Archive for October, 2021

Indian Music and the best musicians India has seen!

by

Seenath

India as a country has made it big in many fields of art like music or movies, dancing and painting etc. It remains home for some of the best talents that the world has ever seen. All these artists today have made a mark on the international front owing it to their skills and religious practice. They have taken the Indian art, culture, music and dance beyond geographic boundaries. In case of the Indian singers, their soothing voices have reached out to and won many hearts globally. When it comes to Bollywood Hindi music, old is gold proves to be true. Eminent composers and singers like Mohammed Rafi, Kishore Kumar, Lata Mangeshkar, S.P. Balasubramaniam etc. have created music that everyone loves to listen to even today.

[youtube]http://www.youtube.com/watch?v=YvxNgdFeWqM[/youtube]

Mohammed Rafi was one of the greatest playback Singers in India during the 60s. He is considered to be a genius when it came to various styles of music. His songs were an amazing mix of melody and emotions. His music and voice evoked positivity. He was an active and energetic human being and this reflected to a large extent in the music he created. Kishore Kumar was a great Indian playback singer

who was affectionately referred to as Kishore Da by the others in the film fraternity. He experimented with different types of music. He shared an amazing bond with Mohammed Rafi and the duo has composed a lot of great music together with Rafi’s music and Kishore Da’s voice.

Lata Mangeshkar is a legend when it comes to Indian music. She has sung innumerable songs in various languages. Her voice is soft, emotional and poignant. She as a playback singer in bollywood has rendered her voice for many actresses. Her latest song in Bollywood was ‘Luka Chhupi’ from ‘Rang De Basanti’ which was composed by A. R. Rahman. Modern Bollywood songs are focusing entirely on the innovative use of new instruments. There is a recent trend of remixing these old classic songs and presenting them with new tunes and faster beats. The youth today prefers loud and fast music. The calmness and mild intricacy in case of the Indian bollywood music seems to have become extinct today.

All these

Indian singers

are the great musicians, after so much of innovation in Indian music industry; still person love listening their old songs and feels happy for such music.

Article Source:

ArticleRich.com

30
Oct

Sample from Turkish patient shows mutated Bird Flu virus

   Posted by: Admin    in Uncategorized

Monday, January 23, 2006

A mutated form of the Avian (Bird Flu) virus has been found in a sample taken from a Turkish patient.

The mutated form is said to make the virus easier to attach itself to humans rather than animals says a report in the Nature journal.

The situation is being monitored by the World Health Organization but says “it is too early to know whether the virus is changing in ways that would signal the start of a human flu pandemic,” says Maria Cheng a spokeswoman for the WHO. “It’s one isolate from a single virus from Turkey. The sample suggests the virus might be more inclined to bind to human cells rather than animal cells, but there’s no evidence that it’s becoming more infectious. If we started to see a lot more samples from Turkey with this mutation and saw the virus changing, we’d be more concerned.”

However, the Nature report says there is a second mutation that also “signals adaptation to humans.”

Cheng also said that “flu viruses mutate all the time. For us to assign public health significance to a genetic change we need to match it to what is happening epidemiologically — how the virus is behaving — and clinically — if it’s more or less virulent.”

In Turkey the fatality rate from the Bird Flu is 50% where elsewhere in the world reports of infection were only scattered. Entire families have been affected in Turkey and more reports come out almost every day of mild symptoms.

So far, Turkey has suffered four deaths and 21 infections. In addition to those cases the WHO reports 145 cases and 80 deaths in Cambodia, China, Indonesia, Thailand and Vietnam.

“When this outbreak (in Turkey) was first reported, there was a lot of concern it was behaving differently,” said Cheng. Subsequent investigation, however, has indicated no major behavioral change.

“The team there told us that after two weeks of investigating, they haven’t found substantial differences in the pattern we’ve seen in Southeast Asia,” said Cheng.

The mutations were discovered by scientists in London, England in a lab.

Cheng said this may “signify the virus is trying different things to see if it can more easily infect humans. So far, we haven’t seen that the virus has the ability to do this. But it’s important that we continue monitoring. We would be concerned if we were seeing successive generations of spread of the virus. We haven’t so far. All these people had a very clear history of contact with diseased birds.”

Health officials say that so far they do not see any evidence yet that the virus can spread easily in humans.

The Bird Flu virus, strain H5N1, first started to infect humans in 1997 in Hong Kong. In 2003 it re-emerged and it has so far been difficult to control.

Retrieved from “https://en.wikinews.org/w/index.php?title=Sample_from_Turkish_patient_shows_mutated_Bird_Flu_virus&oldid=2257342”
27
Oct

Surgeons reattach boy’s three severed limbs

   Posted by: Admin    in Uncategorized

Tuesday, March 29, 2005A team of Australian surgeons yesterday reattached both hands and one foot to 10-year-old Perth boy, Terry Vo, after a brick wall which collapsed during a game of basketball fell on him, severing the limbs. The wall gave way while Terry performed a slam-dunk, during a game at a friend’s birthday party.

The boy was today awake and smiling, still in some pain but in good spirits and expected to make a full recovery, according to plastic surgeon, Mr Robert Love.

“What we have is parts that are very much alive so the reattached limbs are certainly pink, well perfused and are indeed moving,” Mr Love told reporters today.

