 · Honorable Stephen V. Wilson PETITION FOR PANEL REHEARING AND REHEARING EN BANC BY APPELLANTS GARY FUNG AND ISOHUNT WEB TECHNOLOGIES, INC. IRA P. ROTHKEN, ESQ. ROBERT L. KOVSKY, ESQ. JARED R. SMITH, ESQ. ROTHKEN LAW FIRM 3 Hamilton Landing, Suite 280 Novato, California 94949 (415) 924-4250 Telephone (415) 924-2905 Facsimile Attorneys for Appellants, Gary Fung and isoHunt Web Technologies, Inc. COUNSEL PRESS · (800) 3-APPEAL PRINTED ON RECYCLED PAPER Case: 10-55946 04/03/2013 ID: 8576455 DktEntry: 66 Page: 2 of 114 TABLE OF CONTENTS page Index of Authorities ..….....….....….....….....….....….....….....….....…....…... ii I. The Panel Decision Applies Erroneous Legal Standards to Find ..…... 1 Fung Liable on Disputed Facts and to Deny Him a Trial by Jury II. The Panel Decision and the District Court Opinion Combine to ……... 5 Punish Speech that Should Be Protected by the First Amendment III. The Panel Decision Expands the Grokster Rule in Multiple Ways ….. 7 that Threaten the Future of Technological Innovation A. The “Technological Background” set forth in the Panel ………. -
The Creativity of Artificial Intelligence in Art
The Creativity of Artificial Intelligence in Art Mingyong Cheng Duke University October 19th, 2020 Abstract New technologies, especially in the field of artificial intelligence, are dynamic in transforming the creative space. AI-enabled programs are rapidly contributing to areas like architecture, music, arts, science, and so on. The recent Christie's auction on the Portrait of Edmond has transformed the contemporary perception of A.I. art, giving rise to questions such as the creativity of this art. This research paper acknowledges the persistent problem, "Can A.I. art be considered as creative?" In this light, the study draws on the various applications of A.I., varied attitudes on A.I. art, and the processes of generating A.I. art to establish an argument that A.I. is capable of achieving artistic creativity. 1 Table of Contents Chapter One ..................................................................................................................................... 4 1.1 Introduction ............................................................................................................................ 4 2.1 Overview ................................................................................................................................ 7 2.2 Defining Artificial Intelligence .............................................................................................. 8 2.3 Application of AI in Various Fields .................................................................................... 10 2.3.1 Music ............................................................................................................................ -
Warez All That Pirated Software Coming From?
Articles http://www.informit.com/articles/printerfriendly.asp?p=29894 Warez All that Pirated Software Coming From? Date: Nov 1, 2002 By Seth Fogie. Article is provided courtesy of Prentice Hall PTR. In this world of casual piracy, many people have forgotten or just never realized where many software releases originate. Seth Fogie looks at the past, present, and future of the warez industry; and illustrates the simple fact that "free" software is here to stay. NOTE The purpose of this article is to provide an educational overview of warez. The author is not taking a stance on the legality, morality, or any other *.ality on the issues surrounding the subject of warez and pirated software. In addition, no software was pirated, cracked, or otherwise illegally obtained during the writing of this article. Software piracy is one of the hottest subjects in today's computerized culture. With the upheaval of Napster and the subsequent spread of peer-to-peer programs, the casual sharing of software has become a world-wide pastime. All it takes is a few minutes on a DSL connection, and KazaA (or KazaA-Lite for those people who don't want adware) and any 10-year-old kid can have the latest pop song hit in their possession. As if deeply offending the music industry isn't enough, the same avenues taken to obtain cheap music also holds a vast number of software games and applications—some worth over $10,000. While it may be common knowledge that these items are available online, what isn't commonly known is the complexity of the process that many of these "releases" go through before they hit the file-sharing mainstream. -
Minutes of Previous Meeting.Pdf
MINUTES EAST SUSSEX COUNTY COUNCIL MINUTES of a MEETING of the COUNTY COUNCIL held at County Hall, Lewes on 1 DECEMBER 2020 at 10.00 am Present Councillors John Barnes MBE, Matthew Beaver, Colin Belsey, Nick Bennett, Bill Bentley, Bob Bowdler, Tania Charman, Charles Clark, Martin Clarke, Godfrey Daniel, Philip Daniel, Angharad Davies, Chris Dowling, Claire Dowling, Deirdre Earl-Williams, Simon Elford, David Elkin (Chairman), Nigel Enever, Michael Ensor, Kathryn Field, Gerard Fox, Roy Galley, Keith Glazier, Darren Grover, Carolyn Lambert, Tom Liddiard, Laurie Loe, Carl Maynard, Ruth O'Keeffe MBE, Sarah Osborne, Peter Pragnell, Pat Rodohan, Phil Scott, Jim Sheppard (Vice Chairman), Daniel Shing, Stephen Shing, Alan Shuttleworth, Rupert Simmons, Andy Smith, Bob Standley, Richard Stogdon, Colin Swansborough, Barry Taylor, David Tutt, John Ungar, Steve Wallis, Trevor Webb and Francis Whetstone 30 Minutes of the meeting held on 13 October 2020 30.1 RESOLVED to confirm as a correct record the minutes of the County Council meeting held on 13 October 2020. 31 Apologies for absence 31.1 An apology for absence was received on behalf of Councillor Tidy. 32 Chairman's business FIONA WRIGHT 32.1 The Chairman informed the Council that Fiona Wright was leaving the County Council after 40 years of public service. Her whole career has been in Education. Fiona joined East Sussex as Headteacher at Eastbourne Technology College in 1994 before becoming the first Head of Peacehaven Community School and Executive Head of Seaford Community College. She joined the Children’s Services Department in 2006 and progressed to her current role in 2013. She has had a massive impact on the lives of children in this County and in working to ensure that we provide the best service possible. -
Computer Demos—What Makes Them Tick?
