Tag Archives: Digital

Радио България: какво всъщност се обсъжда

Post Syndicated from nellyo original https://nellyo.wordpress.com/2017/06/23/bnr_/

Отговорната редакторка на сайта на СБЖ казала,

че знае от много достоверен източник,

че Бетина Жотева, член на СЕМ,  казала,

че министърът на външните работи Захариева в личен разговор казала,

че е за закриване на Радио България.

Бетина Жотева казала,

че нито министър Захариева й е казала,

нито тя е казала, че министър Захариева й е казала,

че е за закриване на Радио България.

*

Днес много се говори, че са си говорили, това е интересен сюжет  –  но  да се върнем към Радио България.

 

I

Радио България и реформата в БНР

Радио България е име на програма, произвеждана и предоставяна за разпространение от Българското национално радио на различни езици. Технологиите се развиват, потребителските модели се променят, има динамика и във външните отношения на страната.  Променят се условията – променят се и програмите и услугите на обществените медии.

За Радио България в последно време се говори поради две обстоятелства:

  • Първо, разпространението на програмата онлайн

Радио България първоначално се разпространява наземно – поради което според ЗРТ подлежи на лицензиране  – и е лицензирана. През февруари 2012 г. разпространението на програмата продължава онлайн, като съдържанието на турски език се разпространява и наземно, включително интегрирано в програмата на районната станция  Радио Кърджали. Този факт стана  широко известен   при лицензирането на програмата на Радио Кърджали през 2015, когато се вдигна шум около новините на турски език – докато се установи, че това е част от чуждоезиковата продукция на Радио България.

Ръководството на БНР се обръща към регулатора с искане за изменение на лицензията на Радио България – така че съдържанието, което не се разпространява наземно от години, да престане да бъде предмет на лицензията. Както става ясно от протокол от заседанието на СЕМ на 16 май 2017 (стр.6-7):

 искането е за изменение на лицензията, в частта да бъдат заличени определени приложения към нея, а това са приложенията на отделни езици.

Мониторинг на СЕМ от 2017 установява, че изискванията на лицензията не се изпълняват. Да се актуализира лицензията изглежда логично искане   – пет  години след прекратяване на наземното разпространение на съдържанието на някои езици. Както напомня Мария Стоянова според посочения протокол

защото си спомняме, че става въпрос за предаватели, които са премахнати и предадени за скрап.

  • Второ, редуцирането на съдържанието онлайн

Сегашното ръководство на БНР взема и второ – вече програмно – решение да прекрати и производството на съдържание на някои от езиците. От медиите става ясно, че БНР се аргументира с данните за потреблението и интереса към това съдържание. Решението е подкрепено изцяло от Обществения съвет на БНР, обсъдено е и по съответния ред в органите на радиото. Зад решението с целия си авторитет е  Райна Константинова, в случая председател на Обществения съвет – но също  един от най-опитните експерти в областта на обществените медии в Европа.

Редуцирането на езиците ще доведе до намаляване на заетите в БНР. Някои са пренасочени в БНР, някои приемат условията за освобождаване, други протестират и търсят подкрепа в колегията и институциите.

Накратко, ръководството на БНР и Общественият съвет провеждат съдържателни обсъждания и така стигат до изводи за модела на преструктуриране на Радио България.

II

Реакцията към стъпките, предприети от БНР:

  • СЕМ

СЕМ обсъжда въпроса, но не стига до решение да измени лицензията и да легализира прекратяването на наземното разпространение, а (видно от посочения протокол) решава

да изиска информация от КРС  с какви мощности се разполага и къде се разпространява програмата на “Радио България” и

да изиска  от БНР програмна схема и програмна концепция за “Радио България”.

  • Парламент

На 15 юни парламентарната комисия за култура и медии има в дневния ред точка 2. Изслушване на генералния директор на Българското национално радио относно искане на БНР за изменение на индивидуална лицензия за създаване на радиоуслуга с наименование „Радио България” и свързаните с изменението последици.

Стенограмата отразява заседанието, изслушват се различните мнения, както и становище на министъра на външните работи. Депутатите се обединяват около идеята, че чуждоезиковата продукция на БНР трябва да бъде запазена.

Министър Захариева заявява ясно, че  министерството на външните работи по принцип не би могло да се меси в редакционната политика, въпреки че това е обществена медия. Също така министър Захариева обръща внимание,  че Радио България    „под формата, която го разбираме, класическата“     не съществува  – и става дума за чуждоезикова продукция.

За МВнР тази продукция има значение – „Подчертаваме, че чуждоезикови рубрики имат своята роля за разпространението на българската култура и наука, а също така за информираността на тези наши общности в чужбина, както и на чуждестранни граждани, за българската държавна политика.[…] разширяването на Западните Балкани е приоритет на външната политика на правителството и ще бъде един от приоритетите на българското председателство на Съвета на ЕС в началото на следващата година. И затова ще ни бъдат необходими, като инструмент да комуникираме, тези рубрики”, се казва в писмото до парламентарната комисия за култура и медии.

МВнР смята, че е уместно да се проведе обществена дискусия преди преструктурирането.

На сайта на президента е изложено становище, в което между другото се казва:    

Неприемливо е в навечерието на Българското председателство на Съвета на ЕС да се обсъжда идеята за закриването на „Радио България“. Тази програма на БНР има опит и традиции в създаването на образа ни навън като европейска държава на духа.

До медиите това съобщението достига накратко така:  Президентът забрани да се закрива Радио България.

 

  • Работещите в Радио България

Позицията на работещите е отразена по-подробно тук. Те  са срещу решението на ръководството, подкрепени са от Съюза на българските журналисти.

След срещите и публикациите поне става ясно:  парламент, президент и правителство не могат  да вземат програмните решения на обществените медии.

 

 

III

А сега?

Ръководството на БНР учи по трудния начин, че реформаторските мерки трябва да са отлично обосновани и публично обяснени и защитени, за да се отличават от обикновено съкращаване на живи хора.

УС на БНР приема за сведение изразените мнения и  решава поетапната модернизация да продължи след обществена дискусия.

Модернизацията не се поставя под съмнение, аналоговата лицензия ще си отиде. Същевременно колкото и чуждоезиковата продукция да е политически въпрос, никой не поддържа комуникация под определен праг на ефективност,  общественото радио също.

Така че предстои да се решава обща задача:    публичният  ресурс  да бъде инвестиран  в чуждоезикова продукция по такъв начин, че да се постига ефективна комуникация, включително с използване на съвременните платформи,  за изпълнение на обществената мисия на БНР.

 

 

Filed under: BG Content, BG Media, BG Regulator, Digital

MPAA & RIAA Demand Tough Copyright Standards in NAFTA Negotiations

Post Syndicated from Andy original https://torrentfreak.com/mpaa-riaa-demand-tough-copyright-standards-in-nafta-negotiations-170621/

The North American Free Trade Agreement (NAFTA) between the United States, Canada, and Mexico was negotiated more than 25 years ago. With a quarter of a decade of developments to contend with, the United States wants to modernize.

“While our economy and U.S. businesses have changed considerably over that period, NAFTA has not,” the government says.

With this in mind, the US requested comments from interested parties seeking direction for negotiation points. With those comments now in, groups like the MPAA and RIAA have been making their positions known. It’s no surprise that intellectual property enforcement is high on the agenda.

“Copyright is the lifeblood of the U.S. motion picture and television industry. As such, MPAA places high priority on securing strong protection and enforcement disciplines in the intellectual property chapters of trade agreements,” the MPAA writes in its submission.

“Strong IPR protection and enforcement are critical trade priorities for the music industry. With IPR, we can create good jobs, make significant contributions to U.S. economic growth and security, invest in artists and their creativity, and drive technological innovation,” the RIAA notes.

While both groups have numerous demands, it’s clear that each seeks an environment where not only infringers can be held liable, but also Internet platforms and services.

For the RIAA, there is a big focus on the so-called ‘Value Gap’, a phenomenon found on user-uploaded content sites like YouTube that are able to offer infringing content while avoiding liability due to Section 512 of the DMCA.

“Today, user-uploaded content services, which have developed sophisticated on-demand music platforms, use this as a shield to avoid licensing music on fair terms like other digital services, claiming they are not legally responsible for the music they distribute on their site,” the RIAA writes.

“Services such as Apple Music, TIDAL, Amazon, and Spotify are forced to compete with services that claim they are not liable for the music they distribute.”

But if sites like YouTube are exercising their rights while acting legally under current US law, how can partners Canada and Mexico do any better? For the RIAA, that can be achieved by holding them to standards envisioned by the group when the DMCA was passed, not how things have panned out since.

Demanding that negotiators “protect the original intent” of safe harbor, the RIAA asks that a “high-level and high-standard service provider liability provision” is pursued. This, the music group says, should only be available to “passive intermediaries without requisite knowledge of the infringement on their platforms, and inapplicable to services actively engaged in communicating to the public.”

In other words, make sure that YouTube and similar sites won’t enjoy the same level of safe harbor protection as they do today.

