text:
The Dust of Conflict - ebook/epub
Autor: Harold Bindloss Liczba stron: 380
Kategoria: ebooki >> dla dzieci i młodzieży >> literatura przygodowa
Appleby has a steady look and the ability to quickly make the right decisions as well as composure in action. These qualities are useful in more serious cases than shooting from the game, and for Appleby, who was poor, lucky that he possessed them. Appleby had something uncertain in his head. He had fearlessness in his eyes. And no one knew what was on his mind. Whether to be afraid, or to admire.
Harold BindlossThe Dust of ConflictWarsaw 2019
ContentsI. VIOLET WAYNE'S CONFIDENCEII. DAVIDSON MEETS HIS MATCHIII. TONY CANNOT DECIDEIV. THE VERDICTV. APPLEBY MAKES A FRIENDVI. THE SCHOONER "VENTURA"VII. THE DESCENT OF SANTA MARTAVIII. APPLEBY'S PRISONERIX. THE BREAKING OF THE NETX. AN UNEXPECTED MEETINGXI. THE ALCALDE'S BALLXII. PANCHO'S WARNINGXIII. THE SECOND ATTEMPTXIV. APPLEBY PROVES OBDURATEXV. TONY'S LAST OPPORTUNITYXVI. DANE COPXVII. TONY IS PAINFULLY ASTONISHEDXVIII. NETTIE ASKS A QUESTIONXIX. POSITIVE PROOFXX. FOUND GUILTYXXI. TONY'S DECISIONXXII. MORALES MAKES A PROPOSALXXIII. APPLEBY TAKES A RISKXXIV. RESPITEDXXV. MORALES SITS STILLXXVI. THE SEIZING OF SAN CRISTOVALXXVII. HARDING'S APPROBATIONXXVIII. TONY MAKES AMENDSXXIX. TONY PERSISTSXXX. MORALES PRESERVES HIS FAMEXXXI. STRUCK OFF THE ROLLXXXII. APPLEBY LEAVES SANTA MARTAXXXIII. VIOLET REGAINS HER LIBERTYXXXIV. THE RIGHT MAN
I–VIOLET WAYNE'S CONFIDENCETHE November afternoon was drawing towards its close when Bernard Appleby stood with a gun on his shoulder in an English country lane. It was a costly hammerless gun, but it had been lent to him, and the fact that his right shoulder was sore and there was a raw place on one of his fingers was not without its significance. Appleby, indeed, seldom enjoyed an opportunity of shooting pheasants, and had been stationed at what proved to be a particularly warm corner of the big beech wood. Here he had, however, acquitted himself considerably better than might have been expected, for he had a steady eye and the faculty of making a quick and usually accurate decision, as well as a curious coolness in action, which was otherwise somewhat at variance with an impulsive disposition. These qualities are useful in more serious affairs than game shooting, and it was fortunate for Appleby, who was a poor man, that he possessed them, because they comprised his whole worldly advantages. A little farther up the lane his kinsman, Anthony Palliser, was talking to a keeper, and though Appleby could not hear what they said, there was something in the man's manner which puzzled him. It was certainly not respectful, and Appleby could almost have fancied that he was threatening his companion. This, however, appeared improbable, for Anthony Palliser was a man of some little importance in that part of the country, and endowed with an indolent good humor which had gained him the good will of everybody. Still, Appleby had seen that complaisance can be carried too far, and knowing rather better than most people how little stiffness there was in Palliser's character, watched him somewhat curiously until the keeper moved away. Then Palliser came up and joined him, and they turned homewards down the lane. They were not unlike in appearance, and of much the same age–Appleby twenty-six, Palliser a year younger. Both were healthy young Englishmen, but there was an indefinite something in the poise of Appleby's head, and the very way he put his feet down, which suggested who possessed the most character. He had clear blue eyes which met one fearlessly, and into which there crept at times a little reckless twinkle, crisp brown hair, and lips which could set firmly together, while he held himself well, considering that he labored for the most part at a desk. "What do you think of keeper Davidson?" asked Palliser. "A surly brute!" said Appleby. "Ill-conditioned, but tenacious. Have you any reason for asking?" He fancied for a moment that Palliser had something to tell him, but the younger man smiled somewhat mirthlessly. "I don't like the fellow, and wonder why my respected uncle tolerates him," he said. "He is certainly tenacious. You have a trick of weighing up folks correctly, Bernard." "It is fortunate I have some qualification for my profession, and it's about the only one," said Appleby dryly. "Still, it did not need much penetration to see that you and he held different opinions." Palliser appeared irresolute. "The fact is, he would have the netting put up in the wrong place, and spoiled what should have been our best drive," he said. "It was by his bad management they had to put two of the game hampers in the dog-cart, which sent us home on foot. I hope you don't mind that. It's a pleasant evening for walking, and you know you don't get much exercise." "Not in the least!" said Appleby. "Don't make excuses, Tony. It isn't everybody who would have walked home with me, and it was very good of you to persuade Godfrey Palliser to have me down at all. It is the only taste I get of this kind of thing–one fortnight in the year, you see–and I'm considerably fonder of it than is good for me." Palliser flushed a trifle, for he was sympathetic and somewhat sensitive, though his comrade had intended to express no bitterness. By and by he stopped where the lane wound over the crest of a hill, and it was possible that each guessed the other's thoughts as they looked down into the valley. A beech wood with silver firs in it rolled down the face of the hill, and the maze of leafless twigs and dusky spires cut sharp against the soft blueness of the evening sky, though warm hues of russet and crimson still chequered the dusky green below. Beyond it, belts of thin white mist streaked the brown plough land in the hollow where Appleby could see the pale shining of a winding river. Across that in turn, meadow and coppice rolled away past the white walls of a village bowered in orchards, and faded into the creeping night beyond a dim church tower and the dusky outline of Northrop Hall. As they watched, its long row of windows twinkled into brilliancy, and the sound of running water came up with the faint astringent smell of withered leaves out of the hollow. Appleby drew in a deep breath, and his face grew a trifle grim. "And all that will be yours some day, Tony!" he said. "You ought to feel yourself a lucky man." Palliser did not appear enthusiastic. "There are," he said, "always drawbacks, and when there are none one generally makes them. The place is over head and heels in debt, and setting anything straight, especially if it entailed retrenchment, was never a favorite occupation of mine. Besides, a good deal depends upon my pleasing Godfrey Palliser, and there are times when it's a trifle difficult to get on with him." "Still, your wife will have plenty of money." Appleby almost fancied that Palliser winced as they turned away. "Yes," he said. "Violet and I are, however, not married yet, and we'll talk of something else. Are you liking the business any better?" Appleby laughed. "I never liked it in the least, but Godfrey Palliser gave me my education, which was rather more than anybody could have expected of him, and I had the sense to see that if I was ever able to practise for myself the business he could influence would be a good thing for me. My worthy employer, however, evidently intends holding on forever, and the sordid, monotonous drudgery has been getting insupportable lately. You may be able to understand that, though you haven't spent six years in a country solicitor's office." "No," said Palliser sympathetically. "I never go into such places except when I want money, as I frequently do. Still, is there anything else open to you?" Appleby straightened his shoulders with a little resolute gesture, and–for they were heading west–pointed vaguely towards the pale evening star. "There are still lands out there where they want men who can ride and shoot, and take their chances as they come; while if I was born to be anything in particular it was either a jockey or a soldier." Palliser nodded. "Yes," he said, "you got it from both sides, and it was rather a grim joke to make you a solicitor. Still, it's a risky thing to throw one's living over, and I have a fancy that my uncle likes you. You are a connection, anyway, and one never knows what may happen." "Godfrey Palliser has done all he means to do for me, and even if there were nobody else, your children would have a prior claim, Tony." Palliser looked up sharply, and though the light was very dim there was something in his face that once more puzzled his companion. "I think that is a little personal–and I wouldn't make too sure," he said. They said nothing further, but tramped on in the growing darkness, past farm steadings where the sleek cattle flocked about the byres, into the little village where the smell of wood smoke was in the frosty air, through the silent churchyard where generations of the Pallisers lay, and up the beech avenue that led to Northrop Hall. It would, as Appleby had said, all be his comrade's some day. They parted at the head of the great stairway where the long corridors branched off, and Appleby looked at Palliser steadily as he said– "One could fancy there was something on your mind tonight, Tony." Palliser did not answer, and Appleby went to his room to dress for dinner, which was a somewhat unusual proceeding for him. Nothing of moment occurred during the meal, and it was nobody's fault that he felt not quite at home, as he had done at other functions of the kind. The gayeties of the Metropolis were unknown, except by hearsay, to him, and it was but once a year he met Tony's friends at Northrop Hall. It was, however, not quite by coincidence, as he at first fancied, that he afterwards found Miss Violet Wayne, Tony's fiancée, sitting a little apart from the rest in the drawing-room. He did not think that either of them suggested it, but presently she was walking by his side in the conservatory, and when they passed a seat almost hidden under the fronds of a tree fern she sat down in it. The place was dimly lighted, but they could see each other, and Appleby had realized already that Violet Wayne was distinctly good to look upon. Her face was almost severely regular in outline and feature, with but the faintest warmth in its creamy tinting; but this was atoned for by the rich coloring of her hair, which gleamed with the hues of gold and burnished copper. There was also a curious reposefulness about her, and Appleby had wondered why a young woman of her distinction had displayed the kindliness she had more than once done to him. He was grateful for it, but what he had seen of men and women during his legal training had made him shrewd. "This place is pleasantly cool and green, but I am not sure that is why we are here," he said. "In any case, I am glad, because I am going away to-morrow, and wished to thank you for your graciousness to me. I am, as, of course, you know, an outsider here, and you have in several tactful ways made my stay pleasant to me." Violet Wayne looked at him with big calm eyes, but made no disclaimer. "You are a relative of Godfrey Palliser!" "A distant one; but my mother married a penniless army captain, and a ranker. He had won his commission by worth and valor, but that was no reason why the Pallisers should hold out a hand to him." Violet Wayne nodded gravely. "Still, Godfrey Palliser sent you to school with Tony. You were always good friends, though I think he told me you were born abroad?" "Yes," said Appleby, "he was my first English friend. My father died at Gibraltar, and my mother stayed on there until she followed him. She did not want to forget him, and living is cheap in Spain. Tony and I fought our way through three schools together." "I think it was you who fought for him," said Miss Wayne, with a little smile. "He has, I may mention, told me a good deal about you, and that is one reason why I feel that I could trust you. You would, I believe, respect any confidence a woman reposed in you." Appleby flushed a trifle. "I fancy I told you I was grateful," he said. "The little kindnesses you have shown me mean so much to a man whose life is what mine has been. One gets very few of them, you see." "Still," the girl said quietly, "when we first met you were not quite sure of me." The color showed a trifle plainer in Appleby's forehead, for he had not had the advantages of his companion's training, but he looked at her with steady eyes. "You can set that down as due to the pride of the class I sprang from on one side–I feared a rebuff which would have hurt me. I was, you will remember, Tony's friend long before he met you!" "And now?" This is a free sample. Please purchase full version of the book to continue.
The Dust of Conflict
Autor: Harold Bindloss


