Evernote joins Twitter, Apple, and Facebook on the list of tech companies hacked in recent weeks.
Evernote “has discovered and blocked suspicious activity on the Evernote network that appears to have been a coordinated attempt to access secure areas of the Evernote Service,” according to a statement posted on the company’s website earlier today. “As a precaution to protect your data, we have decided to implement a password reset.”
About 50 million passwords have been changed following the breach.
The hackers accessed usernames, email addresses and encrypted passwords. The company is now requiring its users to update their passwords. To facilitate this, Evernote is releasing app updates.
The company claims they’ve found “no evidence” that user content was changed or lost nor that payment information was accessed.
Some users, however, said they had to resync their off-line content as a result of the hack in the Evernote forum.
In a statement sent to CNET, a company representative claims the company caught the hackers early and that they “believe this activity follows a similar pattern of the many high profile attacks on other Internet-based companies that have taken place over the last several weeks.”
The rep went on to say Evernote is “actively communicating to our users about this attack through our blog, direct e-mails, social media, and support.” The Evernote homepage implies email notifications have been sent to users. This author has not yet received one at time of publishing.
The company thinks “creating strong, new passwords will help ensure that user accounts remain secure.” But that’s questionable. Wired’s Mat Honan has suggested abandoning passwords altogether in favor of alternative methods for keeping data secure after he was hacked earlier this summer.
Reactions to the news have quickly spread through Twitter. One user noted, “I’ve had that disturbing feeling this was inevitable.” Patrick LaForge, an editor at the New York Times quipped, “The least the Evernote hackers could do is organize my folders of random clipping and wine label photos.”
This hack comes a day after Evernote made changes to its privacy policies, user guidelines and terms of service.
Sometimes it's the little things that send the mind soaring. Take the pen that floats, weightless, before being plucked from the air by a space stewardess in 2001: A Space Odyssey: It's a simple scene, but it feels real and sends the imagination into hyperdrive.
Still, when Wired.com asked its readers to name their favorite sci-fi visual effects of all time, we got plenty of over-the-top nominations, from Alien's vicious extraterrestrials to Avatar's groovy bioluminescent trees. The conversation that unfolded in the comments section of our Monsters giveaway post was surprisingly thoughtful — and surprisingly long. We received more than 1,300 comments.
Here, in no particular order, is a sampling of the best sci-fi visual effects of all time that readers recalled.
Above:
The best visual effect in any sci-fi film has to be the floating pen in 2001: A Space Odyssey. It's just floating in the spaceship and the woman grabs it outta midair and starts writing with it! How did Kubrick do that in 1969? Still my favorite film from my favorite director. —machin3man
Follow us on Twitter: @hughhart and @theunderwire.
Groupon CEO Andrew Mason is many things, and one of them is clearly a Nintendo kid from the 1980s. After his firing Thursday from the daily-deals company that he co-founded, he sent a jocular e-mail to his staff admitting that he had been fired, asking for recommendations for a “fat camp” so he could lose the “Groupon 40,” and most inscrutably (to some) comparing his dismissal to playing the videogame Battletoads:
I’m OK with having failed at this part of the journey. If Groupon was Battletoads, it would be like I made it all the way to the Terra Tubes without dying on my first ever play through.
This was, to put it lightly, an extremely specific metaphor. It probably has a lot of investors scratching their heads today. To those of us about Mason’s age who played the same videogames he did, it makes total sense.
You might infer, with no other context, that Battletoads must be a really hard videogame. It’s probably fair to say that for those of us whose primary gaming device was the Nintendo Entertainment System, Battletoads was the hard videogame. It was by Rare, the developer that seemed to squeeze more juice out of the aging 8-bit console than anyone, even Nintendo itself, could manage. (It got a license to develop software after it impressed Nintendo by reverse-engineering the device.) Battletoads was the pinnacle of its performance on the NES. It had absolutely gorgeous graphics. Every level had a totally different gameplay feel than the last, never feeling repetitive.
And it was one of the hardest damned games, to the point of absolute unfairness. Beating the first level wasn’t so bad, completing the second one took some practice, and good luck after that unless you had the patience of Job. You couldn’t play Battletoads levels once and scrape by with quick reflexes; you had to play them over and over again, memorizing the traps and enemies so that you could avoid them with pixel-perfect precision. Some players stuck it out; some (like me) gave up.
Mason clearly stuck it out, because the specific level he referenced, the Terra Tubes, comes quite late in the game. Aficionados consider it the difficile de la difficile of Battletoads levels. Watch the video above and see how the player begins to dodge the game’s traps before they even appear on the screen — the only way to get around them.
So there are really two specific things that Mason is implying with this reference:
To get to the Terra Tubes on one’s first try, having never played the game before, would be a Herculean, almost impossible, achievement. Therefore, getting this far with Groupon was in and of itself either a colossal feat of genius or a lucky miracle, depending on how charitably you want to interpret the metaphor.
Dying on the Terra Tubes, which are designed to make you die over and over, is no shameful thing.
Whether you agree with Groupon’s ousted CEO on these points or not is up to you, of course, but now you understand what he was saying.
LONG BEACH, California — Go into the typical American home and you’ll find a television, a computer, perhaps a videogame console, and even an iPad. But you won’t find a robot. What’s wrong with us?
We haven’t found the right robot. Or at least that’s Keller Rinaudo’s take on the problem, presented at the TED conference Tuesday along with his creation: A $150 robot named Romo, which can stream video, wheel around in response to remote control, and be custom programmed.
Except that Romo isn’t so much a robot as an iPhone accessory, a base with tracked a wheels for movement. You plug your Apple smartphone into Romo’s movable hinge, and the iPhone forms Romo’s face, as well as its brain, eyes, ears, and means of remote control and communication.
“By leveraging the power of the iPhone’s processor we can create a robot that is Wi-Fi enabled and computer-vision capable for $150, which is about 1 percent of what these kinds of robots would cost in the past,” Rinaudo told the audience at TED.
This makes Romo just one of the most ambitious members of an entire generation of cheap, rapidly developed hardware devices that owe their existence to smartphones and their ability to leverage the processors, screens, and sensors that come along with those devices.
To the Romo, the iPhone supplies a camera with which to detect your face; a display to show Romo’s eyes, which follow the user; and a Wi-Fi connection, which is used to beam video to a different Apple device, which can be used to drive the Romo around. The iPhone’s processor, meanwhile, is used to evaluate command logic that can be set up by the user ahead of time using a simplified, drag-and-drop programming interface.
Rinaudo keeps coming back to the lively animated face, complete with a goofy smile, which he hopes will help Romo sell when it comes on the market this June.
“It has to be something people want to take home and have around their kids,” Rinaudo says. “It should be friendly and it should be cute.”
That cuteness will be enough to get the Romo in the door, but whether it appeals to the common man or woman will have more to do with its functionality. Maybe future versions can be adorable while also being able to fetch drinks from the fridge.
You pay too much for pay TV because your cable company is forced to purchase channels in bundles from media companies like Viacom — if it wants to offer MTV, it has to pay for CMT Pure Country and Teen Nick as well. Now one cable provider has had enough, and is suing for the right to purchase channels à la carte.
