Ahead of its December 14th launch in the European Union, Meta's Twitter-like social media platform, Threads, is adding a simplified version of hashtags to help users find related posts. 9to5Google reports: Announced in a post on Threads today, Meta is adding "Tags" to the social platform as a way to categorize a post and have it show up alongside other posts on the same topic. Tags work similarly to hashtags in the sense that they group together content, but they also work differently. Unlike hashtags, you can only have one tag/topic on a post. So, where many platforms (including Instagram) suffer somewhat from posts being flooded with dozens of hashtags appended to the bottom, Threads seemingly avoids that entirely. Meta says that this "makes it easier for others who care about that topic to find and read your post."

The other big difference with tags is how they appear in posts. Tags can be added by typing the # symbol in line with the text, but they don't appear with the symbol in the published post. Instead, they appear in blue text in the post, much like a traditional hyperlink. You can also add a tag by tapping the "#" symbol on the new post UI. As for the EU launch, Meta has opted to "sneakily update the Threads website with an untitled countdown timer (which won't be viewable in countries where Threads is already available) with just under six days remaining on the clock," reports The Verge. "European Instagram users can also search for the term 'ticket' within the app to discover a digital invitation to Threads, alongside a scannable QR code and a launch time -- which may vary depending on the country in which the user is based."

"The delay in Threads' rollout to the EU has been caused by what Meta spokesperson Christine Pai described as 'upcoming regulatory uncertainty,' likely in reference to strict rules under the bloc's Digital Markets Act (DMA)."

Slash_Account_Dot writes: The FBI investigated a man who allegedly posed as a police officer in emails and phone calls to trick Verizon to hand over phone data belonging to a specific person that the suspect met on the dating section of porn site xHamster, according to a newly unsealed court record. Despite the relatively unconvincing cover story concocted by the suspect, including the use of a clearly non-government ProtonMail email address, Verizon handed over the victim's data to the alleged stalker, including their address and phone logs. The stalker then went on to threaten the victim and ended up driving to where he believed the victim lived while armed with a knife, according to the record.

The news is a massive failure by Verizon who did not verify that the data request was fraudulent, and the company potentially put someone's safety at risk. The news also highlights the now common use of fraudulent emergency data requests (EDRs) or search warrants in the digital underworld, where criminals pretend to be law enforcement officers, fabricate an urgent scenario such as a kidnapping, and then convince telecoms or tech companies to hand over data that should only be accessible through legitimate law enforcement requests. As 404 Media previously reported, some hackers are using compromised government email accounts for this purpose.

In an exclusive interview with PetaPixel, astronaut Don Pettit reveals the changes that Nikon makes to its firmware especially for NASA. From the report: Galactic cosmic rays are high-energy particles that originate from outside the solar system that likely come from explosive events such as a supernova. They are bad news for cameras in space -- damaging the sensor and spoiling photos -- so Nikon made special firmware for NASA to limit the harm. Pettit tells PetaPixel that Nikon changed the in-camera noise reduction settings to battle the cosmic rays -- noise is unwanted texture and blur on photos.

Normal cameras have in-camera noise reduction for exposures equal to or longer than one second. This is because camera manufacturers don't think photographers need noise reduction for shorter exposures because there's no noise to reduce. But in space, that's not true. "Our cameras in space get sensor damage from galactic cosmic rays and after about six months we replace all the cameras but you still have cameras with significant cosmic ray damage," explains Pettit. "It shows up at fast shutter speeds, not just the slow ones. So we got Nikon to change the algorithm so that it can do in-camera noise reduction at shutter speeds of up to 500th of a second."

Pettit says Nikon's in-camera noise reduction "does wonders" for getting rid of the cosmic ray damage and that "trying to get rid of it after the fact is really difficult." That's not the only special firmware feature that Nikon makes for NASA; photographers who shoot enough photos know that the file naming system resets itself eventually which is no good for the space agency's astronauts. "The file naming system on a standard digital system will repeat every so often and we can't have two pictures with the same number," explains Pettit. "We'll take half a million pictures with the crew on orbit and so Nikon has changed the way the RAW files are numbered so that there will be no two with the same file number." The report notes that NASA started using Nikon film cameras in 1971, shortly after the Apollo era; "in part because Nikon is so good at making custom modifications that help the astronauts." Previously, the agency used boxy, black Hasselblad cameras.

