Biometrics applications: physical access This is the largest area of application of biometric technologies, and the most direct lineage to the feudal gate keeping system. Initially mainly used in military and other "high security" territories, physical access control by biometric technology is spreading into a much wider field of application. Biometric access control technologies are already being used in schools, supermarkets, hospitals and commercial centres, where the are used to manage the flow of personnel. Biometric technologies are also used to control access to political territory, as in immigration (airports, Mexico-USA border crossing). In this case, they can be coupled with camera surveillance systems and artificial intelligence in order to identify potential suspects at unmanned border crossings. Examples of such uses in remote video inspection systems can be found at http://www.eds-ms.com/acsd/RVIS.htm A gate keeping system for airports relying on digital fingerprint and hand geometry is described at http://www.eds-ms.com/acsd/INSPASS.htm. This is another technology which allows separating "low risk" travellers from "other" travellers. An electronic reconstruction of feudal gate keeping capable of singling out high-risk travellers from the rest is already applied at various border crossing points in the USA. "All enrolees are compared against national lookout databases on a daily basis to ensure that individuals remain low risk". As a side benefit, the economy of time generated by the inspection system has meant that "drug seizures ... have increased since Inspectors are able to spend more time evaluating higher risk vehicles". However, biometric access control can not only prevent people from gaining access on to a territory or building, they can also prevent them from getting out of buildings, as in the case of prisons.

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Challenges for Copyright by ICT: Introduction Traditional copyright and the practice of paying royalties to the creators of intellectual property have emerged with the introduction of the printing press (1456). Therefore early copyright law has been tailored to the technology of print and the (re) production of works in analogue form. Over the centuries legislation concerning the protection of intellectual property has been adapted several times in order to respond to the technological changes in the production and distribution of information. Yet again new technologies have altered the way of how (copyrighted) works are produced, copied, made obtainable and distributed. The emergence of global electronic networks and the increased availability of digitalized intellectual property confront existing copyright with a variety of questions and challenges. Although the combination of several types of works within one larger work or on one data carrier, and the digital format (although this may be a recent development it has been the object of detailed legal scrutiny), as well as networking (telephone and cable networks have been in use for a long time, although they do not permit interactivity) are nothing really new, the circumstance that recent technologies allow the presentation and storage of text, sound and visual information in digital form indeed is a novel fact. Like that the entire information can be generated, altered and used by and on one and the same device, irrespective of whether it is provided online or offline.

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Basics: Infringement and Fair Use The rights of a copyright holder are infringed when one of the acts requiring the authorization of the owner is done by someone else without his consent. In the case of copyright infringement or the violation of neighboring rights the remedies for the copyright owner consist of civil redress. The unauthorized copying of protected works for commercial purposes and the unauthorized commercial dealing in copied material is usually referred to as "piracy". Yet copyright laws also provide that the rights of copyright owners are subject to the doctrine of "fair use". That allows the reproduction and use of a work, notwithstanding the rights of the author, for limited purposes such as criticism, comment, news reporting, teaching, and research. Fair use may be described as the privilege to use the copyrighted material in a reasonable manner without the owner's consent. To determine whether a use is fair or not most copyright laws consider: - the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes (usually certain types of educational copying are allowed) - the nature of the copyrighted work (mostly originals made for commercial reasons are less protected than their purely artistic counterparts) - the amount and substantiality of the portion used in relation to the copyrighted work as a whole - the effect of the use upon the potential market for or value of the copyrighted work (as a general rule copying may be permitted if it is unlikely to cause economic harm to the original author) Examples of activities that may be excused as fair use include: providing a quotation in a book review; distributing copies of a section of an article in class for educational purposes; and imitating a work for the purpose of parody or social commentary.

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Ron Rivest Ronald L. Rivest is Webster Professor of Electrical Engineering and Computer Science in MIT's EECS Department. He was one of three persons in a team to invent the RSA public-key cryptosystem. The co-authors were Adi Shamir and Leonard M. Adleman.

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The Flesh Machine This is the tile of a book by the Critical Art Ensemble which puts the development of artifical life into a critical historical and political context, defining the power vectors which act as the driving force behind this development. The book is available in a print version (New York, Autonomedia 1998) and in an online version at http://www.critical-art.net/fles/book/index.html

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Critical Art Ensemble Critical Art Ensemble is a collective of five artists of various specializations dedicated to exploring the intersections between art, technology, radical politics, and critical theory. CAE have published a number of books and carried out innovative art projects containing insightful and ironic theoretical contributions to media art. Projects include Addictionmania, Useless Technology, The Therapeutic State, Diseases of Consciousness, Machineworld, As Above So Below, and Flesh Machine. http://www.critical-art.net

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