navindra (Slashdot reader #7,571) is a professional coder and an amateur musician. He writes: Music and technology have always been intertwined and this has never been truer with computer technology. I set out on a simple quest to find a better metronome, settled for a digital sample sequencer, but ended up fascinated by the Organelle music computer running Pure Data on a Raspberry Pi and Linux.
"The entire system runs open source software and may be customized at every level," explains its web page. From navindra's article: [T]he Organelle is hard to define, but it is nothing less than a music computer, almost demanding that one ascend from mere musician to virtual instrument designer.

Organelle patches are readily available for beat-making purposes, including sample sequencer or drum machine functions, multi-dimensional sequencers, and, yes, even a straight up metronome. Beyond the factory patches, the user community contribute their own creations... Pure Data code initially looks like low-level symbolic code — fortunately, it is easy to make something musical in short order, if one has a handle on sound synthesis and MIDI concepts.

The Organelle runs Linux on a Raspberry Pi with everything that entails — it has a boot up time of 12 seconds, yields a 6 hour battery life on 4 AA batteries (roughly proportional to the volca power draw), and things like swapping samples is trivially done with a file manager, eliminating the need for special software. Similarly, adding or modifying patches is just as easy — modifying the existing Metronome patch with a new sound could be as easy as dropping in a new .wav file.

Needless to say, the Organelle is constantly evolving and improving...

"Swirls of color and images blend together as faces, scenery, objects, and architecture transform to music." That's how AI training company Lionbridge is describing Neural Synesthesia.

Slashdot reader shirappu explains: Neural Synesthesia is an AI art project that creator Xander Steenbrugge calls a collaboration between man and machine. To create each piece, he feeds a generative network with curated image datasets and combines the ever-transforming results with music that is programmed to control the shifting visuals.
Steenbrugge describes how the music controls the visuals in an interview with Lionbridge: I think coding for the first rendered video took over six months because I was doing it in my spare time. The biggest challenge was how to manipulate the generative adversarial network (GAN)'s latent input space using features extracted from the audio track. I wanted to create a satisfying match between visual and auditory perception for viewers.

I apply a Fourier Transform to extract time varying frequency components from the audio. I also perform harmonic/percussive decomposition, which basically separates the melody from the rhythmic components of the track. These three signals (instantaneous frequency content, melodic energy, and beats) are then combined to manipulate the GANs latent space, resulting in visuals that are directly controlled by the audio...

[Y]ou are not limited by your own imagination. There's an entirely alien system that is also influencing the same space of ideas, often in unexpected and interesting ways. This leads you as a creator into areas you never would have wandered by yourself.

Charter is raising the "Broadcast TV" fee it imposes on cable plans from $13.50 to $16.45 a month starting in August. "Charter has raised the fee repeatedly -- it stood at $9.95 in early 2019 before a series of price increases," reports Ars Technica. "It $16.45 a month, the fee will cost customers an additional $197.40 per year." From the report: Charter says the Broadcast TV fee covers the amount it pays broadcast television stations (e.g. affiliates of CBS, NBC, ABC, and Fox) for the right to carry their channels. But for consumers, it is essentially a hidden fee because Charter's advertised TV prices don't include it. Charter imposes a smaller Broadcast TV fee on its streaming TV plans, but is raising that charge from $6 to $8.95 a month, Stop the Cap wrote. Charter is also raising the base price of its TV service. "Spectrum's most popular TV Select package is expected to increase $1.50/month to $73.99/month," Stop the Cap wrote. "Customers on a promotional pricing plan will not see this rate increase until their promotional pricing expires."

The Broadcast TV fee change will apparently apply even to customers who are on promotional deals that lock in a price for a set amount of time. Charter told us that promotional prices apply to the "package price," which "will not change until the end of their promotional period." But Charter said that the "Broadcast TV Service Charge is separate from the TV package price," so it can go up regardless of whether a customer is still on a promotional deal. For comparison, Comcast's Broadcast TV fee is $14.95 a month.