“The fact that he is moving his fingers, and of course when he wakes up he will move both fingers and toes, is not a surprise,” Mr Love had said yesterday.

“The question is more the sensory return that he will get in the hand itself and the fine movements he will have in the fingers and the toes, and that will come with time, hopefully. We will assess that over the next 18 months to two years.

“I’m sure that he’ll enjoy a game of basketball in the future.”

The weight and force of the collapse, and the sharp brick edges, resulted in the three limbs being cut through about 7cm above the wrists and ankle.

Terry’s father Tan said of his only child, the injuries were terrible, “I was scared to look at him, a horrible thing.”

The hands and foot were placed in an ice-filled Esky and rushed to hospital with the boy, where three teams of medical experts were assembled, and he was given a blood transfusion after experiencing massive blood loss. Eight hours of complex micro-surgery on Saturday night were followed by a further two hours of skin grafts yesterday.

“What he will lose because it was such a large zone of traumatised skin and muscle and so on, he will lose some of the skin so he’ll certainly require lots of further surgery regardless of whether the skin survives,” said Mr Love said today.

The boy was kept unconscious under anaesthetic between the two procedures. In an interview yesterday, Mr Love explained why:

“He could have actually been woken up the next day. Because we were intending to take him back to theatre for a second look, to look at the traumatised skin flaps, to close more of his wounds and to do split skin grafting, it was felt the best thing to do would be to keep him stable and to keep him anaesthetised.”

Professor Wayne Morrison, director of the respected Bernard O’Brien Institute of Microsurgery and head of plastic and hand surgery at Melbourne’s St Vincent’s Hospital, said he believed the operation to be a world first.

Retrieved from “https://en.wikinews.org/w/index.php?title=Surgeons_reattach_boy%27s_three_severed_limbs&oldid=440114”
27
Oct

Inventory Kpi In The Aviation Industry

   Posted by: Admin    in Consultant

Inventory KPI is important in any customer-oriented organization, from suppliers down to the end users. In the aviation industry, for instance, the end users may be the pilot, the flight crew or the passengers. With the field of aviation changing its business paradigm into something new, so does its inventory KPI as well.

Newer business models are currently being used in the aerospace industry. The focus may be on the use of narrow jets, wide bodied jets, low-cost carriers and many others. Inventory KPI is important in the supply of service facilities at global locations that are strategically dispersed to enable proper aircraft servicing. Many airline companies see just how important it is to be able to provide full service to ensure competitive edge. Moreover, in a military environment, tracking of inventory KPI is of even crucial importance as well, especially with the escalating use of net centric warfare and rapid reaction.

Also, new players with a varied geographical spread are entering the commercial aviation business. Especially in the aerospace industrys globally interdependent environment, effective and efficient management in logistics can spell a huge difference between profit and loss.

Good inventory management and measurement of inventory KPI can boost airline operations, resulting to an increase in sales and more economic benefits for locations where these airlines operate. Traditional inventory KPIs for handling stock control include ABC classification for parts based on frequency of use and value; measurement of stock turns and service level responsiveness and recording the rate of daily receipts.

These measures show that airline companies can boost its competitive edge when there is proper cash management for acquired goods and services. In fact, this particularly holds true when interest rates and inflation rise. Cost of holding stock increases subsequently and can even go up to about 20 to 30% of the items cost, to store it for a year. Proper inventory management can reduce operating costs by minimizing the space needed for operations, thus making it easier to gain higher profit margins and market share.

Many leaner operations and sophisticated supply networks in the aviation industry operate under the new business paradigm. Inefficiency can lead to financial repercussions in terms of aircraft on the ground (AOG) situation. This is why it is important to enhance and get maximum leverage in managing the inventory control system to incorporate the end-to-end supply chain.

While various departments also come with their own objectives, the key here is to effectively communicate both externally and internally within the organization in order to arrive at a level that is strategic to the businesss operational execution.

Organizational inventory KPI must be associated to its supplier base, in order for the supply chain to be working well towards the same objectives. This is especially important in key supply chain activities which include management of the supply chains risk vulnerability and ensuring the supplys security.

Apart from the importance of logistics and warehousing to strategic and operational success in the aviation business, inventory KPI should be dynamic and must go with the organizations strategy. For instance, inventory KPI should show that lean operations are in line with the activities in the supply chain.

26
Oct

Seeds placed in Norwegian vault as agricultural ‘insurance policy’

   Posted by: Admin    in Uncategorized

Wednesday, February 27, 2008

The Svalbard Global Seed Vault, a vault containing millions of seeds from all over the world, saw its first deposits on Tuesday. Located 800 kilometers from the North Pole on the Norwegian island of Spitsbergen, the vault has been referred to by European Commission president José Manuel Barroso as a “frozen Garden of Eden“. It is intended to preserve crop supplies and secure biological diversity in the event of a worldwide disaster.

“The opening of the seed vault marks a historic turning point in safeguarding the world’s crop diversity,” said Cary Fowler, executive director of the Global Crop Diversity Trust which is in charge of collecting the seed samples. The Norwegian government, who owns the bank, built it at a cost of $9.1 million.

