# Докладът на Групата на високо равнище за мерки срещу дезинформацията в ЕС

Post Syndicated from nellyo original https://nellyo.wordpress.com/2018/03/12/eu_disinf/

Днес председателката на групата проф. Маделин де Кок Бюнинг връчи окончателния доклад на групата на Мария Габриел, член на ЕК за цифровото общество.

Докладът (44 с.)

Очаква се и план за действие в скоро време.

Първи резултати от обществената консултация

Eurobarometer 464 за отношението към фалшивите новини и дезинформацията онлайн

# Франция: какво предвижда законопроектът срещу фалшивите новини

Post Syndicated from nellyo original https://nellyo.wordpress.com/2018/03/11/fr_fake/

Първи сведения за новия законопроект за фалшивите новини във Франция – по публикации в Politico, Washington Post u Bloomberg.

1. Законопроектът упълномощава независимия медиен регулатор да прекрати едностранно лицензията (вероятно за медии, които се нуждаят от някакъв вид разрешение по френското право)  на всяка “чуждестранна влиятелна медийна организация” по време на национална избирателна кампания.

2. Задължават се платформите  да разкриват самоличността на рекламодателите, които плащат за разпространение на съдържание, както и сумите, които плащат. Целта е добра, но  – както посочва Bloomberg – субектите, които се опитват да влияят на кампаниите, вероятно са достатъчно умни, за да не действат от свое име.

3. Улеснява се санкционирането за фалшиви новини, заличени от интернет и от ефира. Министърът на културата обаче отбелязва, че правителството не отговаря как да се определи какво са фалшиви новини. Няма да е достатъчно новините да са фалшиви, трябва да се докаже още, че (а) авторът съзнателно   е лъгал и (б) новината “е нарушила или може да наруши обществения ред”. Според съдебната практика във Франция има още ограничения:

•  няма санкция за новини, които са фалшиви, но “правдоподобни”,
• няма санкция за  неточности, които са несъществени;
• мненията, дори и очевидно фалшиви, не могат да се считат за “фалшиви новини”.

4. Законопроектът изисква онлайн платформите да си сътрудничат с властите като се използват същите методи, които и сега – в случаи  на детска  порнография и при защита от тероризъм. Тази  мярка дава заглавия на публикации в медиите – Новият закон създава за платформите задължение за сътрудничество.

Медиите очакват проблеми в прилагането   – ако  всеки получава право да бъде изслушан от съдия, когато сметне, че  има фалшиви новини. Сочат се  поне два риска – съдиите да търсят процедурни основания да не се занимават с такива дела, или големият брой  да доведе до грешки.

В понеделник, на 12 март, ще станат известни мерките за борба с фалшивите новини, предложени от групата на високо равнище към ЕК.

# U.S. Border Seizures of DMCA Circumvention Devices Surges

Post Syndicated from Ernesto original https://torrentfreak.com/u-s-border-seizures-of-dmca-circumvention-devices-surges-180309/

In the United States, citizens are generally prohibited from tampering with DRM and other technological protection measures.

This means that Blu-ray rippers are not allowed, nor are mod chips for gaming consoles, and some pirate streaming boxes could fall into this category as well.

Despite possible sanctions, there are plenty of manufacturers who ship these devices to the US, often to individual consumers. To arrive at their destination, however, they first have to pass the border control.

Not all make it to their final destination. A new report released by Homeland Security shows that the number of “intellectual property” related seizures increased by 8%, from 31,560 in 2016 to 34,143 a year later.

The vast majority of these seized items are traditional counterfeit goods. This includes fake brand clothing, shoes, replica watches, toys, as well as consumer electronics.

What caught our eye, however, is a sharp increase in “circumvention devices” that were found to violate the DMCA. Last year, the number of these seized items U.S. Customs and Border Protection increased by 324%.

“CBP seized 297 shipments of circumvention devices for violations of the Digital Millennium Copyright Act (DMCA), a 324 percent increase from 70 such seizures in FY 2016,” the report reads.

While the relative increase is quite dramatic, the absolute numbers are perhaps not as impressive, with less than one seized device per day. The report gives no explanation for the surge, nor is there an estimate of how many devices slip through.

What we did notice is that the International Intellectual Property Alliance (IIPA) recently framed streaming boxes as possible circumvention tools. The strong enforcement focus of rightsholders on these devices may have been communicated to border patrols as well.

When we previously reached out to Customs and Border Protection (CBP) to find out more about what type of circumvention devices are seized under the DMCA, a spokesperson provided us with the following definition.

“[P]roducts, devices, components, or parts thereof that are primarily designed or produced for the purpose of circumventing protection afforded by a technological measure that effectively protects a right of a copyright owner, and have only limited commercially significant purposes or uses other than to circumvent such protection measures.”

TorrentFreak reached out to CBP again this week to ask if streaming boxes are seen as circumvention devices, but at the time of writing, we have yet to receive a response.

In a press release commenting on the news, CBP Acting Commissioner Kevin McAleenan said that his organization is happy with last year’s results.

“The theft of intellectual property and trade in counterfeit and pirated goods causes harm to an innovation-based economy by threatening the competitiveness of businesses and the livelihoods of workers,” McAleenan said.

“Another record-breaking year of IPR seizures highlights the vigilance of CBP and ICE personnel in preventing counterfeit goods from entering our stream of commerce and their dedication to protecting the American people,” he added.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

# Fstoppers Uploaded a Brilliant Hoax ‘Anti-Piracy’ Tutorial to The Pirate Bay

Post Syndicated from Andy original https://torrentfreak.com/fstoppers-uploaded-a-brilliant-hoax-anti-piracy-tutorial-to-the-pirate-bay-180307/

Fstoppers is an online community that produces extremely high-quality photographic tutorials. One of its most popular series is called Photographing the World which sees photographer Elia Locardi travel to exotic locations to demonstrate landscape and cityscape photography.

These tutorials sell for almost $300, with two or three versions in a pack selling for up$700. Of course, like any other media they get pirated so when Fstoppers were ready to release Photographing the World 3, they released it themselves on torrent sites a few days before retail.

Well, that’s what they wanted the world to believe.

“I think it’s fair to say that we’ve all downloaded ‘something’ illegally in the past. Whether it’s an MP3 years ago or a movie or a TV show, and occasionally you download something and it turns out it was kinda like a Rick Roll,” says Locardi.

“So we kept talking and we thought it would be a good idea to create this dummy lesson or shadow tutorial that was actually a fake and then seed it on BitTorrent.”

Where Fstoppers normally go to beautiful and exotic international locations, for their fake they decided to go to an Olive Garden in Charleston, South Carolina. Yet despite the clear change of location, they wanted people to believe the tutorial was legitimate.

“We wanted to ride this constant line of ‘Is this for real? Could this possibly be real? Is Elia [Locardi] joking right now? I don’t think he’s joking, he’s being totally serious’,” says Lee Morris, one of the co-owners of Fstoppers.

People really have to watch the tutorial to see what a fantastic job Fstoppers did in achieving that goal. For anyone unfamiliar with their work, the tutorial is initially hard to spot as a fake and even for veterans the level of ambiguity is really impressive.

However, when the tutorial heads back to the studio, where the post-processing lesson gets underway, there can be no doubt that something is amiss.

