Today, Microsoft and Apple announced a number of deeper integrations of Apple services on both Windows PCs and Xbox game consoles, including Music and TV apps for both platforms and the ability to browse your iCloud Photo Library within the Windows 11 Photos app. Ars Technica reports: The Apple Music app for Xbox is already available. Existing users can download the app and start listening to their playlists and stations, while new users can sign up for a one-month trial. The user interface for Apple Music on the Xbox is almost exactly the same as the one we've used before on Apple TV hardware. It doesn't add any new features we haven't seen before, but it's nice to see parity between the platforms. The Music and TV apps for Windows aren't available yet, but the companies say they'll both be available next year.

The Windows iTunes app lets users listen to songs and watch TV and movies purchased through Apple's online store. Even though Apple Music will arrive on Windows, iTunes will continue to be available, and users will still be able to access Podcasts and Books there. While you'll have to wait until next year to download the Music and TV apps in Windows, the iCloud Photo Library integration is available right now. You'll have to download the iCloud Windows app (which is already used to sync a variety of things, like browser bookmarks) and opt into syncing your iCloud Photo Library. After that, both videos and photos should be available within the Windows 11 Photos app.

In an exclusive excerpt from William Shatner's new book, "Boldly Go: Reflections on a Life of Awe and Wonder," the Star Trek actor reflects on his voyage into space on Jeff Bezos' Blue Origin space shuttle on Oct. 13, 2021. Then 90 years old, Shatner became the oldest living person to travel into space, but as the actor and author details below, he was surprised by his own reaction to the experience. An anonymous reader shares an excerpt from the report: I looked down and I could see the hole that our spaceship had punched in the thin, blue-tinged layer of oxygen around Earth. It was as if there was a wake trailing behind where we had just been, and just as soon as I'd noticed it, it disappeared. I continued my self-guided tour and turned my head to face the other direction, to stare into space. I love the mystery of the universe. I love all the questions that have come to us over thousands of years of exploration and hypotheses. Stars exploding years ago, their light traveling to us years later; black holes absorbing energy; satellites showing us entire galaxies in areas thought to be devoid of matter entirely all of that has thrilled me for years but when I looked in the opposite direction, into space, there was no mystery, no majestic awe to behold... all I saw was death. I saw a cold, dark, black emptiness. It was unlike any blackness you can see or feel on Earth. It was deep, enveloping, all-encompassing. I turned back toward the light of home. I could see the curvature of Earth, the beige of the desert, the white of the clouds and the blue of the sky. It was life. Nurturing, sustaining, life. Mother Earth. Gaia. And I was leaving her. Everything I had thought was wrong. Everything I had expected to see was wrong.

I had thought that going into space would be the ultimate catharsis of that connection I had been looking for between all living things -- that being up there would be the next beautiful step to understanding the harmony of the universe. In the film "Contact," when Jodie Foster's character goes to space and looks out into the heavens, she lets out an astonished whisper, "They should've sent a poet." I had a different experience, because I discovered that the beauty isn't out there, it's down here, with all of us. Leaving that behind made my connection to our tiny planet even more profound. It was among the strongest feelings of grief I have ever encountered. The contrast between the vicious coldness of space and the warm nurturing of Earth below filled me with overwhelming sadness. Every day, we are confronted with the knowledge of further destruction of Earth at our hands: the extinction of animal species, of flora and fauna... things that took five billion years to evolve, and suddenly we will never see them again because of the interference of mankind. It filled me with dread. My trip to space was supposed to be a celebration; instead, it felt like a funeral.

I learned later that I was not alone in this feeling. It is called the "Overview Effect" and is not uncommon among astronauts, including Yuri Gagarin, Michael Collins, Sally Ride, and many others. Essentially, when someone travels to space and views Earth from orbit, a sense of the planet's fragility takes hold in an ineffable, instinctive manner. Author Frank White first coined the term in 1987: "There are no borders or boundaries on our planet except those that we create in our minds or through human behaviors. All the ideas and concepts that divide us when we are on the surface begin to fade from orbit and the moon. The result is a shift in worldview, and in identity." It can change the way we look at the planet but also other things like countries, ethnicities, religions; it can prompt an instant reevaluation of our shared harmony and a shift in focus to all the wonderful things we have in common instead of what makes us different. It reinforced tenfold my own view on the power of our beautiful, mysterious collective human entanglement, and eventually, it returned a feeling of hope to my heart. In this insignificance we share, we have one gift that other species perhaps do not: we are aware -- not only of our insignificance, but the grandeur around us that makes us insignificant. That allows us perhaps a chance to rededicate ourselves to our planet, to each other, to life and love all around us. If we seize that chance.

