Borussia Dortmund announces former Ajax coach Peter Bosz as team’s new boss

Friday, June 9, 2017

On Tuesday, German football club Borussia Dortmund (BVB) announced Peter Bosz as their new head coach. Bosz, who spent one season with the Dutch Eredivisie runners-up Ajax, was to sign a two-year deal with the DFB Pokal winners BVB which runs through June 2019. Ajax’s assistant coach Hendrie Krüzen also was to leave the Dutch side for Dortmund.

The 53-year-old Dutch manager led the the Dutch capital club to a second place finish in the Dutch league Eredivisie, finishing just one point below Feyenoord Rotterdam and won a silver medal in the UEFA Europa League, losing 2–0 against Manchester United.

Bosz’s predecessor Thomas Tuchel led Dortmund to the DFB Pokal victory, third place finish in Bundesliga the last season and a qualification to next season’s Champions League group stage. Two years ago, Tuchel succeded Jürgen Klopp and his side remained unbeaten in the home games. On May 30, days after winning his first trophy with Borussia Dortmund, the club announced Tuchel was sacked with immediate effect via their official website. “‘Unfortunately we couldn’t see a basis for continued work together built on trust with a successful outlook in the current personnel constellation.”, the CEO said.

Edwin van der Sar, Ajax’s General Manager said, “I have mixed feelings about this transfer. When we brought Peter in to Ajax last summer, it wasn’t our intention that our partnership would end after just one season. Especially in the Europa League, we’ve had an amazing season. For our players, and our coach, that has attracted extra attention from clubs in top European competitions. But we couldn’t go so far as to bind him to his contract, and we worked out a good deal with Dortmund. It’s now up to us, prior to the start of the pre-season, to sign on a good successor.” ((nl))Dutch language: ?Ik heb gemengde gevoelens bij deze overgang. Toen we Peter vorige zomer naar Ajax haalden was het niet de bedoeling dat na één jaar alweer een einde zou komen aan de samenwerking. We hebben, met name in de Europa League, een geweldig seizoen neergezet. Net als bij onze spelers trekt dat ook voor de trainer de aandacht van clubs uit de Europese topcompetities. Het ging ons te ver om hem aan zijn contract te houden en we zijn er met Dortmund goed uitgekomen. Het is nu aan ons om, voordat de voorbereiding begint, een goede opvolger te contracteren.

Under former coach Thomas Tuchel, Borussia Dortmund’s key players ?lkay Gündo?an, Henrikh Mkhitaryan and Dortmund then-captain Mats Hummels left Signal Iduna Park last season, but signed Ousmane Dembélé, André Schürrle, Marc Bartra and Mario Götze.

This season, Dortmund signed Ömer Toprak, Mahmoud Dahoud, Dan-Axel Zagadou and Maximilian Philipp.

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Figueres}

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Figueres

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Overview

Figueres town is the capital of Alt Empord district in the Girona province of the autonomous community of Catalonia in Spain. This place is physically situated in the north east of Catalonia. Its distance from the cities Girona, Barcelona and Perpignan are 40 KM, 140 KM and 60 KM respectively. The distance between this town and the airport at Girona is 50 KM. The population of this town is 40000.

The famous surrealist Catalanpainter, Salvador Dal was born in this town. There is a large Dal Theatre and Museum designed by Dali and many visitors throng this place. The Catalan engineer, Narcs Monturiol i Estarriol, who invented the 1st combustion engine-drivensubmarine was also born in this town. Another famous personality born in this place is Monica Naranjo, the Spanish singer.

History

[youtube]http://www.youtube.com/watch?v=s4WY8kcOfc0[/youtube]

The origin for the name of the town is the word Ficaris that has Visigoth origins. KingJames I of Aragon had given legal forum (fuero in Spanish) in the year 1267; however, Hugo IV set fire to the town after four years. This town was bombed repetitively by rebels because of its loyalty to the Republican Government during the Spanish civil war. The economic recovery of this town began in 1950s and this was mainly due to tourism.

Climate

The average temperatures in a year are as follows:

Maximum 29 C in the months of July and August

Minimum 3 C in January

Art/ Culture

1.Castle of Sant Ferran was built by the Spanish King Ferdinand VI in the year 1743. The plan of the castle has the shape of a pentagon and its circumference is 5.6 KM.

