The Nokia 130 and 150 are two new updated feature phones from Nokia that ship "with the form of an earlier generation of tech but the software of the current time," reports Gizmodo. From the report: The Nokia 150 is arguably the more worthy of the two; it comes in three colors and features a 2.4-inch QVGA display, a 1,450 mAh removable battery with up to a month of standby time, and a headphone jack for listening to music like we're still pirating it from the internet (though you can also tune in to the built-in FM radio, a feature you'd have to download an app to replicate on an iPhone). The rear-facing 0.3-MP VGA camera is as mediocre as it sounds; it's similar to the camera specs on an LG-made candybar phone I was carting around in 2008. You can save all your data on a MicroSD card and charge the phone with micro USB.

The Nokia 130 has the same size screen and removable battery, but it doesn't have a camera, which makes sense if you were looking at one of these as a secondary device. You probably already have a smartphone that takes satisfying photos. The Nokia 130 and 150 are rated IP52, making them resistant to dust and water but not entirely waterproof. And they both have physical buttons, including a full 12-key number pad, plus navigational buttons to get around the operating system, called Series 30+ or S30+. Nokia developed the software specifically for these entry-level devices, and it made sure to include a revamped Snake game. Nokia swears there are "hours of fun in store," which seems like marketing rehashed from its '90s glory days.

The Nokia 130 and 150 are primarily available abroad. Note that these two models have been around since 2016 and that this latest release is a part of the phone's upgrade cycle. The company, acquired by Finnish conglomerate HMD Mobile, has yet to reveal pricing. But previous generations started at under $50 after converting currencies. It's quite a deal compared to what you'd get with an aging, low-cost Android phone.

The Ray-Ban smart glasses launched by Meta almost two years ago have struggled to catch on with owners, many of whom appear to be using the devices infrequently, according to internal company data. WSJ: Less than 10% of the Ray-Ban Stories purchased since the product's launch in September 2021 are used actively by purchasers, according to a company document from February reviewed by The Wall Street Journal. Meta sold a total of 300,000 of the wearable devices through February, but the company only had about 27,000 monthly active users.

The device, an important part of Meta's hardware strategy, allows users to take photos and listen to music with the frames of their glasses, among other features. It has experienced a 13% return rate, according to the document. Among the top drivers of poor user experience were issues with connectivity, problems with some of the hardware features including battery life, inability for users to import media from the devices, issues with the audio on the product and problems with voice commands for the smart glasses, according to the document.

Meta on Wednesday introduced its open-source AI tool called AudioCraft that will help users to create music and audio based on text prompts. Reuters reports: The AI tool is bundled with three models, AudioGen, EnCodec and MusicGen, and works for music, sound, compression and generation, Meta said. MusicGen is trained using company-owned and specifically licensed music, it added. From Meta's press release: The AudioCraft family of models are capable of producing high-quality audio with long-term consistency, and they're easy to use. With AudioCraft, we simplify the overall design of generative models for audio compared to prior work in the field -- giving people the full recipe to play with the existing models that Meta has been developing over the past several years while also empowering them to push the limits and develop their own models.

AudioCraft works for music, sound, compression, and generation -- all in the same place. Because it's easy to build on and reuse, people who want to build better sound generators, compression algorithms, or music generators can do it all in the same code base and build on top of what others have done. Having a solid open source foundation will foster innovation and complement the way we produce and listen to audio and music in the future. With even more controls, we think MusicGen can turn into a new type of instrument -- just like synthesizers when they first appeared.

A documentary series by Moleman Films reached its 5th episode, a 144-minute film about "the golden age of Hungarian video gaming and the formation of the Hungarian demoscene in the 80s and 90s." You can watch this episode on YouTube (and English subtitles can be selected). From Commodore 64s smuggled across the Iron Curtain to cracked games on cassette tapes sold at flea markets, floppy disk swapping via postal mail, hacked phone booths connected to U.S. BBSes, and copy parties packed to capacity, Stamps Back tells the story of how teenagers in Hungary ignited a computing revolution in the 1980s with illegally copied video games from the West, and began the Hungarian demoscene.
But the filmmakers say "We received a lot of feedback that you would like to see the full-length interviews...in a physical special edition." So they've launched a campaign on Crowdfundr: More than 76 hours of interviews [with 59 people] were conducted for the film, which is a true document of the Hungarian home computer life in the 1980s and 1990s. You can now get this 76-hour material with English subtitles together with the film in a special Blu-Ray edition + downloadable image file format...

