The singer known as Tomberlin says their first five years in the music industry may have been a net loss, according to MarketWatch. Selling "merch[andise]" like t-shirts "is what really is covering your costs and hopefully helping you make, like, an actual profit."

And then... After being told she would have to hand over more than 40% of the money she collected from selling T-shirts and other items, Tomberlin refused to sell her merchandise at the venue and publicly spoke about a practice she calls robbery — venues taking cuts from bands' merchandise sales... Other musicians are also speaking out about the practice, and their complaints seem to be having an effect. Industry giant Live Nation Entertainment Inc. announced recently that it would stop collecting merch fees at nearly 80 of the smaller clubs it owns and operates and provide all bands that play at those venues with an additional $1,500 in gas cards and cash.

Musicians who spoke with MarketWatch remain unsatisfied, however. Because of the way the announcement is phrased, many think merch fees at Live Nation clubs are only being paused until the end of the year. The musicians said they also wonder about the roughly 250 other Live Nation concert facilities, as well as the hundreds of venues owned by other companies. A Live Nation spokesperson told MarketWatch the change is "open-ended."

[...] As Tomberlin continues on her current tour, she wonders if she will be able to make a profitable career in music. Of all her ways of earning money, streaming services like Spotify and Apple Music provide "the least amount of money," she said, and with tours not leaving her with any cash at the end, she feels that even modest ambitions are out of reach.
Musician Laura Jane Grace is even soliciting signers for an online petition demanding venues stop taking cuts of the musicians' merchandise sales...

Thanks to Slashdot reader quonset for sharing the news.

According to The Digital Bits, Best Buy will exit the physical media business as soon as the end of the first quarter of 2024. From a report: Best Buy has been phasing out DVDs from its stores, but The Digital Bits reports that Best Buy would even stop offering it on its site as well, signaling a complete break from physical media. The report noted that some studios have shifted their inventory of Blu-Ray and 4K Steelbook titles toward Amazon.

The move is another hint at the possible end of physical media as consumers gravitate towards streaming services and their extensive libraries, or digital downloads. This comes as one of the largest distributors of DVDs and Blu-Rays, Ingram Entertainment, said it was exiting the business just as Walmart is looking to take over management of Studio Distribution Services (SDS), which handles the distribution of physical media. Disney ceased selling physical media in Australia.

Google has agreed to stop advertising YouTube TV as "$600 less than cable" after losing an appeal of a previous ruling that went against the company. Google said it will "modify or cease the disputed advertising claim." From a report: The case was handled in the advertising industry's self-regulatory system, not in a court of law. The National Advertising Review Board (NARB) announced today that it rejected Google's appeal and recommended that the company discontinue the YouTube TV claim. YouTube TV launched in 2017 for $35 a month, but the base package is $72.99 after the latest price hike in March 2023. Google's "$600 less than cable" claim was challenged by Charter, which uses the brand name Spectrum and is the second-biggest cable company after Comcast. The National Advertising Division (NAD) previously ruled in Charter's favor but Google appealed the decision to the NARB in August.

"Charter contended the $600 figure was inaccurate, arguing that its Spectrum TV Select service in Los Angeles only cost around $219 a year more than Google's YouTube TV service," according to a MediaPost article in August. A Google ad claimed that YouTube TV provided $600 in "annual average savings" compared to cable as of January 2023. A disclosure on the ad said the price was for "new users only" and that the $600 annual savings was "based on a study by SmithGeiger of the published cost of comparable standalone cable in the top 50 Nielsen DMAs, including all fees, taxes, promotion pricing, DVR box rental and service fees, and a 2nd cable box."

