This patent, which was originally filed on July 7, 2008, describes a new system for promoting ads in online mapping applications. In this patent, Google describes how it plans to identify buildings, posters, signs and billboards in these images and give advertisers the ability to replace these images with more up-to-date ads. In addition, Google also seems to plan an advertising auction for unclaimed properties.

Read more at RWW.

I also think it goes a long way to explaining some decisions James Cameron made while making Avatar. More specifically, the code and technology responsible for the majority of the movie’s (we can’t very well go on calling them films much longer, can we?) visual experience actively constrained the choices of the production team and thereby the choices of the Avatar characters themselves. Neytiri couldn’t have had voluminous hair even if she wanted to, because James Cameron’s hardware and software wasn’t good enough.

If you haven’t followed computer graphics closely you might not know that certain textures and materials, like hair, are incredibly difficult to get right. Though there has been quite a lot of progress in the realm of still CG, capturing the motion and flow of humanoid hair is still very difficult if not virtually impossible. Cameron’s Avatar didn’t significantly advance the state of the art, but he was able to creatively sidestep the issue by giving his characters thick braids and dreadlocks which he could motion capture.

This alleviated the chore of trying to artificially generate the realistic movement of millions of individual hairs: if all the Na’avi had braids or dreadlocks, then all of that movement could be motion captured by actors in reality.

Much has been made of Cameron’s innovation to accurately develop motion capture for individual facial movements, and it is my strong feeling that the team also took this approach for the hair of their characters. As Wired pointed out in their features on the movie, this is an evolution in the modern director relationship to computer graphics: instead of trying to *simulate* real world phenomena using procedural software, directors opt to direct a close enough analog in the physical world whose motion could be captured at a very high resolution using camera-like devices.

Don’t believe me? Check out these screen grabs from the Avatar making of video floating around:

Look closely at Zoe’s head and it doesn’t require a lot of imagination to believe that her dreadlocks have individual motion capture devices embedded in them. It’s also probably true that motion capture systems of this type can not be scaled small enough for individual hairs. This might change in the future, but for now it is a real technological constraint in the world of Pandora. There are a couple other examples of technology constraining creative choice: why don’t any animals in the Pandora jungle have fur? Might it be because Cameron couldn’t get CG fur to look right?

So Cameron’s technological constraints and innovation drove choices that would have have otherwise been purely creative. Code became law on Pandora. Sometimes the origins of code’s constraints are artificial (such as copyright law) but sometimes they’re just practical constraints like software and CPU horsepower, and I think that’s what happened here.

Let me know if you agree or have any evidence to the contrary.

The New Yorker is holding its annual contest for re-interpretations of the famous Eustace Tilley cover and I thought this would be a good one.

Unfortunately since I live with Thessaly (unfortunate that she works there, not that I live with her ;) I’m most likely disqualified from participating in a Conde Nast competition.

I used Photoshop to batch process the emoji (zip download) so that they have white backgrounds and used Foto-Mosaik-Edda for the mosaic.

Check it out full size here.

Copyright, Cyberlaw and the New Free Culture

H79..1

Wed 6:30pm to 9:00pm

Frederick Benenson

The phrases ‘free software’, ‘free culture’, and ‘peer to peer production’ are often casually referenced in the current discourse on digital media and culture. But each are coherent topics and phenomena representing radical challenges to our established notions of authorship, ownership, and collaboration of cultural works. In order to fully investigate these new modes of production, this course will introduce basic concepts in copyright and cyberlaw (Are ideas ownable? What is fair use? What are my rights online?) while taking time to examine the underlying technology of our digital communications infrastructure (the TCP/IP stack, routing, file sharing, etc.). Students are expected to actively participate in free culture communities, open source projects, and engage in a discourse regarding the future of cultural production. A basic understanding of open communities and a desire to investigate the legal and technical implications of radical thought are required. Readings will include Lessig, Stallman, Benkler, Doctorow, Shirky, Barlow, Coleman, Patry, Wu, and Zittrain.

Needless to say I’m really excited to be back on floor 4!

I started working full time for Creative Commons on June 2nd, 2008 just after finishing my masters at ITP. The last year and half has been an incredible experience as I’ve spent my time doing CC outreach, advocacy, and product development. But it is time for me to move on, and I’m excited to announce that starting December 1st, I’ll be working at NYC based start-up Kickstarter.

