Media

VC Sees AI-generated Video Gutting the Creator Economy (businessinsider.com) 49

AI-generated video tools like OpenAI's Sora will make individual content creators "far, far, far less valuable" as social media platforms shift toward algorithmically generated content tailored to each viewer, according to Michael Mignano, a partner at venture capital firm Lightspeed and who cofounded the podcasting platform Anchor before Spotify acquired it.

Speaking on a podcast, Mignano described a future where content is generated instantaneously and artificially to suit the viewer. The TikTok algorithm is powerful, he said, but it still requires human beings to make content -- and there's a cost to that. AI could drive those costs down significantly. Mignano called this shift the "death of the creator" in a post, acknowledging it was "devastating" but arguing it marked a "whole new chapter for the internet."

In an email to Business Insider, Mignano wrote that quality will win out. "Platforms will no longer reward humans posting the same old, tried and true formats and memes," he wrote. "True uniqueness of image, likeness, and creativity will be the only viable path for human-created content."
AI

Making Cash Off 'AI Slop': the Surreal Video Business Taking Over the Web (msn.com) 83

The Washington Post looks at the rise of low-effort, high-volume "AI slop" videos: The major social media platforms, scared of driving viewers away, have tried to crack down on slop accounts, using AI tools of their own to detect and flag videos they believe were synthetically made. YouTube last month said it would demonetize creators for "inauthentic" and "mass-produced" content. But the systems are imperfect, and the creators can easily spin up new accounts — or just push their AI tools to pump out videos similar to the banned ones, dodging attempts to snuff them out.
One place where they're coming from... Jiaru Tang, a researcher at the Queensland University of Technology who recently interviewed creators in China, said AI video has become one of the hottest new income opportunities there for workers in the internet's underbelly, who previously made money writing fake news articles or running spam accounts. Many university students, stay-at-home moms and the recently unemployed now see AI video as a kind of gig work, like driving an Uber. The average small creator she interviewed did their day jobs and then, at night, "spent two to three hours making AI-slop money," she said. A few she spoke with made $2,000 to $3,000 a month at it.
But the article provides other examples of the "wild cottage industry of AI-video makers, enticed by the possibility of infinite creation for minimal work"
  • A 31-year-old loan officer in eastern Idaho first went viral in June "with an AI-generated video on TikTok in which a fake but lifelike old man talked about soiling himself. Within two weeks, he had used AI to pump out 91 more, mostly showing fake street interviews and jokes about fat people to an audience that has surged past 180,000 followers..." (He told the Post the videos earn him about $5,000 a month through TikTok's creator program.)
  • "To stand out, some creators have built AI-generated influencers with lives a viewer can follow along. 'Why does everybody think I'm AI? ... I'm a human being, just like you guys,' says the AI woman in one since-removed TikTok video, which was watched more than 1 million times."
  • One AI-generated video a dog biting a woman's face off (revealing a salad) received a quarter of a billion views.

KDE

KDE Is Getting a Native Virtual Machine Manager Called 'Karton' (neowin.net) 37

A new virtual machine manager called Karton is being developed specifically for the KDE Plasma desktop, aiming to offer a seamless, Qt-native alternative to GNOME-centric tools like GNOME Boxes. Spearheaded by University of Waterloo student Derek Lin as part of Google Summer of Code 2025, Karton uses libvirt and Qt Quick to build a user-friendly, fully integrated VM experience, with features like a custom SPICE viewer, snapshot support, and a mobile-friendly UI expected by September 2025. Neowin reports: To feel right at home in KDE, Karton is being built with Qt Quick and Kirigami. It uses the libvirt API to handle virtual machines and could eventually work across different platforms. Right now, development is focused on getting the core parts in place. Lin is working on a new domain installer that ditches direct virt-install calls in favor of libosinfo, which helps detect OS images and generate the right libvirt XML for setting up virtual machines more precisely. He's still refining device configuration and working on broader hypervisor support. Another key part of the work is building a custom SPICE viewer using Qt Quick from scratch:

If you're curious, here's the list of specific deliverables Lin included in his GSoC proposal, though he notes the proposal itself is a bit outdated [...]. For those interested in the timeline, Lin's GSoC proposal says the official GSoC coding starts June 2, 2025. The goal is to have a working app ready by the midterm evaluation around July 14, 2025, with the final submission due September 1, 2025.
You can learn more via KDE.org.
Television

Smart TVs Are Employing Screen Monitoring Tech To Harvest User Data (vox.com) 44

Smart TV platforms are increasingly monitoring what appears on users' screens through Automatic Content Recognition (ACR) technology, building detailed viewer profiles for targeted advertising.