Cablevision, a New York-based cable TV provider, filed an antitrust lawsuit against Viacom on Tuesday in federal court hoping to stop the media conglomerate from forcing Cablevision to pay for channels its customers don’t watch. In order to secure rights to broadcast Nickelodeon, Comedy Central, and MTV, the company states that Viacom has unfairly bundled less-popular ancillary channels.
The pay-TV provider names 14 channels that it says Viacom coerced it into including in its lineup by threatening massive financial penalties. By forcing the company to buy all the channels, Cablevision says Viacom is unlawfully “block booking” — a form of tying that conditions of the sale of a package of rights on the purchaser’s taking of other rights.
The actual lawsuit isn’t available yet, but Cablevision released the following statement:
“The manner in which Viacom sells its programming is illegal, anti-consumer, and wrong. Viacom effectively forces Cablevision’s customers to pay for and receive little-watched channels in order to get the channels they actually want. Viacom’s abuse of its market power is not only illegal, but also prevents Cablevision from delivering the programming that its customers want and that competes with Viacom’s less popular channels.”
Viacom isn’t the only media company that forces pay-TV providers to purchase bundles of channels in order to secure high-value offerings. Disney’s ESPN network comes with a slew of ESPN channels that providers need to purchase.
The 14 channels Cablevision feels it shouldn’t have to carry are: Centric , CMT, MTV Hits, MTV Tr3s, Nick Jr., Nicktoons, Palladia, Teen Nick, VH1 Classic, VH1 Soul, Logo, CMT Pure Country, Nick 2, and MTV Jams.
Cablevision is seeking a permanent injunction against Viacom making the licensing of ancillary channels part of the deal when licensing the channels people actually watch.
Viacom has responded to the legal action by Cablevision with the following statement:
“At the request of distributors, Viacom and other programmers have long offered discounts to those who agree to provide additional network distribution. Many distributors take advantage of these win-win and pro-consumer arrangements. Reflecting the highly competitive cable programming business, these arrangements have been upheld by a number of federal courts and on appeal. Viacom will vigorously defend this transparent attempt by Cablevision to use the courts to renegotiate our existing two month old agreement.”
This isn’t the first time bundled channels have been dragged into the courts. A group of pay-TV subscribers filed a class-action suit against programmers alleging that consumers were forced to accept bundled packages of channels. The suit was thrown out because the plaintiffs had failed to allege cognizable injury to competition.
If Cablevision’s lawsuit succeeds, it may be the end of unwatched channels filling your subscription lineup and could potentially lower your pay-TV bill. It’ll also be bad news for fans of Centric. Whatever that is.
I’m in the fetal position at the bottom of a swimming pool. Water temperature: 60 degrees Fahrenheit. In my lap there’s a 20-pound weight anchoring me in place. All I’m wearing is a Speedo, a nose plug, goggles, and a snorkel resembling an oversize asthma inhaler. The mouthpiece connects to two 4-foot hoses feeding out of the water and into a PC-sized box next to a laptop.
After 20 minutes in the water, I’m shivering intensely. But that doesn’t bother me so much as the headache. It feels like a set of pliers is clamping the back of my neck while someone pricks my temples with icy-hot needles.
My suffering is natural, I tell myself. It could even be good for me.
Now a hand from above reaches into the water and slaps the side of the pool. It’s my torturer, Ray Cronise, signaling that time is up. A former NASA material scientist who spent 15 years overseeing experiments aboard shuttles at Marshall Space Flight Center, Cronise is putting me through a battery of tests at his home in Huntsville, Alabama. That snorkel contraption—a $30,000 piece of lab equipment—is analyzing my breathing to chart how the cold water affects my metabolism. (It tracks inhaled and exhaled carbon dioxide and oxygen, a proxy for the amount of fuel I’m burning.) Cronise believes exposing the body to cold can be a radically effective spur for losing weight. He’s doing this home-brewed research in hopes of formulating a Weight Watchers-style algorithm, app, or wearable device that can help people safely harness what he’s convinced is the transformative power of cold.
Cronise got the idea back in 2008 while watching a TV program about Michael Phelps. The coverage claimed that, while training, the Olympic swimmer ate 12,000 calories a day. At the time, Cronise was on a diet of 12,000 calories per week. (He was carrying 209 pounds on his 5’9″ frame and wanted to get back down to 180.) Something didn’t add up. Even if Phelps had an exceptionally high metabolism and swam three hours a day, he still should have turned into a blob. Then it hit Cronise: Phelps was spending hours every day in water, which was sucking heat from his body. He was burning extra calories just to maintain his core temperature of 98.6.
That fall, Cronise grew obsessed. He avoided warmth altogether: He took cool showers, wore light clothing, slept without sheets, and took 3-mile “shiver walks” in 30-degree weather wearing a T-shirt, shorts, gloves, and earmuffs. In six weeks he shed 27 pounds, nearly tripling his weight-loss rate without changing his calorie-restricted diet.
Cronise set off a full-blown weight-loss fad. In 2010, he talked about his self-experimentation in a presentation, and then the Pied Piper of body-hacking, Tim Ferriss, name-checked Cronise and prescribed 20-minute ice baths in The 4-Hour Body. When the book came out, ABC’s Nightline aired a segment on Ferriss and “thermal dieting.” Right on cue, bloggers began documenting their own cold-exposure experiences. On websites and forums like Fatburningman.com, diehards started sharing tips on making DIY ice packs. “My body,” one guy confessed after sleeping with ice-filled Ziplocs on his abs, “felt like it had been beaten with heavy sticks.” Today the trend has gone truly mass: Best-selling diet books like Six Weeks to OMG: Get Skinnier Than All Your Friends urge readers to take cold baths. On Today, Kathie Lee Gifford praised a company called FreezeAwayFat, which sells Lycra bike shorts with pockets for frozen gel packs. Her personal review: “My belt is now one notch smaller.”
Just one problem: There’s not much rigorous science behind any of this. It’s exceedingly difficult to quantify how environmental temperature affects an individual’s metabolism. Studies have shown cold exposure can boost the metabolism anywhere from 8 to 80 percent, depending on a slew of variables including the degree and duration of the exposure, whether you’re shivering, your diet, and physiological factors like age, gender, and fat mass.
Scientists are racing to separate the real science from the pseudo. They’re investigating the precise mechanisms by which the body adjusts to cold temperatures and reaching new insights into the ways our bodies burn fat. They’re even trying to come up with a new kind of weight-loss pill—a longtime ambition of the pharmaceutical industry—that can mimic those processes and make us thinner faster, with less effort.
But Cronise doesn’t have plans for a pill or institutional backing or VC funding. He’s not waiting around for peer review. He wants to see results—now. That’s why he’s got me submerged in his cold plunge pool. He’s conducting his own experiments, trying to figure out how much cold affects metabolism, how best to administer the cold, and for how long.
After 20 minutes in the pool, I emerge from the water, but I’m still breathing through the snorkel. Cronise wants to monitor me for any sustained acceleration of my metabolism for at least 30 minutes. I’m watching a firefly flicker through a lush maple tree as I sit on the deck in sticky 87-degree Southern air. I can’t stop shivering.
Spotify is coming to the Fiesta. And the Mustang. And every Ford with a Sync AppLink infotainment system, marking the first time the popular music-streaming service has been baked into a car.
