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The police can’t just share the contents of a seized iPhone with other agencies, court rules – Washington Post

If a police agency gets a search warrant and seizes a targets iPhone, can the agency share a copy of all of the phones data with other government agencies in the spirit of collaborative law enforcement among different agencies? Not without the Fourth Amendment coming into play, a federal court ruled last week in United States v. Hulscher, 2017 WL 657436 (D.S.D. February 17, 2017). Heres a summary of the new case, together with my reactions.

Hulscher was being investigated by two different agencies for two unrelated crimes. The local police were investigating Hulscher for counterfeiting crimes. Meanwhile, the federal Bureau of Alcohol, Tobacco and Firearms (ATF) was investigating Hulscher on firearms-related charges.

The local police obtained a search warrant for the defendants iPhone to search it for evidence of counterfeiting. (The warrant was really broad, but I gather from the opinion that it was a particular warrant in context and that it limited the search to evidence of counterfeiting.) In the course of executing the warrant, agents made a complete copy of the data on the phone and searched the copy for evidence. Hulscher was later convicted of counterfeiting based in part on the evidence from the phone.

Meanwhile, federal agents were preparing for trial against Hulscher on federal firearms charges. The ATF agents reviewing Hulschers criminal record noticed his recent arrest by the local police. When the ATF agents contacted the local police, the local police told the ATF agents that they had a complete copy of Hulschers iPhone that might be helpful for the firearms case. The ATF agents obtained a digital copy of the files from the local police and searched through it without obtaining a second warrant. The agents found evidence that is relevant to the still-pending federal firearms charges. Hulscher then moved to suppress the evidence.

The district court, per Judge Karen Schreier, granted the motion to suppress. Heres the full analysis of why the second search violated the Fourth Amendment:

[T]he issue before the court is whether a subsequent viewing of a copy of electronic data from a cell phone constitutes a search when the data was collected under a valid search warrant and was unresponsive to that warrant.

This specific fact scenario is relatively new to Fourth Amendment analysis, and as noted by Professor Orin Kerr, [e]xisting precedents dealing with the treatment of copies of seized property are surprisingly difficult to find. Searches and Seizures in a Digital World, 119 Harv. L. Rev. 531, 562 (2005). Despite the lack of precedent on how courts should treat digital copies of electronic information, [t]here are two obvious choices: courts can treat searches of copies just like searches of originals or else treat copies merely as data stored on government-owned property. Id. Here, the government argues for the latter. The government argues that cell phone data can be shared among law enforcement agencies like a box of physical evidence.

As the Supreme Court explained in Riley, however, cell phone data is not the same as physical evidence. In Riley, the issue before the Supreme Court was whether cell phones could be searched incident to arrest like other physical objects found on arrestees. Riley v. California, 134 S. Ct. 2473, 2482 (2014). The court held that because cell phones contain immense amounts of personal information about peoples lives, they are unique, and law enforcement officers must generally secure a warrant before conducting such a search. Id. at 2485. This court reaches a similar conclusion. As explained by Magistrate Judge Duffy, [t]he chief evil [that] the Fourth Amendment was intended to address was the hated general warrant of the British crown. Docket 251 at 10 (citing Payton v. New York, 445 U.S. 573, 58384 (1980)). If the scope of the Beadle County warrant was not limited to the Hurron Police Departments counterfeiting investigation, the search warrant would have been an invalid general warrant. Id. at 16 (citations omitted). As explained by Magistrate Judge Duffy, [t]he conclusion is inescapable: Agent Fair should have applied for and obtained a second warrant [that] would have authorized him to search Mr. Hulschers cell phone data for evidence of firearms offenses. Id. at 32 (citations omitted).