If we reach the stretch goal, a 4th disc will be added to the edition, which will contain a selection of the best Hungarian intros and demos of the past 40 years in video format.
The film's web site includes links to (and information on) their four previous documentaries:

• The Truth Lies Down Under, about the alternative subcultures Budapest
• Demoscene: The Art of the Algorithms. A 2012 look at "a digital subculture where artists don't use always the latest technology" but "bring out the best from 30 year-old computer technics."
• Journey to the Surface. How the internet and digital technology reshaped the music industry for outside-the-mainstream genres including beatbox, turntablism, DJing, live improvisation, and bedroom producers.
• Longplay — the story of Hungarian video game development behind the Iron Curtain, and how dedicated developers "outfoxed Nintendo, tricked SEGA," and "dodged the limelight and led the world from behind the Iron Curtain."

Thanks to Slashdot reader lameron for sharing the story.

In its latest attempt to boost revenue and cut losses, Spotify unveiled a widely telegraphed move to raise prices for its premium paying subscriber base. From a report: The new monthly cost for U.S. users will be $10.99, the company said. The hike brings Spotify in line with rivals Apple Music ($10.99 a month) and Amazon Music ($10.99, though cheaper for Prime members), which both raised prices last year. Slightly cheaper: YouTube Music ($9.99 a month), which has steadily built a major presence in the space with more than 80 million-plus combined music and premium subscribers. The price of the Premium Duo plan will go up by $2 to $14.99 per month, while the Family plan and Student plans rise by $1 to $16.99 and $5.99, respectively.

"The market landscape has continued to evolve since we launched. So that we can keep innovating, we are changing our Premium prices across a number of markets around the world," the company said in a statement. "These updates will help us continue to deliver value to fans and artists on our platform." Spotify had 210 million global paying subscribers (a 15 percent increase year-over-year) and 515 million monthly active users as of March 31. Yet the audio giant has been operating at a loss and has been looking for ways to cut costs amid what CFO Paul Vogel called in late April a "very modest underperformance in advertising" revenue in its first quarter of 2023.

"People are getting increasingly fed up with their car infotainment systems," reports the Verge: According to JD Power's Automotive Performance, Execution and Layout (APEAL) Study, overall satisfaction among car owners is 845 (on a 1,000-point scale), a decrease of two points from a year ago and three points lower than in 2021. That's the first time in the 28-year history of the study that the consumer research firm registered a consecutive year-over-year decline in owner satisfaction...

Only 56 percent of owners prefer to use their vehicle's built-in system to play audio, down from 70 percent in 2020, JD Power found. Less than half of owners said they like using their car's native controls for navigation, voice recognition, or to make phone calls...

[I]t seems like most people are preferring to use smartphone-mirroring systems like Apple CarPlay and Android Auto, which have proven to be incredibly popular over the years... But it seems like people are warming up to native operating systems, as long as they're developed by Google and not the automaker. JD Power found that models that have Android Automotive with Google Automotive's operating system, AAOS, "score higher in the infotainment category than those with no AAOS whatsoever."

But here's where things get kind of weird: AAOS without Google Automotive Services (GAS) receives the lowest scores for infotainment of the three categories. Google Automotive Services refers to all the apps and services that come with the car when Google is built into the car — also known as "Google built-in." Ford, GM, and Volvo have all said they will use GAS for their current and upcoming vehicles... That's surely music to GM's ears, which recently made the controversial decision to block access to CarPlay and Android Auto in its future EV lineup in favor of a native Google infotainment system.

Plexamp, the music player originally incubated by the Labs division of media company Plex, is now free, the company announced today. From a report: The project was first launched in 2017 as Plex's own spin on the classic Winamp media player app, offering visualizations to accompany your tunes, tools for programming mixes, and more recently, a ChatGPT-powered "Sonic Sage" feature that builds unique playlists from users' music libraries. However, after its expansion from desktop to mobile, Plexamp was only available to subscribers.