At the opening ceremony, 100 million seeds from 268,000 samples were placed inside the vault, where there is room for over 2 billion seeds. Each of the samples originated from a different farm or field, in order to best ensure biological diversity. These crop seeds included such staples as rice, potatoes, barley, lettuce, maize, sorghum, and wheat. No genetically modified crops were included. (Beyond politics they are generally sterile so of no use.)

It is very important for Africa to store seeds here because anything can happen to our national seed banks.

Constructed deep inside a mountain and protected by concrete walls, the “doomsday vault” is designed to withstand earthquakes, nuclear warfare, and floods resulting from global warming. Norwegian Prime Minister Jens Stoltenberg called it an “insurance policy” against such threats.

With air-conditioned temperatures of -18 degrees Celsius, experts say the seeds could last for an entire millennium. Some crops will be able to last longer, like sorghum, which the Global Crop Diversity Trust says can last almost 20 millenniums. Even if the refrigeration system fails, the vaults are expected to stay frozen for 200 years.

The Prime Minister said, “With climate change and other forces threatening the diversity of life that sustains our planet, Norway is proud to be playing a central role in creating a facility capable of protecting what are not just seeds, but the fundamental building blocks of human civilization.” Stoltenberg, along with Kenyan Nobel Peace Prize laureate Wangari Maathai, made the first deposit of rice to the vault.

“It is very important for Africa to store seeds here because anything can happen to our national seed banks,” Maathai said. The vault will operate as a bank, allowing countries to use their deposited seeds free of charge. It will also serve as a backup to the thousands of other seed banks around the world.

“Crop diversity will soon prove to be our most potent and indispensable resource for addressing climate change, water and energy supply constraints and for meeting the food needs of a growing population,” Cary Fowler said.

Retrieved from “https://en.wikinews.org/w/index.php?title=Seeds_placed_in_Norwegian_vault_as_agricultural_%27insurance_policy%27&oldid=1971319”

Monday, March 30, 2009

First becoming famous in her native Ukraine in the 1990s, long-haired self-described “AmazonRuslana gained international recognition for winning the 2004 Eurovision Song Contest with her song “Wild Dances,” inspired by the musical traditions of the Hutsul people of the Ukrainian Carpathian Mountains.

In the five years since, Ruslana has decided to use her name and public status to represent a number of worthy causes, including human trafficking, renewable energy, and even the basic concept of democratic process, becoming a public face of Ukraine’s Orange Revolution and later serving in Parliament.

Currently, she is on an international publicity tour to promote her album Wild Energy, a project borne out of a science fiction novel that has come to symbolize her hopes for a newer, better, freer way of life for everyone in the world. She took time to respond to questions Wikinews’s Mike Halterman posed to her about her career in music and her other endeavors.

This is the fifth in a series of interviews with past Eurovision contestants, which will be published sporadically in the lead-up to mid-May’s next contest in Moscow.

Retrieved from “https://en.wikinews.org/w/index.php?title=Eurovision_%2704_winner_Ruslana_discusses_her_paths_as_singer,_spokesmodel,_stateswoman_and_source_of_inspiration&oldid=3548877”

Tuesday, July 14, 2009

This article mentions the Wikimedia Foundation, one of its projects, or people related to it. Wikinews is a project of the Wikimedia Foundation.

The English National Portrait Gallery (NPG) in London has threatened on Friday to sue a U.S. citizen, Derrick Coetzee. The legal letter followed claims that he had breached the Gallery’s copyright in several thousand photographs of works of art uploaded to the Wikimedia Commons, a free online media repository.

In a letter from their solicitors sent to Coetzee via electronic mail, the NPG asserted that it holds copyright in the photographs under U.K. law, and demanded that Coetzee provide various undertakings and remove all of the images from the site (referred to in the letter as “the Wikipedia website”).

Wikimedia Commons is a repository of free-to-use media, run by a community of volunteers from around the world, and is a sister project to Wikinews and the encyclopedia Wikipedia. Coetzee, who contributes to the Commons using the account “Dcoetzee”, had uploaded images that are free for public use under United States law, where he and the website are based. However copyright is claimed to exist in the country where the gallery is situated.

The complaint by the NPG is that under UK law, its copyright in the photographs of its portraits is being violated. While the gallery has complained to the Wikimedia Foundation for a number of years, this is the first direct threat of legal action made against an actual uploader of images. In addition to the allegation that Coetzee had violated the NPG’s copyright, they also allege that Coetzee had, by uploading thousands of images in bulk, infringed the NPG’s database right, breached a contract with the NPG; and circumvented a copyright protection mechanism on the NPG’s web site.

The copyright protection mechanism referred to is Zoomify, a product of Zoomify, Inc. of Santa Cruz, California. NPG’s solicitors stated in their letter that “Our client used the Zoomify technology to protect our client’s copyright in the high resolution images.”. Zoomify Inc. states in the Zoomify support documentation that its product is intended to make copying of images “more difficult” by breaking the image into smaller pieces and disabling the option within many web browsers to click and save images, but that they “provide Zoomify as a viewing solution and not an image security system”.

In particular, Zoomify’s website comments that while “many customers — famous museums for example” use Zoomify, in their experience a “general consensus” seems to exist that most museums are concerned with making the images in their galleries accessible to the public, rather than preventing the public from accessing them or making copies; they observe that a desire to prevent high resolution images being distributed would also imply prohibiting the sale of any posters or production of high quality printed material that could be scanned and placed online.