Things start off normally with serious teaching, then over time, the tutorial gets more and more ridiculous. Then, when the camera cuts away to show Locardi forming a ‘mask’ on an Olive Garden image, there can be no confusion.

In order to get the tutorial out to the world, the site created its own torrent. They had never done anything like it before so got some associates to upload the huge 25GB+ package to The Pirate Bay and have their friends seed it. Then, in order to get past more savvy users on the site, they had other people come in and give the torrent good (but fake) reviews.

The fake torrent on The Pirate Bay (as of yesterday)

Screenshots provided by Fstoppers taken months ago reveal hundreds of downloaders. And, according to Morris, the fake became the most-downloaded Photographing the World 3 torrent online, meaning that the “majority of downloaders” got the comedy version.

Also of interest is the feedback Fstoppers got following their special release. Emails flooded in from pirates, some of whom were confused while others were upset at the ‘quality’ of the tutorial.

“The whole time we were thinking: ‘This isn’t even on the market yet! You guys are totally stealing this and emailing us and complaining about it,” says Fstoppers co-owner Patrick Hall.

While the tutorial itself is brilliant, Fstoppers points to a certain hypocrisy within its target audience of photographers, who themselves have to put up with a lot of online piracy of their work. Yet, clearly, many are happy to pirate the work of other photographers in order to make their own art better.

All that being said, the exercise is certainly an interesting one and the creativity behind the hoax puts it head and shoulders above more aggressive anti-piracy campaigns. However, when TF tracked down the torrent on The Pirate Bay last evening, it’s popularity had nosedived.

While it was initially downloaded by a lot of eager photographers, probably encouraged by the fake comments placed on the site by Fstoppers, the torrent is now only being shared by less than 10 people. As usual, the Pirate Bay users appear to have caught on, flagging the torrent as a fake. The moderators, it seems, have also deleted the fake comments.

While most people won’t want to download a 25GB torrent to see what Fstoppers came up with, the site has uploaded the fake tutorial to YouTube. It’s best viewed alongside their other work, which is sensational, but people should get a good idea by watching the explanation below.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

## Battle 4 Glory, by Storyteller Games

short · fighter · jan 2017 · win · free on itch · jam entry

This is a Smash Bros-style brawler, complete with the four players, the 2D play area in a 3D world, and the random stage obstacles showing up. I do like the Smash style, despite not otherwise being a fan of fighting games, so it’s nice to see another game chase that aesthetic.

Alas, that’s about as far as it got — which is pretty far for a week of work! I don’t know what more to say, though. The environments are neat, but unless I’m missing something, the only actions at your disposal are jumping and very weak melee attacks. I did have a good few minutes of fun fruitlessly mashing myself against the bumbling bots, as you can see.

FINAL SCORE: 300%

## Icnaluferu Guild, Year Sixteen, by CHz

short · adventure · jan 2017 · web · free on itch · jam entry

Here we have the first of several games made with bitsy, a micro game making tool that basically only supports walking around, talking to people, and picking up items.

I tell you this because I think half of my appreciation for this game is in the ways it wriggled against those limits to emulate a Zelda-like dungeon crawler. Everything in here is totally fake, and you can’t really understand just how fake unless you’ve tried to make something complicated with bitsy.

It’s pretty good. The dialogue is entertaining (the rest of your party develops distinct personalities solely through oneliners, somehow), the riffs on standard dungeon fare are charming, and the Link’s Awakening-esque perspective walls around the edges of each room are fucking glorious.

FINAL SCORE: 2 bits

## The Lonely Tapes, by JTHomeslice

short · rpg · jan 2017 · web · free on itch · jam entry

Another bitsy entry, this one sees you play as a Wal— sorry, a JogDawg, which has lost its cassette tapes and needs to go recover them!

(A cassette tape is like a VHS, but for music.)

(A VHS is—)

I have the sneaking suspicion that I missed out on some musical in-jokes, due to being uncultured swine. I still enjoyed the game — it’s always clear when someone is passionate about the thing they’re writing about, and I could tell I was awash in that aura even if some of it went over my head. You know you’ve done good if someone from way outside your sphere shows up and still has a good time.

FINAL SCORE: Nine… Inch Nails? They’re a band, right? God I don’t know write your own damn joke

## Pirate Kitty-Quest, by TheKoolestKid

short · adventure · jan 2017 · win · free on itch · jam entry

I completely forgot I’d even given “my birthday” and “my cat” as mostly-joking jam themes until I stumbled upon this incredible gem. I don’t think — let me just check here and — yeah no this person doesn’t even follow me on Twitter. I have no idea who they are?

BUT THEY MADE A GAME ABOUT ANISE AS A PIRATE, LOOKING FOR TREASURE

PIRATE. ANISE

PIRATE ANISE!!!

This game wins the jam, hands down. 🏆

FINAL SCORE: Yarr, eight pieces o’ eight

## CHIPS Mario, by NovaSquirrel

short · platformer · jan 2017 · (lin/mac)/win · free on itch · jam entry

You see this? This is fucking witchcraft.

This game is made with MegaZeux. MegaZeux games look like THIS. Text-mode, bound to a grid, with two colors per cell. That’s all you get.

Until now, apparently?? The game is a tech demo of “unbound” sprites, which can be drawn on top of the character grid without being aligned to it. And apparently have looser color restrictions.

The collision is a little glitchy, which isn’t surprising for a MegaZeux platformer; I had some fun interactions with platforms a couple times. But hey, goddamn, it’s free-moving Mario, in MegaZeux, what the hell.

(I’m looking at the most recently added games on DigitalMZX now, and I notice that not only is this game in the first slot, but NovaSquirrel’s MegaZeux entry for Strawberry Jam last February is still in the seventh slot. RIP, MegaZeux. I’m surprised a major feature like this was even added if the community has largely evaporated?)

FINAL SCORE: n/a, disqualified for being probably summoned from the depths of Hell

## d!¢< pic, by 573 Games

short · story · jan 2017 · web · free on itch · jam entry

This is a short story about not sending dick pics. It’s very short, so I can’t say much without spoiling it, but: you are generally prompted to either text something reasonable, or send a dick pic. You should not send a dick pic.

It’s a fascinating artifact, not because of the work itself, but because it’s so terse that I genuinely can’t tell what the author was even going for. And this is the kind of subject where the author was, surely, going for something. Right? But was it genuinely intended to be educational, or was it tongue-in-cheek about how some dudes still don’t get it? Or is it side-eying the player who clicks the obviously wrong option just for kicks, which is the same reason people do it for real? Or is it commentary on how “send a dick pic” is a literal option for every response in a real conversation, too, and it’s not that hard to just not do it — unless you are one of the kinds of people who just feels a compulsion to try everything, anything, just because you can? Or is it just a quick Twine and I am way too deep in this? God, just play the thing, it’s shorter than this paragraph.

I’m also left wondering when it is appropriate to send a dick pic. Presumably there is a correct time? Hopefully the author will enter Strawberry Jam 2 to expound upon this.

FINAL SCORE: 3½” 😉

## Marble maze, by Shtille

short · arcade · jan 2017 · win · free on itch · jam entry

Ah, hm. So this is a maze navigated by rolling a marble around. You use WASD to move the marble, and you can also turn the camera with the arrow keys.