The RIAA also requires any negotiated safe harbor provisions in NAFTA to be flexible in the event that the DMCA is tightened up in response to the ongoing safe harbor rules study.

In any event, NAFTA should not “support interpretations that no longer reflect today’s digital economy and threaten the future of legitimate and sustainable digital trade,” the RIAA states.

For the MPAA, Section 512 is also perceived as a problem. While noting that the original intent was to foster a system of shared responsibility between copyright owners and service providers, the MPAA says courts have subsequently let copyright holders down. Like the RIAA, the MPAA also suggests that Canada and Mexico can be held to higher standards.

“We recommend a new approach to this important trade policy provision by moving to high-level language that establishes intermediary liability and appropriate limitations on liability. This would be fully consistent with U.S. law and avoid the same misinterpretations by policymakers and courts overseas,” the MPAA writes.

“In so doing, a modernized NAFTA would be consistent with Trade Promotion Authority’s negotiating objective of ‘ensuring that standards of protection and enforcement keep pace with technological developments’.”

The MPAA also has some specific problems with Mexico, including unauthorized camcording. The Hollywood group says that 85 illicit audio and video recordings of films were linked to Mexican theaters in 2016. However, recording is not currently a criminal offense in Mexico.

Another issue for the MPAA is that criminal sanctions for commercial scale infringement are only available if the infringement is for profit.

“This has hampered enforcement against the above-discussed camcording problem but also against online infringement, such as peer-to-peer piracy, that may be on a scale that is immensely harmful to U.S. rightsholders but nonetheless occur without profit by the infringer,” the MPAA writes.

“The modernized NAFTA like other U.S. bilateral free trade agreements must provide for criminal sanctions against commercial scale infringements without proof of profit motive.”

Also of interest are the MPAA’s complaints against Mexico’s telecoms laws. Unlike in the US and many countries in Europe, Mexico’s ISPs are forbidden to hand out their customers’ personal details to rights holders looking to sue. This, the MPAA says, needs to change.

The submissions from the RIAA and MPAA can be found here and here (pdf)

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Shelfchecker Smart Shelf: build a home library system

Post Syndicated from Alex Bate original https://www.raspberrypi.org/blog/smart-shelf-home-library/

Are you tired of friends borrowing your books and never returning them? Maybe you’re sure you own 1984 but can’t seem to locate it? Do you find a strange satisfaction in using the supermarket self-checkout simply because of the barcode beep? With the ShelfChecker smart shelf from maker Annelynn described on Instructables, you can be your own librarian and never misplace your books again! Beep!

Shelfchecker smart shelf annelynn Raspberry Pi

Harry Potter and the Aesthetically Pleasing Smart Shelf

The ShelfChecker smart shelf

Annelynn built her smart shelf utilising a barcode scanner, LDR light sensors, a Raspberry Pi, plus a few other peripherals and some Python scripts. She has created a fully integrated library checkout system with accompanying NeoPixel location notification for your favourite books.

This build allows you to issue your book-borrowing friends their own IDs and catalogue their usage of your treasured library. On top of that, you’ll be able to use LED NeoPixels to highlight your favourite books, registering their removal and return via light sensor tracking.

Using light sensors for book cataloguing

Once Annelynn had built the shelf, she drilled holes to fit the eight LDRs that would guard her favourite books, and separated them with corner brackets to prevent confusion.

Shelfchecker smart shelf annelynn Raspberry Pi

Corner brackets keep the books in place without confusion between their respective light sensors

Due to the limitations of the MCP3008 Adafruit microchip, the smart shelf can only keep track of eight of your favourite books. But this limitation won’t stop you from cataloguing your entire home library; it simply means you get to pick your ultimate favourites that will occupy the prime real estate on your wall.

Obviously, the light sensors sense light. So when you remove or insert a book, light floods or is blocked from that book’s sensor. The sensor sends this information to the Raspberry Pi. In response, an Arduino controls the NeoPixel strip along the ‘favourites’ shelf to indicate the book’s status.

Shelfchecker smart shelf annelynn Raspberry Pi

The book you are looking for is temporarily unavailable

Code your own library

While keeping a close eye on your favourite books, the system also allows creation of a complete library catalogue system with the help of a MySQL database. Users of the library can log into the system with a barcode scanner, and take out or return books recorded in the database guided by an LCD screen attached to the Pi.

Shelfchecker smart shelf annelynn Raspberry Pi

Beep!

I won’t go into an extensive how-to on creating MySQL databases here on the blog, because my glamourous assistant Janina has pulled up these MySQL tutorials to help you get started. Annelynn’s Github scripts are also packed with useful comments to keep you on track.

Raspberry Pi and books

We love books and libraries. And considering the growing number of Code Clubs and makespaces into libraries across the world, and the host of book-based Pi builds we’ve come across, the love seems to be mutual.

We’ve seen the Raspberry Pi introduced into the Wordery bookseller warehouse, a Pi-powered page-by-page book scanner by Jonathon Duerig, and these brilliant text-to-speech and page turner projects that use our Pis!

Did I say we love books? In fact we love them so much that members of our team have even written a few.*

If you’ve set up any sort of digital making event in a library, have in some way incorporated Raspberry Pi into your own personal book collection, or even managed to recreate the events of your favourite story using digital making, make sure to let us know in the comments below.

* Shameless plug**

Fancy adding some Pi to your home library? Check out these publications from the Raspberry Pi staff:

A Beginner’s Guide to Coding by Marc Scott

Adventures in Raspberry Pi by Carrie Anne Philbin

Getting Started with Raspberry Pi by Matt Richardson

Raspberry Pi User Guide by Eben Upton

The MagPi Magazine, Essentials Guides and Project Books

Make Your Own Game and Build Your Own Website by CoderDojo

** Shameless Pug

 

The post Shelfchecker Smart Shelf: build a home library system appeared first on Raspberry Pi.

New – Managed Device Authentication for Amazon WorkSpaces

Post Syndicated from Jeff Barr original https://aws.amazon.com/blogs/aws/new-managed-device-authentication-for-amazon-workspaces/

Amazon WorkSpaces allows you to access a virtual desktop in the cloud from the web and from a wide variety of desktop and mobile devices. This flexibility makes WorkSpaces ideal for environments where users have the ability to use their existing devices (often known as BYOD, or Bring Your Own Device). In these environments, organizations sometimes need the ability to manage the devices which can access WorkSpaces. For example, they may have to regulate access based on the client device operating system, version, or patch level in order to help meet compliance or security policy requirements.

Managed Device Authentication
Today we are launching device authentication for WorkSpaces. You can now use digital certificates to manage client access from Apple OSX and Microsoft Windows. You can also choose to allow or block access from iOS, Android, Chrome OS, web, and zero client devices. You can implement policies to control which device types you want to allow and which ones you want to block, with control all the way down to the patch level. Access policies are set for each WorkSpaces directory. After you have set the policies, requests to connect to WorkSpaces from a client device are assessed and either blocked or allowed. In order to make use of this feature, you will need to distribute certificates to your client devices using Microsoft System Center Configuration Manager or a mobile device management (MDM) tool.

Here’s how you set your access control options from the WorkSpaces Console:

Here’s what happens if a client is not authorized to connect:

 

Available Today
This feature is now available in all Regions where WorkSpaces is available.

Jeff;

 

Weekly roundup: Successful juggling

Post Syndicated from Eevee original https://eev.ee/dev/2017/06/19/weekly-roundup-successful-juggling/

Despite flipping my sleep, as I seem to end up doing every month now, I’ve had a pretty solid week. We finally got our hands on a Switch, so I just played Zelda to stay up a ridiculously long time and restore my schedule pretty quickly.

  • potluck: I started building the potluck game in LÖVE, and it’s certainly come along much faster — I have map transitions, dialogue, and a couple moving platforms working. I still don’t quite know what this game is, but I’m starting to get some ideas.

    I also launched GAMES MADE QUICK??? 1½, a game jam for making a game while watching GDQ, instead of just plain watching GDQ. I intend to spend the week working on the potluck game, though I’m not sure whether I’ll finish it then.

  • fox flux: I started planning out a more interesting overworld and doodled a couple relevant tiles. Terrain is still hard. Also some more player frames.

  • art: I finally finished a glorious new banner, which now hangs proudly above my Twitter and Patreon. I did a bedtime slate doodle. I made and animated a low-poly Yoshi. I sketched Styx based on a photo.

    I keep wishing I have time to dedicate to painting experiments, but I guess this is pretty good output.

  • veekun: Wow! I touched veekun on three separate occasions. I have basic item data actually physically dumping now, I fixed some stuff with Pokémon, and I got evolutions working. Progress! Getting there! So close!

  • blog: Per request, I wrote about digital painting software, though it was hampered slightly by the fact that most of it doesn’t run on my operating system.

I seem to be maintaining tangible momentum on multiple big projects, which is fantastic. And there’s still 40% of the month left! I’m feeling pretty good about where I’m standing; if I can get potluck and veekun done soon, that’ll be a medium and a VERY LARGE weight off my shoulders.