The subscription service will be available in every Applink-equipped Ford when it launches in the United States next month, while Europe gets its own version later this year.
In addition to having access to Spotify’s catalog of over 20 million songs, drivers will be able to access their music library, shared playlists, genre and radio stations, all through the Sync head-unit or using voice controls.
One of the cooler features is the ability for drivers to switch to a playlist that’s been recommended by a friend as soon as the tracks are received. “You have been sent a new playlist,” the system will ask, “would you like to play it?” Boom. Social music just came to your car.
Spotify is the latest audio app to be admitted to the AppLink fray, joining Pandora, Slacker, Amazon Cloud Player, MOG and Rhapsody, among others.
Asteroid impact craters are among the most interesting geological structures on any planet. Many other planets and moons in our solar system, including our own moon, are pock-marked with loads of craters. But because Earth has a protective atmosphere and is geologically active — with plate tectonics and volcanic eruptions, mostly relatively young oceanic crust, and harsh weathering from wind and water — impact structures don’t last long and can be tough to come by.
But on a few old pieces of continent, especially in arid deserts, the marks of asteroids have been preserved. One well-known example is our own Barringer crater, also known as Meteor Crater, in Arizona. The images here show some of the biggest, oldest and most interesting impact craters on the planet.
Aorounga crater, pictured above and below, is one of the best preserved impact craters on Earth, thanks in part to its location in the Sahara Desert in Chad. The 10 mile-wide crater is probably around 350 million years old. The stripes are alternating rock ridges and sand layers, known as yardangs, caused by persistent unidirectional wind. The image above was taken by astronauts in the International Space Station in July. The radar image below, taken from the space shuttle in 1994, reveals that Aorounga may be one of two or three craters.
Customer service software provider Zendesk announced a security breach that allowed attackers into its system, where they could access data from three customers this week. Wired learned those three clients were Twitter, Pinterest and Tumblr.
The San Francisco-based company announced the breach in a blog post published early Thursday night. Tumblr notified affected users in an email at approximately 6:35 p.m. PST; Twitter and Pinterest are expected to do so shortly. Zendesk declined to comment beyond its blog post, titled, appropriately, “We’ve been hacked.” The post reads in part:
We’ve become aware that a hacker accessed our system this week. As soon as we learned of the attack, we patched the vulnerability and closed the access that the hacker had. Our ongoing investigation indicates that the hacker had access to the support information that three of our customers store on our system. We believe that the hacker downloaded email addresses of users who contacted those three customers for support, as well as support email subject lines. We notified our affected customers immediately and are working with them to assist in their response.
Zendesk allows companies to outsource many of their customer service functions to it via software tools. It has more than 25,000 clients, according to its website.
Zendesk noted that a hacker downloaded e-mail addresses of users who contacted those three customers for support, along with the e-mail subject lines. Wired’s source claims some customers also may have had their phone numbers revealed, but no passwords, password hashes, or even encrypted passwords were revealed. Neither Twitter, Pinterest nor Tumblr are aware of any user accounts that were compromised by the attack.
The e-mail sent by Tumblr states:
Important information regarding your security and privacy
For the last 2.5 years, we’ve used a popular service called Zendesk to store, organize, and answer emails to Tumblr Support. We’ve learned that a security breach at Zendesk has affected Tumblr and two other companies. We are sending this notification to all email addresses that we believe may have been affected by this breach.
This has potentially exposed records of subject lines and, in some cases, email addresses of messages sent to Tumblr Support. While much of this information is innocuous, please take some time today to consider the following: The subject lines of your emails to Tumblr Support may have included the address of your blog which could potentially allow your blog to be unwillingly associated with your email address. Any other information included in the subject lines of emails you’ve sent to Tumblr Support may be exposed. We recommend you review any correspondence you’ve addressed to support@tumblr.com, abuse@tumblr.com, dmca@tumblr.com,legal@tumblr.com, enquiries@tumblr.com, or lawenforcement@tumblr.com. Tumblr will never ask you for your password by email. Emails are easy to fake, and you should be suspicious of unexpected emails you receive. Your safety is our highest priority. We’re working with law enforcement and Zendesk to better understand this attack. Please monitor your email and Tumblr accounts for suspicious behavior, and notify us immediately if you have any concerns.
The e-mail Pinterest is sending its users reads:
An important notice about security on Pinterest
We recently learned that the vendor we use to answer support requests and other emails (Zendesk) experienced a security breach.
We’re sending you this email because we received or answered a message from you using Zendesk. Unfortunately your name, email address and subject line of your message were improperly accessed during their security breach. To help keep your account secure, please:
Don’t share your password. We will never send you an email asking for your password. If you get an email like this, please let us know right away. Beware of suspicious emails. If you get any emails that look like they’re from Pinterest but don’t feel right, please let us know—especially if they include details about your support request. Use a strong Pinterest password. Hackers can sometimes guess very short passwords with no letters or symbols. If your password is weak, you can create a new one.
We’re really sorry this happened, and we’ll keep working with law enforcement and our vendors to ensure your information is protected.
Twitter’s message to its affected users notes:
Twitter – along with a number of other companies – uses a customer support portal called Zendesk. Zendesk recently blogged about a significant security breach. In order to ensure those who may be impacted by this breach are notified as quickly as possible, we are sending this notification to all email addresses, including this one, that we believe could have been involved.
Zendesk’s breach did not result in the exposure of information such as Twitter account passwords. It may, however, have included contact information you provided when submitting a support request such as an email, phone number, or Twitter username. Further information about the breach can be found in their blog post.
We do not believe you need to take any action at this time but wanted to ensure that you were notified of this incident.
Julian Schuster first heard the rumor a year and a half ago. Susan Polgar, the legendary grand master known to journalists as “the Queen,” was unhappy in her current position as Texas Tech’s chess coach. She was feeling unappreciated. She had made this known to certain people in the tight-knit world of chess, and the news had traveled from one of these confidants, a foreign grand master living in Texas, to the ears of Schuster, a passionate fan of the game, in St. Louis.
He knew her story, of course; it had achieved the status of legend. Her father raised her and her two sisters to be chess prodigies. In the 1980s, the three Polgar sisters began showing up at tournaments and crushing all comers, men and women alike. At age 21, Susan, the eldest of the three, became the first woman to earn the title of grand master in the way men always had, by proving she could hold her own in competition against other grand masters. Once, over the course of 16 hours and 30 minutes, she played 326 chess games simultaneously, winning 309 of them—a world record at the time. She blazed a trail for women in the game.
Beyond her career at the board, Polgar had made a name for herself as a dominant coach—arguably the dominant coach—in the thriving if mostly invisible world of American collegiate chess. In 2007, at the age of 38, she took her first coaching job, at Texas Tech, whose team was then unranked. By 2010 she had led the Knight Raiders’ all-male squad to the President’s Cup, known as “the Final Four of college chess”; the following two years the Raiders won it all, topping not just Yale and Princeton but the two traditional chess powerhouses, the University of Texas at Dallas and the University of Maryland, Baltimore County (UMBC).