The government argues that this conclusion is impractical and is contrary to the nature of police investigations and collaborative law enforcement among different agencies. Docket 255 at 12. The governments position, however, overlooks the ultimate touchstone of the Fourth Amendment: reasonableness. Riley, 134 S. Ct. at 2482. According to the government, law enforcement agencies can permanently save all unresponsive data collected from a cell phone after a search for future prosecutions on unrelated charges. If the governments argument is taken to its natural conclusion, then this opens the door to pretextual searches of a persons cell phone for evidence of other crimes. Under the governments view, law enforcement officers could get a warrant to search an individuals cell phone for minor infractions and then use the data to prosecute felony crimes. No limit would be placed on the governments use or retention of unresponsive cell phone data collected under a valid warrant.

As the Supreme Court noted in Riley, cell phone data can include immense amounts of information such as thousands of photos, months of correspondence, or every bank statement from the last five years. Id. at 2493. The search of a cell phone can provide far more information than the most exhaustive search of a house. Id. at 2491. This is especially true because cell phones collect many different kinds of data in one place such as an address, a note, a prescription, a bank statement, a video . Id. at 2489. The sum of an individuals private life can be reconstructed through a thousand photographs labeled with dates, locations, and descriptions . Id. The governments position, which would allow for mass retention of unresponsive cell phone data, is simply inconsistent with the protections of the Fourth Amendment. The governments objection on this point is overruled.

The government objects to Magistrate Judge Duffys conclusion that Agent Fair cannot be said to have acted pursuant to a search warrant . Docket 255 at 2; Docket 251 at 15. The government, however, introduced no evidence that Agent Fair knew about the warrant. But even if Agent Fair was aware of the Beadle County warrant, the warrant was limited to a search for evidence relating to the counterfeiting charges, and a reasonable officer who read the search warrant would have known that. Docket 251 at 20. Thus, at best, the governments position is that Agent Fair knew about the Beadle County search warrant and disregarded its parameters. Under either fact scenario Agent Fair knew about the warrant or did not know about the warrant a reasonably well-trained officer would have known that the search was illegal despite the issuing judges authorization. Docket 251 at 1920 (citing United States v. Hudspeth, 525 F.3d 667, 676 (8th Cir. 2008).

The government objects to the conclusion that the plain view exception is not applicable [to this case]. Docket 255 at 3. In Horton v. California, 496 U.S. 128, 135 (1990), the United States Supreme Court explained that the plain view doctrine applies when law enforcement has a prior justification for a search and inadvertently comes across a piece of incriminating evidence. As explained above, Agent Fairs search of the complete, unsegregated iPhone data lacked a sufficient justification. Thus, the plain view doctrine does not apply. The governments objection on this point is overruled.

The government also objects to the conclusion that the plain view doctrine does not apply to digital searches generally. Because this court can rule on the suppression motion based solely on the facts of this case, the governments objection is sustained on this point.

Ill offer four reactions to the decision.

1) The ruling is correct, in my view. The first warrant didnt allow the second search, and the nonresponsive files were still protected by the Fourth Amendment after the first warrant had been executed. If the second search was permitted, a second warrant was required for it.

2) The facts of the case resemble those of the 2nd Circuits ultimately inconclusive litigation in United States v. Ganias. But theres an important difference. In Ganias, the government obtained a second warrant before conducting the second search. The Ganias panel decision ruled that the second search was unconstitutional even with a second warrant, although the en banc court left that issue undecided.

By contrast, in Hulscher, the court seems to agree that the second search would have been permitted if a second warrant had been obtained. Thats a big difference. If a second warrant can be obtained, the only limit of the restriction is that nonresponsive files from the first warrant cant be searched without a second warrant. If the second warrant is unlawful, as Ganias held, then the nonresponse files from the first warrant are entirely off-limits in later investigations.

3) I gather from the remedies section of Hulscher that the government isnt likely to appeal this ruling. In discussing the costs and benefits of suppression, the court says:

Here, the cost of applying the exclusionary rule is minimized because the evidence is peripheral in nature and not directly related to the firearms offense. The governments actions also suggest the evidence is not necessary for a conviction. Prior to Agent Fairs search of the iPhone data, the government was ready to proceed with trial on January 3, 2017. Minutes before voir dire, the parties addressed a late discovery issue, and the court granted a continuance. If the issue had not come before the court, the government would have tried its case, and the iPhone data would not have been used.

