Crowdsourced crimebusters – first border-jumpers, then bank robbers

We’ve already seen how the public has been drafted in to help bust people trafficking across the US/Mexico border; turns out that law enforcement agencies in Arkansas and Texas are using web mashups to enable members of the public to track down the perps of other forms of crime:

Law enforcement agencies have longed relied on the press and the public to help catch crooks, of course. And some departments, like the NYPD, upload their “wanted” posters. But BanditTrackerArkansas.com — and its sister site for Texas, BanditTracker.com — are a little different and a little more sophisticated. Descriptions of the suspect and the crime are paired with pictures from the bank’s surveillance cameras, both indoor and out. The whole thing is then plotted on a Google Map.

The scheme seems to be in its infancy at the moment, but I doubt it’ll stay that way for long; budget restraints will mean a continued shortage of law enforcement officers, but there’ll probably be no shortage of people willing to do their bit to nab the baddies.

Somehow, I find this a lot less sinister than the border-watch systems; it smacks of a more honest sense of community. That said, it also has greater potential for some quick and dirty hacking, whether it be to protect a criminal from pursuit or to frame someone innocent…

Why ebooks must fail

book spine bindingYou may have seen this already, but just in case: Evan Schnittman is head of global business development at the Oxford University Press, and he sure knows how to make the first post on a new blog punch hard. In his inaugural piece, he explains why the success of consumer ebooks would collapse the publishing “Ponzi scheme”.

I’d advise reading the whole thing for a very honest warts-and-all explanation of the economics involved, but the money-shot is right at the end:

And therein lies the dilemma… how does the publishing industry fund the creation, editing, design, production, marketing, e-warehousing, and sales of ebooks, if the income isn’t there? How do ebooks cover the huge advances needed to buy books if we cannot generate the cash, especially at their extremely low, discounted prices, cover the advances that an entire industry has come to require? The answer is that ebooks, alone, cannot.

What this means is that unless a very different model evolves, ebooks can never become the dominant version of content sold by book publishers. It means that ebooks will always be priced to sell, but sold as an afterthought, not as the primary version of a work. It means that the need for blended e plus p models will evolve, in order to take advantage of all the great qualities of ebooks, while providing the financial support and structure that print offers. It means that consumer ebooks, as a stand-alone version of an intellectual property, must fail.

Of course, it’s not an utterly bleak prognosis; Schnittman promises to follow up with a series of business models that will explore the factors he describes, including one that he believes will let the publishers have their cake and eat it, and I know I’ll be looking forward to reading them. It’s good to find someone close to the core of the industry who isn’t beating around the ebook bush. [via GalleyCat; image by smellyknee]

Flexible speakers

speakerFollowing on from yesterday’s thin ‘n’ see-through supercapacitors now we have thin ‘n’ shiny speakers from researchers at Warwick University:

Engineers claim their new ultra-thin speakers, as well as looking good and being easy to conceal, will also deliver clearer, crisper sound.

The loudspeakers could replace public address systems in passenger terminals and shopping centres.

They could also be used as speaking posters to deliver adverts.

Cheers for clearer tannoys. Jeers for annoying talking posters.

[from the BBC][image from the BBC]

MIFFF: Seattle Genre Film Festival To Open This September

It’s not often we bounce out a press release here at Futurismic, but this seemed worthy of sharing given that I know we have some readers from the Seattle area:

The Maelstrom International Fantastic Film Festival (MIFFF), a three day international showcase of animation, fantasy, horror, and science fiction cinema, is pleased to announce its inaugural launch September 18-20th, 2009 at the SIFF Cinema at McCaw Hall in Seattle, Washington USA.

As a genre film festival in Seattle, MIFFF is a unique entity. The Seattle Metropolitan Area is home to one of the largest film attending populations in the country. MIFFF is a venue that gives a voice to genre film fans through a wide spectrum of films and related programming.

Great to see people doing something brave and launching a big cultural event in these troubled times; good luck to ’em, I say.

Here’s a thought – are there any Seattle-based readers who fancy reporting on this for Futurismic when it happens? Leave a comment here or drop us a line through the contact page, and I’ll see if I can pull some strings to get you a press pass. I’ll want to see some previous samples of your writing before you get the gig, though!

The Alternative Hugo for Best Dramatic Presentation, Long Form

This month in Blasphemous Geometries, Jonathan McCalmont presents his second attempt to produce an alternative shortlist for the Hugo Award for Best Dramatic Presentation, Long Form that looks a little further afield for the best examples of genre cinema of the last year.

Blasphemous Geometries by Jonathan McCalmont

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Every year, with merciless and unceasing regularity, hundreds of fans gather at Worldcon. After a few days of discussion, networking and having their pictures taken in beards and Hawaiian shirts for inclusion in Locus magazine, the fans attend the Hugo award ceremony. This award ceremony is the climax of a cycle of discussion during which science fiction fans across the globe begin handicapping, second-guessing and complaining about the Hugo awards with varying degrees of bitterness, enthusiasm, alienation and excitement. It is a cycle that starts with the announcement of the Hugo Awards shortlists. This year’s cycle began on the 19th of March.

Being the kind of person whose bitterness and alienation always outweigh his enthusiasm and excitement, I see one particular Hugo – that awarded for Best Dramatic Presentation, Long Form – as a wasted opportunity. Every year, instead of celebrating the rich tapestry of cinematic genre, the Hugo shortlist is dominated by heavily-marketed American blockbusters, more frequently than not based upon already well known pre-existing works such as books or comics. In fact, last year, the nominees were so spectacularly weak that I felt obliged to come up with an Alternative Hugo shortlist made up of good films that somehow failed to capture the attention of Hugo voters. This column is my second attempt at an Alternative Hugo shortlist for Best Dramatic Presentation, Long Form. Continue reading The Alternative Hugo for Best Dramatic Presentation, Long Form

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