But the conflicts between Polgar and Texas Tech over the kind of issues usually associated with big-time football programs—scholarships, resources, the future of the team—were real, as Schuster, provost of Missouri’s Webster University, would soon learn. A small private school with an unusually dense network of international campuses, Webster lacked a chess team, despite the fact that its main campus was located just outside the city limits of America’s new chess capital. St. Louis is home to the top-ranked player in the US, 25-year-old Hikaru Nakamura, as well as one of the game’s most deep-pocketed benefactors, 68-year-old multimillionaire Rex Sinquefield, who stepped up to build the most opulent chess venue in the country and probably the world, the 6,000-square-foot, $1 million-plus Chess Club and Scholastic Center of St. Louis.
In the summer of 2011, Schuster, a native of the former Yugoslavia who grew up hearing tales of the Polgar sisters’ heroics, invited Susan to St. Louis. He gave her a tour of the Webster campus and, later, talked to her about the resources the school could provide if she decided to coach there. Polgar liked what she heard. In February 2012, she announced that she would be transferring to Webster as its new chess coach. But not only that; eight of her players would be transferring too. Webster would be picking up their scholarships. It was unprecedented: A college chess coach was shifting allegiance from one university to another and bringing a significant chunk of her team with her. No volleyball coach, no tennis or baseball coach, had ever done anything close. News of the deal made The New York Times, USA Today, National Public Radio, and even that custodian of the sporting zeitgeist, ESPN.com.
Polgar’s sudden departure from Texas Tech surprised her fellow collegiate chess coaches, but they couldn’t deny that the move made sense for Webster; they knew how useful chess could be for a school looking to boost its intellectual reputation. Today’s collegiate game is dominated by a slate of elite squads at schools most people have never heard of. Places like UT Dallas, which has no football stadium but does have a Chess Plaza where graduating players get their pictures taken next to enormous chess pieces, and UMBC, which uses money from the school’s beverage contract with Pepsi-Cola to offer hefty Pepsi-Cola Chess Fellow scholarships to students with extraordinarily high chess ratings. The coaches for these and other top-ranked teams regularly travel abroad to recruit talented young players from Eastern Europe; they identify high schools in the US and elsewhere that can serve as feeder programs; they take calls from hedge funds wanting to offer jobs to their best players.
But among the top coaches in collegiate chess, Polgar has established herself in just five years as the most aggressive: a flamboyant personality, a fierce competitor, and a dogged recruiter. All told, her team at Webster now includes eight grand masters, who hail from the US, Mexico, Brazil, Cuba, Germany, Hungary, Israel, and the Philippines. This is an unheard-of concentration of talent for a single team. The next strongest squad, at UT Dallas, has only four grand masters. (To put that in context, there are nine grand masters in the entire country of Canada.) As soon as Polgar’s new team began competing, it was ranked number one in the country; no wonder that in the national championships of collegiate chess, which will be decided next month, Webster goes in as the top seed. But Polgar has set her sights beyond dominance of the collegiate game.
It’s been a long time since Americans really cared about chess. The last big spike of interest came in 1972, when one of our own, Bobby Fischer, faced down the Soviets’ top gun over a board in Iceland. Inspired by Fischer’s victory, a generation of smart, shy kids hurried out to buy chess manuals. Then Fischer went nuts. The Cold War ended. Chess was still, fundamentally, a game where two people sat at a table and thought a lot, and America was still a culture without a deep legacy of chess appreciation. Polgar wants to change that. She wants to win the hearts of soccer-addled adolescents and cable TV executives; she wants Americans to think of chess as a sport every bit as legitimate as golf or poker. All chess needs to break through, she believes, are some compelling public faces—and her all-star team of collegians might fit the bill. Engineered from childhood to be a grand master, Susan Polgar is trying to engineer an unlikely chess resurgence in the US.
SwiftKey 4 is one of the best gesture keyboard apps ever. It is so good at predicting what you type, it borders on being creepy. I can rattle off e-mails, tweets and text messages to friends about sports, movies, tech, music — and based on what I’ve typed, SwiftKey occasionally finishes sentences word by word.
It does this by collecting data on what is typed as it’s typed. The data is collected anonymously, feeding the app’s learning algorithm to predict what you’ll type next, based on what you’ve typed in the past. This means it does a scary-good job anticipating what you want to type. It’s not perfect, but it always offers suggestions, right above its keyboard. More often than not, I find those suggestions are spot-on. But the keyboard app’s prediction capabilities are just a part of the story.
SwiftKey 4, which officially hit Google Play on Wednesday, is a top-notch gesture keyboard app, replacing the stock keyboard on whatever version of Android you’re using. I’ve been using a beta version of the app for about three weeks and it’s among the first third-party keyboards I’ve actually enjoyed using.
My main handset is a Nexus 4. I use it daily and I’m a huge fan of its Android Jelly Bean keyboard, which has gesture typing built-in. On the Nexus 4’s stock keyboard, as you’re swiping along keys on-screen, Android does a solid job of predicting what word you’re typing. It’s so good in fact, that it makes going to an iPhone or iPad almost painful due to the lack of gesture typing in iOS. But SwiftKey 4 one-ups the Nexus’ keyboard by allowing you to type out entire sentences without having to lift your finger off the display between words.
As you’re swiping across your phone’s display, SwiftKey guesses what you’re typing. Those guesses change as you type more letters; when you see the word you want, just lift your finger. Or, keep swiping the letters of that word and then swipe down to the spacebar for a space, then start a new word — SwiftKey calls this feature Flow. If you’re not into gesture typing, simply type as normal. The app still throws out predictions.
Last year, SwiftKey’s app sat atop Google Play’s Top Paid Apps list for more than 20 weeks. It’s been installed by millions of people, and offers a keyboard for 60 different languages. Samsung used the company’s SDK to build SwiftKey Flow into the keyboard of its Galaxy S III and Note II smartphones, and its prediction technology is baked into the keyboards shipping on smartphones from a handful of Samsung’s competitors as well. If you’re already using SwiftKey, the upgrade to the 4th generation of the app is free. Otherwise, SwiftKey 4 is a $3.99 download. It’s not cheap, but it is worth it if you’ve got an Android and you’re into gesture typing.
BELLEVUE, Washington — Destiny, the new game from the creator of Halo, isn’t just another shooter. It’s a persistent online multiplayer adventure, designed on a galactic scale, that wants to become your new life.
“It isn’t a game,” went the oft-heard tagline at a preview event on Wednesday. “It’s a world where the most important stories are told by the players, not written by the developers.”
This week, Bungie Studios invited the press into its Seattle-area studio to get the first look at Destiny. Although the event was a little short on details — Bungie and Activision didn’t reveal the launch date, handed out concept art instead of screenshots, and dodged most of my questions — it gave an intriguing glimpse at what the creator of Halo believes is the future of shooters.
Bungie was acquired by Microsoft in 2000, and its insanely popular shooter was the killer app that put the original Xbox on the map. Bungie split off from its corporate parent in 2007, and Microsoft produced Halo 4 on its own last year. The development studio partnered up with mega-publisher Activision for its latest project, which was kept mostly secret until now.
Destiny, slated for release on PlayStation 3 and Xbox 360, isn’t exactly an MMO. Activision CEO Eric Hirshberg called it a “shared-world shooter” — multiplayer and online, but something less than massive.