Amazon's Glow is no more. The tech giant has discontinued the children's device, which included an 8-inch display and a projector that could display games on a mat, Bloomberg reported Tuesday. ArsTechnica: You can't buy the Glow on Amazon's website anymore. According to Bloomberg, the device was on sale for $150 (down from $300) on Tuesday before it became listed as unavailable later that day. The publication cited slow sales as a reason for the product's demise. It also noted the device's focus on remote connectivity as pandemic-related restrictions eased. Amazon announced Glow on September 28, 2021, before launching invite-only availability, followed by general availability in March. "We... continually evaluate the progress and potential of our products to deliver customer value, and we regularly make adjustments based on those assessments," Kristy Schmidt, an Amazon spokesperson, told Bloomberg. "We will be sharing updates and guidance with Glow customers soon." The Glow allowed children to video chat, draw, and play games with family members remotely via the 8-inch display. It also projected onto a 19-inch mat that children could interact with. One obvious downside was the requirement of an Amazon Kids+ subscription for playing games and accessing other content, like books and art. The service is $5 per month. Glow came from Amazon's Grand Challenge lab, which makes experimental products.

Longtime Slashdot reader and tech historian, Kay Savetz, shares a blog post about the Internet Archive's efforts to build a library of amateur radio broadcasts. Here's an excerpt from the report: Internet Archive has begun gathering content for the Digital Library of Amateur Radio and Communications (DLARC), which will be a massive online library of materials and collections related to amateur radio and early digital communications. The DLARC is funded by a significant grant from the Amateur Radio Digital Communications Foundation (ARDC) to create a digital library that documents, preserves, and provides open access to the history of this community. The library will be a free online resource that combines archived digitized print materials, born-digital content, websites, oral histories, personal collections, and other related records and publications. The goals of the DLARC are to document the history of amateur radio and to provide freely available educational resources for researchers, students, and the general public. [...]

The DLARC project is looking for partners and contributors with troves of ham radio, amateur radio, and early digital communications related books, magazines, documents, catalogs, manuals, videos, software, personal archives, and other historical records collections, no matter how big or small. In addition to physical material to digitize, we are looking for podcasts, newsletters, video channels, and other digital content that can enrich the DLARC collections. Internet Archive will work directly with groups, publishers, clubs, individuals, and others to ensure the archiving and perpetual access of contributed collections, their physical preservation, their digitization, and their online availability and promotion for use in research, education, and historical documentation. All collections in this digital library will be universally accessible to any user and there will be a customized access and discovery portal with special features for research and educational uses.

A group of authors, including Neil Gaiman, Naomi Klein, and Cory Doctorow, "are lending their names to an open letter protesting publishers' lawsuit against the Internet Archive Library, characterizing it as one of a number of efforts to curb libraries' lending of ebooks." From the report: A group of publishers sued the Internet Archive in 2020, claiming that its open library violates copyright by producing "mirror image copies of millions of unaltered in-copyright works for which it has no rights" and then distributes them "in their entirety for reading purposes to the public for free, including voluminous numbers of books that are commercially available." They also contend that the archive's scanning undercuts the market for e-books. The Internet Archive says that its lending of the scanned books is akin to a traditional library. In its response to the publishers' lawsuit, it warns of the ramifications of the litigation and claims that publishers "would like to force libraries and their patrons into a world in which books can only be accessed, never owned, and in which availability is subject to the rightsholders' whim."

"Libraries are a fundamental collective good. We, the undersigned authors, are disheartened by the recent attacks against libraries being made in our name by trade associations such as the American Association of Publishers and the Publishers Association: undermining the traditional rights of libraries to own and preserve books, intimidating libraries with lawsuits, and smearing librarians," the letter states. The letter also calls for enshrining "the right of libraries to permanently own and preserve books, and to purchase these permanent copies on reasonable terms, regardless of format," and condemns the characterization of library advocates as "mouthpieces" for big tech. "We fear a future where libraries are reduced to a sort of Netflix or Spotify for books, from which publishers demand exorbitant licensing fees in perpetuity while unaccountable vendors force the spread of disinformation and hate for profit," the letter states.

The American Association of Publishers' general counsel Terrence Hart issued a statement responding to the claim that the lawsuit is an attack on libraries. He said, "That authors and publishers support libraries is not in dispute and most certainly not at issue in the infringement case against the Internet Archive, which is not a library. "On the contrary, the Internet Archive operates an unlicensed digital copying and distribution business that copies millions of literary works without permission and gives them away for free. This activity is unprecedented and outside any reasonable interpretation of the copyright law that grants to authors the decision as to whether, when, through whom, and on what terms to distribute their works to the public." He added, "If the rights holder chooses to permit the copying of print books into e-books, that is a choice they are empowered to make as to their own works. The Internet Archive robs authors and publishers of that choice."