Roku, which transitioned from a hardware company to an advertising powerhouse, reported $3.5 billion in annual ad revenue for 2024 -- representing 85% of its total income. The company has aggressively acquired ACR-related firms, with Roku-owned technology winning an Emmy in 2023 for advancements in the field.

According to market research firm Antenna, 43% of all streaming subscriptions in the United States were ad-supported by late 2024, showing the industry's shift toward advertising-based models. Most users unknowingly consent to this monitoring when setting up their devices. Though consumers can technically disable ACR in their TV settings, doing so often restricts functionality.
Television

Your TV Set Has Become a Digital Billboard. And It's Only Getting Worse. (arstechnica.com) 158

TV manufacturers are shifting their focus from hardware sales to viewer data and advertising revenue. This trend is driven by declining profit margins on TV sets and the growing potential of smart TV operating systems to generate recurring income. Companies like LG, Samsung, and Roku are increasingly prioritizing ad sales and user tracking capabilities in their TVs, ArsTechnica reports. Automatic content recognition (ACR) technology, which analyzes viewing habits, is becoming a key feature for advertisers. TV makers are partnering with data firms to enhance targeting capabilities, with LG recently sharing data with Nielsen and Samsung updating its ACR tech to track streaming ad exposure. This shift raises concerns about privacy and user experience, as TVs become more commercialized and data-driven. Industry experts predict a rise in "shoppable ads" and increased integration between TV viewing and e-commerce platforms. The report adds: With TV sales declining and many shoppers prioritizing pricing, smart TV players will continue developing ads that are harder to avoid and better at targeting. Interestingly, Patrick Horner, practice leader of consumer electronics at analyst Omdia, told Ars that smart TV advertising revenue exceeding smart TV hardware revenue (as well as ad sale margins surpassing those of hardware) is a US-only trend, albeit one that shows no signs of abating. OLED has become a mainstay in the TV marketplace, and until the next big display technology becomes readily available, OEMs are scrambling to make money in a saturated TV market filled with budget options. Selling ads is an obvious way to bridge the gap between today and The Next Big Thing in TVs.

Indeed, with companies like Samsung and LG making big deals with analytics firms and other brands building their businesses around ads, the industry's obsession with ads will only intensify. As we've seen before with TV commercials, which have gotten more frequent over time, once the ad genie is out of the bottle, it tends to grow, not go back inside. One side effect we're already seeing, Horner notes, is "a proliferation of more TV operating systems." While choice is often a good thing for consumers, it's important to consider if new options from companies like Amazon, Comcast, and TiVo actually do anything to notably improve the smart TV experience for owners.

And OS operators' financial success is tied to the number of hours users spend viewing something on the OS. Roku's senior director of ad innovation, Peter Hamilton, told Digiday in May that his team works closely with Roku's consumer team, "whose goal is to drive total viewing hours." Many smart TV OS operators are therefore focused on making it easier for users to navigate content via AI.

Social Networks

Is Social Media Really Harmful? (newyorker.com) 202

Social media has made us "uniquely stupid," believes Jonathan Haidt, a social psychologist at the New York University's School of Business. Writing in the Atlantic in April, Haidt argued that large social media platforms "unwittingly dissolved the mortar of trust, belief in institutions, and shared stories that had held a large and diverse secular democracy together."

But is that true? "We're years into this, and we're still having an uninformed conversation about social media," notes Dartmouth political scientist Brendan Nyhan (quoted this month in a new article in the New Yorker).