At CES 2023, a startup called Displace introduced their "truly wireless" TV with swappable batteries and a vacuum suction system that can keep the display adhered to walls without traditional mounting. To address concerns about what would happen when those batteries become depleted or when the wall/surface the TV is mounted to cracks, Displace says it has designed a built-in landing gear safety system to protect the $3,000 wireless TV. The Verge reports: Here, friends, is where Displace's "self-lowering landing gear technology" comes in. And I'm just going to quote directly from the press release so you can get the full rundown on how it supposedly works: "Sensors within the Displace TV constantly measure the battery level and pressure in the vacuum suction system, analyze the wall's surface, and check leakage on the vacuum pumps. If the vacuum pumps are in danger of not maintaining a seal or the wall's integrity falters, the Displace TV automatically deploys four quick adhesives for stability and initiates a self-lowering landing gear system. The adhesives work as anchor points, as the Displace TV begins to lower itself gently on a zipline (from as high as 10 feet) and deploys a reusable foam at the bottom to protect the TV screen."

When a problem is detected, the Displace attaches an adhesive frame onto the wall and begins lowering the display to the floor (with rope) from that frame. As all of this is happening, the TV generates a lot of sound and even flashing lights in an attempt to keep the area clear of children or animals. Once it's safely on the ground, you can pull the frame off the wall and reinsert it into the back of the TV. [...] The self-landing technology works at heights of up to 10 feet. When you're ready to put the TV back in its place, you just push the foam feet back into the TV, replace the adhesive tapes, and that's it. You can watch a demo of the safety system on YouTube.

Sony is bringing its own movie streaming service to PlayStation consoles beginning today. From a report: Previously known as Bravia Core, the service is being rebranded to Sony Pictures Core as it arrives on the PS5 and PS4. "Once you sign up for Sony Pictures Core, you will be able to buy or rent up to 2,000 movies straight from your console," Sony's Evan Stern wrote in a blog post. "At launch, this will include blockbuster hits such as Spider-Man: Across the Spider-Verse, Spider-Man: No Way Home, Uncharted, The Equalizer, No Hard Feelings, Bullet Train, and Ghostbusters: Afterlife, among others."

Now, you can rent or buy those movies in any number of places. If you're wondering why you'd want to use Sony's service, the answer is video fidelity. As noted on the Bravia Core website, it includes what the company calls Pure Stream, "which can stream HDR movies at up to 80Mbps -- similar to 4K UHD Blu-ray -- on a wide range of content." That is a significantly higher bitrate than anything Netflix, Amazon Prime Video, Max, Vudu, or other streamers will give you. So, if you're a stickler for picture quality and have the right TV for it, you should notice greater detail when using Pure Stream. In addition to all that, Sony also claims it has the largest collection of IMAX Enhanced films of any streaming service.

Hugh Morris writes via the New York Times: When the musician and artist Paul Purgas was invited in 2017 by the National Institute of Design in Ahmedabad, India, to play some of the music he'd found in its archives that year, he was initially very keen. These were tapes that had been hidden from the public for decades; they proved the existence of a fertile avenue for electronic music in 1960s and '70s India, and he was determined for people to hear them. But as he went to use the institute's aging reel-to-reel machine, he got a nasty surprise: an electric shock. "I think that sobered me up," he said in an interview. The project, he realized, was about to become "a bit of a lifetime journey."

Purgas, 43, is a London-based sound artist and curator, and half of the electronic music duo Emptyset. Initially, he had been on the trail of the lost Moog synthesizer that the American experimentalist David Tudor used while in India, which led him to the library of the NID. In "a victory for good record keeping," Purgas found details of some unknown Tudor recordings noted in a handwritten logbook by a diligent archivist in the 1960s. He requested them from the archives, and was presented with box after box of carefully annotated tapes, all taken from a neglected cupboard. Purgas returned to England to undertake training in tape restoration to properly conserve what he'd found: music from a group of Indian composers who, aided initially by Tudor, had used the Moog and some accompanying homemade modular devices between 1969 and 1972 to create some of India's earliest electronic music.