BPI Breaks Record After Sending 310 Million Google Takedowns

Post Syndicated from Andy original https://torrentfreak.com/bpi-breaks-record-after-sending-310-million-google-takedowns-170619/

A little over a year ago during March 2016, music industry group BPI reached an important milestone. After years of sending takedown notices to Google, the group burst through the 200 million URL barrier.

The fact that it took BPI several years to reach its 200 million milestone made the surpassing of the quarter billion milestone a few months later even more remarkable. In October 2016, the group sent its 250 millionth takedown to Google, a figure that nearly doubled when accounting for notices sent to Microsoft’s Bing.

But despite the volumes, the battle hadn’t been won, let alone the war. The BPI’s takedown machine continued to run at a remarkable rate, churning out millions more notices per week.

As a result, yet another new milestone was reached this month when the BPI smashed through the 300 million URL barrier. Then, days later, a further 10 million were added, with the latter couple of million added during the time it took to put this piece together.

BPI takedown notices, as reported by Google

While demanding that Google places greater emphasis on its de-ranking of ‘pirate’ sites, the BPI has called again and again for a “notice and stay down” regime, to ensure that content taken down by the search engine doesn’t simply reappear under a new URL. It’s a position BPI maintains today.

“The battle would be a whole lot easier if intermediaries played fair,” a BPI spokesperson informs TF.

“They need to take more proactive responsibility to reduce infringing content that appears on their platform, and, where we expressly notify infringing content to them, to ensure that they do not only take it down, but also keep it down.”

The long-standing suggestion is that the volume of takedown notices sent would reduce if a “take down, stay down” regime was implemented. The BPI says it’s difficult to present a precise figure but infringing content has a tendency to reappear, both in search engines and on hosting sites.

“Google rejects repeat notices for the same URL. But illegal content reappears as it is re-indexed by Google. As to the sites that actually host the content, the vast majority of notices sent to them could be avoided if they implemented take-down & stay-down,” BPI says.

The fact that the BPI has added 60 million more takedowns since the quarter billion milestone a few months ago is quite remarkable, particularly since there appears to be little slowdown from month to month. However, the numbers have grown so huge that 310 billion now feels a lot like 250 million, with just a few added on top for good measure.

That an extra 60 million takedowns can almost be dismissed as a handful is an indication of just how massive the issue is online. While pirates always welcome an abundance of links to juicy content, it’s no surprise that groups like the BPI are seeking more comprehensive and sustainable solutions.

Previously, it was hoped that the Digital Economy Bill would provide some relief, hopefully via government intervention and the imposition of a search engine Code of Practice. In the event, however, all pressure on search engines was removed from the legislation after a separate voluntary agreement was reached.

All parties agreed that the voluntary code should come into effect two weeks ago on June 1 so it seems likely that some effects should be noticeable in the near future. But the BPI says it’s still early days and there’s more work to be done.

“BPI has been working productively with search engines since the voluntary code was agreed to understand how search engines approach the problem, but also what changes can and have been made and how results can be improved,” the group explains.

“The first stage is to benchmark where we are and to assess the impact of the changes search engines have made so far. This will hopefully be completed soon, then we will have better information of the current picture and from that we hope to work together to continue to improve search for rights owners and consumers.”

With more takedown notices in the pipeline not yet publicly reported by Google, the BPI informs TF that it has now notified the search giant of 315 million links to illegal content.

“That’s an astonishing number. More than 1 in 10 of the entire world’s notices to Google come from BPI. This year alone, one in every three notices sent to Google from BPI is for independent record label repertoire,” BPI concludes.

While it’s clear that groups like BPI have developed systems to cope with the huge numbers of takedown notices required in today’s environment, it’s clear that few rightsholders are happy with the status quo. With that in mind, the fight will continue, until search engines are forced into compromise. Considering the implications, that could only appear on a very distant horizon.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

“Kodi Boxes Are a Fire Risk”: Awful Timing or Opportunism?

Post Syndicated from Andy original https://torrentfreak.com/kodi-boxes-are-a-fire-risk-awful-timing-or-opportunism-170618/

Anyone who saw the pictures this week couldn’t have failed to be moved by the plight of Londoners caught up in the Grenfell Tower inferno. The apocalyptic images are likely to stay with people for years to come and the scars for those involved may never heal.

As the building continued to smolder and the death toll increased, UK tabloids provided wall-to-wall coverage of the disaster. On Thursday, however, The Sun took a short break to put out yet another sensationalized story about Kodi. Given the week’s events, it was bound to raise eyebrows.

“HOT GOODS: Kodi boxes are a fire hazard because thousands of IPTV devices nabbed by customs ‘failed UK electrical standards’,” the headline reads.

Another sensational ‘Kodi’ headline

“It’s estimated that thousands of Brits have bought so-called Kodi boxes which can be connected to telly sets to stream pay-per-view sport and films for free,” the piece continued.

“But they could be a fire hazard, according to the Federation Against Copyright Theft (FACT), which has been nabbing huge deliveries of the devices as they arrive in the UK.”

As the image below shows, “Kodi box” fire hazard claims appeared next to images from other news articles about the huge London fire. While all separate stories, the pairing is not a great look.

A ‘Kodi Box’, as depicted in The Sun

FACT chief executive Kieron Sharp told The Sun that his group had uncovered two parcels of 2,000 ‘Kodi’ boxes and found that they “failed electrical safety standards”, making them potentially dangerous. While that may well be the case, the big question is all about timing.

It’s FACT’s job to reduce copyright infringement on behalf of clients such as The Premier League so it’s no surprise that they’re making a sustained effort to deter the public from buying these devices. That being said, it can’t have escaped FACT or The Sun that fire and death are extremely sensitive topics this week.

That leaves us with a few options including unfortunate opportunism or perhaps terrible timing, but let’s give the benefit of the doubt for a moment.

There’s a good argument that FACT and The Sun brought a valid issue to the public’s attention at a time when fire safety is on everyone’s lips. So, to give credit where it’s due, providing people with a heads-up about potentially dangerous devices is something that most people would welcome.

However, it’s difficult to offer congratulations on the PSA when the story as it appears in The Sun does nothing – absolutely nothing – to help people stay safe.

If some boxes are a risk (and that’s certainly likely given the level of Far East imports coming into the UK) which ones are dangerous? Where were they manufactured? Who sold them? What are the serial numbers? Which devices do people need to get out of their houses?

Sadly, none of these questions were answered or even addressed in the article, making it little more than scaremongering. Only making matters worse, the piece notes that it isn’t even clear how many of the seized devices are indeed a fire risk and that more tests need to be done. Is this how we should tackle such an important issue during an extremely sensitive week?

Timing and lack of useful information aside, one then has to question the terminology employed in the article.

As a piece of computer software, Kodi cannot catch fire. So, what we’re actually talking about here is small computers coming into the country without passing safety checks. The presence of Kodi on the devices – if indeed Kodi was even installed pre-import – is absolutely irrelevant.

Anti-piracy groups warning people of the dangers associated with their piracy habits is nothing new. For years, Internet users have been told that their computers will become malware infested if they share files or stream infringing content. While in some cases that may be true, there’s rarely any effort by those delivering the warnings to inform people on how to stay safe.

A classic example can be found in the numerous reports put out by the Digital Citizens Alliance in the United States. The DCA has produced several and no doubt expensive reports which claim to highlight the risks Internet users are exposed to on ‘pirate’ sites.

The DCA claims to do this in the interests of consumers but the group offers no practical advice on staying safe nor does it provide consumers with risk reduction strategies. Like many high-level ‘drug prevention’ documents shuffled around government, it could be argued that on a ‘street’ level their reports are next to useless.

Demonizing piracy is a well-worn and well-understood strategy but if warnings are to be interpreted as representing genuine concern for the welfare of people, they have to be a lot more substantial than mere scaremongering.

Anyone concerned about potentially dangerous devices can check out these useful guides from Electrical Safety First (pdf) and the Electrical Safety Council (pdf)

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Digital painter rundown

Post Syndicated from Eevee original https://eev.ee/blog/2017/06/17/digital-painter-rundown/

Another patron post! IndustrialRobot asks:

You should totally write about drawing/image manipulation programs! (Inspired by https://eev.ee/blog/2015/05/31/text-editor-rundown/)

This is a little trickier than a text editor comparison — while most text editors are cross-platform, quite a few digital art programs are not. So I’m effectively unable to even try a decent chunk of the offerings. I’m also still a relatively new artist, and image editors are much harder to briefly compare than text editors…

Right, now that your expectations have been suitably lowered:

Krita

I do all of my digital art in Krita. It’s pretty alright.

Okay so Krita grew out of Calligra, which used to be KOffice, which was an office suite designed for KDE (a Linux desktop environment). I bring this up because KDE has a certain… reputation. With KDE, there are at least three completely different ways to do anything, each of those ways has ludicrous amounts of customization and settings, and somehow it still can’t do what you want.

Krita inherits this aesthetic by attempting to do literally everything. It has 17 different brush engines, more than 70 layer blending modes, seven color picker dockers, and an ungodly number of colorspaces. It’s clearly intended primarily for drawing, but it also supports animation and vector layers and a pretty decent spread of raster editing tools. I just right now discovered that it has Photoshop-like “layer styles” (e.g. drop shadow), after a year and a half of using it.