Kickstarter is a funding platform for creators, and represents a refreshing way of thinking about supporting cultural production and creators. Most importantly, Kickstarter, like Creative Commons, offers a real mechanism for creators to connect with their supporters and share their work in a way that acknowledges the inevitabilities of digital media. Having launched and successfully funded my own project through Kickstarter, I know this platform works and I’m incredibly excited by its potential. But Kickstarter is also something that many of us in the free culture community have always dreamed of — a way to directly fund cultural production and its creators without resorting to leveraging scarcity and exclusivity.

I’m going to be doing very similar things at Kickstarter that I’ve been doing at CC: outreach, advocacy, some product, some community, some biz dev, and lots of pondering the future of culture and collaboration. But I’m also really looking forward to sharing a lot of the principles and relationships I developed at CC with my new colleagues, so if we’re currently working together on something, I’m sure we’ll still have plenty to talk about.

Working for Creative Commons has been fantastic, and I really couldn’t have imagined a better way or a better group of people to spend the last couple of years with, so it is not without some sadness that I’m leaving. So let’s stay in touch! Find me on twitter, check out my blog, or just drop me a line at fcb at fredbenenson.com.

See you on the ole tubes!

Fred

This project will fund the production, via crowd sourcing, of a never-before-released translation of Herman Melville’s classic Moby Dick in Japanese emoji icons.

Here’s an example of an Emoji sentence from Moby Dick:

Each of Moby Dick’s 6,438 sentences will be translated 3 times by different Amazon Mechanical Turk workers. Those results will then be voted on by another set of workers, and the most popular version of each sentence will be selected for inclusion in the book.

I’m trying to reach $3,500, and you can give at the $5, $10, $20, $40, and $200 levels and get different awesome rewards, like their name included in the book, a CC BY-SA licensed PDF, the raw data, and either a softcover black and white copy or a limited edition color version.

If you want to support the project, just visit the page here. Thanks!

A must for coping with the rest of the media today.

I’m launching www.copyrightcommerceandculture.com as the blog, and course info site. Check out my syllabus and class schedule here.

Some iPhone app store developers are beginning to suffer from Stockholm syndrome and are now sympathizing and fighting on behalf of their captor, known as the iPhone approval process.

From Wikipedia’s article on Stockholm Syndrome:

Stockholm syndrome is a psychological response sometimes seen in abducted hostages, in which the hostage shows signs of loyalty to the hostage-taker, regardless of the danger or risk in which they have been placed.

And just as Patty Hearst picked up a machine gun to rob a bank while being held captive by the Symbionese Liberation Army, these developers are attacking the sane programmers trying to save them.

Here’s a guest post on TechCrunch where Matt Galligan, a CEO of an iPhone app development shop where he calls out Yelp for not abiding by Apple’s rules:

Call it sneaky, call it clever, but I call it deceit. Apple has put forth specific guidelines, and “rules” around their app development, and while I don’t always agree, it’s the reality of how we must work with them for now. Yelp hid their easter egg behind shaking the device, which isn’t always the most intuitive action to take on an app that contains some maps and lists. As a result, the unsanctioned Augmented Reality view was gone from Apple’s radar.

Why is Galligan chastising Yelp? Sure, he acknowledges, the app store may act badly sometimes, but hey, rules are rules, right?

Wrong. He should be commending Yelp for putting their app’s approval on the line by risking Apple’s wrath. Yelp must have one of the most popular free apps in the iPhone app store, so it is quite a risk to release it with functionality purposely hidden from Apple.

But its the right kind of risk; it’s gutsy, offers a new whiz-bang feature, and asserts Yelp’s right to develop whatever features they want outside the scrutiny of their captor.  These are values that all developers need more of when creating iPhone applications.

And, if as Galligan predicts, Yelp’s risk forces the App Store approval process to spend more time digging through source to discover undocumented functionality using forbidden (Gasp!) API calls, then maybe it will demonstrate to Apple that it’s just not worth treating your developers like hostages, and they’ll dismantle the approval process entirely.

Apple now has such strict control over the development process that some developers have clearly lost the ability to think for themselves. That means we have to find every opportunity to encourage them to fight against their captor’s tyranny.

That means encouraging risks like Yelp’s and developing more Easter eggs for iPhone apps.

So if you’re reading this and are also currently developing an iPhone app, think about including an Easter Egg that might rankle Apple. You won’t be ruining it for the rest of us, you’ll be chipping away at the wall of Apple’s tyranny over developers.

A Copyfighter’s Musings
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