Gary Larson has released new comics for the The Far Side, the first strips since January 1995. Larson does however caution that this is "not a resurrection of The Far Side daily cartoons." He adds: "I'm just exploring, experimenting, and trying stuff." The Verge reports: The first of the new comics features bears, aliens, and taxidermy (all staples of The Far Side). The style is comfortably familiar, with two large exceptions: instead of watercolor, the new comics are done in digital brushstrokes that make the images feel more volumetric and vibrant than the original full-color cartoons. Also, the penned outlines, which exist in both the watercolor and black-and-white original comics, are almost entirely gone. The end result is images that evoke the feel of the old comics but are somehow a little less cartoony. The characters and elements all feel unified in the scene together.

Both the style changes and the comic's return are due to the fact that Larson is now using a digital tablet. After years of frustration dealing with clogged pens and dried-up markers, Larson decided to give going digital a chance. "I was stunned at all the tools the thing offered, all the creative potential it contained. I simply had no idea how far these things had evolved," Larson writes in an opening letter for New Stuff, the title for his new works. "Perhaps fittingly, the first thing I drew was a caveman."

Microsoft will be holding its next Xbox Games Showcase on July 23, the company announced today. Ars Technica reports: Unlike Microsoft's May promotional event, which focused on third-party launch titles for the upcoming console, the July 23 event is expected to discuss first-party exclusives from Microsoft's own Xbox Game Studios. That likely includes new footage of Halo Infinite, which saw a new teaser trailer a few weeks ago. That lineup of first-party studios now includes Psychonauts 2 developer Double Fine, which Microsoft acquired in June, and The Outer Worlds developer Obsidian Entertainment, which Microsoft acquired last November.

A fifteen-year-old cartoon is an unlikely contender for most-watched show in America. And yet when "Avatar: The Last Airbender" arrived on Netflix, in May, it rose through the ranks to become the platform's No. 1 offering, and even now it remains a fixture in the Top Ten for the U.S. From a report: The series first ran from 2005 to 2008 on Nickelodeon, and swiftly made a name for itself as a politically resonant, emotionally sophisticated work -- one with a sprawling but meticulously plotted mythos that destined the show for cult-classic status. Last summer, after "Game of Thrones" flubbed its finale, fans and critics held up "Avatar" as a counterexample: a fantasy series that knew what it wanted to be from the beginning. Like all such stories, "Avatar" (created by Bryan Konietzko and Michael Dante DiMartino, and no relation to the James Cameron blockbuster) demands some exposition. In a world where nations are defined by their connection to one of the four elements -- water, earth, fire, and air -- maintaining the peace falls to the Avatar, the only person who can achieve mastery of them all. Just as the Fire Nation launches an attack, he vanishes.

The series begins a century later, when a twelve-year-old boy named Aang is discovered and revived by a pair of Water Tribe teen-agers -- and the Fire Nation is well on its way to global conquest. The first two episodes are largely what you'd expect: world-building punctuated by moments of whimsy. In the third, Aang returns to the temple where he was born to find the aftermath of a genocide. He is, he discovers, both the Avatar and the last of the Air Nomads. Where earlier shows might have hinted at such an atrocity for adult viewers' benefit, "Avatar" is overt, taking seriously its young audience's capacity to confront the consequences of endless war. Moral ambiguity abounds, and people from all nations see the conflict as, variously, an opportunity or a tragedy; there are Earth Kingdom citizens who have become cynical or apathetic after generations of fighting, and those from the Fire Nation who are fully capable of doing good. Aang, like the monks who raised him, is a pacifist at heart, but the series makes it clear that his is not the only way of bringing balance to the world. On the eve of his confrontation with the Fire Lord, one of his past lives -- a warrior named Kyoshi, who has killed would-be conquerors before -- counsels that "only justice will bring peace."

Walmart said this week that it was converting some of its parking lots into drive-in theaters for the summer as the movie industry struggles amid the coronavirus pandemic. From a report: The retail behemoth is converting 160 of its parking lots across the US into drive-ins. These theaters will open in early August and remain open through October. The Walmart Drive-In will feature movies programmed by Tribeca Enterprises, the company behind the Tribeca Film Festival, which recently launched a summer movie drive-in series bringing films, music, and sporting events to as many US drive-ins as possible.

According to Hollywood Reporter, "Amazon Studios has licensed the rights to the best-selling video game franchise Fallout, with married writers and showrunners Joy and Nolan attached to oversee the potential TV series." From the report: The project is currently in development but has a series commitment penalty attached. That means that if Amazon execs like the script, Fallout would bypass the traditional pilot stage and go directly to series (or if it is passed over, all involved would be paid out as if it had). A writer is not currently attached.