In fairness, Krita manages all of this stuff well enough, and (apparently!) it manages to stay out of your way if you’re not using it. In less fairness, they managed to break erasing with a Wacom tablet pen for three months?

I don’t want to rag on it too hard; it’s an impressive piece of work, and I enjoy using it! The emotion it evokes isn’t so much frustration as… mystified bewilderment.

I once filed a ticket suggesting the addition of a brush size palette — a panel showing a grid of fixed brush sizes that makes it easy to switch between known sizes with a tablet pen (and increases the chances that you’ll be able to get a brush back to the right size again). It’s a prominent feature of Paint Tool SAI and Clip Studio Paint, and while I’ve never used either of those myself, I’ve seen a good few artists swear by it.

The developer response was that I could emulate the behavior by creating brush presets. But that’s flat-out wrong: getting the same effect would require creating a ton of brush presets for every brush I have, plus giving them all distinct icons so the size is obvious at a glance. Even then, it would be much more tedious to use and fill my presets with junk.

And that sort of response is what’s so mysterious to me. I’ve never even been able to use this feature myself, but a year of amateur painting with Krita has convinced me that it would be pretty useful. But a developer didn’t see the use and suggested an incredibly tedious alternative that only half-solves the problem and creates new ones. Meanwhile, of the 28 existing dockable panels, a quarter of them are different ways to choose colors.

What is Krita trying to be, then? What does Krita think it is? Who precisely is the target audience? I have no idea.


Anyway, I enjoy drawing in Krita well enough. It ships with a respectable set of brushes, and there are plenty more floating around. It has canvas rotation, canvas mirroring, perspective guide tools, and other art goodies. It doesn’t colordrop on right click by default, which is arguably a grave sin (it shows a customizable radial menu instead), but that’s easy to rebind. It understands having a background color beneath a bottom transparent layer, which is very nice. You can also toggle any brush between painting and erasing with the press of a button, and that turns out to be very useful.

It doesn’t support infinite canvases, though it does offer a one-click button to extend the canvas in a given direction. I’ve never used it (and didn’t even know what it did until just now), but would totally use an infinite canvas.

I haven’t used the animation support too much, but it’s pretty nice to have. Granted, the only other animation software I’ve used is Aseprite, so I don’t have many points of reference here. It’s a relatively new addition, too, so I assume it’ll improve over time.

The one annoyance I remember with animation was really an interaction with a larger annoyance, which is: working with selections kind of sucks. You can’t drag a selection around with the selection tool; you have to switch to the move tool. That would be fine if you could at least drag the selection ring around with the selection tool, but you can’t do that either; dragging just creates a new selection.

If you want to copy a selection, you have to explicitly copy it to the clipboard and paste it, which creates a new layer. Ctrl-drag with the move tool doesn’t work. So then you have to merge that layer down, which I think is where the problem with animation comes in: a new layer is non-animated by default, meaning it effectively appears in any frame, so simply merging it down with merge it onto every single frame of the layer below. And you won’t even notice until you switch frames or play back the animation. Not ideal.

This is another thing that makes me wonder about Krita’s sense of identity. It has a lot of fancy general-purpose raster editing features that even GIMP is still struggling to implement, like high color depth support and non-destructive filters, yet something as basic as working with selections is clumsy. (In fairness, GIMP is a bit clumsy here too, but it has a consistent notion of “floating selection” that’s easy enough to work with.)

I don’t know how well Krita would work as a general-purpose raster editor; I’ve never tried to use it that way. I can’t think of anything obvious that’s missing. The only real gotcha is that some things you might expect to be tools, like smudge or clone, are just types of brush in Krita.

GIMP

Ah, GIMP — open source’s answer to Photoshop.

It’s very obviously intended for raster editing, and I’m pretty familiar with it after half a lifetime of only using Linux. I even wrote a little Scheme script for it ages ago to automate some simple edits to a couple hundred files, back before I was aware of ImageMagick. I don’t know what to say about it, specifically; it’s fairly powerful and does a wide variety of things.

In fact I’d say it’s almost frustratingly intended for raster editing. I used GIMP in my first attempts at digital painting, before I’d heard of Krita. It was okay, but so much of it felt clunky and awkward. Painting is split between a pencil tool, a paintbrush tool, and an airbrush tool; I don’t really know why. The default brushes are largely uninteresting. Instead of brush presets, there are tool presets that can be saved for any tool; it’s a neat idea, but doesn’t feel like a real substitute for brush presets.

Much of the same functionality as Krita is there, but it’s all somehow more clunky. I’m sure it’s possible to fiddle with the interface to get something friendlier for painting, but I never really figured out how.

And then there’s the surprising stuff that’s missing. There’s no canvas rotation, for example. There’s only one type of brush, and it just stamps the same pattern along a path. I don’t think it’s possible to smear or blend or pick up color while painting. The only way to change the brush size is via the very sensitive slider on the tool options panel, which I remember being a little annoying with a tablet pen. Also, you have to specifically enable tablet support? It’s not difficult or anything, but I have no idea why the default is to ignore tablet pressure and treat it like a regular mouse cursor.

As I mentioned above, there’s also no support for high color depth or non-destructive editing, which is honestly a little embarrassing. Those are the major things Serious Professionals™ have been asking for for ages, and GIMP has been trying to provide them, but it’s taking a very long time. The first signs of GEGL, a new library intended to provide these features, appeared in GIMP 2.6… in 2008. The last major release was in 2012. GIMP has been working on this new plumbing for almost as long as Krita’s entire development history. (To be fair, Krita has also raised almost €90,000 from three Kickstarters to fund its development; I don’t know that GIMP is funded at all.)

I don’t know what’s up with GIMP nowadays. It’s still under active development, but the exact status and roadmap are a little unclear. I still use it for some general-purpose editing, but I don’t see any reason to use it to draw.

I do know that canvas rotation will be in the next release, and there was some experimentation with embedding MyPaint’s brush engine (though when I tried it it was basically unusable), so maybe GIMP is interested in wooing artists? I guess we’ll see.

MyPaint

Ah, MyPaint. I gave it a try once. Once.

It’s a shame, really. It sounds pretty great: specifically built for drawing, has very powerful brushes, supports an infinite canvas, supports canvas rotation, has a simple UI that gets out of your way. Perfect.

Or so it seems. But in MyPaint’s eagerness to shed unnecessary raster editing tools, it forgot a few of the more useful ones. Like selections.

MyPaint has no notion of a selection, nor of copy/paste. If you want to move a head to align better to a body, for example, the sanctioned approach is to duplicate the layer, erase the head from the old layer, erase everything but the head from the new layer, then move the new layer.

I can’t find anything that resembles HSL adjustment, either. I guess the workaround for that is to create H/S/L layers and floodfill them with different colors until you get what you want.

I can’t work seriously without these basic editing tools. I could see myself doodling in MyPaint, but Krita works just as well for doodling as for serious painting, so I’ve never gone back to it.

Drawpile

Drawpile is the modern equivalent to OpenCanvas, I suppose? It lets multiple people draw on the same canvas simultaneously. (I would not recommend it as a general-purpose raster editor.)

It’s a little clunky in places — I sometimes have bugs where keyboard focus gets stuck in the chat, or my tablet cursor becomes invisible — but the collaborative part works surprisingly well. It’s not a brush powerhouse or anything, and I don’t think it allows textured brushes, but it supports tablet pressure and canvas rotation and locked alpha and selections and whatnot.

I’ve used it a couple times, and it’s worked well enough that… well, other people made pretty decent drawings with it? I’m not sure I’ve managed yet. And I wouldn’t use it single-player. Still, it’s fun.

Aseprite

Aseprite is for pixel art so it doesn’t really belong here at all. But it’s very good at that and I like it a lot.

That’s all

I can’t name any other serious contender that exists for Linux.

I’m dimly aware of a thing called “Photo Shop” that’s more intended for photos but functions as a passable painter. More artists seem to swear by Paint Tool SAI and Clip Studio Paint. Also there’s Paint.NET, but I have no idea how well it’s actually suited for painting.

And that’s it! That’s all I’ve got. Krita for drawing, GIMP for editing, Drawpile for collaborative doodling.

BackMap, the haptic navigation system

Post Syndicated from Janina Ander original https://www.raspberrypi.org/blog/backmap-haptic/

At this year’s TechCrunch Disrupt NY hackathon, one team presented BackMap, a haptic feedback system which helps visually impaired people to navigate cities and venues. It is assisted by a Raspberry Pi and integrated into a backpack.

Good vibrations with BackMap

The team, including Shashank Sharma, wrote an iOS phone app in Swift, Apple’s open-source programming language. To convert between addresses and geolocations, they used the Esri APIs offered by PubNub. So far, so standard. However, they then configured their BackMap setup so that the user can input their destination via the app, and then follow the route without having to look at a screen or listen to directions. Instead, vibrating motors have been integrated into the straps of a backpack and hooked up to a Raspberry Pi. Whenever the user needs to turn left or right, the Pi makes the respective motor vibrate.