As I have written before, I dont think it works to do this kind of case-by-case cost/benefit balancing when applying exclusionary rule precedents. But if the evidence isnt important, the government isnt going to file an appeal of the decision granting the motion to suppress. This decision is likely the end of the road in terms of judicial review of the Fourth Amendment issue.

4) Ill selfishly score this as another case moving in the direction of use restrictions on nonresponsive data in computer warrant cases. For more on my views, see my article Executing Warrants for Digital Evidence: The Case for Use Restrictions on Nonresponsive Data, 48 Texas Tech Law Review 1 (2015).

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The police can't just share the contents of a seized iPhone with other agencies, court rules - Washington Post

Avira Free Software Updater review – Ghacks Technology News

Avira Free Software Updater is a program for Windows by German security company Avira that checks Windows PCs for software updates.

It is recommended -- most of the time -- to run up to date versions of programs installed on Windows. The main reason for that is security, as older versions may have security issues that newer versions patched. Other reasons may be stability and new features.

There are reasons for not updating software, for instance when a new version is worse than the old, or when you only have a license for an older version and want to keep on using it without having to renew it.

Avira Free Software Updater is a free program to check if updates are available for installed programs on a Windows machine.

Warning: The program installs Avira Browser Safety during installation as a Chrome extension. The program installer has no option to block this from happening. You can block the installation in Chrome however as you will be prompted when that happens.

The program scans the system when you run it, and lists all programs that are outdated after a brief moment.

Avira Free Software Updater lists the name of the program, the developer, a link to the program website on the Internet, and a big update button. The installed version, but not the latest version, is displayed when you hover the mouse cursor over the download icon next to the program icon.

This means that you have no option to verify that a new version is indeed available, and what version number that new version has.

The update button advertises the Pro version of the application only however, and does nothing else in the free version.

You can click on the website link however to open it, and download the latest version manually from it.

The only other option that you have right there is to run a rescan. This can be useful if you have updated some programs and want an updated status report.

The two menu options on the left, my software and events, offer additional information. My Software lists all programs that Avira Free Software Updater detected on the system. This is likely not identical to the number of installed programs though, as the program seems to support only some programs.

Events on the other hand is a log that lists information on scans and updates.

The Pro version of the application, Avira Software Updater Pro, adds the update functionality to the program, and an option to keep software up to date automatically. It costs 24.95 for a one-year subscription though.

How is the program stacking up against one of the best software update programs out there? Sumo is a long standing program that is available as a free and pro version as well.

I ran Sumo on the same system, here is the conclusion:

Avira Free Software Updater, and the Pro version, have a long way to go to reach feature parity with Sumo. Some issues are fixed easily, like missing version information, while others, support for more programs, may take time to get right.

The software program should display an option during installation to inform users about the installation of the Avira Browser Safety extension for Chrome, and disable it.

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Avira Free Software Updater

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Rewriting the history of free software and computer graphics – Opensource.com

Do you remember those days in the early nineties when most screensavers were showing flying 3D metallic logotypes? Did you have one?

In this article, I want to go back in time and briefly revise the period in the history of computer graphics (CG) development when it transitioned from research labs to everyone's home computer. The early and mid-1990s was the time when Aldus (before Adobe bought the company) was developing PageMaker for desktop publishing, when Pixar created ToyStory, and soon after 3D modeling and animation software Maya by Alias|Wavefront (acquired by Autodesk). It was also a moment when we got two very different models of CG development, one practiced by the Hollywood entertainment industryand one practiced by corporations like Adobe and Autodesk.

By recalling this history, I hope to be able to shed new light on the value of free software for CG, such as Blender or Synfig. Maybe we can even re-discover the significance of one implicit freedom in free software: awayfor digital artists to establish relations with developers.

