Boxing great Muhammed Ali dies aged 74

Sunday, June 5, 2016

Legendary boxing great Muhammed Ali died on Friday aged 74 in a hospital in Phoenix, Arizona in the United States. A family spokesperson said Ali had been admitted with respiratory problems. The former heavyweight champion lived with Parkinson’s disease for decades, diagnosed in 1984.

Born on January 17, 1942 as Cassius Marcellus Clay, he changed his name to Muhammed Ali after his 1964 conversion to Islam. In his professional career, Ali won 56 out of 61 fights — including 31 consecutive wins. He won the World Heavyweight Championship three times and had also won an Olympic gold medal in the light-heavyweight category.

Often considered the greatest boxer of all time, Ali was the world heavyweight champion in the 1960s and 1970s. His famous fights with George Foreman in 1974 when he won his title back and against Joe Frazier are considered by many as two of the greatest fights in the sport’s history. Ali had also defeated Sonny Liston to claim the championship title.

Ali was also known as a political activist. He came under considerable controversy after his decision to refuse the Vietnam War draft.

He lit the flame in the 1996 Olympics hosted in Atlanta.

His funeral is to be in Kentucky.

Saturday, August 16, 2014

A team of researchers from the University of Tennessee, Knoxville, has confirmed that near-Earth asteroid (29075) 1950 DA is primarily held together by van der Waals forces rather than gravity. They have shown that the rotation rate of the 1.1 km asteroid is higher than could be possible if only gravity and friction were responsible for holding it together. Cohesive forces prevent large scale shedding of material and breakup of the asteroid. Their study was published Wednesday in Nature.

The researchers found that the bulk density 1.7±0.7 g/cm³ of the asteroid is approximately two times lower than the value required for self-gravity to balance out the centrifugal forces caused by rotation. As Ben Rozitis, a planetary scientist and a co-author of the study, told Space.com: “I was expecting to find a high-density metallic asteroid, as such an asteroid wouldn’t require cohesive forces to hold itself together under its fast rotation. Instead we found the opposite! […] We knew from previous work that this asteroid was rotating faster than it should be, and we wanted to know why”.

Spectral observations of 1950DA indicated that it is either an E- or M-type asteroid in the Tholen classification. However, its low optical albedo and low radar circular polarization ratio (a very smooth surface at centimetre to decimetre scales) showed that it cannot be an E-type asteroid.

Unusually for an M-type asteroid (which are mostly metallic), 1950DA has low radar albedo. It would have been puzzling, if it was not for the Rosetta observations of 21 Lutetia, which is also an M-type asteroid with very similar low radar albedo. Researchers have used for 1950DA the same meteorite analogue which was earlier found to fit best 21 Lutetia: enstatite chondrite with grain density of 3.55 g/cm³. It allowed to calculate macro-porosity of 51±19%, indicating that 1950DA is a rubble-pile asteroid.

Taking into account thermal-infrared measurements of thermal inertia, presence of a fine-grained regolith is implied, primarily around 1950DA’s equator. Negative ambient gravity near the equator of the asteroid (48±24% of its surface) requires existence of cohesive forces to prevent loss of material. This is similar to an effect noticed between the fine grains of regolith on the Moon. Lunar regolith was found to be highly cohesive because of van der Waals forces between grains by the Apollo 17 expedition in 1974.

As Ben Rozitis explained: “We found a low-density rubble pile that traditionally would be unable to hold itself together unless cohesive forces were present. It’s exciting because we’ve provided the first evidence that cohesive forces are important for small asteroids, which had only been predicted up until now.”

The balance between cohesion and negative gravity requires small grain sizes consistent with the grain size distribution on 1950DA, and similar to that of another rubble-pile asteroid, (25143) Itokawa. Unlike Itokawa, 1950DA does not have large boulders on the surface; they may have been lost as 1950DA’s rotation accelerated due to YORP effect. This effect results in a change of the rotation rate of an asteroid (either faster or slower), and is caused when the Sun heats up an object unevenly, due to asymmetric surface topography. As the heat escapes, the rotation rate is slowly changed due to an uneven rate of cooling. The researchers find that a rubble-pile asteroid may have a high rotation rate, if it is held together by cohesive forces between the grains. But as the spin rate increases due to YORP effect, the centrifugal force may cause the rubble pile to eventually separate as it happened with P/2013 R3.

The findings may have implications for asteroid impact avoidance. A very small impulse may break one potentially hazardous object into several pieces. As Ben Rozitis said: “You’d want to avoid interacting with the asteroid directly. An alternative is to use a ‘gravity tractor,’ or a heavy spacecraft placed near the asteroid, which uses the force of gravity to pull the asteroid off course”. Bong Wie, an aerospace engineer at Iowa State University in Ames, noted: “I just hope that an asteroid on a collision course with Earth will not be spinning rapidly and it will not be a rubble-pile asteroid”.

