Tag Archives: Play

Court Suspends Ban on Roku Sales in Mexico

Post Syndicated from Ernesto original https://torrentfreak.com/court-suspends-ban-on-roku-sales-in-mexico-170623/

Last week, news broke that the Superior Court of Justice of the City of Mexico had issued a ban on Roku sales.

The order prohibited stores such as Amazon, Liverpool, El Palacio de Hierro, and Sears from importing and selling the devices. In addition, several banks were told stop processing payments from accounts that are linked to pirated services on Roku.

While Roku itself is not offering any pirated content, there is a market for third-party pirate channels outside the Roku Channel Store, which turn the boxes into pirate tools. Cablevision filed a complaint about this unauthorized use which eventually resulted in the ban.

The news generated headlines all over the world and was opposed immediately by several of the parties involved. Yesterday, a federal judge decided to suspend the import and sales ban, at least temporarily.

As a result, local vendors can resume their sales of the popular media player.

“Roku is pleased with today’s court decision, which paves the way for sales of Roku devices to resume in Mexico,” Roku’s General Counsel Steve Kay informed TorrentFreak after he heard the news.

Roku

TorrentFreak has not been able to get a copy of the suspension order, but it’s likely that the court wants to review the case in more detail before a final decision is made.

While streaming player piracy is seen as one of the greatest threats the entertainment industry faces today, the Roku ban went quite far. In a way, it would be similar to banning the Chrome browser because certain add-ons and sites allow users to stream pirated movies.

Roku, meanwhile, says it will continue to work with rightholders and other stakeholders to prevent piracy on its platform, to the best of their ability.

“Piracy is a problem the industry at large is facing,” Key tells TorrentFreak.

“We prohibit copyright infringement of any kind on the Roku platform. We actively work to prevent third-parties from using our platform to distribute copyright infringing content. Moreover, we have been actively working with other industry stakeholders on a wide range of anti-piracy initiatives.”

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

CoderDojo Coolest Projects 2017

Post Syndicated from Ben Nuttall original https://www.raspberrypi.org/blog/coderdojo-coolest-projects-2017/

When I heard we were merging with CoderDojo, I was delighted. CoderDojo is a wonderful organisation with a spectacular community, and it’s going to be great to join forces with the team and work towards our common goal: making a difference to the lives of young people by making technology accessible to them.

You may remember that last year Philip and I went along to Coolest Projects, CoderDojo’s annual event at which their global community showcase their best makes. It was awesome! This year a whole bunch of us from the Raspberry Pi Foundation attended Coolest Projects with our new Irish colleagues, and as expected, the projects on show were as cool as can be.

Coolest Projects 2017 attendee

Crowd at Coolest Projects 2017

This year’s coolest projects!

Young maker Benjamin demoed his brilliant RGB LED table tennis ball display for us, and showed off his brilliant project tutorial website codemakerbuddy.com, which he built with Python and Flask. [Click on any of the images to enlarge them.]

Coolest Projects 2017 LED ping-pong ball display
Coolest Projects 2017 Benjamin and Oly

Next up, Aimee showed us a recipes app she’d made with the MIT App Inventor. It was a really impressive and well thought-out project.

Coolest Projects 2017 Aimee's cook book
Coolest Projects 2017 Aimee's setup

This very successful OpenCV face detection program with hardware installed in a teddy bear was great as well:

Coolest Projects 2017 face detection bear
Coolest Projects 2017 face detection interface
Coolest Projects 2017 face detection database

Helen’s and Oly’s favourite project involved…live bees!

Coolest Projects 2017 live bees

BEEEEEEEEEEES!

Its creator, 12-year-old Amy, said she wanted to do something to help the Earth. Her project uses various sensors to record data on the bee population in the hive. An adjacent monitor displays the data in a web interface:

Coolest Projects 2017 Aimee's bees

Coolest robots

I enjoyed seeing lots of GPIO Zero projects out in the wild, including this robotic lawnmower made by Kevin and Zach:

Raspberry Pi Lawnmower

Kevin and Zach’s Raspberry Pi lawnmower project with Python and GPIO Zero, showed at CoderDojo Coolest Projects 2017

Philip’s favourite make was a Pi-powered robot you can control with your mind! According to the maker, Laura, it worked really well with Philip because he has no hair.

Philip Colligan on Twitter

This is extraordinary. Laura from @CoderDojo Romania has programmed a mind controlled robot using @Raspberry_Pi @coolestprojects

And here are some pictures of even more cool robots we saw:

Coolest Projects 2017 coolest robot no.1
Coolest Projects 2017 coolest robot no.2
Coolest Projects 2017 coolest robot no.3

Games, toys, activities

Oly and I were massively impressed with the work of Mogamad, Daniel, and Basheerah, who programmed a (borrowed) Amazon Echo to make a voice-controlled text-adventure game using Java and the Alexa API. They’ve inspired me to try something similar using the AIY projects kit and adventurelib!

Coolest Projects 2017 Mogamad, Daniel, Basheerah, Oly
Coolest Projects 2017 Alexa text-based game

Christopher Hill did a brilliant job with his Home Alone LEGO house. He used sensors to trigger lights and sounds to make it look like someone’s at home, like in the film. I should have taken a video – seeing it in action was great!

Coolest Projects 2017 Lego home alone house
Coolest Projects 2017 Lego home alone innards
Coolest Projects 2017 Lego home alone innards closeup

Meanwhile, the Northern Ireland Raspberry Jam group ran a DOTS board activity, which turned their area into a conductive paint hazard zone.

Coolest Projects 2017 NI Jam DOTS activity 1
Coolest Projects 2017 NI Jam DOTS activity 2
Coolest Projects 2017 NI Jam DOTS activity 3
Coolest Projects 2017 NI Jam DOTS activity 4
Coolest Projects 2017 NI Jam DOTS activity 5
Coolest Projects 2017 NI Jam DOTS activity 6

Creativity and ingenuity

We really enjoyed seeing so many young people collaborating, experimenting, and taking full advantage of the opportunity to make real projects. And we loved how huge the range of technologies in use was: people employed all manner of hardware and software to bring their ideas to life.

Philip Colligan on Twitter

Wow! Look at that room full of awesome young people. @coolestprojects #coolestprojects @CoderDojo

Congratulations to the Coolest Projects 2017 prize winners, and to all participants. Here are some of the teams that won in the different categories:

Coolest Projects 2017 winning team 1
Coolest Projects 2017 winning team 2
Coolest Projects 2017 winning team 3

Take a look at the gallery of all winners over on Flickr.

The wow factor

Raspberry Pi co-founder and Foundation trustee Pete Lomas came along to the event as well. Here’s what he had to say:

It’s hard to describe the scale of the event, and photos just don’t do it justice. The first thing that hit me was the sheer excitement of the CoderDojo ninjas [the children attending Dojos]. Everyone was setting up for their time with the project judges, and their pure delight at being able to show off their creations was evident in both halls. Time and time again I saw the ninjas apply their creativity to help save the planet or make someone’s life better, and it’s truly exciting that we are going to help that continue and expand.

Even after 8 hours, enthusiasm wasn’t flagging – the awards ceremony was just brilliant, with ninjas high-fiving the winners on the way to the stage. This speaks volumes about the ethos and vision of the CoderDojo founders, where everyone is a winner just by being part of a community of worldwide friends. It was a brilliant introduction, and if this weekend was anything to go by, our merger certainly is a marriage made in Heaven.

Join this awesome community!

If all this inspires you as much as it did us, consider looking for a CoderDojo near you – and sign up as a volunteer! There’s plenty of time for young people to build up skills and start working on a project for next year’s event. Check out coolestprojects.com for more information.