Now, Plex says the Plexamp app will become free, allowing users to play tracks from their own library or the TIDAL music streaming service with high-quality audio and support for lossless audio. The app also includes gapless playback, loudness leveling, and smooth transitions between tracks, among other things. In addition to Library Radio, a feature used to rediscover your music, users can create playlists with Plexamp to match their current mood: like "brooding, cathartic, confident, intense, playful, poignant, swaggering, and wistful," the company says.

Daniel Belquer, the "Chief Vibrational Officer" of Music: Not Impossible, developed a haptic suit with vibrating plates to enhance the live music experience for deaf and hard-of-hearing individuals. The suit, showcased at an event called "Silent Disco: An Evening of Access Magic" at Lincoln Center, provided unique textures and sensations corresponding to the music, creating an inclusive environment for all attendees, regardless of hearing ability. NPR reports: His team started by strapping vibrating cell phone motors to bodies, but that didn't quite work. The vibrations were all the same. Eventually, they worked with engineers at the electronic components company Avnet to develop a light haptic suit with a total of 24 actuators, or vibrating plates. There's 20 of them studded on a vest that fits tightly around the body like a hiking backpack, plus an actuator that straps onto each wrist and ankle. When you wear the suit, it's surprising how much texture the sensations have. It can feel like raindrops on your shoulders, a tickle across the ribs, a thump against the lower back. It doesn't replicate the music -- it's not as simple as regular taps to the beat. It plays waves of sensation on your skin in a way that's complementary to the music.

A recent event at Lincoln Center for the Performing Arts called "Silent Disco: An Evening of Access Magic" showcased the suit's potential. Seventy-five of them were lined up on racks at a party meant to be accessible to all. Anyone could borrow one, whether they were hearing, hard of hearing or deaf, and the line to try them out snaked around the giant disco ball that had been hung over Lincoln Center's iconic fountain. The vibrations are mixed by a haptic DJ who controls the location, frequency and intensity of feeling across the suits, just as a music DJ mixes sounds in an artful way.

A bill requiring social media companies, encrypted communications providers and other online services to report drug activity on their platforms to the U.S. Drug Enforcement Administration (DEA) advanced to the Senate floor Thursday, alarming privacy advocates who say the legislation turns the companies into de facto drug enforcement agents and exposes many of them to liability for providing end-to-end encryption. From a report: The bipartisan Cooper Davis Act -- named for a Kansas teenager who died after unknowingly taking a fentanyl-laced pill he bought on Snapchat -- requires social media companies and other web communication providers to give the DEA users' names and other information when the companies have "actual knowledge" that illicit drugs are being distributed on their platforms.

Many privacy advocates caution that, if passed in its current form, the bill could be a death blow to end-to-end encryption services because it includes particularly controversial language holding companies accountable for conduct they don't report if they "deliberately blind" themselves to the violations. Officials from the DEA have spent several months honing the bill with key senators, Judiciary Committee Chairman Dick Durbin (D-IL) said Thursday. Providers of encrypted services would face a difficult choice should the bill pass, said Greg Nojeim, Senior Counsel & Director of Security and Surveillance Project at the Center for Democracy and Technology. "They could maintain end-to-end encryption and risk liability that they had willfully blinded themselves to illegal content on their service and face the music later," Nojeim said. "Or they could opt to remove end-to-end encryption and subject all of their users who used to be protected by one of the best cybersecurity tools available to new threats and new privacy violations."

An anonymous reader quotes a report from the New York Times: The hush at the end of the musical performance. The pause in a dramatic speech. The muted moment when you turn off the car. What is it that we hear when we hear nothing at all? Are we detecting silence? Or are we just hearing nothing and interpreting that absence as silence? The "Sound of Silence" is a philosophical question that made for one of Simon & Garfunkel's most enduring songs, but it's also a subject that can be tested by psychologists. In a paper published Monday in the Proceedings of the National Academy of Sciences, researchers used a series of sonic illusions to show that people perceive silences much as they hear sounds. While the study offers no insight into how our brains might be processing silence, the results suggest that people perceive silence as its own type of "sound," not just as a gap between noises.

