HP announced today that it will resurrect the "Omni" branding it first coined for its business-oriented laptops introduced in 1993. The vintage branding will now be used for the company's new consumer-facing laptops, with HP retiring the Spectre and Dragonfly brands in the process. Furthermore, computers under consumer PC series names like Pavilion will also no longer be released. "Instead, every consumer computer from HP will be called either an OmniBook for laptops, an OmniDesk for desktops, or an OmniStudio for AIOs," reports Ars Technica. From the report: The computers will also have a modifier, ranging from 3 up to 5, 7, X, or Ultra to denote computers that are entry-level all the way up to advanced. For instance, an HP OmniBook Ultra would represent HP's highest-grade consumer laptop. "For example, an HP OmniBook 3 will appeal to customers who prioritize entertainment and personal use, while the OmniBook X will be designed for those with higher creative and technical demands," Stacy Wolff, SVP of design and sustainability at HP, said via a press announcement today. [...] So far, HP has announced one new Omni computer, the OmniBook X. It has a 12-core Snapdragon X Elite X1E-78-100, 16GB or 32GB of MPDDR5x-8448 memory, up to 2TB of storage, and a 14-inch, 2240x1400 IPS display. HP is pointing to the Latin translation of omni, meaning "all" (or everything), as the rationale behind the naming update. The new name should give shoppers confidence that the computers will provide all the things that they need.

HP is also getting rid of some of its commercial series names, like Pro. From now on, new, lower-end commercial laptops will be ProBooks. There will also be ProDesktop desktops and ProStudio AIOs. These computers will have either a 2 modifier for entry-level designs or a 4 modifier for ones with a little more power. For example, an HP ProDesk 2 is less powerful than an HP ProDesk 4. Anything more powerful will be considered either an EliteBook (laptops), EliteDesk (desktops), or EliteStudio (AIOs). For the Elite computers, the modifiers go from 6 to 8, X, and then Ultra. A Dragonfly laptop today would fall into the Ultra category. HP did less overhauling of its commercial lineup because it "recognized a need to preserve the brand equity and familiarity with our current sub-brands," Wolff said, adding that HP "acknowledged the creation of additional product names like Dragonfly made those products stand out, rather than be seen as part of a holistic portfolio." [...]

As you might now expect of any tech rebranding, marketing push, or product release these days, HP is also announcing a new emblem that will appear on its computers, as well as other products or services, that substantially incorporate AI. The two laptops announced today carry the logo. According to Wolff, on computers, the logo means that the systems have an integrated NPU "at 40+ trillions of operations per second." They also come with a chatbot based on ChatGPT 4, an HP spokesperson told me.

Sony Music Group, one of the world's biggest record labels, warned AI companies and music streaming platforms not to use the company's content without explicit permission. From a report: Sony Music, whose artists include Lil Nas X and Celine Dion, sent letters to more than 700 companies in an effort to protect its intellectual property, which includes album cover art, metadata, musical compositions and lyrics, from being used for training AI models. "Unauthorized use" of Sony Music Group content in the "training, development or commercialization of AI systems" deprives the company and its artists of control and compensation for those works, according to the letter, which was obtained by Bloomberg News.

[...] Sony Music, along with the rest of the industry, is scrambling to balance the creative potential of the fast-moving technology while also protecting artists' rights and its own profits. "We support artists and songwriters taking the lead in embracing new technologies in support of their art," Sony Music Group said in statement Thursday. "However, that innovation must ensure that songwriters' and recording artists' rights, including copyrights, are respected."

An anonymous reader quotes a report from Wired: On a side street outside the headquarters of the Department of Science, Innovation and Technology in the center of London on Monday, 20 or so protesters are getting their chants in order. "What do we want? Safe AI! When do we want it?" The protesters hesitate. "Later?" someone offers. The group of mostly young men huddle for a moment before breaking into a new chant. "What do we want? Pause AI! When do we want it? Now!" These protesters are part of Pause AI, a group of activists petitioning for companies to pause development of large AI models which they fear could pose a risk to the future of humanity. Other PauseAI protests are taking place across the globe: In San Francisco, New York, Berlin, Rome, Ottawa, and ahandful of other cities. Their aim is to grab the attention of voters and politicians ahead of the AI Seoul Summit -- a follow-up to the AI Safety Summit held in the UK in November 2023. But the loosely organized group of protesters itself is still figuring out exactly the best way to communicate its message.