Disrupt NY 2017 Hackathon | Part 1

Disrupt NY 2017 Hackathon presentations filmed live on May 15th, 2017. Preceding the Disrupt Conference is Hackathon weekend on May 13-14, where developers and engineers descend from all over the world to take part in a 24-hour hacking endurance test.

BackMap can also be adapted for indoor navigation by receiving signals from beacons. This could be used to direct users to toilet facilities or exhibition booths at conferences. The team hopes to upgrade the BackMap device to use a wristband format in the future.

Accessible Pi

Here at Pi Towers, we are always glad to see Pi builds for people with disabilities: we’ve seen Sanskriti and Aman’s Braille teacher Mudra, the audio e-reader Valdema by Finnish non-profit Kolibre, and Myrijam and Paul’s award-winning, eye-movement-controlled wheelchair, to name but a few.

Our mission is to bring the power of coding and digital making to everyone, and we are lucky to be part of a diverse community of makers and educators who have often worked proactively to make events and resources accessible to as many people as possible. There is, for example, the autism- and Tourette’s syndrome-friendly South London Raspberry Jam, organised by Femi Owolade-Coombes and his mum Grace. The Raspberry VI website is a portal to all things Pi for visually impaired and blind people. Deaf digital makers may find Jim Roberts’ video tutorials, which are signed in ASL, useful. And anyone can contribute subtitles in any language to our YouTube channel.

If you create or use accessible tutorials, or run a Jam, Code Club, or CoderDojo that is designed to be friendly to people who are neuroatypical or have a disability, let us know how to find your resource or event in the comments!

The post BackMap, the haptic navigation system appeared first on Raspberry Pi.

Съд на ЕС: за достъпа до The Pirate Bay

Post Syndicated from nellyo original https://nellyo.wordpress.com/2017/06/15/the-pirate-bay-5/

Вчера беше публикувано решението на Съда на ЕС по дело C‑610/15 Stichting Brein срещу Ziggo BV и XS4ALL Internet BV.

Решението засяга функционирането и достъпа до The Pirate Bay.

Спорът

9 Ziggo и XS4ALL са доставчици на достъп до интернет. Значителна част от техните абонати ползват платформата за онлайн споделяне TPB, индексатор на BitTorrent файлове. BitTorrent е протокол, чрез който потребителите (наричани „равноправни устройства“ или „peers“) могат да споделят файлове. Съществената характеристика на BitTorrent се състои в това, че файловете, които се споделят, са разделени на малки сегменти, като по този начин отпада необходимостта от централен сървър за съхраняване на тези файлове, което облекчава тежестта на индивидуалните сървъри в процеса на споделянето. За да могат да споделят файлове, потребителите трябва най-напред да свалят специален софтуер, наречен „BitTorrent клиент“, който не се предлага от платформата за онлайн споделяне TPB. Този BitTorrent клиент представлява софтуер, който позволява създаването на торент файлове.

10      Потребителите (наричани „seeders“ [сийдъри]), които желаят да предоставят файл от своя компютър на разположение на други потребители (наричани „leechers“ [лийчъри]), трябва да създадат торент файл чрез своя BitTorrent клиент. Торент файловете препращат към централен сървър (наричан „tracker“ [тракер]), който идентифицира потребители, които могат да споделят конкретен торент файл, както и прилежащия към него медиен файл. Тези торент файлове се качват (upload) от сийдърите (на платформа за онлайн споделяне, каквато е TPB, която след това ги индексира, за да могат те да бъдат намирани от потребителите на платформата за онлайн споделяне и произведенията, към които тези торент файлове препращат, да могат да бъдат сваляни (download) на компютрите на последните на отделни сегменти чрез техния BitTorrent клиент.

11      Често пъти вместо торенти се използват магнитни линкове. Тези линкове идентифицират съдържанието на торента и препращат към него чрез цифров отпечатък.

12      Голямото мнозинство от предлаганите на платформата за онлайн споделяне TPB торент файлове препращат към произведения, които са обект на закрила от авторски права, без да е дадено разрешение от носителите на авторското право на администраторите и на потребителите на тази платформа за извършване на действията по споделянето.

13      Главното искане на Stichting Brein в производството пред националната юрисдикция е да разпореди на Ziggo и на XS4ALL да блокират имената на домейни и интернет адресите на платформата за онлайн споделяне TPB с цел да се предотврати възможността за ползване на услугите на тези доставчици на достъп до интернет за нарушаване на авторското и сродните му права на носителите на правата, чиито интереси защитава Stichting Brein.

Въпросите

 При тези обстоятелства Hoge Raad der Nederlanden (Върховен съд на Нидерландия) решава да спре производството по делото и да постави на Съда следните преюдициални въпроси:

„1)      Налице ли е публично разгласяване по смисъла на член 3, параграф 1 от Директива 2001/29 от страна на администратора на уебсайт, ако на този уебсайт не са налице защитени произведения, но съществува система […], с която намиращи се в компютрите на потребителите метаданни за защитени произведения се индексират и категоризират за потребителите по начин, по който последните могат да проследяват, да качват онлайн, както и да свалят закриляните произведения?

2)      При отрицателен отговор на първия въпрос:

Дават ли член 8, параграф 3 от Директива 2001/29 и член 11 от Директива 2004/48 основание за издаването на забрана по отношение на посредник по смисъла на тези разпоредби, който по описания във въпрос 1 начин улеснява извършването на нарушения от трети лица?“.

Вече имаме заключението на Генералния адвокат Szpunar, според което

обстоятелството, че операторът на уебсайт индексира файлове, съдържащи закриляни с авторско право произведения, които се предлагат за споделяне в peer-to-peer мрежа, и предоставя търсачка, с което позволява тези файлове да бъдат намирани, представлява публично разгласяване по смисъла на член 3, параграф 1 от Директива 2001/29, когато операторът знае, че дадено произведение е предоставено на разположение в мрежата без съгласието на носителите на авторските права, но не предприема действия за блокиране на достъпа до това произведение.

Решението

Понятието „публично разгласяване“ обединява два кумулативни елемента, а именно „акт на разгласяване“ на произведение и „публичност“ на разгласяването (решение от 26 април 2017 г., Stichting Brein, C‑527/15, EU:C:2017:300, т. 29 и цитираната съдебна практика). За да се прецени дали даден ползвател извършва акт на публично разгласяване по смисъла на член 3, параграф 1 от Директива 2001/29, трябва да се отчетат няколко допълнителни критерия, които не са самостоятелни и са взаимозависими.

  • ключовата роля на потребителя и съзнателния характер на неговата намеса. Всъщност този потребител извършва акт на разгласяване, когато, като съзнава напълно последиците от своето поведение, се намесва, за да предостави на клиентите си достъп до произведение, което е обект на закрила, и по-специално когато без неговата намеса тези клиенти по принцип не биха могли да се ползват от разпространеното произведение. (вж. в този смисъл решение от 26 април 2017 г., Stichting Brein, C‑527/15, EU:C:2017:300, т. 31 и цитираната съдебна практика).
  • понятието „публично“ се отнася до неопределен брой потенциални адресати и освен това предполага наличие на доста голям брой лица (решение от 26 април 2017 г., Stichting Brein, C‑527/15, EU:C:2017:300, т. 32 и цитираната съдебна практика).
  • закриляното произведение трябва да бъде разгласено, като се използва специфичен технически способ, различен от използваните дотогава, или, ако не е използван такъв способ — пред „нова публика“, тоест публика, която не е била вече взета предвид от носителите на авторското право при даването на разрешение за първоначалното публично разгласяване на произведението им (решение от 26 април 2017 г., Stichting Brein, C‑527/15, EU:C:2017:300, т. 33 и цитираната съдебна практика).
  • дали публичното разгласяване  е извършено с цел печалба (решение от 26 април 2017 г., Stichting Brein, C‑527/15, EU:C:2017:300, т. 34 и цитираната съдебна практика).

42 В случая, видно от акта за преюдициално запитване, значителна част от абонатите на Ziggo и XS4ALL са сваляли медийни файлове чрез платформата за онлайн споделяне TPB. Както следва и от представените пред Съда становища, тази платформа се използва от значителен брой лица, като администраторите от TPB съобщават на своята платформа за онлайн споделяне за десетки милиони „потребители“. В това отношение разглежданото в главното производство разгласяване се отнася най-малкото до всички потребители на тази платформа. Тези потребители могат да имат достъп във всеки момент и едновременно до защитените произведения, които са споделени посредством посочената платформа. Следователно това разгласяване се отнася до неопределен брой потенциални адресати и предполага наличие на голям брой лица (вж. в този смисъл решение от 26 април 2017 г., Stichting Brein, C‑527/15, EU:C:2017:300, т. 45 и цитираната съдебна практика).

43      От това следва, че с разгласяване като разглежданото в главното производство закриляни произведения действително се разгласяват „публично“ по смисъла на член 3, параграф 1 от Директива 2001/29.

