Amazon has unveiled the Fire Phone. It runs a modified version of Android, and it will launch exclusively for AT&T's network. The screen is a 4.7" IPS LCD (they tested from 4.3" to 5.5", and decided 4.7" worked best for single-hand use), with an emphasis on brightness. It runs on a quad-core 2.2GHz processor with 2GB of RAM, and an Adreno 330 GPU. It has a rear-facing, 13-megapixel camera using an f/2.0 five-element lens with image stabilization. There's a dedicated physical button on the side of the phone that will turn it on and put it into camera mode when pressed. The phone comes with dual stereo speakers that produce virtual surround sound. Amazon wants the phone to be distinctive for its ability to provide video content, both from a hardware and software perspective.

The Fire Phone runs Mayday, Amazon's live tech support service for devices. They also demonstrated Firefly, software that recognizes physical objects using the phone's camera, as well as TV shows and songs it hears. It runs quickly, often identifying things in less than a second (and it pulls up an Amazon product listing, of course). It can even recognize art. Firefly has its own dedicated physical button on the phone, and Amazon is providing a Firefly SDK to third parties who want to develop with it. Another major feature of the Fire Phone is what Amazon calls "dynamic perspective." Using multiple front-facing cameras, the phone tracks the position of a user's head, and uses that to slightly adjust what's displayed on the screen so content is easier to see from the new angle. It allows for gesture control of the phone — for example, you can tilt the phone to scroll a web page or move your head slightly look around a 2-D stadium image when browsing for available seats. Putting your thumb on the screen acts like a mute button for the head tracking, so it isn't confused when you look up from the screen or turn your head to talk to somebody. It's an impressive piece of software, and they've made an SDK available for it.

Bennett Haselton writes "If you read no further, use either the BestParking or ParkMe app to search all nearby parking garages for the cheapest spot, based on the time you're arriving and leaving. I'm interested in the question of why so few people know about these apps, how is it that they've been partially crowded out by other 'parking apps' that are much less useful, and why our marketplace for ideas and intellectual properly is still so inefficient." Read below to see what Bennett has to say.

We recently had the chance to talk with internet rock star and former code monkey Jonathan Coulton. We asked him a number of your questions and a few of our own about music, technology, and copyright issues. Read below to see what he had to say.

KentuckyFC (1144503) writes "The recent development of vast databases that link words to the emotions they conjure up is changing the way researchers study text. Sentiment analysis, for example, is increasingly used to gauge the mood of society on topics ranging from politics to movies. Now researchers have used the same technique to measure the "emotional temperature" throughout a novel and then to automatically compose music that reflects the content. The key advance in this work is the development of rules that map the emotional changes into musical qualities such as tempo, key pitch and so on. The team has fed a number of well known books through the algorithm, which they call TransProse. These include lighter texts such as Peter Pan and much darker novels such as The Road and Heart of Darkness. And the music isn't bad (to my untrained ear). The teams say the new algorithm could lead to audio-visual e-books that generate music that reflects the mood on open pages. And it may even be possible to use the algorithm in reverse to recommend known songs that reflect the mood in a book."

New submitter Paul J Heald writes "The vast majority of books and songs from the 20th Century are out-of-print. New data show music publishers doing an admirable job of digitizing older content, but book publishers fail miserably at putting old works in eBook form. I've done some research in an attempt to explain why: 'Music publishers can proceed with the digitization of their back catalog without competing to re-sign authors or hiring lawyers to renegotiate and write new contracts. Research has revealed no cases holding that music publishers must renegotiate in order to digitize their vinyl back catalogs. The situation for book publishers is substantially the opposite. In the landmark case of Random House v. Rosetta Books, the Second Circuit held that Random House had to renegotiate deals with its authors in order to publish their hard copy books in eBook format. ... Another advantage that the music industry may have is the lower cost of digitization. A vinyl album or audio master tape can be converted directly to a consumable digital form and be made available almost immediately. A book, on the other hand, can be scanned quite easily, but in order to be marketed as a professional-looking eBook (as opposed to a low quality, camera-like image of the original book), the scanned text needs to be manipulated with word processing software to reset the fonts and improve the appearance of the text.'"