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Sprinklr, a company that helps large enterprises like McDonald's and Microsoft manage their social media presences, raised $105 million on Wednesday, valuing the company at about $1.8 billion.
Singapore-based investment firm Temasek led the round, which marks Sprinklr's first major fund-raise from APAC investors. The Series F round brings Sprinklr's funding total to $239 million.
Private investment group Wellington and the corporate investment arm of the Singapore Economic Development Board also participated.
While Sprinklr had a small foothold in Asia through its joint venture, Sprinklr Japan KK, CEO Ragy Thomas thinks the latest investment will ramp up growth in the region faster.
Most of the investment will be used to ramp up head count (Sprinklr currently has 1,200 employees in 13 global offices), but the rest will fuel product expansion.
Sprinklr is expanding beyond its focus on social media listening and publishing, and it will beta-launch a media planning tool within four weeks, said Thomas.
Sprinklr's move into paid media stems from acquisitions it made over the years, including social marketing agencies like Dachis Group and TBG Digital, data visualization tools like Postano as well as Booshaka, an audience segmentation tool that helps connect marketing automation and social platforms.
Sprinklr claims it competes with marketing clouds like Oracle and Salesforce, though it's solely focused on social.
Sprinklr also aims to power a brand's content marketing efforts on platforms like Facebook and Weibo, whether those assets are text, rich media, images or videos.


*** What is necessary to salvation?
"A turning or change from one state to another." Webster.
*** What two steps are necessary to make this change?
"And how I kept back nothing that was profitable unto you, but have showed you, and have taught you publicly, and from house to house, Testifying both to the Jews, and also to the Greeks, repentance toward God, and faith toward our Lord Jesus Christ." Acts 20:20, 21.
*** Of what is it necessary to repent?
"Whosoever committeth sin, transgresseth also the law: for sin is the transgression of the law." 1 John 3:4.
*** What law does one transgress when he sins?
"But if ye have respect to persons, ye commit sin, and are convinced of the law as transgressors. For whosoever shall keep the whole law, and yet offend in one point, he is guilty of all. For he that said, Do not commit adultery, said also, Do not kill. Now if thou commit no adultery, yet if thou kill, thou art become a transgressor of the law." James 2:9-11.
*** What part does the law act in repentance?
*** When Paul was converted, what first brought conviction to him?
*** What more than conviction is necessary to true repentance?
*** What does repentance involve?
"Therefore I will judge you, O house of Israel, every one according to his ways, saith the Lord GOD. Repent, and turn yourselves from all your transgressions; so iniquity shall not be your ruin. Cast away from you all your transgressions, whereby ye have transgressed; and make you a new heart and a new spirit: for why will ye die, O house of Israel?" Ezekiel 18:30, 31.
*** What does repentance further require?
"Seek ye the LORD while he may be found, call ye upon him while he is near: Let the wicked forsake his way, and the unrighteous man his thoughts: and let him return unto the LORD, and he will have mercy upon him; and to our God, for he will abundantly pardon." Isaiah 55:6, 7.
*** How will genuine repentance be shown?
"Bring forth therefore fruits meet for repentance." Matthew 3:8.
*** What besides repentance is required in conversion?
*** Who is Christ, that one should believe in Him?
*** What has Christ done for us that we should be saved through Him?
*** In order for one to be cleansed from sin, what is required of Him?
"But if we walk in the light, as he is in the light, we have fellowship one with another, and the blood of Jesus Christ his Son cleanseth us from all sin. If we say that we have no sin, we deceive ourselves, and the truth is not in us. If we confess our sins, he is faithful and just to forgive us our sins, and to cleanse us from all unrighteousness." 1 John 1:7-9.
*** What should be one's relation to sin after repentance?
*** How does one become dead to sin?
*** What is done with the "old man" after he dies?
"Therefore we are buried with him by baptism into death; that like as Christ was raised up from the dead by the glory of the Father, even so we also should walk in newness of life." Romans 6:4.
*** When truly converted, what does everyone receive?
*** Can anyone be a Christian without having the Spirit of Christ?
*** What precious relation is sustained when one has the Holy Spirit?
"For as many as are led by the Spirit of God, they are the sons of God." Romans 8:14.
*** Can it be known when this relation exists?
"The Spirit itself beareth witness with our spirit, that we are the children of God." Romans 8:16.
*** When one thus stands complete in Christ, what is he?
*** Of what character are the "old things" which are to be put off?
"But now ye also put off all these; anger, wrath, malice, blasphemy, filthy communication out of your mouth. Lie not one to another, seeing that ye have put off the old man with his deeds." Colossians 3:9.
*** What will the new man acquire?
"Put on therefore, as the elect of God, holy and beloved, bowels of mercies, kindness, humbleness of mind, meekness, longsuffering; Forbearing one another, and forgiving one another, if any man have a quarrel against any: even as Christ forgave you, so also do ye. And above all these things put on charity, which is the bond of perfectness." Colossians 3:12-14.
*** Where will the affections then be found?
*** Having done all this, what will be the final result?
"For ye are dead, and your life is hid with Christ in God. When Christ, who is our life, shall appear, then shall ye also appear with him in glory." Colossians 3:3, 4.


