Wednesday, December 31, 2008

What would you tell your grandchildren about 2008 if they asked you about it in, let’s say, 20 years’ time? If the answer to a quiz question was 2008, what would the question be? The year that markets collapsed, or perhaps the year that Obama became US president? Or the year Heath Ledger died?

Let’s take a look at some of the important stories of 2008. Links to the original Wikinews articles are in all the titles.

Friday, June 2, 2006

Convicted on the first of June by a military jury for participating in prisoner abuse at Abu Ghraib, former sergeant Santos Cardona, 32, a dog handler in the United States Army, was today sentenced to ninety days of hard labour and demoted to the rank of specialist.

Cardona was charged and convicted on two counts: aggravated assault, for using a Belgian shepherd dog to threaten detainees with actions “likely to produce death or grievous bodily harm,” and for dereliction of duty in relation to this act. He was cleared of seven other charges.

Cardona faced up to three and a half years in prison on these charges, and despite the conviction his attourney has expressed relief at the sentence. He will not be held in confinement during the term of his sentence.

Sunday, July 8, 2007

The U.S. Army installation at Fort Lee in Virginia will begin using a program called RAPIDGate that will replace passes issued to non-military persons who regularly require access to the facility. The program will take effect July 10, when the practice of issuing 90-day passes to people who present a valid driver’s license, vehicle registration, and proof of insurance for the vehicle used for access ends. Those passes will be grandfathered out as they expire.

The RAPIDGate program for fast entry into Fort Lee replaces what was once access privileges performed by the installation itself, which came free of cost. The new outsourced program administered by Portland, Oregon-based Eid Passport, Inc. enhances security to the installation by performing background checks. Their service comes at a price. The screening process makes a ten-year felony background check, performs a check against terrorist and sexual offender watch lists, and does a social security cross reference to validate a person’s identity.

Qualified applicants are issued a pass that enables them to bypass inspection pits and use any of the facility’s seven gates for access. Businesses whose employees would benefit by this are required to contact the program provider and have “point of contact” persons who can validate an applicant’s employment. Enrollment in the program costs the business US$199. A pass for each employee of the business costs $159 annually. The pass for employees expires after a year, when a new background check is required by the program.

The program is a voluntary alternative for civilians to conform with new access policies mandated by the Department of Defense and the U.S. Army, according to an information pamphlet distributed by the base. A kiosk will be set up at Fort Lee to accept applications that process a photograph, social security number, and fingerprint.

Those without a RAPIDGate pass will need to enter the fort at locations where their vehicle can be inspected. A rigorous inspection involves armed guards asking the driver to place keys on the dash board, pop the hood and the trunk, open the glove box, and have all occupants exit the vehicle and open all doors, including the hood and trunk. While the vehicle is inspected inside, another guard uses a mirror attached to a wand to inspect under the chassis of the vehicle’s undercarriage.

Eid Passport, Inc. specializes in identity authentication and background screening. Fort Lee will be the 12th military installation out of an estimated 250 military installations on U.S soil to implement identity screening as part of new policies mandated by the Department of Defense (DoD).

“The pass contains no personal information,” said David Smith, the director of marketing for Eid Passport. It does contain a barcode which is scanned at entry. The RAPIDGate program database includes a biometric fingerprint that might be checked by the scanning device against the presenter of the pass in times of elevated security. The pass is also embedded with an active RFID transmitter. The pass is scanned on entry to the fort at the gate check point, but not upon exit. If the RFID transmitter works properly, movement into and out of the base will be recorded.

The Fort Lee pamphlet mentions a “a new mandate” by the DoD. That mention appears to be in reference to portion of the language found in an Instruction issued in October last year by the DoD that states, “Implement a verification process, whether through background checks or other similar processes, that enables the U.S. Government to attest to the trustworthiness of DoD contractors and sub-contractors.”

The Instruction stems from a Directive signed by President Bush in August of 2004. That Directive, from the Department of Homeland Security, says in part, “Wide variations in the quality and security of forms of identification used to gain access to secure Federal and other facilities where there is potential for terrorist attacks need to be eliminated.”

Fort Lewis in Washington state was the first U.S. military installation to adopt the RAPIDGate program as a test in 2004. Since then, Fort Sam Houston, Fort Carson, and Fort Bragg, among other installations have adopted the program.