Following a 2020 BBC radio documentary, "Electronic India," in which Purgas situated the music in its cultural context, a new compilation -- "The NID Tapes: Electronic Music from India 1969-1972," out Friday -- presents the restored pieces in their full variety. There are manipulated field recordings, pieces linked to birds and nature, compositions inspired by Indian classical music, imagined voyages to outer space, and tracks reminiscent of bleep techno or Aphex Twin. What the recordings demonstrate, Purgas said, is "electronic sound and music existing free from any baggage," away from "any vestiges of what could be conceived as a kind of Western continuum."

Netflix plans to raise the price of its ad-free service a few months after the continuing Hollywood actors strike ends, the latest in a series of recent price increases by the country's largest streaming platforms. From a report: The streaming service is discussing raising prices in several markets globally, but will likely begin with the U.S. and Canada, according to people familiar with the matter. It couldn't be learned how much Netflix will raise prices by or when exactly the new prices will take effect.

Over the past year or so, the cost of major ad-free streaming services has gone up by about 25%, as entertainment companies look to bring their streaming platforms to profitability and lead price-conscious customers to switch to their cheaper and more-lucrative ad-supported plans. Streamers are also starting to look at how they can create new pricing tiers around exclusive programming, such as live sports, without running the risk of driving people away from their core offerings.

Mia Sato writes via The Verge: Spotify is rolling out auto-generated podcast transcripts to more creators in the coming weeks, the company announced Thursday. The text transcripts will also be time-synced so listeners can visually follow along as a podcast episode progresses. Transcripts are available by scrolling down below the podcast player and tapping into a "read along" section. A transcription of a show makes the podcast more accessible to users and allows listeners to skip around and skim an episode without listening through.

Spotify says "millions" of podcast episodes will get the tool, and in the future, creators could add media to transcripts -- a useful feature if a creator is describing an image on the show, for example. Beyond transcripts, mobile podcast listeners globally will now be able to jump around an episode using chapters as well. Podcasters can add time-stamped chapters to their shows that briefly describe a segment of the show, allowing listeners to preview topics or start listening at specific points. The feature follows the recent addition of an AI-generated voice cloning tool that translates podcasts into different languages.

At the beginning of The Creator a narrator describes AI-powered robots that are "more human than human." From the movie site Looper: It's in reference to the novel "Do Androids Dream of Electric Sheep?" by Philip K. Dick, which was adapted into the seminal sci-fi classic, "Blade Runner." The phrase is used as the slogan for the Tyrell Corporation, which designs the androids that take on lives of their own. The saying perfectly encapsulates the themes of "Blade Runner" and, by proxy, "The Creator." If a machine of sufficient intelligence is indistinguishable from humans, then shouldn't it be considered on equal footing as humanity?
The Huffington Post calls its "the pro-AI movie we don't need right now" — but they also praise it as "one of the most astonishing sci-fi theatrical experiences this year." Variety notes the film was co-written and directed by Gareth Edwards (director of the 2014 version of Godzilla and the Star Wars prequel Rogue One), working with Oscar-winning cinematographer Greig Fraser (Dune) after the two collaborated on Rogue One. But what's unique is the way they filmed it: adding visual effects "almost improvisationally afterward.

"Achieving this meant shooting sumptuous natural landscapes in far-flung locales like Thailand or Tibet and building futuristic temples digitally in post-production..."

IndieWire gushes that "This movie looks fucking incredible. To a degree that shames most blockbusters that cost three times its budget." They call it "a sci-fi epic that should change Hollywood forever." Once audiences see how "The Creator" was shot, they'll be begging Hollywood to close the book on blockbuster cinema's ugliest and least transportive era. And once executives see how much (or how little) "The Creator" was shot for, they'll be scrambling to make good on that request as fast as they possibly can.

Say goodbye to $300 million superhero movies that have been green-screened within an inch of their lives and need to gross the GDP of Grenada just to break even, and say hello — fingers crossed — to a new age of sensibly budgeted multiplex fare that looks worlds better than most of the stuff we've been subjected to over the last 20 years while simultaneously freeing studios to spend money on the smaller features that used to keep them afloat. Can you imagine...? How ironic that such fresh hope for the future of hand-crafted multiplex entertainment should come from a film so bullish and sanguine at the thought of humanity being replaced by A.I [...]