Launched in the Nordics, BeneLux, Ireland, and the UK, the ads insist that HP printers are "made to be less hated." From a report: Which may come as news to HP's long-suffering users who still, for whatever reason, need to brand mushed-up trees with corporate nonsense despite this alleged digital age. The three ads run touch upon a spectrum of negative emotions that will be highly relatable to those who have ever tried to print something at home or work -- sorrow, anger, despair -- and all end with extreme and cathartic human-on-printer violence.

One of the suggestions in a recent report (PDF) from the European Parliament's Committee on Internal Market and Consumer Protection is to expand geo-blocking restrictions to the audiovisual sector, including streaming platforms. This has spooked some stakeholders who warn that a ban on geo-blocking would put the entire industry at risk. TorrentFreak reports: The report recommends the EU Commission to launch a comprehensive review of the current geo-blocking regulation and have that completed by 2025. It also carries several suggestions for improvement and expansion of the current rules. "The data presented in the report suggest that the effects of such an [geo-blocking] extension would vary by type of content, depending on the level of consumer demand and on the availability of content across the EU," the report's summary reads. "As regards an extension to audio-visual content, it highlights potential benefits for consumers, notably in the availability of a wider choice of content across borders. The report also identifies the potential impact that such an extension of the scope would have on the overall dynamics of the audio-visual sector, but concludes that it needs to be further assessed."

The proposals don't include the abolishment of all territorial licenses in the EU, and they're mindful of the potential impact on the industry. Nevertheless, some industry insiders are spooked; the Creativity Works! coalition (CW), for example, which counts the MPA, ACT, and the Premier League among its members. According to CW, geo-blocking technology is crucial to the creative and cultural industries in Europe. "Geo-blocking is one of the foundations for Europe's creative and cultural sectors, providing Europeans with the means to create, produce, showcase, publish, distribute and finance diverse, high-quality and affordable content," they write.

Banning geo-blocking altogether would be a disaster that puts millions of jobs and hundreds of billions of euros in revenue at risk, CW warns. At the same time, it may result in more expensive subscriptions for many consumers. "Ending geo-blocking's exclusive territorial licensing would threaten 10,000 European cinemas, access to over 8,500 European VOD films and up to half of European film budgets," CW writes. "What's more, over 100 million European fans could pay more to view the same sports coverage, while major digital streaming platforms might be forced to introduce sharp hikes for consumers in many European countries." Understandably, the movie industry is concerned about legislation that upsets the status quo. However, the IMCO report doesn't recommend a wholesale ban on territorial licenses but aims to ensure that content is available in regions where it currently isn't. At this stage, nothing is set in stone, so proposals could change. However, the present recommendations appear to seek a balance between the interests of the entertainment industry and the public at large.

Abstract of a paper:Theories of innovation emphasize the role of social networks and teams as facilitators of breakthrough discoveries. Around the world, scientists and inventors are more plentiful and interconnected today than ever before. However, although there are more people making discoveries, and more ideas that can be reconfigured in new ways, research suggests that new ideas are getting harder to find --contradicting recombinant growth theory. Here we shed light on this apparent puzzle. Analysing 20 million research articles and 4 million patent applications from across the globe over the past half-century, we begin by documenting the rise of remote collaboration across cities, underlining the growing interconnectedness of scientists and inventors globally.

We further show that across all fields, periods and team sizes, researchers in these remote teams are consistently less likely to make breakthrough discoveries relative to their on-site counterparts. Creating a dataset that allows us to explore the division of labour in knowledge production within teams and across space, we find that among distributed team members, collaboration centres on late-stage, technical tasks involving more codified knowledge. Yet they are less likely to join forces in conceptual tasks -- such as conceiving new ideas and designing research -- when knowledge is tacit. We conclude that despite striking improvements in digital technology in recent years, remote teams are less likely to integrate the knowledge of their members to produce new, disruptive ideas.

