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Suicide bomber attacks Indian Embassy in Kabul, killing at least 41

Monday, July 7, 2008

A car bomb was used in an attack on the Indian embassy in central Kabul, Afghanistan on Monday morning. The bombing killed 41, and injured at least 141. It is the deadliest attack in Kabul since 2001, when Afghanistan’s Taliban government was ousted by American armed forces.

The attack happened at the gates of the embassy, located in central Kabul, near many other government buildings including the office of the Interior Ministry of Afghanistan. A security office and part of a wall were destroyed, and the blast was large enough to spread debris to surrounding buildings. Ali Hassan Fahimi, whose office is nearby, said shrapnel landed in his office. “It was so strong… our staff were shocked,” he commented.

Many of the victims were Afghans who were lining up for visas to travel to India. Of the casualties, most were civilians. The dead include embassy workers, a defense attache, a senior counselor, two security guards, an Afghan employee and six police officers.

The foreign ministry of Afghanistan said that they “condemn today’s terrorist attack on the embassy of the friendly and brother country of India.” An Afghan government spokesman, Zamari Bashari, suggested that the attack was retaliation for India’s support for reconstruction in Afghanistan. India called the bombing a “cowardly terrorist attack” and said that they would send a delegation to investigate.

Foreign entities voiced similar sentiments. The United Nations envoy Kai Eide said, “I condemn it in the strongest possible terms. In no culture, no country, and no religion is there any excuse or justification for such acts. The total disregard for innocent lives is staggering and those behind this must be held responsible.” The European Union condemned the attack as a “terrorist attack targeting innocent civilians” and the United States said it was a “needless act of violence”. The foreign minister of Pakistan, Shah Mahmood Qureshi, denounced the attack, saying, “Pakistan condemns terrorism in all its forms and manifestations as this menace negates the very essence of human values.”

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Cleveland, Ohio clinic performs US’s first face transplant

Thursday, December 18, 2008

A team of eight transplant surgeons in Cleveland Clinic in Ohio, USA, led by reconstructive surgeon Dr. Maria Siemionow, age 58, have successfully performed the first almost total face transplant in the US, and the fourth globally, on a woman so horribly disfigured due to trauma, that cost her an eye. Two weeks ago Dr. Siemionow, in a 23-hour marathon surgery, replaced 80 percent of her face, by transplanting or grafting bone, nerve, blood vessels, muscles and skin harvested from a female donor’s cadaver.

The Clinic surgeons, in Wednesday’s news conference, described the details of the transplant but upon request, the team did not publish her name, age and cause of injury nor the donor’s identity. The patient’s family desired the reason for her transplant to remain confidential. The Los Angeles Times reported that the patient “had no upper jaw, nose, cheeks or lower eyelids and was unable to eat, talk, smile, smell or breathe on her own.” The clinic’s dermatology and plastic surgery chair, Francis Papay, described the nine hours phase of the procedure: “We transferred the skin, all the facial muscles in the upper face and mid-face, the upper lip, all of the nose, most of the sinuses around the nose, the upper jaw including the teeth, the facial nerve.” Thereafter, another team spent three hours sewing the woman’s blood vessels to that of the donor’s face to restore blood circulation, making the graft a success.

The New York Times reported that “three partial face transplants have been performed since 2005, two in France and one in China, all using facial tissue from a dead donor with permission from their families.” “Only the forehead, upper eyelids, lower lip, lower teeth and jaw are hers, the rest of her face comes from a cadaver; she could not eat on her own or breathe without a hole in her windpipe. About 77 square inches of tissue were transplanted from the donor,” it further described the details of the medical marvel. The patient, however, must take lifetime immunosuppressive drugs, also called antirejection drugs, which do not guarantee success. The transplant team said that in case of failure, it would replace the part with a skin graft taken from her own body.

Dr. Bohdan Pomahac, a Brigham and Women’s Hospital surgeon praised the recent medical development. “There are patients who can benefit tremendously from this. It’s great that it happened,” he said.