The real reason why "The Creator" is set in Vietnam (and across large swaths of Eurasia) is so that it could be shot in Vietnam. And in Thailand. And in Cambodia, Nepal, Indonesia, and several other beautiful countries that are seldom used as backdrops for futuristic science-fiction stories like this one. This movie was born from the visual possibilities of interpolating "Star Wars"-like tech and "Blade Runner"-esque cyber-depression into primordially expressive landscapes. Greig Fraser and Oren Soffer's dusky and tactile cinematography soaks up every inch of what the Earth has to offer without any concession to motion capture suits or other CGI obstructions, which speaks to the truly revolutionary aspect of this production: Rather than edit the film around its special effects, Edwards reverse-engineered the special effects from a completed edit of his film... Instead of paying a fortune to recreate a flimsy simulacrum of our world on a computer, Edwards was able to shoot the vast majority of his movie on location at a fraction of the price, which lends "The Creator" a palpable sense of place that instantly grounds this story in an emotional truth that only its most derivative moments are able to undo... [D]etails poke holes in the porous border that runs between artifice and reality, and that has an unsurprisingly profound effect on a film so preoccupied with finding ghosts in the shell. Can a robot feel love? Do androids dream of electric sheep? At what point does programming blur into evolution...?

[T]he director has a classic eye for staging action, that he gives his movies room to breathe, and that he knows that the perfect "Kid A" needle-drop (the album, not the song) can do more for a story about the next iteration of "human" life than any of the tracks from Hans Zimmer's score... [T]here's some real cognitive dissonance to seeing a film that effectively asks us to root for a cuter version of ChatGPT. But Edwards and Weitz's script is fascinating for its take on a future in which people have programmed A.I. to maintain the compassion that our own species has lost somewhere along the way; a future in which technology might be a vessel for humanity rather than a replacement for it; a future in which computers might complement our movies rather than replace our cameras.

U2's inaugural performance at the opening of Las Vegas's Sphere included a generative AI video collage projected hundreds of feet into the air — showing hundreds of surreal renderings of Elvis Presley.

An anonymous reader shares this report from Time magazine: The video collage is the creation of the artist Marco Brambilla, the director of Demolition Man and Kanye West's "Power" music video, among many other art projects. Brambilla fed hours of footage from Presley's movies and performances into the AI model Stable Diffusion to create an easily searchable library to pull from, and then created surreal new images by prompting the AI model Midjourney with questions like: "What would Elvis look like if he were sculpted by the artist who made the Statue of Liberty...?"

While Brambilla's Elvises prance across the Sphere's screen — which is four times the size of IMAX — the band U2 will perform their song "Even Better Than The Real Thing," as part of their three-month residency at the Sphere celebrating their 1991 album Achtung Baby... Earlier this year, U2 commissioned several artists, including Brambilla and Jenny Holzer, to create visual works that would accompany their performances of specific songs. Given U2's love for the singer and the lavish setting of the Sphere, Brambilla thought a tribute to Elvis would be extremely fitting. He wanted to create a maximalist work that encapsulated both the ecstatic highs and grimy lows of not only Elvis, but the city of Las Vegas itself. "The piece is about excess, spectacle, the tipping point for the American Dream," Brambilla said in a phone interview.

Brambilla was only given three-and-a-half months to execute his vision, less than half the time that he normally spends on video collages. So he turned to AI tools for both efficiency and extravagance. "AI can exaggerate with no end; there's no limit to the density or production value," Brambilla says. And this seemed perfect for this project, because Elvis became a myth; a larger-than-life character..." Brambilla transplanted his MidJourney-created images into CG (computer graphics) software, where he could better manipulate them, and left some of the Stable Diffusion Elvis incarnations as they were. The result is a kaleidoscopic and overwhelming video collage filled with video clips both historical and AI-generated, that will soon stretch hundreds of feet above the audience at each of U2's concerts.