Other actions in the past have come directly from the NPG, rather than via solicitors. For example, several edits have been made directly to the English-language Wikipedia from the IP address 217.207.85.50, one of sixteen such IP addresses assigned to computers at the NPG by its ISP, Easynet.

In the period from August 2005 to July 2006 an individual within the NPG using that IP address acted to remove the use of several Wikimedia Commons pictures from articles in Wikipedia, including removing an image of the Chandos portrait, which the NPG has had in its possession since 1856, from Wikipedia’s biographical article on William Shakespeare.

Other actions included adding notices to the pages for images, and to the text of several articles using those images, such as the following edit to Wikipedia’s article on Catherine of Braganza and to its page for the Wikipedia Commons image of Branwell Brontë‘s portrait of his sisters:

“THIS IMAGE IS BEING USED WITHOUT PERMISSION FROM THE COPYRIGHT HOLDER.”
“This image is copyright material and must not be reproduced in any way without permission of the copyright holder. Under current UK copyright law, there is copyright in skilfully executed photographs of ex-copyright works, such as this painting of Catherine de Braganza.
The original painting belongs to the National Portrait Gallery, London. For copies, and permission to reproduce the image, please contact the Gallery at picturelibrary@npg.org.uk or via our website at www.npg.org.uk”

Other, later, edits, made on the day that NPG’s solicitors contacted Coetzee and drawn to the NPG’s attention by Wikinews, are currently the subject of an internal investigation within the NPG.

Coetzee published the contents of the letter on Saturday July 11, the letter itself being dated the previous day. It had been sent electronically to an email address associated with his Wikimedia Commons user account. The NPG’s solicitors had mailed the letter from an account in the name “Amisquitta”. This account was blocked shortly after by a user with access to the user blocking tool, citing a long standing Wikipedia policy that the making of legal threats and creation of a hostile environment is generally inconsistent with editing access and is an inappropriate means of resolving user disputes.

The policy, initially created on Commons’ sister website in June 2004, is also intended to protect all parties involved in a legal dispute, by ensuring that their legal communications go through proper channels, and not through a wiki that is open to editing by other members of the public. It was originally formulated primarily to address legal action for libel. In October 2004 it was noted that there was “no consensus” whether legal threats related to copyright infringement would be covered but by the end of 2006 the policy had reached a consensus that such threats (as opposed to polite complaints) were not compatible with editing access while a legal matter was unresolved. Commons’ own website states that “[accounts] used primarily to create a hostile environment for another user may be blocked”.

In a further response, Gregory Maxwell, a volunteer administrator on Wikimedia Commons, made a formal request to the editorial community that Coetzee’s access to administrator tools on Commons should be revoked due to the prevailing circumstances. Maxwell noted that Coetzee “[did] not have the technically ability to permanently delete images”, but stated that Coetzee’s potential legal situation created a conflict of interest.

Sixteen minutes after Maxwell’s request, Coetzee’s “administrator” privileges were removed by a user in response to the request. Coetzee retains “administrator” privileges on the English-language Wikipedia, since none of the images exist on Wikipedia’s own website and therefore no conflict of interest exists on that site.

Legally, the central issue upon which the case depends is that copyright laws vary between countries. Under United States case law, where both the website and Coetzee are located, a photograph of a non-copyrighted two-dimensional picture (such as a very old portrait) is not capable of being copyrighted, and it may be freely distributed and used by anyone. Under UK law that point has not yet been decided, and the Gallery’s solicitors state that such photographs could potentially be subject to copyright in that country.

One major legal point upon which a case would hinge, should the NPG proceed to court, is a question of originality. The U.K.’s Copyright, Designs and Patents Act 1988 defines in ¶ 1(a) that copyright is a right that subsists in “original literary, dramatic, musical or artistic works” (emphasis added). The legal concept of originality here involves the simple origination of a work from an author, and does not include the notions of novelty or innovation that is often associated with the non-legal meaning of the word.

Whether an exact photographic reproduction of a work is an original work will be a point at issue. The NPG asserts that an exact photographic reproduction of a copyrighted work in another medium constitutes an original work, and this would be the basis for its action against Coetzee. This view has some support in U.K. case law. The decision of Walter v Lane held that exact transcriptions of speeches by journalists, in shorthand on reporter’s notepads, were original works, and thus copyrightable in themselves. The opinion by Hugh Laddie, Justice Laddie, in his book The Modern Law of Copyright, points out that photographs lie on a continuum, and that photographs can be simple copies, derivative works, or original works:

“[…] it is submitted that a person who makes a photograph merely by placing a drawing or painting on the glass of a photocopying machine and pressing the button gets no copyright at all; but he might get a copyright if he employed skill and labour in assembling the thing to be photocopied, as where he made a montage.”

Various aspects of this continuum have already been explored in the courts. Justice Neuberger, in the decision at Antiquesportfolio.com v Rodney Fitch & Co. held that a photograph of a three-dimensional object would be copyrightable if some exercise of judgement of the photographer in matters of angle, lighting, film speed, and focus were involved. That exercise would create an original work. Justice Oliver similarly held, in Interlego v Tyco Industries, that “[i]t takes great skill, judgement and labour to produce a good copy by painting or to produce an enlarged photograph from a positive print, but no-one would reasonably contend that the copy, painting, or enlargement was an ‘original’ artistic work in which the copier is entitled to claim copyright. Skill, labour or judgement merely in the process of copying cannot confer originality.”.