The post CoderDojo Coolest Projects 2017 appeared first on Raspberry Pi.

How to Create an AMI Builder with AWS CodeBuild and HashiCorp Packer – Part 2

Post Syndicated from Heitor Lessa original https://aws.amazon.com/blogs/devops/how-to-create-an-ami-builder-with-aws-codebuild-and-hashicorp-packer-part-2/

Written by AWS Solutions Architects Jason Barto and Heitor Lessa

 
In Part 1 of this post, we described how AWS CodeBuild, AWS CodeCommit, and HashiCorp Packer can be used to build an Amazon Machine Image (AMI) from the latest version of Amazon Linux. In this post, we show how to use AWS CodePipeline, AWS CloudFormation, and Amazon CloudWatch Events to continuously ship new AMIs. We use Ansible by Red Hat to harden the OS on the AMIs through a well-known set of security controls outlined by the Center for Internet Security in its CIS Amazon Linux Benchmark.

You’ll find the source code for this post in our GitHub repo.

At the end of this post, we will have the following architecture:

Requirements

 
To follow along, you will need Git and a text editor. Make sure Git is configured to work with AWS CodeCommit, as described in Part 1.

Technologies

 
In addition to the services and products used in Part 1 of this post, we also use these AWS services and third-party software:

AWS CloudFormation gives developers and systems administrators an easy way to create and manage a collection of related AWS resources, provisioning and updating them in an orderly and predictable fashion.

Amazon CloudWatch Events enables you to react selectively to events in the cloud and in your applications. Specifically, you can create CloudWatch Events rules that match event patterns, and take actions in response to those patterns.

AWS CodePipeline is a continuous integration and continuous delivery service for fast and reliable application and infrastructure updates. AWS CodePipeline builds, tests, and deploys your code every time there is a code change, based on release process models you define.

Amazon SNS is a fast, flexible, fully managed push notification service that lets you send individual messages or to fan out messages to large numbers of recipients. Amazon SNS makes it simple and cost-effective to send push notifications to mobile device users or email recipients. The service can even send messages to other distributed services.

Ansible is a simple IT automation system that handles configuration management, application deployment, cloud provisioning, ad-hoc task-execution, and multinode orchestration.

Getting Started

 
We use CloudFormation to bootstrap the following infrastructure:

Component Purpose
AWS CodeCommit repository Git repository where the AMI builder code is stored.
S3 bucket Build artifact repository used by AWS CodePipeline and AWS CodeBuild.
AWS CodeBuild project Executes the AWS CodeBuild instructions contained in the build specification file.
AWS CodePipeline pipeline Orchestrates the AMI build process, triggered by new changes in the AWS CodeCommit repository.
SNS topic Notifies subscribed email addresses when an AMI build is complete.
CloudWatch Events rule Defines how the AMI builder should send a custom event to notify an SNS topic.
Region AMI Builder Launch Template
N. Virginia (us-east-1)
Ireland (eu-west-1)

After launching the CloudFormation template linked here, we will have a pipeline in the AWS CodePipeline console. (Failed at this stage simply means we don’t have any data in our newly created AWS CodeCommit Git repository.)

Next, we will clone the newly created AWS CodeCommit repository.

If this is your first time connecting to a AWS CodeCommit repository, please see instructions in our documentation on Setup steps for HTTPS Connections to AWS CodeCommit Repositories.

To clone the AWS CodeCommit repository (console)

  1. From the AWS Management Console, open the AWS CloudFormation console.
  2. Choose the AMI-Builder-Blogpost stack, and then choose Output.
  3. Make a note of the Git repository URL.
  4. Use git to clone the repository.

For example: git clone https://git-codecommit.eu-west-1.amazonaws.com/v1/repos/AMI-Builder_repo

To clone the AWS CodeCommit repository (CLI)

# Retrieve CodeCommit repo URL
git_repo=$(aws cloudformation describe-stacks --query 'Stacks[0].Outputs[?OutputKey==`GitRepository`].OutputValue' --output text --stack-name "AMI-Builder-Blogpost")

# Clone repository locally
git clone ${git_repo}

Bootstrap the Repo with the AMI Builder Structure

 
Now that our infrastructure is ready, download all the files and templates required to build the AMI.

Your local Git repo should have the following structure:

.
├── ami_builder_event.json
├── ansible
├── buildspec.yml
├── cloudformation
├── packer_cis.json

Next, push these changes to AWS CodeCommit, and then let AWS CodePipeline orchestrate the creation of the AMI:

git add .
git commit -m "My first AMI"
git push origin master

AWS CodeBuild Implementation Details

 
While we wait for the AMI to be created, let’s see what’s changed in our AWS CodeBuild buildspec.yml file:

...
phases:
  ...
  build:
    commands:
      ...
      - ./packer build -color=false packer_cis.json | tee build.log
  post_build:
    commands:
      - egrep "${AWS_REGION}\:\sami\-" build.log | cut -d' ' -f2 > ami_id.txt
      # Packer doesn't return non-zero status; we must do that if Packer build failed
      - test -s ami_id.txt || exit 1
      - sed -i.bak "s/<<AMI-ID>>/$(cat ami_id.txt)/g" ami_builder_event.json
      - aws events put-events --entries file://ami_builder_event.json
      ...
artifacts:
  files:
    - ami_builder_event.json
    - build.log
  discard-paths: yes

In the build phase, we capture Packer output into a file named build.log. In the post_build phase, we take the following actions:

  1. Look up the AMI ID created by Packer and save its findings to a temporary file (ami_id.txt).
  2. Forcefully make AWS CodeBuild to fail if the AMI ID (ami_id.txt) is not found. This is required because Packer doesn’t fail if something goes wrong during the AMI creation process. We have to tell AWS CodeBuild to stop by informing it that an error occurred.
  3. If an AMI ID is found, we update the ami_builder_event.json file and then notify CloudWatch Events that the AMI creation process is complete.
  4. CloudWatch Events publishes a message to an SNS topic. Anyone subscribed to the topic will be notified in email that an AMI has been created.

Lastly, the new artifacts phase instructs AWS CodeBuild to upload files built during the build process (ami_builder_event.json and build.log) to the S3 bucket specified in the Outputs section of the CloudFormation template. These artifacts can then be used as an input artifact in any later stage in AWS CodePipeline.

For information about customizing the artifacts sequence of the buildspec.yml, see the Build Specification Reference for AWS CodeBuild.

CloudWatch Events Implementation Details

 
CloudWatch Events allow you to extend the AMI builder to not only send email after the AMI has been created, but to hook up any of the supported targets to react to the AMI builder event. This event publication means you can decouple from Packer actions you might take after AMI completion and plug in other actions, as you see fit.

For more information about targets in CloudWatch Events, see the CloudWatch Events API Reference.

In this case, CloudWatch Events should receive the following event, match it with a rule we created through CloudFormation, and publish a message to SNS so that you can receive an email.

Example CloudWatch custom event

[
        {
            "Source": "com.ami.builder",
            "DetailType": "AmiBuilder",
            "Detail": "{ \"AmiStatus\": \"Created\"}",
            "Resources": [ "ami-12cd5guf" ]
        }
]

Cloudwatch Events rule

{
  "detail-type": [
    "AmiBuilder"
  ],
  "source": [
    "com.ami.builder"
  ],
  "detail": {
    "AmiStatus": [
      "Created"
    ]
  }
}

Example SNS message sent in email

{
    "version": "0",
    "id": "f8bdede0-b9d7...",
    "detail-type": "AmiBuilder",
    "source": "com.ami.builder",
    "account": "<<aws_account_number>>",
    "time": "2017-04-28T17:56:40Z",
    "region": "eu-west-1",
    "resources": ["ami-112cd5guf "],
    "detail": {
        "AmiStatus": "Created"
    }
}

Packer Implementation Details

 
In addition to the build specification file, there are differences between the current version of the HashiCorp Packer template (packer_cis.json) and the one used in Part 1.