"The Summit didn't actually lead to meaningful regulations," says Joep Meindertsma, the founder of PauseAI. The attendees at the conference agreed to the "Bletchley Declaration," but that agreement doesn't mean much, Meindertsma says. "It's only a small first step, and what we need are binding international treaties." [...] There is also the question of how PauseAI should achieve its aims. On the group's Discord, some members discussed the idea of staging sit-ins at the headquarters of AI developers. OpenAI, in particular, has become a focal point of AI protests. In February, Pause AI protests gathered in front of OpenAI'sSan Francisco offices, after the company changed its usage policies to remove a ban on military and warfare applications for its products. Would it be too disruptive if protests staged sit-ins or chained themselves to the doors of AI developers, one member of the Discord asked. "Probably not. We do what we have to, in the end, for a future with humanity, while we still can." [...]

Director of Pause AI US, Holly Elmore, wants the movement to be a "broad church" that includes artists, writers, and copyright owners whose livelihoods are put at risk from AI systems that can mimic creative works. "I'm a utilitarian. I'm thinking about the consequences ultimately, but the injustice that really drives me to do this kind of activism is the lack of consent" from companies producing AI models, she says. "We don't have to choose which AI harm is the most important when we're talking about pausing as a solution. Pause is the only solution that addresses all of them." [Joseph Miller, the organizer of PauseAI's protest in London] echoed this point. He says he's spoken to artists whose livelihoods have been impacted by the growth of AI art generators. "These are problems that are real today, and are signs of much more dangerous things to come." One of the London protesters, Gideon Futerman, has a stack of leaflets he's attempting to hand out to civil servants leaving the building opposite. He has been protesting with the group since last year. "The idea of a pause being possible has really taken root since then," he says. According to Wired, the leaders of Pause AI said they were not considering sit-ins or encampments near AI offices at this time. "Our tactics and our methods are actually very moderate," says Elmore. "I want to be the moderate base for a lot of organizations in this space. I'm sure we would never condone violence. I also want Pause AI to go further than that and just be very trustworthy."

Meindertsma agrees, saying that more disruptive action isn't justified at the moment. "I truly hope that we don't need to take other actions. I don't expect that we'll need to. I don't feel like I'm the type of person to lead a movement that isn't completely legal."

Slashdotters, what is the most effective way to protest AI development? Is the AI genie out of the bottle? Curious to hear your thoughts

OpenAI CEO Sam Altman gave an hour-long interview to the "All-In" podcast (hosted by Chamath Palihapitiya, Jason Calacanis, David Sacks and David Friedberg). And speaking on technology's advance, Altman said "Phones are unbelievably good.... I personally think the iPhone is like the greatest piece of technology humanity has ever made. It's really a wonderful product."


Q: What comes after it?

Altman: I don't know. I mean, that was what I was saying. It's so good, that to get beyond it, I think the bar is quite high.

Q: You've been working with Jony Ive on something, right?

Altman: We've been discussing ideas, but I don't — like, if I knew...


Altman said later he thought voice interaction "feels like a different way to use a computer."

But the conversation turned to Apple in another way. It happened in a larger conversation where Altman said OpenAI has "currently made the decision not to do music, and partly because exactly these questions of where you draw the lines..."

Altman: Even the world in which — if we went and, let's say we paid 10,000 musicians to create a bunch of music, just to make a great training set, where the music model could learn everything about song structure and what makes a good, catchy beat and everything else, and only trained on that — let's say we could still make a great music model, which maybe we could. I was posing that as a thought experiment to musicians, and they were like, "Well, I can't object to that on any principle basis at that point — and yet there's still something I don't like about it." Now, that's not a reason not to do it, um, necessarily, but it is — did you see that ad that Apple put out... of like squishing all of human creativity down into one really iPad...?