Leading bioethicist Arthur Caplan of the University of Pennsylvania withheld judgment on the Cleveland transplant amid grave concerns on the post-operation results. “The biggest ethical problem is dealing with failure — if your face rejects. It would be a living hell. If your face is falling off and you can’t eat and you can’t breathe and you’re suffering in a terrible manner that can’t be reversed, you need to put on the table assistance in dying. There are patients who can benefit tremendously from this. It’s great that it happened,” he said.

Dr Alex Clarke, of the Royal Free Hospital had praised the Clinic for its contribution to medicine. “It is a real step forward for people who have severe disfigurement and this operation has been done by a team who have really prepared and worked towards this for a number of years. These transplants have proven that the technical difficulties can be overcome and psychologically the patients are doing well. They have all have reacted positively and have begun to do things they were not able to before. All the things people thought were barriers to this kind of operations have been overcome,” she said.

The first partial face transplant surgery on a living human was performed on Isabelle Dinoire on November 27 2005, when she was 38, by Professor Bernard Devauchelle, assisted by Professor Jean-Michel Dubernard in Amiens, France. Her Labrador dog mauled her in May 2005. A triangle of face tissue including the nose and mouth was taken from a brain-dead female donor and grafted onto the patient. Scientists elsewhere have performed scalp and ear transplants. However, the claim is the first for a mouth and nose transplant. Experts say the mouth and nose are the most difficult parts of the face to transplant.

In 2004, the same Cleveland Clinic, became the first institution to approve this surgery and test it on cadavers. In October 2006, surgeon Peter Butler at London‘s Royal Free Hospital in the UK was given permission by the NHS ethics board to carry out a full face transplant. His team will select four adult patients (children cannot be selected due to concerns over consent), with operations being carried out at six month intervals. In March 2008, the treatment of 30-year-old neurofibromatosis victim Pascal Coler of France ended after having received what his doctors call the worlds first successful full face transplant.

Ethical concerns, psychological impact, problems relating to immunosuppression and consequences of technical failure have prevented teams from performing face transplant operations in the past, even though it has been technically possible to carry out such procedures for years.

Mr Iain Hutchison, of Barts and the London Hospital, warned of several problems with face transplants, such as blood vessels in the donated tissue clotting and immunosuppressants failing or increasing the patient’s risk of cancer. He also pointed out ethical issues with the fact that the procedure requires a “beating heart donor”. The transplant is carried out while the donor is brain dead, but still alive by use of a ventilator.

According to Stephen Wigmore, chair of British Transplantation Society’s ethics committee, it is unknown to what extent facial expressions will function in the long term. He said that it is not certain whether a patient could be left worse off in the case of a face transplant failing.

Mr Michael Earley, a member of the Royal College of Surgeon‘s facial transplantation working party, commented that if successful, the transplant would be “a major breakthrough in facial reconstruction” and “a major step forward for the facially disfigured.”

In Wednesday’s conference, Siemionow said “we know that there are so many patients there in their homes where they are hiding from society because they are afraid to walk to the grocery stores, they are afraid to go the the street.” “Our patient was called names and was humiliated. We very much hope that for this very special group of patients there is a hope that someday they will be able to go comfortably from their houses and enjoy the things we take for granted,” she added.

In response to the medical breakthrough, a British medical group led by Royal Free Hospital’s lead surgeon Dr Peter Butler, said they will finish the world’s first full face transplant within a year. “We hope to make an announcement about a full-face operation in the next 12 months. This latest operation shows how facial transplantation can help a particular group of the most severely facially injured people. These are people who would otherwise live a terrible twilight life, shut away from public gaze,” he said.

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Ford’s US auto sales spike, surpassing GM

Wednesday, March 3, 2010

Ford Motor Company said on Tuesday that its sales in the United States rose 43% in February compared to the same period last year, as the automaker outsold rivals Toyota and General Motors.

The strength of our new products … are resonating with customers

Ford said that total sales improved to 142,285 units, compared to 141,951 units sold by GM. Additionally, Ford said that its share of the total US car market rose to 17%, up from 14% a year ago. The increase was better than analysts had predicted, and Ford’s stock rose to a five-year high in morning trading, before declining later in the day. Ford’s sales were significantly influenced by a 74% increase in fleet sales to businesses. Rental car agencies alone accounted for around 30,000 units sold. Sales to retail consumers increased only 28%.