Variables

  "variables": {
    "vpc": "{{env `BUILD_VPC_ID`}}",
    "subnet": "{{env `BUILD_SUBNET_ID`}}",
         “ami_name”: “Prod-CIS-Latest-AMZN-{{isotime \”02-Jan-06 03_04_05\”}}”
  },
  • ami_name: Prefixes a name used by Packer to tag resources during the Builders sequence.
  • vpc and subnet: Environment variables defined by the CloudFormation stack parameters.

We no longer assume a default VPC is present and instead use the VPC and subnet specified in the CloudFormation parameters. CloudFormation configures the AWS CodeBuild project to use these values as environment variables. They are made available throughout the build process.

That allows for more flexibility should you need to change which VPC and subnet will be used by Packer to launch temporary resources.

Builders

  "builders": [{
    ...
    "ami_name": “{{user `ami_name`| clean_ami_name}}”,
    "tags": {
      "Name": “{{user `ami_name`}}”,
    },
    "run_tags": {
      "Name": “{{user `ami_name`}}",
    },
    "run_volume_tags": {
      "Name": “{{user `ami_name`}}",
    },
    "snapshot_tags": {
      "Name": “{{user `ami_name`}}",
    },
    ...
    "vpc_id": "{{user `vpc` }}",
    "subnet_id": "{{user `subnet` }}"
  }],

We now have new properties (*_tag) and a new function (clean_ami_name) and launch temporary resources in a VPC and subnet specified in the environment variables. AMI names can only contain a certain set of ASCII characters. If the input in project deviates from the expected characters (for example, includes whitespace or slashes), Packer’s clean_ami_name function will fix it.

For more information, see functions on the HashiCorp Packer website.

Provisioners

  "provisioners": [
    {
        "type": "shell",
        "inline": [
            "sudo pip install ansible"
        ]
    }, 
    {
        "type": "ansible-local",
        "playbook_file": "ansible/playbook.yaml",
        "role_paths": [
            "ansible/roles/common"
        ],
        "playbook_dir": "ansible",
        "galaxy_file": "ansible/requirements.yaml"
    },
    {
      "type": "shell",
      "inline": [
        "rm .ssh/authorized_keys ; sudo rm /root/.ssh/authorized_keys"
      ]
    }

We used shell provisioner to apply OS patches in Part 1. Now, we use shell to install Ansible on the target machine and ansible-local to import, install, and execute Ansible roles to make our target machine conform to our standards.

Packer uses shell to remove temporary keys before it creates an AMI from the target and temporary EC2 instance.

Ansible Implementation Details

 
Ansible provides OS patching through a custom Common role that can be easily customized for other tasks.

CIS Benchmark and Cloudwatch Logs are implemented through two Ansible third-party roles that are defined in ansible/requirements.yaml as seen in the Packer template.

The Ansible provisioner uses Ansible Galaxy to download these roles onto the target machine and execute them as instructed by ansible/playbook.yaml.

For information about how these components are organized, see the Playbook Roles and Include Statements in the Ansible documentation.

The following Ansible playbook (ansible</playbook.yaml) controls the execution order and custom properties:

---
- hosts: localhost
  connection: local
  gather_facts: true    # gather OS info that is made available for tasks/roles
  become: yes           # majority of CIS tasks require root
  vars:
    # CIS Controls whitepaper:  http://bit.ly/2mGAmUc
    # AWS CIS Whitepaper:       http://bit.ly/2m2Ovrh
    cis_level_1_exclusions:
    # 3.4.2 and 3.4.3 effectively blocks access to all ports to the machine
    ## This can break automation; ignoring it as there are stronger mechanisms than that
      - 3.4.2 
      - 3.4.3
    # CloudWatch Logs will be used instead of Rsyslog/Syslog-ng
    ## Same would be true if any other software doesn't support Rsyslog/Syslog-ng mechanisms
      - 4.2.1.4
      - 4.2.2.4
      - 4.2.2.5
    # Autofs is not installed in newer versions, let's ignore
      - 1.1.19
    # Cloudwatch Logs role configuration
    logs:
      - file: /var/log/messages
        group_name: "system_logs"
  roles:
    - common
    - anthcourtney.cis-amazon-linux
    - dharrisio.aws-cloudwatch-logs-agent

Both third-party Ansible roles can be easily configured through variables (vars). We use Ansible playbook variables to exclude CIS controls that don’t apply to our case and to instruct the CloudWatch Logs agent to stream the /var/log/messages log file to CloudWatch Logs.

If you need to add more OS or application logs, you can easily duplicate the playbook and make changes. The CloudWatch Logs agent will ship configured log messages to CloudWatch Logs.

For more information about parameters you can use to further customize third-party roles, download Ansible roles for the Cloudwatch Logs Agent and CIS Amazon Linux from the Galaxy website.

Committing Changes

 
Now that Ansible and CloudWatch Events are configured as a part of the build process, commiting any changes to the AWS CodeComit Git Repository will triger a new AMI build process that can be followed through the AWS CodePipeline console.

When the build is complete, an email will be sent to the email address you provided as a part of the CloudFormation stack deployment. The email serves as notification that an AMI has been built and is ready for use.

Summary

 
We used AWS CodeCommit, AWS CodePipeline, AWS CodeBuild, Packer, and Ansible to build a pipeline that continuously builds new, hardened CIS AMIs. We used Amazon SNS so that email addresses subscribed to a SNS topic are notified upon completion of the AMI build.

By treating our AMI creation process as code, we can iterate and track changes over time. In this way, it’s no different from a software development workflow. With that in mind, software patches, OS configuration, and logs that need to be shipped to a central location are only a git commit away.

Next Steps

 
Here are some ideas to extend this AMI builder:

  • Hook up a Lambda function in Cloudwatch Events to update EC2 Auto Scaling configuration upon completion of the AMI build.
  • Use AWS CodePipeline parallel steps to build multiple Packer images.
  • Add a commit ID as a tag for the AMI you created.
  • Create a scheduled Lambda function through Cloudwatch Events to clean up old AMIs based on timestamp (name or additional tag).
  • Implement Windows support for the AMI builder.
  • Create a cross-account or cross-region AMI build.

Cloudwatch Events allow the AMI builder to decouple AMI configuration and creation so that you can easily add your own logic using targets (AWS Lambda, Amazon SQS, Amazon SNS) to add events or recycle EC2 instances with the new AMI.

If you have questions or other feedback, feel free to leave it in the comments or contribute to the AMI Builder repo on GitHub.

Three Men Sentenced Following £2.5m Internet Piracy Case

Post Syndicated from Andy original https://torrentfreak.com/three-men-sentenced-following-2-5m-internet-piracy-case-170622/

While legal action against low-level individual file-sharers is extremely rare in the UK, the country continues to pose a risk for those engaged in larger-scale infringement.

That is largely due to the activities of the Police Intellectual Property Crime Unit and private anti-piracy outfits such as the Federation Against Copyright Theft (FACT). Investigations are often a joint effort which can take many years to complete, but the outcomes can often involve criminal sentences.

That was the profile of another Internet piracy case that concluded in London this week. It involved three men from the UK, Eric Brooks, 43, from Bolton, Mark Valentine, 44, from Manchester, and Craig Lloyd, 33, from Wolverhampton.