The article describes how Haidt tried to confirm his theories in November with Chris Bail, a sociologist at Duke and author of the book "Breaking the Social Media Prism." The two compiled a Google Doc collecting every scholarly study of social media — but many of the studies seemed to contradict each other: When I told Bail that the upshot seemed to me to be that exactly nothing was unambiguously clear, he suggested that there was at least some firm ground. He sounded a bit less apocalyptic than Haidt.

"A lot of the stories out there are just wrong," he told me. "The political echo chamber has been massively overstated. Maybe it's three to five per cent of people who are properly in an echo chamber." Echo chambers, as hotboxes of confirmation bias, are counterproductive for democracy. But research indicates that most of us are actually exposed to a wider range of views on social media than we are in real life, where our social networks — in the original use of the term — are rarely heterogeneous. (Haidt told me that this was an issue on which the Google Doc changed his mind; he became convinced that echo chambers probably aren't as widespread a problem as he'd once imagined....)

[A]t least so far, very few Americans seem to suffer from consistent exposure to fake news — "probably less than two per cent of Twitter users, maybe fewer now, and for those who were it didn't change their opinions," Bail said. This was probably because the people likeliest to consume such spectacles were the sort of people primed to believe them in the first place. "In fact," he said, "echo chambers might have done something to quarantine that misinformation."

The final story that Bail wanted to discuss was the "proverbial rabbit hole, the path to algorithmic radicalization," by which YouTube might serve a viewer increasingly extreme videos. There is some anecdotal evidence to suggest that this does happen, at least on occasion, and such anecdotes are alarming to hear. But a new working paper led by Brendan Nyhan, a political scientist at Dartmouth, found that almost all extremist content is either consumed by subscribers to the relevant channels — a sign of actual demand rather than manipulation or preference falsification — or encountered via links from external sites. It's easy to see why we might prefer if this were not the case: algorithmic radicalization is presumably a simpler problem to solve than the fact that there are people who deliberately seek out vile content. "These are the three stories — echo chambers, foreign influence campaigns, and radicalizing recommendation algorithms — but, when you look at the literature, they've all been overstated." He thought that these findings were crucial for us to assimilate, if only to help us understand that our problems may lie beyond technocratic tinkering. He explained, "Part of my interest in getting this research out there is to demonstrate that everybody is waiting for an Elon Musk to ride in and save us with an algorithm" — or, presumably, the reverse — "and it's just not going to happen."

Nyhan also tells the New Yorker that "The most credible research is way out of line with the takes," adding, for example, that while studies may find polarization on social media, "That might just be the society we live in reflected on social media!" He hastened to add, "Not that this is untroubling, and none of this is to let these companies, which are exercising a lot of power with very little scrutiny, off the hook. But a lot of the criticisms of them are very poorly founded. . . . The lack of good data is a huge problem insofar as it lets people project their own fears into this area." He told me, "It's hard to weigh in on the side of 'We don't know, the evidence is weak,' because those points are always going to be drowned out in our discourse. But these arguments are systematically underprovided in the public domain...."

Nyhan argued that, at least in wealthy Western countries, we might be too heavily discounting the degree to which platforms have responded to criticism... He added, "There's some evidence that, with reverse-chronological feeds" — streams of unwashed content, which some critics argue are less manipulative than algorithmic curation — "people get exposed to more low-quality content, so it's another case where a very simple notion of 'algorithms are bad' doesn't stand up to scrutiny. It doesn't mean they're good, it's just that we don't know."

Movies

Martin Scorsese Argues Streaming Algorithms Devalue Cinema into 'Content' (harpers.org) 167

In a new essay for Harper's magazine, Martin Scorsese argues the art of cinema is being systematically devalued and demeaned by streaming services and their algorithms, "and reduced to its lowest common denominator, 'content.'" "Content" became a business term for all moving images: a David Lean movie, a cat video, a Super Bowl commercial, a superhero sequel, a series episode. It was linked, of course, not to the theatrical experience but to home viewing, on the streaming platforms that have come to overtake the moviegoing experience, just as Amazon overtook physical stores.