“What happened at Fort Dix, [New Jersey], as we look at it, is a Fort Dix issue,” Laura Arenschield reported spokesman for the 18th Airborne, Tom McCollum, as saying in June. “That should not be taken as an invitation for someone to try it here at Fort Bragg, but (security) is a living, breathing entity. You have to constantly change it just to keep those who are trying to penetrate it on their toes.” The new security measures will go into effect at Fort Bragg, North Carolina, which is among the largest of domestic military bases, starting July 8.

Saturday, September 1, 2012

London, England — Yesterday Wikinews had the opportunity to tour the Ottobrock wheelchair repair workshops at the Paralympic Village in London.

It is one of a network of workshops at every Paralympic venue. They are run by Ottobrock, which has been repairing wheelchairs at the Paralympics since 1988. The workshop opened on August 22 and will remain until September 10.

The Ottobrock employees include people from 20 countries. Between them, they speak 23 languages. They liken themselves to the pit crew of motor sport — except that they have no idea what sort of equipment they will have to work with. The store room contains 15,000 spare parts, with everything from spare carbon fibre running blades to spare tyres — over 2,000 of them. They stock Ottobrock parts and their competitors’ too, as they have no idea what will arrive at the workshop next. Athletes from around the world bring in all manner of equipment.

The prosthetic technicians have to deal with everything from flat tyres to broken spokes to full-scale rebuilds. They have to be expert problem solvers. They frequently collaborate on determining how best to effect a repair. The objective is to get the wheelchair repaired and back in service as soon as possible.

Wheelchairs vary somewhat in design, depending on the sport. Those for wheelchair basketball and rugby have cambered wheels so they can spin around. Aluminum and titanium parts are used for strength. Ottobrock has a welding workshop where frames are repaired; the teams’ equipment managers understandably cannot bring such heavy equipment with them to the games, so they rely on the workshops. When a repair job is required, it is often required in a hurry. At the Turkey vs United States game, a chair was repaired during the match.

In addition to wheelchairs, the workshops handle all manner of work with prostheses. Carbon fibre running blades are adjusted. Broken feet and legs are a challenge. The Chinese Boccia team brought in its power chairs to have the electronics adjusted. In that sport, having the controls working perfectly is all-important.

There are 4,200 athletes at the Paralympic games. So far, the workshops have carried out 1,100 repairs.

Friday, June 17, 2011

R.J. Harris, a potential candidate for the U.S. Libertarian Party’s presidential nomination, took some time to speak with Accredited Wikinews Reporter William Saturn about his campaign and issues positions.

Harris is an officer in the United States Army National Guard, currently serving in Afghanistan. He is also in his third year as a law student at the University of Oklahoma College of Law. Harris previously worked as an Air Traffic Controller and small business owner. He plans to enter the race in September after completing his tour in Afghanistan.

Others seeking the nomination include Libertarian activist R. Lee Wrights, radio host Jim Duensing, former Nevada Libertarian Party chair Jim Burns, marketing executive Roger Gary and attorney Carl Person. 2008 Vice presidential nominee Wayne Allyn Root is also expected to make a run.

Wednesday, November 15, 2006

The anti-globalization culture jamming group The Yes Men recently delivered a presentation at a Wharton Business School conference on trade and investment in Africa.

A performance artist, using the name Hanniford Schmidt, pretending to be a WTO representative, announced a new WTO initiative for “full private stewardry of labor” in some parts of Africa. His talk attempted to make clear that this meant slavery.

“This is what free trade’s all about,” said Schmidt. “It’s about the freedom to buy and sell anything—even people.”

Schmidt reported that “One conference attendee asked what incentive employers had to remain as stewards once their employees are too old to work or reproduce” but that “there were no other questions from the audience that took issue with Schmidt’s proposal.”

Wharton Business School placed a notice on the conference site stating that their invitation of Schmidt had been based upon his misrepresentation of himself as a representative of the WTO, and that they do not endorse his views.

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.

Wednesday, March 1, 2006

The No. 1 ranked Duke Blue Devils lost to the unranked Florida State Seminoles 79-74 at FSU.

The loss drops the Blue Devils to 27-2 (14-1 in the ACC) while FSU improves to 18-8 (8-7 in the ACC).

