RSS Feed     Twitter     Facebook

Posts Tagged ‘network’

UK network ‘ready’ for swine flu

H1N1 bacteria

BT is confident it can cope with the extra demands the swine flu pandemic may put on the UK’s broadband network.

It follows a meeting in Whitehall of emergency services which raised doubts about whether the network could cope.

There were concerns it could freeze as more people suspected of having the virus are encouraged to work from home.

"BT’s network is in a strong position to cope with the expected demands in home working," the firm said in a statement.

Andrew Ferguson, editor of broadband news website ThinkBroadband, thinks the big issue will be for companies, which will need to make sure their own computing systems are robust enough if lots of people are going to be remotely accessing machines in their offices.

"This uses both upstream and downstream capacity. What is likely to happen is that the evening peak spike may be repeated during the day and providers that have no spare capacity now will struggle.

"This could give the impression that the infrastructure is failing," he said.</p


This article is from the BBC News website. © British Broadcasting Corporation, The BBC is not responsible for the content of external internet sites.

Jonathan Kesselman: On The Streets: Organic Or Ganic? (VIDEO)

In episode 10 of my show for The Mother Nature Network, I Iearn that either I have amazing powers of persuasion…or people will eat some…

Bill Mann: Larry Kudlow — CNBC’s Answer to Glenn Beck

Every cable news network these days, it seems, wants to have a resident crackpot to draw an audience of gawkers, the masses H.L. Mencken…

Progressive Ideas Network: Ideology is Missing Element of Progressive Strategy

Ideology is Missing Element of Progressive Strategy By Sean Thomas-Breitfeld, Center for Community Change In spite of the possibility that November’s election created for transformational…

10 Things You Probably Don’t Know About Cloud Storage and Computing

Cloud computing serves up computing power, data storage or applications from one data center location over a grid to thousands or millions of users on a subscription basis. This general kind of cloud for example, services provided online by Amazon EC2, Google Apps and Salesforce.com is known as a public cloud because any business or individual can subscribe. Private cloud computing is a different take on the mainstream version, in that smaller cloudlike IT systems within a firewall offer similar services, but to a closed internal network. This network may include corporate or division offices, other companies that are also business partners, raw-material suppliers, resellers, production-chain entities, and other organizations intimately connected with a corporate mother ship. Public or private, cloud computing is getting the IT industry excited. Gartner analysts in March 2009 said global cloud services revenue could move beyond $56.3 billion this year from $46.4 billion in 2008 and grow to $150.1 billion in 2013. IBM Vice President of Cloud Services Ric Telford offers eWEEK readers his take in the following slide show.
– …


Marvin Ammori: What Sotomayor Could Mean for Network Neutrality and the First Amendment

Senator Al Franken will ask Judge Sotomayor questions this week as a member of the Senate Judiciary Committee and has said he will ask about…

Giving life a shape

Art gallery, AFP/Getty

Novel ways of thinking about the digital world are needed, says Bill Thompson, and perhaps the arts can help.

One of the more interesting shifts in the technology world over the last quarter century has been the way that cultural organisations have gone from being the late adopters, inheriting office-oriented computer systems from business and making do with them, to being those leading the digital revolution in many areas.

When I worked with the Community Computing Network in the late 80s it was hard work persuading charities and voluntary organisations that having a computer to handle their member databases and print letters was worthwhile.

But now that there really is a computer on every desk and word processing, spreadsheets and databases are standard, arts organisations seem to be far more willing to engage and experiment with the latest tools, especially online.

"We have few stories that talk about technology and few workable metaphors or analogies that let us convey complex technological issues in ways that people really grasp"

Bill Thompson

Bill Thompson

Many are making expert use of social media, moving from MySpace and Bebo to Facebook to follow the audiences, but also finding out how Twitter and other services can be used to help them engage and interact with people who may be interested in their art.

Stage craft

The much-loved Pilot Theatre brought in virtual worlds expert Caron Lyon to built them a stage set in Second Life. The team at Hoi Polloi used video diaries, Facebook and Twitter to establish an online following that has supported them as they tour from their Cambridge base as far afield as Australia, offering new audiences a chance to discover their work in all its strangeness while also ensuring that fans – including me – know what they are up to while they are away.

When it comes crossover organisations like Hide&Seek, who recently ran a social gaming festival in London, it is impossible to separate the art from the technology, and their work offers a real inspiration to those who wonder what the arts will look like in a digitised world.