An anonymous reader quotes a report from Ars Technica: In an editorial for Slate published Monday, renowned security researcher Bruce Schneier warned that AI models may enable a new era of mass spying, allowing companies and governments to automate the process of analyzing and summarizing large volumes of conversation data, fundamentally lowering barriers to spying activities that currently require human labor. In the piece, Schneier notes that the existing landscape of electronic surveillance has already transformed the modern era, becoming the business model of the Internet, where our digital footprints are constantly tracked and analyzed for commercial reasons.

Spying, by contrast, can take that kind of economically inspired monitoring to a completely new level: "Spying and surveillance are different but related things," Schneier writes. "If I hired a private detective to spy on you, that detective could hide a bug in your home or car, tap your phone, and listen to what you said. At the end, I would get a report of all the conversations you had and the contents of those conversations. If I hired that same private detective to put you under surveillance, I would get a different report: where you went, whom you talked to, what you purchased, what you did." Schneier says that current spying methods, like phone tapping or physical surveillance, are labor-intensive, but the advent of AI significantly reduces this constraint. Generative AI systems are increasingly adept at summarizing lengthy conversations and sifting through massive datasets to organize and extract relevant information. This capability, he argues, will not only make spying more accessible but also more comprehensive. "This spying is not limited to conversations on our phones or computers," Schneier writes. "Just as cameras everywhere fueled mass surveillance, microphones everywhere will fuel mass spying. Siri and Alexa and 'Hey, Google' are already always listening; the conversations just aren't being saved yet." [...]

In his editorial, Schneier raises concerns about the chilling effect that mass spying could have on society, cautioning that the knowledge of being under constant surveillance may lead individuals to alter their behavior, engage in self-censorship, and conform to perceived norms, ultimately stifling free expression and personal privacy. So what can people do about it? Anyone seeking protection from this type of mass spying will likely need to look toward government regulation to keep it in check since commercial pressures often trump technological safety and ethics. [...] Schneier isn't optimistic on that front, however, closing with the line, "We could prohibit mass spying. We could pass strong data-privacy rules. But we haven't done anything to limit mass surveillance. Why would spying be any different?" It's a thought-provoking piece, and you can read the entire thing on Slate.

An anonymous reader shares a report: A somewhat obscure guideline for developers of U.S. government websites may be about to accelerate the long, sad decline of Mozilla's Firefox browser. There already are plenty of large entities, both public and private, whose websites lack proper support for Firefox; and that will get only worse in the near future, because the 'fox's auburn paws are perilously close to the lip of the proverbial slippery slope. The U.S. Web Design System (USWDS) provides a comprehensive set of standards which guide those who build the U.S. government's many websites. Its documentation for developers borrows a "2% rule" from its British counterpart: "... we officially support any browser above 2% usage as observed by analytics.usa.gov." (Firefox's market share was 2.2%, per the traffic for the previous ninety days.)

[...] "So what?" you may wonder. "That's just for web developers in the U.S. government. It doesn't affect any other web devs." Actually, it very well could. Here's how I envision the dominoes falling:

1. Once Firefox slips below the 2% threshold in the government's visitor analytics, USWDS tells government web devs they don't have to support Firefox anymore.
2. When that word gets out, it spreads quickly to not only the front-end dev community but also the corporate IT departments for whom some web devs work. Many corporations do a lot of business with the government and, thus, whatever the government does from an IT standpoint is going to influence what corporations do.
3. Corporations see this change as an opportunity to lower dev costs and delivery times, in that it provides an excuse to remove some testing (and, in rare cases, specific coding) from their development workflow.

You probably keep a backup of important personal files, photos, and videos on a flash drive or external hard drive. In the not-too-distant future, you might store that data in DNA instead. French company Biomemory wants to bring personal DNA-based data storage to the public. From a report: Today, the company announced the availability of wallet-sized cards that store one kilobyte of text data each -- the equivalent of a short email -- using DNA as the storage medium. At $1,000 for two identical cards, the price isn't exactly comparable to a memory stick. At least not yet. Erfane Arwani, CEO of Biomemory, sees his firm's offering as an experiment of sorts. "We wanted to demonstrate that our process is ready to be shown to the world," he says.