At Citalia, we've made sure all you have to think about is where you want to go. Many of the flights and flight-inclusive holidays on this website are financially protected by the ATOL scheme. But ATOL protection does not apply to all holiday and travel services listed. Please ask us to confirm what protection may apply to your booking. If you do not receive an ATOL Certificate then the booking will not be ATOL protected. If you do receive an ATOL Certificate but all the parts of your trip are not listed on it, those parts will not be ATOL protected. Please see our booking conditions for information or for more information about financial protection and the ATOL Certificate go to: www.atol.org.uk/ATOLCertificate. We will provide you with financial protection for any package holidays you buy from us that do not include travel by air by way of a bond held by ABTA. We are a member of ABTA which means you have the benefit of ABTA's assistance and Code of Conduct. We provide financial protection for your money when you buy a package holiday. If you buy other travel arrangements such as accommodation only this protection doesn't apply. For further information, visit the ABTA website at www.abta.com. If you book arrangements other than an ATOL protected flight or a package holiday, the financial protection referred to above does not apply. Our ATOL number is 0285 and our ABTA number is V4068.
Being part of ABTA means we have proven we promise high professional standards and superior choice, quality and service at fair prices. While the financial protection scheme ATOL lets you look forward to your holiday without worrying - even if something as obscure as a volcanic ash cloud gets in the way.
Of course, we don't leave it all to ABTA and ATOL - we're there for you too. Our specialist team in the UK, Personal Concierges and Expert Guides are always on call. And, if something unexpected should cause your holiday to be cancelled, we'll pull out all the stops to find you the very best alternative and make sure you're never out of pocket.
We will provide you with financial protection for any ATOL protected air package or flight that you buy from us by way of our Air Travel Organiser's Licence, administered by the Civil Aviation Authority ('CAA'). When you buy an ATOL protected air package or flight from us you will receive an ATOL Certificate. This lists the flight, accommodation, car hire and/or other services that are financially protected, where you can get information on what this means for you and who to contact if things go wrong.
All current FTO members are also members of ABTA, and the two organisations work closely together.
Citalia is a member of theTravelopia Group of companies.
ATOL was established nearly 40 years ago by the government to ensure holiday makers booking an air-package or flight booking (flights must be international and leaving from or arriving in to the UK) were financially protected if their tour operator ceased trading. We are ATOL bonded so you have always had this protection when you book with us. It means that if you book a protected holiday you are looked after in resort and brought back to the UK, or if you are yet to travel, and ATOL are unable to source your holiday from another operator you could apply for a refund of anything paid to that point.


text:
VUT researchers will add value overseas
From left: Ms Sanele Nxumalo: Lab Assistant; Ms Jeane Bresler: Designer; Ms Tintswalo Mabuza: Mechanical Technician
Selina Rapulane
Three female staff members from the Vaal University of Technology Southern Gauteng Science and Technology Park (VUTSGSTP) will proudly represent VUT and South Africa when they participate in the DiCoMI research project in the United Kingdom and Romania for the next two months. This initiative benchmarks again the importance that upcoming female scientists and researchers are making in the additive manufacturing and composite space of VUT.
The Directional Composites through Manufacturing Innovation (DiCoMI) project, aims to bring together leading innovators from around the world to develop a new method of producing composite material parts with optimised fibre directionality. The DiCoMI project will integrate advanced manufacturing techniques, composite materials science and manufacturing system design. As such, it requires a high level of inter-disciplinary cooperation as well as collaboration between researchers and industrial partners across the globe. The outcome will be a novel composite manufacturing system capable of producing low-cost parts with increased accuracy and enhanced functionality.
Ms Sanele Nxumalo, 28, a lab assistant at the Idea2Product, who has a BTech in Industrial Engineering, was chosen to participate in this project because of her experience in working with entry level polymer material extrusion machines.
"I am a versatile individual who is always eager to learn. My ability to critically analyse challenges and come up with solutions has always been my biggest strength. These will help me a lot in conducting my research successfully," she said. Her role in this project will be based in Romania. She will be doing polymer material research in preparation for testing on entry level material extrusion machines at the Technical University of Cluj-Napoca. Basically, this means testing specific polymer materials with short, chopped carbon fibre and continuous strand fibre embedded in them and testing the machine parameters for degradation of nozzles.
Establishing a relationship between the Universities is also one of the project goals. She will stay in Romania from 30 June to 31 August. She hopes to get more exposure to different material extrusion machines and different materials.
Second on the list is the 34-year-old Jeane Bresler who has a BTech in Fine Arts and is a designer by profession. She will start working on the project in July at Loughborough University.
"I will do research in Loughborough in July and practical tests at the Technical University of Cluj-Napoca in August. After returning to SA, I will stay involved in the project, to a lesser extent, until it is completed in 2022," she said.
The DiCoMI project is broken up into five different work packages and she will be working on the design of a hybrid manufacturing system.
Third on the list is the 29-year-old Ms Tintswalo Mabuza, a mechanical technician, who has a BTech in Mechanical Engineering. She leads the Energy Optimisation Unit at VUTSGSTP. She was chosen to be a part of this project as she has a good background in mechanical design and energy optimisation and the research that needs to be done includes these two areas of speciality. As she desires to study abroad for her Master's in energy efficiency and sustainable buildings, she believes that also played a part in the selection process.
"My research will be in optimising the design of an additive manufacturing machine as well as optimising the energy it consumes. This research encourages the exchanging of skills between Loughborough University and Vaal University of Technology. The long-term goal is to develop a platform within the VUT Science Park that encourages the exchanging of skills from different institutions. When I come back from this trip, I will be one of the delegates that will mentor and look after delegates participating in the DiCoMI project who will be conducting their research at the VUT Science Park," she said. She will be in UK from 30 June to 31 August.
In the meantime, she has been researching more on the subject matter in preparation for her trip.
The researchers feel honoured and excited to be working on this project as they will be surrounded by expert scientists and students who have immense skills and knowledge.
The DiCoMI project will focus on directional Fibre-Reinforced Polymer (FRP) materials and combine different manufacturing techniques into a unique and innovative hybrid system. This project will have a direct impact on the European and international scientific fields of composite materials and manufacturing equipment, while supporting the innovation potential in the automotive and aerospace industries.
VUT has been a partner in this project since 2014 through its Advanced Manufacturing Precinct (VUT-AMP), based at the Science Park. The park is known to host one of the largest Additive Manufacturing centres in the Southern Hemisphere and focuses on providing support to various industrial establishments, including the SA Footwear Cluster and the Vaal Foundry Innovation Centre. It integrates seamlessly with conventional manufacturing, and includes both a tool room and a design centre.
Technology Innovation Open Day held at the Vaal University of Technology
Human Resources does it again!
Teaching people how to invest
F'SASEC VUT students undergo exams in home installation