On the one hand, this has been good for filmmakers, myself included. On the other hand, it has created a situation in which everything is presented to the viewer on a level playing field, which sounds democratic but isn't. If further viewing is "suggested" by algorithms based on what you've already seen, and the suggestions are based only on subject matter or genre, then what does that do to the art of cinema...?

[A]t this point, we can't take anything for granted. We can't depend on the movie business, such as it is, to take care of cinema. In the movie business, which is now the mass visual entertainment business, the emphasis is always on the word "business," and value is always determined by the amount of money to be made from any given property — in that sense, everything from Sunrise to La Strada to 2001 is now pretty much wrung dry and ready for the "Art Film" swim lane on a streaming platform.

Is Scorsese right? Slashdot reader entertainme shared some reactions gathered by the BBC's Entertainment reporter. Elinor Carmi, research associate at Liverpool University's communication and media department sees a "battle between the old and new gatekeepers of art and culture." "At its core, curation has always been conducted behind the scenes", with little clarity as to the rationale behind the choices made to produce and distribute art and culture, she says. Take the U.S.'s Motion Picture Association film rating system. The 2006 documentary, This Film Is Not Yet Rated, explored how film ratings affect the distribution of films, and accusations that big studio films get more lenient ratings than independent companies... "[I]t would be a mistake to present the old gatekeepers in romantic colours compared to new technology companies. In both cases, we are talking about powerful institutions that define, control and manage the boundaries of what is art and culture," Carmi says....

So is Scorsese right to suggest that streaming services reduce content to the "lowest common denominator"? Journalist and media lecturer Tufayel Ahmed suggests they are an easy target, and the reality is a little more complex. He says the focus on "pulling in the numbers" can mean some of the best shows don't get the promotion and are therefore cancelled... "Some of the best stuff on streaming seems to get little buzz, while tons of marketing and publicity is thrown behind more generic fare that they know people will watch. It becomes a self-fulfilling prophecy." Scorsese himself directly benefited from this by relying on Netflix to fund his 2019 gangster film The Irishman after traditional studios baulked at the cost. "There's an argument to be made about streaming services investing in publicity and marketing for these projects to create awareness," says Ahmed.

But if responsibility in part lands on the shoulders of streaming services, the choices of the audience themselves cannot be forgotten. "Algorithms alone can't be blamed for people consuming lowbrow content over series and movies that are deemed worthy, because people have flocked to easy viewing over acclaimed dramas on television, for example, for years."

The BBC ultimately argues that perhaps "the streaming algorithms really aren't to blame after all, but simply made in our image." But in his essay Scorsese remembered how the brave pioneering decisions made in the 1960s by film distributors and exhibitors led to that moment's "shared excitement over the possibilities of cinema" — and seems to want to preserve that special feeling: Those of us who know the cinema and its history have to share our love and our knowledge with as many people as possible. And we have to make it crystal clear to the current legal owners of these films that they amount to much, much more than mere property to be exploited and then locked away. They are among the greatest treasures of our culture, and they must be treated accordingly.
Businesses

Apple's Major Leap Is Unification and More Lock-In, Not Big New Features (bloomberg.com) 152

Apple's Worldwide Developers Conference this week didn't bring any particularly revolutionary new feature, but it did something perhaps more important for Apple's long-term strategy. The latest updates will unify the company's devices and give customers more reasons to stay within its product ecosystem. From a report: From an average user's standpoint, the updates to iOS and iPadOS were underwhelming and minor, aside from widgets (which Android has had for years). Siri's interface changes were impressive, but there wasn't much discussion of a needed under-the-hood revamp, and the Watch update was incremental, other than sleep tracking. The company didn't let these products languish, but Apple's engineers essentially did just enough. The really impressive achievements came in getting the products to work together, plus sweeping improvements to the Mac.