AALTO UNIVERSITY School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Markku Reunanen Computer Demos—What Makes Them Tick? Licentiate Thesis Helsinki, April 23, 2010 Supervisor: Professor Tapio Takala AALTO UNIVERSITY ABSTRACT OF LICENTIATE THESIS School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Author Date Markku Reunanen April 23, 2010 Pages 134 Title of thesis Computer Demos—What Makes Them Tick? Professorship Professorship code Contents Production T013Z Supervisor Professor Tapio Takala Instructor - This licentiate thesis deals with a worldwide community of hobbyists called the demoscene. The activities of the community in question revolve around real-time multimedia demonstrations known as demos. The historical frame of the study spans from the late 1970s, and the advent of affordable home computers, up to 2009. So far little academic research has been conducted on the topic and the number of other publications is almost equally low. The work done by other researchers is discussed and additional connections are made to other related fields of study such as computer history and media research. The material of the study consists principally of demos, contemporary disk magazines and online sources such as community websites and archives. A general overview of the demoscene and its practices is provided to the reader as a foundation for understanding the more in-depth topics. One chapter is dedicated to the analysis of the artifacts produced by the community and another to the discussion of the computer hardware in relation to the creative aspirations of the community members. -
Copyright and DRM
CHAPTER 22 Copyright and DRM The DeCSS case is almost certainly a harbinger of what I would consider to be the defining battle of censorship in cyberspace. In my opinion, this will not be fought over pornography, neo-Nazism, bomb design, blasphemy, or political dissent. Instead, the Armageddon of digital control, the real death match between the Party of the Past and Party of the Future, will be fought over copyright. — John Perry Barlow Be very glad that your PC is insecure — it means that after you buy it, you can break into it and install whatever software you want. What YOU want, not what Sony or Warner or AOL wants. — John Gilmore 22.1 Introduction Copyright, and digital rights management (DRM), have been among the most contentious issues of the digital age. At the political level, there is the conflict alluded to by Barlow in the above quotation. The control of information has been near the centre of government concerns since before William Tyndale (one of the founders of the Cambridge University Press) was burned at the stake for printing the Bible in English. The sensitivity continued through the estab- lishment of modern copyright law starting with the Statute of Anne in 1709, through the eighteenth century battles over press censorship, to the Enlight- enment and the framing of the U.S. Constitution. The link between copyright and censorship is obscured by technology from time to time, but has a habit of reappearing. Copyright mechanisms exist to keep information out of the hands of people who haven’t paid for it, while censors keep information out of the hands of people who satisfy some other criterion. -
Digital Piracy on P2P Networks How to Protect Your Copyrighted Content
Digital Piracy on P2P Networks How to Protect your Copyrighted Content Olesia Klevchuk and Sam Bahun MarkMonitor © 2014 MarkMonitor Inc. All rights reserved. Agenda . P2P landscape: history and recent developments . Detection and verification of unauthorized content on P2P sites . Enforcement strategies . Alternatives to enforcements 2 | Confidential P2P Landscape History and Recent Developments 3 | Confidential History of Digital Piracy Streaming Download to Streaming 1B+ Users . Music piracy enters mainstream with Napster . P2P brought software and video piracy . Shift to consumption of streaming content – TV and sports most impacted P2P Live 300 MM Streaming Users 50 MM Users Napster UseNet 25 MM Users 16 MM Users < 5 MM Today 1995 2000 2005 2010 2015 4 | Confidential First Generation of P2P From Napster to eDonkey2000 . Napster brought P2P to masses . Centralized server model made it possible to shutdown the network 5 | Confidential Second Generation of P2P Kazaa, Gnutella and Torrent Sites . Ability to operate without central server, connecting users remotely to each other . Difficult to shutdown . Attracted millions of users worldwide . Requires some technical ability, plagued with pop-up ads and malware 6 | Confidenti al New P2P piracy . No to little technical ability is required . Attractive, user-friendly interface . BitTorrent powered making enforcements challenging Popcorn Time BitTorrent powered streaming app . Allows you to watch thousands of movies instantaneously . In the U.S., software was downloaded onto millions of devices . Interface resembles that of popular legitimate streaming platforms 8 | Confidential P2P Adoption and Usage BitTorrent is among the most popular platforms online Twitter 307 million users Facebook 1.44 billion users Netflix 69 million subscribers BitTorrent 300 million users 9 | Confidential P2P Piracy Steady trend of a number of P2P infringements . -