2.St. Peter Parish church this has Gothic architecture and there is a central part with side chapels.

3.Dali theatre and museum was constructed in the 19th century and was renovated subsequently in the 1960s.

Cuisine

Popular food items in this place are oxtail soup, fuet, butifarra, paella, seafood and gaspatxo. One of the tasty items is ‘patatas de Olot’ wherein a potato is wrapped over ground meat and fried.

Shopping

Since the taxes in this town are lower as compared to France, many Frenchmen visit this place for shopping. In order to cater to such people and also tourists coming to this place because of beaches and museums, many popular shopping malls like Benetton, Zara La Coste, etc. have opened their shops for selling their brands. In addition local shops sell items such as jewelry, chocolate, wines, etc.

Read About villa in spain Also About villas rent ibiza and majorca villas rent

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US home sales fall at fastest pace on record

Monday, January 25, 2010

Sales of previously owned homes in the US fell at the fastest rate ever recorded last December, according to data from the National Association of Realtors (NAR).

According to the association, existing home sales fell 16.7% last month, to an annual rate of 5.45 million, the largest crash since 1968. The figure was less than the 5.90 million units, or an eleven percent drop, predicted by most analysts.

Sales of homes went up for the entire of 2009 to 5.156 million units, or 4.9% for the year, and prices dropped from 2008 by 12.4%.

NAR chief economist Lawrence Yun described the figures as being “probably the largest annual drop since the Great Depression”. He said that “the market is going through a period of swings driven by the tax credit. We’re likely to have another surge in the spring. Job creation is the key to a continued recovery in the second half of the year.”

Pierre Ellis, a senior economist for Decision Economics in New York, commented on the figures, saying: “The drop in home sales is the payback for the acceleration of sales that occurred with the original first-time home buyers tax credit. […] There is an issue as to whether the decline represents a fundamental weakening.”

“The housing market continues to face significant headwinds, including high unemployment, record delinquencies and foreclosures, the specter of rising mortgage rates as the Fed’s [mortgage-backed securities] purchase programs comes to a close in late March, and tight credit,” Omair Sharif, an economist for RBS Securities, noted.

“Still, the resale market showed resilience in the second half of 2009, and the expansion and extension of the tax credit to April 30 could boost purchases during the spring selling season,” he said.

“We’ll see a pickup in existing home sales in the next couple of months as people take advantage of the tax-credit extension”, economist Adam York of Wells Fargo Securities LLC in Charlotte, North Carolina claimed. He fore-casted a pace of 5.4 million. He said that there were unlikely to be buyers of homes, despite the fact that the U.S. was “past the bottom.”

All four regions of the country saw a decline in sales. In the Northeast, sales fell 19.5 percent, in the Midwest, they plunged 25.8 percent. The South, the country’s largest region, saw a 16.3% decline, while in the West, sales waned by 4.8%.

US stocks fell slightly after the announcement, but went back up later in the day.

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Looted, possibly contaminated body parts transplanted into USA, Canadian patients

Monday, March 20, 2006

Fears of contaminated bone and skin grafts are being felt by unsuspecting patients following the revelation that funeral homes may have been looting corpses.

Janet Evans of Marion Ohio was told by her surgeon, “The bone grafts you got might have been contaminated”. She reacted with shock, “I was flabbergasted because I didn’t even know what he was talking about. I didn’t know I got a bone graft until I got this call. I just thought they put in screws and rods.”

The body of Alistair Cooke, the former host of “Masterpiece Theatre,” was supposedly looted along with more than 1,000 others, according to two law enforcement officials close to the case. The tissue taken was typically skin, bone and tendon, which was then sold for use in procedures such as dental implants and hip replacements. According to authorities, millions of dollars were made by selling the body parts to companies for use in operations done at hospitals and clinics in the United States and Canada.

A New Jersey company, Biomedical Tissue Services, has reportedly been taking body parts from funeral homes across Brooklyn, New York. According to ABC News, they set up rooms like a “surgical suite.” After they took the bones, they replaced them with PVC pipe. This was purportedly done by stealth, without approval of the deceased person or the next of kin. 1,077 bodies were involved, say prosecuters.

Investagators say a former dentist, Michael Mastromarino, is behind the operation. Biomedical was considered one of the “hottest procurement companies in the country,” raking in close to $5 million. Eventually, people became worried: “Can the donors be trusted?” A tissue processing company called LifeCell answered no, and issued a recall on all their tissue.