The increases were led by sales of two sedans, the Fusion and Taurus, which rose 166.5 and 93.3% respectively, although sales of other models such as SUVs and pickup trucks also increased. Both models were significantly redesigned last year, and analysts said that improved quality from such cars were driving the increases.

Other companies also reported February sales today, nearly all reporting sales gains as well, although none as large as those of Ford. Toyota was the sole exception to the sales gains, as their sales declined 8.7%, as the company was faced with a global recall during the month that led to a temporary stoppage of production for some models.

“The strength of our new products … are resonating with customers,” said Ken Czubay, Ford’s vice president of sales and marketing. However, he believed that traditional Toyota customers were not buying rival autos, but rather awaiting the results from the recalls.

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Submitted by: Kiran Kumar Reddy

Indian Share Market Slipped one more a day in a consecutive row. Bombay Stock Excahge Sensex Closes at 20852 or down 0.18 percent. Bse Mid cap Index sees down by 0.63 percent and the Bse Small Cap Index declined by 0.60 percent on Friday Closing Day Trade.

Sensex Major Resistance on Upside at 21022-21192-21361

Sensex Major Support on Downside at 20653-20454-20284

Trend Deciding Level at 20823

Nifty Index Major Resistance on Upside at 6334-6457-6579

Nifty Index Major Support on Downside at 6131-6051-5928

Trend Deciding Level at 6254

Major Headlines

Claris Life sciences board meets on Jan 7th; to consider interim dividend and buy back of equity shares

Alstom T&D gets order worth Rs 54.4 cr for substation in Bihar

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Bajaj Auto December total sales is at 2.97 lakh units Vs 3.1 lakh units (MoM)

Multiples Private Equity Fund buys 99.6 lakh shares of Arvind at Rs 149.5/share

TVS Motor’s December total sales at 1.59 lakh units Vs 1.61 lakh units (MoM)

Hero MotoCorp’s December total sales at 5.25 lakh units Vs 5.30 lakh units (MoM)

Vodafone in early talks with Tata Group to buy its controlling stake in Tata Teleservices

Ashok Leyland’s December total sales at 6,275 units Vs 5,375 units (MoM)

L&T Construction receives orders worth Rs 2962 cr

MCX block deal: 14.2 lakh shares exchanged on BSE at Rs 568.60/share

F&O cues: FIIs net sell Rs 609 crore in Index Futures; FIIs net buy Rs 1091 crore in Index Options

Indian Indices

The Nse Nifty Index closed in the negative note on Friday, were down by 10 points and closes at 6211. In excess of the next couple of days it is expected to trend is down till 6130. In this period the key support will be at 6171 and resistance will be at 6266.

The Nifty has faced resistance around the upper end of the Bollinger Band on the daily chart and the 78.6 percent retracement level of the previous fall.

In the daily chart the index is trading around the Twenty-Daily moving averages (DMA) and the Forty-DMA, ie 6255 and 6194 correspondingly. The momentum pointer is trading in negative mode.

In the hourly chart, the Nse Nifty is trading below the Twenty-hourly moving average (HMA) and the Forty-HMA, ie 6266 and 6265 correspondingly, which are vital intra-day levels. The hourly impetus indicator encompass turned negative. The market duration was negative mode on friday with 658 advances and 517 declines on the National Stock Exchange.

Nifty Future Major Resistance on Upside at 6280-6301-6321

Nifty Future Major Support on Downside is at 6220-6181-6160

Trend Deciding Level at 6241

Bank Nifty Major Resistance on Upside at 11370-11437-11504

Bank Nifty Major Support on Downside at 11169-11035-10968

Trend Deciding Level is at 11236

5 Daily Moving Average @ 6266

50 Daily Moving Average @ 6190

200 Daily Moving Average @ 5908

5 Days Relative Strength Index @ 33 and 14 Days Relative Strength Index @ 49 INDICATES NIFTY PLACED IN TRADING ZONE, WITH BEARISH MOMENT.