In 2000 the Museums Copyright Group, a copyright lobbying group, commissioned a report and legal opinion on the implications of the Bridgeman case for the UK, which stated:

“Revenue raised from reproduction fees and licensing is vital to museums to support their primary educational and curatorial objectives. Museums also rely on copyright in photographs of works of art to protect their collections from inaccurate reproduction and captioning… as a matter of principle, a photograph of an artistic work can qualify for copyright protection in English law”. The report concluded by advocating that “museums must continue to lobby” to protect their interests, to prevent inferior quality images of their collections being distributed, and “not least to protect a vital source of income”.

Several people and organizations in the U.K. have been awaiting a test case that directly addresses the issue of copyrightability of exact photographic reproductions of works in other media. The commonly cited legal case Bridgeman Art Library v. Corel Corp. found that there is no originality where the aim and the result is a faithful and exact reproduction of the original work. The case was heard twice in New York, once applying UK law and once applying US law. It cited the prior UK case of Interlego v Tyco Industries (1988) in which Lord Oliver stated that “Skill, labour or judgement merely in the process of copying cannot confer originality.”

“What is important about a drawing is what is visually significant and the re-drawing of an existing drawing […] does not make it an original artistic work, however much labour and skill may have gone into the process of reproduction […]”

The Interlego judgement had itself drawn upon another UK case two years earlier, Coca-Cola Go’s Applications, in which the House of Lords drew attention to the “undesirability” of plaintiffs seeking to expand intellectual property law beyond the purpose of its creation in order to create an “undeserving monopoly”. It commented on this, that “To accord an independent artistic copyright to every such reproduction would be to enable the period of artistic copyright in what is, essentially, the same work to be extended indefinitely… ”

The Bridgeman case concluded that whether under UK or US law, such reproductions of copyright-expired material were not capable of being copyrighted.

The unsuccessful plaintiff, Bridgeman Art Library, stated in 2006 in written evidence to the House of Commons Committee on Culture, Media and Sport that it was “looking for a similar test case in the U.K. or Europe to fight which would strengthen our position”.

The National Portrait Gallery is a non-departmental public body based in London England and sponsored by the Department for Culture, Media and Sport. Founded in 1856, it houses a collection of portraits of historically important and famous British people. The gallery contains more than 11,000 portraits and 7,000 light-sensitive works in its Primary Collection, 320,000 in the Reference Collection, over 200,000 pictures and negatives in the Photographs Collection and a library of around 35,000 books and manuscripts. (More on the National Portrait Gallery here)

The gallery’s solicitors are Farrer & Co LLP, of London. Farrer’s clients have notably included the British Royal Family, in a case related to extracts from letters sent by Diana, Princess of Wales which were published in a book by ex-butler Paul Burrell. (In that case, the claim was deemed unlikely to succeed, as the extracts were not likely to be in breach of copyright law.)

Farrer & Co have close ties with industry interest groups related to copyright law. Peter Wienand, Head of Intellectual Property at Farrer & Co., is a member of the Executive body of the Museums Copyright Group, which is chaired by Tom Morgan, Head of Rights and Reproductions at the National Portrait Gallery. The Museums Copyright Group acts as a lobbying organization for “the interests and activities of museums and galleries in the area of [intellectual property rights]”, which reacted strongly against the Bridgeman Art Library v. Corel Corp. case.

Wikimedia Commons is a repository of images, media, and other material free for use by anyone in the world. It is operated by a community of 21,000 active volunteers, with specialist rights such as deletion and blocking restricted to around 270 experienced users in the community (known as “administrators”) who are trusted by the community to use them to enact the wishes and policies of the community. Commons is hosted by the Wikimedia Foundation, a charitable body whose mission is to make available free knowledge and historic and other material which is legally distributable under US law. (More on Commons here)

The legal threat also sparked discussions of moral issues and issues of public policy in several Internet discussion fora, including Slashdot, over the weekend. One major public policy issue relates to how the public domain should be preserved.

Some of the public policy debate over the weekend has echoed earlier opinions presented by Kenneth Hamma, the executive director for Digital Policy at the J. Paul Getty Trust. Writing in D-Lib Magazine in November 2005, Hamma observed:

“Art museums and many other collecting institutions in this country hold a trove of public-domain works of art. These are works whose age precludes continued protection under copyright law. The works are the result of and evidence for human creativity over thousands of years, an activity museums celebrate by their very existence. For reasons that seem too frequently unexamined, many museums erect barriers that contribute to keeping quality images of public domain works out of the hands of the general public, of educators, and of the general milieu of creativity. In restricting access, art museums effectively take a stand against the creativity they otherwise celebrate. This conflict arises as a result of the widely accepted practice of asserting rights in the images that the museums make of the public domain works of art in their collections.”