Cooke’s daughter, Susan Cooke Kittredge, said, “To know his bones were sold was one thing, but to see him standing truncated before me is another entirely.” Now thousands of people around the country are receiving letters warning that they should be tested for infectious diseases like HIV or hepatitis. On February 23, the Brooklyn District Attorney indicted Mastromarino and three others. They are charged with 122 felony counts, including forgery and bodysnatching.

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England: Fire at London Zoo kills aardvark, meerkats believed dead

Sunday, December 24, 2017

Fire broke out at London Zoo on Saturday morning, severely damaging a cafe and shop and killing an aardvark. Zoo officials said four meerkats were missing and were also presumed to be dead.

The fire, mostly in the Animal Adventure cafe and shop, also spread to a nearby petting area. Reportedly, 72 firefighters with ten fire engines fought the blaze for about three hours starting shortly after 6:00 am to bring it under control. A spokesperson for the Fire Brigade stated that when they arrived, the fire was already “very well developed”. According to the ambulance service, two people were treated for minor injuries, six for smoke inhalation, with one taken to hospital. A statement from the zoo said, regarding animal fatalities, “Sadly our vets have confirmed the death of our nine-year-old aardvark, Misha. There are also four meerkats unaccounted for at this stage, and we have limited access to site to confirm this.” Other animals were said to be apparently unaffected.

The zoo reported quick response by zoo security guards and by animal care staff who are housed at the zoo, which is in Regents Park; they moved animals to safety. A dog walker, Adnan Abdul Husein, told the BBC he had first noticed heavy smoke and alerted zoo security guards.

Zoo officials initially said the zoo would be closed “until further notice” but later announced it would reopen today, Christmas Eve.

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

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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Out of space in outer space: Special report on NASA’s ‘space junk’ plans

Saturday, September 10, 2011

A 182-page report issued September 1 by the United States National Research Council warns that the amount of debris in space is reaching “a tipping point”, and could cause damage to satellites or spacecraft. The report calls for regulations to reduce the amount of debris, and suggests that scientists increase research into methods to remove some of the debris from orbit, though it makes no recommendations about how to do so.

NASA sponsored the study.

A statement released along with the report warns that, according to some computer models, the debris “has reached a tipping point, with enough currently in orbit to continually collide and create even more debris, raising the risk of spacecraft failures”. According to the Satellite Industry Association, there are now about 1,000 working satellites in Earth orbit, and industry revenues last year were US$168 billion (£104.33 billion,€119.01 billion).

The debris consists of various objects, such as decommissioned satellites and exhausted boosters, but the vast majority of the particles are less than one centimetre across. 16,094 pieces of debris were being tracked as of July, although estimates put the current number at over 22,000. The total number of fragments is thought to be as high as tens of millions. While most of the debris is very small, some of it is travelling at speeds as high as 17,500 mi h-1 (28,164 km h-1; 7,823.3 m s-1).

The International Space Station sometimes has to dodge larger fragments, and in June its crew was forced to prepare to evacuate due to a close encounter with debris.

The UK Space Agency told Wikinews that space flight “is likely to be made more difficult” by the debris. However, communications will “[n]ot directly” be affected, “but if the GEO ring became unusable, there is no other altitude at which objects appear [‘]geo-stationary[‘] and so all antennas on the ground would then have to move in order to track the motion of the satellites”.

Donald J. Kessler, the lead researcher and former head of NASA’s Orbital Debris Program Office, said that “[t]he current space environment is growing increasingly hazardous to spacecraft and astronauts,” and suggested that “NASA needs to determine the best path forward for tackling the multifaceted problems caused by meteoroids and orbital debris that put human and robotic space operations at risk.”

The current space environment is growing increasingly hazardous to spacecraft and astronauts

Two events are thought to be the largest individual sources of space debris. Kessler said that “[t]hose two single events doubled the amount of fragments in Earth orbit and completely wiped out what we had done in the last 25 years”.

The first of these was a controversial 2007 Chinese anti-satellite weapon test, which smashed the decommissioned weather satellite Fengyun-1C into approximately 150,000 fragments over a centimetre in size—making up roughly twenty percent of all tracked objects—537 miles above the Earth’s surface.

The Chinese government has so far failed to respond to Wikinews’s queries regarding the incident.