[T]he Scribe brings something altogether new to the line: writing. For the first time since the first Kindle was introduced in late-2007, Amazon's added the ability to write on-device with a stylus. TechCrunch reports: Amazon's entry in the space has a 10.2-inch screen and a design partially reminiscent of the premium Kindle Oasis, include a large side bezel (no page turn buttons, unfortunately) you can hold onto while reading. It has a battery the company rates at "weeks," keeping in line with its fellow readers. At 433 grams, it's (predictably) the heaviest Kindle, which could put a bit of a crimp in those bedtime reading marathons. The device ships with its own stylus, which magnetically snaps on the side -- similar to what you see on a lot of tablets. The stylus doesn't requiring charging, and instead relies on EMR (electro-magnetic resistance) -- that means, among other things, that other styli will likely work with the Scribe, though the company cautions against that (naturally), stating that their own is tuned specifically for work on the Kindle.

A more premium model will also be made available with a built-in button for quick actions. These styli allow for a variety of different line styles, though the tips are permanent, so that's happening through the on-board software accessible via a software toolbar. The company says it specifically designed the display/stylus combo to mimic the feel of a pen on paper. [...] Strangely, handwriting recognition will be missing at launch, though the feature is almost certainly on the company's roadmap. It will, however, have a newly Streamlined software offering, allowing files to be shared off the device through the Kindle app, a web browser or email. The company also says it has updated the notoriously outdated Send to Kindle feature to help remove some of the friction from the process. Meanwhile, a deal with Microsoft will bring Word functionality to the product at some point early next year. [...] Preorders for the $340 device start today, with shipping expected before the holidays (think November). Amazon announced more than ten new products at their event, including four new Echo devices, a new TV, and sleep tracker. CNBC highlights the biggest announcements in their report.

US regulators reached settlements with a dozen banks in a sprawling probe into how global financial firms failed to monitor employees' communications on unauthorized messaging apps, bringing total penalties in the matter to more than $2 billion. From a report: The Securities and Exchange Commission announced $1.1 billion in fines and the Commodity Futures Trading Commission disclosed $710 million in penalties in separate statements Tuesday. Those levies -- against firms including Bank of America, Citigroup and Goldman Sachs Group -- combined with JPMorgan Chase's $200 million in fines from December, bring the total to $2.01 billion, making them the biggest penalties ever against US banks for record-keeping lapses.

"Finance, ultimately, depends on trust. By failing to honor their record-keeping and books-and-records obligations, the market participants we have charged today have failed to maintain that trust," SEC Chair Gary Gensler said in the agency's statement. "As technology changes, it's even more important that registrants appropriately conduct their communications about business matters within only official channels, and they must maintain and preserve those communications."

Oracle has paid $23 million to the US Securities and Exchange Commission to settle corruption charges that subsidiaries in Turkey, United Arab Emirates and India used "slush funds" to bribe foreign officials to win business. The Register reports: The SEC said on Tuesday that Big Red violated provisions of the Foreign Corrupt Practices Act (FCPA) during a three-year period between 2016 and 2019. The cash that was apparently surreptitiously set aside was also spent on paying for foreign officials to attend technology conferences, which breaks Oracle's own internal policies and procedures. And the SEC said that in some instances, it found Oracle staff at the Turkish subsidiary had spent the funds on taking officials' families with them on International conferences or side trips to California.

"The creation of off-books slush funds inherently gives rise to the risk those funds will be used improperly, which is exactly what happened here at Oracle's Turkey, UAE, and India subsidiaries," said Charles Cain, FCPA unit chief at the SEC. "This matter highlights the critical need for effective internal accounting controls throughout the entirety of a company's operations," he added. Oracle, without admitting or denying the findings of the SEC's investigation, has agreed to "cease and desist from committing violations" of the anti-bribery, books and records, and internal accounting controls of the FCPA, said the Commission.

Saul Kripke, a math prodigy and pioneering logician whose revolutionary theories on language qualified him as one of the 20th century's greatest philosophers, died on Sept. 15 in Plainsboro, N.J. He was 81. The New York Times reports: His death, at Penn Medicine Princeton Medical Center, was caused by pancreatic cancer, according to Romina Padro, director of the Saul Kripke Center at the City University of New York, where Professor Kripke had been a distinguished professor of philosophy and computer science since 2003 and had capped a career exploring how people communicate. Professor Kripke's classic work, "Naming and Necessity," first published in 1972 and drawn from three lectures he delivered at Princeton University in 1970 before he was 30, was considered one of the century's most evocative philosophical books.