Lucas123 writes "Imagine that in 1952, an IBM RAMAC 350 disk drive would have been able to hold only one .MP3 song. Today, a 4TB 3.5-in desktop drive (soon to be 5TB) can hold 760,000 songs. As much data as the digital age creates (2.16 Zettabytes and growing), data storage technology has always found a way to keep up. It is the fastest growing semiconductor technology there is. Consider a microSD card that in 2005 could store 128MB of capacity. Last month, SanDisk launched a 128GB microSD card — 1,000 times the storage in under a decade. While planar NAND flash is running up against a capacity wall, technology such as 3D NAND and Resistive Random Access Memory (RRAM) hold the promise of quadrupling of solid state capacity. Here are some photos of what was and what is in data storage."

Jonathan Coulton's song Code Monkey became an anthem for many programmers (not just ones with managers named Rob) and his success is proof that you really can become an internet rock star. Since we last talked, Coulton has became the house musician for the NPR show Ask Me Another and had one of his songs copied without permission, credit, or thanks by the show Glee, much to his chagrin. Jonathan has agreed to answer all your questions about music, internet stardom, and robots. Normal Slashdot interview rules apply.

Hugh Pickens DOT Com writes "Jose Pagliery reports at CNN that the 68-year-old rock star unveiled his startup, Pono, at the South by Southwest festival in Austin, Texas raising $1.4 million in a single day. Young has developed a portable music player that stores high-resolution recordings and promises to deliver all the delicate details that get chopped out of modern-day formats, like MP3s and CDs. 'Pono' is Hawaiian for righteous. 'What righteous means to our founder Neil Young is honoring the artist's intention, and the soul of music. That's why he's been on a quest, for a few years now, to revive the magic that has been squeezed out of digital music.' With 128 GB of space, the PonoPlayer can carry about 3,200 tracks of high-resolution recordings while an MP3 player of the same size can hold maybe 10 times that many songs. Young says the MP3 files we're all listening to actually are pretty poor from an audio-quality standpoint and only contains about five percent of the audio from an original recording. But isn't FLAC already lossless? What makes Pono better?"

A while ago you had a chance to ask composer George Sanger about making music and sound effects for games, television, and film. Below you'll find "The Fat Man's" answers to those questions.

Nerval's Lobster writes "Earlier in February, Tribune Company completed the $170 million acquisition of Gracenote, a deal originally set in motion in late 2013. The merger is an unusual one: Gracenote owns a massive library of media metadata, and the Tribune Company is best known as the publisher of print newspapers and tabloids, most notably its flagship paper in Chicago. Regardless of the Tribune Company's specific plans for Gracenote's datasets and technical infrastructure, it spent a hefty amount of cash on an entity devoted solely to compiling metadata about copyrightable works owned by third parties: In other words, Gracenote still commands a nine-figure price tag when its primary product, to put it bluntly, amounts to footnotes and annotations to media for which it doesn't have licenses or rights. But here's where it potentially gets a little spooky: while the titles of the songs in your playlists shouldn't be conflated with records of your phone calls, services such as Gracenote's upcoming Rhythm Internet-radio service (which leans heavily on user preferences and behavior) may help Gracenote partially convert its library of media metadata into a library of user data. 'We do have big hopes for that part of our business going forward,' Gracenote president Stephen White confirmed to Slashdot. That makes privacy advocates a little nervous. 'We're seeing, especially with the ad space, that companies are trying to get user information from all different sources, and it's not just what brands are looking for anymore,' Ari Kamdar, an activist with the Electronic Frontier Foundation, told Slashdot. 'They're trying to get location data, financial data, habits, family so I'm not surprised that audio data could be one of the big facets.' (For his part, White insists that Gracenote is careful with data collection.) The Gracenote saga suggests that metadata — even the type that doesn't come from phones or social networks — is more valuable than ever, which is liable to get some companies really excited... and make a whole lot of people very, very nervous."