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The unit returns four starters, including guard Ben Bredeson.
Ann Arbor — A year ago when Ed Warinner arrived at Michigan as offensive line coach, he discovered a group woefully lacking in confidence.
His first task was building that confidence, and hand in hand with that was simplifying the schemes, removing the excess that had been piled on their plates the previous season. That freed their minds from overthinking.
Now, as the Wolverines transition to new offensive coordinator Josh Gattis' no-huddle, up-tempo offense, the offensive line, which returns four starters from last season, has been the buzz this spring. Most around the football building say the line could be a real strength this fall.
"It's more accelerated now," left guard Ben Bredeson, entering his final season, said recently of how the line wants to take that next step. "We used to be viewed as one of the weak points of the team to being a good one.
Jon Runyan, All-Big Ten first team last season, is back at left tackle, Bredeson is at left guard, Cesar Ruiz, who started at center as a sophomore last year, anchors the line, and at right guard is Mike Onwenu. Right tackle remains unsettled as Andrew Stueber, who started the final two games last fall at the position, and Jalen Mayfield are in a fierce competition this spring.
They alternate as the starter each spring practice.
Warinner said a year after his arrival, and with four returning starters, the line is in a different place with heightened goals.
The new offense is playing to everyone's strength, including the coaches, Warinner said. Pretty much every assistant on Michigan's offensive staff has had some experience running a spread offense, so the transition has been smooth.
He jokingly rationalized with the linemen what the added play count might do to them physically. Perhaps Michigan runs 70 plays a game versus 50 from last year — that's quite a jump. But because it's no-huddle, he told them they no longer have to run the seven yards to the huddle and back to the line of scrimmage.
Gattis' offense makes sense on a number of personnel levels, according to Warriner, starting with quarterback Shea Patterson. Patterson started every game last season, with Dylan McCaffrey as his backup.
One of the biggest improvements on the line this offseason has been Onwenu at right guard. He is listed at 6-foot-3, 350 pounds and has apparently dropped close to 20 pounds since the start of the year in an effort to follow through on the paragraph he was given that encouraged him to get leaner.


text:
Target snubs boycott by featuring same-sex parents in latest campaign
Barely a month after a number of anti-gay groups called for a nationwide boycott of Target stores after the retailer signed on to a legal brief supporting marriage equality, the chain has released a new advertisement featuring same-sex parents.
By Staff Reports Monday, September 15, 2014
Good as You calls our attention to Target's "Made to matter" video, which features a brief glimpse of two dads and their son (around the 0:19 mark).
Last month, Target Corp. added its name to a court brief backing marriage equality in the federal challenge to Indiana and Wisconsin's same-sex marriage bans.
"It is our belief that everyone should be treated equally under the law, and that includes rights we believe individuals should have related to marriage," Target Executive Vice President of Human Resources Jodee Kozlak wrote on the company's blog.
Boycott, Business, Family and Parenting, LGBTQ parents, Marriage Equality, Target
Clinton adviser: LGBT rights a defining achievement of Obama's presidency
Chandler police forming committee to connect with local LGBT community
Tired of a dreary winter? Let photos of Italy's Cinque Terre brighten your day
Go for a virtual walk through the colorful Cinque Terre — that string of five charming villages along the north Italian coast.
We scoured two animal-obsessed Insta reels for the most utterly heartwarming moments.
This trans "seahorse dad" is ignoring haters to share his experiences of pregnancy & chestfeeding
Tanius Posey said some negative comments have come from trans people who think he's making them "look bad."
Almost all older LGBTQ+ Americans got vaccinated for COVID. Why?
What spurred so many queer folks to get the vaccine?
Get ready to have your heart broken by out director Lukas Dhont's "Close"
Critics are calling the Oscar-nominated film "elegant" and "drenchingly sad."
Sam Smith says they were "spat at" on the street for being non-binary
Sam Smith said they can't imagine how hard it is for trans youth based on their own experiences.
Trans model Laith Ashley co-stars as Taylor Swift's love interest in new music video
The video has been hailed as "a big moment for representation."
PHOTOS: Meet the gay men surviving in war-torn Ukraine
One of the first men I met in Ukraine was Sasha.
Fans are going nuts for Doja Cat's drag king-esque look
The rapper has repeatedly wowed fans with her campy, over-the-top Paris Fashion Week style.


Local Democracy Reporter Fiona Callingham gives her round-up of what you may have missed from Portsmouth City Council's meetings this week.
This week saw proposals for defences at Southsea finally revealed to residents who had been eagerly awaiting them since last year.
On Wednesday locals were invited to the first public consultation on the defences that showed what the seafront could look like in the future via artists' impressions, videos and information boards.
The £100m project was broken down into eight sections that spanned Long Curtain Moat to Eastney and residents were given questionnaires to provide feedback.
Council leader Cllr Gerald Vernon-Jackson said: 'It is going to be here for 100 years. We have got to try to make sure we get this right.
But several more public consultations taking place before the end of July so only time will tell.
Another issue of public safety was discussed openly this week.
At Wednesday's housing meeting councillors were provided with an update on the evacuation of two Somerstown tower blocks.
Leamington House and Horatia House were declared unsafe last month after de-cladding works revealed structural instabilities in the concrete.
Around 800 people will have to be rehoused by spring next year, which the council's director of housing, James Hill, confirmed would happen.
Although, he did voice fears the process would lead to less social housing available to other residents. He said: 'The social housing that Portsmouth City Council holds is about 14,900 properties. On average per year that generates about 900 voids which are available to us.
And don't worry - rubbish was still a key concern this week.
The council voted in favour of raising fines for landlords and tenants of houses of multiple occupancy that don't put out rubbish correctly from £60 to £5,000.
Cll Darren Sanders, head of housing, said: 'It's clear from the residents' complaints that something needs to be done.
So finally, something that might be one to watch. The council leader announced the council might pull the plug on their energy company, Victory Energy.
The company is not yet up and running but already £1m has been spent on the venture.