There's something about — I'm obviously hugely positive on AI — but there is something that I think is beautiful about human creativity and human artistic expression. And, you know, for an AI that just does better science, like, "Great. Bring that on." But an AI that is going to do this deeply beautiful human creative expression? I think we should figure out — it's going to happen. It's going to be a tool that will lead us to greater creative heights. But I think we should figure out how to do it in a way that preserves the spirit of what we all care about here.
What about creators whose copyrighted materials are used for training data? Altman had a ready answer — but also some predictions for the future. "On fair use, I think we have a very reasonable position under the current law. But I think AI is so different that for things like art, we'll need to think about them in different ways..." Altman:I think the conversation has been historically very caught up on training data, but it will increasingly become more about what happens at inference time, as training data becomes less valuable and what the system does accessing information in context, in real-time... what happens at inference time will become more debated, and what the new economic model is there.
Altman gave the example of an AI which was never trained on any Taylor Swift songs — but could still respond to a prompt requesting a song in her style. Altman: And then the question is, should that model, even if it were never trained on any Taylor Swift song whatsoever, be allowed to do that? And if so, how should Taylor get paid? So I think there's an opt-in, opt-out in that case, first of all — and then there's an economic model.
Altman also wondered if there's lessons in the history and economics of music sampling...

Apple has apologized for its tone-deaf "Crush!" ad that sparked a furious backlash with artists, musicians and other creators. AdAge reports that Apple said the video "missed the mark" and has scrapped plans to run the cutesy-turned-cringey commercial on TV. From a report: It's clear that Apple intended for the ad to serve as a metaphor for all the myriad creative tools one has when they throw down $1,000 or more for a new iPad Pro. Run during Tuesday's event, the video shows a series of musical instruments and other tools for human expression, including a guitar, drums, trumpet, amplifiers, record player, TV and much more. "All I Ever Need Is You" by Sonny & Cher soundtracks the clip.

Soon, it's revealed that the objects are all sitting on an industrial crusher, which descends upon the scattered creative instruments, exploding in plumes of satisfyingly colorful smoke. But when the crusher pulls back up, we see that everything was transformed into a shiny new iPad Pro.

Less than 24 hours after Apple held a special event to unveil the new, record-thin (0.20 inch, the thinnest Apple device yet) iPad Pro with M4 chip inside, which the company says is optimized for AI, it is facing a loud and fast-spreading public backlash to one of its new marquee video advertisements promoting the device -- a spot called "Crush." VentureBeat: The video features a giant, industrial hydraulic press machine -- a device category famous for appearing in viral videos over the last decade-and-a-half -- literally pressing down upon and destroying dozens of other objects and creative instruments, from trumpets to cans of paint. The ad concludes with the press lifting to reveal these objects have somehow been transformed into a new iPad Pro. The metaphor and messaging is pretty obvious: the iPad Pro can subsume and replace all these older legacy instruments and technologies inside of it, and all in a more portable, sleek, and more powerful form factor than ever before.

It's analogous to similar observations and advertisements other fans and creatives have made in the past about how PCs and smartphones replaced nearly all the individual gadgets -- stereo radios/boom boxes, journals, calculators, drawing pads, typewriters, video cameras -- of yore by offering many of their same core capabilities in a smaller, unified, more portable form factor. [...] People are revolted by the bluntness of Apple's metaphor, the destruction of beloved traditional instruments and objects which people hold in high esteem and affix intangible value to for their creative potential, and the overarching and perhaps unintentional messaging that Apple wants to literally flatten creativity and violently crush the creative tools of yesterday in favor of a multi-hundred dollar piece of luxury technology whose operating system and ecosystem of applications it tightly controls and restricts.

"Without San Francisco, Star Wars wouldn't exist," says David Reat, the culture studies director of the architecture department at Glasgow's University of Strathclyde.