This cross-fertilisation is important in several ways. It obviously makes sense for those committed to experiment and exploration in the arts to embrace new technologies as a way of exploring the creative potential of a new domain of human activity, just as painters explored the radical new technology of oils for for many decades, or sculptors turned from marble and limestone to work with welded iron or novel materials like frozen blood.

But there is something else going on, something deeper and potentially more important, because in working through the creative potential of new technologies artists of all types are helping us to find new ways to think about these tools and working out how to integrate them into our wider cultural and commercial practice.

They are helping us to explore the latest chapter in the ongoing conversation between human psychology and the capabilities of modern technology, something which will matter more and more as the network becomes pervasive and digital devices penetrate every area of our lives.

The point was made clear to me at Shift Happens, a conference on the ways arts organisations are using new technologies that took place this week at York Theatre Royal.

Over a day and a half the audience, mostly made up of practitioners, was treated to a fascinating selection of arts-based technology, or technology-based arts, from the interactive animations of the always-engaging Sancho Plan through calls to ensure that tech-based arts are environmentally sustainable from Envirodigital and a demonstration of how to subtitle your online video from Internet Subtitling.

Poster for The Tempest, BBC

It quickly became clear that the network revolution is already happening in the arts even if its success on the political stage is sometimes sadly limited, as we saw this week in Iran.

One problem in talking about this is that relatively few people understand the underlying technology sufficiently well to be comfortable with it. We have few stories that talk about technology and few workable metaphors or analogies that let us convey complex technological issues in ways that people really grasp.

Texting times

I wonder, however, if we can take some old stories and use them to explore the new world. Take The Tempest, for example, Shakespeare’s last play and one of his finest. Set on a remote island where Prospero, exiled Duke of Milan, lives with his daughter Miranda and a strange creature called Caliban, the Tempest explores issues of redemption and forgiveness and the use and abuse of power.

Prospero rules his island thanks the the spells in the books he has studied in his exile, commanding the spirit Ariel to torment and manipulate his former enemies, who have been shipwrecked on the island by a tempest created at Prospero’s command.

A modern reading this tale would see Ariel as a representative of the digital realm, created from bits but able to have a real effect on the physical world. We discover during the play that Ariel was locked into a forked tree until released by Prospero, a good analogy for the effort needed to liberate the power of the digital revolution, represented by Prospero’s books of spells.

We can take this further. The witch’s child Caliban believes himself the true inheritor of the island as his mother was banished there before Prospero arrived and fails to realise that Prospero’s books have given him power over the unseen world that far outstrip Caliban’s physical prowess, just as the rulers of analogue distribution fear the world we have conjured from our code.

And when Caliban, wandering the island with shipwrecked sailors Trinculo and Stephano, hears an invisible Ariel playing on a pipe he tells them:

Be not afeard. The isle is full of noises, Sounds and sweet airs that give delight and hurt not.

Today the thousand twangling instruments that Ariel and his sprites conjure up are replaced by millions of tweets, status updates, but they still fill the world with sweet sounds, and offer us a vision of a digital world that can be as rich and full of delight as we choose to make it. It’s reassuring to see that some of our best artists are working hard to make that happen.

Bill Thompson is an independent journalist and regular commentator on the BBC World Service programme Digital Planet.</p


This article is from the BBC News website. © British Broadcasting Corporation, The BBC is not responsible for the content of external internet sites.

Engaging with the net

The Digital Britain report offers a lot to work with, says Bill Thompson.

"We live in a largely digitised country, so in one sense the Digital Britain report is an exercise in ensuring that the legal and regulatory system catches up with the lived reality for most of the UK population rather than a visionary document describing a far-distant future.

As such it is a serious attempt to ensure that government makes the best possible use of the network in serving us all, and that businesses offering access to the internet or providing services and content over the network are regulated, rewarded and cajoled as necessary to ensure that the UK does not fall even further behind the rest of the industrialised world.

READ THE DIGITAL BRITAIN REPORT

Digital Britain report(3MB)
Most computers will open PDF documents automatically, but you may need to download Adobe Acrobat Reader.

I criticised the interim report when it was published in January because it had been written behind closed doors and offered few opportunities for consultation and engagement for those outside the charmed circle of invited experts.

But it is clear that Stephen Carter and his team have listened to and taken notice of the extensive debate around their initial proposals. The result, though far from perfect, offers a good basis for work on the detail of implementation and legislation, and there are clear signs that those who want to engage will be able to do so.