[...] One major benefit of DNA is that it is a far denser storage medium than current electronics. The Wyss Institute at Harvard estimates that a single gram of DNA can hold around 36 million copies of the Avengers: Endgame movie. It's also stable over time and requires less energy than the solid state drives and hard disk drives used in today's data centers. Once information is encoded into DNA, it doesn't require energy use until it's retrieved using a DNA sequencer. Biomemory is promising a minimum lifespan of 150 years -- a lot longer than current digital data storage methods. Hard disk drives last about five years, while flash drives last for around 10 years.

Gene Simmons is 74 years old. But as the singer for the classic rock band KISS left the stage after their final show, USA Today reports there was a surprise: in the most on-brand KISS move even by KISS standards, before the quartet likely hit their dressing rooms after disappearing on stage in the blizzard of smoke and confetti that accompanied the set-closing "Rock and Roll All Nite," a message blasted on the video screens: "A new KISS era starts now."

Digital avatars of the band followed, playing their anthem, "God Gave Rock and Roll To You."
ABC News reports: The avatars were created by George Lucas' special-effects company, Industrial Light & Magic, in partnership with Pophouse Entertainment Group, the latter of which was co-founded by ABBA's Björn Ulvaeus. The two companies recently teamed up for the "ABBA Voyage" show in London, in which fans could attend a full concert by the Swedish band — as performed by their digital avatars. Per Sundin, CEO of Pophouse Entertainment, says this new technology allows Kiss to continue their legacy for "eternity." He says the band wasn't on stage during virtual performance because "that's the key thing," of the future-seeking technology. "Kiss could have a concert in three cities in the same night across three different continents. That's what you could do with this."

In order to create their digital avatars, who are depicted as a kind of superhero version of the band, Kiss performed in motion capture suits.

Experimentation with this kind of technology has become increasingly common in certain sections of the music industry. In October K-pop star Mark Tuan partnered with Soul Machines to create an autonomously automated "digital twin" called "Digital Mark." In doing so, Tuan became the first celebrity to attach their likeness to OpenAI's GPT integration, artificial intelligence technology that allows fans to engage in one-on-one conversations with Tuan's avatar. Aespa, the K-pop girl group, frequently perform alongside their digital avatars — the quartet is meant to be viewed as an octet with digital twins. Another girl group, Eternity, is made up entirely of virtual characters — no humans necessary.
Kiss frontman Paul Stanley told ABC News that "The band deserves to live on because the band is bigger than we are."

Long-time Slashdot reader nmb3000 writes: The Electronic Frontier Foundation has published a new white paper, Privacy First: A Better Way to Address Online Harms , to propose an alternative to the "often ill-conceived, bills written by state, federal, and international regulators to tackle a broad set of digital topics ranging from child safety to artificial intelligence." According to the EFF, "these scattershot proposals to correct online harm are often based on censorship and news cycles. Instead of this chaotic approach that rarely leads to the passage of good laws, we propose another solution."
The EFF writes:

Sony is about to delete tons of Discovery shows from PlayStation users' libraries even if they already "purchased" them. Why? Because most users don't actually own the digital content they buy thanks to the mess of online DRM and license agreements. Some of the soon-to-be-deleted TV shows include Mythbusters and Naked and Afraid. Kotaku reports: The latest pothole in the road to an all-digital future was discovered via a warning Sony recently sent out to PlayStation users who purchased TV shows made by Discovery, the reality TV network that recently merged with Warner Bros. in one of the most brutal and idiotic corporate maneuvers of our time. "Due to our content licensing arrangements with content providers, you will no longer be able to watch any of your previously purchased Discovery content and the content will be removed from your video library," read a copy of the email that was shared with Kotaku.

It linked to a page on the PlayStation website listing all of the shows impacted. As you might imagine, given Discovery's penchant for pumping out seasons of relatively cheap to produce but popular reality TV and documentary-based shows, there are a lot of them. They include, but are not limited to, hits such as: Say Yes to the Dress, Shark Week, Cake Boss, Long Island Medium, Deadly Women, and many, many more. [...] Now, essentially anything you buy on PSN, whether a PS5 blockbuster or, uh, Police Women of Cincinnati, is essentially just on indefinite loan until such time as the PlayStation servers die or the original copyright owner decides to pull the content.

