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Cake day: July 12th, 2023

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  • I’m not sure if the piracy megathread or FMHY megathread cover the *arr stack specifically, but they have lots of information so I’m recommending them broadly for anyone wanting to ingest information about piracy.

    Regarding what the arr stack even is:

    Tldr, you set up a list of public and/or private trackers in Prowlarr or Jackett. In Radarr and Sonnar you set up movies and shows respectively that you want to keep track of. Rad/Sonarr check those trackers for releases for your tracked media matching criteria (like resolution, size, language, etc).

    When it finds a matching release, it sends the torrent file or magnet link to your torrent client to download. When it finishes, Rad/Sonarr hardlink or copy the file to a library location and organize/name them according to rules you set.

    You can point Jellyfin or Plex to that library location and all the media will be organized so it can easily figure out what media is there and grab metadata for it (cover images, description, ratings, etc). Then you can watch that media through Jellyfin/Plex or an app that plugs into them.

    The *arrs also work with usenet if you’d prefer that over or in addition to torrenting with a vpn.


  • Radar and Sonarr are tools to track movies and TV shows respectively. You can add a movie/show to track, tell it the quality you want it in, and set up Prowlarr or Jackett to give Son/Radarr the access to the torrent trackers it needs. You can also use Usenet but I have no experience there.

    It will search those torrent trackers for releases matching your movies/shows in the quality and language you set for them and send the downloads to the torrent client you set up. When the client finishes downloading, Son/Radarr copies (or hardlinks) the files to your library folders.

    If Son/Radarr is tracking a show that you currently have downloaded in 480p, but the quality profile allows upgrades up to 1080p, it will search for 720p and 1080p releases and pick the best match it can find. When the torrent client finishes downloading it, Son/Radarr will automatically replace the 480p release with the 1080p release it just downloaded.



  • We used the 100 AI and 100 human White faces (half male, half female) from Nightingale and Farid. The AI faces were generated using StyleGAN2. The human faces were selected from the Flickr-Faces-HQ Dataset to match each of the AI faces as closely as possible (e.g., same gender, posture, and expression). All stimuli had blurred or mostly plain backgrounds, and AI faces were screened to ensure they had no obvious rendering artifacts (e.g., no extra faces in background). Screening for artifacts mimics how real-world users screen AI faces, either as scientists or for public use, and therefore captures the type and range of stimuli that appear online. Participants were asked to resize their screen so that stimuli had a visual angle of 12° wide × 12° high at ~50 cm viewing distance.

















  • I don’t think this lends enough credit to how centralized the music industry is and the role that plays. If you want the world’s music catalogue, you need contracts with like three companies. That level of centralization makes it straightforward to get a music catalogue going with basically everything someone might want to listen to, but it also severely hampers your ability to do anything those three companies don’t want. If anyone’s wondering why Spotify is pushing podcasts so hard, it’s because that’s the only way for them to get out from under the thumb of the few music megacorps that they have to license from to stay relevant. Spotify needs a revenue stream less dependent on the big three and it sees podcasts as its way out.

    I’m sure music files being smaller and easier to pirate helped light a fire under the ass of the music industry to modernize, but that isn’t the only factor at play here and I don’t even think it’s one of the main ones. If I recall correctly, Spotify is the company who went to the music labels asking for a contract. In order to show that the tech works, they had to pirate the initial catalogue until they had deals with music labels to license the music. Spotify brought their streaming vision to the music industry, not the other way around.

    I believe Netflix had a good catalogue at first because every other company was sleeping on the streaming boom that Netflix was ahead of the curve on. Netflix could get good streaming license deals because nobody really cared about this little company they’d never heard of. As soon as everyone realized what was up, they scrambled to copy Netflix and pulled their libraries to fracture the streaming space.

    From the start, the music industry knew what Spotify was and could be and knew how to use their leverage to keep themselves on top (Spotify isn’t functionally allowed to be their own license for music creators, for example). I don’t think the movie streaming space realized what Netflix was until it blew up.

    I don’t think the problem is that movie/tv hasn’t “figured it out.” The music space would be just as fractured if it wasn’t as centrally organized. I think the problem is that the industries are just structured really differently, so they played out really differently.

    To be clear, I’m not defending the music or movie/tv industry. I just think the situations are more nuanced than “music freaked out and got their shit together and movie/tv hasn’t yet.”