There are suggestions on how to liberalise and improve access to wireless infrastructure, with potentially transformative proposals to shake up spectrum allocation to build a next generation mobile network offering 50Mpbs in cities and 5Mpbs in rural areas.

There is a confirmed commitment to delivering a universal 2Mbps (megabits per second) fixed-line broadband service to the whole country by 2012, and a six pound a year levy on existing copper telephone lines to pay for the ‘final third’ next generation coverage if the market cannot deliver. Two megabits per second is too slow for me, but universal service offers so many opportunities for engagement that it’s definitely worth having.

And there may even be ‘cultural tax relief’ for games developers and distributors, on the lines of the model that has made Canada such an attractive place for UK developers to move to.

The report comes on a day when the importance of the internet and the services it supports has been drawn to the attention of the whole world.

"Unfortunately the proposals to limit file-sharing are less well considered and seem to be hopelessly optimistic, or perhaps to betray a naivety about how the internet works. "

Bill Thompson

Bill ThompsonThe protests over the election results in Iran have depended on Facebook, YouTube and of course Twitter to get their message to the world, put pressure on their own government and organise their activities.

Just last week the French Constitutional Council of France halted the government’s plans to give a new authority the ability to cut the network access of internet users accused of copyright violations because "the internet is a component of the freedom of expression".

In the UK the Prime Minister Gordon Brown wrote in the The Times today that "a fast internet connection is now seen by most of the public as an essential service, as indispensable as electricity, gas and water."

Locking content

The view of the network as a utility and as a tool for expression is a very different one from that put forward by the dominant players in the so-called ‘content industry’.

Record companies, film studios, newspapers and the TV broadcasters have all lobbied hard for the UK government to shape its internet policy around their interests.

They want copyright laws to be strengthened so they can lock up any and all content. They want anyone who dares to challenge their business to be kicked offline, fined and locked up. They want a world in which they control what can happen.

Fortunately that pressure seems largely to have been resisted, and the real thrust of the proposals is about getting everyone online and ensuring that the network is there to be used in ways that support creative expression, new forms of industry and new models of engagement.

Funding news

The Digital Britain of the report is one in which all have access, not one where we try to preserve old industrial models.

When it comes to newspapers the report notes that ‘Digital Britain is at the beginning of a new and possibly disruptive wave of local news, generated by communities for communities using free online media’. It recognises that ‘government and business will need collaboratively to devise new ways of funding the news’ without simply promising subsidies to the existing players who have failed to adapt to the network reality and have sought protection and subsidy.

The debate about the future of public service broadcasting includes many progressive ideas, and both the decision to make Channel 4 more than just a broadcaster but turn it into ‘the open new media authority providing the seed-corn for creative innovation in the multi-media world’, and the message to the BBC that the license fee does not belong to it are all good ones.

Unfortunately the proposals to limit file-sharing are less well considered and seem to be hopelessly optimistic, or perhaps to betray a naivety about how the internet works.
Ofcom is to be asked to oversee efforts by UK ISPs to reduce what they term ‘illegal file-sharing’ by 70%, initially through notifying those accused of downloading material or revealing their names and addresses to rights holders so that they can be prosecuted.

If this doesn’t work then Ofcom may then be granted power to oblige ISPs to limit bandwidth or block specific protocols, presumably in the hope that doing this will deter or stop downloads. But this proposal ignores the fact that work is already going on to develop new file sharing technologies that are encrypted or disguise addresses more effectively. Ofcom might well hit its 70% target just because everyone moves away from BitTorrent without actually reducing the number of files shared over the net.

However the fact that the BPI boss Geoff Taylor found it necessary to accuse the government of ‘digital dithering’ for refusing to allow rights holders to have internet users cut off – the same proposals that have just been thrown out in France – is a good sign indeed.

In the end public service broadcasting and the protection of the content industries matter far less than the promotion of universal access and the creation of tools and services that encourage everyone online to demonstrate their own creative potential.

Networked world

Children watching TV

A digital Britain is not one in which we are all sitting glued to our screens watching the same sort of television programming that we could have had on a cathode-ray set in the 1970′s, downloading blockbuster movies or listening to more dull music made by rich popstars whose only real interest is their property portfolio.

It is one in which universal access allows us all to be fully-fledged citizens of a networked world that offers opportunities for creative expression and communication instead of the passive consumption of packaged content. There’s a glimpse of that world through the Digital Britain report, and it is one that those of us who already live a networked life need to clarify, share and work to build.