According to Daniel Scheeres, an aerospace engineer at the University of Colorado, Boulder, understanding such cohesive forces may also be important for future asteroid mining. Ben Rozitis clarified: “Mining missions intend to visit small asteroids about 10 meters (33 feet) or less in size, as it is thought that they are predominantly solid bodies. However, cohesive forces enable such small asteroids to be rubble piles instead. A small rubble-pile asteroid would be harder to interact with and collect, as it can easily deform or break up when subject to external forces.”

The study was supported by Jet Propulsion Laboratory, California Institute of Technology and the NASA.

Thursday, November 9, 2017

On Monday, the US embassy in Turkey’s capital Ankara released a statement on their website announcing they are to resume accepting new requests for non-immigrant visas on a limited basis in the country. Shortly after the announcement, the Turkish embassy in the US capital Washington DC also announced they are to continue processing a limited number of non-immigrant visas. Last month, after a Turkish employee at the US embassy was arrested, the embassy introduced this measure to minimise how many visitors they received while they “assess[ed] the commitment of the Government of Turkey to the security of our diplomatic facilities and personnel.”

Monday’s statement by the US embassy said they had “received initial high-level assurances from the Government of Turkey that there are no additional local employees of our Mission in Turkey under investigation.” They had also “received initial assurances from the Government of Turkey that our local staff will not be detained or arrested for performing their official duties”, the statement said.

Turkey’s embassy, in their statement, said “Turkey also has very serious concerns about ongoing cases against Turkish citizens in the U.S.” ^{((tr))Turkish language: ?ABD’de Türk vatanda?lar?yla ilgili süren davalara ili?kin de türkiye’nin çok ciddi endi?eleri bulunmaktad?r} and said none of the Turkish employees working for the US embassy were under investigation for their service. However, the detained employees of the US embassy had “very serious charges” and has pending cases, Turkey said.

Turkish officials arrested two staff members this year. Metin Topuz, a Turkish employee at the embassy, was arrested on October 4 for alleged ties with Fethullah Gülen. Gülen is currently in the US, in exile from Turkey. According to the Turkish government, Gülen played a major role in last year’s failed coup which led to the deaths of more than 250 people. Last month, Ankara’s US embassy ambassador John Bass said, “We have been unable to determine why it occurred or what, if any, evidence exists against the employee.”

On March 7, Turkish police arrested Hamza Uluçay. Uluçay was a translator in the US consulate in Adana, and was accused of belonging to the Kurdistan Worker’s Party, which the Turkish government has labelled a “terror organisation”.

John Bass explained the ban was not to prevent Turkish citizens from entering the US. Turkish citizens who already have a US visa could visit the country. And they could apply for visas from embassies outside Turkey, Bass clarified in the statement.

In regards to the latest assurance from the Turkish government, the US embassy said “the security posture has improved sufficiently to allow for the resumption of limited visa services in Turkey.”

Thursday, December 2, 2004

WASHINGTON, D.C. – U.S. President George W. Bush nominated Bernard B. Kerik, the police commissioner of the New York Police Department during the September 11, 2001 terrorist attacks, to succeed Tom Ridge as the Secretary of Homeland Security.

Kerik resigned as police commissioner two months following the terrorist attacks, citing the desire to spend more time with his family, but has since kept a very high profile. Following the invasion of Iraq, he chose to lead the training of Iraqi law enforcement. He campaigned for President George W. Bush in the 2004 presidential election and delivered a prime time speech at the Republican National Convention.

Among other security qualifications, he has served in the U.S. Army, as narcotics detective in the NYPD and as private security worker in Saudi Arabia.

Kerik faces the daunting task of running the DHS, an agency assembled from 22 other agencies with over 180,000 employees.

Tuesday, July 14, 2009

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.

Monday, September 24, 2007

Russ Aegard is running for the Green Party of Ontario in the Ontario provincial election, in the Thunder Bay-Atikokan riding. Wikinews’ Nick Moreau interviewed him regarding his values, his experience, and his campaign.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.

Tuesday, February 26, 2008

The European Commission currently has proposals on the table to extend performers’ copyright terms. Described by Professor Martin Kretschmer as the “Beatles Extension Act”, the proposed measure would extend copyright from 50 to 95 years after recording. A vast number of classical tracks are at stake; the copyright on recordings from the fifties and early sixties is nearing its expiration date, after which it would normally enter the public domain or become ‘public property’. E.U. Commissioner for the Internal Market and Services Charlie McCreevy is proposing this extension, and if the other relevant Directorate Generales (Information Society, Consumers, Culture, Trade, Competition, etc.) agree with the proposal, it will be sent to the European Parliament.

Wikinews contacted Erik Josefsson, European Affairs Coordinator for the Electronic Frontier Foundation (E.F.F.), who invited us to Brussels, the heart of E.U. policy making, to discuss this new proposal and its implications. Expecting an office interview, we arrived to discover that the event was a party and meetup conveniently coinciding with FOSDEM 2008 (the Free and Open source Software Developers’ European Meeting). The meetup was in a sprawling city centre apartment festooned with E.F.F. flags and looked to be a party that would go on into the early hours of the morning with copious food and drink on tap. As more people showed up for the event it turned out that it was a truly international crowd, with guests from all over Europe.