Stock Market Tips

Buy Nifty Fut January above 6290 sl 6265 Tgt 6310-6335 {Or} Sell Below 6240 sl 6285 Tgt 6220-6195

Buy Bank Nifty January above 11360 sl 11310 Tgt 11410-11460 {Or} Sell below 11260 sl 11310 Tgt 11210-11160

For More Details Call us at 09052524345/09848969869 or visit us www.charanwings.com

About the Author: Mr. Kiran Kumar Reddy, Technical Analyst and Founder of Charanwings Advisory Services providing trading advisory services in Equity, Derivatives and Commodity. He provides advisory services to large number of retail as well as Institutional Investors and traders and His advisory services giving back support to various broking houses and product support in Stock Futures, Commodity to Dalal Street Investment Journal since May 2012. He is also having good command in elliot wave theory his articles have also been published in various financial websites and he is also contributing daily news letter on equity market, which were published in Indian notes website. He also made a guest appearance in various workshops which were conducted on stock market awareness

Source:

isnare.com

Permanent Link:

isnare.com/?aid=1877439&ca=Finances

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Endangered Luzon Buttonquail photographed alive by Philippines documentary

Sunday, February 22, 2009

According to ornithologists, a rare Philippines buttonquail feared to have gone extinct was recently documented alive by a cameraman inadvertently filming a local market, right before it was sold and headed for the cooking pot. Scientists had suspected the species—listed as “data deficient” on the 2008 International Union for Conservation of Nature’s Red List Category—was extinct.

Last month, native bird trappers snared and successfully caught the Luzon Buttonquail (Turnix worcesteri or Worcester’s buttonquail) in Dalton Pass, a cold and wind-swept bird passageway in the Caraballo Mountains, in Nueva Vizcaya, located between Cordillera Central and Sierra Madre mountain ranges, in Northern Luzon.

The rare species, previously known to birders only through drawings based on dead museum specimens collected several decades ago, was identified in a documentary filmed in the Philippines called Bye-Bye Birdie.

British birder and WBCP member Desmond Allen was watching a January 26 DVD-video of a documentary, Bye-Bye Birdie, when he recognized the bird in a still image of the credits that lasted less than a second. Allen created a screenshot, which was photographed by their birder-companion, Arnel Telesforo, also a WBCP member,in Nueva Vizcaya’s poultry market, before it was cooked and eaten.

i-Witness: The GMA Documentaries, a Philippine documentary news and public affairs television show aired by GMA Network, had incorporated Telesforo’s photographs and video footage of the live bird in the documentary, that was created by the TV crew led by Mr Howie Severino. The Philippine Network had not realized what they filmed until Allen had informed the crew of interesting discovery.

Mr Severino and the crew were at that time, in Dalton Pass to film “akik”, the traditional practice of trapping wild birds with nets by first attracting them with bright lights on moonless nights. “I’m shocked. I don’t know of any other photos of this. No bird watchers have ever given convincing reports that they have seen it at all… This is an exciting discovery,” said Allen.

The Luzon Buttonquail was only known through an illustration in the authoritative book by Robert S. Kennedy, et al, A Guide to the Birds of the Philippines. This birders “bible” includes a drawing based on the skins of dead specimens collected a century ago, whereas the otherwise comprehensive image bank of the Oriental Bird Club does not contain a single image of the Worcester’s Buttonquail.

“With the photograph and the promise of more sightings in the wild, we can see the living bill, the eye color, the feathers, rather than just the mushed-up museum skin,” exclaimed Allen, who has been birdwatching for fifty years, fifteen in the Philippines, and has an extensive collection of bird calls on his ipod. He has also spotted the Oriental (or Manchurian) Bush Warbler, another rare bird which he has not seen in the Philippines.

“We are ecstatic that this rarely seen species was photographed by accident. It may be the only photo of this poorly known bird. But I also feel sad that the locals do not value the biodiversity around them and that this bird was sold for only P10 and headed for the cooking pot,” Wild Bird Club of the Philippines (WBCP) president Mike Lu said. “Much more has to be done in creating conservation awareness and local consciousness about our unique threatened bird fauna. This should be an easy task for the local governments assisted by the DENR. What if this was the last of its species?” Lu added.