"Kripke challenged the notion that anyone who uses terms, especially proper names, must be able to correctly identify what the terms refer to," said Michael Devitt, a distinguished professor of philosophy who recruited Professor Kripke to the City University Graduate Center in Manhattan. "Rather, people can use terms like 'Einstein,' 'springbok,' perhaps even 'computer,' despite being too ignorant or wrong to provide identifying descriptions of their referents," Professor Devitt said. "We can use terms successfully not because we know much about the referent but because we're linked to the referent by a great social chain of communication."

The Pulitzer Prize-winning historian Taylor Branch, writing in The New York Times Magazine in 1977, said Professor Kripke had "introduced ways to distinguish kinds of true statements -- between statements that are 'possibly' true and those that are 'necessarily' true." "In Professor Kripke's analysis," he continued, "a statement is possibly true if and only if it is true in some possible world -- for example, 'The sky is blue' is a possible truth, because there is some world in which the sky could be red. A statement is necessarily true if it is true in all possible worlds, as in 'The bachelor is an unmarried man.'"

France plans to impose a minimum delivery fee of 3 euros ($2.93) for online book orders of less than 35 euros to level the playing field for independent bookstores struggling to compete against e-commerce giants, the government said on Friday. From a report: A 2014 French law already prohibits free book deliveries, but Amazon and other vendors such as Fnac have circumvented this by charging a token 1 cent per delivery. Local book stores typically charge up to 7 euros for shipping a book.

Legislation was passed in December 2021 to close the one-cent loophole through a minimum shipping fee, but the law could not take effect until the government had decided on the size of that fee. "This will adapt the book industry to the digital era by restoring an equilibrium between large e-commerce platforms, which offer virtually free delivery for books whatever the order size, and bookstores that cannot match these delivery prices," the culture and finance ministries said in a joint statement. They added that France will notify the European Commission of its plan and the minimum delivery fee will take effect six months after the EU grants approval.

Randall Munroe does more than draw the online comic strip XKCD. He's also published a funny new speculative science book (following up on his previous New York Times best-seller), promising "short answers, new lists of weird and worrying questions, and some of my favorite answers from the What If site."

From his blog: In What If 2, I answer new questions I've receieved in the years since What If? was released. People have asked about touching exotic materials, traveling across space and time, eating things they shouldn't, and smashing large objects into the Earth. There are questions about lasers, explosions, swingsets, candy, and soup. Several planets are destroyed — one of them by the soup.
But besides launching a new book tour, he's also found some particularly geeky ways to promote the new book. On Thursday Munroe went on a language podcast to ask his own oddball questions — like how to spot an artificial language, and what does the word "it" refer to in the sentence "It's 3pm and hot." He's illustrated a a science-y animated video, and released several self-mocking cartoons.

And of course — answered some more strange science questions.

Recently the authors of Elements of Publishing shared an update. "After ten years in print, our publisher decided against further printings and has reverted the rights to us. We are publishing Elements of Programming in two forms: a free PDF and a no-markup paperback."

And that's not the only old book that's getting a new life on the web...

22 years ago, long-time Slashdot reader Stephen T. Satchell (satch89450) co-authored Linux IP Stacks Commentary, a book commenting the TCP/IP code in Linux kernel 2.0.34. ("Old-timers will remember the Lion's Unix Commentary, the book published by University xerographic copies on the sly. Same sort of thing.") But the print edition struggled to update as frequently as the Linux kernel itself, and Satchell wrote a Slashdot post exploring ways to fund a possible update.

At the time Slashdot's editors noted that "One of the largest complaints about Linux is that there is a lack of high-profile documentation. It would be sad if this publication were not made simply because of the lack of funds (which some people would see as a lack of interest) necessary to complete it." But that's how things seemed to end up — until Satchell suddenly reappeared to share this update from 2022: When I was released from my last job, I tried retirement. Wasn't for me. I started going crazy with nothing significant to do. So, going through old hard drives (that's another story), I found the original manuscript files, plus the page proof files, for that two-decade-old book. Aha! Maybe it's time for an update. But how to keep it fresh, as Torvalds continues to release new updates of the Linux kernel?

Publish it on the Web. Carefully.

After four months (and three job interviews) I have the beginnings of the second edition up and available for reading. At the moment it's an updated, corrected, and expanded version of the "gray matter", the exposition portions of the first edition....