The Seminoles were led by Al Thornton, who was 15 for 16 at the freethrow line and scored 26 points in 36 minutes of play. Alexander Johnson brought in 22 points for FSU, shooting 10 of 13 at the line and bringing in 13 rebounds.

Senior J.J. Redick led the Blue Devils with 30 points, including 4 three point shots, and fellow senior Shelden Williams had 20 points and 16 rebounds.

Florida State fans swarmed the court with 1.7 seconds left to play, when the team was ahead 77-72. Duke coach Mike Krzyzweski sent all but the 5 Blue Devil players on the court to the locker room. The Seminoles were assessed a team technical foul, and Redick shot two free throws before play commenced.

This marks Duke’s first ACC loss of the season. In an earlier matchup, Duke narrowly escaped FSU at Cameron Indoor Stadium 97-96 in overtime.

Wednesday, September 16, 2009

British chef Keith Floyd has died at the age of 65 after a heart attack in Dorset, England.

Keith Floyd was best known for his cookery programmes, particularly on British television channel BBC, although he has also featured on shows on ITV. He was arguably most popular for his Floyd on series, with shows like Floyd on Food, Floyd on Spain, Floyd on Italy etc. He also presented Floyd on GMTV in 1998. Keith had been presenting programmes from 1984 to 2001.

On July 29, it was reported that Floyd had been diagnosed with bowel cancer in June. After undergoing five serious operations, 90% of the cancer was removed. He later had chemotherapy. He died on Monday of a heart attack in his partner’s house in Dorset, England.

Famous chefs around the world have been expressing their sadness for his death and made comments about him to British newspaper, The Guardian. Among them was Rick Stein, who said, “I first met Keith in the early 80s. He used to come to the restaurant regularly and knew Padstow well because his first wife came from Port Isaac. At a time when I was experimenting with Provençal dishes like Bouillabaisse and Bourride he was a Gauloise-smoking, red wine drinking hero who had actually owned a restaurant next to the Mediterranean. One thing was certain — he cooked like a dream and loved food and wine with a passion.”

Other cooks such as Michel Roux, Hugh Fearnley-Whittingstall and Heston Blumenthal expressed condolences. Gordon Ramsay stated, “Keith Floyd was a true original. A natural performer and a superb cook, he broke new ground with his programmes and his contribution to television cookery was immense.”

Marco Pierre White stated that, “A little piece of Britain died yesterday which will never be replaced. He was an individual, he was a maverick, he was mercurial, he was magical, he was special, he was rare.”

Keith Floyd died on September 14, the same day a documentary was broadcast on Channel 4 called Keith Meets Keith, which featured comedian Keith Allen interviewing Keith Floyd. It emerged that his death was just a few hours beforehand, however the information was unknown at the time of broadcast.

Celia Martin, who was staying with Floyd at the time of his death, gave an interview with London local newspaper Evening Standard.

“When we got home he had a siesta and got up feeling a bit headachy. We had both eaten a lot so I put it down to that. He laid down on the sofa and I thought he went to sleep. Then suddenly his breathing became erratic,” Martin said. “I phoned for an ambulance and the operator gave me instructions on how to help him. He didn’t say anything at all. The ambulance people were here for about an hour. They thought there was a chance they could save him. It was so bizarre, we were sitting down to watch the documentary at 10pm but by that time he had died.”

Friday, August 10, 2012

After two days of mourning, the West African nation Ghana is giving its late president John Atta Mills a state and military burial today at Geese Park, a bird sanctuary near the seat of government, Osu Castle, along the Atlantic Ocean.

His mortal remains, which were moved from the Banquet Hall in Accra, currently lie in a Ghana flag-draped casket at Ghana’s Independence Square (Black Star Square). The burial ceremony is ongoing as thousands have gathered to bid him farewell.

Eighteen heads of state; President of the ECOWAS Commission, Kadre Quedraogo; and Hillary Clinton, US Secretary of State are among the dignitaries present for the ceremony.

The Chief Officiating Minister of the ceremony the Most Reverend Professor Emmanuel Asante, in an interview with Radio Ghana earlier, has congratulated Ghanaians for uniting to mourn the dead leader.

Mills was 68.