The biggest news of the conference was that Apple-made chips will replace those from Intel in Mac computers. Besides higher speeds and longer battery life, the change customers will notice first is that Mac computers will work more like an iPhone or an iPad, and will have the ability to run the same apps on the new macOS Big Sur operating system. Soon, someone will be able to buy an iPhone app and run it across Apple's major platforms: the Mac, the iPhone, the iPad, and in some cases a variant of it on the Apple Watch and Apple TV. The company also moved toward increased unification by bringing over glance-able information (widgets) from the Apple Watch to its larger devices, and by more deeply integrating its smart home features across products. For example, a HomePod speaker can now be a doorbell and an Apple TV can be a door camera viewer. All of this may drive existing customers to buy additional Apple products, knowing that they'll work together seamlessly. The strategy could boost Apple's sales in the long-term and, just as importantly, make it more difficult for a user to leave behind a device, which could blow a hole in their network of Apple products.

Youtube

YouTube Creators Are Turning the Site Into a Podcast Network (theverge.com) 25

Several popular YouTubers -- including including Logan Paul, Marques Brownlee, and Emma Chamberlain -- have launched podcasts in the last year, "proving YouTube is a bonafide podcast network," writes Alex Castro via The Verge. "They're all available through traditional audio platforms, like Apple Podcasts and Spotify, but many also offer video versions that live on dedicated YouTube channels where they've become incredibly popular." From the report: These creators have figured out how to make podcasts work on a platform that wasn't designed for them, leveraging YouTube's search algorithm to meet new audiences, make more money, and expand into a medium that's expected to grow rapidly in the coming years. Some of the top podcasts on YouTube are pulling in millions of views every few days or weeks. Top shows, like Ethan and Hila Klein's H3 Podcast or Joe Rogan's Joe Rogan Experience, have dedicated audiences who use YouTube notifications as an RSS feed, letting them know when a new episode is available to watch. While the podcasts are also distributed via Spotify and Apple Podcasts, YouTube acts as a first stop.

To reach even bigger audiences, YouTubers have figured out that they can break their show into pieces and spread it across multiple channels. H3 Podcast, Cody Ko and Noel Miller's Tiny Meat Gang, and The Joe Rogan Experience run as full-length episodes on their main podcast channel, but those episodes are then broken down into tiny individual cuts. These cuts, often referred to as clips or highlights, exist on a completely separate channel. They're also arguably more important when it comes to using YouTube as a way to grow the podcast. The H3 Podcast uses one of the most popular takes on the "YouTube podcast" format. Ethan and Hila Klein have three channels: H3H3 Productions (6 million subscribers), H3 Podcast (2 million subscribers), and H3 Podcast Highlights (1.3 million subscribers). The main channel is used for longer commentary pieces, special collaborations, and comedic sketches, but the latter two are solely dedicated to the podcast. Creating a separate channel for clips lets podcasters take advantage of YouTube's recommendation algorithm, which surfaces content on specific subjects a viewer is already interested in.

Television

Apple Is Planning a 4K Upgrade For Its TV Box (bloomberg.com) 63

Apple is planning to unveil an upgraded Apple TV set-top box that can stream 4K video and highlight live television content such as news and sports. Bloomberg reports: The updated box, to be revealed alongside new iPhone and Apple Watch models at an event in September, will run a faster processor capable of streaming the higher-resolution 4K content, said the people, who asked not to be identified because the plans aren't yet public. The 4K designation is a quality standard that showcases content at twice the resolution of 1080P high-definition video, meaning the clarity is often better for the viewer. Apple is also testing an updated version of its TV app, which first launched in 2016, that can aggregate programming from apps that already offer live streaming. Apple is seeking to revive its video ambitions with the new product. In order to view 4K video, users will need to attach the updated Apple TV to a screen capable of showing the higher-resolution footage. In order to play 4K and HDR content, Apple will need deals with content makers that can provide video in those formats. The Cupertino, California-based technology giant has begun discussions with movie studios about supplying 4K versions of movies via iTunes, according to people familiar with the talks. The company has also discussed its 4K video ambitions with content companies that already have apps on Apple TV, another person said. Popular video apps on the Apple TV that support 4K on other platforms include Vevo and Netflix.
IOS

BitTorrent Live's 'Cable Killer' P2P Video App Finally Hits iOS (techcrunch.com) 37