The case began when FACT became aware of potentially infringing activity back in February 2011. The anti-piracy group then investigated for more than a year before handing the case to police in March 2012.

On July 4, 2012, officers from City of London Police arrested Eric Brooks’ at his home in Bolton following a joint raid with FACT. Computer equipment was seized containing evidence that Brooks had been running a Netherlands-based server hosting more than £100,000 worth of pirated films, music, games, software and ebooks.

According to police, a spreadsheet on Brooks’ computer revealed he had hundreds of paying customers, all recruited from online forums. Using PayPal or utilizing bank transfers, each paid money to access the server. Police mentioned no group or site names in information released this week.

“Enquiries with PayPal later revealed that [Brooks] had made in excess of £500,000 in the last eight years from his criminal business and had in turn defrauded the film and TV industry alone of more than £2.5 million,” police said.

“As his criminal enterprise affected not only the film and TV but the wider entertainment industry including music, games, books and software it is thought that he cost the wider industry an amount much higher than £2.5 million.”

On the same day police arrested Brooks, Mark Valentine’s home in Manchester had a similar unwelcome visit. A day later, Craig Lloyd’s home in Wolverhampton become the third target for police.

Computer equipment was seized from both addresses which revealed that the pair had been paying for access to Brooks’ servers in order to service their own customers.

“They too had used PayPal as a means of taking payment and had earned thousands of pounds from their criminal actions; Valentine gaining £34,000 and Lloyd making over £70,000,” police revealed.

But after raiding the trio in 2012, it took more than four years to charge the men. In a feature common to many FACT cases, all three were charged with Conspiracy to Defraud rather than copyright infringement offenses. All three men pleaded guilty before trial.

On Monday, the men were sentenced at Inner London Crown Court. Brooks was sentenced to 24 months in prison, suspended for 12 months and ordered to complete 140 hours of unpaid work.

Valentine and Lloyd were each given 18 months in prison, suspended for 12 months. Each was ordered to complete 80 hours unpaid work.

Detective Constable Chris Glover, who led the investigation for the City of London Police, welcomed the sentencing.

“The success of this investigation is a result of co-ordinated joint working between the City of London Police and FACT. Brooks, Valentine and Lloyd all thought that they were operating under the radar and doing something which they thought was beyond the controls of law enforcement,” Glover said.

“Brooks, Valentine and Lloyd will now have time in prison to reflect on their actions and the result should act as deterrent for anyone else who is enticed by abusing the internet to the detriment of the entertainment industry.”

While even suspended sentences are a serious matter, none of the men will see the inside of a cell if they meet the conditions of their sentence for the next 12 months. For a case lasting four years involving such large sums of money, that is probably a disappointing result for FACT and the police.

Nevertheless, the men won’t be allowed to enjoy the financial proceeds of their piracy, if indeed any money is left. City of London Police say the trio will be subject to a future confiscation hearing to seize any proceeds of crime.

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

South Korean Webhost Nayana Pays USD1 Million Ransom

Post Syndicated from Darknet original http://feedproxy.google.com/~r/darknethackers/~3/jTy5T4S7TZQ/

So far this Nayana payout is the biggest ransomware payment I’ve seen reported, there’s probably some bigger ones been paid but kept undercover. Certainly a good deal for the bad actors in this play, and well using an outdated Kernel along with PHP and Apache versions from 2006 you can’t feel too sorry for Nayana. […]

The post South Korean…

Read the full post at darknet.org.uk

Roku Sales Banned in Mexico Over Piracy Concerns

Post Syndicated from Ernesto original https://torrentfreak.com/roku-sales-banned-in-mexico-over-piracy-concerns-170619/

Online streaming piracy is on the rise and many people use dedicated media players to watch it through their regular TV.

While a lot of attention has been on Kodi, there are other players on the market that allow people to do the same. Roku, for example, has been doing very well too.

Like Kodi, Roku media players don’t offer any pirated content out of the box. In fact, they can be hooked up to a wide variety of legal streaming options including HBO Go, Hulu, and Netflix. Still, there is also a market for third-party pirate channels, outside the Roku Channel Store, which turn the boxes into pirate tools.

This pirate angle has now resulted in a ban on Roku sales in Mexico, according to a report in Milenio.

The ban was issued by the Superior Court of Justice of the City of Mexico, following a complaint from Cablevision. The order in question prohibits stores such as Amazon, Liverpool, El Palacio de Hierro, and Sears from importing and selling the devices.

In addition, the court also instructs banks including Banorte and BBVA Bancomer to stop processing payments from a long list of accounts linked to pirated services on Roku.

The main reason for the order is the availability of pirated content through Roku, but banning the device itself is utterly comprehensive. It would be similar to banning all Android-based devices because certain apps allow users to stream copyrighted content without permission.

Roku

Roku has yet to release an official statement on the court order. TorrentFreak reached out to the company but hadn’t heard back at the time of publication.

It’s clear, however, that streaming players are among the top concerns for copyright holders. Motion Picture Association boss Stan McCoy recently characterized the use of streaming players to access infringing content as “Piracy 3.0.

“If you think of old-fashioned peer-to-peer piracy as 1.0, and then online illegal streaming websites as 2.0, in the audio-visual sector, in particular, we now face challenge number 3.0, which is what I’ll call the challenge of illegal streaming devices,” McCoy said earlier this month.

Unlike the court order in Mexico, however, McCoy stressed that the devices themselves, and software such as Kodi, are ‘probably’ not illegal. However, copyright-infringing pirate add-ons have the capability to turn them into an unprecedented piracy threat.

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

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.

The Pirate Bay Isn’t Affected By Adverse Court Rulings – Everyone Else Is

Post Syndicated from Andy original https://torrentfreak.com/the-pirate-bay-isnt-affected-by-adverse-court-rulings-everyone-else-is-170618/

For more than a decade The Pirate Bay has been the world’s most controversial site. Delivering huge quantities of copyrighted content to the masses, the platform is revered and reviled across the copyright spectrum.

Its reputation is one of a defiant Internet swashbuckler, but due to changes in how the site has been run in more recent times, its current philosophy is more difficult to gauge. What has never been in doubt, however, is the site’s original intent to be as provocative as possible.

Through endless publicity stunts, some real, some just for the ‘lulz’, The Pirate Bay managed to attract a massive audience, all while incurring the wrath of every major copyright holder in the world.

Make no mistake, they all queued up to strike back, but every subsequent rightsholder action was met by a Pirate Bay middle finger, two fingers, or chin flick, depending on the mood of the day. This only served to further delight the masses, who happily spread the word while keeping their torrents flowing.

This vicious circle of being targeted by the entertainment industries, mocking them, and then reaping the traffic benefits, developed into the cheapest long-term marketing campaign the Internet had ever seen. But nothing is ever truly for free and there have been consequences.

After taunting Hollywood and the music industry with its refusals to capitulate, endless legal action that the site would have ordinarily been forced to participate in largely took place without The Pirate Bay being present. It doesn’t take a law degree to work out what happened in each and every one of those cases, whatever complex route they took through the legal system. No defense, no win.

For example, the web-blocking phenomenon across the UK, Europe, Asia and Australia was driven by the site’s absolute resilience and although there would clearly have been other scapegoats had The Pirate Bay disappeared, the site was the ideal bogeyman the copyright lobby required to move forward.

Filing blocking lawsuits while bringing hosts, advertisers, and ISPs on board for anti-piracy initiatives were also made easier with the ‘evil’ Pirate Bay still online. Immune from every anti-piracy technique under the sun, the existence of the platform in the face of all onslaughts only strengthened the cases of those arguing for even more drastic measures.