The trouble is… the marble’s movement is always relative to the world, not the camera. That means if you turn the camera 30° and then try to move the marble, it’ll move at a 30° angle from your point of view.

That makes navigating a maze, er, difficult.

Camera-relative movement is the kind of thing I take so much for granted that I wouldn’t even think to do otherwise, and I think it’s valuable to look at surprising choices that violate fundamental conventions, so I’m trying to take this as a nudge out of my comfort zone. What could you design in an interesting way that used world-relative movement? Probably not the player, but maybe something else in the world, as long as you had strong landmarks? Hmm.

FINAL SCORE: ᘔ

## Refactor: flight, by fluffy

short · arcade · jan 2017 · lin/mac/win · free on itch · jam entry

Refactor is a game album, which is rather a lot what it sounds like, and Flight is one of the tracks. Which makes this a single, I suppose.

It’s one of those games where you move down an oddly-shaped tunnel trying not to hit the walls, but with some cute twists. Coins and gems hop up from the bottom of the screen in time with the music, and collecting them gives you points. Hitting a wall costs you some points and kills your momentum, but I don’t think outright losing is possible, which is great for me!

Also, the monk cycles through several animal faces. I don’t know why, and it’s very good. One of those odd but memorable details that sits squarely on the intersection of abstract, mysterious, and a bit weird, and refuses to budge from that spot.

The music is great too? Really chill all around.

FINAL SCORE: 🎵🎵🎵🎵

short · adventure · jan 2017 · web · free on itch · jam entry

Another bitsy game, this one starring a pig (humorously symbolized by a giant pig nose with ears) who must collect fruit and solve some puzzles.

This is charmingly nostalgic for me — it reminds me of some standard fare in engines like MegaZeux, where the obvious things to do when presented with tiles and pickups were to make mazes. I don’t mean that in a bad way; the maze is the fundamental environmental obstacle.

A couple places in here felt like invisible teleport mazes I had to brute-force, but I might have been missing a hint somewhere. I did make it through with only a little trouble, but alas — I stepped in a bad warp somewhere and got sent to the upper left corner of the starting screen, which is surrounded by walls. So Klyde’s new life is being trapped eternally in a nowhere space.

FINAL SCORE: 19/20 apples

## And more

That was only a third of the games, and I don’t think even half of the ones I’ve played. I’ll have to do a second post covering the rest of them? Maybe a third?

Or maybe this is a ludicrous format for commenting on several dozen games and I should try to narrow it down to the ones that resonated the most for Strawberry Jam 2? Maybe??

# Dark Caracal: Global Espionage Malware from Lebanon

Post Syndicated from Bruce Schneier original https://www.schneier.com/blog/archives/2018/01/dark_caracal_gl.html

The EFF and Lookout are reporting on a new piece of spyware operating out of Lebanon. It primarily targets mobile devices compromised by fake secure messaging clients like Signal and WhatsApp.

From the Lookout announcement:

Dark Caracal has operated a series of multi-platform campaigns starting from at least January 2012, according to our research. The campaigns span across 21+ countries and thousands of victims. Types of data stolen include documents, call records, audio recordings, secure messaging client content, contact information, text messages, photos, and account data. We believe this actor is operating their campaigns from a building belonging to the Lebanese General Security Directorate (GDGS) in Beirut.

It looks like a complex infrastructure that’s been well-developed, and continually upgraded and maintained. It appears that a cyberweapons arms manufacturer is selling this tool to different countries. From the full report:

Dark Caracal is using the same infrastructure as was previously seen in the Operation Manul campaign, which targeted journalists, lawyers, and dissidents critical of the government of Kazakhstan.

There’s a lot in the full report. It’s worth reading.

# MPAA Wins $19.8 Million From Pirate Site Pubfilm Post Syndicated from Ernesto original https://torrentfreak.com/mpaa-wins-19-8-million-from-pirate-site-pubfilm-180119/ In recent years the MPAA has pursued legal action against several pirate sites and the streaming service Pubfilm is one of their latest targets. Hollywood’s industry group initially kept the lawsuit secret. This was done to prevent Pubfilm’s operator from moving to a new domain preemptively. While this strategy worked, Pubfilm didn’t throw in the towel. Soon after the pubfilm.com domain name was suspended, the site moved to pubfilm.ac. And that wasn’t all. Pubfilm also started to actively advertise its new domain through Google Adsense to regain its lost traffic. Today, close to a year has passed and Pubfilm is still around. The site moved from domain to domain and currently resides at Pubfilm.is and a few other domains that are advertised on the site. All this time the company failed to responded in court, so the case saw little movement. This week, however, the MPAA made its demands clear and soon after the court issued a default against the site and its unknown operators. “Defendants are Internet pirates who own, operate, and promote a ring of interconnected websites under the name “PubFilm” and variants thereof whose purpose is to profit from the infringement of copyrighted works,” the group wrote in its request. Because of this continued infringement, the MPAA demanded the maximum amount of statutory copyright infringement damages. With 132 titles listed in the complaint, this totals nearly$20 million.

“Given the egregious circumstances of this case, Plaintiffs should be awarded the full amount of statutory damages of $150,000 for each of the 132 Works identified in the Complaint, for a total of$19,800,000,” the MPAA writes in its memorandum.

In addition, the Hollywood studios requested a permanent injunction that will require domain registries to put associated domain names on hold and sign them over to the MPAA.

Both requests were granted by the court on Thursday.

Pubfilm domain hopping

Previously, several domain names were aready seized through a preliminary injunction that resulted in Pubfilm moving from domain to domain in recent months. While these seizures can be effective, not all domain registries will comply with a US court order.

One of Pubfilm’s main domain names at the moment uses the Icelandic .is cTLD. In the past, Iceland’s domain registry ISNIC told TorrentFreak that it would only take action when an Icelandic Court tells it to.

This means that the MPAA’s win might be one without teeth.

Getting millions of dollars from an anonymous site operator, presumably outside the United States, is not easy. And since the site still has several hard-to-shutdown domains, taking it offline isn’t that straightforward either.

The streaming site operators didn’t appear to be impressed by the legal battle either. For the time being, they seem more concerned with fighting fake versions, judging from their most recent Facebook update.

A copy of the MPAA’s Memorandum in support of the default judgment and permanent injunction is available here (pdf). A copy of court’s order can be found here (pdf).

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

# Франция: готвят се нови закони в областта на медиите

Post Syndicated from nellyo original https://nellyo.wordpress.com/2018/01/14/fr-2/

Президентът на Франция обяви намерения за създаване на два закона, засягащи медиите – закон срещу разпространението на фалшиви новини пo време на предизборна кампания и закон за обществените медии.

Според Макрон на платформите ще бъдат наложени задължения за по-голяма прозрачност на цялото спонсорирано съдържание, за да е ясна самоличността на рекламодателите и на онези, които ги контролират. При разпространение на неверни новини законът ще предвижда мерки –  да се заличи въпросното съдържание,  да се заличи потребителски акаунт, дори да се блокира достъпа до  сайта. В това отношение правомощията на медийния регулатор ще бъдат разширени, за да може да се бори  срещу всеки опит за дестабилизация от доставчици и услуги, контролирани или повлияни от чужди държави.

