This leads to things like Solresol, Sindarin, and Klingon.
One of which is much older than the other two, which is important for the following reason: Tolkien's Elvish languages (Quenya, Sindarin), the Klingon languages of Star Trek (Klingonaase and tlhIngan Hol), and the language of the Drow in Forgotten Realms each exist to serve works associated with one copyright owner. Would a language be considered an uncopyrightable "useful artifact", much like a style of clothing? Or would works written in a language or dictionaries for the language be considered derivative of the work in which the language was presented? To what extent is this affected by WB v. RDR, about The Harry Potter Lexicon?
Sindarin is supposed to "sound pretty"; and Klingon is supposed to sound harsh. How do people come up with this kind of thing?
Quenya and Sindarin sound pretty to the extent that Finnish and Welsh sound pretty respectively, because those are the languages whose phonologies Tolkien nicked. Likewise, Okrand nicked Tlingit's phonology for Klingon because he wanted something that sounded unfamiliar to an English-speaking audience.
What some people refer to as "simplest grammar" is probably isolating morphology. This is more common in creoles (languages recently formed out of a pidgin) than elsewhere. English itself is a product of partial creolization, namely with Norman French after the invasion of 1066, which is part of why it's less inflected than its close cousin German. Using simple or not-so-simple morphology shows whether or not the language is widely learned by second-language learners.
Even better, inconsistencies that can be traced to an earlier form of the language. For example, Spanish has some verbs where e becomes ie when accented and others where it doesn't. The verbs where ie appears are verbs that had a long e in Latin, and those where it does not had a short e.
Or the ISP could try not upgrading its network, instead directing subscribers to a traditional multichannel pay TV service that gives $200 million per year in revenue.
The problem with regenerating a hash every time you choose to log in to a particular site is that sites' minimum and maximum length and complexity for user passwords varies so widely. It would have to store the length, set of permitted characters, and set of required characters for each site.
Comcast refused the offer because it would have meant loss of colocation revenue for the rack space that Netflix's OpenConnect Appliance would have filled.
If every movie costs so much to market, distribute, and exhibit, then how do the studios stay in business? Is it by overcharging each movie for said marketing and distribution?
The ISP has the IP address, the port, and the SNI hostname of the server that the client has connected to, as well as throughput of the connection at any given second. Someone seems to be under the impression that Comcast can use this information to map which shows are stored on which CDN nodes and thereby determine which shows are being watched.
But all nodes will have the most popular shows. As far as I can tell, the ISP would be able to tell only for possibly a few long tail shows. Do there exist public statistics for how widely distributed particular shows are across the CDN? And even if specific shows are only on a subset of nodes, how would an ISP know what nodes have what shows anyway?
Latencies can also help determine what's going on, too.
Are you referring to VBR encoding leaking changes in motion complexity over time?
What they're trying to do, however, is hassle and compete with Netflix, who doesn't need to report the same numbers to the ad gods.
Does HBO "need to report the same numbers to the ad gods"?
It's internecine fighting that's all in the spirit of good fun, right?
The future of an open Internet is at stake. In the past, legislation has been introduced to require all Internet-connected devices to contain copyright-enforcing policeware controlled by the incumbent movie studios, such as the SSSCA that became the CBDTPA. But so far, it has failed. If the studios can get Netflix to close its doors, and former Netflix users predictably return to copyright infringement, studios will gain more leverage in the U.S. Congress to take control of the Internet.
one of the proposed solutions I read about was for Netflix to place some content distribution servers in Comcast's data centers. To do so would have required Netflix to share it's usage data with Comcast, and Netflix didn't want any part of that.
That's not what I remember being the problem with installing an OpenConnect Appliance at Comcast. It was that Comcast didn't want to give away colo space without charge.
if Netflix produces a show that mostly appeals to 4 year olds, that is fine. Mom and Dad think $9 a month is a cheap way to keep the kids occupied while they make dinner. Advertisers would hate that though because kids that age don't spend money.
Serving an audience too young to buy things is also why OTA TV has an E/I requirement. Broadcasters are willing to pay extra for shows that fulfill their requirements under the Children's Television Act.