An anonymous reader writes "What could have been entering the public domain in the US on January 1, 2014? Under the law that existed until 1978.... Works from 1957. The books On The Road, Atlas Shrugged, Empire of the Atom, and The Cat in the Hat, the films The Incredible Shrinking Man, The Bridge on the River Kwai, and 12 Angry Men, the article "Theory of Superconductivity," the songs "All Shook Up" and "Great Balls of Fire," and more.... What is entering the public domain this January 1? Not a single published work."

Taco Cowboy writes "Back in 1963, the Beatles did some performances for the BBC and other places. The songs were recorded, but never officially released. Now, 50 years later, Apple has packaged all 59 tracks together and put them up for sale on iTunes for $40. The reason? Copyright. The copyright for unreleased works expires 50 years after the works are recorded. By releasing the 59 tracks on iTunes before the end of December, the songs will be protected under copyright law for 20 more years."

Nerval's Lobster writes "Spotify wants to change the perception that it's killing artists' ability to make a living off music. In a new posting on its Website, the streaming-music hub suggests that songs' rights-holders earn between $0.006 and $0.0084 per stream, on average, and that a niche indie album on the service could earn an artist roughly $3,300 per month (a global hit album, on the other hand, would rack up $425,000 per month). 'We have succeeded in growing revenues for artists and labels in every country where we operate, and have now paid out over $1 billion USD in royalties to-date ($500 million of which we paid in 2013 alone),' the company wrote. 'We have proudly achieved these payouts despite having relatively few users compared to radio, iTunes or Pandora, and as we continue to grow we expect that we will generate many billions more in royalties.' But does that really counter all those artists (including Grizzly Bear and Damon Krukowski of Galaxie 500) who are on the record as saying that Spotify streaming only earns them a handful of dollars for tens of thousands of streaming plays? Let's say an artist earns $0.0084 per stream; it would still take 400,000 'plays' per month in order to reach that indie-album threshold of approximately $3,300. (At $0.006 per stream, it would take 550,000 streams to reach that baseline.) If Spotify's 'specific payment figures' with regard to albums are correct, that means its subscribers are listening to a lot of music on repeat. And granted, those calculations are rough, but even if they're relatively ballpark, they end up supporting artists' grousing that streaming music doesn't pay them nearly enough. But squeezed between labels and publishers that demand lots of money for licensing rights, and in-house expenses such as salaries and infrastructure, companies such as Spotify may have little choice but to keep the current payment model for the time being."

alphadogg writes "A music industry group is warning some 50 website that post song lyrics that they need to be licensed or face the music, possibly in the form of a lawsuit. The National Music Publishers Association said Monday that it sent take-down notices to what it claims are 50 websites that post lyrics to songs and generate ad revenue but may not be licensed to do so. The allegedly infringing sites were identified based on a complicated algorithm developed by a researcher at the University of Georgia." The "complicated algorithm" (basis statistics using Excel and Google) is described in the NMPA's "Undesirable Lyric Website List." Anyone remember lyrics.ch?

An anonymous reader writes "Songbirds living along the Hudson River in New York state are exposed to levels of PCBs that don't kill them but do disrupt the songs they sing, reports a team of researchers from Cornell University. Their study reveals that birds residing in regions with higher environmental PCB contamination levels have higher total blood PCBs, which affects their singing behaviour: the team found these species' songs varied predictably based on their PCB load, and also based upon the type of PCBs. Thus, the scientists suggest that another of the many toxic effects of sublethal environmental PCB pollution are neurological effects that translate into observable behaviour changes that disrupt song quality used by birds to communicate."

cold fjord writes "ZDNet reports, 'Seagate on Monday took the wraps off a hard drive designed for tablets that brings 7x the storage capacity of a 64GB device with the same performance as a Flash drive. The drive, the Seagate Ultra Mobile HDD, uses software to boost performance. The idea is that Android tablet manufacturers will use the Seagate drive, along with the company's mobile enablement kit and caching software, to up the storage. The 2.5-inch drive is 5 mm thin and weighs 3.3 ounces. As for capacity, the drive has 500GB---enough for 100,000 photos and 125,000 songs.' More at The Wall Street Journal."