An anonymous reader quotes a report from TechCrunch: BitTorrent has now done for live video what it did for file downloads: invented peer-to-peer technology that moves the burden of data transfer from a centralized source to the crowd. Instead of cables and satellites, BitTorrent piggybacks on the internet bandwidth of its users. Since P2P live streaming is so much cheaper than traditional ways to deliver live content, BitTorrent could pay channel owners more for distribution per viewer. And BitTorrent can offer that content to viewers for free or much cheaper than a cable subscription. The transfer technology and the app that aggregates these channels are both called BitTorrent Live. Now, almost a year after the protocol's debut on smart TVs, and six months after it was supposed to arrive on iPhone, the BitTorrent Live app quietly became available on iOS this week. Until now it's only existed on Mac, Apple TV and Amazon Fire TV -- much less popular platforms. And that's after being in development since 2009. The app features 15 channels, including NASA TV, France One, QVC Home and TWiT (This Week In Tech) that you can watch live. The latency is roughly 10 seconds, which could be faster than terrestrial cable, as well as systems like Sling TV that can delay content more than a minute. The problem right now is that BitTorrent Live has a pretty lackluster channel selection. It's still working on striking deals with more name-brand channels. It could offer some for pay-per-view, but cheaper than the same content on traditional TV due to the reduced broadcasting costs.
Media

Cisco Develops System To Automatically Cut-Off Pirate Video Streams (torrentfreak.com) 112

An anonymous reader quotes a report from TorrentFreak: Pirate services obtain content by capturing and restreaming feeds obtained from official sources, often from something as humble as a regular subscriber account. These streams can then be redistributed by thousands of other sites and services, many of which are easily found using a simple search. Dedicated anti-piracy companies track down these streams and send takedown notices to the hosts carrying them. Sometimes this means that streams go down quickly but in other cases hosts can take a while to respond or may not comply at all. Networking company Cisco thinks it has found a solution to these problems. The company's claims center around its Streaming Piracy Prevention (SPP) platform, a system that aims to take down illicit streams in real-time. Perhaps most interestingly, Cisco says SPP functions without needing to send takedown notices to companies hosting illicit streams. "Traditional takedown mechanisms such as sending legal notices (commonly referred to as 'DMCA notices') are ineffective where pirate services have put in place infrastructure capable of delivering video at tens and even hundreds of gigabits per second, as in essence there is nobody to send a notice to," the company explains. "Escalation to infrastructure providers works to an extent, but the process is often slow as the pirate services will likely provide the largest revenue source for many of the platform providers in question." To overcome these problems Cisco says it has partnered with Friend MTS (FMTS), a UK-based company specializing in content-protection. Among its services, FMTS offers Distribution iD, which allows content providers to pinpoint which of their downstream distributors' platforms are a current source of content leaks. "Robust and unique watermarks are embedded into each distributor feed for identification. The code is invisible to the viewer but can be recovered by our specialist detector software," FMTS explains. "Once infringing content has been located, the service automatically extracts the watermark for accurate distributor identification." According to Cisco, FMTS feeds the SPP service with pirate video streams it finds online. These are tracked back to the source of the leak (such as a particular distributor or specific pay TV subscriber account) which can then be shut-down in real time.
Android

Anywhere Computing Makes 2FA Insecure On iOS and Android (thestack.com) 69

An anonymous reader writes: Academics from the VU University Amsterdam have identified a new class of vulnerabilities to two-factor authentication, commonly used to protect transactions involving financial and private information. The vulnerability leaves users of both Android and Apple mobile devices open to the theft of personal information by hackers. The researchers note the text (PDF). While anywhere computing is generally considered to be a good thing, the research claims that integration across multiple platforms essentially removes the gap between those platforms, and it is that gap that is required to make two-factor authentication secure. Without a gap between devices, a common hack called the man-in-the-browser attack can be elevated to intercept the one-time password generated for two-factor authentication, thereby rendering two-factor authentication useless.
Android