"I wanted to create the feeling that by the end of it," Brambilla says, "We're in a place that is so hyper-saturated and so dense with information that it's either exhilarating or terrifying, or both."
Brambilla created an exclusive video excerpting from the larger collage for TIME. The magazine reports that one of the exact prompts he entered was:

"Elvis Presley in attire inspired by the extravagance of ancient Egypt and fabled lost civilizations in a blissful state. Encircling him, a brigade of Las Vegas sorceresses, twisted and warped mid-chant, reflect the influence of Damien Hirst and Andrei Riabovitchev, creating an atmosphere of otherworldly realism, mirroring the decadence and illusion of consumption."

It's official: Netflix has shipped its last DVD. "For 25 years, we redefined how people watched films and series at home, and shared the excitement as they opened their mailboxes to our iconic red envelopes," says Netflix in a blog post. "It's the end of an era, but the DVD business built our foundation for the years to come -- giving members unprecedented choice and control, a wide variety of titles to choose from and the freedom to watch as much as they want."

Netflix announced the shut down of its DVD business in April. Here's an infographic the company shared in its post:

Starting on November 1st, Disney Plus will begin restricting password sharing in Canada. The Verge reports: Disney has not provided many details on how it plans to enforce this policy -- its email merely states that "we're implementing restrictions on your ability to share your account or login credentials outside of your household." The announcement reads more like a strong finger wag than anything else. "You may not share your subscription outside of your household," reads the company's updated Help Center.

A new "account sharing" section in the Canadian subscriber agreement also notes that the company may "analyze the use of your account" and that failing to comply with the agreement could lead to account limits or termination. After Netflix started cracking down on password sharing in the U.S., it resulted in the "four single largest days of U.S. user sign-ups since January 2019," according to Variety. The streaming giant later went on to add 2.6 million U.S. subscribers in July.

Google Podcasts is shutting down in 2024 after YouTube Music picks up full global availability of podcasts, which is expected before the end of 2023. As 9to5Google reports, YouTube Music "will be Google's one podcasting app and service going forward." From the report: The big advantage of Google Podcasts was its simplicity and wide availability on Android (through the Google Search app). A "simple migration tool" will move your existing subscriptions from Google Podcasts. Notably, there will be the ability in YouTube Music to add podcasts via RSS feeds, "including shows not currently hosted by YouTube." Google will also provide a non-YTM export option via "OPML file of their show subscriptions" that will work with other podcast players.

On the podcaster front, YouTube will allow for RSS uploads instead of requiring a video version. The next step over the coming weeks and months will see Google "gather feedback to make the migration process from Google Podcasts to YouTube Music as simple and easy as possible." "For now, nothing is changing and fans will continue to have access to YouTube, YouTube Music and Google Podcasts," says YouTube. "We're committed to being transparent in communicating future changes with our users and podcasters and will have more to share about this process in the coming months."

Twenty years ago, a group of friends shot a Matrix fan film on a limited budget. Sharing their creation with the rest of the word initially appeared to be too expensive, but then they discovered a new technology called BitTorrent. Fast forward two decades and their "Fanimatrix" release is the oldest active torrent that's still widely shared today. Ernesto Van der Sar writes via TorreantFreak: The oldest surviving torrent we have seen is a copy of the Matrix fan film "The Fanimatrix." The torrent was created in September 2003 and will turn 20 years old in a few days. A truly remarkable achievement. The film was shot by a group of New Zealand friends. With a limited budget of just $800, nearly half of which was spent on a leather jacket, they managed to complete the project in nine days. While shooting the film was possible with these financial constraints, finding a distribution channel proved to be a major hurdle. Free video-sharing services didn't exist yet and server bandwidth was still very costly. Technically the team could host their own server, but that would cost thousands of dollars, which wasn't an option. Luckily, however, the group's IT guy, Sebastian Kai Frost, went looking for alternatives.