It may seem natural today that CG software and GUIsempower digital creativity, but in fact, they wereto a great extentthe result of the attempts of the software industry to automate design and manufacturing.

In the early 1980s the U.S.felt threatened about losing its global economic power. The way it sought to overcome this threat was to envision software as a tool to reduce costs in manufacturing, by automating parts of it. CAD software was in great demand, primarily as a way to reduce the costs for manufacturing, but also to increase U.S. competitiveness. It sped up the development of algorithms for digital drawing and rendering. In this context, Autodesk managed to emerge as a market leader with its AutoCAD and outcompeted many other similar products with a cheap price and features. (At that point in time CAD software used to be developed in-house for large corporations and cost tens of thousands of dollars. However strange it may sound, Autodesk wasamong the first to make CAD software affordable for less wealthy companies at the time, but not, of course, for individual creators.)

This was also the moment in history in which computer graphics transitioned from being part of scientific work to becomingwidely available for noncoding users. This move required producers to minimize maintenance obligations and costs by creating documentation and support services that detached users from developers. However, in the 1990s the business of CAD and desktop publishing software companies (like Adobe) stagnated and needed to diversify.

These growing CG software giants began to swallow smaller companies and incorporate these tools into their portfolios. As a result, individual CG creators got digital tools for drawing and animation, but dispossessed them from influence on technological development, a situation that art critique Boris Groys summarizes in his post,Art Production (March 18, 2013): "The post-industrial 'creative industries' presuppose the innovative, project-oriented and, in a certain way, autonomous working process. But on the other hand, the artists, designers, or writers use the means of production that they do not own or control." We may think that this is the default state of things that we end up with ever since the industrialization of work. But, this is not entirely true.

While CAD software was moving CG away from science (at least for the end user) in the 1980s and early 1990s, the Hollywood industry was experimenting with renewing animation by new tech and by bringing users into software development. Initially, such experiments were rather limited. Somewhere around the 1970s, Lucas Film tried to experiment with CG for making visual effects. Disney tried in the 1980s to introduce CG as a way to automate parts of its animation production. These tests did not have a big impact because these studios had a very well established division of labor, technology, and production pipeline. Any changes caused by new technologies would disrupt the ongoing work process and require major restructuring that they were reluctant to do (cited below,Tai).

For this reason, their early experiments were more of a test of what it would be to have some CG in a movie rather than an attempt to actually develop new algorithms. This was changed by Pixar.

A landmark moment is the call made by John Lasseter to the CG engineering community, through his 1987 SIGGRAPH paper, to improve the visual appeal of animation by redefining Disney's principles of motion for 3D. This paper was the first one in SIGGRAPH that came from an artist and not an engineer. It showed the need to bring artists and CG developers together in a conversation and to jointly improve both technology and the visual expressions that came with it.

In fact, the realization that artists need to be part of developing CG and computing was made in the 1960s through the work of an organization called Experiments in Art and Technology (E.A.T.). The organization tried to attract the computer industry (Xerox, IBM, Hewlett Packard, and Bell Labs) to fund experiments between electronic engineers and artists. E.A.T. thought that "corporations could extend their innovative capacity by providing artists access to their prohibitively expensive tools... Artists would realize their vision, engineers would learn to do different thingslook at things differently, and companies would harvest the ideas and patents." (cited below,Wisniowski). Some of the experiments that this organization managed to facilitate became exemplars of the nascent-at-the-time multimedia and technological arts.

Artists and engineers together would explore holograms, lasers, video, and computer graphics. For example, "Manfred Schroeder investigated the information content of visual images together with Leon Harmon and Ken Knowlton, to make one of E.A.T.'s most renown works called 'Computer Nude' a computer plot of a nude compiled from mathematical symbols" (cited below, Wisnioski).

This 1967 image was one of the first computer-processed prints in the history of digital graphics, and it was exhibited at the Museum of Modern Art in the first computer art exhibition to be arranged in New York, which was named "The Machine as Seen at the End of the Mechanical Age." Through such works, the engineer was also redefined as "an artist who begins with an idea or need" and then uses his "special tools," constrained by time and budget, to bridge the "creativity gap" between theory and reality (Wisnioski).