The other is a 2009 collision between twelve-year-old active satellite Iridium 33 and the defunct Russian Strela-2M satellite Kosmos-2251—both weighing in excess of 1,000 lbs (454 kg)—that occurred 490 miles over Siberia, the first such collision. The Iridium satellite was replaced within 22 days, according to Iridium Communications, who operated it.

We believe this is a substantial first step in better information sharing between the government and industry and support even more robust interaction which can provide better and more efficient constellation operation.

In a statement released to Wikinews, Iridium Communications said that they “received no warning of the impending collision. Although commercial projections of close encounters (commonly called conjunctions) were available, the accuracy of those projections was not sufficient to allow collision avoidance action to be taken.” They also made the assurance that the Air Force Space Command and United States Strategic Command now provide them with information through the Joint Space Operations Center, and that “when necessary, [they] maneuver [their] satellites based on this information to avoid potential collisions. [They] believe this is a substantial first step in better information sharing between the government and industry and support even more robust interaction which can provide better and more efficient constellation operation.”

Iridium expressed their support for “[l]ong-term investment to improve Space Situational Awareness” and “[i]mproved information sharing between industry and the U.S. government”, as well as more “[g]overnment support for policy and processes which would permit sharing of high-accuracy data as required to allow reliable assessment and warning” and “[i]ncreased cooperation between the government and U.S. and foreign commercial operators.”

They maintained that “the Iridium constellation is uniquely designed to withstand such an event. Because of the resilient and distributed nature of the Iridium constellation, the effects of the loss of a single satellite were relatively minor”, and that “any other system, commercial or military, which experienced the loss of a satellite, would have suffered significant operational degradation for a period of months if not years.” Nonetheless, the company is “concerned over the increasing level of risk to operations resulting from the debris in space.”

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The report makes more than thirty findings, and more than twenty recommendations to NASA. None of the recommendations regard how to clean up the debris. However, it does cite a report by the Defense Advanced Research Projects Agency (DARPA), which suggested various possible techniques for catching and removing space debris, such as magnetic nets.

The Cold War is over, but the acute sensitivity regarding satellite technology remains

However, international law does not allow one country to collect another’s debris. George J. Gleghorn, vice chair of the committee, observed that “[t]he Cold War is over, but the acute sensitivity regarding satellite technology remains”.

The debris will, in time, be pulled into the earth’s atmosphere—where it will burn up—by gravity, but more debris is being created faster than this can happen.

The problem of space debris is similar to a host of other environmental problems and public concerns

The report recommends collaborating with the United States Department of State on “economic, technological, political, and legal considerations.” As already mentioned, international law does not allow one country to collect another’s debris.

It is best to treat the root cause, the presence of debris in orbit, and remove the large objects before they can break up into many thousands of uncontrolled fragments capable of destroying a satellite on impact.

According to the report, “[t]he problem of space debris is similar to a host of other environmental problems and public concerns characterized by possibly significant differences between the short- and long-run damage accruing to society … Each has small short-run effects but, if left unaddressed, will have much larger impacts on society in the future.”

A spokesperson for the UK Space Agency told Wikinews that the organisation “does not have any plans to get directly involved with [the clean-up] initiative but through its involvement with NASA in the Inter-Agency Space Debris Coordination Committee, it is conducting studies to identify which objects present the biggest hazard and how many objects may need to be removed and from where.” It says that the viability of such an operation is “a question of treating the symptom or the cause of the problem. Building more physical protection is costly and if the environment deteriorates too far, becomes unviable. It is best to treat the root cause, the presence of debris in orbit, and remove the large objects before they can break up into many thousands of uncontrolled fragments capable of destroying a satellite on impact.”

The spokesperson also pointed out that “[u]nder current licensing regimes (such as in the UK), countries are now obliging operators to remove satellites from crowded regions of space at the end of operational life”.

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UK Wikinews Shorts: December 23, 2009

A compilation of brief news reports for Wednesday, December 23, 2009.

Contents

  • 1 Two-year-old child in Northern Ireland dies of H1N1 swine flu virus
  • 2 Woman killed in collision with ambulance in Staffordshire, England
  • 3 90-year-old man dies after car crash in Northern Ireland
  • 4 Man dies while carrying child in railway station in Edinburgh, Scotland
 Contribute to Wikinews by expanding these briefs or add a new one.

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