По отношение на уредбата на обществените медии Макрон обещава изключително широки дебати, както и проучване на различни европейски и международни модели.

# ЕК обяви състава на групата експерти за борба с дезинформацията и фалшивите новини

Post Syndicated from nellyo original https://nellyo.wordpress.com/2018/01/14/fake-4/

ЕК съобщава, че eкспертната група на високо равнище, назначена да дава съвети на Европейската комисия как да се справи с разпространението на онлайн дезинформация ще се срещне за първи път на 15 януари  2018.

Експертната група на високо равнище ще допринесе за развиването на стратегия на ЕС за справяне с това явление, която ще бъде представена през пролетта на 2018 г.

Тази седмица беше огласен съставът на групата,  включваща експерти от академичните среди, медиите, неправителствения сектор.

# Are Torrent Sites Using DMCA Notices to Quash Their Competition?

Post Syndicated from Ernesto original https://torrentfreak.com/are-torrent-sites-using-dmca-notices-to-quash-their-competition-180114/

Every day, copyright holders send out millions of takedown notices to various services, hoping to protect their works.

While most of these requests are legitimate, the process is also being abused. Google prominently features examples of such dubious DMCA requests in its transparency report.

This week we were contacted by the owner of YTS.me after he noticed some unusual activity. In recent weeks his domain name has been targeted with a series of takedown notices from rather unusual people.

Senders with names such as Niklas Glockner, Michelle Williams, Maria Baader, Stefan Kuefer, Anja Herzog, and Markus Ostermann asked Google to remove thousands of YTS.me URLs.

Every notice lists just one movie title, but hundreds of links, most of which have nothing to do with the movie in question.

A few URLs from a single notice

These submitters are all relatively new and there is no sign that they are authorized by the applicable copyright holder. This, and the long list of irrelevant URLs suggest that these DMCA notices are abusive.

The owner of YTS.me believes that the senders have a clear motive. The purpose of the notices is to remove well-ranked pages and push the targeted sites down in Google’s search results.

“These all are fake people names submitting fake DMCA complaints and are not authorized to submit complaints,” the YTS.me operator notes.

“Even if they are real people they would have submitted, or are authorized to submit, complaints for only a few titles. Instead, they submit fake complaints and submit all the URLs possible on our website to degrade its ranking.”

The question that remains is, who is responsible for these notices? Looking at the list of sites that are targeted by these abusive senders we see a pattern emerge. They all target copycats of defunct sites such as YTS and ExtraTorrent.

Markus Osterman’s activity

This leads the YTS.me operator to the conclusion that one of its main competitors is sending these notices. While there is no hard evidence, it seems plausible that another YTS copycat is attempting to take the competition out of Google’s search results to gain more exposure itself.

YTS.me has a good idea of who the perpetrator(s) are – a person or group that also operates several other copycat sites. Thus far there’s no bulletproof evidence though, but it’s a likely explanation.

In any case, the DMCA takedown requests are definitely out of order and warrant further investigation by Google.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

# Physics cheats

Post Syndicated from Eevee original https://eev.ee/blog/2018/01/06/physics-cheats/

something about how we tweak physics to “work” better in games?

Ho ho! Work. Get it? Like in physics…?

## Hitboxes

Hitbox” is perhaps not the most accurate term, since the shape used for colliding with the environment and the shape used for detecting damage might be totally different. They’re usually the same in simple platformers, though, and that’s what most of my games have been.

The hitbox is the biggest physics fudge by far, and it exists because of a single massive approximation that (most) games make: you’re controlling a single entity in the abstract, not a physical body in great detail.

That is: when you walk with your real-world meat shell, you perform a complex dance of putting one foot in front of the other, a motion you spent years perfecting. When you walk in a video game, you press a single “walk” button. Your avatar may play an animation that moves its legs back and forth, but since you’re not actually controlling the legs independently (and since simulating them is way harder), the game just treats you like a simple shape. Fairly often, this is a box, or something very box-like.

Since the player has no direct control over the exact placement of their limbs, it would be slightly frustrating to have them collide with the world. This is especially true in cases like the above, where the tail and left ear protrude significantly out from the main body. If that Eevee wanted to stand against a real-world wall, she would simply tilt her ear or tail out of the way, so there’s no reason for the ear to block her from standing against a game wall. To compensate for this, the ear and tail are left out of the collision box entirely and will simply jut into a wall if necessary — a goofy affordance that’s so common it doesn’t even register as unusual. As a bonus (assuming this same box is used for combat), she won’t take damage from projectiles that merely graze past an ear.

(One extra consideration for sprite games in particular: the hitbox ought to be horizontally symmetric around the sprite’s pivot — i.e. the point where the entity is truly considered to be standing — so that the hitbox doesn’t abruptly move when the entity turns around!)

### Corners

Treating the player (and indeed most objects) as a box has one annoying side effect: boxes have corners. Corners can catch on other corners, even by a single pixel. Real-world bodies tend to be a bit rounder and squishier and this can tolerate grazing a corner; even real-world boxes will simply rotate a bit.

Ah, but in our faux physics world, we generally don’t want conscious actors (such as the player) to rotate, even with a realistic physics simulator! Real-world bodies are made of parts that will generally try to keep you upright, after all; you don’t tilt back and forth much.

One way to handle corners is to simply remove them from conscious actors. A hitbox doesn’t have to be a literal box, after all. A popular alternative — especially in Unity where it’s a standard asset — is the pill-shaped capsule, which has semicircles/hemispheres on the top and bottom and a cylindrical body in 3D. No corners, no problem.

Of course, that introduces a new problem: now the player can’t balance precariously on edges without their rounded bottom sliding them off. Alas.

If you’re stuck with corners, then, you may want to use a corner bump, a term I just made up. If the player would collide with a corner, but the collision is only by a few pixels, just nudge them to the side a bit and carry on.

When the corner is horizontal, this creates stairs! This is, more or less kinda, how steps work in Doom: when the player tries to cross from one sector into another, if the height difference is 24 units or less, the game simply bumps them upwards to the height of the new floor and lets them continue on.

Implementing this in a game without Doom’s notion of sectors is a little trickier. In fact, I still haven’t done it. Collision detection based on rejection gets it for free, kinda, but it’s not very deterministic and it breaks other things. But that’s a whole other post.

## Gravity

Gravity is pretty easy. Everything accelerates downwards all the time. What’s interesting are the exceptions.

### Jumping

Jumping is a giant hack.

Think about how actual jumping works: you tense your legs, which generally involves bending your knees first, and then spring upwards. In a platformer, you can just leap whenever you feel like it, which is nonsense. Also you go like twenty feet into the air?

Worse, most platformers allow variable-height jumping, where your jump is lower if you let go of the jump button while you’re in the air. Normally, one would expect to have to decide how much force to put into the jump beforehand.

But of course this is about convenience of controls: when jumping is your primary action, you want to be able to do it immediately, without any windup for how high you want to jump.

(And then there’s double jumping? Come on.)

Air control is a similar phenomenon: usually you’d jump in a particular direction by controlling how you push off the ground with your feet, but in a video game, you don’t have feet! You only have the box. The compromise is to let you control your horizontal movement to a limit degree in midair, even though that doesn’t make any sense. (It’s way more fun, though, and overall gives you more movement options, which are good to have in an interactive medium.)