“We’re not doing this just because we have the tech,” Hirshberg said. “We have a great idea, and we’re letting the concept lead the tech.”
Built with new development software created specifically for Destiny, this new game is set in Earth’s solar system and takes place after a mysterious cataclysm wipes out most of humanity. The remaining survivors create a “safe zone” underneath a mysterious alien sphere called “The Traveler.”
The enigmatic sphere imparts players with potent weapons, magic-like powers and defensive technology. Thanks to these gifts, people have begun reclaiming the solar system from alien invaders that moved in while humanity was down.
Bungie fired off a list of design principles that guide Destiny’s creation: Create a world players want to be in. Make it enjoyable by players of all skill levels. Make it enjoyable by people who are “tired, impatient and distracted.” In other words, you don’t have to be loaded for bear and pumped for the firefight of your life every time you log on to Destiny.
After this brief overview, writer/director Joseph Staten used concept art and narration to outline an example of what a typical Destiny player’s experience might be.
Beginning in the “safe zone,” a player would start out from their in-game home and walk into a large common area. From here, the player would be able to explore their surroundings and meet up with friends. Then, they might board their starships and fly to another planet, let’s say Mars, in order to raid territory held by aliens.
During this raid, other real players who traveled to the same zone (like visiting a particular server on an MMO) would be free to come and go as they please. For example, a random participant could simply walk on by. They could stop and observe. Or they could get involved in the fight. In this instance, Staten suggested that a passerby would join the raid and then break off from the group after the spoils were divvied up without any user interface elements to fuss with. Walk away, and it’s done.
Bungie made a point of saying several times over that Destiny will not have any “lobby”-type interfaces, or menus from which to choose from a list of quests. Instead, players will simply immerse themselves in the world and organically choose to participate in whatever activities they stumble upon. Bungie promised solo content, cooperative content, and competitive content, though it provided no further examples of these.
The developer said that by employing very specialized artificial intelligence working entirely behind the scenes, players will encounter other real players who are best suited for them to interact with, based on their experience levels and other factors.
Staten didn’t say how many players would be able to exist in the world at the same time, but said that characters will be placed in proximity to each other based on very specific criteria, not simply to “fill the world up.”
Bungie showed off three distinct character classes throughout the day’s presentations: Hunter, Titan and Warlock. Although no differences were outlined between them apart from the Warlock being able to use a kind of techno-magic, the developer was keen to emphasize the idea that each character in Destiny would be highly customized and unique, and will grow with the player over an extended period of time.
While many games make the same promise, Destiny’s vision of “an extended period of time” isn’t 100 hours. It’s more like 10 years.
Bungie’s plan is for the Destiny story to unfold gradually over the course of 10 “books,” each with a beginning, middle and end. Through this will run an overarching story intended to span the entire decade’s worth of games, although like many other topics covered during the day, Bungie gave little detail about how this will work.
The developer spent a lot of time emphasizing its claim that no game has been made at this scale before. Bungie says it has a whopping 350 in-house developers working on Destiny.
Senior graphics architect Hao Chen gave examples of the sort of impenetrable mathematics formulas that allow Bungie to craft environments and worlds at a speed that it claims was previously impossible.
Bungie’s malleable team system was also said to increase its output. With the ability to co-locate designers, artists, and engineers at any time, Bungie says it can go through exceptionally rapid on-the-spot iteration and improvement for each facet of the game.
Apart from highly improved technology and the basic concept of humanity taking back the solar system, there’s just not a lot of hard information on Destiny at the moment. One thing that was made quite clear is that the game will not be subscription-based. Every presenter was clear in stating that players will not pay a monthly fee to participate in this persistent world.
While fees may not be required, a constant connection to the Internet will be. Since the core concept of Destiny is exploring a world that exists outside of the player’s console and is populated by real people at all times, it “will need to be connected in order for someone to play,” said Bungie chief operating officer Pete Parsons.
Representatives from both Bungie and Activision gave vague answers when Wired pressed for further details, often stating that they “were not ready” to discuss specifics. Whether that means those things are still being kept from the press, or whether they have not yet been determined by the development team, was unclear.
Questions currently unanswered: How will players communicate? How will players interact with each other outside of combat? What content exists in the non-combat “safe zones”? Subscriptions may be out, but what about in-app purchases? Will player versus player combat be available? Will the game ship on a disc or be download only? Will its persistent world allow Xbox and PlayStation gamers to play together? What content and interactions will be possible via smartphones and tablets (which Bungie alluded to)? Will the fancy new tools be licensed to other developers?
And so on.
For now, Bungie is asking us to take it for granted that it will execute on a bold 10-year plan for a very different sort of shooter. In the history of the always-changing gaming industry, no one’s ever been able to pull off a 10-year plan for anything. Can Bungie do it?
He envisioned underground cities, floating buildings and an eternal space tomb for Albert Einstein worthy of the great physicist’s expansive intellect. With such grand designs, perhaps it’s not too surprising that the late Lebbeus Woods, one of the most influential conceptual architects ever to walk the earth, had only one of his wildly imaginative designs become a permanent structure.
Instead of working with construction and engineering firms, Woods dreamed up provocative creations that weren’t bound by the rules of society or even nature, according to Joseph Becker and Jennifer Dunlop Fletcher, co-curators of a new exhibit at the San Francisco Museum of Modern Art titled Lebbeus Woods, Architect.
“It was almost a badge of honor to never have anything built, because you were not a victim of the client,” Becker told Wired during a preview of the fascinating show, which opens Saturday and runs through June 2. While not a full retrospective of Woods’ career, the exhibit shows off three decades of his work in the form of drawings, paintings, models and sketchbooks filled with bold ideas, raw concepts and cryptic inscriptions. (See several examples of Woods’ work in the gallery above.)
As the curators discussed Woods’ work and his impact on the world of architecture, they talked of a brilliant mind consumed with disruption, with confronting the boring, repetitive spaces humans have become accustomed to living in by challenging the “omnipresence of the Cartesian grid.” Woods’ fantastic visions included buildings designed for seismic hot zones that might move in response to earthquakes, or a sprawling city that would exist underneath a divided Berlin, providing a sort of subterranean salon where individuals from the East and West might mingle, free from the conflicting ideologies of their governments.
“He was very focused, I think, in all of his work, in what he said was ‘architecture for its own sake,’” Becker said. “Not architecture for clients, not architecture that is diluted, and not architecture that really had to be held up against certain primary factors, including gravity or government.”
Woods found his place in the conceptual architecture movement that sprang from the 1960s and ’70s, when firms like Superstudio and Archigram presented a radical peek into a possible — if improbable — future. Casting a skeptical eye on the way humans lived in cities, these conceptual architects were more interested in raising questions than in crafting blueprints for buildings that would actually be built of concrete, steel and glass.
In fact, none of the nearly 200 fascinating drawings and other works on display in Lebbeus Woods, Architect were ever meant to be built, said Dunlop Fletcher. Instead of the archetypical architect’s detailed plans and models, carefully calibrated to produce a road map to a finished structure, Woods’ drawings are whimsical and thought-provoking, with radical new ideas being the intended result of his efforts. “There are going to be gaps in this, and you fill in the gaps with what you bring to it,” she said.