text:
Oreca-Events
Organising the legendary one-make cup
Boost and give new impetus to the competition
The Porsche Carrera Cup France is the national version of a competition born in Germany in 1986. This cup is part of the main French motorsport championship. Each year, around twenty Porsche 911 GT3 Cup pit against one another on the most prestigious French circuits. Throughout the seasons, the Porsche Carrera Cup France has revealed many talents, allowing passionate contenders – gentlemen drivers – to compete within a professional environment. In 2002, Porsche wanted to give new impetus to the PCCF not only in terms of the race itself but also regarding events alongside it.
Increasing visibility and developing events programme
In terms of competition, the PCCF's role as springboard for young drivers was increased by putting forward different scholarship-like programmes. We built on our experience of racing to support French young talents in their career.
In terms of events, we worked on making the PCCF stand out, getting different major partners involved throughout the years, such as insurance company MATMUT for instance, while ensuring an important media coverage and maximum visibility for the event. Developing VIP packages was also one major concern, looking to meet increased demand from teams, drivers and sponsors.
In 2015, the PCCF, still run by ORECA, celebrated its 14th anniversary.
ORECA Group
Facebook Oreca
Twitter Oreca
Vimeo Oreca Events
© 2020 Oreca Events


Council Chambers of the Town Hall, unless otherwise noted.
The Zoning Board is established within the Town Charter with duties outlined within the Town's Zoning Ordinance pursuant to RI State Law. Consisting of seven (7) members, with five (5) full members and two (2) alternate members, the Zoning Board is responsible for hearing applications for Variances, Special Use Permits, and Appeals in accordance with the Town's Zoning Ordinance. The Zoning Board also functions as the Board of Appeals (as necessary) to hear appeals of decisions of the Planning Board or the Administrative Officer on matters associated with land development and subdivision projects.
Click Here for a listing of Zoning Applications currently or previously presented to the Zoning Board.


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A coworker and I had a discussion the other day about how some communities, such as the Golang channel, require people to post code before answering the question. This isn't a controversial opinion, we've all had newcomers wander into a channel before and start asking questions that are either 1. seem completely irrelevant to what they're trying to accomplish or 2. are so vague they help no one. By forcing newcomers to write code, this inherently fleshes out their question, reducing the scope of the question and can help them achieve tangible, realistic goals. "Talk is cheap. Show me the code." is nice quote from Linus Torvalds on that.
Yet a casualty of this is expertise of the domain and knowledge outside the community. For this heavy-handed questions approach to work, it presumes that there is a tribunal of a few people that know generally far more than the newcomers, and this tribunal can dole out knowledge of most, if not all, of questions asked. While this works on a Q&A basis, it makes for stagnant communities.
Reducing conversation down to the bare minimum (in this case, reviewable code) decreases the chance to learn. Lurkers (those who sit in a channel to observe, and, presumably, to learn) fail to gain any more knowledge than bare minimum passed around the community, as conversations can only center around the code, which are the only questions asked. Ideas that require a higher level of abstraction than the code will never be explored, leading the community to bikeshed over various code implementations.
Moreover, communities seek out this "example-before-question" type of self-regulation because they have seen countless communities fall prey to aimless and redundant questions being thrown around for no reason. Believing that the problem is caused by quality of questions asked, communities take steps to get people to ask more specific questions. This is a fundamental misunderstanding of the issue. The problem lies not in that the questions are poor, but rather that the people who ask them are uninformed. The "example-before-question" approach misses this, and rather than simply telling newcomers that the channel is not for newcomers and that newcomers should seek out some other channel, communities want to adopt an inclusive ideology. This is unsustainable, eventually leading to a stagnant community.
"The history of mathematics is a history of horrendously difficult problems being solved by young people too ignorant to know they were impossible."1. Newcomers to the community often have insights that those steeped in the community can no longer see. Newcomers can bring new expertise from different domains, but the style of "example-before-question" leads to all members in the community thinking along the same lines, eventually turning into cargo culting. We should embrace different domains of knowledge by allowing vague questions to be asked, but communities should be heavily moderated in order, such as StackOverflow and StackExchange. We should embrace the ban hammer more often, and be far more willing to pay the cost of heavy moderation than the cost of cargo-culting.
Dyson, Freeman. "Birds and frogs." Notices of the AMS 56.2 (2009): 212-223.


text:
Video Premiere: Gender-Fluid Rapper Qbala Explores Life's Pain in "So Alone"
Bree Davies January 26, 2017 6:10AM
Qbala explores the dark side in "So Alone." YouTube
"I'm Sagittarius: half-human and half-horse – centaur, what we were told was mythology. The learned healer. I form a bridge between human beings and beasts. Call me Qbala, the Archer."
From the opening lines of Qbala's new track, "So Alone," the MC establishes themselves as a fluid being, unbound by binary gender and what can be contained in merely human form. Pushing through a crowd of shadowy figures, the artist visually wrestles with the idea of being held back, while simultaneously choosing to hide.
"The song and the idea for the video slide closely together. This is essentially a story about me breaking the mold, breaking out of what I have always thought society has wanted me to be," says the Fort Collins rhymer. "Now, as I'm older, I'm seeing that there are people out there who don't give a shit about who you are — but I feel like when you're younger and more impressionable, it's harder to see things in that light."
"So Alone" is an autobiographical trek through Qbala's journey to full self-expression, something the artist works through both lyrically and visually. There's a running game of chess at play in the music video, too, putting Qbala up against an anonymous figure. The game ends abruptly when the artist jumps up and wipes the board clean.
"Clearing the board is pure frustration, me butting my head against the wall and trying to figure out something that I already knew," the artist says. "At the end, there's a chess move that happens called a draw; it's almost like I've stopped fighting it. I've just made peace and realized that I don't need to go as far as being Kalhie Qbala, 'transgender rapper,' or Kahlie Qbala, 'female rapper.' I'm fine with being gender-fluid and understanding that I'm just energy, just like everyone else."
The video for "So Alone" was a collaboration with Fort Collins friends Kind Dub, a group of artists who function as both a video- and sound-production entity and a musical outfit. Kind Dub recorded and produced last year's Battle Cries EP with Qbala, and also created the cover art. The musician says that working with the artistic cohort came easily, as friendship was the first step in the process.
Qbala takes on the darkness — embodied in an anonymous opponent — at the chess board.
"Cory [Clarke] and Cody [Marsden] came into my job one day and sparked a conversation; I would see Cory at my shows. Next thing I know, we're working on shows together and trying to collaborate on tracks," says Qbala. After coming up with the video's concept, the artist took the idea to the Kind Dub dudes, and together they created a storyboard and scouted locations. It was shot in one day in Fort Collins; the musician says that perfect Colorado weather came through, offering sunshine for the day shots and a gentle blizzard for the night filming.
"They are like my little brothers; we really keep each other on our toes and keep pushing each others' projects. They've been great partners in all of this," says Qbala of the Kind Dub crew. The two artistic entities will join forces on stage this Friday at Lost Lake Lounge for Kind Dub's own album-release show.
The video for "So Alone" presents a brooding tone, and the song carries a gravity in its lyrical content, but it's Qbala's connection with the tight-knit Fort Collins music scene that shines through. The artist says that having had plenty of practice with live shows and previous video work helped them feel comfortable in front of the camera. Having friends behind the lens while the musician bares their soul in personal, vulnerable prose only reinforces why Qbala chooses to fearlessly be themselves in their music.
"No matter all of these differences that we've made up about one another, to the core we're all the same. I realized through all of this transformation, I really didn't fall far from where I was supposed to be anyway."
Qbala will play at Lost Lake Lounge, Friday, January 27, at 7 p.m. as part of the Get Awesome Party and Kind Dub album-release show. Tickets are $5 to $10. For more information or to purchase tickets, visit the Lost Lake Lounge website.
Bree Davies is a multimedia journalist, artist advocate and community organizer born and raised in Denver. Rooted in the world of Do-It-Yourself arts and music, Davies co-founded Titwrench experimental music festival, is host of the local music and comedy show Sounds on 29th on CPT12 Colorado Public Television and is creator and host of the civic and social issue-focused podcast, Hello? Denver? Are You Still There? Her work is centered on a passionate advocacy for all ages, accessible, inclusive, non-commercial and autonomous DIY art spaces and music venues in Denver.
Contact: Bree Davies
Twitter: @cocodavies