The URL for the alpha-beta version of this Web book is satchell.net/ipstacks for your reading pleasure. The companion e-mail address is up and running for you to provide feedback. There is no paywall.
But there's also an ingenious solution to the problem of updating the text as the code of the kernel keeps changing: Thanks to the work of Professor Donald Knuth (thank you!) on his WEB and CWEB programming languages, I have made modifications, to devise a method for integrating code from the GIT repository of the Linux kernel without making any modifications (let alone submissions) to said kernel code. The proposed method is described in the About section of the Web book. I have scaffolded the process and it works. But that's not the hard part.

The hard part is to write the commentary itself, and crib some kind of Markup language to make the commentary publishing quality. The programs I write will integrate the kernel code with the commentary verbiage into a set of Web pages. Or two slightly different sets of web pages, if I want to support a mobile-friendly version of the commentary.

Another reason for making it a web book is that I can write it and publish it as it comes out of my virtual typewriter. No hard deadlines. No waiting for the printers. And while this can save trees, that's not my intent. The back-of-the-napkin schedule calls for me to to finish the expository text in September, start the Python coding for generating commentary pages at the same time, and start the writing the commentary on the Internet Control Message Protocol in October. By then, Linus should have version 6.0.0 of the Linux kernel released.

I really, really, really don't want to charge readers to view the web book. Especially as it's still in the virtual typewriter. There isn't any commentary (yet). One thing I have done is to make it as mobile-friendly as I can, because I suspect the target audience will want to read this on a smartphone or tablet, and not be forced to resort to a large-screen laptop or desktop. Also, the graphics are lightweight to minimize the cost for people who pay by the kilopacket. (Does anywhere in the world still do this? Inquiring minds want to know.)

I host this web site on a Protectli appliance in my apartment, so I don't have that continuing expense. The power draw is around 20 watts. My network connection is AT&T fiber — and if it becomes popular I can always upgrade the upstream speed.

The thing is, the cat needs his kibble. I still want to know if there is a source of funding available.

Also, is it worthwhile to make the pages available in a zip file? Then a reader could download a snapshot of the book, and read it off-line.

Rising paper prices are forcing publishers to change. Economist: Publishing can, then, find the paper for the things it wants to print, even in times of scarcity. The industry is currently experiencing another period of shortage, and war is once again a cause (along with the pandemic). In the past 12 months the cost of paper used by British book publishers has risen by 70%. Supplies are erratic as well as expensive: paper mills have taken to switching off on days when electricity is too pricey. The card used in hardback covers has at times been all but unobtainable. The entire trade is in trouble. Not every author is affected: a new thriller by Robert Galbraith, better known as J.K. Rowling, is a 1,024-page whopper -- and this week reached the top of the bestseller lists in Britain. But other books are having to change a bit. Pick up a new release in a bookshop and if it is from a smaller publisher (for they are more affected by price rises) you may find yourself holding a product that, as wartime books did, bears the mark of its time.

Blow on its pages and they might lift and fall differently: cheaper, lighter paper is being used in some books. Peer closely at its print and you might notice that the letters jostle more closely together: some cost-conscious publishers are starting to shrink the white space between characters. The text might run closer to the edges of pages, too: the margins of publishing are shrinking, in every sense. Changes of this sort can cause anguish to publishers. A book is not merely words on a page, says Ivan O'Brien, head of The O'Brien Press in Ireland, but should appeal "to every single sense." The pleasure of a book that feels right in the hand -- not too light or too heavy; pages creamy; fonts beetle-black -- is something that publishers strive to preserve. [...] For at the heart of the publishing industry lies an unsayable truth: most people can't write and most books are very bad. Readers who struggle with a volume often assume that the fault is theirs. Reviewers, who read many more books, know it is not.

A survey this year by Equity, the UK union for actors and other performing arts workers, found that 65 per cent of members thought AI posed a threat to employment opportunities in the sector, rising to 93 per cent of audio artists. This wasn't just an amorphous fear about the future: more than a third of members had seen job listings for work involving AI and almost a fifth had undertaken some of this work. From a report: A range of AI start-ups are developing tools for use in film and audio, from making actors look and sound younger to creating AI voices that can be used for marketing campaigns, consumer assistants or even audiobook narration. Audio is such a popular medium now that companies need lots of it, but human actors are expensive and nowhere near as flexible as an AI voice, which can be made to say anything at the push of a button. These companies typically hire actors to provide hours' worth of audio which can then be turned into a voice-for-hire.