Woods’ ideas started in his sketchbooks, which he crammed with detailed drawings. “He was extremely gifted with the pen,” said Becker, adding that many of the pieces are notated in a strange hybrid language that could be part Latin, part invented. The curators likened it to a kind of code that connected the conceptual fragments that run through Woods’ highly theoretical work.
“It could mean something, it could be that he’s creating almost these fictional artifacts of these supporting elements to engage with the larger drawings that he would do later,” Becker said. “They’re almost Da Vinci-like in their illegibility.”
Other questions remain about just what, exactly, Woods was up to with when he took pencil to paper. Take, for instance, a piece called Aero-Livinglab, from his Centricity series from the late 1980s, in which the architect was “essentially creating a utopian city” with “its own set of rules,” according to Becker. The drawing depicts a floating room that resembles an insect as much as it does some sort of alien zeppelin. Just what would the purpose of such a construction be?
“It could be an inhabitable space,” Becker said. “It could be small, it could be large. Often these things don’t have clear scale, but we do know that the point of Centricity was to invite a question of ‘what if?’”
An obituary on the Architectural Record website dubbed Woods “the last of the great paper architects” and said he “achieved cult-idol status among architects for his post-apocalyptic landscapes of dense lines and plunging perspectives. Deconstructivist in the most literal of ways, they were never formalist exercises. Instead, they conveyed the architect’s deep reservations as to the nature of contemporary society, and particularly its penchant for violence. He eschewed practice, claiming an interest in architectural ideas rather than the quotidian challenges of commercial building.”
Before J.J. Abrams was a twinkle in George Lucas' eye, Star Wars fans had another outlet for the continued adventures of their favorite characters: the tabletop. Whether playing with board games, miniatures, or pen-and-paper role-playing games, Star Wars has been a setting of choice for three decades and counting.
Throughout this gallery, you'll find both hidden gems from Star Wars' past as well as recent hits, proving that the franchise is anything but running out of steam. In fact, when put into the hands of creative game designers, Star Wars has continuously led to some truly engaging experiences.
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As if the combination of Star Wars and Angry Birds was not enough to drive fans wild, Hasbro rolled the combo into its own Jenga game. Rather than plucking pieces with a steady hand, you'll be flinging those iconic birds to knock out as many Jenga blocks as possible. The destruction doesn't end there, though. An entire line of Star Wars Angry Birds games was launched last year, with six other titles featuring everything from Jabba's Palace to the ice planet Hoth.
Data released by Tesla Motors late Wednesday night directly contradicts a damning review of the automaker’s Model S sedan by the New York Times.
The data, pulled directly from the electric sedan’s on-board computer, claims that New York Times reporter John M. Broder never ran out of energy during his extended drive of the Model S, despite his account to the contrary.
Broder’s trip in the Model S began outside of Washington D.C., up to Norwich, CT and then down to Milford, CT over the course of two days. The drive was intended as a way to evaluate Tesla’s newly installed Supercharger stations, which allow Model S owners to top up their batteries for free at solar-powered charging stations lining major thoroughfares along the east and west coasts.
According to Tesla, Broder was given explicit instructions for his drive: keep the speed at 55 mph and turn down the climate control. Broder claims to have set the cruise control at 54 mph and at one point writes he, “limped along at about 45 miles per hour.” However, the logs released by Tesla show that he drove at speeds ranging from 65 to 81 mph, and kept the interior temperature at 72 degrees, increasing it to 74 degrees at one point.
Tesla’s data claims that Broder never completely charged the Model S during three separate charging sessions, including one charge before the final leg of his trip, when Broder disconnected the charger with an indicated range of 32 miles, despite planning to drive 61 miles. Additionally, Broder claims to have charged for 58 minutes during the second leg of his trip, although Tesla’s data alleges it was only connected to the Supercharger for 47 minutes.
While driving on the highway, Broder says the Model S’ display informed him that it was about to shut the car down. “I was able to coast down an exit ramp in Branford, Conn., before the car made good on its threat,” Broder describes in his story.
According to Tesla, the Model S never shut down as was implied by Broder – he simply pulled over. Tesla claims that its “State of Charge” log shows that the battery never ran out of energy at any point during his trip.
The automaker is also questioning the length of a trip Broder made through Manhattan, reportedly giving his brother a ride in the car, as well claiming that the writer drove around in circles outside a Supercharger station for malicious reasons.
Tesla’s data dump comes five days after Broder’s report appeared on the New York Times site. Three days later, Tesla co-founder and CEO, Elon Musk, took to Twitter to refute the story, going so far as to call the New York Times‘ piece a “fake“.
The chemistry of the lithium-ion batteries in the Model S are affected by cold temperatures – especially the sub-freezing temps Broder experienced during his drive – which would reduce the overall range of Tesla’s electric sedan.
In an earlier statement released by the newspaper, the Times stood behind Broder’s portrayal of the drive, calling it “completely factual” and stating that “[a]ny suggestion that the account was ‘fake’ is, of course, flatly untrue.” Calls for a follow-up statement from the Times and Mr. Broder have gone unanswered.
President Barack Obama signed an executive order on Tuesday designed to make it easier to disseminate classified information on threats against critical infrastructure systems and to lay the groundwork for obtaining information from the private sector that would help the government protect critical infrastructures in the U.S.
The order, which runs eight pages (.pdf), directs the Attorney General’s office, the office of Homeland Security Secretary Janet Napolitano and the Director of National Intelligence to issue instructions to their agencies that would “ensure the timely production of unclassified reports of cyberthreats to the U.S. homeland that identify a specific targeted entity” to Congress and also develop a program for providing “classified cyber threat and technical information from the Government to eligible critical infrastructure companies or commercial service providers that offer security services to critical infrastructure,” according to the document.
To that end, the order also calls for the government to expedite security clearances to appropriate personnel employed by critical infrastructure owners and operators, so that they can receive information necessary to protect their systems.
“It is the policy of the United States Government to increase the volume, timeliness, and quality of cyber threat information shared with U.S. private sector entities so that these entities may better protect and defend themselves against cyber threats,” the order states.
The order, published in conjunction with a new Presidential Directive on cybersecurity (.pdf), follows numerous failed attempts by Capitol Hill to pass controversial cybersecurity legislation that would have given private companies legal immunity to share information with the government.
The order still allows the private sector to share information with the government, but references established safeguards — such as the Fair Information Practice Principles — for protecting the privacy of customers whose information is shared and also carries some built-in limitations for the kind of information that companies will likely share. The order requires DHS’s chief privacy officer and its officer for civil rights and civil liberties to assess the privacy and civil liberties risks of the programs.
Civil liberties advocates praised the executive order in this regard, but said they will withhold judgment until they see how the information-sharing gets played out in practice.
“A lot of what this shows is that the president can do a lot without cybersecurity legislation,” said Mark Jaycox, policy analyst and legislative assistant for the Electronic Frontier Foundation, who points out that the executive order satisfies the need for information sharing without the privacy problems that existed under legislative proposals where loopholes would have allowed companies to dump large amounts of data on the government in an effort to obtain legal immunities. Without those immunities, companies will by nature be more circumspect about what they provide the government, thus limiting what they hand over Jaycox said.