Making its debut in 1997, Fallout is set in the future envisioned by Americans in the late 1940s when the country explodes upon itself through a nuclear war in 2077. The series takes place in a harsh wasteland set against the previous generation's utopian idea of a better world through nuclear energy. Joy and Nolan will exec produce the series via their Kilter Films banner in association with game publishers Bethesda Game Studios and Bethesda Softworks. Kilter's Athena Wickham, Bethesda Game Studios' Todd Howard and Bethesda Softworks' James Altman will also exec produce.

On Tuesday, Google's YouTube TV announced a monthly $15 price hike, bringing its streaming package of channels to $64.99 monthly, from $49.99. "YouTube TV is now the most expensive of the cable TV streaming alternative services," notes USA Today. "When YouTube TV launched in 2017, it was $35." From the report: In a company blog post, YouTube defended its decision by announcing the availability of additional channels from Viacom, including MTV and Nickelodeon. The move is effective Tuesday for new members, while existing subscribers will see their rates rise after July 30. "This new price reflects the rising cost of content and we also believe it reflects the complete value of YouTube TV, from our breadth of content to the features that are changing how we watch live TV," YouTube said.

AT&T Now recently lowered pricing to $55 monthly, while Hulu with Live TV is $54.99. Sling TV is the lowest priced of the cable TV alternatives, at $30 monthly for the Orange or Blue packages, or $45 for both. However, Sling doesn't carry all the local broadcast stations in each market, so check your local listings. Philo is even cheaper, at $20 monthly, but is missing news and sports channels. A 2019 study by Consumer Reports found the average cable TV bill is $217.42 monthly.

shirappu writes: A new paper by Disney Research shows off a newly developed neural network that can swap faces in photos and videos at high-resolution. The idea behind this technology is to replace an actor's performance with a different actor's face, or for roles that require de-aging or increasing age, or for portraying actors who have passed away. Current face-swapping technology (also known as deepfakes) often creates an "uncanny valley" effect, where something about the image or video feels off. Though there is some of that in Disney Research's tech, it's still a huge step forward for creating believable face-swapping in the entertainment industry. This has once again brought up a conversation around the ethical use of this technology and the potential for malicious use. However, given the amount of ongoing R&D in this area, it seems unlikely that we'll see any slowdown in the near future.

CNET is celebrating its 25th anniversary with articles remembering the 1990s — including that moment "when Hollywood finally noticed the web," calling it "a flawed but fun snapshot of the moment the internet took over the world..."

"Twenty-five years ago, cinema met cyberspace in a riot of funky fashion, cool music and surveillance paranoia. It began in May 1995 with the release of Johnny Mnemonic, a delirious sci-fi action dystopia matching Keanu Reeves with seminal cyberpunk author William Gibson. In July, Sandra Bullock had her identity erased in conspiracy thriller The Net. In August, Denzel Washington pursued Russell Crowe's computer-generated serial killer in Virtuosity, and in September Angelina Jolie found her breakthrough role in anarchic adventure Hackers. In October, Kathryn Bigelow served up dystopian thriller Strange Days. It's hard to know what's most dated about these mid-'90s curios: the primitive-looking effects, the funky fashions or the clunky technology depicted on screen. But now, 25 years later, they've proved prescient in their concerns about surveillance, corporate power and the corruption of what seemed to be an excitingly democratic new age...

Most tellingly, Johnny Mnemonic and the other tech-focused films of 1995 all express fears around the misuse of surveillance in a connected world. The Net updates the paranoia of '70s thrillers The Conversation and The Anderson Tapes, and each movie features an unholy alliance of avaricious corporate bad guys and authoritarian law enforcement. Or as Matthew Lillard's character puts it in Hackers, "Orwell is here and livin' large!"

But the whistleblowing heroes of Hackers, The Net and Johnny Mnemonic use their skills to subvert and unpick the establishment's grip on technology. Hackers in particular radiates an infectious idealism as the diverse crew of anarchic youngsters rollerblade rings around the greedy suits and clueless cops, "snooping onto them as they snoop onto us". The movie highlights technology's potential to be a tool for wrongdoing and a democratic, open medium where you can be who you want to be... Sadly, 1995's wave of technology-themed movies have one other thing in common. They all bombed.
CNET's reporter gets new quotes from the director of Hackers — as well as one of that film's then-15-year-old technical advisors, Nicholas Jareck. "For all its exaggerations," he says, "it does a decent job of showing the hacker spirit — those kids were tinkerers, experimenting, reveling in their ability to figure something out. It's a celebration of human ingenuity."