The researchers tested people recruited online with a series of sound illusions. The first test compared a single longer sound with two shorter sounds. The two shorter sounds together added up to the same amount of time as the longer sound. But when people listened to them, they perceived the single sound as lasting longer. To apply that illusion to silence, [Rui Zhe Goh, a graduate student in cognitive science and philosophy at Johns Hopkins University] and colleagues inverted the test. The scientists used sounds of restaurants, busy marketplaces, trains or playgrounds, and inserted chunks of silence for participants to compare.

The researchers supposed that if people perceive silences as their own type of sound, then silences should be subject to the same illusion as the sounds. One long silence should be perceived as longer than the total of two shorter silences. But if people perceive silence as a lack of sound, the illusion might not exist. Other tests placed silence in different contexts to produce more sonic illusions. In every case they tested, listeners perceived the illusion of a period of silence being longer just as they would have perceived an illusion of a longer sound. [...] Although the researchers did not study how people's brains responded to silence, Mr. Goh suggested that existing research supported the idea that some neurons and neural processes were involved in the perception of silence. And knowing that we do perceive silence makes silence that much, er, louder: "Silence is a real experience," Mr. Goh said. Maybe we'll all pay more attention to moments of quiet once we know we can hear the "sounds" of silence.

"The Reddit community is still reckoning with the consequences of the platform's API price hike..." reports Ars Technica.

"The latest group to announce its departure is BotDefense." BotDefense, which helps remove rogue submission and comment bots from Reddit and which is maintained by volunteer moderators, is said to help moderate 3,650 subreddits. BotDefense's creator told Ars Technica that the team is now quitting over Reddit's "antagonistic actions" toward moderators and developers, with concerning implications for spam moderation on some large subreddits like r/space.

BotDefense started in 2019 as a volunteer project and has been run by volunteer mods, known as "dequeued" and "abrownn" on Reddit. Since then, it claims to have populated its ban list with 144,926 accounts, and it helps moderate subreddits with huge followings, like r/gaming (37.4 million members), /r/aww (34.2 million), r/music (32.4 million), r/Jokes (26.2 million), r/space (23.5 million), and /r/LifeProTips (22.2 million). Dequeued told Ars that other large subreddits BotDefense helps moderates include /r/food, /r/EarthPorn, /r/DIY, and /r/mildlyinteresting. On Wednesday, dequeued announced that BotDefense is ceasing operations. BotDefense has already stopped accepting bot account submissions and will disable future action on bots. BotDefense "will continue to review appeals and process unbans for a minimum of 90 days or until Reddit breaks the code running BotDefense," the announcement said...

Dequeued, who said they've been moderating for nearly nine years, said Reddit's "antagonistic actions" toward devs and mods are the only reason BotDefense is closing. The moderator said there were plans for future tools, like a new machine learning system for detecting "many more" bots. Before the API battle turned ugly, dequeued had no plans to stop working on BotDefense...

[S]ubreddits that have relied on BotDefense are uncertain about managing their subreddits without the tool, and the tool's impending departure are new signs of a deteriorating Reddit community.
Ironically, Reddit's largest shareholder — Advance Publications — owns Ars Technica's parent company Conde Naste.

The article notes that Reddit "didn't respond to Ars' request for comment on BotDefense closing, how Reddit fights spam bots and karma farms, or about users quitting Reddit."

The world's largest spherical structure "squats on the Las Vegas skyline like an enormous spaceship, black and mysterious," reports CNN, "until night falls, when it will glow like the Earth from space."

The $2 billion arena — called "The Sphere" — was built just east of the Venetian hotel/casino. It's 366 feet tall and 516 feet wide (or 111 meters tall and 157 meters wide) — and it boasts the world's highest-resolution wraparound LED screen: Its exterior is fitted with 1.2 million hockey puck-sized LEDs that can be programmed to flash dynamic imagery on a massive scale — again, reportedly the world's largest... The acts onstage will be dwarfed by the towering 16K LED screen, which wraps over and around much of the audience.
It was fully illuminated for the first time on Tuesday to celebrate the Fourth of July, CNN points out (offering some video footage). When it opens in September, the plan is to light up its exterior with animations every day and night.