Over a decade, this has meant a significant tightening of the sharing and streaming climate. Without any big legislative changes but plenty of case law against The Pirate Bay, web-blocking is now a walk in the park, ad hoc domain seizures are a fairly regular occurrence, and few companies want to host sharing sites. Advertisers and brands are also hesitant over where they place their ads. It’s a very different world to the one of 10 years ago.

While it would be wrong to attribute every tightening of the noose to the actions of The Pirate Bay, there’s little doubt that the site and its chaotic image played a huge role in where copyright enforcement is today. The platform set out to provoke and succeeded in every way possible, gaining supporters in their millions. It could also be argued it kicked a hole in a hornets’ nest, releasing the hell inside.

But perhaps the site’s most amazing achievement is the way it has managed to stay online, despite all the turmoil.

This week yet another ruling, this time from the powerful European Court of Justice, found that by offering links in the manner it does, The Pirate Bay and other sites are liable for communicating copyright works to the public. Of course, this prompted the usual swathe of articles claiming that this could be the final nail in the site’s coffin.

Wrong.

In common with every ruling, legal defeat, and legislative restriction put in place due to the site’s activities, this week’s decision from the ECJ will have zero effect on the Pirate Bay’s availability. For right or wrong, the site was breaking the law long before this ruling and will continue to do so until it decides otherwise.

What we have instead is a further tightened legal landscape that will have a lasting effect on everything BUT the site, including weaker torrent sites, Internet users, and user-uploaded content sites such as YouTube.

With The Pirate Bay carrying on regardless, that is nothing short of remarkable.

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.

Mira, tiny robot of joyful delight

Post Syndicated from Alex Bate original https://www.raspberrypi.org/blog/mira-robot-alonso-martinez/

The staff of Pi Towers are currently melting into puddles while making ‘Aaaawwwwwww’ noises as Mira, the adorable little Pi-controlled robot made by Pixar 3D artist Alonso Martinez, steals their hearts.

Mira the robot playing peek-a-boo

If you want to get updates on Mira’s progress, sign up for the mailing list! http://eepurl.com/bteigD Mira is a desk companion that makes your life better one smile at a time. This project explores human robot interactivity and emotional intelligence. Currently Mira uses face tracking to interact with the users and loves playing the game “peek-a-boo”.

Introducing Mira

Honestly, I can’t type words – I am but a puddle! If I could type at all, I would only produce a stream of affectionate fragments. Imagine walking into a room full of kittens. What you would sound like is what I’d type.

No! I can do this. I’m a professional. I write for a living! I can…

SHE BLINKS OHMYAAAARGH!!!

Mira Alonso Martinez Raspberry Pi

Weebl & Bob meets South Park’s Ike Broflovski in an adorable 3D-printed bundle of ‘Aaawwwww’

Introducing Mira (I promise I can do this)

Right. I’ve had a nap and a drink. I’ve composed myself. I am up for this challenge. As long as I don’t look directly at her, I’ll be fine!

Here I go.

As one of the many über-talented 3D artists at Pixar, Alonso Martinez knows a thing or two about bringing adorable-looking characters to life on screen. However, his work left him wondering:

In movies you see really amazing things happening but you actually can’t interact with them – what would it be like if you could interact with characters?

So with the help of his friends Aaron Nathan and Vijay Sundaram, Alonso set out to bring the concept of animation to the physical world by building a “character” that reacts to her environment. His experiments with robotics started with Gertie, a ball-like robot reminiscent of his time spent animating bouncing balls when he was learning his trade. From there, he moved on to Mira.

Mira Alonso Martinez

Many, many of the views of this Tested YouTube video have come from me. So many.

Mira swivels to follow a person’s face, plays games such as peekaboo, shows surprise when you finger-shoot her, and giggles when you give her a kiss.

Mira’s inner workings

To get Mira to turn her head in three dimensions, Alonso took inspiration from the Microsoft Sidewinder Pro joystick he had as a kid. He purchased one on eBay, took it apart to understand how it works, and replicated its mechanism for Mira’s Raspberry Pi-powered innards.

Mira Alonso Martinez

Alonso used the smallest components he could find so that they would fit inside Mira’s tiny body.

Mira’s axis of 3D-printed parts moves via tiny Power HD DSM44 servos, while a camera and OpenCV handle face-tracking, and a single NeoPixel provides a range of colours to indicate her emotions. As for the blinking eyes? Two OLED screens boasting acrylic domes fit within the few millimeters between all the other moving parts.

More on Mira, including her history and how she works, can be found in this wonderful video released by Tested this week.

Pixar Artist’s 3D-Printed Animated Robots!

We’re gushing with grins and delight at the sight of these adorable animated robots created by artist Alonso Martinez. Sean chats with Alonso to learn how he designed and engineered his family of robots, using processes like 3D printing, mold-making, and silicone casting. They’re amazing!

You can also sign up for Alonso’s newsletter here to stay up-to-date about this little robot. Hopefully one of these newsletters will explain how to buy or build your own Mira, as I for one am desperate to see her adorable little face on my desk every day for the rest of my life.

The post Mira, tiny robot of joyful delight appeared first on Raspberry Pi.

Pirate Bay Ruling is Bad News For Google & YouTube, Experts Says

Post Syndicated from Andy original https://torrentfreak.com/pirate-bay-ruling-is-bad-news-for-google-youtube-experts-says-170615/

After years of legal wrangling, yesterday the European Court of Justice handed down a decision in the case between Dutch anti-piracy outfit BREIN and ISPs Ziggo and XS4ALL.

BREIN had demanded that the ISPs block The Pirate Bay, but both providers dug in their heels, forcing the case through the Supreme Court and eventually the ECJ.

For BREIN, yesterday’s decision will have been worth the wait. Although The Pirate Bay does not provide the content that’s ultimately downloaded and shared by its users, the ECJ said that it plays an important role in how that content is presented.

“Whilst it accepts that the works in question are placed online by the users, the Court highlights the fact that the operators of the platform play an essential role in making those works available,” the Court said.

With that established the all-important matter is whether by providing such a platform, the operators of The Pirate Bay are effectively engaging in a “communication to the public” of copyrighted works. According to the ECJ, that’s indeed the case.

“The Court holds that the making available and management of an online sharing platform must be considered to be an act of communication for the purposes of the directive,” the ECJ said.

Add into the mix that The Pirate Bay generates profit from its activities and there’s a potent case for copyright liability.

While the case was about The Pirate Bay, ECJ rulings tend to have an effect far beyond individual cases. That’s certainly the opinion of Enzo Mazza, chief at Italian anti-piracy group FIMI.

“The ruling will have a major impact on the way that entities like Google operate, because it will expose them to a greater and more direct responsibility,” Mazza told La Repubblica.

“So far, Google has worked against piracy by eliminating illegal content after it gets reported. But that is not enough. It is a fairly ineffective intervention.”

Mazza says that platforms like Google, YouTube, and thousands of similar sites that help to organize and curate user-uploaded content are somewhat similar to The Pirate Bay. In any event, they are not neutral intermediaries, he insists.

The conclusion that the decision is bad for platforms like YouTube is shared by Fulvio Sarzana, a lawyer with Sarzana and Partners, a law firm specializing in Internet and copyright disputes.

“In the ruling, the Court has in fact attributed, for the first time, secondary liability to sharing platforms due to the violation of copyrights carried out by the users of a platform,” Sarzana informs TF.

“This will have consequences for video-sharing platforms and user-generated content sites like YouTube, but it excludes responsibility for platforms that play a purely passive role, without affecting users’ content. This the case with cyberlockers, for example.”