VocaliD, for example, offers a range of voices such as "Malik" ("warm, soothing, urban") "Terri" ("educated, optimistic, sophisticated") and "AI Very British Voice" ("trustworthy, warm, calm.") Sonantic, another AI company which was just acquired by Spotify, creates voices that can laugh, shout or cry. Its voices are often used by video game companies in the production process so they can play around with different scripts. They're not as good as humans, but they don't need to be. Industry experts say no one is going to use AI to narrate the audiobook of a bestselling novel, but there is still a market to be tapped in the vast number of lower-profile books that are published or self-published every year. Audiobook.ai, for example, says it can create an audiobook in 10 minutes with 146 voices to choose from in 43 languages.

The High Court in Delhi ordered Telegram to share the personal details of copyright-infringing users with rightsholders. The messaging app refused to do so, citing privacy concerns and freedom of speech, but the court waved away these defenses, ordering the company to comply with Indian law. TorrentFreak reports: Telegram doesn't permit copyright infringement and generally takes swift action in response. This includes the removal of channels that are dedicated to piracy. For some copyright holders that's not enough, as new 'pirate' channels generally surface soon after. To effectively protect their content, rightsholders want to know who runs these channels. This allows them to take action against the actual infringers and make sure that they stop pirating. This argument is the basis of an infringement lawsuit filed in 2020.

The case in question was filed by Ms. Neetu Singh and KD Campus. The former is the author of various books, courses, and lectures, for which the latter runs coaching centers. Both rightsholders have repeatedly complained to Telegram about channels that shared pirated content. In most cases, Telegram took these down, but the service refused to identify the infringers. As such, the rightsholders asked the court to intervene. The legal battle culminated in the Delhi High Court this week via an order compelling Telegram to identify several copyright-infringing users. This includes handing over phone numbers, IP addresses, and email addresses.

The order was issued despite fierce opposition. One of Telegram's main defenses was that the user data is stored in Singapore, which prohibits the decryption of personal information under local privacy law. The Court disagrees with this argument, as the ongoing infringing activity is related to Indian works and will likely be tied to Indian users. And even if the data is stored elsewhere, it could be accessed from India. Disclosing the personal information would not be a violation of Singapore's privacy law either, the High Court adds, pointing out that there is an exception if personal details are needed for investigation or proceedings.

Telegram also brought up the Indian constitution, which protects people's privacy, as well as the right to freedom of speech and expression. However, that defense was unsuccessful too. Finally, Telegram argued that it is not required to disclose the details of its users because the service merely acts as an intermediary. Again, the Court disagrees. Simply taking infringing channels offline isn't good enough in this situation, since infringers can simply launch new ones, as if nothing had happened.

Long-time Slashdot reader Dr_Ish writes: It is not too common for the world of academic philosophy to be changed by a new discovery, or innovation. Perhaps the last time this happened in a major way can be traced back to Turing's famous (1950) "Computational Machinery and Intelligence" paper "Mind," where Turing proposed that computational systems could exhibit mind-like properties. However, it appears to be in the process of happening again.

In a series of recent papers and a book that was published last week, philosopher Prof. Paco Calvo from the University of Murcia, has made a compelling case that plants exhibit cognitive properties, such as memory, planning, intelligence and perhaps even numerical abilities... His book, Calvo, P. with Lawrence, N. "Planta Sapiens: The New Science of Plant Intelligence was published in the UK last week. It will appear in North America in March next year.
From the Guardian's review of the book: Calvo writes that intelligence is "not quite as special as we like to think". He argues that it's time to accept that other organisms, even drastically different ones, may be capable of it....

In the course of his book, Calvo describes many experiments that reveal plants' remarkable range, including the way they communicate with others nearby using "chemical talk", a language encoded in about 1,700 volatile organic compounds.... Other studies show that some plants retain a memory of where the sun will rise, in order to turn their leaves towards the first rays. They store this knowledge — an internal model of what the sun is going to do — for several days, even when kept in total darkness. The conclusion must be that they constantly collect information, processing and retaining it in order to "make predictions, learn, and even plan ahead".

Polygon reports that during a streaming event, the publisher of the Magic: the Gathering card game promised a new themed set of cards commemorating Doctor Who's 60th anniversary. But that's not their only new set: The Lord of the Rings: Tales from Middle-earth is also releasing in Q3 of 2023, but it will be a fully draftable booster set and legal in modern format of competitive play....

Individual cards portray familiar heroes and villains including Frodo, Gandalf and the Balrog. In order to capture the scale of J.R.R. Tolkien's fantasy battles, the set will also feature new borderless scene cards. Each has a piece of art that can stand alone, but 18 of them will come together to produce a particularly epic scene from the trilogy — such as the Battle of the Pelennor Fields from The Return of the King. The art from Tyler Jacobson, who's provided illustrations for more than 100 Magic cards and for Dungeons & Dragons books including The Wild Beyond the Witchlight, is full of small details including the Dark Tower Barad-dûr in the background.
The article points out that the game publisher has previously published crossover decks for The Walking Dead and Fortnite.