Slashdot reader Tony Isaac says the news "got me wondering how they got such great video on the curved surface of the sphere." It turns out there's a whole lot more than just the exterior that breaks new ground in audio and video technology. An older IBC article goes into detail about how they accomplished both the exterior and interior screens, and the high-resolution audio inside.
CNN reports: Rich Claffey, Sphere's chief operations officer, says that more than 160,000 speakers spread around the bowl will deliver the same pristine sound to every seat, whether someone is in the top row or down on the floor. The venue also is equipped with haptic seats that can vibrate to match whatever is happening onscreen — an earthquake, for example — and 4D machines that can create wind, temperature and even scent effects.

"The way I describe it to my friends and family is, it's the entertainment venue of the future," Claffey says. If it all sounds a little over the top, well — this is Vegas.
The arena's first act will be 25 concerts by U2 (with tickets starting at $140). "There's nothing like it. It's light years ahead of everything that's out there," says U2's The Edge during a tour of the venue in a recent Apple Music video...

And U2's Bono adds that "Most music venues are sports venues. They're built for sports — they're not built for music. They're not built for art. This building was built for immersive experiences in cinema and performance... "

Open-world sci-fi RPG Cyberpunk 2077's biggest subreddit recently switched to NSFW (not safe for work,) with the explanation that the game it is focused on is a mature game filled with nudity and gore. However, Reddit allegedly demanded that mods of the subreddit quickly revert the change. From a report: The mods aren't complying and users are now posting nude images of in-game characters as part of a protest to show why the subreddit deserves to be NSFW. Since May, Reddit has been at war with its users and subreddits as the company clamps down on third-party apps and their ability to access the site's backend or API. It's not gone well for Reddit, leading to popular subreddits like r/bestof, r/sports, and r/music going dark. And as part of this ongoing backlash, some subreddits switched to NSFW. This designation is reserved mainly for porn-y subreddits and blocks ads from appearing, but also lets users freely post nudity and more adult content.

Some mods and subreddits have used this designation to punch back at Reddit and its despised CEO. Now the Cyberpunk 2077 subreddit has seemingly wandered into this mess. According to a post from July 5 by moderator Tabnam, the decision to make the Cyberpunk 2077 subreddit NSFW was made because the game is "an 18+ game" and happened now because the mods had "never thought to change it until recently." Tabnam added that this subreddit should have already been NSFW. This decision apparently didn't go over well with Reddit.

An anonymous reader shares a report: Last month, the Recording Academy announced a series of changes to the Grammy Awards to better reflect an evolving music industry. Of those newly instituted guidelines, protocols involving technological advancements in machine learning sparked headlines: "Only human creators" could win the music industry's highest honor in a decision aimed at the use of artificial intelligence in popular music. "A work that contains no human authorship is not eligible in any category," the rules read in part. As the music industry continues to come to terms with this new technology, so too will the Grammys, says Recording Academy CEO and President Harvey Mason jr. "Here's the super easy, headline statement: AI, or music that contains AI-created elements is absolutely eligible for entry and for consideration for Grammy nomination. Period," Mason told The Associated Press. "What's not going to happen is we are not going to give a Grammy or Grammy nomination to the AI portion."

If an AI or voice modeling program performs the lead vocal on a song, the track would be eligible in a songwriting category, for example, but not a performance category, because what is performing is not human creation, he explains. Conversely, if a song was sung by an actual human in the studio, and they did all the performing, but AI wrote the lyric or the track, the song would not be eligible in a composition or a songwriting category... As long as the human is contributing in a more than de minimis amount, which to us means a meaningful way, they are and will always be considered for a nomination or a win," he continued. "We don't want to see technology replace human creativity. We want to make sure technology is enhancing, embellishing, or additive to human creativity. So that's why we took this particular stand in this award cycle."

Reliance's digital arm, Jio Platforms, has unveiled a new mobile handset and associated tariff plans, the latest in a series of years-long efforts from the top Indian telecom operator as it vies to convert users who remain "trapped" in the country's legacy 2G networks. From a report: Named 'Jio Bharat,' the handset from Jio Platforms is 4G-enabled and offers a suite of modern features including mobile payments capabilities with UPI, and access to Jio's own on-demand video and music streaming services, JioCinema and JioSaavn. The company said it will manufacture the Jio Bharat and also partner with other phonemakers to adopt the Jio Bharat Platform to build the handsets. The Delhi-headquartered Karbonn has signed up to the platform, said the billionaire Mukesh Ambani-led firm in a statement. The Jio Bharat is priced at 999 Indian rupees, or $12.2, Reliance said.