Air control also exposes an obvious place that game physics collide with the realistic model of serious physics engines. I’ve mentioned this before, but: if you use Real Physics™ and air control yourself into a wall, you might find that you’ll simply stick to the wall until you let go of the movement buttons. Why? Remember, player movement acts as though an external force were pushing you around (and from the perspective of a Real™ physics engine, this is exactly how you’d implement it) — so air-controlling into a wall is equivalent to pushing a book against a wall with your hand, and the friction with the wall holds you in place. Oops.

### Ground sticking

Another place game physics conflict with physics engines is with running to the top of a slope. On a real hill, of course, you land on top of the slope and are probably glad of it; slopes are hard to climb!

In a video game, you go flying. Because you’re a box. With momentum. So you hit the peak and keep going in the same direction. Which is diagonally upwards.

### Projectiles

To make them more predictable, projectiles generally aren’t subject to gravity, at least as far as I’ve seen. The real world does not have such an exemption. The real world imposes gravity even on sniper rifles, which in a video game are often implemented as an instant trace unaffected by anything in the world because the bullet never actually exists in the world.

## Resistance

Ah. Welcome to hell.

### Water

Water is an interesting case, and offhand I don’t know the gritty details of how games implement it. In the real world, water applies a resistant drag force to movement — and that force is proportional to the square of velocity, which I’d completely forgotten until right now. I am almost positive that no game handles that correctly. But then, in real-world water, you can push against the water itself for movement, and games don’t simulate that either. What’s the rough equivalent?

The Sonic Physics Guide suggests that Sonic handles it by basically halving everything: acceleration, max speed, friction, etc. When Sonic enters water, his speed is cut; when Sonic exits water, his speed is increased.

That last bit feels validating — I could swear Metroid Prime did the same thing, and built my own solution around it, but couldn’t remember for sure. It makes no sense, of course, for a jump to become faster just because you happened to break the surface of the water, but it feels fantastic.

The thing I did was similar, except that I didn’t want to add a multiplier in a dozen places when you happen to be underwater (and remember which ones need it to be squared, etc.). So instead, I calculate everything completely as normal, so velocity is exactly the same as it would be on dry land — but the distance you would move gets halved. The effect seems to be pretty similar to most platformers with water, at least as far as I can tell. It hasn’t shown up in a published game and I only added this fairly recently, so I might be overlooking some reason this is a bad idea.

(One reason that comes to mind is that velocity is now a little white lie while underwater, so anything relying on velocity for interesting effects might be thrown off. Or maybe that’s correct, because velocity thresholds should be halved underwater too? Hm!)

Notably, air is also a fluid, so it should behave the same way (just with different constants). I definitely don’t think any games apply air drag that’s proportional to the square of velocity.

### Friction

Friction is, in my experience, a little handwaved. Probably because real-world friction is so darn complicated.

Consider that in the real world, we want very high friction on the surfaces we walk on — shoes and tires are explicitly designed to increase it, even. We move by bracing a back foot against the ground and using that to push ourselves forward, so we want the ground to resist our push as much as possible.

In a game world, we are a box. We move by being pushed by some invisible outside force, so if the friction between ourselves and the ground is too high, we won’t be able to move at all! That’s complete nonsense physically, but it turns out to be handy in some cases — for example, highish friction can simulate walking through deep mud, which should be difficult due to fluid drag and low friction.

But the best-known example of the fakeness of game friction is video game ice. Walking on real-world ice is difficult because the low friction means low grip; your feet are likely to slip out from under you, and you’ll simply fall down and have trouble moving at all. In a video game, you can’t fall down, so you have the opposite experience: you spend most of your time sliding around uncontrollably. Yet ice is so common in video games (and perhaps so uncommon in places I’ve lived) that I, at least, had never really thought about this disparity until an hour or so ago.

### Game friction vs real-world friction

Real-world friction is a force. It’s the normal force (which is the force exerted by the object on the surface) times some constant that depends on how the two materials interact.

Force is mass times acceleration, and platformers often ignore mass, so friction ought to be an acceleration — applied against the object’s movement, but never enough to push it backwards.

I haven’t made any games where variable friction plays a significant role, but my gut instinct is that low friction should mean the player accelerates more slowly but has a higher max speed, and high friction should mean the opposite. I see from my own source code that I didn’t even do what I just said, so let’s defer to some better-made and well-documented games: Sonic and Doom.

In Sonic, friction is a fixed value subtracted from the player’s velocity (regardless of direction) each tic. Sonic has a fixed framerate, so the units are really pixels per tic squared (i.e. acceleration), multiplied by an implicit 1 tic per tic. So far, so good.

But Sonic’s friction only applies if the player isn’t pressing or . Hang on, that isn’t friction at all; that’s just deceleration! That’s equivalent to jogging to a stop. If friction were lower, Sonic would take longer to stop, but otherwise this is only tangentially related to friction.

(In fairness, this approach would decently emulate friction for non-conscious sliding objects, which are never going to be pressing movement buttons. Also, we don’t have the Sonic source code, and the name “friction” is a fan invention; the Sonic Physics Guide already uses “deceleration” to describe the player’s acceleration when turning around.)

Okay, let’s try Doom. In Doom, the default friction is 90.625%.

Hang on, what?

Yes, in Doom, friction is a multiplier applied every tic. Doom runs at 35 tics per second, so this is a multiplier of 0.032 per second. Yikes!

This isn’t anything remotely like real friction, but it’s much easier to implement. With friction as acceleration, the game has to know both the direction of movement (so it can apply friction in the opposite direction) and the magnitude (so it doesn’t overshoot and launch the object in the other direction). That means taking a semi-costly square root and also writing extra code to cap the amount of friction. With a multiplier, neither is necessary; just multiply the whole velocity vector and you’re done.

There are some downsides. One is that objects will never actually stop, since multiplying by 3% repeatedly will never produce a result of zero — though eventually the speed will become small enough to either slip below a “minimum speed” threshold or simply no longer fit in a float representation. Another is that the units are fairly meaningless: with Doom’s default friction of 90.625%, about how long does it take for the player to stop? I have no idea, partly because “stop” is ambiguous here! If friction were an acceleration, I could divide it into the player’s max speed to get a time.

All that aside, what are the actual effects of changing Doom’s friction? What an excellent question that’s surprisingly tricky to answer. (Note that friction can’t be changed in original Doom, only in the Boom port and its derivatives.) Here’s what I’ve pieced together.

Doom’s “friction” is really two values. “Friction” itself is a multiplier applied to moving objects on every tic, but there’s also a move factor which defaults to $$\frac{1}{32} = 0.03125$$ and is derived from friction for custom values.