AmiMoJo writes "The Ministry of Sound, a UK dance music brand, is suing Spotify because it has not removed users' playlists that mirror their compilation albums. The case will hinge on whether compilation albums qualify for copyright protection due to the selection and arrangement involved in putting them together. Spotify has the rights to stream all the tracks on the playlists in question, but the issue here is whether the compilation structure — the order of the songs — can be copyrighted."

New submitter duSoliel wrote in with news that another musician is complaining about a lack of royalties from streaming music services. This time, however, the musician is going after MediaNet (once known as MusicNet) which acts as an intermediary source for licensing songs to streaming music services that did not manage to gain compulsory licensing from the Copyright Royalty Board. MediaNet has a storied history riddled with lawsuits from the Harry Fox agency among others; a suit brought last year alleged that around a quarter of MediaNet's catalog was improperly licensed, but was settled privately out of court. Now, Aimee Mann is suing them for failure to properly license 120 of her songs, seeking $18 million in damages. From the article: "... she entered into a license agreement in 2003 with MediaNet (then known as MusicNet). The term of the license agreement was scheduled to end in 2006 but had automatic two-year extensions unless terminated by either party. Mann's representative is said to have sent a termination notice in 2005, but nevertheless, 'MediaNet continued after the Termination Date to transmit, perform, reproduce and distribute the Compositions as part of MediaNet's service, despite having no right or license to do so.' ... Besides suing for direct infringement, Mann is also claiming that MediaNet induced its business partners to commit copyright infringement. Mann also says she has not been paid any royalties by the company since Sept. 30, 2005 with the exception of a $20 advance this past March that was returned." The perils of not having sane compulsory licensing for Internet radio?

Frequent contributor Bennett Haselton proposes a new use for online, anonymous voting: helping sort skill from luck in the cheek-by-jowl world of best-selling (and would-be best-selling) authors: "J.K. Rowling recently confirmed that she was the author of a book she had published under a pseudonym, which spiked in sales after she was outed as the true author. Perhaps she was doing an experiment to see how much luck had played a role in propelling her to worldwide success, and whether she could recreate anything close to that success when starting from scratch. But a better way to answer that question would be to strike a deal with an amateur-fiction-hosting site and use the random-sample-voting algorithm that I've written so much about, to test how her writing stacks up against other writers in the same genre." Read on for more. Update: 07/20 01:23 GMT by T : Note: An editorial goof (mine) swapped out the word "confirmed" for "revealed" (above) in an earlier rendering of this story.

Nerval's Lobster writes "In 2009, when Apple dropped the Digital Rights Management (DRM) restrictions from songs sold through the iTunes Store, it seemed like a huge victory for consumers, one that would usher in a more customer-friendly economy for digital media. But four years later, DRM is still alive and well — it just lives in the cloud now. Streaming media services are the ultimate form of copy protection — you never actually control the media files, which are encrypted before delivery, and your ability to access the content can be revoked if you disagree with updated terms of service; you're also subject to arbitrary changes in subscription prices. This should be a nightmare scenario to lovers of music, film, and television, but it's somehow being hailed by many as a technical revolution. Unfortunately, what's often being lost in the hype over the admittedly remarkable convenience of streaming media services is the simple fact that meaningfully relating to the creative arts as a fan or consumer depends on being able to access the material in the first place. In other words, where your media collection is stored (and can be remotely disabled at a whim) is not something to be taken lightly. In this essay, developer Vijith Assar talks about how the popularity of streaming content could result in a future that isn't all that great. 'Ultimately, regardless of the delivery mechanism, the question is not one of streaming versus downloads,' he writes. 'It's about whether you want to have your own media library or request access to somebody else's. Be careful.'"