View Poll Results: Which wheels for this car?
Next was the A4LD to T5 conversion. This was completed January 28th, 2011.
Last edited by Cobraman1024; 03-24-2012 at 02:56 PM.
So I'm stuck in trying to figure out which wheels for this car. I have nearly all of the components required to replace my current SN95 brake setup with a full-on Cobra brake setup; I just need a set of 17" wheels to fit around the calipers.
Which set do I go with?
I haven't found any pictures of the RT style on a Fox LX car yet. I have found plenty of pictures of the ZS style on Fox cars.
The ZS style has 9.5" width rims all around and the tire diameter is 25" .......supposedly you don't start to have scrubbing problems until full lock steering with tires that are 25.5" or larger in diameter.
Last edited by Cobraman1024; 03-24-2012 at 03:10 PM.
Just remembered that all four 04 Cobra wheels on the Mystic have 275/40-17 size tires. That's going to be tricky to fit under the front end of the fox. The other option is to swap tires with the new Roh rims as the 275s would fit better than the 255s or 235s that are on them (depending which set I get). I just hope that the rumors aren't true that the clearcoat on the Roh wheels is very thin so it's easy to scratch them.
Last edited by Cobraman1024; 03-24-2012 at 11:24 PM.
I just hope that the rumors aren't true that the clearcoat on the Roh wheels is very thin so it's easy to scratch them.
View of the front after swapping out the cut 4-cylinder front springs for a pair of Steeda Sport springs. The Steeda Sports were removed from my '95 Cobra when I did the Maximum Motorsports coilovers on it.
I have a few pictures lol......oh yeah and I had to piece together a new exhaust system aft of the catalytic converter section. The exhaust stuff only cost me about $80 from AutoZone and I got to put it together myself.
And last but not least, the final pictures after installing the set of Ford original 17x9 satin '03 Cobra rims that I bought from Ted "Taronis" on here a couple of weeks ago. They are being used as "winter" wheels because Roh's have summer only Toyo R1R tires on them. Those things cleaned up really nicely! Tire size on all four are Kumho Ecsta Supra 275/40-17. With the factory control arms and factory k-member, the tires only scrub the rear part of the splash shield when turned full lock to the left or right.
Last edited by Cobraman1024; 10-05-2012 at 11:35 PM.
Looking really nice! You will love that rear setup. I notice you referred to the Cobra rims as winter wheels. I had those same Kumho tires prior to my NT-05s. They worked rather well in 3 seasons, but they were a disaster in the winter. I couldn't even back up the very slight incline of my driveway if there was even a hint of snow or ice. You probably already know that, but I wouldn't want anything to happen and then wish I'd said it. Of course, the NT-05s are no prize in the winter either!


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text:
Q: Formatting datetime in Highcharter tooltip Looking to change the format of the datetime in the tooltip. I successfully did it for the x-axis but have not for the tooltip. I've read the docs and cannot find another R-specific topic on this.
Dates are in the required Highchart timestamp from the datetime_to_timestamp function.
library(highcharter)
library(tidyverse)

df <- data.frame(dateTime = c(1557705900000,1557705960000,1557706020000,1557706860000,1557706920000),
                 points = c(5,7,3,2,9))

highchart() %>%
  hc_xAxis(type = "datetime", dateTimeLabelFormats = list(day = '%H:%M')) %>%
  hc_add_series(df, type = "scatter",
                hcaes(x = dateTime, y = points)) %>%
  hc_tooltip(crosshairs = TRUE, dateTimeLabelFormats = list(day = '%H:%M'))

# highchart() %>%
#   hc_xAxis(type = "datetime", dateTimeLabelFormats = list(day = '%H:%M')) %>%
#   hc_add_series(df, type = "scatter",
#                 hcaes(x = dateTime, y = points)) %>%
#   hc_tooltip(crosshairs = TRUE, dateTimeLabelFormats = '%H:%M')

The tooltip format should look like the x-axis format.

Any thoughts?

A: Try pointFormat.
highchart() %>%
  hc_xAxis(type = "datetime", dateTimeLabelFormats = list(day = '%H:%M')) %>%
  hc_add_series(df, type = "scatter",
                hcaes(x = dateTime, y = points)) %>%
  hc_tooltip(crosshairs = TRUE, pointFormat = "x: {point.x:%H:%M} <br> y: {point.y}")