Every tic, the player’s velocity is multiplied by friction, and then increased by their speed times the move factor.

$$v(n) = v(n – 1) \times friction + speed \times move factor$$

Eventually, the reduction from friction will balance out the speed boost. That happens when $$v(n) = v(n – 1)$$, so we can rearrange it to find the player’s effective max speed:

$$v = v \times friction + speed \times move factor \\ v – v \times friction = speed \times move factor \\ v = speed \times \frac{move factor}{1 – friction}$$

For vanilla Doom’s move factor of 0.03125 and friction of 0.90625, that becomes:

$$v = speed \times \frac{\frac{1}{32}}{1 – \frac{29}{32}} = speed \times \frac{\frac{1}{32}}{\frac{3}{32}} = \frac{1}{3} \times speed$$

Curiously, “speed” is three times the maximum speed an actor can actually move. Doomguy’s run speed is 50, so in practice he moves a third of that, or 16⅔ units per tic. (Of course, this isn’t counting SR40, a bug that lets Doomguy run ~40% faster than intended diagonally.)

So now, what if you change friction? Even more curiously, the move factor is calculated completely differently depending on whether friction is higher or lower than the default Doom amount:

$$move factor = \begin{cases} \frac{133 – 128 \times friction}{544} &≈ 0.244 – 0.235 \times friction & \text{ if } friction \ge \frac{29}{32} \\ \frac{81920 \times friction – 70145}{1048576} &≈ 0.078 \times friction – 0.067 & \text{ otherwise } \end{cases}$$

That’s pretty weird? Complicating things further is that low friction (which means muddy terrain, remember) has an extra multiplier on its move factor, depending on how fast you’re already going — the idea is apparently that you have a hard time getting going, but it gets easier as you find your footing. The extra multiplier maxes out at 8, which makes the two halves of that function meet at the vanilla Doom value.

That very top point corresponds to the move factor from the original game. So no matter what you do to friction, the move factor becomes lower. At 0.85 and change, you can no longer move at all; below that, you move backwards.

From the formula above, it’s easy to see what changes to friction and move factor will do to Doomguy’s stable velocity. Move factor is in the numerator, so increasing it will increase stable velocity — but it can’t increase, so stable velocity can only ever decrease. Friction is in the denominator, but it’s subtracted from 1, so increasing friction will make the denominator a smaller value less than 1, i.e. increase stable velocity. Combined, we get this relationship between friction and stable velocity.

As friction approaches 1, stable velocity grows without bound. This makes sense, given the definition of $$v(n)$$ — if friction is 1, the velocity from the previous tic isn’t reduced at all, so we just keep accelerating freely.

All of this is why I’m wary of using multipliers.

Anyway, this leaves me with one last question about the effects of Doom’s friction: how long does it take to reach stable velocity? Barring precision errors, we’ll never truly reach stable velocity, but let’s say within 5%. First we need a closed formula for the velocity after some number of tics. This is a simple recurrence relation, and you can write a few terms out yourself if you want to be sure this is right.

$$v(n) = v_0 \times friction^n + speed \times move factor \times \frac{friction^n – 1}{friction – 1}$$

Our initial velocity is zero, so the first term disappears. Set this equal to the stable formula and solve for n:

$$speed \times move factor \times \frac{friction^n – 1}{friction – 1} = (1 – 5\%) \times speed \times \frac{move factor}{1 – friction} \\ friction^n – 1 = -(1 – 5\%) \\ n = \frac{\ln 5\%}{\ln friction}$$

Speed” and move factor disappear entirely, which makes sense, and this is purely a function of friction (and how close we want to get). For vanilla Doom, that comes out to 30.4, which is a little less than a second. For other values of friction:

As friction increases (which in Doom terms means the surface is more slippery), it takes longer and longer to reach stable speed, which is in turn greater and greater. For lesser friction (i.e. mud), stable speed is lower, but reached fairly quickly. (Of course, the extra “getting going” multiplier while in mud adds some extra time here, but including that in the graph is a bit more complicated.)

I think this matches with my instincts above. How fascinating!

What’s that? This is way too much math and you hate it? Then don’t use multipliers in game physics.

## Uh

That was a hell of a diversion!

I guess the goofiest stuff in basic game physics is really just about mapping player controls to in-game actions like jumping and deceleration; the rest consists of hacks to compensate for representing everything as a box.

# TorrentFreak’s 17 Most Read Articles of 2017

Post Syndicated from Ernesto original https://torrentfreak.com/torrentfreaks-17-most-read-articles-of-2017-171231/

Every year we write roughly 900 articles here at TorrentFreak, and some are more popular than others.

On the brink of 2018, we look back at 2017 by going over the 17 most read news items of the year.

The ExtraTorrent shutdown was a clear eye catcher. Not only was it the most read article, there are also two related news items in the list.

All in all, it was quite a controversial year once again. Website and domain issues tend to be popular items, as the full list shows, as are the inevitable Game of Thrones mentions.

But what will 2018 bring?

### 1. ExtraTorrent Shuts Down For Good

Popular torrent site ExtraTorrent shut down in May. The abrupt decision was announced in a brief message posted on the site’s homepage and came as a complete surprise to many friends and foes.

### 2. Pirate Streaming Site 123Movies Rebrands as GoMovies

Pirate movie streaming site 123movies renamed itself to GoMovies for a fresh start last March. With the brand change and a new domain name, the popular site hoped to set itself apart from the many fake sites. Interestingly, the site has recently moved back to the old 123movies brand again.

### 3. Game of Thrones Episode “S07E06” Leaks Online Early

The sixth episode of the last Game of Thrones season leaked online early in August. Soon after, it was widely shared on various streaming and download portals The leak turned out to be the result of an error at HBO Spain.

#### 4. ExtraTorrent’s Main Domain Name Shut Down By Registrar

Prior to its shutdown, ExtraTorrent lost control of its main domain Extratorrent.cc. The domain name was disconnected by the registrar, presumably after a copyright holder complaint.

#### 5. ‘Putlocker’ Loses Domain Name Following Court Order

Putlockers.ch lost its domain name in February. The site’s registrar EuroDNS was ordered to suspend the domain name following a decision from a Luxembourg court, in favor of an entertainment industry group.

#### 6. ExtraTorrent’s Distribution Groups ettv and EtHD Keep Going

ExtraTorrent shut down, but several popular release groups that originated on the site kept the name alive. Later in the year, ettv and EtHD launched their own website which is slowly gaining traction.

#### 7. Anime Torrent Site NYAA Goes Down After Domain Name Deactivation

Popular anime torrent site NYAA lost control over several of its domain names last Spring. Several people later pointed out that NYAA’s owner decided to close the site voluntarily.

#### 8. Popular Kodi Addon ‘Exodus’ Turned Users into a DDoS ‘Botnet’

Users of the popular Kodi addon Exodus became unwittingly part of a DDoS attack in February. After the issue raised eyebrows in the community, the Exodus developer rolled back the malicious code and retired.

#### 9. Porn Pirate Sites Use ‘Backdoor’ to Host Videos on YouTube

Last January adult streaming sites were found to use Google’s servers to store infringing material at no cost. While streaming sites have exploited Google’s servers for a long time, the issue hit the mainstream news this year.

#### 10. The Pirate Bay’s .SE Domain is Back in Action

The Pirate Bay’s .SE domain name sprang back into action in October, after it was deactivated. A few months later, the Supreme Court decided that it should be handed over to the authorities. TPB, meanwhile, sails on, relying on its original .org domain.

#### 11. Man Leaks New ‘Power’ Episodes Online, Records His Own Face

Last summer a man leaked several episodes of the smash-hit TV series Power. The episodes were ‘cammed’ using a phone, with the ‘cammer’ recording his own face for good measure.