Frost had a bit part in the film and did some other work as well, but the true breakthrough came when he stumbled upon a new technology called BitTorrent. This appeared to be exactly what they were looking for. "It looked promising because it scaled such that the more popular the file became, the more the bandwidth load was shared. It seemed like the perfect solution," Frost told us earlier. After convincing the crew that BitTorrent was the right choice, Frost created a torrent on September 28, 2003. He also compiled a tracker on his own Linux box and made sure everything was running correctly. Today, more than twenty years have passed and the torrent is still up and running with more than a hundred seeders. As far as we know, it's the oldest active torrent on the Internet, one that deserves to be in the history books. "I never expected to become the world's oldest torrent but now it's definitely become a thing I'd love to keep carrying on. So I'll be keeping this active as long as I physically can," Frost tells TorrentFreak. "It's really heartening seeing the community pull together around this torrent, despite its usually low transfer count, and work together to keep it alive and kicking. It warms my heart on the daily."

"We're super pumped that it's still going and that people still take an interest in it. Looking forward to the 25th and having something special to share with the world," Frost concludes.

An anonymous reader quotes a report from CBS News: Denmark's Lego said on Monday that it remains committed to its quest to find sustainable materials to reduce carbon emissions, even after an experiment by the world's largest toymaker to use recycled bottles did not work. Lego said it has "decided not to progress" with making its trademark colorful bricks from recycled plastic bottles made of polyethylene terephthalate, known as PET, and after more than two years of testing "found the material didn't reduce carbon emissions." Lego enthusiastically announced in 2021 that the prototype PET blocks had become the first recycled alternative to pass its "strict" quality, safety and play requirements, following experimentation with several other iterations that proved not durable enough.

The company said scientists and engineers tested more than 250 variations of PET materials, as well as hundreds of other plastic formulations, before nailing down the prototype, which was made with plastic sourced from suppliers in the U.S. that were approved by the Food and Drug Administration and European Food Safety Authority. On average, a one-liter plastic PET bottle made enough raw material for ten 2 x 4 Lego bricks. Despite the determination that the PET prototype failed to save on carbon emissions, Lego said it remained "fully committed to making Lego bricks from sustainable materials by 2032." [...] Lego said it will continue to use bio-polypropylene, the sustainable and biological variant of polyethylene -- a plastic used in everything from consumer and food packaging to tires -- for parts in Lego sets such as leaves, trees and other accessories.

"After several long consecutive days of negotiations, the Writers Guild of America and the labor group representing studios and streamers have reached a tentative deal on a new contract," according to the Hollywood Reporter.

"We can say, with great pride, that this deal is exceptional," the Guild's negotiating committee told its members in an email, "with meaningful gains and protections for writers in every sector of the membership." The Hollywood Reporter calls the news "a major development that could precipitate the end of a historic, 146-day writers' strike."

Details from the Los Angeles Times: The proposed three-year contract, which would still have to be ratified by the union's 11,500 members, would boost pay rates and residual payments for streaming shows and impose new rules surrounding the use of artificial intelligence...

With the tentative pact with the WGA done, entertainment company leaders are expected to turn their attention to the 160,000-member performers union, SAG-AFTRA, to accelerate those stalled talks in an effort to get the industry back to work. Actors have been on strike since mid-July...

The writers' strike was, in many ways, a response to the tectonic changes wrought by streaming. Shorter seasons for streaming shows and fewer writers being hired have cut into guild members' pay and job stability, making it harder to earn a sustainable living in the expensive media hubs of Los Angeles and New York, guild members have said.

The studios came into negotiations with their own set of challenges. The pay-TV business is in decline because of cable cord-cutting and falling TV ratings, which have eroded vital sources of revenue. At the same time, the traditional companies have spent massively to launch robust streaming services to compete with Netflix, losing billions of dollars in the process.

An anonymous reader shared this report from the New York Times' media reporter: In a nondescript office park minutes from Disneyland sits a nondescript warehouse. Inside this nameless, faceless building, an era is ending.