This story is for long-time Slashdot reader tezbobobo, who argued earlier this week that Slashdot's been remiss in its coverage of Magic: the Gathering news: For years I've seen Dungeons & Dragons, Sony Playstation and Nethack show up occassionally on the front page of Slashdot. So where are the rest of the nerd games?

Magic: the Gathering has one of the most loyal and active fanbases, and the creators have been churning out new and interesting cards for decades. Even as it tops the trading card pile, it's made inroads into the digital sphere, with online version in Arena and Magic Online. It's available on PC, Mac, Ipad.

Chinese authorities have punished 27 people over the publication of a maths textbook that went viral over its "tragically ugly" illustrations. The Guardian reports: A months-long investigation by a ministry of education working group found the books were "not beautiful," and some illustrations were "quite ugly" and did not "properly reflect the sunny image of China's children." The mathematics books were published by the People's Education Press almost 10 years ago, and were reportedly used in elementary schools across the country. But they went viral in May after a teacher published photos of the illustrations inside, including people with distorted faces and bulging pants, boys pictures grabbing girls' skirts and at least one child with an apparent leg tattoo.

Social media users were largely amused by the illustrations, but many also criticized them as bringing disrepute and "cultural annihilation" to China, speculating they were the deliberate work of western infiltrators in the education sector. Related hashtags were viewed billions of times, embarrassing the Communist party and education authorities who announced a review of all textbooks "to ensure that the textbooks adhere to the correct political direction and value orientation."

In a lengthy statement released on Monday, the education authorities said 27 individuals were found to have "neglected their duties and responsibilities" and were punished, including the president of the publishing house, who was given formal demerits, which can affect a party member's standing and future employment. The editor-in-chief and the head of the maths department editing office were also given demerits and dismissed from their roles. The statement said the illustrators and designers were "dealt with accordingly" but did not give details. They and their studios would no longer be engaged to work on textbook design or related work, it said. The highly critical statement found a litany of issues with the books, including critiquing the size, quantity and quality of illustrations, some of which had "scientific and normative problems."

An anonymous reader quotes a report from The Daily Beast: A star University of Maryland (UMD) professor built a machine-learning software "useful for surveillance" as part of a six-figure research grant from Chinese tech giant Alibaba, raising concerns that an American public university directly contributed to China's surveillance state. Alibaba provided $125,000 in funding to a research team led by Dinesh Manocha, a professor of computer science at UMD College Park, to develop an urban surveillance software that can "classify the personality of each pedestrian and identify other biometric features," according to research grant documents obtained via public records request. "These capabilities will be used to predict the behavior of each pedestrian and are useful for surveillance," the document read.

Manocha is a decorated scholar in the AI and robotics field who has earned awards and accolades from Google, IBM, and many others. His star status brings rewards: Maryland taxpayers paid $355,000 in salaries to the professor in 2021, according to government watchdog Open the Books. The U.S. military also provides lavish funding for the professor's research, signing a $68 million agreement with Manocha's lab to research military applications of AI technologies. But Maryland taxpayers and the U.S. military are not the only ones funding Manocha's research. In January 2018, the University of Maryland and Alibaba signed an 18-month research contract funding Manocha's research team. In the grant document obtained by The Daily Beast, Manocha's team pledged to "work closely with Alibaba researchers" to develop an urban surveillance software that can identify pedestrians based on their unique gait signatures. The algorithm would then use the gait signatures to classify pedestrians as "aggressive," "shy," "impulsive," and other personalities. The grant required UMD researchers to test the algorithm on videos provided by Alibaba and present their findings in person at Alibaba labs in China. The scholars also had to provide the C++ codebase for the software and the raw dataset as deliverables to Alibaba. The software's "clear implication is to proactively predict demonstrations and protests so that they might be quelled," Fedasiuk told The Daily Beast. "Given what we know now about China's architecture of repression in Xinjiang and other regions, it is clear Dr. Manocha should not have pitched this project, and administrators at UMD should not have signed off on it."

It's not just Alibaba that was interested in the professor's expertise. In January 2019 -- back when the Alibaba grant was still active -- Manocha secured a taxpayer-funded, $321,000 Defense Department grant for his research team. The two grants funded very similar research projects. The Alibaba award was titled "large-scale behavioral learning for dense crowds." Meanwhile, the DoD grant funded research into "efficient computational models for simulating large-scale heterogeneous crowds." Unsurprisingly, the research outputs produced by the two grants had significant overlap. Between 2019 and 2021, Manocha published multiple articles in the AI and machine-learning field that cited both the Alibaba and DoD grant. There is no evidence that Manocha broke the law by double-dipping from U.S. and Chinese funding sources to fund similar research projects. Nevertheless, the case still raises "serious questions about ethics in machine learning research," Fedasiuk said.