#### 12. Live Mayweather v McGregor Streams Will Thrive On Torrents Tonight

The Mayweather v McGregor fight last August was a streaming success, but not just on legal channels. While centralized streaming services had a hard time keeping up with the unprecedented demand, lesser known live streaming torrents thrived.

#### 13. The Pirate Bay Website Runs a Cryptocurrency Miner

In September, The Pirate Bay decided to use the computer resources of its visitors to mine Monero coins. This resulted in a heated debate. Supporters saw it as a novel way to generate revenue and a potential to replace ads, while opponents went out of their way to block the mining script.

#### 14. Hackers Leak Netflix’s Orange is The New Black Season 5

In April the hacking group “TheDarkOverlord” leaked a trove of unreleased TV shows and movies. The group uploaded several videos, including episodes of Netflix’s Orange is The New Black, which it obtained the content from a post-production studio.

#### 15. Demonoid Returns After Two Months Downtime

After nearly two months of downtime, the semi-private BitTorrent tracker Demonoid resurfaced online in March. The site was pulled offline due to hosting problems and had to endure some internal struggles as well.

#### 16. “We Won’t Block Pirate Bay,” Swedish Telecoms Giant Says

In February a landmark ruling compelled a Swedish ISP to block The Pirate Bay. Copyright holders hoped that other ISPs would follow suit but telecoms giant Telia said it had no intention of blocking The Pirate Bay, unless it’s forced to do so by law.

#### 17. Former Vuze Developers Launch BiglyBT, a ‘New’ Open Source Torrent Client

In August two long-time developers of the Vuze BitTorrent client, formerly known as Azureus, launched BiglyBT. The client emerged at a time when Vuze development stalled. The developers promised to take the project forward while removing all advertising and other annoyances.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

# Internet Users Warned Over Fake 20th Century Fox Piracy ‘Fines’

Post Syndicated from Andy original https://torrentfreak.com/internet-users-warned-over-fake-20th-century-fox-piracy-fines-171220/

Most people who obtain and share large quantities of material online understand that comes with risk, possibly in the form of an ISP-forwarded warning, a letter demanding cash, or even a visit from the police.

While the latter only happens in the rarest of circumstances, warnings are relatively commonplace, especially in the United States where companies like Rightscorp pump them out in their thousands. Letters demanding cash payment, sent by so-called copyright trolls, are less prevalent but these days most people understand the concept of a piracy ‘fine’.

With this level of understanding in the mainstream there are opportunities for scammers, who have periodically tried to extract payments from Internet users who have done nothing wrong. This is currently the case in Germany, where a consumer group is warning of a wave of piracy ‘fines’ being sent out to completely innocent victims.

The emails, which claim to be sent on behalf of 20th Century Fox, allege the recipient has infringed copyright on streaming portal Kinox.to. For this apparent transgression, they demand a payment of more than 375 euros but the whole thing is an elaborate scam.

The 20th Century Fox ‘piracy’ scam

Unlike some fairly primitive previous efforts, however, these emails are actually quite clever.

Citing a genuine ruling from the European Court of Justice which found that streaming content is illegal inside the EU, the cash demand offers up personal information of the user, such as IP addresses, browser, and operating system.

However, instead of obtaining these via an external piracy monitoring system and subsequent court order (as happens with BitTorrent cases), the data is pulled from the user’s machine when a third-party link is clicked.

As highlighted by Tarnkappe, who first noticed the warning, there are other elements to the cash demands that point to an elaborate scam.

Perhaps the biggest tell of all is the complete absence of precise details of the alleged infringement, such as the title of the content supposedly obtained along with a time and date. These are common features of all genuine settlement demands so any that fail to mention content should be treated with caution.

“Do not pay. It is rip off. Report to the police,” the local consumer group warns.

Interestingly, warning recipients are advised by the scammers to pay their ‘fine’ directly to a bank account in the United Kingdom. Hopefully it will have been shut down by now but it’s worth mentioning that people should avoid direct bank transfers with anyone they don’t trust.

If any payment must be made, credit cards are a much safer option but in the case of wannabe trolls, they’re best ignored until they appear with proper proof backed up by credible legal documentation. Even then, people should consider putting up a fight, if they’re being unfairly treated.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons

# Мария Габриел в София: #AVMSD

Post Syndicated from nellyo original https://nellyo.wordpress.com/2017/12/02/avmsd-16/

Мария Габриел, член на Европейската комисия с ресор Цифрова икономика и цифрово общество, участва в кръгла маса на тема: “Предизвикателства пред медийния сектор в Европа“,  организирана от Представителството на Европейската комисия в България и Съветът за електронни медии. Бяха представени две теми:

• актуалните въпроси по Директивата за аудиовизуалните медийни услуги и
• обявената обществена консултация по въпросите на фалшивите новини и дезинформацията.

I

Първата тема – ход на ревизията на Директивата за аудиовизуални медийни услуги.

Първоначалният проект и развитията по 2016/0151(COD) могат да се следят тук.

Според Стратегическата 18-месечна програма на Съвета (председателство Естония, България, Австрия) трите председателства ще приключат работата по ключови инициативи, свързани с цифровия единен пазар, включително

улесняване на свързаността и постигане на напредък в развитието на конкурентоспособен и справедлив цифров единен пазар чрез насърчаване на трансграничната електронна търговия (онлайн продажба на стоки, предоставяне на цифрово съдържание, реформа на авторското право, аудиовизуални медийни услуги, доставяне на колетни пратки) и чрез преход към интелигентна икономика (свободно движение на данни, преглед на регулаторната рамка в областта на далекосъобщенията, инициативи в областта на дружественото право) и укрепване на доверието и сигурността в сферата на цифровите услуги (нов пакет за защита на данните)

Работата по  медийната директива (впрочем и по директивата за авторското право) продължават по време на Българското председателство – в този дух е съобщението на посланика на Естония в ЕС:

От изложението на г-жа Габриел стана ясно, че е тази седмица е проведен  пети триалог, в който тя участва лично. Работата продължава (“финализиране се очаква”) по време на Българското председателство. Като открити бяха посочени три тематични области:

(1) разширяване на обхвата на директивата, включване на стрийминга в услугите,  нови адресати – социалните медии и платформите за видеосподеляне;

(2) квотата на произведенията, създадени от европейски продуценти – и празмерът на квотата (предложения: 20 на сто –  ЕК, 30 на сто –  ЕП), и дефинициите са дискусионни;

(3) търговските съобщения – и правилата (почасова продължителност и продължителност за денонощие), и разполагането (предложение: двоен лимит за светло и тъмно време), и прекъсването (предложение: 20-минутно правило) са още предмет на обсъждане.