The building is a Netflix DVD distribution plant. Once a bustling ecosystem that processed 1.2 million DVDs a week, employed 50 people and generated millions of dollars in revenue, it now has just six employees left to sift through the metallic discs. And even that will cease on Friday, when Netflix officially shuts the door on its origin story and stops mailing out its trademark red envelopes. "It's sad when you get to the end, because it's been a big part of all of our lives for so long," Hank Breeggemann, the general manager of Netflix's DVD division, said in an interview. "But everything runs its cycle. We had a great 25-year run and changed the entertainment industry, the way people viewed movies at home."

When Netflix began mailing DVDs in 1998 — the first movie shipped was "Beetlejuice" — no one in Hollywood expected the company to eventually upend the entire entertainment industry... At its height, Netflix was the Postal Service's fifth-largest customer, operating 58 shipping facilities and 128 shuttle locations that allowed Netflix to serve 98.5 percent of its customer base with one-day delivery...

Netflix's DVD operations still serve around one million customers, many of them very loyal... To ease the backlash, Netflix is allowing its DVD customers to hold on to their final rentals.
"One hundred people at Netflix still work on the DVD side of the business, though most will soon be leaving the company."

Since 1999, Slashdot has been covering the annual Ig Nobel prize ceremonies — which honor real scientific research into strange or surprising subjects. "Each winner (or winning team) has done something that makes people LAUGH, then THINK," explains the ceremony web page, promising that "a gaggle of genuine, genuinely bemused Nobel laureates handed the Ig Nobel Prizes to the new Ig Nobel winners." As co-founder Marc Abrahams says on his LinkedIn profile, "All these things celebrate the unusual, honor the imaginative — and spur people's interest in science, medicine, and technology."

You can watch this year's entire goofy webcast online. (At 50 minutes there's a jaw-droppingly weird music video about running on water...) Slashdot reader Thorfinn.au shares this summary of this year's winning research: CHEMISTRY and GEOLOGY PRIZE [POLAND, UK] — Jan Zalasiewicz, for explaining why many scientists like to lick rocks.

LITERATURE PRIZE [FRANCE, UK, MALAYSIA, FINLAND] — Chris Moulin, Nicole Bell, Merita Turunen, Arina Baharin, and Akira O'Connor for studying the sensations people feel when they repeat a single word many, many, many, many, many, many, many times.

MECHANICAL ENGINEERING PRIZE [INDIA, CHINA, MALAYSIA, USA] — Te Faye Yap, Zhen Liu, Anoop Rajappan, Trevor Shimokusu, and Daniel Preston, for re-animating dead spiders to use as mechanical gripping tools.

PUBLIC HEALTH PRIZE [SOUTH KOREA, USA] — Seung-min Park, for inventing the Stanford Toilet a computer vision system for defecation analysis et al.

COMMUNICATION PRIZE [ARGENTINA, SPAIN, COLOMBIA, CHILE, CHINA, USA] — María José Torres-Prioris, Diana López-Barroso, Estela Càmara, Sol Fittipaldi, Lucas Sedeño, Agustín Ibáñez, Marcelo Berthier, and Adolfo García, for studying the mental activities of people who are expert at speaking backward.

MEDICINE PRIZE [USA, CANADA, MACEDONIA, IRAN, VIETNAM] — Christine Pham, Bobak Hedayati, Kiana Hashemi, Ella Csuka, Tiana Mamaghani, Margit Juhasz, Jamie Wikenheiser, and Natasha Mesinkovska, for using cadavers to explore whether there is an equal number of hairs in each of a person's two nostrils.

NUTRITION PRIZE [JAPAN] — Homei Miyashita and Hiromi Nakamura, for experiments to determine how electrified chopsticks and drinking straws can change the taste of food.

EDUCATION PRIZE [HONG KONG, CHINA, CANADA, UK, THE NETHERLANDS, IRELAND, USA, JAPAN] — Katy Tam, Cyanea Poon, Victoria Hui, Wijnand van Tilburg, Christy Wong, Vivian Kwong, Gigi Yuen, and Christian Chan, for methodically studying the boredom of teachers and students.