Since there are no commercials an Netflix, there's no opportunity for an increased viewership to translate directly to more revenue generated by that program
Unless the studio wants to charge Netflix on some approximation of a pay-per-viewer basis, assuming that Netflix substitutes for DVD sales.
Ratings of subscription television answer the following questions: Which programs bring in the most subscription revenue? Which programs would make end users more likely to cancel subscriptions if they were canceled?
A microphone on the cable box that does nothing but listen for correlation between the cable box's audio output and the TV's might solve the "TV off but cable box on" bias, though I admit not the "fell asleep in the recliner" bias.
Trade your cable bill for a monthly media budget and you can in relatively short order have more stuff than you can handle.
Unless your roommate is unwilling to give up Peyton Manning and LeBron James. Those are the two exact names that my roommate mentioned when I mentioned switching from cable to Netflix to save money. Or unless your ISP provider severely jacks up rates on Internet customers who don't also subscribe to the ISP's pay-TV service.
The only way I will tolerate commercials is if they are placed at the beginning or the end of the programming.
Providers can accommodate the letter of your request by redefining "the programming" as a single act of the play (or screenplay or teleplay), or what would become a single chapter of the DVD, or the like, and then deeming a whole movie to become a playlist of several such "programmings". Would that satisfy you?
Slashdot Mirror
and 5% of the profits of this production will be donated to further these efforts
Productions lose money. Studios make money by overcharging productions for distribution and promotion.
Why Does Defiance Suck So Badly?
Because it takes place in Missouri, not Ohio.
Why do all science fiction shows have to have rubber-faced characters?
Because they're cheap. (Source: "Rubber Forehead Aliens" on All The Tropes)
Lojban is supposed to be unambiguous; I think Esperanto achieves that exactly as well, due to its grammatical structure
Justin Rye has some choice words about Esperanto, including plenty of ambiguities and latent biases.
This leads to things like Solresol, Sindarin, and Klingon.
One of which is much older than the other two, which is important for the following reason: Tolkien's Elvish languages (Quenya, Sindarin), the Klingon languages of Star Trek (Klingonaase and tlhIngan Hol), and the language of the Drow in Forgotten Realms each exist to serve works associated with one copyright owner. Would a language be considered an uncopyrightable "useful artifact", much like a style of clothing? Or would works written in a language or dictionaries for the language be considered derivative of the work in which the language was presented? To what extent is this affected by WB v. RDR , about The Harry Potter Lexicon?
Sindarin is supposed to "sound pretty"; and Klingon is supposed to sound harsh. How do people come up with this kind of thing?
Quenya and Sindarin sound pretty to the extent that Finnish and Welsh sound pretty respectively, because those are the languages whose phonologies Tolkien nicked. Likewise, Okrand nicked Tlingit's phonology for Klingon because he wanted something that sounded unfamiliar to an English-speaking audience.
What some people refer to as "simplest grammar" is probably isolating morphology. This is more common in creoles (languages recently formed out of a pidgin) than elsewhere. English itself is a product of partial creolization, namely with Norman French after the invasion of 1066, which is part of why it's less inflected than its close cousin German. Using simple or not-so-simple morphology shows whether or not the language is widely learned by second-language learners.
But isolating morphology is also common in languages that have eroded words' initial and final consonants so far that they have cheshirized into tones, and tones are more common in humid climates.
Even better, inconsistencies that can be traced to an earlier form of the language. For example, Spanish has some verbs where e becomes ie when accented and others where it doesn't. The verbs where ie appears are verbs that had a long e in Latin, and those where it does not had a short e.
Or the ISP could try not upgrading its network, instead directing subscribers to a traditional multichannel pay TV service that gives $200 million per year in revenue.
The problem with regenerating a hash every time you choose to log in to a particular site is that sites' minimum and maximum length and complexity for user passwords varies so widely. It would have to store the length, set of permitted characters, and set of required characters for each site.
competition shows such as sports and "reality"
I don't care about either of those
Even if you don't, does somebody else living with you "care about either of those"?
Comcast refused the offer because it would have meant loss of colocation revenue for the rack space that Netflix's OpenConnect Appliance would have filled.
If every movie costs so much to market, distribute, and exhibit, then how do the studios stay in business? Is it by overcharging each movie for said marketing and distribution?