"

Bill Thompson is an independent journalist and regular commentator on the BBC World Service programme Digital Planet.</p


This article is from the BBC News website. © British Broadcasting Corporation, The BBC is not responsible for the content of external internet sites.

The digital age of rights

World map

The digitally deprived have rights too, says regular columnist Bill Thompson

"President Sarkozy of France recently managed to get his Création et Internet law passed by the National Assembly, and if all goes well in the Senate then French internet users will soon find their activities being supervised by HADOPI, the grandly named ‘Haute Autorité pour la Diffusion des Œuvres et la Protection des Droits sur Internet.’

The rights it is concerned with are not those of ordinary net users but of copyright owners, and especially the large entertainment companies that have lobbied so hard and so successfully for the power to force internet service providers to terminate the accounts of those accused of downloading unlicensed copies of music, films and software.

Once HADOPI is up and running rights holders will be able to go to it with evidence of illegal downloading, and it will issue banning orders to ISPs without any need for tiresome court proceedings.

The agency is deeply controversial, and may in fact be illegal under European law as proposed changes to EU telecommunications regulations seem likely to require the involvement of the courts in any disconnection.

But even if it is legal, it is still a bad idea and must be one of the most foolish, regressive and potentially damaging moves by a government that claims to want to capitalise on the internet’s potential to transform society.

"It’s not that computers matter more than water, food, shelter and healthcare, but that the network and PCs can be used to ensure that those other things are available"
Bill Thompson

Bill Thompson

The new law treats the internet as if it was simply a conduit for delivering the sort of mindless entertainment provided by most films, TV programmes and popular music and proposes to cut people off because their actions might damage the business model of one tiny sector of the economy.

But the net is far more than television with added e-mail. As digital rights campaigner Cory Doctorow put it in an impassioned article on this issue in The Guardian last year:

"The internet is only that wire that delivers freedom of speech, freedom of assembly, and freedom of the press in a single connection. It’s only vital to the livelihood, social lives, health, civic engagement, education and leisure of hundreds of millions of people (and growing every day)."

Cory is not alone in believing that net access is too important to be regulated solely in the interests of the entertainment industry.

Earlier this month Vivian Reding, the European Commissioner responsible for Information Society and Media, spoke of "a right to Internet access" and pointed out that the EU’s new telecommunications rules "recognise explicitly that Internet access is a fundamental right such as the freedom of expression and the freedom to access information".

BILL’S LINKS

HADOPI on Wikipedia

Cory Doctorow on net access

Cnet: Is net access a human right

But if the argument against extra-judicial disconnection is so strong then surely a policy that lets network service providers keep millions of people from having a usable, fast and reliable connection to the internet must also be morally indefensible

If it is unacceptable to cut people off from the network because their actions are commercially damaging to the record companies, why is it acceptable to offer them poor or no access to broadband and mobile internet just because providing the service is commercially unattractive to ISPs or network operators

BROADBAND WORLD

MAP: BBC reporters talk broadband

World map

And if we are to be encouraged to think of access to the internet as a fundamental human right, a prerequisite of having freedom of expression, should we not be prosecuting ISPs over the ‘notspots’ in their mobile or wi-fi coverage, the communities with no access to ADSL because of the telephone network was repaired with aluminium instead of copper, or the areas bypassed by the cable providers

As a long-time contributor to Digital Planet, the BBC World Service programme about the impact of digital technology on people’s lives, I’ve seen the growing awareness within the developing world that computers and connectivity matter and can be useful. It’s not that computers matter more than water, food, shelter and healthcare, but that the network and PCs can be used to ensure that those other things are available.

Satellite imagery sent to a local computer can help villages find fresh water, mobile phones can tell farmers the prices at market so they know when to harvest.

The same arguments apply in the UK, but those of use who have easy, affordable and fast connectivity tend not to think of the plight of those who can’t get online, just as we so often fail to notice the homeless people in our towns or let our eyes glide over deprived housing estates as we sit on the train.

Of course once the kids on the local council estate start using their new-found power to create mash-ups of their favourite bands or add soundtracks to the videos they upload onto the web we’re sure to hear calls for their net access to be restricted in some way.

But at least they’ll be able to organise a Facebook campaign for themselves, and get some attention from the rest of us. At the moment the offline masses lack a voice as well as an internet connection.

"

Bill Thompson is an independent journalist and regular commentator on the BBC World Service programme Digital Planet.</p


This article is from the BBC News website. © British Broadcasting Corporation, The BBC is not responsible for the content of external internet sites.