Rolling Stone reports: Over 100 artists including Rage Against the Machine co-founders Tom Morello and Zack de la Rocha, along with Boots Riley and Speedy Ortiz, have announced that they are boycotting any concert venue that uses facial recognition technology, citing concerns that the tech infringes on privacy and increases discrimination.

The boycott, organized by the digital rights advocacy group Fight for the Future, calls for the ban of face-scanning technology at all live events. Several smaller independent concert venues across the country, including the House of Yes in Brooklyn, the Lyric Hyperion in Los Angeles, and Black Cat in D.C., also pledged to not use facial recognition tech for their shows. Other artists who said they would boycott include Anti-Flag, Wheatus, Downtown Boys, and over 80 additional artists. The full list of signatories is available here.

"Surveillance tech companies are pitching biometric data tools as 'innovative' and helpful for increasing efficiency and security. Not only is this false, it's morally corrupt," Leila Nashashibi, campaigner at Fight for the Future, said in a statement. "For starters, this technology is so inaccurate that it actually creates more harm and problems than it solves, through misidentification and other technical faultiness. Even scarier, though, is a world in which all facial recognition technology works 100% perfectly — in other words, a world in which privacy is nonexistent, where we're identified, watched, and surveilled everywhere we go...." New York venue Citi Field as well as Cleveland's FirstEnergy Stadium, Miami's Hard Rock Stadium, and the Pechanga Arena in San Diego are among several venues across the country that have used face-scanning.
Thanks to long-time Slashdot reader SonicSpike for sharing the story.

Apple is set for a showdown with European Union antitrust regulators, insisting it doesn't need to make any more changes to its App Store after it was hit by formal charges over its treatment of music streaming rivals such as Spotify. From a report: The iPhone maker will argue at a hearing in Brussels on Friday that the EU wrongly accused it of illegal curbs on the likes of Spotify that prevent developers from steering users away from the App Store. Apple will say it's already addressed any possible competition concerns over the past two years with changes that create a fair balance between the interests of Apple and app developers, according to a person familiar with the US firm's thinking, who spoke on condition of anonymity.

Apple was slapped with a revised charged sheet by the EU in February, which showed the commission had narrowed its probe, but continued to focus "on the contractual restrictions that Apple imposed on app developers which prevent them from informing iPhone and iPad users of alternative music subscription options." Spotify says that Apple's anti-steering rules prohibit it and other developers "from telling consumers about any deals or promotions through their own apps."

The US Supreme Court refused to revive a lawsuit by music website Genius Media accusing Alphabet's Google of stealing millions of song lyrics. From a report: The justices left in place a ruling that tossed out the suit, which accused Google of violating a contract with Genius by using its song lyrics in search results without attribution. It's the latest victory at the Supreme Court for Google, which earlier this year won a battle over whether its video-streaming platform YouTube can be held liable for hosting terrorist videos.

There are deep disagreements over how copyright laws apply to online speech and aggregation. The lower court said Genius does not own any of the copyrights to its lyrics -- instead, those are held by the songwriters and publishers. Genius claimed that Google violated its contract by scraping lyrics and boosting them in Google Search results without any attribution. Genius, which claimed the saga caused millions of dollars in losses for the website, initially sued Google in 2019. In order to drum up attention and prove its case, Genius said it used a secret code spelling out the word "red-handed" to prove Google was stealing its lyrics. "We appreciate the court's decision, agreeing with the Solicitor General and multiple lower courts that Genius' claims have no merit," Google spokesman Jose Castaneda said Monday. "We license lyrics on Google Search from third parties, and we do not crawl or scrape websites to source lyrics."