KDE's Calligra Office Suite For Android Released 61

jrepin writes "Coffice is a new project that tries to make KDE's Calligra office suite available on mobile platforms like Android, Blackberry 10, Jolla SailfishOS and Ubuntu Phone. Calligra already has some presence on smartphones, since document viewer on Nokia N9 is based on it. The first release brings Calligra Words viewer for OpenDocument Text documents and is currently available for Android only. Plans for later releases include viewers for spredsheets and presentations. Editing and saving as well as support for proprietary Microsoft Office formats are coming later."
Firefox

Pdf.js Reaches First Milestone 164

theweatherelectric writes "The pdf.js project aims to implement a PDF viewer using standards-compliant Web technologies. The project has reached its first milestone: it renders the sample PDF (a paper on Mozilla's Tracemonkey JavaScript engine) perfectly. However, that perfection currently comes with some caveats: 'pdf.js produces different results on pretty much every element in the browser×OS matrix. We said above that pdf.js renders the Tracemonkey paper "perfectly" if you're running a Firefox nightly. On a Windows 7 machine where Firefox can use Direct2D and DirectWrite. If you ignore what appears to be a bug in DirectWrite's font hinting. The paper is rendered less well on other platforms and in older Firefoxen, and even worse in other browsers. But such is life on the bleeding edge of the web platform.'"
Businesses

A Blue-Sky Idea For the USPS — Postal Trucks As Sensors 252

An anonymous reader writes "The US Postal Service may face insolvency by 2011 (it lost $8.5 billion last year). An op-ed piece in yesterday's New York Times proposes an interesting business idea for the Postal Service: use postal trucks as a giant fleet of mobile sensor platforms. [Registration-required link; this no-reg summary encapsulates the idea, as does this paper by the same author.] (Think Google Streetview on steroids.) The trucks could be outfitted with a variety of sensors (security, environmental, RF ...) and paid for by businesses. The article's author addresses some of the obvious privacy concerns that arise."
Bug

Linux X.org Critical Security Flaw Silently Patched 259

eldavojohn writes "On June 17th, the X.org team was notified by Invisible Things Lab of a critical security flaw (PDF) that affected both x86_32 and x86_64 platforms. The flaw deals with escalated privileges of a user process that has access to the X server. The founder of ITL said of the flaw, 'The attack allows a (unpriviliged) user process that has access to the X server (so, any GUI application) to unconditionally escalate to root (but again, it doesn't take advantage of any bug in the X server!). In other words: any GUI application (think e.g. sandboxed PDF viewer), if compromised (e.g. via malicious PDF document) can bypass all the Linux fancy security mechanisms, and escalate to root, and compromise the whole system.' This has apparently been a security flaw since kernel 2.6 was released. From the article, 'On 13 August, Linus Torvalds committed an initial fix, but several patches were added afterward for various reasons. The problem has been addressed in versions 2.6.27.52, 2.6.32.19, 2.6.34.4 and 2.6.35.2 of the kernel.'"
Linux Business

TheKompany's Shawn Gordon Responds In Full 152

Last week, you asked Shawn Gordon questions about his venture TheKompany, an outfit which has been (fairly) quietly working on a small flotilla of software for GNU/Linux systems, and some cross-platform applications as well. His responses are below; you might be surprised at a few of them. (And some lucky Debian hacker might even pick up a job.)
The Almighty Buck

ZDTV sold to Paul Allen's Vulcan Ventures 49

We had a press release submitted confirming the fact that Paul Allen's venture firm has purchased ZD-TV from Ziff-Davis. Yes, for a mere $204.8 million US, you too can own The Screensavers. Click below to read the details.
Linux

Ask Slashdot: Movie Players for Linux? 167

mrlament wishes to know about the following: "I've been a long time Linux user, but I keep finding myself having to switch over to my Windows box in order to view videos. I've tried xanim, and have yet had it properly handle a single video, aside from the real player, I cannot seem to find a single decent player for MOVs, AVIs and MPGs. Does anyone know of any, or are there just not any out there?" I posted this up here because I get a lot of this from people outside of Ask Slashdot, so I figure there are people out there that want this information. Hit the link for more.

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