“This is a very important finding. Once you don’t see a bird species in a generation, you start to wonder if it’s extinct, and for this bird species we simply do not know its status at all,” said Arne Jensen, a Danish ornithologist and biodiversity expert, and WBCP Records Committee head.

According to the WBCP, the Worcester’s buttonquail was first described based on specimens bought in Quinta Market in Quiapo, Manila in 1902, and was named after Dean Conant Worcester.

Since then just a few single specimens have been photographed and filmed from Nueva Vizcaya and Benguet, and lately, in 2007, from Mountain Province by the Field Museum of Natural History in Chicago, Illinois.

Dean Conant Worcester, D.Sc., F.R.G.S. was an American zoologist, public official, and authority on the Philippines, born at Thetford, Vermont, and educated at the University of Michigan (A.B., 1889).

From 1899 to 1901 he was a member of the United States Philippine Commission; thenceforth until 1913 he served as secretary of the interior for the Philippine Insular Government. In 1910, he founded the Philippine General Hospital, which has become the hospital for the poor and the sick.

In October, 2004, at the request of Mr Moises Butic, Lamut CENR Officer, Mr Jon Hornbuckle, of Grove Road, Sheffield, has conducted a short investigation into bird-trapping in Ifugao, Mountain Province, Banaue Mount Polis, Sagada and Dalton Pass, in Nueva Vizcaya.

“Prices ranged from 100 pesos for a Fruit-Dove to 300 pesos for a Metallic Pigeon. Other species that are caught from time to time include Flame-breasted Fruit-Dove and Luzon Bleeding-heart; on one occasion, around 50 of the latter were trapped! All other trapped birds are eaten,” said Hornbuckle. “The main trapping season is November to February. Birds are caught at the lights using butterfly-catching type nets. Quails and Buttonquails were more often shot in the fields at this time, rather than caught, and occasionally included the rare Luzon (Worcester’s) Buttonquail, which is only known from dead specimens, and is a threatened bird species reported from Dalton Pass,” he added.

In August, 1929, Richard C. McGregor and Leon L. Gardner of the Cooper Ornithological Society compiled a book entitled Philippine Bird Traps. The authors described the Luzon Buttonquail as “very rare,” having only encountered it twice, once in August and once in September.

“They are caught with a scoop net from the back of a carabao. Filipino hunters snared them, baiting with branches of artificial red peppers made of sealing wax,” wrote McGregor and Leon L. Gardner. “The various ingenious and effectual devices used by Filipinos for bird-trapping include [the] ‘Teepee Trap’ which consists of a conical tepee, woven of split bamboo and rattan about 3 feet high and 3 feet across at the base, with a fairly narrow entrance. ‘Spring Snares’ were also used, where a slip noose fastened to a strongly bent bamboo or other elastic branch, which is released by a trigger, which is usually the perch of the trap,” their book explained.

A passage from the bird-trap book, which explains why Filipinos had eaten these endangered bird species, goes as follows:

Thousands of birds appear annually in the markets of the Philippine Islands. Snipe, quails, wild ducks, silvereyes, weavers, rails, Java sparrows, parrakeets, doves, fruit pigeons, and many more are found commonly. Some of these are vended in the streets as cage birds; many are sold for food. Most of them are living; practically none has been shot. How are these birds obtained? The people possess almost no firearms, and most of them could ill afford the cost of shells alone. Nevertheless, birds are readily secured and abundantly exposed for sale. In a land which does not raise enough produce to support itself, where the quest for food is the main occupation of life, where the frog in the roadside puddle is angled, the minnow in the brook seined, and the all-consuming locust itself consumed, it is not surprising (though regrettable) that birds are considered largely in the light of dietary additions.Philippine Bird Traps, by Richard C. McGregor and Leon L. Gardner, 1930 Cooper Ornithological Society

A global review of threatened species by the International Union for Conservation of Nature (IUCN) indicates drastic decline of animal and plant life. This includes a quarter of all mammals, one out of eight birds, one out of three amphibians and 70 percent of plants.

The report, Red List of Threatened Species, is published by IUCN every year. Additionally, a global assessment of the health of the world’s species is released once in four years. The data is compiled by 1,700 experts from 130 countries. The key findings of the report were announced at the World Conservation Congress held in Barcelona, Spain.