SFGate reports: Lucas was born and raised in Modesto, where his father expected him to run the family stationery store once he turned 18, but Lucas instead left for Los Angeles, where he studied film production at the University of Southern California, before moving to San Francisco. Despite all that these cities had to offer, Lucas constantly found himself conflicted over his feelings toward them. "The battle of living in the country versus living in the city is huge with Lucas," says Reat, who notes that this theme runs throughout the likes of "THX 1138," "American Graffiti" and the "Star Wars" series. "He sees cities as the givers and takers of things. He's fascinated by cities. He doesn't actually want to live in one. He now lives in a ranch near one. He wants to orbit them. He's a paradox."

When Lucas moved to San Francisco in the late 1960s, there were a number of huge building projects taking place across the city that piqued the burgeoning filmmaker's interest, most notably the construction of BART and a new terminal at San Francisco airport. "Infrastructure really fascinated Lucas. They were these big huge alienating spaces," says Reat. "I think Lucas was driving around San Francisco, looking at them, and seeing that they looked alien." There's a reason why Lucas was particularly interested in the architecture in San Francisco: "He's on record as saying he wanted to be an architect," says Reat. "He has referred to himself as a frustrated architect." Lucas' interest provoked him and his creative team to put extra care and thought into each of the "Star Wars" buildings, vehicles, houses, villages, cities, worlds and galaxies, especially when it came to what they symbolized and represented.

"The architecture in the films play a key role for younger viewers," says Reat, explaining that it helps to indicate who is good and who is evil. When it comes to the Death Star there are "no women, no plants, no signs of life, and it's basically the Nazis in space," continues Reat. "Lucas doesn't like modernism. He always uses it for bad things, a bit like every James Bond baddie." Meanwhile, Luke Skywalker and the rest of the light side of the Force are seen living in "exaggerated domesticity" as they sit around drinking blue milk, surrounded by creatures. "There's a care and a weirdness to their architecture, plus it's loaded with color," says Reat, who adds that these choices help to make those characters more appealing and relatable....

The San Francisco International Airport also played a key role in the making of "Phantom Menace." A tour of its maintenance bay gave the film's creative designers a jolt of inspiration when they were creating Anakin's podracer and other vehicles.
The article also adds that the inspiration for the Theed Royal Palace on Naboo in The Phantom Menace was "the Marin County Civic Center, where Lucas once served jury duty."

Jess Weatherbed reports via The Verge: Swedish gaming conglomerate Embracer Group announced plans on Monday to split itself into three distinct games and entertainment companies: Asmodee Group, Coffee Stain & Friends, and Middle-earth Enterprises & Friends. These will be separate, publicly listed companies, according to Embracer, which says the move will allow "each entity to better focus on their respective core strategies and offer more differentiated and distinct equity stories for existing and new shareholders." [...]

The three new companies will be broken down as follows:

- Middle-earth Enterprises & Friends: This company, which will be renamed from Embracer Group, is described as a "creative powerhouse in AAA game development and publishing" that will retain ownership of the Dead Island, Killing Floor, Kingdom Come Deliverance, Tomb Raider, and The Lord of the Rings IPs.
- Asmodee Group: a new arm dedicated to publishing and distributing tabletop games. The existing catalog includes established titles like Ticket to Ride, 7 Wonders, Azul, CATAN, Dobble, and Exploding Kittens. Asmodee is also developing licensed tabletop games based on The Lord of the Rings, Marvel, Game of Thrones, and Star Wars franchises. Embracer anticipates the spinoff and share listings will take place "within 12 months."
- Coffee Stain & Friends: described as a "diverse gaming entity" that will focus on indie, mid-market, and free-to-play games. Properties sitting under this new company include Deep Rock Galactic, Goat Simulator, Satisfactory, Wreckfest, Teardown, and Valheim. The share listings are projected to become available in 2025.

CNBC visited a small group of bitcoin miners who "set up shop at the site of an extinct volcano" near Kenya's Hell's Gate National Park.