Sarzana says that “unfortunate judgments” like this should be expected, until the approval of a new European copyright law. Enzo Mazza, on the other hand, feels that the copyright reform debate should take account of this ruling when formulating legislation to stop platforms like YouTube exploiting copyright works without an appropriate license.

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

“Top ISPs” Are Discussing Fines & Browsing Hijacking For Pirates

Post Syndicated from Andy original https://torrentfreak.com/top-isps-are-discussing-fines-browsing-hijacking-for-pirates-170614/

For the past several years, anti-piracy outfit Rightscorp has been moderately successful in forcing smaller fringe ISPs in the United States to collaborate in a low-tier copyright trolling operation.

The way it works is relatively simple. Rightscorp monitors BitTorrent networks, captures the IP addresses of alleged infringers, and sends DMCA notices to their ISPs. Rightscorp expects ISPs to forward these to their customers along with an attached cash settlement demand.

These demands are usually for small amounts ($20 or $30) but most of the larger ISPs don’t forward them to their customers. This deprives Rightscorp (and clients such as BMG) of the opportunity to generate revenue, a situation that the anti-piracy outfit is desperate to remedy.

One of the problems is that when people who receive Rightscorp ‘fines’ refuse to pay them, the company does nothing, leading to a lack of respect for the company. With this in mind, Rightscorp has been trying to get ISPs involved in forcing people to pay up.

In 2014, Rightscorp said that its goal was to have ISPs place a redirect page in front of ‘pirate’ subscribers until they pay a cash fine.

“[What] we really want to do is move away from termination and move to what’s called a hard redirect, like, when you go into a hotel and you have to put your room number in order to get past the browser and get on to browsing the web,” the company said.

In the three years since that statement, the company has raised the issue again but nothing concrete has come to fruition. However, there are now signs of fresh movement which could be significant, if Rightscorp is to be believed.

“An ISP Good Corporate Citizenship Program is what we feel will drive revenue associated with our primary revenue model. This program is an attempt to garner the attention and ultimately inspire a behavior shift in any ISP that elects to embrace our suggestions to be DMCA-compliant,” the company told shareholders yesterday.

“In this program, we ask for the ISPs to forward our notices referencing the infringement and the settlement offer. We ask that ISPs take action against repeat infringers through suspensions or a redirect screen. A redirect screen will guide the infringer to our payment screen while limiting all but essential internet access.”

At first view, this sounds like a straightforward replay of Rightscorp’s wishlist of three years ago, but it’s worth noting that the legal landscape has shifted fairly significantly since then.

Perhaps the most important development is the BMG v Cox Communications case, in which the ISP was sued for not doing enough to tackle repeat infringers. In that case (for which Rightscorp provided the evidence), Cox was held liable for third-party infringement and ordered to pay damages of $25 million alongside $8 million in legal fees.

All along, the suggestion has been that if Cox had taken action against infringing subscribers (primarily by passing on Rightscorp ‘fines’ and/or disconnecting repeat infringers) the ISP wouldn’t have ended up in court. Instead, it chose to sweat it out to a highly unfavorable decision.

The BMG decision is a potentially powerful ruling for Rightscorp, particularly when it comes to seeking ‘cooperation’ from other ISPs who might not want a similar legal battle on their hands. But are other ISPs interested in getting involved?

According to the Rightscorp, preliminary negotiations are already underway with some big players.

“We are now beginning to have some initial and very thorough discussions with a handful of the top ISPs to create and implement such a program that others can follow. We have every reason to believe that the litigations referred to above are directly responsible for the beginning of a change in thinking of ISPs,” the company says.

Rightscorp didn’t identify these “top ISPs” but by implication, these could include companies such as Comcast, AT&T, Time Warner Cable, CenturyLink, Charter, Verizon, and/or even Cox Communications.

With cooperation from these companies, Rightscorp predicts that a “cultural shift” could be brought about which would significantly increase the numbers of subscribers paying cash demands. It’s also clear that while it may be seeking cooperation from ISPs, a gun is being held under the table too, in case any feel hesitant about putting up a redirect screen.

“This is the preferred approach that we advocate for any willing ISP as an alternative to becoming a defendant in a litigation and facing potential liability and significantly larger statutory damages,” Rightscorp says.

A recent development suggests the company may not be bluffing. Back in April the RIAA sued ISP Grande Communcations for failing to disconnect persistent pirates. Yet again, Rightscorp is deeply involved in the case, having provided the infringement data to the labels for a considerable sum.

Whether the “top ISPs” in the United States will cave into the pressure and implied threats remains to be seen but there’s no doubting the rising confidence at Rightscorp.

“We have demonstrated the tenacity to support two major litigation efforts initiated by two of our clients, which we feel will set a precedent for the entire anti-piracy industry led by Rightscorp. If you can predict the law, you can set the competition,” the company concludes.

Meanwhile, Rightscorp appears to continue its use of disingenuous tactics to extract money from alleged file-sharers.

In the wake of several similar reports, this week a Reddit user reported that Rightscorp asked him to pay a single $20 fine for pirating a song. After paying up, the next day the company allegedly called the user back and demanded payment for a further 200 notices.

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

Manage Instances at Scale without SSH Access Using EC2 Run Command

Post Syndicated from Jeff Barr original https://aws.amazon.com/blogs/aws/manage-instances-at-scale-without-ssh-access-using-ec2-run-command/

The guest post below, written by Ananth Vaidyanathan (Senior Product Manager for EC2 Systems Manager) and Rich Urmston (Senior Director of Cloud Architecture at Pegasystems) shows you how to use EC2 Run Command to manage a large collection of EC2 instances without having to resort to SSH.

Jeff;


Enterprises often have several managed environments and thousands of Amazon EC2 instances. It’s important to manage systems securely, without the headaches of Secure Shell (SSH). Run Command, part of Amazon EC2 Systems Manager, allows you to run remote commands on instances (or groups of instances using tags) in a controlled and auditable manner. It’s been a nice added productivity boost for Pega Cloud operations, which rely daily on Run Command services.

You can control Run Command access through standard IAM roles and policies, define documents to take input parameters, control the S3 bucket used to return command output. You can also share your documents with other AWS accounts, or with the public. All in all, Run Command provides a nice set of remote management features.

Better than SSH
Here’s why Run Command is a better option than SSH and why Pegasystems has adopted it as their primary remote management tool:

Run Command Takes Less Time –  Securely connecting to an instance requires a few steps e.g. jumpboxes to connect to or IP addresses to whitelist etc. With Run Command, cloud ops engineers can invoke commands directly from their laptop, and never have to find keys or even instance IDs. Instead, system security relies on AWS auth, IAM roles and policies.

Run Command Operations are Fully Audited – With SSH, there is no real control over what they can do, nor is there an audit trail. With Run Command, every invoked operation is audited in CloudTrail, including information on the invoking user, instances on which command was run, parameters, and operation status. You have full control and ability to restrict what functions engineers can perform on a system.

Run Command has no SSH keys to Manage – Run Command leverages standard AWS credentials, API keys, and IAM policies. Through integration with a corporate auth system, engineers can interact with systems based on their corporate credentials and identity.

Run Command can Manage Multiple Systems at the Same Time – Simple tasks such as looking at the status of a Linux service or retrieving a log file across a fleet of managed instances is cumbersome using SSH. Run Command allows you to specify a list of instances by IDs or tags, and invokes your command, in parallel, across the specified fleet. This provides great leverage when troubleshooting or managing more than the smallest Pega clusters.

Run Command Makes Automating Complex Tasks Easier – Standardizing operational tasks requires detailed procedure documents or scripts describing the exact commands. Managing or deploying these scripts across the fleet is cumbersome. Run Command documents provide an easy way to encapsulate complex functions, and handle document management and access controls. When combined with AWS Lambda, documents provide a powerful automation platform to handle any complex task.