Eddan Katz, the new International Affairs Director of the E.F.F., had come over from the U.S. to connect to the European E.F.F. network, and he gladly took part in our interview. Eddan Katz explained that the Electronic Frontier Foundation is “A non-profit organisation working to protect civil liberties and freedoms online. The E.F.F. has fought for information privacy rights online, in relation to both the government and companies who, with insufficient transparency, collect, aggregate and make abuse of information about individuals.” Another major focus of their advocacy is intellectual property, said Eddan: “The E.F.F. represents what would be the public interest, those parts of society that don’t have a concentration of power, that the private interests do have in terms of lobbying.”

Becky Hogge, Executive Director of the U.K.’s Open Rights Group (O.R.G.), joined our discussion as well. “The goals of the Open Rights Group are very simple: we speak up whenever we see civil, consumer or human rights being affected by the poor implementation or the poor regulation of new technologies,” Becky summarised. “In that sense, people call us -I mean the E.F.F. has been around, in internet years, since the beginning of time- but the Open Rights Group is often called the British E.F.F.“

Tuesday, August 18, 2009

Reports are emerging that eight people suspected of hijacking the 4,000-tonne Maltese registered vessel MV Arctic Sea have been arrested by the Russian Navy, and are being detained on the frigate Ladny.

Russian Defence Minister Anatoly Serdyukov confirmed that none of the detainees were members of the crew, and had boarded the vessel after approaching in a small dinghy, “using the threat of arms [and] demanded that the crew follow all of their orders without condition”.

The vessel was found on Sunday off of the Cape Verde Islands, following over a week of searching. The vessel was previously last seen off the coast of France near Brest. There was much speculation as to the whereabouts of the vessel, after it did not arrive in Béjaïa, Algeria as scheduled on August 4, 2009.

The ship is said to be carrying a cargo of Finnish timber that is worth $1.8 million.

According to the Estonian Security Police, among those detained were four Russians who were naturalized Estonian nationals, two Latvians and two Russians.

Wednesday, April 22, 2009

To raise funding and awareness for children living with AIDS in Africa, the tallest mountain peak in every state in the United States will be scaled this spring. The American Foundation for Children with AIDS (AFCA), in partnership with the American Alpine Institute, is sponsoring “Climb Up the 50.”

Funding from this synchronized climb-a-thon will pay for the uphill battle to support children with AIDS. Funds raised will cover AIDS-related medication, supplies, and food for children infected with the disease in the hardest-hit countries, including Kenya, Uganda, and Zimbabwe.

The program includes Climb Up the 50, Climb Up the World, and Climb Up Kilimanjaro. Climb Up the 50 is based in the United States, with participants climbing or hiking up the highest point in their state sometime during May 23–31. Other teams of people will join them to climb the highest peak in their state.File:HuffPo Mount Kilimanjaro.jpg

Florida has the lowest peak, with an elevation of only 345 feet above sea level. The highest peak in the country is located in Alaska — Denali (Mount McKinley) — at over 20,000 feet above sea level. A team’s goal is to raise US$5,000 for the organization while individuals raise either $90, $180, or $360.

Climb Up the World participants can engage in the event by running, climbing, hiking or cycling — where ever in the world they are — on September 19 or 20.

Each person who registers to take part in the event can either raise $90, $180, or $360. Each amount is the equivalent of 3 months, 6 months, or one full-year of life-saving medication for a child. The $25 registration fee covers all administrative costs so all raised donations will be used for AFCA-related programs. Teams raise $5,000.

The Climb Up Kilimanjaro is the most daring event. The team consists of 12 brave people who will climb up Mount Kilimanjaro — at 19,330 feet, the highest peak in Africa. The Kilimanjaro team wishes to raise $10,000 per person to cover costs of climbing and the money needed for the AFCA’s initiatives. This 10-day climb will take place September 11–24.

The mountain climbing apparel manufacturer Merrell has agreed to donate the footwear needed to the 12 members of the Kilimanjaro team.File:HuffPo American Foundation for Children with AIDS 1.jpg

“AFCA has received tremendous support from the climbing community around the world,” Tanya Weaver, executive director of the AFCA, said. “We think the challenge of climbing to the summit of Mount Kilimanjaro is an appropriate symbol for the uphill battle HIV/AIDS children face.”

This viral event is not just limited to climbing. The AFCA invites anyone and everyone to climb, hike, bike, or run for whatever distance to raise money for the children.

Corporations are encouraged to either sponsor, match donations, or organize a team of their own. Non-participants of the fundraiser can go the AFCA’s website for the program and sponsor one of the climbers for the Climb Up Kilimanjaro part of the program.

The AFCA’s assistance in HIV/AIDS stricken countries does not go unnoticed. Children who have received care from hospitals funded by the organization have sent letters of appreciation, which can be viewed on their website.

“The organization I founded ten years ago, Orphans International Worldwide, has a community center at the base of Mount Kilimanjaro at OI Tanzania, serving AIDS orphans and other children,” Jim Luce said. “Hopefully the Kilimanjaro team will stop by and visit the children currently staying there before they embark on their ten-day journey up the highest peak in Africa.”