Ok, so, fast forwarding (rewinding?)back to the early 1990s, what Pixar, and later Dreamworks, SONY, and Ghibli realized was that there was no way to renew a visual medium without messing up with technology and involving artists and users in the process. Ever since, even if their general production process still resembles a factory with a hierarchical management, the development of artist vision and technology for each film go hand in hand.

Historically, they have tried to downplay the importance of technological development in public opinion, because the industry wants people to believe that their products are made by exceptionally talented artists (something very evident in some of the writings of Ed Catmull, Pixar's co-founder, for example).

This is changing now, with Pixar itself celebrating its technology and the possibility to bring together artists and developers through videos like The magic ingredient that brings Pixar movies to life. Yet, the Hollywood industry makes money not out of technology, but out of the content that it brands and circulates. So, we end up in a situation in which we have software companies that develop CG software, but users not being able to experiment with the algorithms, nor can they contact developers and experiment with alternative techno-art visions.

We now have a Hollywood industry that further pushes the development of CG algorithms and what can be done with them without making the tech available (or only sharing it to a very limited degree). There have recently been signals that this may be changing; for example, Ghibli made their Toonz animation software available for Linux users. But so far, sharing technology remains an exception.

On the backdrop of this history, free software like Blender, Synfig, Krita, and other projects for CG gainsignificance for several reasons that stretch beyond the four freedoms that free software gives.

First, free software allows the mimicking of the Hollywood industry's models of work while making it accessible for more individuals. It encourages practice-based CG development that can fit individual workflows and handle unexpected circumstances that emerge in the course of work, rather than aiming at a mass product for all situations and users. Catering to an individual's needs and adaptations of the software brings users work closer to craft and makes technology more human. Tools and individual skill can be continuously polished, shaped, and improved based on individual needs, rather than shaped by decisions "from above."

This sense of craft gets stronger as artists get in a direct contact with the developers of their tools of work. When they do so, artists and users start guiding technological development, and software engineers change into being servants rather than masters of technological development. I have written more about this in Free software beyond radical politics.

Perhaps the most important quality of free software for CG is precisely this one: to encourage connections between users and producers of technology, reshaping the ways in which technology gets produced nowadays. What happens when these connections get established?

My observations about the effects of these connections are based on some research I have been doing on the Blender and Synfig communities. One obvious outcome is that users gain a greater freedom and advantage to move between freelancing jobs across the world, because technology and a community to help are always easily available.

Surprisingly, most Blender users whom I have met in the past three years do not turn this into their advantage and try to escape the freelancing condition nor do they experiment radically with creating new aesthetic expressions with CG. Instead, the goal of many seems to be to try to reproduce the stylistic visions of Hollywood and bring them to the products they make for television, advertising, and other industries. There are some exceptions, of course, and there are artists who experiment with the medium (for example, the work of the ELI KURUS collective: Platonic Solids 3-D scans of plasticine sculptures 2015), but as a rule they end up being somewhat marginalized and receive less recognition by the community.

The freedom of users to connect to developers seems to bring so much satisfaction that it shifts away focus from problems of employment. The rush for catching the new job and updating portfolios seems to remove time from reflecting on what could be changed in the form of work, which occurs when the form of engaging with the technology has changed and been brought back to craft.

After all, short-term contracts and constant movement between continents might be a cool lifestyle, but they benefit economically mostly the industry that decreases its production costs and responsibilities for creators. Technology and a specific organization of work have given the birth of this very entertainment industry that follows the factory-like model and pushes everyone to constantly move around on short-term contracts. I wonderwhy more people, and not just the Blender Institute, are not trying to create alternative models of work for making computer graphics.

Tai, P.-y. (2012). The Principle of Animation: History and Theory of a Social Technology. Doctoral Dissertation. University of California Irvine, Irvine.