Johnny Mnemonic. "Speaking on the phone from New York, Longo's memories are peppered with entertaining asides about who was 'evil,' 'a dick,' 'an idiot' or 'a fucking idiot.'"

According to The Hollywood Reporter, the Walt Disney Company is closing down its three Disney Channels in the U.K. this fall and moving the content to its streaming service Disney+. From the report: From Oct. 1, Disney+ will become the exclusive U.K. home for content from Disney Channel, DisneyXD and Disney Junior, the company said Thursday. "The direct-to-consumer service, which garnered more than 54.5 million subscribers worldwide in its first seven months, will now premiere all the latest films, series and specials from the three Disney Channels, along with offering a rich and expansive back catalogue of Disney Channel titles in the U.K., including Mickey Mouse Clubhouse, Descendants 3 and Phineas and Ferb," Disney said.

The Hollywood conglomerate added: "The Walt Disney Company remains committed to our kids channels business and continues to execute distribution agreements for Disney channels in many markets where Disney+ is also available, with the goal of giving our fans multiple entry points to our storytelling.â" One analyst suggested that it had been getting more difficult for Disney and its distribution partners in Britain to strike carriage deals for the company's three kids networks that make financial sense for both sides, making the consolidation of the channels' content a logical next step.

Amazon is looking to add 24/7 live programming to its Prime Video service, according to Protocol. The new channels could include live news, music and sports as well as scheduled movies and TV show showings. From the report: Speaking under the condition of anonymity, an industry insider told Protocol that Amazon has been "actively pursuing" deals to license live and linear programming. "You should assume they're talking to everybody," he said. By adding live programming to Prime Video, Amazon could differentiate itself from services like Netflix and Disney+ that are focused exclusively on on-demand video. The move is also a response to the growing popularity of linear streaming services like Pluto and Xumo, and ultimately could be part of a different take on live TV: Instead of licensing the same costly programming bundles as traditional cable services, Amazon may be looking to combine its existing on-demand content and a much more narrow take on must-see live TV.

Amazon has been experimenting with live programming for Prime Video over the past several years, which included licensing NFL Thursday Night Football as well as the English Premier League. In the future, it may also stream live concerts, political debates and news programming, according to a job listing for Amazon's Prime Video live events team. "This is a transformative opportunity, the chance to be at the vanguard of a program that will revolutionize Prime Video," that job listing reads. Beyond individual live events, Amazon is also looking to license complete 24/7 feeds. "Linear TV enables customers to watch 24/7 streams of their favorite TV stations airing programs including sports, news, movies, award shows, special events and TV shows," one job listing details. Another specifically singles out live broadcasters and cable networks as potential partners.

The state of California has lost again in its attempt to punish IMDb for ageism perpetrated by movie studios who seem to refuse to cast actresses above a certain age in choice roles. Techdirt reports: The law passed by the California legislature does one thing: prevents IMDb (and other sites, theoretically) from publishing facts about actors: namely, their ages. This stupid law was ushered into existence by none other than the Screen Actors Guild, capitalizing on a (failed) lawsuit brought against the website by an actress who claimed the publication of her real age cost her millions in Hollywood paychecks. These beneficiaries of the First Amendment decided there was just too much First Amendment in California. To protect actors from studio execs, SAG decided to go after a third-party site respected for its collection of factual information about movies, actors, and everything else film-related.

The federal court handling IMDb's lawsuit against the state made quick work of the state's arguments in favor of very selective censorship. In only six pages, the court destroyed the rationale offered by the government's finest legal minds. [...] Even if the law had somehow survived a First Amendment challenge, it still wouldn't have prevented studios from engaging in discriminatory hiring practices. If this was really the state's concerns, it would have stepped up its regulation of the entertainment industry, rather than a single site that was unsuccessfully sued by an actress, who speculated IMDb's publication of her age was the reason she wasn't landing the roles she wanted.