According to Microsoft Gaming CEO Phil Spencer, the company is talking to partners to help launch a mobile gaming store that will take on Apple and Google. "It's an important part of our strategy and something we are actively working on today not only alone, but talking to other partners who'd also like to see more choice for how they can monetize on the phone," Spencer said in an interview in Sao Paulo during the CCXP comics and entertainment convention. From the report: The executive declined to give a specific date for a launch of the online store, which earlier reports suggested could be next year. "I don't think this is multiple years away, I think this is sooner than that,'' he said. [...] Microsoft's mobile store would also enter a challenging regulatory climate around smartphone-based digital marketplaces. Fortnite-maker Epic Games has sued both Apple and Alphabet's Google over their iOS and Android store practices, alleging they are unnecessarily restrictive and unfair. Apple doesn't allow competing stores on its iPhone and iPad platforms, and collects a 30% cut of sales for most purchases. Game makers have taken issue with the fees.

Epic lost its battle with Apple but in September asked the US Supreme Court to weigh in. Apple is also petitioning that court to reverse an order that would force the company to let developers steer customers to other payment methods. Epic is still in court fighting its case against Google, which does allow third-party app stores on its devices.The European Union's Digital Markets Act, which is just beginning to take effect, could force Apple to open up its app store ecosystem. Apple is challenging the regulation.

Microsoft may be able to use long-standing resentment against the market leaders to martial support for its store offering. Xbox's cloud gaming technology already lets users stream blockbuster games to mobile phones. "We've talked about choice, and today on your mobile phones, you don't have choice,'' Spencer said. "To make sure that Xbox is not only relevant today but for the next 10, 20 years, we're going to have to be strong across many screens." Earlier this week, Xbox CFO Tim Stuart said during the Wells Fargo TMT Summit that Microsoft wants to make first-party games and Game Pass available on "every screen that can play games," including rival consoles. "It's a bit of a change of strategy. Not announcing anything broadly here, but our mission is to bring our first-party experiences [and] our subscription services to every screen that can play games," Stuart said. "That means smart TVs, that means mobile devices, that means what we would have thought of as competitors in the past like PlayStation and Nintendo."

Paul Kunert reports via The Register: Adobe's $20 billion buy of web-first design collaboration start-up Figma will harm software developers if it goes ahead as proposed, according to a provisional ruling on the merger by Britain's competition regulator. The Competition and Markets Authority launched a deeper investigation of the tie-up in July when it classified Figma as an "emerging threat to Adobe." Now in the latest twist, the regulator says it found the merger would eliminate one of two major players in three software sub-markets: product design; image editing; and illustration.

Figma's tools are used by well-known businesses that are key to the success of the digital economy, the CMA reckons, including Airbnb, Patagonia and Vodafone. Approving the acquisition "would remove the constraint Adobe exerts on Figma through its product design software, AdobeXD." The CMA adds in its report: "The inquiry group also provisionally concluded that Adobe abandoned development of new product design software which could have competed even more closely with Figma and, given the timing of the decision, did this as a consequence of the merger. "This supports the CMA's concern that this proposed deal would likely reduce innovation and the development of competitive new products." Some software developers are worried that Adobe would up the price of Figma's subsciption post merger, something Figma denied would happen.

As for image editing and illustration software, the "threat posed" by Figma has fueled product development of Adobe's Photoshop and Illustrator applications, including web versions, and this dynamic would be altered by the merger. "This competition would be lost as a result of the transaction, harming designers and creative agencies who might have used these new tools or relied on future updates," the CMA's report adds. The nature of the ruling is provisions., and the CMA will now consult of them and consider potential remedies "which could include blocking the deal outright."