Their mine "consists of a single 500-kilowatt mobile container that, from the outside, looks like a small residential trailer." But what's more interesting is it's operated by a startup called Gridless. (According to its web site Gridless "designs, builds, and operates bitcoin mining sites alongside small-scale renewable energy producers in rural Africa where excess energy is not utilized...") Backed by Jack Dorsey's Block, Gridless electrifies its machines with a mix of solar power and the stranded, wasted energy from a nearby geothermal site. It's one of six mines run by the company in Kenya, Malawi and Zambia, powered by a mix of renewable inputs and working toward a broader mission of securing and decentralizing the bitcoin network... In early 2022, [the three Gridless co-founders] began brainstorming creative solutions for the divide between power generation and capacity, and the lack of access to electricity in Africa. They landed on the idea of bitcoin mining, which could potentially solve a big problem for renewable energy developers by taking their stranded power and spreading it to other parts of the continent.

In Africa, 43% of the population, or roughly 600 million people, lack access to electricity.... Africa is home to an estimated 10 terawatts of solar capacity, 350 gigawatts of hydro and another 110 gigawatts of wind. Some of this renewable energy is being harnessed already, but a lot isn't because building the specialized infrastructure to capture it is expensive. Even with 60% of the best solar resources globally, Africa only has 1% of installed solar PV capacity.

Enter bitcoin miners.

Bitcoin gets a bad rap for the amount of energy it consumes, but it can also help unlock these trapped renewable sources of power. Miners are essentially energy buyers, and co-locating with renewables creates a financial incentive to bolster production. "As often happens, you'll have an overage of power during the day or even at night, and there's nobody to soak that power up," said Hersman. He said his company's 50-kilowatt mining container can "take up whatever is extra throughout the day...." Demand from bitcoin miners on these semi-stranded assets is making renewables in Africa economically viable. The power supplier benefits from selling energy that previously had been discarded, while the energy plants will sometimes lower costs for the customer. At one of the Gridless pilot sites in Kenya, the hydro plant dropped the price of power from 35 cents per kilowatt hour to 25 cents per kWh.

The buildout of capacity is also electrifying households. Gridless says its sites have powered 1,200 houses in Zambia, 1,800 in Malawi and 5,000 in Kenya. The company's mines also have delivered power for containerized cold storage for local farmers, battery charging stations for electric motorcycles and public WiFi points.

The U.S. Copyright Office has granted a copyright registration to Elisa Shupe, a retired U.S. Army veteran, for her novel "AI Machinations: Tangled Webs and Typed Words," which extensively used OpenAI's ChatGPT in its creation. The registration is among the first for creative works incorporating AI-generated text, but with a significant caveat - Shupe is considered the author of the "selection, coordination, and arrangement" of the AI-generated content, not the text itself.

Shupe, who writes under the pen name Ellen Rae, initially filed for copyright in October 2022, seeking an Americans with Disabilities Act (ADA) exemption due to her cognitive impairments. The Copyright Office rejected her application but later granted the limited copyright after Shupe appealed. The decision, as Wired points out, highlights the agency's struggle to define authorship in the age of AI and the nuances of copyright protection for AI-assisted works.

Adobe is using its Firefly machine learning model to bring generative AI video tools to Premiere Pro. "These new Firefly tools -- alongside some proposed third-party integrations with Runway, Pika Labs, and OpenAI's Sora models -- will allow Premiere Pro users to generate video and add or remove objects using text prompts (just like Photoshop's Generative Fill feature) and extend the length of video clips," reports The Verge. From the report: Unlike many of Adobe's previous Firefly-related announcements, no release date -- beta or otherwise -- has been established for the company's new video generation tools, only that they'll roll out "this year." And while the creative software giant showcased what its own video model is currently capable of in an early video demo, its plans to integrate Premiere Pro with AI models from other providers isn't a certainty. Adobe instead calls the third-party AI integrations in its video preview an "early exploration" of what these may look like "in the future." The idea is to provide Premiere Pro users with more choice, according to Adobe, allowing them to use models like Pika to extend shots or Sora or Runway AI when generating B-roll for their projects. Adobe also says its Content Credentials labels can be applied to these generated clips to identify which AI models have been used to generate them.