The survey includes 44,838 species of wild fauna and flora, out of which 16,928 species are threatened with extinction. Among the threatened, 3,246 are tagged critically endangered, the highest category of threat. Another 4,770 species are endangered and 8,912 vulnerable to extinction.

Environmental scientists say they have concrete evidence that the planet is undergoing the “largest mass extinction in 65 million years”. Leading environmental scientist Professor Norman Myers says the Earth is experiencing its “Sixth Extinction.”

Scientists forecast that up to five million species will be lost this century. “We are well into the opening phase of a mass extinction of species. There are about 10 million species on earth. If we carry on as we are, we could lose half of all those 10 million species,” Myers said.

Scientists are warning that by the end of this century, the planet could lose up to half its species, and that these extinctions will alter not only biological diversity but also the evolutionary processes itself. They state that human activities have brought our planet to the point of biotic crisis.

In 1993, Harvard biologist E.O. Wilson estimated that the planet is losing 30,000 species per year – around three species per hour. Some biologists have begun to feel that the biodiversity crisis dubbed the “Sixth Extinction” is even more severe, and more imminent, than Wilson had expected.

The Luzon Buttonquail (Turnix worcesteri) is a species of bird in the Turnicidae family. It is endemic to the island of Luzon in the Philippines, where it is known from just six localities thereof. Its natural habitat is subtropical or tropical high-altitude grassland, in the highlands of the Cordillera Central, although records are from 150-1,250 m, and the possibility that it frequents forested (non-grassland) habitats cannot be discounted.

The buttonquails or hemipodes are a small family of birds which resemble, but are unrelated to, the true quails. They inhabit warm grasslands in Asia, Africa, and Australia. They are assumed to be intra-island migrants, and breed somewhere in northern Luzon in April-June and that at least some birds disperse southwards in the period July-March.

These Turnicidae are small, drab, running birds, which avoid flying. The female is the more brightly coloured of the sexes, and initiates courtship. Unusually, the buttonquails are polyandrous, with the females circulating among several males and expelling rival females from her territory. Both sexes cooperate in building a nest in the earth, but only the male incubates the eggs and tends the young.

Called “Pugo” (quail) by natives, these birds inhabit rice paddies and scrub lands near farm areas because of the abundance of seeds and insects that they feed on regularly. These birds are characterized by their black heads with white spots, a brown or fawn colored body and yellow legs on males and the females are brown with white and black spots.

These birds are very secretive, choosing to make small path ways through the rice fields, which unfortunately leads to their deaths as well, they are hunted by children and young men by means of setting spring traps along their usual path ways.

Buttonquails are a notoriously cryptic and unobtrusive family of birds, and the species could conceivably occur in reasonable numbers somewhere. They are included in the 2008 IUCN Red List Category (as evaluated by BirdLife International IUCN Red List of Threatened Species). They are also considered as Vulnerable species by IUCN and BirdLife International, since these species is judged to have a ten percent chance of going extinct in the next one hundred years.

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Cook Islands rugby league player Adam Watene dies after training session age 31

Monday, October 13, 2008

Cook Islands and Wakefield Trinity Wildcats rugby league player Adam Watene has died. The Wildcats announced the death of the 31-year-old earlier today. They reported he collapsed in the gym shortly after a training session.

A spokesman said, “The Wakefield Trinity Wildcats are sad to announce the sudden passing of Adam Watene. The circumstances surrounding Adam’s death were sudden and unexpected. Everyone at the Wildcats’ thoughts are with Adam’s family, and we ask for their privacy to be respected at this difficult time.”

Watene started his rugby league with the Castleford Tigers and was later signed by the Bradford Bulls. After a year of playing for the bulls of which he only made five first team appearances, he was allowed to sign for the Wakefield Trinity Wildcats. He played a total of 28 games in the two seasons he was with the club.

The Wildcats also said “There will be no further comment from the club at this stage.” Watene is survived by his wife and two children.