The ISP has the IP address, the port, and the SNI hostname of the server that the client has connected to, as well as throughput of the connection at any given second. Someone seems to be under the impression that Comcast can use this information to map which shows are stored on which CDN nodes and thereby determine which shows are being watched.
Specific nodes will have specific content.
But all nodes will have the most popular shows. As far as I can tell, the ISP would be able to tell only for possibly a few long tail shows. Do there exist public statistics for how widely distributed particular shows are across the CDN? And even if specific shows are only on a subset of nodes, how would an ISP know what nodes have what shows anyway?
Latencies can also help determine what's going on, too.
Are you referring to VBR encoding leaking changes in motion complexity over time?
What they're trying to do, however, is hassle and compete with Netflix, who doesn't need to report the same numbers to the ad gods.
Does HBO "need to report the same numbers to the ad gods"?
It's internecine fighting that's all in the spirit of good fun, right?
The future of an open Internet is at stake. In the past, legislation has been introduced to require all Internet-connected devices to contain copyright-enforcing policeware controlled by the incumbent movie studios, such as the SSSCA that became the CBDTPA. But so far, it has failed. If the studios can get Netflix to close its doors, and former Netflix users predictably return to copyright infringement, studios will gain more leverage in the U.S. Congress to take control of the Internet.
If all popular shows are mirrored on all CDN nodes, how is that going to help?
one of the proposed solutions I read about was for Netflix to place some content distribution servers in Comcast's data centers. To do so would have required Netflix to share it's usage data with Comcast, and Netflix didn't want any part of that.
That's not what I remember being the problem with installing an OpenConnect Appliance at Comcast. It was that Comcast didn't want to give away colo space without charge.
if Netflix produces a show that mostly appeals to 4 year olds, that is fine. Mom and Dad think $9 a month is a cheap way to keep the kids occupied while they make dinner. Advertisers would hate that though because kids that age don't spend money.
Serving an audience too young to buy things is also why OTA TV has an E/I requirement. Broadcasters are willing to pay extra for shows that fulfill their requirements under the Children's Television Act.
Since there are no commercials an Netflix, there's no opportunity for an increased viewership to translate directly to more revenue generated by that program
Unless the studio wants to charge Netflix on some approximation of a pay-per-viewer basis, assuming that Netflix substitutes for DVD sales.
Sling TV Has ESPN in its basic package for $20/month IIRC
And guess how much the cable ISPs surcharge an Internet subscriber for not also subscribing to TV.
Most of the stuff that are exclusives end up being released in formats like DVD
True of scripted series, less true of competition shows such as sports and "reality".
But how can Comcast peek into a TLS connection, other than that I happen to be accessing some URL whose hostname is a member of Netflix's CDN?
they want to discourage talent from getting involved with Netflix productions based on the argument that it will be damaging to their careers.
The whole thing seems bizarre, because I would think that MONEY would be the driver for most of Hollywood.
They're linked. Taking a less prestigious or lower paying role may limit how prestigious or high-paying your next role is likely to be.
Ratings of subscription television answer the following questions: Which programs bring in the most subscription revenue? Which programs would make end users more likely to cancel subscriptions if they were canceled?
A microphone on the cable box that does nothing but listen for correlation between the cable box's audio output and the TV's might solve the "TV off but cable box on" bias, though I admit not the "fell asleep in the recliner" bias.
Trade your cable bill for a monthly media budget and you can in relatively short order have more stuff than you can handle.
Unless your roommate is unwilling to give up Peyton Manning and LeBron James. Those are the two exact names that my roommate mentioned when I mentioned switching from cable to Netflix to save money. Or unless your ISP provider severely jacks up rates on Internet customers who don't also subscribe to the ISP's pay-TV service.
Song of the South is still copyrighted. But practically, how much is that film contributing to the continued existence of The Walt Disney Company?
The only way I will tolerate commercials is if they are placed at the beginning or the end of the programming.
Providers can accommodate the letter of your request by redefining "the programming" as a single act of the play (or screenplay or teleplay), or what would become a single chapter of the DVD, or the like, and then deeming a whole movie to become a playlist of several such "programmings". Would that satisfy you?