Popular Science reports that early last week, researchers at the U.S. Energy Department's Princeton Plasma Physics Laboratory revealed their new "MUSE" stellarator — "a unique fusion reactor that uses off-the-shelf and 3D-printed materials to contain its superheated plasma."

The researchers' announcement says the technique suggests "a simple way to build future devices for less cost and allow researchers to test new concepts for future fusion power plants." Stellarators typically rely on complicated electromagnets that have complex shapes and create their magnetic fields through the flow of electricity. Those electromagnets must be built precisely with very little room for error, increasing their cost. However, permanent magnets, like the magnets that hold art to refrigerator doors, do not need electric currents to create their fields. They can also be ordered off the shelf from industrial suppliers and then embedded in a 3D-printed shell around the device's vacuum vessel, which holds the plasma.

"MUSE is largely constructed with commercially available parts," said Michael Zarnstorff, a senior research physicist at PPPL. "By working with 3D-printing companies and magnet suppliers, we can shop around and buy the precision we need instead of making it ourselves." The original insight that permanent magnets could be the foundation for a new, more affordable stellarator variety came to Zarnstorff in 2014. "I realized that even if they were situated alongside other magnets, rare-earth permanent magnets could generate and maintain the magnetic fields necessary to confine the plasma so fusion reactions can occur," Zarnstorff said, "and that's the property that makes this technique work." [...]

In addition to being an engineering breakthrough, MUSE also exhibits a theoretical property known as quasisymmetry to a higher degree than any other stellarator has before. It is also the first device completed anywhere in the world that was designed specifically to have a type of quasisymmetry known as quasiaxisymmetry. Conceived by physicist Allen Boozer at PPPL in the early 1980s, quasisymmetry means that although the shape of the magnetic field inside the stellarator may not be the same around the physical shape of the stellarator, the magnetic field's strength is uniform around the device, leading to good plasma confinement and higher likelihood that fusion reactions will occur. "In fact, MUSE's quasisymmetry optimization is at least 100 times better than any existing stellarator," Zarnstorff said.

"The fact that we were able to design and build this stellarator is a real achievement," said Tony Qian, a graduate student in the Princeton Program in Plasma Physics, which is based at PPPL.
Also covered by Gizmodo. Thanks to Slashdot reader christoban for sharing the news.

According to Bloomberg, Adobe used images from its competitor Midjourney to train its own artificial intelligence image generator, Firefly -- contradicting the "commercially safe" ethical standards the company promotes. Tom's Guide reports: The startup has never declared the source of its training data but many suspect it is from images it scraped from the internet without licensing. Adobe says only about 5% of the millions of images used to train Firefly fell into this category and all of them were part of the Adobe Stock library, which meant they'd been through a "rigorous moderation process."

When Adobe first launched Firefly it offered an indemnity against copyright theft claims for its enterprise customers as a way to convince them it was safe. Adobe also sold Firefly as the safe alternative to the likes of Midjourney and DALL-E as all the data had been licensed and cleared for use in training the model. Not all artists were that keen at the time and felt they were coerced into agreeing to let their work be used by the creative tech giant -- but the sense was any image made with Firefly was safe to use without risk of being sued for copyright theft.

Despite the revelation some of the images came from potentially less reputable sources, Adobe says all of the non-human pictures are still safe. A spokesperson told Bloomberg: "Every image submitted to Adobe Stock, including a very small subset of images generated with AI, goes through a rigorous moderation process to ensure it does not include IP, trademarks, recognizable characters or logos, or reference artists' names." The company seems to be taking a slightly more rigorous step with its plans to build an AI video generator. Rumors suggest it is paying artists per minute for video clips.

Adobe has begun to procure videos to build its AI text-to-video generator, trying to catch up to competitors after OpenAI demonstrated a similar technology. From a report: The software company is offering its network of photographers and artists $120 to submit videos of people engaged in everyday actions such as walking or expressing emotions including joy and anger, according to documents seen by Bloomberg. The goal is to source assets for artificial intelligence training, the company wrote.