44      Освен това, що се отнася до въпроса дали тези произведения са разгласяват на „нова“ публика по смисъла на съдебната практика, цитирана в точка 28 от настоящото съдебно решение, следва да се посочи, че в решението си от 13 февруари 2014 г., Svensson и др. (C‑466/12, EU:C:2014:76, т. 24 и 31), както и в определението си от 21 октомври 2014 г., BestWater International (C‑348/13, EU:C:2014:2315, т. 14) Съдът е приел, че това е публика, която носителите на авторските права не са имали предвид, когато са дали разрешение за първоначалното разгласяване.

45      В случая, видно от становищата, представени пред Съда, от една страна, администраторите на платформата за онлайн споделяне TPB са знаели, че тази платформа, която предоставят на разположение на потребителите и която администрират, дава достъп до произведения, публикувани без разрешение на носителите на правата, и от друга страна, че същите администратори изразяват изрично в блоговете и форумите на тази платформа своята цел да предоставят закриляните произведения на разположение на потребителите и поощряват последните да реализират копия от тези произведения. Във всички случаи, видно от акта за преюдициално запитване, администраторите на онлайн платформата TPB не може да не са знаели, че тази платформа дава достъп до произведения, публикувани без разрешението на носителите на правата, с оглед на обстоятелството, което се подчертава изрично от запитващата юрисдикция, че голяма част от торент файловете, които се намират на платформата за онлайн споделяне TPB, препращат към произведения, публикувани без разрешението на носителите на правата. При тези обстоятелства следва да се приеме, че е налице разгласяване пред „нова публика“ (вж. в този смисъл решение от 26 април 2017 г., Stichting Brein, C‑527/15, EU:C:2017:300, т. 50).

46      От друга страна, не може да се оспори, че предоставянето на разположение и администрирането на платформа за онлайн споделяне като разглежданата в главното производство се извършва с цел да се извлече печалба, тъй като тази платформа генерира, видно от становищата, представени пред Съда, значителни приходи от реклама.

47      Вследствие на това трябва да се приеме, че предоставянето на разположение и администрирането на платформа за онлайн споделяне като разглежданата в главното производство, съставлява „публично разгласяване“ по смисъла на член 3, параграф 1 от Директива 2001/29.

48      С оглед на всички изложени съображения на първия въпрос следва да се отговори, че понятието „публично разгласяване“  трябва да се тълкува в смисъл, че  в неговия обхват попада предоставянето на разположение и администрирането в интернет на платформа за споделяне, която чрез индексиране на метаданните относно закриляните произведения и с предлагането на търсачка позволява на потребителите на платформата да намират тези произведения и да ги споделят в рамките на мрежа с равноправен достъп (peer-to-peer).

Масовите коментари са, че решението засилва позициите на търсещите блокиране организации.

Filed under: Digital, EU Law, Media Law Tagged: съд на ес

Президент: лично и публично в социалните мрежи

Post Syndicated from nellyo original https://nellyo.wordpress.com/2017/06/15/twitter-11/

Президентът на САЩ е особено активен в социалната мрежа Twitter.

Тръмп не само говори, той и блокира достъпа – възможността да отговарят, критикуват, обсъждат – на опоненти и другомислещи.

Тези два факта са в основата на дебатите дали в Twitter  президентът говори частно или официално и, съответно, блокирането не е ли цензура в противоречие с правата по Първата поправка.

За правната природа на съобщенията на президента в Twitter вече има и произнасяне на съда (9th U.S. Circuit Court of Appeals). В този смисъл е и отвореното писмо на Knight Institute, което заслужава отбелязване.

Наистина Тръмп – макар много да гледа телевизия – говори не през класическите медии, а главно през личния си профил в Twitter. Това дава основание да се твърди, че на сериозни твърдения, представляващи обществен интерес, гражданите трябва да могат да реагират, следователно профилът на президента – комуникиращ главно чрез Twitter – се превръща във форум за обществени дебати. В такъв контекст  и с позоваване на Франклин се твърди, че

президентът не може да изключи определени хора от такъв обществен форум само заради изразяване на противоречиви възгледи или критики, които не му харесват. […] Всъщност  свободата да се критикува  е точно причината, поради която Първата поправка съществува  […]

Стивън Кинг e между известните американци, които съобщават, че са блокирани от президента в Twitter

//platform.twitter.com/widgets.js

Filed under: Digital, Media Law, US Law

AWS GovCloud (US) Heads East – New Region in the Works for 2018

Post Syndicated from Jeff Barr original https://aws.amazon.com/blogs/aws/aws-govcloud-us-heads-east-new-region-in-the-works-for-2018/

AWS GovCloud (US) gives AWS customers a place to host sensitive data and regulated workloads in the AWS Cloud. The first AWS GovCloud (US) Region was launched in 2011 and is located on the west coast of the US.

I’m happy to announce that we are working on a second Region that we expect to open in 2018. The upcoming AWS GovCloud (US-East) Region will provide customers with added redundancy, data durability, and resiliency, and will also provide additional options for disaster recovery.

Like the existing region, which we now call AWS GovCloud (US-West), the new region will be isolated and meet top US government compliance requirements including International Traffic in Arms Regulations (ITAR), NIST standards, Federal Risk and Authorization Management Program (FedRAMP) Moderate and High, Department of Defense Impact Levels 2-4, DFARs, IRS1075, and Criminal Justice Information Services (CJIS) requirements. Visit the GovCloud (US) page to learn more about the compliance regimes that we support.

Government agencies and the IT contactors that serve them were early adopters of AWS GovCloud (US), as were companies in regulated industries. These organizations are able to enjoy the flexibility and cost-effectiveness of public cloud while benefiting from the isolation and data protection offered by a region designed and built to meet their regulatory needs and to help them to meet their compliance requirements. Here’s a small sample from our customer base:

Federal (US) GovernmentDepartment of Veterans Affairs, General Services Administration 18F (Digital Services Delivery), NASA JPL, Defense Digital Service, United States Air Force, United States Department of Justice.

Regulated IndustriesCSRA, Talen Energy, Cobham Electronics.

SaaS and Solution ProvidersFIGmd, Blackboard, Splunk, GitHub, Motorola.

Federal, state, and local agencies that want to move their existing applications to the AWS Cloud can take advantage of the AWS Cloud Adoption Framework (CAF) offered by AWS Professional Services.

Jeff;

 

 

Encased in amber: meet the epoxy-embedded Pi

Post Syndicated from Janina Ander original https://www.raspberrypi.org/blog/epoxy-pi-resin-io/

The maker of one of our favourite projects from this year’s Maker Faire Bay Area took the idea of an ’embedded device’ and ran with it: Ronald McCollam has created a wireless, completely epoxy-encased Pi build – screen included!

Resin.io in resin epoxy-encased Raspberry Pi

*cue epic music theme* “Welcome…to resin in resin.”

Just encase…

Of course, this build is not meant to be a museum piece: Ronald embedded a Raspberry Pi 3 with built-in wireless LAN and Bluetooth to create a hands-on demonstration of the resin.io platform, for which he is a Solution Architect. Resin.io is useful for remotely controlling groups of Linux-based IoT devices. In this case, Ronald used it to connect to the encased Pi. And yes, he named his make Resin-in-resin – we salute you, sir!

resin.io in resin epoxy-encased Raspberry Pi

“Life uh…finds a way.”

Before he started the practical part of his project, he did his research to find a suitable resin. He found that epoxy types specifically designed for encasing electronics are very expensive. In the end, Ronald tried out a cheap type, usually employed to coat furniture, by encasing an LED. It worked perfectly, and he went ahead to use this resin for embedding the Pi.

Bubbleshooting epoxy

This was the first time Ronald had worked with resin, so he learned some essential things about casting. He advises other makers to mix the epoxy very, very slowly to minimize the formation of bubbles; to try their hands on some small-scale casting attempts first; and to make sure they’re using a large enough mold for casting. Another thing to keep in mind is that some components of the make will heat up and expand while the device is running.

His first version of an encased Pi was still connected to the outside world by its USB cable:

Ronald McCollam on Twitter

Updates don’t get more “hands off” than a Raspberry Pi encased in epoxy — @resin_io inside resin! Come ask me about it at @DockerCon!

Not satisfied with this, he went on to incorporate an inductive charging coil as a power source, so that the Pi could be totally insulated in epoxy. The Raspberry Pi Foundation’s Matt Richardson got a look the finished project at Maker Faire Bay Area:

MattRichardson🏳️‍🌈 on Twitter

If you’re at @makerfaire, you must check out what @resin_io is showing. A @Raspberry_Pi completely enclosed in resin. Completely wireless. https://t.co/djVjoLz3hI

MAGNETS!

The charging coil delivers enough power to keep the Pi running for several hours, but it doesn’t allow secure booting. After some head-scratching, Ronald came up with a cool solution to this problem: he added a battery and a magnetic reed switch. He explains:

[The] boot process is to use the magnetic switch to turn off the Pi, put it on the charger for a few minutes to allow the battery to charge up, then remove the magnet so the Pi boots.

Pi in resin controlled by resin.io

“God help us, we’re in the hands of engineers.”

