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Mit Maru sollen Android-Nutzer ihr Smartphone mit einem Display verbinden können und dann eine vollwertige Desktop-Oberfläche nutzen – ähnlich wie bei Microsofts Continuum oder Ubuntus Convergence. Eine erste Betaversion soll Mitte Februar 2016 erscheinen. (Android-ROM, Android) 
Mit Maru sollen Android-Nutzer ihr Smartphone mit einem Display verbinden können und dann eine vollwertige Desktop-Oberfläche nutzen - ähnlich wie bei Microsofts Continuum oder Ubuntus Convergence. Eine erste Betaversion soll Mitte Februar 2016 erscheinen. (Android-ROM, Android) 
Für seine großen Mechs hat das Entwicklerstudio Respawn Entertainment große Pläne: In Titenfall 2 soll eine Kampagne aus einer fremden Welt von Wissenschaft und Magie erzählen. Zusammen mit Lionsgate entsteht parallel dazu eine TV-Serie. (Titanfall, Playstation 4) 
Für seine großen Mechs hat das Entwicklerstudio Respawn Entertainment große Pläne: In Titenfall 2 soll eine Kampagne aus einer fremden Welt von Wissenschaft und Magie erzählen. Zusammen mit Lionsgate entsteht parallel dazu eine TV-Serie. (Titanfall, Playstation 4) 
The top 10 most downloaded movies on BitTorrent are in again. ‘Ride Along 2′ tops the chart this week, followed by ‘The Big Short’ ‘The Good Dinosaur’ completes the top three.
Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.
This week we have three newcomers in our chart.
Ride Along 2 is the most downloaded movie.
The data for our weekly download chart is estimated by TorrentFreak, and is for informational and educational reference only. All the movies in the list are BD/DVDrips unless stated otherwise.
RSS feed for the weekly movie download chart.
| Ranking | (last week) | Movie | IMDb Rating / Trailer |
|---|---|---|---|
| torrentfreak.com | |||
| 1 | (3) | Ride Along 2 | 5.8 / trailer |
| 2 | (1) | The Big Short (DVDscr) | 8.1 / trailer |
| 3 | (2) | Spectre | 7.9 / trailer |
| 4 | (4) | The Revenant (DVDscr) | ?.? / trailer |
| 5 | (…) | Kung Fu Panda 3 (Telesync) | 8.0 / trailer |
| 6 | (5) | The Martian | 8.2 / trailer |
| 7 | (7) | Creed (DVDscr) | 8.0 / trailer |
| 8 | (…) | Steve Jobs | 7.4 / trailer |
| 9 | (6) | The Intern | 7.4 / trailer |
| 10 | (…) | The Good Dinosaur | 6.9 / trailer |
Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.
Google will seine selbstfahrenden Elektroautos offenbar per Induktion wieder aufladen. Anträgen bei den Zulassungsbehörden zufolge arbeitet Google dabei mit den Unternehmen Hevo Power und Momentum Dynamics zusammen. (Elektroauto, GreenIT) 
Google will seine selbstfahrenden Elektroautos offenbar per Induktion wieder aufladen. Anträgen bei den Zulassungsbehörden zufolge arbeitet Google dabei mit den Unternehmen Hevo Power und Momentum Dynamics zusammen. (Elektroauto, GreenIT) 
Sogenannte Captive Portals, Vorschaltseiten, die in vielen WLANs zum Einsatz kommen, sind ein fragwürdiger Hack, der bald zu technischen Problemen führen wird. Trotzdem will die Bundesregierung ihnen jetzt Gesetzesrang verschaffen. (WLAN, Verschlüsselung) 
Sogenannte Captive Portals, Vorschaltseiten, die in vielen WLANs zum Einsatz kommen, sind ein fragwürdiger Hack, der bald zu technischen Problemen führen wird. Trotzdem will die Bundesregierung ihnen jetzt Gesetzesrang verschaffen. (WLAN, Verschlüsselung) 
The copyright industry keeps repeating the mantra that the copyright monopoly is somehow “necessary”. Creative Commons proves conclusively that it isn’t.
Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.
The copyright industry has long repeated the claim to politicians that the copyright monopoly is necessary for any culture to be created at all, to the point where politicians actually believe this nonsense. Actually, their ‘lie’ is divided into two parts:
The first falsehood is that authors, makers, and inventors must be paid for anything to be created at all. This lie is actually rather obscene coming from an industry which has deliberately created structures that make sure 99.99% of musicians never see a single cent in royalties: 99% of good musicians are never signed by a label, and of those who are, 99% never see a cent in royalties. So it’s quite obscene arguing that culture must be paid for, when this very industry makes sure that less than one artist in ten thousand get any money for their art.
The second lie is that the only way for artists to make any money is to give the copyright industry an absolute private governmentally-sanctioned distribution monopoly, the copyright monopoly, that takes precedence over any kind of innovation, technology, and civil liberties. This is an equally obscene lie: all research shows that artists make more money than ever since the advent of file sharing, but the sales-per-copy is down the drain. The fact that the parasitic middlemen are hurting is the best news ever for artists, who get a much larger piece of the pie. Of course, the copyright industry – the parasitic middlemen in question – insist on pretending their interests are aligned with those of the artist, which they never were.