Over the past year, Adobe has focused on adding generative AI features to its portfolio of software for creative professionals, including Photoshop and Illustrator. [...] Adobe is requesting more than 100 short clips of people engaged in actions and showing emotions as well as simple anatomy shots of feet, hands or eyes. The company also wants video of people "interacting with objects" such as smartphones or fitness equipment. It cautions against providing copyrighted material, nudity or other "offensive content." Pay for the submission works out, on average, to about $2.62 per minute of submitted video, although it could be as much as about $7.25 per minute.

A bill introduced in the US Congress on Tuesday intends to force AI companies to reveal the copyrighted material they use to make their generative AI models. From a report: The legislation adds to a growing number of attempts from lawmakers, news outlets and artists to establish how AI firms use creative works like songs, visual art, books and movies to train their software-and whether those companies are illegally building their tools off copyrighted content.

The California Democratic congressman Adam Schiff introduced the bill, the Generative AI Copyright Disclosure Act, which would require that AI companies submit any copyrighted works in their training datasets to the Register of Copyrights before releasing new generative AI systems, which create text, images, music or video in response to users' prompts. The bill would need companies to file such documents at least 30 days before publicly debuting their AI tools, or face a financial penalty. Such datasets encompass billions of lines of text and images or millions of hours of music and movies.

"AI has the disruptive potential of changing our economy, our political system, and our day-to-day lives. We must balance the immense potential of AI with the crucial need for ethical guidelines and protections," Schiff said in a statement. Whether major AI companies worth billions have made illegal use of copyrighted works is increasingly the source of litigation and government investigation. Schiff's bill would not ban AI from training on copyrighted material, but would put a sizable onus on companies to list the massive swath of works that they use to build tools like ChatGPT -- data that is usually kept private.

The European Space Agency has a Planetary Defence Office, which includes its Near-Earth Object Coordination Centre. "It has come to our attention," they wrote in the April edition of their monthly newsletter, "that a recent trend among journalists has been to come up with creative comparisons to convey the size of an asteroid to the public."

So then, as explained by RockDoctor (Slashdot reader #15,477) "they propose a number of standardised units of comparison for journalists describing 'death from the skies'".

An excerpt from that April 1 newsletter: In the absence of a handy skyscraper, animals commonly used have included giraffes, corgis and an entire colony of penguins. But how do these comparisons stack up? Let's look at some of our favourite unusual suspects:

- Corgi: At around 30 cm tall, a space rock the size of a corgi wouldn't pose much of a threat.

- Half a giraffe: An adult giraffe can reach up to 5.5 metres in height, so half a giraffe would be about 2.75 metres. While not as impressive as a full skyscraper, an asteroid that size could certainly destroy a building or two...

- Elephants: An adult African elephant can reach 7 metres at the shoulder. Ninety elephants stacked on top of each other would form a staggering pile over 630 metres high, creating a devastating but probably not planet-ending event.

As this menagerie of animals can cause a lot of confusion, we at the NEOCC recommend the use of a Standardised Giraffe Unit (SGU, 1 SGU = 5 penguins) for ease of comparison.
RockDoctor shares this additional thought in his original submission about the newly proposed standardized unit.

"The world may be turtles all the way down, but it's giraffes all the way up."

Sara Fischer reports via Axios: Jon Stewart on Monday told Federal Trade Commission (FTC) Chair Lina Khan that Apple wouldn't let him interview her for a podcast. "I wanted to have you on a podcast and Apple asked us not to do it," "The Daily Show" host said to Khan, in reference to his former podcast that was an extension of his Apple TV+ comedy show "The Problem With Jon Stewart." "They literally said 'please don't talk to her,' having nothing to do with what you do for a living. I think they just... I didn't think they cared for you is what happened," he added during his conversation with Khan. "They wouldn't let us do even that dumb thing we just did in the first act on AI. Like, what is that sensitivity? Why are they so afraid to even have these conversations out in the public sphere?"