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November

10

Chemical plant fire decimates Danvers, Massachusetts neighboorhood

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Chemical plant fire decimates Danvers, Massachusetts neighboorhood
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Wednesday, November 22, 2006

According to outgoing Massachusetts governor Mitt Romney, an explosion that was “equivalent to a 2,000 lb. bomb” and registered 0.5 on the Richter scale decimated an area of Danvers and is also a “Thanksgiving miracle.”

The explosion occurred around 2:45 am EST, this morning in the Danversport area of Danvers, Massachusetts at the plant for solvent and ink manufacturer, CAI Inc. The explosion, which was caught on security camera and was heard up to over 25-50 miles away in southern Maine and New Hampshire.

The explosion damaged over 90 homes, blowing out windows and knocking some houses off their foundations. Officials believe that some of the more extensively damaged houses will have to be leveled and rebuilt. Some of the buildings damaged included a bakery, boats at a close by marina and the New England Home for the Deaf, an assisted-living facility for people who are deaf or deafblind and elderly residents requiring constant care. “These people are extremely fragile,” said state Rep. Ted Speliotis, D-Danvers, whose district includes the affected area. “Many of them have Alzheimer’s and other illnesses. It’s clear they can’t stay here long, but it’s clear they won’t be able to return for quite a while.”

Danvers Fire Chief James P. Tutko toured the area by helicopter and said many residents would be kept from their homes for the foreseeable future. “It looks like a war zone, that’s the only thing I can say,” Tutko said. When asked about the loss of no life at all, he responded “Somebody out there likes us.” Finally, he said that finding out the cause of the explosion would take days.

Outgoing governor Mitt Romney toured the area and said the explosion was a “Thanksgiving miracle” as the explosion was “equivalent to a 2,000 lb bomb going off in a residential neighborhood,” and that no one was killed and only about 10 people suffered only minor injuries in area that included over 300 residents. Residents of the area have been evacuated to the Danvers High School where temporary shelter has been set up by the American Red Cross of Massachusetts Bay. Donations are being taken for residents affected by the explosion. Residents are also being told to start filing insurance claims right away and to keep track of their expenses for items bought.

There were minor environmental concerns due to water runoff of chemicals. According the Environmental Protection Agency‘s on-scene coordinator Mike Nalipinski, preliminary tests showed low levels of toluene, a solvent, but said it was nothing of significance. Water runoff from the water used by firefighters left a purple sheen on the river and tests were being conducted. However, the water is not a local drinking water supply and the chemical evaporates quickly. Chief Tutko said there was no risk of toxic fumes getting into the air.

An Eastern Propane facility was also located near the area, however, it was not the source of the explosion. A spokesman for the company said that although the property suffered some minor damage, their tanks are secure.

According to WHDH television, a person who answered the telephone at CAI’s Georgetown, Massachusetts headquarters refused comment, and a telephone message left at the company president’s home was not immediately returned.

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November

10

Tory Burch Outlet Is A Great Collection Of Different Types}

Submitted by: Eloyqp Mcdowell

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November

9

U.K. National Portrait Gallery threatens U.S. citizen with legal action over Wikimedia images

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U.K. National Portrait Gallery threatens U.S. citizen with legal action over Wikimedia images
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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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November

8

Explosion at earthquake-damaged Fukushima nuclear power plant

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Explosion at earthquake-damaged Fukushima nuclear power plant
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Saturday, March 12, 2011

An explosion has been reported at Japan’s stricken Fukushima Daiichi nuclear power plant after its cooling system was damaged by a massive 8.9 magnitude earthquake that hit off the North-East coast of Japan on Friday. The explosion occurred at around 3:00pm local time (6:00am UTC). According to the plant’s operator, Tokyo Electric Power Company, four workers were injured in the explosion.

The explosion occurred as workers were attempting to cool a reactor by injecting water into its core. Local media are reporting that the plant’s exterior walls have been destroyed and only a skeleton structure remains.

More than 45,000 residents within a 10-kilometre radius of the plant have been evacuated.

Television reports show white smoke coming from the plant. Local authorities are warning residents in the vicinity of the plant to stay indoors, turn off air-conditioners and not to drink tap water. According to Japan’s nuclear agency, radioactive caesium and iodine has been identified at the plant. Authorities speculate that this indicates that containers holding uranium fuel at the site may have ruptured and are leaking.

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