Xinuos ' legal argument in this suit seems to be that even though IBM settled with SCO Group, IBM technically never got a license to the code they used in Project Monterrey under the settlement. Under copyright laws, this was infringement by IBM. As the court clarified, even if they that ignored that SCO Group did not grant them rights to sue under their purchase agreement, infringement lawsuits are defined by "accrual" and "notice" when it comes to statute of limitations. When did the infringement occur and when did the copyright holder know about it. The court ruled that an infringement can only accrue once and that was settled by SCO Group. The second part is that Xinuous knew of the infringement when they purchased the assets in 2011 and they would have had to file a suit by 2014. Both courts did not go into the merits of the suit only that it is effectively dead due to statute of limitations.

On iPhone and tablets, there are many restrictions on 3rd party software. On a Mac, the OS prompts the user the first time they try to run downloaded software that did not originate from the Apple Store.

I wrote a compiler for an ObjC-like language (with less brackets), which can produce binaries for any of {Mac, Windows, Linux, WASM, Arm A9 (Zynq), m68k or 6502} running on any of {Mac, Windows, Linux}. So you can produce a dev-signed Mac binary on a Linux box. I’m just going through extending that output range to mobile {Android, iOS} and I’ll release it as open source.

The compiler docs for the language (xc) are at https://compile-xc.org/ - feel free to browse.

I didn’t think getting the signing working for Mac/iOS was terribly hard.

Blaming Apple for RAM apocalypse is the same as blaming PC, smartphone, tablet, [electronic device] makers for the RAM apocalypse. They are all "contributing" by existing. How dare they. ;)

Those are called laptops. Yes some manufacturers throw in a keyboard and mouse for free but few throw in a monitor for free unless it's an all-in-one. Mini PCs generally do not include keyboard, mouse, or monitor. At my company there were bins of keyboards and mice in the computer supply closet that no one used. I think you can buy them used by the pallet.

That's your opinion that they look bad but the main reason Apple disabled subpixel font rendering since Mojave (2018) is that does not look good on higher resolutions displays like Retina.

Why? Unless your ancient keyboard uses ancient 5 pin DIN, USB keyboards works. I've plugged in Windows keyboards into Macs and they work. Sure, the mapping of certain keys is different but I don't need a new keyboard.

Again why? Any USB mouse works. I've used Dell mice with Macs, and, again, they just work.

Have you actually used USB keyboards and mice with a Mac in the last 30 years because it seems like you have not.

He'll launch an investigation into a rich tech company and become a "c" in what is an a-b conversation between OpenAI and Hugging Face in hopes of extracting a large punitive fine from the former to shore up their financial situation.

The quote was from the Bavarian government guy, so it seems unlikely that he's concerned about Waymo's competitive worries.

Also, German regulators are very cautious, so I expect Tesla's camera-only and less-mature robotaxi service will have a harder time getting approved.

Well, given that Waymo has been testing for nearly 20 years and been operating commercially for six years, currently operating nearly 4000 vehicles in 11 cities doing 500k rides per week... there's not a lot of risk.

Roads in Munich aren't terribly different from roads in US cities. Stoplights work a little differently. Munich does get a little snow, but rarely very much and it almost never lasts long. If Waymo's vehicles can't deal with it they may just suspend service... though I expect they'll probably handle it fine. They're supposed to go live in Detroit and Minneapolis this year, and if they can handle the weather there (where just shutting down for snow is not an option), Munich will be no problem at all.

So, not much like OceanGate.

The recording engineer only records (and maybe mixes) the audio that is generated, which is part of what I meant by "mechanical process", along with generating the audio. Dre could use AI to transform his ideas into digital audio tracks, obviating the recording engineer and the performers, and to then select and mold the results. This would still require talent and creativity, which was my point.

Caldera didn't buy SCO.

I didn't bother getting into the Novell situation or the fact that TSG didn't actually acquire the assets they'd have needed to do what they tried to do, since my goal was just to distinguish between SCO and TSG, but, yes, the details get pretty intricate.

If you were worried about being chased by kill bots, go and watch some videos from drone operators in Ukraine. Robots don't need feet for that job.

This is all moot because it's false that if you use AI you cannot gain copyright on the work. I literally hold a copyright registered with the US copyright office (I registered with them, despite not being a US citizen, because they're precedent-setting), fully disclosing the use of AI in the process, and directly speaking about the matter with a copyright examiner.

What the standard is is that raw, unfiltered outputs are not copyrightable (and even then, there's wiggle room; the argument put forward by the copyright office was "based on their current understanding" (as of several years ago) and presumed very minimal control by the user over the outputs (which was actually already obsolete by the time they put it out, but that's nitpicking)). But the human creative action you take with those outputs can cause the resultant product to be copyrightable. This can be things like sample mixing, mastering, adding vocals, etc, but can also even just be the selection process itself. Yes, assemblage, selection, curation, etc are all potentially copyrightable acts.

In my case, while the samples were (overwhelmingly) AI, the whole project was weeks of work, involving hundreds of generations, track splitting and reassembling, things down to the level of editing individual phonemes (or for example in one part, stripping the vocals and instruments from a sample down to just the residual "other" channel, throwing it into reverse, and then piling on progressively more reverb and volume up to a sudden cutoff to create a tension-point transition). No issues whatoever registering the copyright on it. I'm sure you could do far less and still have a copyrightable work.

I think people need to keep in mind that marketability (aka enjoyability), talent, and effort are three independent axes. You can be talented at one or more aspects of music production, a genuine skill (play a guitar, sing, etc), but put forth either high or low effort, and make good or terrible music, all independently. You can put forth a lot of effort, but you may or may not be talented, and it may or may not be good. You may make a great enjoyable marketable track, but may or may not have notable talents, and may or may not have put in a lot of effort.

In general: I judge how much I want to listen to it by its enjoyability; I attribute how much the author deserves credit / how much it's "art" by how much non-rote effort they put in; and I value the artist's skill based on their demonstrable talent. All of this independent of what specific tools were used. That said, knowledge of certain facts may colour one's enjoyability of a track. If you hate AI and know / suspect it's AI, that'll strongly colour your enjoyability of it. Or if you know the artist is a bad person or whatnot, that again can colour your enjoyability of a track that you'd otherwise enjoy in a vacuum.