redpajama_set_name: RedPajamaStackExchange


text:
A Journal of Law, Technology & Society https://script-ed.org?p=1059
A Journal of Law, Technology & Society
About SCRIPTed
Editorial: Copyright Management for Open Collaborative Projects –Inbound Licensing Models for Open Innovation
Catharina Maracke *
Introduction to the special section on open collaborative projects.
Cite as: C Maracke, "Editorial: Copyright Management for Open Collaborative Projects –Inbound Licensing Models for Open Innovation", (2013) 10:2 SCRIPTed 140 http://script-ed.org/?p=1059
DOI: 10.2966/scrip.100213.140
© Catharina Maracke 2013.
Public licensing such as Creative Commons, the Free Art License or the GNU General Public License[1] has emerged rapidly over the past several years as an important and innovative step towards reducing the transaction costs imposed by the current copyright dilemma.[2] In a digital world of legal uncertainties, these "easy-to-use" standardized copyright agreements offer developers, creators and other licensors a simple way to say what freedoms they want their content to carry.
Much less work has been done on the legal questions about how contributions may be combined in the first place. While open source and open content projects have been able to cooperate through technical standards, the same projects still tailor various legal agreements relating to the copyright and patent permissions of contributions to each project. The result is a complexity of different legal terms to be reviewed and negotiated, which not only increases transaction costs and risks, but constitutes a weakness and potential friction in the growth of collaborative efforts vital for all forms of open innovation.
One potential way to effectivley structure rights between developers (authors), the projects (entities) that distribute their works, and the users (end licensees) of their work is the use of contributor agreements.[3] Contributor agreements, to describe them briefly, define and clarify the terms, under which a contribution (code, translation, artwork, etc.) is made to an open source or open content project. Thus, using a contributor agreement can provide confidence in the origin and ownership of individual contributions and thereby protect the project and its organisers, the users of the software and also the contributors.[4] While contributor agreements are increasingly being adopted by open source projects[5], the benefits and downsides have been the subject of intense and at times emotional discussion. Arguments about the appropriate form for contributor agreements intensified when project Harmony was launched in 2011 as the first attempt at standardized templates for contributor agreements.[6] In addition to the debate around substance and exact wording of the agreements, there were also critics who claimed that harmonized contributor agreements were a means for companies to establish the transfer of rights from contributors to commercial investors as an industry standard.[7]
The subject and purpose of this special section is to deepen the discussion around the practices and legal pitfalls for contributor agreements. While discussion of contributor agreements has been largely confined to an Anglo-American legal context, free and open source software projects are increasingly global. The resulting inquiry is complex: What kind of framework is needed to enable a mechanism by which contributions from different sources can be appropriately combined in the first place? All four authors contributing to this section focus on selected legal questions and discuss different options to improve standardization efforts. The fact that this section looks into different legal questions for contributor agreements and suggests improvements for different drafting options is not intended to suggest that contributor agreements are necessary for all successful legal strategies. Rather, the aim is to re-animate the discussion, to provide additional generic information relevant for any legal strategy considered by open collaborative projects, and to broaden the perspective. Whereas most contributor agreements are associated with free and open source software projects, the underlying idea of collecting all necessary rights in the respective project can also be found in other areas, whenever it becomes important for the project to distribute a product and obtain the necessary rights to respond to legal disputes. Thus, the goal of this special section is to contribute to the overall discussion of standardisation efforts for contributor agreements, whether they are related to software or other creations.
Discussing standardization efforts for contributor agreements has led to four critical legal issues: 1) The question of copyright assignments and legal consequences, 2) the question of internationalization, 3) the question of signature formalities, and 4) the exact scope of the patent license to be included in contributor agreements and especially the question of whether this patent license can be based on a defensive pledge. The last topic on patent law, which is controversially debated across different industries, will have to be elaborated upon with partners and pioneers in this field[8] and be covered in a future article. Questions on copyright assignments and other drafting options, on internationalization, and on signature formalities are subject of this special section and invite comments and constructive input.
Hence, the first important aspect to be evaluated in the context of standardized contributor agreements is the differentiation between contributor license agreements and contributor assignment agreements: Assignment agreements require the assignment and therefore transfer of copyright in all contributions to the project owner, while license agreements grant an irrevocable license to allow the project owner to use the contribution.[9] The main difference is that in the case of an assignment agreement, the copyright owner of the original contribution (contributor) transfers his entire copyright to the project owner, so that she becomes the owner of all rights recognized under the respective copyright law and can subsequently license these rights to any party, whereas in case of a copyright license agreement, the contributor remains the owner of such rights, but grants most of the exclusive statutory rights of copyright to the project owner.
These different drafting options for contributor agreements are not only important in the context of legal requirements and legal consequences as determined by different national copyright law. They are also of significant importance to the public perception of contributor agreements: Assignments can be perceived as the contributor giving up complete control over the contribution and as granting the project or company more rights than needed. This view of copyright assignments leads to the contradiction that while an assignment is often considered necessary to give the project owner all essential rights to legally enforce the license regime used by the project, it may have the side-effect of being perceived as an unfair distribution of power.[10]
In order to properly assess the various arguments for and against copyright assignments as one potential drafting option for contributor agreements, Tim Engelhardt explores a variety of legal consequences in different jurisdictions. Since copyright law in some jurisdictions may not allow for an assignment of copyright but only for a license[11], one major focus in Tim Engelhardt's analysis is to identify reasons that make an assignment necessary. In other words, if contributor assignment agreements are criticised by some as being unbalanced and may not even be legally effective in some jurisdictions, then what exactly are the legal arguments in favour of assignments? And what can exclusive and non-exclusive licenses offer as alternatives in this context?
Free and open source license agreements usually grant a world wide, exclusive or non-exclusive, perpetual and irrevocable license from the contributor to the project, which includes all of the exclusive rights, such as reproduction, distribution, modification, display, performance and others to allow for the broadest usage of the contribution possible under applicable law. The key question is whether such licenses can represent a satisfying structure of rights between contributors and projects? Depending on projects' values and strategies, the following scenarios will play a major role when choosing between an assignment agreement and a license agreement: 1) ability to make the contribution available under specific outbound licensing models, 2) enforcement in case of legal disputes, 3) bankruptcy and related insolvency proceedings, and 4) death and questions of succession. At least for the two most important issues, sublicensing to multiple peers and enforcement of copyright, Tim Engelhardt suggests that licensing models can achieve the same results as assignments, though only exclusive licensing options enjoy sufficient legal certainty in the US and German context.[12]
This basic example of different drafting options demonstrates the complexity of the legal and policy questions around contributor agreements. On the one hand side, they can serve as a tool to structure copyright in contributions, on the other hand they have to appropriately balance the interests between different stakeholders. The inherent dichotomy can also raise arguments against the general attempt of standardization. Even if a growing number of projects and established companies are adopting contributor agreements and consequently some common terms are already copied between projects[13], there are also concerns about the overall need for standardization of contributor agreements based on the argument that no single set of terms can serve all projects and meet their specific values and ideals. While these obstacles to one common language for contributor agreements are important, it is also unquestionable that standard terms would reduce the costs of reviewing and negotiating contributor agreements, which can be especially valuable for developers when they are involved in different projects. And as more projects and companies are adopting contributor agreements, the benefits of standard terms become even more apparent: Widely understood and approved terms would ease the process of explaining, reviewing and negotiating terms between contributors and projects – and across different jurisdictions.[14]
Consequently, the ability for standard terms to be used across multiple jurisdictions is one of the most important aspects for public licenses and contributor agreements. Only a scheme that is legally enforceable in jurisdictions around the world will reduce the overheads involved in scrutinizing different agreements reflecting different legal systems.[15] One possible solution to address this problem could be further internationalization following the "porting approach", which has been successfully demonstrated by the Creative Commons International project.[16] Another possibility to address international consequences could be to implement a language, which reflects international standards (e.g. utilize the language of international intellectual property treaties, such as the Berne Convention, the WIPO Copyright Treaty and others). This way, one international agreement would serve various jurisdictions around the world following the GPL or FDL approach and avoiding questions of interoperability of jurisdictional licenses. When balancing arguments for both solutions, various questions on private international law have to be considered and discussed. The key question to be investigated arises when contributor A, a resident of France, contributes to project P, hosted and organized in the US and using a contributor assignment agreement to structure his rights. In case of infringement, which court would be competent to hear the claim and – more importantly- which law would be applicable? And finally, how can the ruling be enforced elsewhere?