He talks about his build on the resin.io blog, and has provided a detailed project log on Hackaday. For those of you who want to recreate this project at home, Ronald has even put together an Adafruit wishlist of the necessary components.

Does this resin-ate with you?

What’s especially great about Ronald’s posts is that they’re full of helpful tips about getting started with using epoxy resin in your digital making projects. So whether you’re keen to build your own wireless Pi, or just generally interested in embedding electronic components in resin, you’ll find his write-ups useful.

If you have experience in working with epoxy and electronic devices and want to share what you’ve learned, please do so in the comments!

The post Encased in amber: meet the epoxy-embedded Pi appeared first on Raspberry Pi.

ЕС: културни и творчески индустрии

Post Syndicated from nellyo original https://nellyo.wordpress.com/2017/06/09/cci/

Ново изследване за културните и творчески индустриии в ЕС.

В частност разглежда се и как те са повлияни от процесите на цифровизация – подзаглавието е Икономика на културата в цифровото време.

Filed under: Digital, EU Law

Secure API Access with Amazon Cognito Federated Identities, Amazon Cognito User Pools, and Amazon API Gateway

Post Syndicated from Ed Lima original https://aws.amazon.com/blogs/compute/secure-api-access-with-amazon-cognito-federated-identities-amazon-cognito-user-pools-and-amazon-api-gateway/

Ed Lima, Solutions Architect

 

Our identities are what define us as human beings. Philosophical discussions aside, it also applies to our day-to-day lives. For instance, I need my work badge to get access to my office building or my passport to travel overseas. My identity in this case is attached to my work badge or passport. As part of the system that checks my access, these documents or objects help define whether I have access to get into the office building or travel internationally.

This exact same concept can also be applied to cloud applications and APIs. To provide secure access to your application users, you define who can access the application resources and what kind of access can be granted. Access is based on identity controls that can confirm authentication (AuthN) and authorization (AuthZ), which are different concepts. According to Wikipedia:

 

The process of authorization is distinct from that of authentication. Whereas authentication is the process of verifying that “you are who you say you are,” authorization is the process of verifying that “you are permitted to do what you are trying to do.” This does not mean authorization presupposes authentication; an anonymous agent could be authorized to a limited action set.

Amazon Cognito allows building, securing, and scaling a solution to handle user management and authentication, and to sync across platforms and devices. In this post, I discuss the different ways that you can use Amazon Cognito to authenticate API calls to Amazon API Gateway and secure access to your own API resources.

 

Amazon Cognito Concepts

 

It’s important to understand that Amazon Cognito provides three different services:

Today, I discuss the use of the first two. One service doesn’t need the other to work; however, they can be configured to work together.
 

Amazon Cognito Federated Identities

 
To use Amazon Cognito Federated Identities in your application, create an identity pool. An identity pool is a store of user data specific to your account. It can be configured to require an identity provider (IdP) for user authentication, after you enter details such as app IDs or keys related to that specific provider.

After the user is validated, the provider sends an identity token to Amazon Cognito Federated Identities. In turn, Amazon Cognito Federated Identities contacts the AWS Security Token Service (AWS STS) to retrieve temporary AWS credentials based on a configured, authenticated IAM role linked to the identity pool. The role has appropriate IAM policies attached to it and uses these policies to provide access to other AWS services.

Amazon Cognito Federated Identities currently supports the IdPs listed in the following graphic.

 



Continue reading Secure API Access with Amazon Cognito Federated Identities, Amazon Cognito User Pools, and Amazon API Gateway

Tweetponic lavender: nourishing nature with the Twitter API

Post Syndicated from Janina Ander original https://www.raspberrypi.org/blog/tweetponic-lavender/

In a Manhattan gallery, there is an art installation that uses a Raspberry Pi to control the lights, nourishing an underground field of lavender. The twist: the Pi syncs the intensity of the lights to the activity of a dozen or so Twitter accounts belonging to media personalities and members of the US government.

In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets.

204 Likes, 5 Comments – Martin Roth (@martinroth02) on Instagram: “In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets.”

Turning tweets into cellulose

Artist Martin Roth has used the Raspberry Pi to access the accounts via the Twitter API, and to track their behaviour. This information is then relayed to the lights in real time. The more tweets, retweets, and likes there are on these accounts at a given moment, the brighter the lights become, and the better the lavender plants grow. Thus Twitter storms are converted into plant food, and ultimately into a pleasant lavender scent.

Until June 21st @ ACF (11 East 52nd Street)

39 Likes, 1 Comments – Martin Roth (@martinroth02) on Instagram: “Until June 21st @ ACF (11 East 52nd Street)”

Regarding his motivation to create the art installation, Martin Roth says:

[The] Twitter storm is something to be resisted. But I am using it in my exhibition as a force to create growth.

The piece, descriptively titled In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets, is on show at the Austrian Cultural Forum, New York.

Using the Twitter API as part of digital making

We’ve seen a number of cool makes using the Twitter API. These often involve the posting of tweets in response to real-world inputs. Some of our favourites are the tweeting cat flap Flappy McFlapface, the tweeting dog Oliver Twitch, and of course Pi Towers resident Bert the plant. It’s interesting to see the concept turned on its head.

If you feel inspired by these projects, head on over to our resource introducing the Twitter API using Python. Or do you already have a project, in progress or finished, that uses the API? Let us know about it in the comments!

The post Tweetponic lavender: nourishing nature with the Twitter API appeared first on Raspberry Pi.

Online Platforms Should Collaborate to Ban Piracy and Terrorism, Report Suggests

Post Syndicated from Andy original https://torrentfreak.com/online-platforms-collaborate-ban-piracy-terrorism-report-suggests-170608/

With deep ties to the content industries, the Digital Citizens Alliance periodically produces reports on Internet piracy. It has published reports on cyberlockers and tried to blame Cloudflare for the spread of malware, for example.

One of the key themes pursued by DCA is that Internet piracy is inextricably linked to a whole bunch of other online evils and that tackling the former could deliver a much-needed body blow to the latter.

Its new report, titled ‘Trouble in Our Digital Midst’, takes this notion and runs with it, bundling piracy with everything from fake news to hacking, to malware and brand protection, to the sextortion of “young girls and boys” via their computer cameras.

The premise of the report is that cybercrime as a whole is undermining America’s trust in the Internet, noting that 64% of US citizens say that their trust in digital platforms has dropped in the last year. Given the topics under the spotlight, it doesn’t take long to see where this is going – Internet platforms like Google, Facebook and YouTube must tackle the problem.

“When asked, ‘In your opinion, are digital platforms doing enough to keep the Internet safe and trustworthy, or are do they need to do more?’ a staggering 75 percent responded that they need to do more to keep the Internet safe,” the report notes.

It’s abundantly clear that the report is mostly about piracy but a lot of effort has been expended to ensure that people support its general call for the Internet to be cleaned up. By drawing attention to things that even most pirates might find offensive, it’s easy to find more people in agreement.

“Nearly three-quarters of respondents see the pairing of brand name advertising with offensive online content – like ISIS/terrorism recruiting videos – as a threat to the continued trust and integrity of the Internet,” the report notes.

Of course, this is an incredibly sensitive topic. When big brand ads turned up next to terrorist recruiting videos on YouTube, there was an almighty stink, and rightly so. However, at every turn, the DCA report manages to weave the issue of piracy into the equation, noting that the problem includes the “$200 million in advertising that shows up on illegal content theft websites often unbeknownst to the brands.”

The overriding theme is that platforms like Google, Facebook, and YouTube should be able to tackle all of these problems in the same way. Filtering out a terrorist video is the same as removing a pirate movie. And making sure that ads for big brands don’t appear alongside terrorist videos will be just as easy as starving pirates of revenue, the suggestion goes.

But if terrorism doesn’t grind your gears, what about fake news?

“64 percent of Americans say that the Fake News issue has made them less likely to trust the Internet as a source of information,” the report notes.

At this juncture, Facebook gets a gentle pat on the back for dealing with fake news and employing 3,000 people to monitor for violent videos being posted to the network. This shows that the company “takes seriously” the potential harm bad actors pose to Internet safety. But in keeping with the theme running throughout the report, it’s clear DCA are carefully easing in the thin end of the wedge.

“We are at only the beginning of thinking through other kinds of illicit and illegal activity happening on digital platforms right now that we must gain or re-gain control over,” DCA writes.

Quite. In the very next sentence, the group goes on to warn about the sale of drugs and stolen credit cards, adding that the sale of illicit streaming devices (modified Kodi boxes etc) is actually an “insidious yet effective delivery mechanism to infect computers with malware such as Remote Access Trojans.”

Both Amazon and Facebook receive praise in the report for their recent banning (1,2) of augmented Kodi devices but their actions are actually framed as the companies protecting their own reputations, rather than the interests of the media groups that have been putting them under pressure.

“And though this issue underscores the challenges faced by digital platforms – not all of which act with the same level of responsibility – it also highlights the fact digital platforms can and will step up when their own brands are at stake,” the report reads.