Wargames shares the official trailer of Apple's upcoming new TV series, Foundation, adapted from Isaac Asimov's seminal Foundation series of novels. Ars Technica provides more details: The original trilogy centered on a mathematician named Hari Seldon, who has developed a mathematical approach to sociology he calls "psychohistory" that enables him to predict the future of large populations -- like the Galactic Empire, which incorporates all inhabitants of the Milky Way. Unfortunately, Seldon's theory predicts an imminent collapse of the empire -- well, in 500 years, which is certainly imminent on galactic time scales. This will usher in a Dark Age lasting 30,000 years, after which a second empire will arise. The news is not well received by the members of the Committee on Public Safety, who essentially rule the empire, and Seldon is forced to stand trial for treason, along with a brilliant young mathematical protege named Gaal.

In his defense, Seldon argues that he cannot stop the collapse, but there is a way to limit those Dark Ages to just 1,000 years. He proposes creating a Foundation, a group of the most intelligent minds in the empire, charged with preserving all human knowledge in the Encyclopedia Galactica. Rather than executing Seldon, the committee decides to exile him to a remote world called Terminus, along with the members of the new Foundation, where they can begin compiling the encyclopedia. Much of the first book in the trilogy follows the establishment of the colony on Terminus and the various political machinations that shape its early history, along with a startling revelation: unbeknownst to the committee, Seldon has established a second Foundation at the other end of the galaxy. It's unclear how closely the series will follow the novels, but one of the executive producers is Robyn Asimov, the novelist's daughter.

"Harris plays Seldon, with Pace co-starring as Brother Day, current Emperor of the Galaxy. Lou Llobell plays Gaal, Leah Harvey plays a gender-swapped Salvor, warden of Terminus, and Laura Birn plays Eto Demerzel, aide to Brother Day," adds Ars. "Other listed characters include Brother Dusk (Terrence Mann), the ruling family's oldest living member, and Brother Dawn (Cassian Bilton), the youngest member and heir apparent to Brother Day." Foundation is expected to debut on Apple TV Plus in 2021.

Joel Schumacher, the writer-director who came from a world of window dressing and costume design to bring a singular style to films including St. Elmo's Fire, Flatliners and a pair of Batman movies, died Monday. He was 80. From a report: Schumacher died after a yearlong battle with cancer, a representative announced. Schumacher's directorial body of work also included the horror comedy The Lost Boys (1987), which he was handed after Richard Donner passed on it to helm Lethal Weapon; the John Grisham thrillers The Client (1994) and A Time to Kill (1996); and 8MM (1999), the noirish drama starring Nicolas Cage. The Warner Bros. regular dealt with dark themes with the medical thrillers Flatliners (1990) and Dying Young (1991), both starring Julia Roberts, and Falling Down (1993), with Michael Douglas playing an unhinged man who embarks on a violent rampage all around Los Angeles. Schumacher had an uncanny ability to recognize young talent, and he cast members of "The Brat Pack" -- including Demi Moore, Rob Lowe, Emilio Estevez, Judd Nelson and Ally Sheedy -- in St. Elmo's Fire (1985). He also boosted the careers of other young actors like Roberts, Kiefer Sutherland, Matthew McConaughey and Colin Farrell by giving them prominent parts in his films.

IBM's research blog shares an article about "polyphonic music prediction using the Johann Sebastian Bach chorales dataset" achieved by using "biologically plausible neurons," a new approach to deep learning "that incorporates biologically-inspired neural dynamics and enables in-memory acceleration, bringing it closer to the way in which the human brain works." At IBM Research Europe we have been investigating both Spiking Neural Networks (SNNs) and Artificial Neural Networks (ANNs) for more than a decade, and one day we were struck with the thought: "Could we combine the characteristics of the neural dynamics of a spiking neuron and an ANN?" The answer is yes, we could. More specifically, we have modelled a spiking neuron using a construct comprising two recurrently-connected artificial neurons — we call it a spiking neural unit (SNU)... It enables a reuse of architectures, frameworks, training algorithms and infrastructure. From a theoretical perspective, the unique biologically-realistic dynamics of SNNs become available for the deep learning community...