The "BepiColombo" mission, a joint European-Japanese effort, "has recently completed its third of six planned flybys of Mercury, capturing dozens of images in the process," reports the Byte: At its closest, the spacecraft soared within just 150 miles of Mercury. This occurred on the night side of the planet, however, too dark for optimal imaging. Instead, the first and nearest image was taken 12 minutes after the closest approach, at the still impressive proximity of some 1,100 miles above the surface.
Now the ESA has spliced together 217 images from that flyby into a short video, which culminates with a zoomed-in closeup of Mercury's cratered surface. And the music in that video had a little help from AI, reports Phys.org: Music was composed for the sequence by ILÄ (formerly known as Anil Sebastian), with the assistance of AI tools developed by the Machine Intelligence for Musical Audio group, University of Sheffield.

Music from the previous two flyby movies — composed by Maison Mercury Jones' creative director ILÄ and Ingmar Kamalagharan — was given to the AI tool to suggest seeds for the new composition, which ILÄ then chose from to edit and weave together with other elements into the new piece.

The team at the University of Sheffield has developed an Artificial Musical Intelligence (AMI), a large-scale general-purpose deep neural network that can be personalized to individual musicians and use cases. The project with the University of Sheffield is aimed at exploring the boundaries of the ethics of AI creativity, while also emphasizing the essential contributions of the (human) composer.
From the ESA's announcement: BepiColombo's next Mercury flyby will take place on 5 September 2024, but there is plenty of work to occupy the teams in the meantime... BepiColombo's Mercury Transfer Module will complete over 15 000 hours of solar electric propulsion operations over its lifetime, which together with nine planetary flybys in total — one at Earth, two at Venus, and six at Mercury — will guide the spacecraft towards Mercury orbit.

The ESA-led Mercury Planetary Orbiter and the JAXA-led Mercury Magnetospheric Orbiter modules will separate into complementary orbits around the planet, and their main science mission will begin in early 2026.
One spaceflight blog notes the propulsive energy required for an eventual entry into the orbit of Mercury "is greater than that of a mission to fly by Pluto.

"Only one other spacecraft has orbited Mercury, and that was NASA's MESSENGER probe, which orbited the planet from 2011 to 2015."

An anonymous reader quotes a report from TorrentFreak: By pretending to be legitimate music rightsholders, two men managed to extract over $23 million in revenue from YouTube's content-ID system. Both were arrested, pleaded guilty (PDF), and now face multi-year prison terms. This week, the U.S. requested a 70-month sentence against the 'number two' of the operation, in part to deter future fraud. [...] Last year, one of the defendants confessed to his part in the copyright swindle by pleading guilty. Webster Batista admitted it was a simple scheme: find Latin American music that wasn't yet monetized on YouTube and claim the content as their own. In February of this year, the second defendant pleaded guilty. Jose Teran signed a plea agreement admitting that he was part of the conspiracy, engaging in wire fraud and money laundering.

The Content ID scam was straightforward, Teran's plea agreement revealed. The defendants simply identified unmonetized music and uploaded those songs to YouTube. [W]e discovered there were recorded songs of musicians and bands on the internet that were not being monetized. We began searching and downloading these songs. Once songs were downloaded, Batista would then upload them to Y.T. as mp3 files." "We falsely claimed legal ownership over these songs to receive royalty payments," Teran adds, noting that the scheme brought in millions. To collect these payments Batista launched the company MediaMuv, which became a trusted YouTube Content ID member through a third-party company referred to by the initials A.R. As the scheme grew, more employees were hired and tasked with finding more unmonetized tracks.

Despite pleading guilty, both defendants face a multi-year stint in prison. Teran will be the first to be sentenced and this week, the defendant and the prosecution announced their respective positions. According to the defense, Teran wasn't the lead of the operation. As an aspiring musician he looked up to his co-defendant, who is portrayed as the brains behind the operation. [...] Teran and Batista at one point had between five and eight people working for them. These employees used special software to find unmonetized music which they would then add to their catalog, to exploit YouTube's Content ID system. "Defendant, Jose Teran, engaged in a concerted effort -- over nearly five years -- to steal royalty proceeds from approximately 50,000 song titles, causing a loss of more than $23,000,000.00," the prosecution writes (PDF). "A 70-month sentence is undoubtedly substantial but given Mr. Teran's conduct and the need to deter future fraud, it is entirely warranted," the Government's sentencing memorandum concludes.