Google Play has reversed its latest ban on a web browser that keeps getting targeted by vague Digital Millennium Copyright Act (DMCA) notices. Downloader, an Android TV app that combines a browser with a file manager, was restored to Google Play last night. From a report: Downloader, made by app developer Elias Saba, was suspended on Sunday after a DMCA notice submitted by copyright-enforcement firm MarkScan on behalf of Warner Bros. Discovery. It was the second time in six months that Downloader was suspended based on a complaint that the app's web browser is capable of loading websites.

The first suspension in May lasted three weeks, but Google reversed the latest one much more quickly. As we wrote on Monday, the MarkScan DMCA notice didn't even list any copyrighted works that Downloader supposedly infringed upon. Instead of identifying specific copyrighted works, the MarkScan notice said only that Downloader infringed on "Properties of Warner Bros. Discovery Inc." In the field where a DMCA complainant is supposed to provide an example of where someone can view an authorized example of the work, MarkScan simply entered the main Warner Bros. URL: https://www.warnerbros.com/.

An anonymous reader quotes a report from the CBC: Google and the federal government have reached an agreement in their dispute over the Online News Act that would see Google continue to share Canadian news online in return for the company making annual payments to news companies in the range of $100 million. Sources told Radio-Canada and CBC News earlier Wednesday that an agreement had been reached. Heritage Minister Pascale St-Onge confirmed the news Wednesday afternoon. "Many doubted that we would be successful, but I was confident we would find a way to address Google's concerns," she told reporters outside the House of Commons.

The federal government and Google agreed on the regulatory framework earlier this week, a government source familiar with the talks told Radio-Canada. The federal government had estimated earlier this year that Google's compensation should amount to about $172 million. Google estimated the value at $100 million. The company said it would not have a mandatory negotiation model imposed on it for talks with Canadian media organizations, preferring to deal with a single point of contact. The new regulations will allow Google to negotiate with a single group that would represent all media, allowing the company to limit its arbitration risk. Google would still be required to negotiate with the media and sign an agreement. The digital giant could also add additional service contributions, which have yet to be specified.

An anonymous reader quotes a report from CNBC: Hackers who compromised Okta's customer support system stole data from all of the cybersecurity firm's customer support users, Okta said in a letter to clients Tuesday, a far greater incursion than the company initially believed. The expanded scope opens those customers up to the risk of heightened attacks or phishing attempts, Okta warned. An Okta spokesperson told CNBC that customers in government or Department of Defense environments were not impacted by the breach. "We are working with a digital forensics firm to support our investigation and we will be sharing the report with customers upon completion. In addition, we will also notify individuals that have had their information downloaded," a spokesperson said in a statement to CNBC.

Nonetheless, Okta provides identity management solutions for thousands of small and large businesses, allowing them to give employees a single point of sign on. It also makes Okta a high-profile target for hackers, who can exploit vulnerabilities or misconfigurations to gain access to a slew of other targets. In the high profile attacks on MGM and Caesars, for example, threat actors used social engineering tactics to exploit IT help desks and target those company's Okta platforms. The direct and indirect losses from those two incidents exceeded $100 million, including a multi-million dollar ransom payment from Caesars.

An anonymous reader quotes a report from Ars Technica: App developer Elias Saba has had some bad luck with Digital Millennium Copyright Act (DMCA) takedowns. His Android TV app Downloader, which combines a web browser with a file manager, was suspended by Google Play in May after several Israeli TV companies complained that the app could be used to load a pirate website. Google reversed that suspension after three weeks. But Downloader has been suspended by Google Play again, and this time the reason is even harder to understand. Based on a vague DMCA notice, it appears that Downloader was suspended simply because it can load the Warner Bros. website. [...]

The notice includes a copy of the DMCA complaint, which came from MarkScan, a "digital asset protection" firm that content owners hire to enforce copyrights. MarkScan said in its complaint that it represents Warner Bros. Discovery Inc. A DMCA notice is supposed to identify and describe the copyrighted work that was infringed. But MarkScan's notice about Downloader identifies the copyrighted work only as "Properties of Warner Bros. Discovery Inc." It provides no detail on which Warner Bros. work was infringed by Downloader. A DMCA notice is also supposed to provide an example of where someone can see "an authorized example of the work." In this field, MarkScan simply entered the main Warner Bros. URL: https://www.warnerbros.com/. The Downloader app had been installed over 10 million times before the takedown, according to an Internet Archive capture taken before the latest suspension.