Example – Restarting a Docker Container
Here is an example of a simple document used to restart a Docker container. It takes one parameter; the name of the Docker container to restart. It uses the AWS-RunShellScript method to invoke the command. The output is collected automatically by the service and returned to the caller. For an example of the latest document schema, see Creating Systems Manager Documents.

{
  "schemaVersion":"1.2",
  "description":"Restart the specified docker container.",
  "parameters":{
    "param":{
      "type":"String",
      "description":"(Required) name of the container to restart.",
      "maxChars":1024
    }
  },
  "runtimeConfig":{
    "aws:runShellScript":{
      "properties":[
        {
          "id":"0.aws:runShellScript",
          "runCommand":[
            "docker restart {{param}}"
          ]
        }
      ]
    }
  }
}

Putting Run Command into practice at Pegasystems
The Pegasystems provisioning system sits on AWS CloudFormation, which is used to deploy and update Pega Cloud resources. Layered on top of it is the Pega Provisioning Engine, a serverless, Lambda-based service that manages a library of CloudFormation templates and Ansible playbooks.

A Configuration Management Database (CMDB) tracks all the configurations details and history of every deployment and update, and lays out its data using a hierarchical directory naming convention. The following diagram shows how the various systems are integrated:

For cloud system management, Pega operations uses a command line version called cuttysh and a graphical version based on the Pega 7 platform, called the Pega Operations Portal. Both tools allow you to browse the CMDB of deployed environments, view configuration settings, and interact with deployed EC2 instances through Run Command.

CLI Walkthrough
Here is a CLI walkthrough for looking into a customer deployment and interacting with instances using Run Command.

Launching the cuttysh tool brings you to the root of the CMDB and a list of the provisioned customers:

% cuttysh
d CUSTA
d CUSTB
d CUSTC
d CUSTD

You interact with the CMDB using standard Linux shell commands, such as cd, ls, cat, and grep. Items prefixed with s are services that have viewable properties. Items prefixed with d are navigable subdirectories in the CMDB hierarchy.

In this example, change directories into customer CUSTB’s portion of the CMDB hierarchy, and then further into a provisioned Pega environment called env1, under the Dev network. The tool displays the artifacts that are provisioned for that environment. These entries map to provisioned CloudFormation templates.

> cd CUSTB
/ROOT/CUSTB/us-east-1 > cd DEV/env1

The ls –l command shows the version of the provisioned resources. These version numbers map back to source control–managed artifacts for the CloudFormation, Ansible, and other components that compose a version of the Pega Cloud.

/ROOT/CUSTB/us-east-1/DEV/env1 > ls -l
s 1.2.5 RDSDatabase 
s 1.2.5 PegaAppTier 
s 7.2.1 Pega7 

Now, use Run Command to interact with the deployed environments. To do this, use the attach command and specify the service with which to interact. In the following example, you attach to the Pega Web Tier. Using the information in the CMDB and instance tags, the CLI finds the corresponding EC2 instances and displays some basic information about them. This deployment has three instances.

/ROOT/CUSTB/us-east-1/DEV/env1 > attach PegaWebTier
 # ID         State  Public Ip    Private Ip  Launch Time
 0 i-0cf0e84 running 52.63.216.42 10.96.15.70 2017-01-16 
 1 i-0043c1d running 53.47.191.22 10.96.15.43 2017-01-16 
 2 i-09b879e running 55.93.118.27 10.96.15.19 2017-01-16 

From here, you can use the run command to invoke Run Command documents. In the following example, you run the docker-ps document against instance 0 (the first one on the list). EC2 executes the command and returns the output to the CLI, which in turn shows it.

/ROOT/CUSTB/us-east-1/DEV/env1 > run 0 docker-ps
. . 
CONTAINER ID IMAGE             CREATED      STATUS        NAMES
2f187cc38c1  pega-7.2         10 weeks ago  Up 8 weeks    pega-web

Using the same command and some of the other documents that have been defined, you can restart a Docker container or even pull back the contents of a file to your local system. When you get a file, Run Command also leaves a copy in an S3 bucket in case you want to pass the link along to a colleague.

/ROOT/CUSTB/us-east-1/DEV/env1 > run 0 docker-restart pega-web
..
pega-web

/ROOT/CUSTB/us-east-1/DEV/env1 > run 0 get-file /var/log/cfn-init-cmd.log
. . . . . 
get-file

Data has been copied locally to: /tmp/get-file/i-0563c9e/data
Data is also available in S3 at: s3://my-bucket/CUSTB/cuttysh/get-file/data

Now, leverage the Run Command ability to do more than one thing at a time. In the following example, you attach to a deployment with three running instances and want to see the uptime for each instance. Using the par (parallel) option for run, the CLI tells Run Command to execute the uptime document on all instances in parallel.

/ROOT/CUSTB/us-east-1/DEV/env1 > run par uptime
 …
Output for: i-006bdc991385c33
 20:39:12 up 15 days, 3:54, 0 users, load average: 0.42, 0.32, 0.30

Output for: i-09390dbff062618
 20:39:12 up 15 days, 3:54, 0 users, load average: 0.08, 0.19, 0.22

Output for: i-08367d0114c94f1
 20:39:12 up 15 days, 3:54, 0 users, load average: 0.36, 0.40, 0.40

Commands are complete.
/ROOT/PEGACLOUD/CUSTB/us-east-1/PROD/prod1 > 

Summary
Run Command improves productivity by giving you faster access to systems and the ability to run operations across a group of instances. Pega Cloud operations has integrated Run Command with other operational tools to provide a clean and secure method for managing systems. This greatly improves operational efficiency, and gives greater control over who can do what in managed deployments. The Pega continual improvement process regularly assesses why operators need access, and turns those operations into new Run Command documents to be added to the library. In fact, their long-term goal is to stop deploying cloud systems with SSH enabled.

If you have any questions or suggestions, please leave a comment for us!

— Ananth and Rich

Pirate Bay Facilitates Piracy and Can be Blocked, Top EU Court Rules

Post Syndicated from Ernesto original https://torrentfreak.com/pirate-bay-facilitates-piracy-and-can-be-blocked-top-eu-court-rules-170614/

pirate bayIn 2014, The Court of The Hague handed down its decision in a long running case which had previously forced two Dutch ISPs, Ziggo and XS4ALL, to block The Pirate Bay.

The Court ruled against local anti-piracy outfit BREIN, concluding that the blockade was ineffective and restricted the ISPs’ entrepreneurial freedoms.

The Pirate Bay was unblocked by all local ISPs while BREIN took the matter to the Supreme Court, which subsequently referred the case to the EU Court of Justice, seeking further clarification.

After a careful review of the case, the Court of Justice today ruled that The Pirate Bay can indeed be blocked.

While the operators don’t share anything themselves, they knowingly provide users with a platform to share copyright-infringing links. This can be seen as “an act of communication” under the EU Copyright Directive, the Court concludes.

“Whilst it accepts that the works in question are placed online by the users, the Court highlights the fact that the operators of the platform play an essential role in making those works available,” the Court explains in a press release (pdf).

According to the ruling, The Pirate Bay indexes torrents in a way that makes it easy for users to find infringing content while the site makes a profit. The Pirate Bay is aware of the infringements, and although moderators sometimes remove “faulty” torrents, infringing links remain online.

“In addition, the same operators expressly display, on blogs and forums accessible on that platform, their intention of making protected works available to users, and encourage the latter to make copies of those works,” the Court writes.

The ruling means that there are no major obstacles for the Dutch Supreme Court to issue an ISP blockade, but a final decision in the underlying case will likely take a few more months.