“An [executive order] can’t grant broad immunities to companies … so it will tighten the information that can be shared, and the government won’t be on the receiving end of tons of tons of information,” Jaycox said. “Companies will be more mindful about what they share.”
Although the order comes after a number of failed attempts by Congress last year to pass cybersecurity legislation, the White House has indicated that it doesn’t see the executive order as a substitute for legislation, and the order even indicates that further legislation is not ruled out in addressing the critical infrastructure issue.
Not everyone is happy with the order, however. Sen. Charles E. Grassley (R-Iowa) told the Washington Post that the president was out of line in bypassing legislation.
“It is a very dangerous road he’s going down contrary to the spirit of the Constitution,” Sen. Grassley said. “Just because Congress doesn’t act doesn’t mean the president has a right to act.”
The Cyber Intelligence Sharing and Protection Act, which passed the House last year but failed to gain support in the Senate, was one piece of legislation that garnered a lot of criticism from civil liberties groups who were happy to see it fail. EFF and others criticized the bill for failing to provide enough safeguards to protect the digital privacy of customers when private entities such as ISPs and others shared threat information with the government.
CISPA would have allowed companies to share sensitive and personal data with the National Security Agency and other government agencies without requiring companies to make reasonable efforts to protect their customers’ privacy. The bill also failed to adequately define how the government could use the data, saying only that it would be used for “national security” purposes.
House Intelligence Committee Chairman Mike Rogers (R-Michigan) and Ranking Member C.A. Dutch Ruppersberger (D-Maryland) plan on reintroducing CISPA this week.
Critical infrastructure sectors include chemical, communications, dams, critical manufacturing, emergency services, food and agriculture, energy, defense industrial base, healthcare and public health, government facilities, water and wastewater and transportation, among a few others.
DHS currently oversees the National Cybersecurity and Communications Integration Center, a 24-hour watch center tied in with other federal watch centers that parses threat information that comes in to the center and monitors government civilian networks for signs of cyber threats. DHS, along with the Department of Energy, also operates the Industrial Control System – Computer Emergency Readiness Team, which helps assess industrial control systems for vulnerabilities and maintains a flyaway team to assist critical infrastructure owners in the private sector with responding to suspected attacks on their networks.
Finding the right place to stage a Decentralized Dance Party is more art than science. Which is why Gary Lachance is standing against a railing near San Francisco’s Fisherman’s Wharf, looking perplexed. It’s nearly midnight and he’s just beginning what will be an all-night search of the city, looking for locations to flood with revelers for tomorrow night’s mobile bash. He might be tired—he just arrived in California today after a brutal 50-hour RV drive from Houston—but that doesn’t change the fact that he has less than 24 hours to find locations and plan a route. The wharf is just one of the possible stops as the party snakes through the city.
The sounds of foghorns and sea lions ripple through the darkness. He stares at the empty wharf, visualizing an ocean of revelers swarming it tomorrow night. His mind brushes past possible logistical snags until it sticks on one in particular. “Too many sea lions,” he says.
As coinventor of what is officially known as Tom and Gary’s Decentralized Dance Party, Lachance has to balance the meticulousness of an urban planner with the conviviality of a good host. Since 2009 he’s held more than 50 semi-spontaneous outdoor throw-downs in major cities, insisting on a leave-no-trace ethos, noise complaints and perturbed marine mammals included. It looks like Pier 39 won’t make the cut after all. Lachance gets back on his bike, as do his ridemates—a group of superpowered partyers who help scout locations in each city and keep the events running smoothly. They’re called the Elite Banana Task Force. And, yes, they wear banana suits. “It’s impossible to have a bad time in a banana suit,” Lachance says.
If you flipped on the local news last year, you may have caught snippets of DDP’s latest exploits. Its goal: to free us from our humdrum nightlife. In Austin, a partygoer dressed in a lab coat leans into the YNN news camera: “I could be spending $30 going to a bar and doing the same-old, same-old,” he says in a hoarse voice. “This is something different. This is something new. And it’s free!” In the video, you can see people carrying daisy-chained boom boxes, their tuner knobs duct-taped into place to ensure that all stay locked to a vacant radio frequency. That’s what lets them groove to the crowd-fueled PA system: volumes cranked, the DDP’s pirate radio broadcasts anything from booty bass to Jimmy Soul’s “If You Wanna Be Happy.”
“Nightclubs are too forced,” says Kyle Del Bonis, who attended a New Year’s Eve DDP in LA. “Most DJs sit around like lumps, unengaged with their audience.” Decentralized Dance Parties attempt to subvert that formula utterly, burning the velvet rope and bringing the inside out. What makes them sustainable for the organizers, though, is how mobile they are. Once DDP arrives in a city—heralded by Twitter and Facebook and with travel costs underwritten via Kickstarter or Indiegogo crowdfunding—the nerve center of the operation can be carried by a single person. A high-powered FM transmitter hooks into an antenna, which in turn is rigged to a backpack. Inside is a vintage disco mixer (held in place with a rubber band), mic receivers, a 12-volt battery, and a separate Ramsey FM transmitter—and a blue slipper “for good luck.”
And all of it is controlled (symbolically) by a Nintendo Power Glove—an old-school videogame peripheral that is as revered by nostalgic ’80s babies as it was ignored in its day. Over the years, the Power Glove has become a symbol of DDP’s abandon. The glove was at a DDP when people skied down subway escalators and when DDP-goers swarmed ferryboats with pogo sticks and trampolines. It was there in February 2011, coaxing 20,000 Canadians out of taverns onto Vancouver’s streets. And it’ll be here tomorrow night when DDP’s San Francisco party—the theme is “strictly business”—hits the streets.
Right now, though, Ryan Stomberg bikes alongside Lachance on Market Street’s sidewalk. A guy named Tom Kuzma was Lachance’s original partner and cofounder. But after they had a falling-out, a different person took over the role of “Tom”—the 27-year-old Stomberg is the third. (Lachance looks to be in his thirties but will give his age only as “18 till I die.”) Stomberg’s orange flannel fanny pack—the JammyPack—plays music continuously amid the gentle hum of the overnight street sweepers. He points northeast. “I don’t think we’re gonna have any problem parading down that block,” he says. Farther east is the contorted Lego-block sculpture and fountain in Justin Herman Plaza, the party’s intended endpoint. Lachance computes all of this, and the Bananas ride on. Thanks in no small part to this type of extensive preparty legwork, DDP has had no difficulty with law enforcement—indeed, officers often end up escorting the crowd along city streets. “Cops expect to find a Jäger-guzzling frat boy leading this,” says Lachance’s friend Kerry Leonard, another Banana. Instead they find a deep-thinking Canadian whose vision of street-level abandon is part of what he calls a “Libertarian mindset” about how the world should be.
Eighteen months after the phrase first entered the collective public consciousness, the plight of the 99 percent is coming to mainstream superhero comics — via a new series from the second biggest publisher in the American comic industry, which just happens to be a subsidiary of a multi-national corporation that makes around $12 billion a year. Irony, anybody?