По повод откритите въпроси:

• Директивата разширява обхвата си с всяка ревизия. Все пак, когато се обсъжда отговорност на платформите, да бъде в контекста на Директивата за електронната търговия – защото има риск да се стигне  до мълчаливо преуреждане или отмяна на нейните принципи.  В допълнение практиката на ЕСПЧ (решението Делфи за отговорността за съобщения във форумите) илюстрира проблемите, възникващи при нееднозначно разбиране на отговорността в правото на ЕС и в международното право.  По подобни съображения е важна обсъжданата Директива за авторското право, в частност чл.13 – който (споделям позицията на EDRI) трябва да бъде заличен, а нови права не следва да бъдат създавани (чл.11 проекта).
• Квотата на европейските произведения съществува реално на по-високи нива от предвиденото в директивата. В тази област проблем  е отношението европейска – национална  квота, защото местните индустрии  настояват именно за национална квота – а това би било мярка със съвсем различни цели от   европейската квота (единен пазар).
• Уредбата на електронните търговски съобщения се либерализира (в България  – и дерегулира) непрекъснато. Все някъде е добре този процес да спре, за да не се превърне телевизията в поредица търговски съобщения, прекъсвани с основно съдържание. Слушаме уверенията на доставчиците, че потребителите  са най-голямата им ценност и телевизиите не биха програмирали против интересите на зрителите, но все пак нека останат и правни гаранции срещу океаните от търговски съобщения.

Ключови за регулацията остават балансите:

• индустрии / аудитории – както обикновено, натискът на индустриите е мощен и организиран, докато аудиториите са слабо организирани и слабо представени в диалога – дано ЕП  защити интересите на гражданите;
• гъвкавост / недопускане на фрагментиране – съвсем точно наблюдение: неслучайно при предната ревизия ЕК обърна внимание, че гъвкавост и свобода е добре, но не и свобода при  дефинициите – защото различните дефиниции в националните мерки компрометират ефективното прилагане;
• регулиране / саморегулиране – никой не е против саморегулирането, но самата ЕК преди време беше заявила, че има области като интелектуалната собственост и конкурентното право, които не могат по естеството си да бъдат оставени само на саморегулиране.

II

По втората тема – фалшивите новини –   г-жа Габриел поясни, че ЕК работи по следната логика:  дефиниция – обзор на добри практики – мерки, като на този етап не се мисли за законодателство. Още за тази част от срещата –  в медиите.

През 2018 г. се очаква:

• създаване на работна група на високо равнище и доклад в тримесечен срок;
• Евробарометър по въпроси, свързани с фалшивите новини;
• Съобщение на ЕК към средата на 2018 г.

Съвсем наскоро (9 ноември 2017 ) Асоциацията на европейските журналисти проведе международна конференция с последващо обучение по въпросите на дезинформацията и фалшивите новини. Имах възможност да участвам (вж последната част от  записа на конференцията):

• Смятам, че трябва да се започне с  дефиниране, но на следващо място да се продължи с категоризиране на фалшивите новини.
• Реакцията към различните категории фалшиви новини  трябва да е различна. Правото вече предвижда санкции за някои категории лъжа – напр. клеветата или подвеждащата реклама. Не съм   сигурна, че правото няма да се намеси с нови мерки в най-сериозните случаи, когато става дума за дезинформационни кампании, които могат да заплашат националната сигурност.
• Няма единно мнение по въпроса кой идентифицира фалшивите новини или – с други думи: кой владее истината.  Италия предлага това да са нов тип конкурентни регулатори (аналогия с регулирането на подвеждащата реклама), Чехия – звено в МВР (при риск за националната сигурност). ЕК казва, че няма нужда от Министерство на истината – но по-добре ли е това да е частна компания? Виждали сме как Facebook различава морално/неморално – предстои ли да се заеме и с преценката вярно/невярно?  Не всички са съгласни. Но точно това се случва, неслучайно се обсъжда – научаваме – контранотификация срещу свръхпремахване на съдържание.

Filed under: EU Law, Media Law Tagged: давму, fake

# European Commission Steps Up Fight Against Online Piracy

Post Syndicated from Ernesto original https://torrentfreak.com/european-commission-steps-up-fight-against-online-piracy-171130/

The European Commission has had copyright issues at the top of its agenda for a while, resulting in several controversial proposals.

This week it presented a series of new measures to ensure that copyright holders are well protected, targeting both online piracy and counterfeit goods.

“Today we boost our collective ability to catch the ‘big fish’ behind fake goods and pirated content which harm our companies and our jobs – as well as our health and safety in areas such as medicines or toys,” Commissioner Elżbieta Bieńkowska announced.

The Commission notes that it’s stepping up the fight against counterfeiting and piracy. However, many of the proposals are not entirely new for those who follow anti-piracy issues around the globe.

One of the main goals is to focus on the people who facilitate copyright infringement, such as pirate site operators, and try to cut their revenue streams.

“The Commission seeks to deprive commercial-scale IP infringers of the revenue flows that make their criminal activity lucrative – this is the so-called ‘follow the money’ approach which focuses on the ‘big fish’ rather than individuals,” they write.

Instead of using legislation to reach this goal, the Commission prefers to continue its support for voluntary agreements between copyright holders and third-party services. This includes deals with advertising and payment services to cut their ties with pirate sites.

“Such agreements can lead to faster action against counterfeiting and piracy than court actions,” the Commission writes.

Another tool to fight piracy appears on the agenda for the first time. The European Commission notes that it will also support the quest for new anti-piracy initiatives, including the use of blockchain technology.

“Supporting industry-led initiatives to combat IP infringements, including work on Memoranda of Understanding and exploring the potential of new technologies such as blockchain to combat IP infringements in supply chains,” the suggestion reads.

No concrete examples were given but earlier this week, European Parliament member Brando Benifei wrote an article on the issue in Euractiv.

Benifei mentions that blockchain technology can help independent artists collect royalty payments without the need for middlemen. In a similar vein, blockchains can also be used to track the unauthorized distribution of works.

In addition to broadening the anti-piracy horizon, the European Commission also released a new guidance on how the current IPR Enforcement Directive (IPRED) should be interpreted, taking into account various recent developments, including landmark EU Court of Justice rulings.

The guidance explains how and when it’s appropriate to issue website blocking orders, for example. In general, blocking injunctions are warranted when they are proportional and aimed at preventing concrete infringements.

The comprehensive guidance also covers the issue of filtering. Interestingly, the Commission clarifies that third-party services can’t be required to “install and operate excessively broad, unspecific and expensive filtering systems.”

This appears to run counter to the mandatory piracy filters that were suggested as part of the copyright reform proposal.

However, the Commission notes that in some specific cases, hosting providers (e.g. YouTube) can be ordered to monitor uploads. This is in line with a recent communication which recommended that online services should implement measures to automatically detect and remove suspected illegal content.

While the new plans continue down the path of stronger copyright protections, not all rightsholders are happy. IFPI is glad that the main problems are highlighted, but would have liked to have seen more concrete plans.

“We are disappointed that despite the European Commission recognizing the need to modernize IPRED and years of evidence gathering, today’s result is merely guidance to EU Member State governments. Soft law does not give right holders the tools they need to take effective action against pirate services,” IFPI writes.

On the other side of the divide, opposition to the previously announced EU copyright reform plans continues as well. Earlier today a group of over 80 organizations urged EU member states to speak out against several controversial copyright proposals, including the upload filter.

“The signatories warn the Member states that the discussion around the Copyright Directive are on the verge of causing irreparable damage to our fundamental rights and freedoms, our economy and competitiveness, our education and research, our innovation and competition, our creativity and our culture,” they say.

Source: TF, for the latest info on copyright, file-sharing, torrent sites and more. We also have VPN discounts, offers and coupons