PSYCHOLOGY PRIZE [USA] — Stanley Milgram, Leonard Bickman, and Lawrence Berkowitz for 1968 experiments on a city street to see how many passersby stop to look upward when they see strangers looking upward.

PHYSICS PRIZE [SPAIN, GALICIA, SWITZERLAND, FRANCE, UK] — Bieito Fernández Castro, Marian Peña, Enrique Nogueira, Miguel Gilcoto, Esperanza Broullón, Antonio Comesaña, Damien Bouffard, Alberto C. Naveira Garabato, and Beatriz Mouriño-Carballido, for measuring the extent to which ocean-water mixing is affected by the sexual activity of anchovies.

An anonymous reader shares a report: The Streaming Era began with a promise of nurturing shows without fear of ratings pressure and quick cancellations. Of course, that was a lark. Soon enough, the streamers began slashing shows as quickly and brutally as any Nielsen-obsessed broadcaster, and they were all flooded with same complaint: "The streamers just cancel everything! Nothing gets more than a season anymore!" How true is that really? After all, the streamers are looking for hit shows, just like traditional networks. If a show gets high viewership relative to the cost of producing it, it gets renewed. Otherwise, it is canceled. That is how it has worked since the days of black-and-white TV.

To get to the heart of the matter, Variety Intelligence Platform (VIP+) and Luminate collaborated on a data exploration to determine how often the leading U.S.-based streaming and linear programmers have canceled series TV series over the past three years. The new report, "The Show Must Go Off," is an exhaustive statistical analysis that aims to settle one of the most hotly contested debates in the TV industry. The data covered all shows (scripted and unscripted) canceled between 2020 and Aug. 8, 2023. The major streamers (Netflix, Hulu, Disney+, Amazon Prime Video, Max, Apple TV+, Peacock, Paramount+) overall had a combined average cancellation rate of 12.2% -- not much higher than linear TV (10.8%), but less than half of broadcast TV alone over that period. Warner Bros. Discovery-owned Max (formerly HBO Max) was by far the most brutal when it comes to cancelling shows, coming in at 26.9%.

Stability AI today announced the initial public release of its Stable Audio technology, providing anyone with ability to use simple text prompts to generate short audio clips. VentureBeat reports: StableAudio is a new capability, though it is based on many of the same core AI techniques that enable Stable Diffusion to create images. Namely the Stable Audio technology makes use of a diffusion model, albeit trained on audio rather than images, in order to generate new audio clips. "Stability AI is best known for its work in images, but now we're launching our first product for music and audio generation, which is called Stable Audio," Ed Newton-Rex, VP of Audio at Stability AI told VentureBeat. "The concept is really simple, you describe the music or audio that you want to hear in text and our system generates it for you."

Newton-Rex is no stranger to the world of computer generated music, having built his own startup called Jukedeck in 2011, which he sold to TikTok in 2019. The technology behind Stable Audio however does not have its roots in Jukedeck, but rather in Stability AI's internal research studio for music generation called Harmonai, which was created by Zach Evans. Stable Audio works directly with raw audio samples for higher quality output. The model was trained on over 800,000 pieces of licensed music from audio library AudioSparks. [...]

As a diffusion model, Evans said that the Stable Audio model has approximately 1.2 billion parameters, which is roughly on par with the original release of Stable Diffusion for image generation. The text model used for prompts to generate audio was all built and trained by Stability AI. Evans explained that the text model is using a technique known as Contrastive Language Audio Pretraining (CLAP). As part of the Stable Audio launch, Stability AI is also releasing a prompt guide to help users with text prompts that will lead to the types of audio files that users want to generate. "Stable Audio will be available both for free and in a $12/month Pro plan," notes VentureBeat. "The free version allows 20 generations per month of up to 20 second tracks, while the Pro version increases this to 500 generations and 90 second tracks."