He also stated:

“This resistance to free and unfettered access may well result from a seemingly well-grounded concern: many museums assume that an important part of their core business is the acquisition and management of rights in art works to maximum return on investment. That might be true in the case of the recording industry, but it should not be true for nonprofit institutions holding public domain art works; it is not even their secondary business. Indeed, restricting access seems all the more inappropriate when measured against a museum’s mission — a responsibility to provide public access. Their charitable, financial, and tax-exempt status demands such. The assertion of rights in public domain works of art — images that at their best closely replicate the values of the original work — differs in almost every way from the rights managed by the recording industry. Because museums and other similar collecting institutions are part of the private nonprofit sector, the obligation to treat assets as held in public trust should replace the for-profit goal. To do otherwise, undermines the very nature of what such institutions were created to do.”

Hamma observed in 2005 that “[w]hile examples of museums chasing down digital image miscreants are rare to non-existent, the expectation that museums might do so has had a stultifying effect on the development of digital image libraries for teaching and research.”

The NPG, which has been taking action with respect to these images since at least 2005, is a public body. It was established by Act of Parliament, the current Act being the Museums and Galleries Act 1992. In that Act, the NPG Board of Trustees is charged with maintaining “a collection of portraits of the most eminent persons in British history, of other works of art relevant to portraiture and of documents relating to those portraits and other works of art”. It also has the tasks of “secur[ing] that the portraits are exhibited to the public” and “generally promot[ing] the public’s enjoyment and understanding of portraiture of British persons and British history through portraiture both by means of the Board’s collection and by such other means as they consider appropriate”.

Several commentators have questioned how the NPG’s statutory goals align with its threat of legal action. Mike Masnick, founder of Techdirt, asked “The people who run the Gallery should be ashamed of themselves. They ought to go back and read their own mission statement[. …] How, exactly, does suing someone for getting those portraits more attention achieve that goal?” (external link Masnick’s). L. Sutherland of Bigmouthmedia asked “As the paintings of the NPG technically belong to the nation, does that mean that they should also belong to anyone that has access to a computer?”

Other public policy debates that have been sparked have included the applicability of U.K. courts, and U.K. law, to the actions of a U.S. citizen, residing in the U.S., uploading files to servers hosted in the U.S.. Two major schools of thought have emerged. Both see the issue as encroachment of one legal system upon another. But they differ as to which system is encroaching. One view is that the free culture movement is attempting to impose the values and laws of the U.S. legal system, including its case law such as Bridgeman Art Library v. Corel Corp., upon the rest of the world. Another view is that a U.K. institution is attempting to control, through legal action, the actions of a U.S. citizen on U.S. soil.

David Gerard, former Press Officer for Wikimedia UK, the U.K. chapter of the Wikimedia Foundation, which has been involved with the “Wikipedia Loves Art” contest to create free content photographs of exhibits at the Victoria and Albert Museum, stated on Slashdot that “The NPG actually acknowledges in their letter that the poster’s actions were entirely legal in America, and that they’re making a threat just because they think they can. The Wikimedia community and the WMF are absolutely on the side of these public domain images remaining in the public domain. The NPG will be getting radioactive publicity from this. Imagine the NPG being known to American tourists as somewhere that sues Americans just because it thinks it can.”

Benjamin Crowell, a physics teacher at Fullerton College in California, stated that he had received a letter from the Copyright Officer at the NPG in 2004, with respect to the picture of the portrait of Isaac Newton used in his physics textbooks, that he publishes in the U.S. under a free content copyright licence, to which he had replied with a pointer to Bridgeman Art Library v. Corel Corp..

The Wikimedia Foundation takes a similar stance. Erik Möller, the Deputy Director of the US-based Wikimedia Foundation wrote in 2008 that “we’ve consistently held that faithful reproductions of two-dimensional public domain works which are nothing more than reproductions should be considered public domain for licensing purposes”.

Contacted over the weekend, the NPG issued a statement to Wikinews:

“The National Portrait Gallery is very strongly committed to giving access to its Collection. In the past five years the Gallery has spent around £1 million digitising its Collection to make it widely available for study and enjoyment. We have so far made available on our website more than 60,000 digital images, which have attracted millions of users, and we believe this extensive programme is of great public benefit.
“The Gallery supports Wikipedia in its aim of making knowledge widely available and we would be happy for the site to use our low-resolution images, sufficient for most forms of public access, subject to safeguards. However, in March 2009 over 3000 high-resolution files were appropriated from the National Portrait Gallery website and published on Wikipedia without permission.
“The Gallery is very concerned that potential loss of licensing income from the high-resolution files threatens its ability to reinvest in its digitisation programme and so make further images available. It is one of the Gallery’s primary purposes to make as much of the Collection available as possible for the public to view.
“Digitisation involves huge costs including research, cataloguing, conservation and highly-skilled photography. Images then need to be made available on the Gallery website as part of a structured and authoritative database. To date, Wikipedia has not responded to our requests to discuss the issue and so the National Portrait Gallery has been obliged to issue a lawyer’s letter. The Gallery remains willing to enter into a dialogue with Wikipedia.

In fact, Matthew Bailey, the Gallery’s (then) Assistant Picture Library Manager, had already once been in a similar dialogue. Ryan Kaldari, an amateur photographer from Nashville, Tennessee, who also volunteers at the Wikimedia Commons, states that he was in correspondence with Bailey in October 2006. In that correspondence, according to Kaldari, he and Bailey failed to conclude any arrangement.