Wisnioski, M. H. (2012). Engineers for Change: Competing Visions of Technology in 1960s America. Engineering studies series. MIT Press, Cambridge, Mass.

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Rewriting the history of free software and computer graphics - Opensource.com

Vote on gun issue unfortunate | Editorials | salina.com – Salina Journal (subscription)

If Kansas lawmakers insist on allowing people to carry concealed firearms at the University of Kansas Medical Center, theres virtually no chance the Legislature will prohibit them on college or university campuses.

Thats unfortunate, because concealed weapons dont belong at any of those places.

A tie vote Wednesday on a measure in the House Federal and State Affairs Committee to ban concealed carry at the KU Medical Center doomed what was perhaps the best chance opponents had of preventing adults from being allowed to carry concealed weapons into hospitals or on college campuses.

Its not surprising, but its nevertheless disappointing, that Kansans trying to undo provisions of state laws that had expanded concealed carry to college campuses, hospitals and mental health clinics and all but eliminated restrictions on adults carrying concealed weapons have been unsuccessful at every turn. Earlier this session, a Senate committee turned away a broader bill.

They can take some consolation in being able to defeat efforts Wednesday by gun rights advocates to require landlords of government subsidized housing to allow tenants to have guns and to require private businesses in developments financed even in part with state sales tax money to allow concealed weapons in their businesses.

As have so many other debates about guns, the vote to keep concealed weapons out of the KU Med Center came down to arguments about the Second Amendment and public safety. The victors Wednesday said that the Second Amendment gives them the right to take their guns into the medical center and that guns in the hands of decent people there and elsewhere would make other people safer. The alternate argument is that Second Amendment rights are not absolute, that hospitals already are safe and that bringing guns into them enhances risks, not safety.

To be fair, hospitals and colleges have had an alternative to having to permit the presence of concealed weapons. Those include additional personnel and scanners that could detect weapons at every entrance of every building.

But as the writers of the Family and Personal Protection Act surely knew when they introduced it, such security measures at universities and hospitals would be so expensive as to be alternatives in name only.

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Europe’s Migrant Crisis | Reuters.com

LONDON (Thomson Reuters Foundation) - Kilap Gueye and Abdellatif Yakoubou arrived in Italy at two very different moments in history.

LONDON The head of Europe's police agency said it would "look again" at the largest migrant shipwreck in the Mediterranean this year after an investigation by Reuters and BBC Newsnight exposed a gap in the response by law enforcement.

ALEXANDRIA, Egypt At around 2 a.m. on Saturday, April 9, a large blue fishing boat carrying hundreds of African migrants and their children capsized just off the coast of Egypt.

LONDON (Thomson Reuters Foundation) - A hot meal. Dry clothes. A smile. Sometimes the first friendly face in months for hundreds of thousands of migrants who have come to Europe in the past two years is a volunteer aid worker.

ASOTTHALOM, Hungary On a recent evening on Hungary's border with Serbia, a fleet of police trucks raced along the dusty boundary.

BANGKOK (Thomson Reuters Foundation) - Tun Tun Win and his co-workers from Myanmar thought life was fine at the Thammakaset chicken farm in central Thailand, where they reared hundreds of thousands of birds for export to the European Union.

AGADEZ, Niger On Mayango Jallahs second attempt to reach Europe, he recalls, the dinghy he was in came within sight of southern Spain.

STOCKHOLM Swedes rarely use cash, but building firm owner Piotr cant get enough of the stuff.Every week, he spends hours racing from ATM to ATM using four credit cards to withdraw up to 80,000 Swedish crowns ($9,400). He needs the cash, he says, to pay the undocumented immigrant workers he employs.

ABUJA/DAKAR (Thomson Reuters Foundation) - A promising student who dreamed of going to university, Mary was 16 when a woman approached her mother at their home and offered to take the Nigerian teenager to Italy to find work.

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Europe's Migrant Crisis | Reuters.com