Furthermore, a spiking neural unit lends itself to efficient implementation in artificial neural network accelerators and is particularly well-suited for applications using in-memory computing. In-memory computing is a promising new approach for AI hardware that takes inspiration from the architecture of the brain, in which memory and computations are combined in the neurons. In-memory computing avoids the energy cost of shuffling data back and forth between separate memory and processors by performing computations in memory — phase change memory technology is a promising candidate for such implementation, which is well understood and is on its way to commercialization in the coming years. Our work involves experimental demonstration of in-memory spiking neural unit implementation that exhibits a robustness to hardware imperfections that is superior to that of other state-of-the-art artificial neural network units...

The task of polyphonic music prediction on the Johann Sebastian Bach dataset was to predict at each time step the set of notes, i.e. a chord, to be played in the consecutive time step. We used an SNU-based architecture with an output layer of sigmoidal neurons that allows a direct comparison of the obtained loss values to these from ANNs. The SNU-based network achieved an average loss of 8.72 and set the SNN state-of-the-art performance for the Bach chorales dataset. An sSNU-based network further reduced the average loss to 8.39 and surpassed corresponding architectures using state-of-the-art ANN units.
Slashdot reader IBMResearch notes that besides being energy-efficient, the results "point towards the broad adoption of more biologically-realistic deep learning for applications in artificial intelligence."

In an abrupt about-face, the movie theater chain AMC said Friday it would require guests to wear face masks when its theaters reopen, after CEO Adam Aron earlier said it would not. The Verge reports: "This announcement prompted an intense and immediate outcry from our customers, and it is clear from this response that we did not go far enough on the usage of masks," Aron said in a statement. "Accordingly, and with the full support of our scientific advisors, we are reversing course and are changing our guest mask policy. As we reopen theaters, we now will require that all AMC guests nationwide wear masks as they enter and enjoy movies at our theaters."

On Thursday, Aron told Variety the chain would not require patrons to wear face masks because it "did not want to be drawn into a political controversy," saying he thought it would be "counterproductive if we forced mask wearing on those people who believe strongly that it is not necessary." AMC, the largest theater chain in the world, plans to reopen in 450 of its 600 US locations on July 15th with limited capacity, after closing all of its theaters around the world in mid-March. The company posted a $2.2 billion net loss in the first quarter and made "virtually no revenue" in the last two weeks of March. AMC also said in its 8-K filing earlier this month that unless it was able to restart operations in July that "substantial doubt exists about our ability to continue as a going concern for a reasonable period of time."

cold fjord writes: Sir Ian Holm, a classically trained actor celebrated for his interpretations of Shakespeare, and with an astonishing range of work in important science fiction and fantasy films, has died at age 88. Holm's depiction of King Lear was celebrated, and he brought Puck to life in "A Midsummer Night's Dream." But most people on Slashdot will remember him for a few other roles, such as Bilbo Baggins, in the "Lord of the Rings" trilogy, and two of the "Hobbit" movies. Holm also appeared in "Alien" as the android Ash, as Napoleon in "Time Bandits," and Cornelius in "The Fifth Element." Holm received a Tony Award in 1967, a Laurence Olivier Award for Best Actor in 1998, a BAFTA Award for Best Actor in a Supporting Role in 1981, and was nominated for an Academy Award for his role in Chariots of Fire. Holm received royal honors in 1989 and 1998.

An anonymous reader shares a report: In normal times, blockbuster movies usually dominate the box office charts. The big-budget productions, directed by the likes of James Cameron, Steven Spielberg and Ridley Scott, regularly draw the biggest crowds at cinemas across the US and beyond. But on 10 June, one box office-topping movie was watched by just two people, in one cinema. Unsubscribe, a 29-minute horror movie shot entirely on video-conferencing app Zoom, generated $25,488 in ticket sales on that day. Nationwide, the movie hit the top of the charts, according to reputable revenue tacker Box Office Mojo. The budget of the movie: a flat $0. How was that possible?

The movie was the brainchild of Eric Tabach, an actor and YouTuber from Philadelphia, Pennsylvania, and filmmaker Christian Nilsson, from New York City. When the coronavirus pandemic shuttered movie theatres in March, the pair saw an opportunity in the crisis. Given no big films were being released in cinemas, they wondered if they could hit the top of the charts if they made their own movie, DIY style. "I noticed that the box office figures were absurd; $9,000, $15,000 for each movie. Nothing big was coming out. Blockbuster films were on hold. I wanted to find a way to get the biggest number," Mr Tabach told the BBC.