Jay Walsh, the Head of Communications for the Wikimedia Foundation, which hosts the Commons, called the gallery’s actions “unfortunate” in the Foundation’s statement, issued on Tuesday July 14:

“The mission of the Wikimedia Foundation is to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. To that end, we have very productive working relationships with a number of galleries, archives, museums and libraries around the world, who join with us to make their educational materials available to the public.
“The Wikimedia Foundation does not control user behavior, nor have we reviewed every action taken by that user. Nonetheless, it is our general understanding that the user in question has behaved in accordance with our mission, with the general goal of making public domain materials available via our Wikimedia Commons project, and in accordance with applicable law.”

The Foundation added in its statement that as far as it was aware, the NPG had not attempted “constructive dialogue”, and that the volunteer community was presently discussing the matter independently.

In part, the lack of past agreement may have been because of a misunderstanding by the National Portrait Gallery of Commons and Wikipedia’s free content mandate; and of the differences between Wikipedia, the Wikimedia Foundation, the Wikimedia Commons, and the individual volunteer workers who participate on the various projects supported by the Foundation.

Like Coetzee, Ryan Kaldari is a volunteer worker who does not represent Wikipedia or the Wikimedia Commons. (Such representation is impossible. Both Wikipedia and the Commons are endeavours supported by the Wikimedia Foundation, and not organizations in themselves.) Nor, again like Coetzee, does he represent the Wikimedia Foundation.

Kaldari states that he explained the free content mandate to Bailey. Bailey had, according to copies of his messages provided by Kaldari, offered content to Wikipedia (naming as an example the photograph of John Opie‘s 1797 portrait of Mary Wollstonecraft, whose copyright term has since expired) but on condition that it not be free content, but would be subject to restrictions on its distribution that would have made it impossible to use by any of the many organizations that make use of Wikipedia articles and the Commons repository, in the way that their site-wide “usable by anyone” licences ensures.

The proposed restrictions would have also made it impossible to host the images on Wikimedia Commons. The image of the National Portrait Gallery in this article, above, is one such free content image; it was provided and uploaded to the Wikimedia Commons under the terms of the GNU Free Documentation Licence, and is thus able to be used and republished not only on Wikipedia but also on Wikinews, on other Wikimedia Foundation projects, as well as by anyone in the world, subject to the terms of the GFDL, a license that guarantees attribution is provided to the creators of the image.

As Commons has grown, many other organizations have come to different arrangements with volunteers who work at the Wikimedia Commons and at Wikipedia. For example, in February 2009, fifteen international museums including the Brooklyn Museum and the Victoria and Albert Museum established a month-long competition where users were invited to visit in small teams and take high quality photographs of their non-copyright paintings and other exhibits, for upload to Wikimedia Commons and similar websites (with restrictions as to equipment, required in order to conserve the exhibits), as part of the “Wikipedia Loves Art” contest.

Approached for comment by Wikinews, Jim Killock, the executive director of the Open Rights Group, said “It’s pretty clear that these images themselves should be in the public domain. There is a clear public interest in making sure paintings and other works are usable by anyone once their term of copyright expires. This is what US courts have recognised, whatever the situation in UK law.”

The Digital Britain report, issued by the U.K.’s Department for Culture, Media, and Sport in June 2009, stated that “Public cultural institutions like Tate, the Royal Opera House, the RSC, the Film Council and many other museums, libraries, archives and galleries around the country now reach a wider public online.” Culture minster Ben Bradshaw was also approached by Wikinews for comment on the public policy issues surrounding the on-line availability of works in the public domain held in galleries, re-raised by the NPG’s threat of legal action, but had not responded by publication time.

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24
Oct

Dog Problems. The Facts!.}

   Posted by: Admin    in Dogs

Dog Problems. The Facts!.

by

nathan shortWhen you get a puppy, you might not think straight awayabout dog training, but you should. Having a well trained dog can mean the difference between a settled household and a chaotic one.

Dog behavior is directly impacted by how much training he has. He needs to have structure and limits in his life. If you don’t provide this, he will, and that can create significant behavior problems in your dog.

Why Train Your Dog?

No matter your dog’s breed, he is descended from wolves and his instinct is to be part of a pack. In the dog pack, there is a hierarchy, with clear dominant roles and submissive roles. If you don’t make yourself the leader of the pack, your dog will make himself the leader. That’s not good and creates all kinds of dog problems.

Training reinforces and establishes the hierarchy concept for a dog. It teaches him that someone in the household is in control and that he must submit to that person.

Although some people say they prefer to not provide any dog obedience training, that’s a mistake. Puppy training it’s best to start them young can do much for your young dog, and will only help him as he gets older.

Where to Get Training?

You have a few choices:

[youtube]http://www.youtube.com/watch?v=mHeVrl-XPZQ[/youtube]

1. You can hire a professional trainer to come to your house

2. You can attend dog obedience training classes3. You can purchase an online ebook and CD or DVD (the cheapest and the preferred option)

Whatever you do, it’s important that your dog’s first (and future) experience with training is successful.

Crate Training.

When most of us think about dog training, we think first and foremost about dog obedience training. Dog obedience training is really about the basics of training and includes learning commands like sit,” stay,” and heel.”