Saba appealed the takedown today, but he told us that the appeal was rejected by Google Play after 24 minutes. Saba said he also submitted a DMCA counter-notice, which gives the complainant 10 business days from today to file a legal action. After his first takedown in May, his app was reinstated after the DMCA complainant didn't take any legal action. Saba also wrote a blog post today about the latest takedown. "Given that my app still does not contain any copyright-infringing content and never has, I've countered this new DMCA takedown which will, hopefully, mean the app will be restored sometime in the coming weeks," he wrote. "In the meantime, you can sideload the app onto your Google TV or Android TV devices by downloading the APK from https://www.aftvnews.com/downloader.apk. Downloader remains available on Fire TV devices directly from the Amazon Appstore." Saba said it's "absurd that Google seems to make no effort at all to verify the copyright claims being made on my app which is just a web browser that can download files and has no content of any sort in it."

"If loading a website with infringing content in a standard web browser is enough to violate DMCA, then every browser in the Google Play Store including @googlechrome should also be removed," said Saba in May. "It's a ridiculous claim and an abuse of the DMCA."

After 151 years, Popular Science will no longer be available to purchase as a magazine. "Cathy Hebert, the communications director for PopSci owner Recurrent Ventures, says the outlet needs to 'evolve' beyond its magazine product, which published its first all-digital issue in 2021," reports The Verge. From the report: PopSci, which covers a whole range of stories related to the fields of science, technology, and nature, published its first issue in 1872. Things have changed a lot over the years, with the magazine switching to a quarterly publication schedule in 2018 and doing away with the physical copies altogether after 2020. In a post on LinkedIn, former PopSci editor Purbita Saha commented on the magazine's discontinuation, stating she's "frustrated, incensed, and appalled that the owners shut down a pioneering publication that's adapted to 151 years worth of changes in the space of a five-minute Zoom call."

"PopSci is a phenomenal brand, and as consumer trends shift it's important we prioritize investment in new formats," Herbert tells The Verge. "We believe that the content strategy has to evolve beyond the digital magazine product. A combination of its news team, along with commerce, video, and other initiatives, will produce content that naturally aligns with PopSci's mission." PopSci will continue to offer articles on its website, along with its PopSci Plus subscription, which offers access to exclusive content and the magazine's archive.

Simon Sharwood reports via The Register: Amazon Web Services has announced the WorkSpaces Thin Client -- a device dedicated to connecting to its WorkSpaces desktop-as-a service offering and based on Amazon's own "Fire Cube" smart TV box. The $195 machine has the same hardware as the Fire Cube: the eight-core Arm-powered Amlogic POP1-G SoC, plus 2GB of LPDDR4 RAM, 10/100 ethernet, and a single USB-A 2.0 port. Bluetooth is included to connect other peripherals. A second HDMI output can be added by acquiring an $85 hub that also offers four more USB ports. Like the Fire TV Cube, the Thin Client also runs a modified cut of Android.

But there the similarities end. AWS created custom firmware and ripped out anything remotely related to running a consumer device, replacing it with software designed solely to create a secure connection between the device and desktops running in the Amazonian cloud. Amazon Business -- the B2B version of Jeff Bezos's digital souk -- will ship the device to your door, and charge it to your AWS bill. At least if you are in the USA. Europe will get the Thin Client in early 2024, and it'll eventually migrate elsewhere.

AWS decided to base the box on the Fire Cube because, according to a corporate blog post, AWS customers expressed a desire for cheaper and easier-to-maintain client devices. As AWS execs searched for a well-priced box, they considered the Fire TV Cube, found it fit the bill and noted it was already being made at scale. Keeping things in-house made sense, too. And so we find ourselves with AWS taking on established thin client providers. The cloudy concern is also keen to have a crack at the thick wedge of the enterprise PC market: call centers, payment processing centers, and other environments with lots of users and high staff turnover due to factors like seasonal demand for workers.