But pirate content and Remote Access Trojans through Kodi boxes are only the beginning. Pirate sites are playing a huge part as well, DCA claims, with one in three “content theft websites” exposing people to identify theft, ransomware, and sextortion via “the computer cameras of young girls and boys.”

Worst still, if that was possible, the lack of policing by online platforms means that people are able to “showcase live sexual assaults, murders, and other illegal conduct.”

DCA says that with all this in mind, Americans are looking for online digital platforms to help them. The group claims that citizens need proactive protection from these ills and want companies like Facebook to take similar steps to those taken when warning consumers about fake news and violent content.

So what can be done to stop this tsunami of illegality? According to DCA, platforms like Google, Facebook, YouTube, and Twitter need to up their game and tackle the problem together.

“While digital platforms collaborate on policy and technical issues, there is no evidence that they are sharing information about the bad actors themselves. That enables criminals and bad actors to move seamlessly from platform to platform,” DCA writes.

“There are numerous examples of industry working together to identify and share information about exploitive behavior. For example, casinos share information about card sharks and cheats, and for decades the retail industry has shared information about fraudulent credit cards. A similar model would enable digital platforms and law enforcement to more quickly identify and combat those seeking to leverage the platforms to harm consumers.”

How this kind of collaboration could take place in the real world is open to interpretation but the DCA has a few suggestions of its own. Again, it doesn’t shy away from pulling people on side with something extremely offensive (in this case child pornography) in order to push what is clearly an underlying anti-piracy agenda.

“With a little help from engineers, digital platforms could create fingerprints of unlawful conduct that is shared across platforms to proactively block such conduct, as is done in a limited capacity with child pornography,” DCA explains.

“If these and other newly developed measures were adopted, digital platforms would have the information to enable them to make decisions whether to de-list or demote websites offering illicit goods and services, and the ability to stop the spread of illegal behavior that victimizes its users.”

The careful framing of the DCA report means that there’s something for everyone. If you don’t agree with them on tackling piracy, then their malware, fake news, or child exploitation angles might do the trick. It’s quite a clever strategy but one that the likes of Google, Facebook, and YouTube will recognize immediately.

And they need to – because apparently, it’s their job to sort all of this out. Good luck with that.

The full report can be found here (pdf)

Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.

Storm Glass: simulate the weather at your desk

Post Syndicated from Alex Bate original https://www.raspberrypi.org/blog/storm-glass/

Inspired by the tempescope, The Modern Inventor’s Storm Glass is a weather-simulating lamp that can recreate the weather of any location in the world, all thanks to the help of a Raspberry Pi Zero W.

The Modern Inventors Storm Glass

Image c/o The Modern Inventor

The lamp uses the Weather Underground API, which allows the Raspberry Pi to access current and predicted weather conditions across the globe. Some may argue “Why do I need a recreation of the weather if I can look out my window?”, but I think the idea of observing tomorrow’s weather today, or keeping an eye on conditions in another location, say your favourite holiday destination, is pretty sweet.

Building a Storm Glass

The Modern Inventor, whose name I haven’t found out yet so I’ll call him TMI, designed and 3D printed the base and cap for the lamp. The glass bottle that sits between the two is one of those fancy mineral water bottles you’ve seen in the supermarket but never could justify buying before.

The base holds the Pi, as well as a speaker, a microphone, and various other components such as a Speaker Bonnet and NeoPixel Ring from Adafruit.

The Modern Inventors Storm Glass

Image c/o The Modern Inventor

“The rain maker is a tiny 5V centrifuge pump I got online, which pumps water along some glass tubing and into the lid where the rain falls from”, TMI explains on his Instructables project page. “The cloud generator is a USB-powered ultrasonic diffuser/humidifier. I just pulled out the guts and got rid of the rest. Make sure to keep the electronics which create the ultrasonic signal that drives the diffuser.”

The Modern Inventor's Storm Glass

Image c/o The Modern Inventor

With the tech in place, TMI (yes, I do appreciate the irony of using TMI as a designator for someone about whom I lack information) used hot glue like his life depended on it, bringing the whole build together into one slick-looking lamp.

Coding the storm

TMI set up the Storm Glass to pull data about weather conditions in a designated location via the Weather Underground API and recreate these within the lamp. He also installed Alexa Voice Service in it, giving the lamp a secondary function as a home automation device.

The Modern Inventor's Storm Glass

Image c/o The Modern Inventor

Code for the Storm Glass, alongside a far more detailed explanation of the build process, can be found on TMI’s project page. He says the total cost of this make comes to less than $80.

Create your own weather device

If you’d like to start using weather APIs to track conditions at home or abroad, we have a whole host of free Raspberry Pi resources for you to try your hand on: begin by learning how to fetch weather data using the RESTful API or using Scratch and the OpenWeatherMap to create visual representations of weather across the globe. You could even create a ‘Dress for the weather’ indicator so you’re never caught without a coat, an umbrella, or sunscreen again!

However you use the weather in your digital making projects, we’d love to see what you’ve been up to in the comments below.

The post Storm Glass: simulate the weather at your desk appeared first on Raspberry Pi.

Surveillance Intermediaries

Post Syndicated from Bruce Schneier original https://www.schneier.com/blog/archives/2017/06/surveillance_in_2.html

Interesting law-journal article: “Surveillance Intermediaries,” by Alan Z. Rozenshtein.

Abstract:Apple’s 2016 fight against a court order commanding it to help the FBI unlock the iPhone of one of the San Bernardino terrorists exemplifies how central the question of regulating government surveillance has become in American politics and law. But scholarly attempts to answer this question have suffered from a serious omission: scholars have ignored how government surveillance is checked by “surveillance intermediaries,” the companies like Apple, Google, and Facebook that dominate digital communications and data storage, and on whose cooperation government surveillance relies. This Article fills this gap in the scholarly literature, providing the first comprehensive analysis of how surveillance intermediaries constrain the surveillance executive. In so doing, it enhances our conceptual understanding of, and thus our ability to improve, the institutional design of government surveillance.

Surveillance intermediaries have the financial and ideological incentives to resist government requests for user data. Their techniques of resistance are: proceduralism and litigiousness that reject voluntary cooperation in favor of minimal compliance and aggressive litigation; technological unilateralism that designs products and services to make surveillance harder; and policy mobilization that rallies legislative and public opinion to limit surveillance. Surveillance intermediaries also enhance the “surveillance separation of powers”; they make the surveillance executive more subject to inter-branch constraints from Congress and the courts, and to intra-branch constraints from foreign-relations and economics agencies as well as the surveillance executive’s own surveillance-limiting components.

The normative implications of this descriptive account are important and cross-cutting. Surveillance intermediaries can both improve and worsen the “surveillance frontier”: the set of tradeoffs ­ between public safety, privacy, and economic growth ­ from which we choose surveillance policy. And while intermediaries enhance surveillance self-government when they mobilize public opinion and strengthen the surveillance separation of powers, they undermine it when their unilateral technological changes prevent the government from exercising its lawful surveillance authorities.

What about other leaked printed documents?

Post Syndicated from Robert Graham original http://blog.erratasec.com/2017/06/what-about-other-leaked-printed.html

So nat-sec pundit/expert Marci Wheeler (@emptywheel) asks about those DIOG docs leaked last year. They were leaked in printed form, then scanned in an published by The Intercept. Did they have these nasty yellow dots that track the source? If not, why not?

The answer is that the scanned images of the DIOG doc don’t have dots. I don’t know why. One reason might be that the scanner didn’t pick them up, as it’s much lower quality than the scanner for the Russian hacking docs. Another reason is that the printer used my not have printed them — while most printers do print such dots, some printers don’t. A third possibility is that somebody used a tool to strip the dots from scanned images. I don’t think such a tool exists, but it wouldn’t be hard to write.

Scanner quality

The printed docs are here. They are full of whitespace where it should be easy to see these dots, but they appear not to be there. If we reverse the image, we see something like the following from the first page of the DIOG doc:

Compare this to the first page of the Russian hacking doc which shows the blue dots:

What we see in the difference is that the scan of the Russian doc is much better. We see that in the background, which is much noisier, able to pick small things like the blue dots. In contrast, the DIOG scan is worse. We don’t see much detail in the background.

Looking closer, we can see the lack of detail. We also see banding, which indicates other defects of the scanner.

Thus, one theory is that the scanner just didn’t pick up the dots from the page.

Not all printers

The EFF has a page where they document which printers produce these dots. Samsung and Okidata don’t, virtually all the other printers do.

The person who printed these might’ve gotten lucky. Or, they may have carefully chosen a printer that does not produce these dots.

The reason Reality Winner exfiltrated these documents by printing them is that the NSA had probably clamped down on USB thumb drives for secure facilities. Walking through the metal detector with a chip hidden in a Rubic’s Cube (as shown in the Snowden movie) will not work anymore.

But, presumably, the FBI is not so strict, and a person would be able to exfiltrate the digital docs from FBI facilities, and print elsewhere.

Conclusion

By pure chance, those DIOG docs should’ve had visible tracking dots. Either the person leaking the docs knew about this and avoided it, or they got lucky.