A decision at the European level is important, as it may also affect court orders in other countries where The Pirate Bay and other torrent sites are already blocked, including Austria, Belgium, Finland, Italy, and its home turf Sweden.

Despite the negative outcome, the Pirate Bay team is not overly worried.

“Copyright holders will remain stubborn and fight to hold onto a dying model. Clueless and corrupt law makers will put corporate interests before the public’s. Their combined jackassery is what keeps TPB alive,” TPB’s plc365 tells TorrentFreak.

“The reality is that regardless of the ruling, nothing substantial will change. Maybe more ISPs will block TPB. More people will use one of the hundreds of existing proxies, and even more new ones will be created as a result.”

Pirate Bay moderator “Xe” notes that while it’s an extra barrier to access the site, blockades will eventually help people to get around censorship efforts, which are not restricted to TPB.

“They’re an issue for everyone in the sense that they’re an obstacle which has to be overcome. But learning how to work around them isn’t hard and knowing how to work around them is becoming a core skill for everyone who uses the Internet.

“Blockades are not a major issue for the site in the sense that they’re nothing new: we’ve long since adapted to them. We serve the needs of millions of people every day in spite of them,” Xe adds.

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

UK Police Claim Success in Keeping Gambling Ads off Pirate Sites

Post Syndicated from Andy original https://torrentfreak.com/uk-police-claim-success-in-keeping-gambling-ads-off-pirate-sites-170614/

Over the past several years, there has been a major effort by entertainment industry groups to cut off revenue streams to ‘pirate’ sites. The theory is that if sites cannot generate funds, their operators will eventually lose interest.

Since advertising is a key money earner for any website, significant resources have been expended trying to keep ads off sites that directly or indirectly profit from infringement. It’s been a multi-pronged affair, with agencies being encouraged to do the right thing and brands warned that their ads appearing on pirate sites does nothing for their image.

One sector that has trailed behind most is the gambling industry. Up until fairly recently, ads for some of the UK’s largest bookmakers have been a regular feature on many large pirate sites, either embedded in pages or more often than not, appearing via popup or pop-under spreads. Now, however, a significant change is being reported.

According to the City of London Police’s Intellectual Property Crime Unit (PIPCU), over the past 12 months there has been an 87% drop in adverts for licensed gambling operators being displayed on infringing websites.

The research was carried out by whiteBULLET, a brand safety and advertising solutions company which helps advertisers to assess whether placing an advert on a particular URL will cause it to appear on a pirate site.

PIPCU says that licensed gambling operators have an obligation to “keep crime out of gambling” due to their commitments under the Gambling Act 2005. However, the Gambling Commission, the UK’s gambling regulatory body, has recently been taking additional steps to tackle the problem.

In September 2015, the Commission consulted on amendments (pdf) to licensing conditions that would compel licensees to ensure that advertisements “placed by themselves and others” do not appear on websites providing unauthorized access to copyrighted content.

After the consultation was published in May 2016 (pdf), all respondents agreed in principle that gambling operators should not advertise on pirate sites. A month later, the Commission said it would ban the placement of gambling ads on such platforms.

When the new rules came into play last October, 40 gambling companies (including Bet365, Coral and Sky Bet, who had previously been called out for displaying ads on pirate sites) were making use of PIPCU’s ‘Infringing Website List‘, a database of sites that police claim are actively involved in piracy.

Speaking yesterday, acting Detective Superintendent Peter Ratcliffe, Head of the Police Intellectual Property Crime Unit (PIPCU), welcomed the ensuing reduction in ad placement on ‘pirate’ domains.

“The success of a strong relationship built between PIPCU and The Gambling Commission can be seen by these figures. This is a fantastic example of a joint working initiative between police and an industry regulator,” Ratcliffe said.

“We commend the 40 gambling companies who are already using the Infringing Website List and encourage others to sign up. We will continue to encourage all UK advertisers to become a member of the Infringing Website List to ensure they’re not inadvertently funding criminal websites.”

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

Global Entertainment Giants Form Massive Anti-Piracy Coalition

Post Syndicated from Andy original https://torrentfreak.com/global-entertainment-giants-form-massive-anti-piracy-coalition-170613/

It’s not unusual for companies within the same area of business to collaborate in order to combat piracy. The studios and labels that form the MPAA and RIAA, for example, have doing just that for decades.

Today, however, an unprecedented number of global content creators and distribution platforms have announced the formation of a brand new coalition to collaboratively fight Internet piracy on a global scale.

The Alliance for Creativity and Entertainment (ACE) is a coalition of 30 companies that reads like a who’s who of the global entertainment market. In alphabetical order the members are:

Amazon, AMC Networks, BBC Worldwide, Bell Canada and Bell Media, Canal+ Group, CBS Corporation, Constantin Film, Foxtel, Grupo Globo, HBO, Hulu, Lionsgate, Metro-Goldwyn-Mayer (MGM), Millennium Media, NBCUniversal, Netflix, Paramount Pictures, SF Studios, Sky, Sony Pictures Entertainment, Star India, Studio Babelsberg, STX Entertainment, Telemundo, Televisa, Twentieth Century Fox, Univision Communications Inc., Village Roadshow, The Walt Disney Company, and Warner Bros. Entertainment Inc.

In a joint announcement today, ACE notes that there are now more than 480 services available for consumers to watch films and TV programs online. However, despite that abundance of content, piracy continues to pose a threat to creators and the economy.

“Films and television shows can often be found on pirate sites within days – and in many cases hours – of release,” ACE said in a statement.

“Last year, there were an estimated 5.4 billion downloads of pirated wide release films and primetime television and VOD shows using peer-to-peer protocols worldwide. There were also an estimated 21.4 billion total visits to streaming piracy sites worldwide across both desktops and mobile devices in 2016.”

Rather than the somewhat fragmented anti-piracy approach currently employed by ACE members separately, the coalition will present a united front of all major content creators and distributors, with a mission to cooperate and expand in order to minimize the threat.

At the center of the alliance appears to be the MPAA. ACE reports that the anti-piracy resources of the Hollywood group will be used “in concert” with the existing anti-piracy departments of the member companies.

Unprecedented scale aside, ACE’s modus operandi will be a familiar one.

The coalition says it will work closely with law enforcement to shut down pirate sites and services, file civil litigation, and forge new relationships with other content protection groups. It will also strive to reach voluntary anti-piracy agreements with other interested parties across the Internet.

MPAA chief Chris Dodd, whose group will play a major role in ACE, welcomed the birth of the alliance.

“ACE, with its broad coalition of creators from around the world, is designed, specifically, to leverage the best possible resources to reduce piracy,” Dodd said.

“For decades, the MPAA has been the gold standard for antipiracy enforcement. We are proud to provide the MPAA’s worldwide antipiracy resources and the deep expertise of our antipiracy unit to support ACE and all its initiatives.”

The traditionally non-aggressive BBC described ACE as “hugely important” in the fight against “theft and illegal distribution”, with Netflix noting that even its creative strategies for dealing with piracy are in need of assistance.

“While we’re focused on providing a great consumer experience that ultimately discourages piracy, there are still bad players around the world trying to profit off the hard work of others,” said Netflix General Counsel, David Hyman.

“By joining ACE, we will work together, share knowledge, and leverage the group’s combined anti-piracy resources to address the global online piracy problem.”

It’s likely that the creation of ACE will go down as a landmark moment in the fight against piracy. Never before has such a broad coalition promised to pool resources on such a grand and global scale. That being said, with great diversity comes the potential for greatly diverging opinions, so only time will tell if this coalition can really hold together.

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