Therefore, in believing these two lies combined, politicians grant this private governmentally-sanctioned monopoly – the copyright monopoly – in the belief that such a harmful monopoly is necessary for culture to exist in society. (Just to illustrate what kind of blatant nonsense this is, all archeological digs have been rich in various expressions of culture. We create as a species because we can’t exist in a society and not express culture – it’s because of our fundamental wiring: not because of a harmful monopoly.)
So what could act as conclusive proof that these lies are, well, lies?
Creative Commons.
In the construct of Creative Commons, you have placed the power over this monopoly with the authors and makers themselves, rather with the parasitic middlemen. And the interesting observation is, that once you do, millions of creators renounce their already-awarded harmful monopolies for a number of reasons – because they make more money that way, because they prefer to create culture that way, or because it’s the moral thing to do.
Once you point out that the actual people who create are renouncing their already-awarded monopolies, and are doing so by the millions – actually, more than an estimated one billion works of art according to the Creative Commons organization – the entire web of lies falls apart.
The copyright monopoly isn’t necessary for culture to exist. It was always tailored to benefit the parasitic middlemen. And these middlemen have tried their damndest to prevent actual artists from seeing any of the money.
Now, you could argue that specific expressions of culture couldn’t exist. You’d be easily disproven – for example, most multimillion-dollar blockbusters make their investment back on opening weekend, far before any digital copy exists as a torrent. Besides, why would you prop up and lock in a specific form of culture with a harmful monopoly, when forms of culture have always evolved with humanity?
About The Author
Rick Falkvinge is a regular columnist on TorrentFreak, sharing his thoughts every other week. He is the founder of the Swedish and first Pirate Party, a whisky aficionado, and a low-altitude motorcycle pilot. His blog at falkvinge.net focuses on information policy.
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Source: TF, for the latest info on copyright, file-sharing, torrent sites and ANONYMOUS VPN services.
2000AD‘s origins, industry-leading contributors honored in a proper documentary.
All imagery © 2016 Rebellion A/S. All rights reserved.
Judge Dredd was created by John Wagner and Carlos Ezquerra, but the Spanish artist was working for a different comic and didn't actually come back to Dredd for many years. This work is by Mike McMahon, who drew much early Dredd.
6 more images in gallery
2000AD is the one of the most influential comics in the world, but if you grew up in America you've probably never heard of it. It's time to right that wrong, courtesy of a documentary called Future Shock! It's recently been released in the UK, but Amazon will ship you a region 2 copy—and it's well worth the three-week wait if you are a comic fan.
It tells 2000AD's back story from the comic's birth during the time of punk, through heights of popularity and lows of corporate neglect. Launched in 1977, the comic was meant to cash in on Star Wars' popularity and then die a little while later. Instead, it became a vehicle for Pat Mills and the team he assembled to warp young minds with subversive, often ultraviolent science fiction.
Future Shock! interviews almost all the important figures in 2000AD's history—minus Alan Moore as he's busy being a wizard in Nottingham—tracing its influence on wider popular culture. Comics—particularly superhero comics—are ascendent today due in large part to creatives who cut their teeth on 2000AD, and the documentary offers great insight into how so many of them ended up working for Marvel, DC, and other American imprints. Watching Mills is a particular joy—especially his paternal fury at the various mistreatments suffered by his colleagues and the comic.
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Film festival sponsorship doesn’t spare these directors from their early-VR mistakes.
Taken at a Seattle-area VR film festival in 2015. (credit: Sam Machkovech)
Did you hear? Virtual reality is legitimate now, because filmmakers have found it.
Forget those childish toys that you call video games, and think beyond those little 360-degree videos captured at concerts. VR is now a place for capital-F Films, complete with New York Times celebrations and dedicated exhibits at Sundance. Recent VR films have some impressive sounding premises, too: immersion in the wilderness alongside bison and cheetahs; trippy, sense-filling music videos; stark, racially charged drives through poor neighborhoods; and much more.
VR filmmakers have taken some pretty diverse approaches, but most of them have one unfortunate thing in common: an overreaction to the form. In their rush to put viewers inside their concepts, these burgeoning creators forgot about the importance of directing and cinematography—a fact that I, a devout believer in VR's future, can no longer stomach.
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Das Unternehmen iRobot ist durch Staubsaugerroboter, autonome Rasenmäher und Poolreiniger bekannt geworden. Die Militärroboter des Unternehmens dürften weniger Kunden kennen. Nun wird die imageschädliche Abteilung verkauft. (
Apple hat ein Reparaturprogramm für einige Mac Pro aufgelegt. Bei diesen funktioniert die Grafikeinheit nicht korrekt, so dass es zu Bildausfällen, Verzerrungen, Systemabstürzen und Neustarts kommt. (
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