Even if your dog only learns the most basic of dog training commands, his understanding of just these basic commands will be immensely useful to you as the dog owner.

A dog that’s received some dog obedience training is also much more pleasant to strangers and other dogs. You can control his behavior when necessary and he will also develop the inner discipline that will help him make right decisions even when you’re not around.

Dog House Training

Dog house training is something you can do yourself. You don’t need the experts for this, though a little advice from a dog training expert certainly can’t hurt.

Your dog should be house trained in order to ensure that he can understand the basics of his needs. That is, he should understand, through some consistent dog house training efforts on your part, that there are certain needs he has that must be met appropriately.

If you have never done any puppy training before with potty issues, you might look in the following places:

* Books, online ebooks and CD or DVD

* You Tube videos* Friends with more experience than you* Dog training experts

Crate Training

The concept of crate training is lost on many dog owners, but it’s a concept and a behavior that should be encouraged.

Crate training dogs gives them a sense of safety and security. While initially, many dog owners will use crate training as a puppy training method, the older dog benefits greatly from using a crate as well.

Crate training can be used to reinforce house training, or it can be used as a tool to teach a dog to sleep in a particular place at night, to keep the dog away from strangers, or transport the dog in the car.

There are so many essential uses for crate training, in fact, that dogs suffer from not having this kind of dog obedience training in their lives.

Basic Dog Obedience Training

Dog training tips run the gamut from be sure you use a firm voice” to let your dog lead the way.” The reality is what works for you might not work for someone else and a different dog might respond differently to training.

Find your own path with your new dog. Keeping in mind that:

* He needs structure and discipline and dog obedience training gives him that

* He will respond to firm direction from you that’s given lovingly and consistently* Both you and he will be happier in your relationship if your dog has even the basic comprehension of dog obedience training.

Dog training is an essential part of owning a dog. It’s worth whatever effort you are willing to give it.

We hoped you enjoyed this article about the

Dog Problems

.Please visit our website for more articles and information.

Article Source:

eArticlesOnline.com}

22
Oct

High percentage of US patients on placebos without knowing it

   Posted by: Admin    in Uncategorized

Friday, January 4, 2008

A new study amongst doctors in the United States on the use of placebos—pills with no medical effect—shows that almost half of the questioned practitioners prescribe placebos, most of them within the last year.

The majority of 466 faculty physicians at Chicago-area medical schools interviewed by a research group of the University of Chicago stated that placebos are useful to calm a patient down or to respond to demands for medication that the doctor disagrees with, i.e. “to get the patient to stop complaining”.

96 percent of the physicians surveyed believe that placebos can have therapeutic effects. Close to 40 percent stated that placebos could benefit patents physiologically as well as mentally.

Twelve percent of surveyed physicians think that placebos should be banned from clinical practice. Among the doctors who prescribed them, one in five said they outright lied to patients by claiming a placebo was medication. But more often the physicians came up with ways to explain like that “this may help you but I’m not sure how it works.”

The American Medical Association (AMA), the largest association of U.S. doctors and medical students, tells its members that “[p]hysicians may use placebos for diagnosis or treatment only if the patient is informed of and agrees to its use.” The research, published in Journal of General Internal Medicine this week, is the first major U.S. study of doctors on the use of placebos since 1979.

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22
Oct

The Simpsons episode to premiere on Sky1

   Posted by: Admin    in Uncategorized

Tuesday, March 17, 2009

In the Name of the Grandfather“, the fourteenth episode of the twentieth season of the American animated television series The Simpsons will today become the first episode of the show to premiere in Europe. It will air at 7:30 PM on Sky1 in the United Kingdom and Ireland and be paired with “Sex, Pies and Idiot Scrapes“. The special broadcast is part of FOX’s year-long “Best. 20 Years. Ever.” celebration which commemorates the 20th anniversary of the show. To promote the broadcast, executive producers Al Jean and James L. Brooks, as well as Nancy Cartwright visited Ireland and are scheduled to participate in the Saint Patrick’s Day parade in Dublin. The episode was screened at the Lighthouse Cinema in Dublin on March 16. The American debut of the episode will be March 22, 2009.

In the episode, the Simpson family travels to Ireland so Grampa can visit a pub where he once had the best night of his life. Guest stars scheduled for the episode include Colm Meaney as Tom O’Flanagan, Kathy Ireland as herself, Glen Hansard as a street musician and Markéta Irglová as an Eastern European woman.

We wanted it to be an affectionate love letter to Ireland.

Executive producer Al Jean stated the episode is intended to be “an affectionate love letter to Ireland” because many of the writers have Irish roots. The episode will feature Irish landmarks including Giant’s Causeway, the Blarney Castle and the Guinness Brewery.

Previous episodes of the show where the Simpson family visits other countries have been controversial. For example, the Simpsons visited Australia in “Bart vs. Australia” and Brazil in “Blame it on Lisa“, and both episodes generated controversy and negative reaction in the visited countries.

The Rio de Janeiro tourist board claimed that the city was portrayed as having rampant street crime, kidnappings, slums, and monkey and rat infestations; and threatened FOX with legal action. When asked whether he thought this episode would generate similar controversies, Al Jean replied “I’m Irish American and I know Irish people have an excellent sense of humor so we weren’t very worried.”

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