Stewart returned to "The Daily Show" in February after leaving in 2015 as its executive producer and host on Monday evenings through the 2024 election cycle. Stewart's Apple TV+ show ended late last year after Stewart and Apple executives parted ways over creative differences, including the comedian's desire to cover topics such as China and AI, the New York Times reported.

LinkedIn is testing support for short-form videos to help it compete with TikTok, YouTube Shorts, Instagram Reels, and other social media platforms. "[W]e are testing new ways to help members more easily discover timely, relevant videos to watch on LinkedIn," Suzi Owens, a company spokesperson, tells Axios in an email. From the report: A new "Video" option will appear next to the "Home" button at the bottom of the app's navigation bar, per a demo of the feature shared online by Austin Null, strategy director at creative agency McKinney. After tapping it, viewers are led to a feed of short-form videos similar to Instagram Reels and TikTok.

An anonymous reader quotes a report from TorrentFreak: Brazilian anti-piracy campaign 'Operation 404' has taken down many pirate sites and services over the past five years, but criminal prosecutions have been scarce. This week, anti-piracy group ALIANZA announced a "historic" victory: The operator of pirate IPTV service "Flash IPTV" was sentenced to more than five years in prison, marking the first criminal conviction of this kind in Brazil. [...] The operator of Flash IPTV, who is referred to by the initials A.W.A.P., was found guilty of criminal copyright infringement and sentenced to five years and four months in prison.

Flash IPTV was a relatively large IPTV service with 13,547 active users at its peak. According to local news reports, the service generated $912,000 in revenue over twelve months, before it was taken offline in 2020 as part of the second 'Operation 404' campaign. Speaking with TorrentFreak, ALIANZA says that this is a historic verdict, as it's the first criminal IPTV prosecution linked to 'Operation 404' in Brazil. "We appreciate the commitment of the police and judicial authorities in resolving this important case. The conviction of A.W.A.P. is a milestone that reinforces our commitment to defending the rights of creators and fighting against illegal practices that harm the creative economy," says Victor Roldan, ALIANZA's executive director.

While Operation 404 resulted in many arrests over the years, follow-up prosecutions have been rare in Brazil. Previously, ALIANZA did score a similar victory in Ecuador, where the operator of the pirate IPTV service IPTVlisto.com was sentenced to a year in prison. Last fall, Brazilian authorities conducted the sixth wave of Operation 404 and more are expected to follow in the future. These enforcement initiatives are broadly praised by rightsholders and the recent conviction will only strengthen their support.

Web-based design platform Canva has acquired the Affinity creative software suite for an undisclosed sum, though Bloomberg reports that it's valued at "several hundred million [British] pounds." The Verge reports that the acquisition helps the company "[position] itself as a challenger to Adobe's grip over the digital design industry." From the report: Canva announced the deal on Tuesday, which gives the company ownership over Affinity Designer, Photo, and Publisher -- three popular creative applications for Windows, Mac, and iPad that provide similar features to Adobe's Illustrator, Photoshop, and InDesign software, respectively. [T]he acquisition makes sense as the Australian-based company tries to attract more creative professionals. As of January this year, Canva's design platform attracted around 170 million monthly global users. That's a lot of people who probably aren't using equivalent Adobe software like Express, but unlike Adobe, Canva doesn't have its own design applications that target creative professionals like illustrators, photographers, and video editors.

Affinity apps are used by over three million global users according to Canva -- that's a fraction of Adobe's user base, but Affinity shouldn't be underestimated here. The decision to make its Affinity applications a one-time-purchase with no ongoing subscription fees has earned it a loyal fanbase, especially with creatives who are actively looking for alternatives to Adobe's subscription-based design ecosystem. In an interview with the Sydney Morning Herald, Canva co-founder Cameron Adams said that Affinity applications will remain separate from Canva's platform, but that some small integrations should be expected over time. "Our product teams have already started chatting and we have some immediate plans for lightweight integration, but we think the products themselves will always be separate," said Adams.