In May, DC Comics will launch two new series taking place in their mainstream superhero universe that offer different insights into the class struggle in a world filled with superheroes, alien races and inexplicable events. The Green Team, written by Tiny Titans and Superman Family Adventures creators Art Baltazar and Franco, with art by Ig Guara, revives an obscure 1975 concept about teenage rich kids who try to make the world a better place with their outrageous wealth. In an interview promoting the series, Franco promised that it would address questions like “Can money make you happy?” and “If you had unlimited wealth, could you use that to make the lives of people better?”
Obviously, this is one of the more fanciful series DC will be publishing.
But while DC is promoting The Green Team series as the adventures of the “1%,” its companion title, The Movement, is teased as a chance for us to “Meet the 99%… They were the super-powered disenfranchised — now they’re the voice of the people!”
“It’s a book about power,” explained The Movement writer Gail Simone. “Who owns it, who uses it, who suffers from its abuse. As we increasingly move to an age where information is currency, you get these situations where a single viral video can cost a previously unassailable corporation billions, or can upset the power balance of entire governments. And because the sources of that information are so dispersed and nameless, it’s nearly impossible to shut it all down.”
“The thing I find fascinating and a little bit worrisome is, what happens when a hacktivist group whose politics you find completely repulsive has this same kind of power and influence,” she elaborated in an interview at Big Shiny Robot. “What if a racist or homophobic group rises up and organizes in the same manner?”
While the concept is ambitious, the idea that a comic capable of living up to the book’s populist inspiration could come from DC Entertainment still strikes some as unlikely. Matt Pizzolo, the editor of the Occupy Comics anthology, told Wired that “though DC Comics did help launch Alan Moore and David Lloyd’s seminal anarchist epic V For Vendetta over two decades ago, it’s unlikely they would do so today. Between dismantling Vertigo and frankensteining Watchmen, the past year has demonstrated DC isn’t a safe place for bold creators who want to tell the kinds of stories that would inspire things like Occupy, rather than just cash in on them.”
Still, Simone says that the use of the iconography and language of a real-world populist movement is deliberate, promising that the book will reflect today’s decentralized political world and offer ”a slice of rarity that we’re unlikely to see in most superhero books.”
This wouldn’t the first time that DC has attempted to offer pre-packaged populist rebellion, of course; in addition to the aforementioned publication of the anti-establishment V For Vendetta, the company’s Vertigo imprint also published Grant Morrison’s The Invisibles, a series centering around an international organization struggling against forces of authority and repression that included anti-corporate themes.
Only time will tell whether The Movement will live up to the subversive examples of these earlier books, or just end up a well-intentioned piece of topical super heroics that trades on, and commodifies, a real political movement.
The Movement #1 will be available in both print and digital formats on May 1, while The Green Team #1 will be released on May 22.
Since 1972 the Landsat mission has been monitoring natural and human-made changes to our planet. But the continuity of that scientifically precious dataset could be lost unless all goes according to plan on Monday, when the Landsat 8 satellite is scheduled to be launched into orbit from Vandenberg Air Force Base in California. Landsat 8 will take over for the hobbled 14-year old Landsat 7 that has been valiantly carrying the mission alone since December when, after 29 years in orbit, Landsat 5 began to be decommissioned after a gyroscope failure.
The launch is not likely to fail, but if it does, it won’t be the first time the continuity of the 40-year mission was jeopardized. Along the way funding has come under fire, ownership of the satellites has been transferred between government agencies and private companies, sensors have quit working, and one mission tragically failed to reach orbit. If Landsat 8 fails, Landsat 7 would run out of fuel near the end of 2016, before a replacement could be built and put into orbit.
“I’ve devoted the latter part of my career to the formulation and development of this mission,” the project’s lead scientist, James Irons, told Wired. “On Monday I go out there and look at my baby sitting on top of an enormous firecracker and hope everything goes well.”
“Yeah, I’ll be nervous.”
The scientists and engineers behind the Landsat mission will be hugely relieved once the craft is safely in place 700 kilometers above their heads and then begins beaming data back to Earth about a month later.
In addition to saving the mission from a gap in data, Landsat 8 — more officially known as the Landsat Data Continuity Mission – will boost the rate of coverage of the Earth and will also add more sensing capability and deliver better imagery than its predecessors.
Relying on Landsat 7 alone has meant only imaging the full Earth every 16 days. Once there are two eyes open, coverage will return to 8-day intervals, essentially doubling the resolution of landscape change that will be recorded.
“The major goal of the mission is for us to understand land cover and land use change, and determine the human impacts on the global landscape,” Irons said. “These changes are going on at rates unprecedented in human history.”
“Continuity is more important than ever.”
The new satellite will also add more sensing capability and deliver better imagery than its predecessors. Landsat 8 will measure all the spectral bands of its predecessors, but will add two new bands that are tailored for detecting the coastal zone and cirrus clouds.
The new satellite has a more advanced imaging design as well. Previous Landsat satellites used what is known as a whisk broom sensor system, where an oscillating mirror would sweep back and forth over a row of detectors that collect data across a 185-kilometer swath of the Earth. The new push system uses a very long array of more than 7,000 detectors that will view the 185 km swath simultaneously, alternately collecting light and recording data. This allows each detector to dwell on each pixel for a longer time, resulting in more detailed, accurate descriptions of the landscape.
Once Landsat 8 reaches orbit, the engineers will begin testing the spacecraft during the first week. The next few weeks will be dedicated to testing all the instruments. The satellite will then do a cross-over rendezvous with Landsat 7 to calibrate the two systems. Around day 25, the shutters will be opened and Landsat 8 will take its first look at Earth. By the end of May, the data should be flowing. The new satellite has a design life of five years, but it has enough fuel to operate for 10 years.
But first, the new craft has to get safely into orbit.
“I have a lot of assurance from everyone,” Irons said. “They are taking extraordinary care, proceeding very methodically, cautiously and rigorously.”
“Still, you realize all rocket launches have some inherent risk,” he said. “So, it’s just hold your breath and hope everything goes well.”
Several sites across the web could not be reached by some visitors on Thursday afternoon, apparently because of a problem with Facebook widgets embedded in the sites. Several sites — including Business Insider, Huffington Post and Salon — were reportedly affected, redirecting visitors to a Facebook error page.
Facebook did not immediately respond to a request for comment, but the problem has apparently been fixed. The problem was first reported by Marketing Land.
When trying to visit a page that used Facebook Connect or Like widgets, users were redirected to a page saying simply “An error occurred. Please try again later.” When they clicked the “Okay” button, they were taken to an error page. If they hit back, they would get to the page they were trying to visit momentarily before being automatically forwarded to the error page again.
Facebook provides code to embed widgets that display information such as which of your friends like a site’s Facebook page, or which articles have recently been “liked” by a friend. These widgets execute JavaScript code in the user’s web browser that originates at Facebook, not the site that the user is trying to view. The problem only seems to affect users who are not logged into Facebook.
Home Page Photo: Pshab / Flickr
Update: Facebook has now said: “For a short period of time, there was a bug that redirected people logging in with Facebook from third party sites to Facebook.com. The issue was quickly resolved, and Login with Facebook is now working as usual.”
This makes Romo just one of the most ambitious members of an entire generation of cheap, rapidly developed hardware devices that owe their existence to smartphones and their ability to leverage the processors, screens, and sensors that come along with those devices.