Media Art Net | Generative Tools | Computer Art
Media Art Net | Generative Tools | Computer Art Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers. Editorial Generative Art Software Art Game Art Computer Art Themes Generative Tools Computer Art What is Computer Art? An attempt towards an answer and examples of interpretation Matthias Weiß «No instrument plays itself or writes its own music.» Per Cederqvist[1] «That which is programmable must also be computable.» Frieder Nake[2] «It is understood that the artistic goal of THE SOFTWARE is to express conceptual ideas as software. It is also understood that THE SOFTWARE is partially automated, and its output is a result of its process. Despite the process being an integral part of THE SOFTWARE, this does not imply nor grant the status of artwork on the output of THE SOFTWARE. This is the sole responsibility of YOU (the USER).» Signwave Auto-Illustrator LICENSE AGREEMENT (for Version 1.2), § 7.3 A. Towards an Ahistorical Assessment of the Computer Art Scene The history of reflection on the artistic use of computer software and hardware did not begin with transmediale.01. For artists who employ computer programming, however, that event, as the first international festival of its kind—the origin of which,like the origin of virtually all of the efforts in art history involving new procedures in technologybased artistic strategies and production methods lies in video technology—provided an impetus for new, more extensive explorations of software programmes, and found its most recent, and broadest platform to date at the Ars Electronica 2003. -
GOOD MONEY GONE BAD Digital Thieves and the Hijacking of the Online Ad Business a Report on the Profitability of Ad-Supported Content Theft
GOOD MONEY GONE BAD Digital Thieves and the Hijacking of the Online Ad Business A Report on the Profitability of Ad-Supported Content Theft February 2014 www.digitalcitizensalliance.org/followtheprofit CONTENTS Contents .............................................................................................................................................................i Table of References .....................................................................................................................................ii Figures .........................................................................................................................................................................................ii Tables ...........................................................................................................................................................................................ii About this Report ..........................................................................................................................................1 Executive Summary .................................................................................................................................... 3 Three Key Relevant Growth Trends .................................................................................................... 4 Methodology .................................................................................................................................................. 4 Sites Studied .......................................................................................................................................................................... -
Aurora Edit User Guide, Version
Aurora Edit FAST TURN PRODUCTION TOOLS User Guide SOFTWARE VERSION 6.3 071-8500-03 SEPTEMBER 2007 Copyright Copyright © 2007 Grass Valley, Inc. All rights reserved. Printed in the United States of America. Portions of software © 2000 – 2007, Microsoft Corporation. All rights reserved. This document may not be copied in whole or in part, or otherwise reproduced except as specifically permitted under U.S. copyright law, without the prior written consent of Grass Valley, Inc., P.O. Box 59900, Nevada City, California 95959-7900 This product may be covered by one or more U.S. and foreign patents. Trademarks Grass Valley, K2, Aurora, Turbo, M-Series, Profile, Profile XP, NewsBrowse, NewsEdit, NewsQ, NewsShare, NewsQ Pro, Aurora, and Media Manager are either registered trademarks or trademarks of Grass Valley, Inc. in the United States and/or other countries. Other trademarks used in this document are either registered trademarks or trademarks of the manufacturers or vendors of the associated products. QuickTime and the QuickTime logo are trademarks or registered trademarks of Apple Computer, Inc., used under license therefrom. Grass Valley, Inc. products are covered by U.S. and foreign patents, issued and pending. Additional information regarding Grass Valley, Inc. trademarks and other proprietary rights may be found at www.thomsongrassvalley.com. Disclaimer Product options and specifications subject to change without notice. The information in this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Grass Valley, Inc. Grass Valley, Inc. assumes no responsibility or liability for any errors or inaccuracies that may appear in this publication.