"Creators aren't getting paid," says Cory Doctorow. "That's because powerful corporations have figured out how to create chokepoints — that let them snatch up more of the value generated by creative work before it reaches creative workers."

But he's doing something about it.

Doctorow's teamed up with Melbourne-based law professor Rebecca Giblin, the director of Australia's Intellectual Property Research Institute, for a new book that first "pulls aside the veil on the tricks Big Tech and Big Content use..." But more importantly, it also presents specific ideas for "how we can recapture creative labor markets to make them fairer and more sustainable." Their announcement describes the book as "A Big Tech/Big Content disassembly manual," saying it's "built around shovel-ready ideas for shattering the chokepoints that squeeze creators and audiences — technical, commercial and legal blueprints for artists, fans, arts organizations, technologists, and governments to fundamentally restructure the broken markets for creative labor."

Or, as they explain later, "Our main focus is action." Lawrence Lessig says the authors "offer a range of powerful strategies for fighting back." Anil Dash described it as "a credible, actionable vision for a better, more collaborative future where artists get their fair due." And Douglas Rushkoff called the book "an infuriating yet inspiring call to collective action."

The book is titled "Chokepoint Capitalism: How Big Tech and Big Content Captured Creative Labor Markets and How We'll Win Them Back." And at one point their Kickstarter page lays down a thought-provoking central question about ownership. "For 40 years, every question about creators rights had the same answer: moar copyright. How's that worked out for artists?" And then it features a quote from Wikipedia co-founder Jimmy Wales. "Copyright can't unrig a rigged market — for that you need worker power, antitrust, and solidarity."

A Kickstarter campaign to raise $10,000 has already raised $72,171 — in its first five days — from over 1,800 backers. That's partly because, underscoring one of the book's points, their Kickstarter campaign is offering "an audiobook Amazon won't sell." While Amazon will sell you a hardcover or Kindle edition of the book.... Audible has a hard and fast rule: if you're a publisher or writer who wants to sell your audiobook on Audible, you have to let it be wrapped in "Digital Rights Management," aka DRM: digital locks that permanently bind your work to the Audible platform. If a reader decides to leave Audible, DRM stops them taking the books they've already bought with them.... Every time Audible sells a book, DRM gives it a little bit more power to shake down authors and publishers. Amazon uses that stolen margin to eliminate competition and lock-in more users, ultimately giving it even more power over the people who actually make and produce books.
The announcement says their book "is about traps like the one Audible lays for writers and readers. We show how Big Tech and Big Content erect chokepoints between creators and audiences, allowing them to lock in artists and producers, eliminate competition, and extract far more than their fair share of revenues from creative labour. No way are we going to let Audible put its locks on our audiobook.

"So we're kickstarting it instead."

The announcement notes that Cory Doctorow himself has written dozens of books, "and he won't allow digital locks on any of them." And then in 2020, "Cory had an idea: what if he used Kickstarter to pre-sell his next audiobook? It was the most successful audiobook crowdfunding campaign in history."

So now Cory's working instead with independent audiobook studio Skyboat Media "to make great editions, which are sold everywhere except Audible (and Apple, which only carries Audible books): Libro.fm, Downpour, Google Play and his own storefront. Cory's first kickstarter didn't just smash all audiobook crowdfunding records — it showed publishers and other writers that there were tons of people who cared enough about writers getting paid fairly that they were willing to walk away from Amazon's golden cage. Now we want to send that message again — this time with a book that takes you behind the curtain to unveil the Machiavellian tactics Amazon and the other big tech and content powerhouses use to lock in users, creators and suppliers, eliminate competition, and extract more than their fair share....

Chokepoint Capitalism is not just a rollicking read, and a delightful listen: it also does good.

Your willingness to break out of the one-click default of buying from the Audible monopoly in support of projects like this sends a clear message to writers, publishers, and policymakers that you have had enough of the unfair treatment of creative workers, and you are demanding change.
Rewards include ebooks, audiobooks, hardcover copies, and even the donation of a copy to your local library. You can also pledge money without claiming a reward, or pledge $1 as a show of support for "a cryptographically signed email thanking you for backing the project. Think of it as a grift-free NFT."

Craig Newmark says the book documents "the extent to which competition's been lost throughout the creative industries, and how this pattern threatens every other worker. There is still time to do something about it, but the time to act is now."