A choice of law clause as used in most agreements is primarily effective only in respect of contractual issues as elucidated by Axel Metzger.[17] For copyright questions, such as the existence or duration of copyright in a specific instance, the rule of territoriality will have to be applied.[18] Even if there are different views on how exactly the rule of territoriality has to be understood, there is a tendency that at least for copyright questions dealing with authorship, duration of copyright, moral rights, fair use and/or limitations and exceptions of exclusive copyrights the rule of territoriality will overrule the choice of law clause.[19] Consequently, all copyright questions are likely governed by the respective national copyright law of the jurisdiction in which protection is being sought. Instead of one global copyright, a bundle of many different national copyrights have to be contemplated. Such a fragmented structure of the global copyright system can raise a variety of issues when it comes to the idea of "porting" public licenses or standardized contributor agreements to various different jurisdictions. While porting allows for enforceability in local courts, this can only be true when a potential national version of the agreements is matched with the respective national copyright law. In other words, a localized version of the agreements will only help in the case of enforcement if there is a mechanism to assure that the corresponding local copyright law will be applicable. And according to the rule of territoriality, this is exactly the missing point in the structure of localized agreements, as the choice of law clause can only define the governing law for contractual questions.
However, when shaping an internationalization strategy for contributor agreements, Axel Metzger points us to the difference between standardization efforts for contributor agreements and standardization efforts for public "outbound" licenses.[20] Contributor agreements regulate the internal relationship between projects (entities) and programmers or authors, whereas public licenses (such as Creative Commons or he GNU GPL) regulate the external relationship between rightholders and users of the respective program or content. In the first case, programmers and authors (licensors) can be located in multiple different jurisdictions, but the receiving project or entity (licensee) is usually located in a single jurisdiction. In the second case, the contributors to a project or other rightholders, i.e. the licensors, may be spread in different jurisdictions and have to deal with a variety of possible users (licensees) most likely located in a number of different jurisdictions.[21] This important difference between inbound and outbound licensing models has significant implications when it comes to questions on private international law and especially to the impact of a possible choice-of-law clause: Implementing a choice-of-law-clause, even if only relevant for contractual issues, can provide a high level of legal certainty for inbound licensing models, where one project or entity can be identified as licensee. Where the recipient of specific rights (licensee) is located in one specific jurisdiction, choosing that jurisdiction as applicable law will help adding clarity for contractual issues while at the same time will most likely coincide with the applicable law for copyright issues. From the programmers and authors (licensor) point of view, out of the bundle of different copyrights he will most likely have to rely on the law of the jurisdiction where the receiving project is located because that is the location where the potential infringement would most likely take place. Hence, Axel Metzger suggests contributor agreements provide a choice-of-law clause, which chooses the law of the central administration of the project organization or entity and which is drafted in a flexible and open style to allow the court to apply it for all questions which can possibly be determined by such a clause.
Finally, another important aspect of standardization of contributor agreements is analysed by Andres Guadamuz and Andrew Rens: What kind of formalities are required, if any, for copyright assignment and copyright license agreements? While most jurisdictions require or favour recording contributor agreements in text, some jurisdictions require even more than that, insisting on formalities of signature and writing. Any form of standardization of contributor agreements will have to address the question of how to assure legal validity and enforceability in local courts while relieving developers and projects from the burden of additional paper work. As a starting point Andres Guadamuz and Andrew Rens conducted a high level survey and worked with a network of legal experts from various jurisdictions to collect relevant information regarding formalities in copyright transfers and licenses.[22] The resulting evaluation includes details on formalities for different drafting options and related consequences, such as whether signature formalities are constitutive or probative, that is whether any failure to comply with formalities will completely invalidate the transaction or whether it simply creates problems of evidence. While most jurisdictions require formalities for assignments and exclusive licenses, a technical signature is sufficient in most cases.[23] Consequently, a simple click-through mechanism that assures each contributor can be identified seems a long overdue simplification for standardized contributor agreements. However, there are jurisdictions in which paper based signature may still be required, especially for contributor assignment agreements.
In summary, we see the current debate around contributor agreements and different drafting options as an opportunity to further develop best practices for legal strategies to reduce friction involved in moving rights between developers and free and open source software projects. We trust that readers will extend the debate and that this special section will serve as a constructive step forward in the effort to provide clarity and improved guidelines for the next generation of standardized contributor agreements.
* Dr. iur., Associate Professor, Graduate School of Media and Governance, Shonan Fujisawa Campus, Keio University.
[1] http://creativecommons.org/, http://artlibre.org/licence/lal/en, http://www.gnu.org/licenses/gpl.html
2 Most creations being accessed through the Internet are subject to copyright. And because of how digital technologies are functioning most uses necessarily make a temporary/permanent copy or require distribution, which can in turn cause friction under the default terms of copyright. For an overview on copyright and digital technologies see U Gasser and S Ernst, From Shakespeare to DJ Danger Mouse: A Quick Look at Copyright and User Creativity in the Digital Age, Berkman Center for Internet & Society Research Publication, June 2006, available at http://papers.ssrn.com/sol3/papers.cfm?abstract_id=909223; T Kreutzer, Das Modell des Deutschen Urheberrechts und Regelungsalternativen, 2008; L Lessig: Laws that choke creativity, TED Talk filmed March 2007 available at http://www.ted.com/talks/larry_lessig_says_the_law_is_strangling_creativity.html
[3] Contributor agreements are only one possible tool out of many in an overall legal strategy for free and open source and other open collaborative projects. Many projects have chosen to implement contributor agreements, such as the Free Software Foundation, which requests assignment of copyright (http://www.gnu.org/licenses/why-assign.html) or the Apache Foundation (http://www.apache.org/licenses/icla.txt), whereas many other projects have chosen not to use contributor agreements, see the Linux Developer Certificate of Origin available at (http://elinux.org/Developer_Certificate_Of_Origin.
[4] For details see M Michlmayr, Open Source Contributor Agreements: Purpose and Scope, FOSS BAZAAR 2010 available at https://fossbazaar.org/content/open-source-contributor-agreements-purpose-and-scope/
[5] See the following examples to name only a few:
KDE's Fiduciary License Agreements available at http://ev.kde.org/rules/fla.php
Fedora: https://fedoraproject.org/wiki/Legal:Fedora_Project_Contributor_Agreement
Django https://www.djangoproject.com/foundation/cla/
Joomla! http://developer.joomla.org/cms/contribute.html
Zimbra: http://www.zimbra.com/license/contribution_agreement_2.0.html
Novell: ftp://sdk.provo.novell.com/ndk/evolution/docs/copyright_form.pdf
Mambo: http://mambo-manual.org/download/attachments/5833166/mca.pdf?version=1
SugarCRM: http://www.sugarforge.org/content/community/participate/contributor-agreement.php
Symbian: http://www.symlab.org/wiki/images/9/9e/Non-Member_Contribution_Agreement.pdf
Debian Social Contract: http://www.debian.org/social_contract
RedHat: http://www.redhat.com/licenses/ccmpl.html
Canonical: http://www.canonical.com/contributors
Google: http://code.google.com/legal/individual-cla-v1.0.html
Twitter: https://dev.twitter.com/opensource/cla
Ariba: http://aribaweb.org/AribaWeb_Contributor_Agreement.pdf
[6] The impetus was to create agreement templates with distinct but limited permutations. Each project can create its own contributor agreement from the templates, but because it is from a standardized set of possibilities it is easy to understand what choices the project has made, and how those differ from choices by others. See announcement available at http://www.ubuntu-user.com/Online/News/Project-Harmony-Launches-Today, details of the agreements available at http://harmonyagreements.org and further information at http://lwn.net/Articles/450543/.
[7] See the discussion and criticism following the launch of the Harmony agreements (http://harmonyagreements.org/) in 2011: B Kuhn, Project Harmony Considered Harmful, 2011 available at http://ebb.org/bkuhn/blog/2011/07/07/harmony-harmful.html and R Fontana, The Trouble With Harmony, 2011 available at http://opensource.com/law/11/7/trouble-harmony-part-1.
[8] See the "Defensive Patent License Project" and their licensing model available at https://docs.google.com/document/d/1eYp2YFQAcdjObCPx3Zak6Hntz_XfEhmWFVyI0CTJGSQ/editthe Open Invention Network available at http://www.openinventionnetwork.com/patents.php, Twitter's "Innovators Patent Agreement" available at https://github.com/twitter/innovators-patent-agreement or the most recent "Open Patent Non-Assertion Pledge" published by Google and available at http://www.google.com/patents/opnpledge/pledge/. These different approaches to defensive patent licensing are each tailored to a specific situation or goal, but can serve as a starting point for research and discussion about the purpose and scope patent licenses to be included in standardized contributor agreements.
[9] Another interesting drafting option, which is not included in the analysis provided in this dedicated section, is the idea of joint ownership as required by the Oracle Contributor Agreements available at http://www.oracle.com/technetwork/oca-405177.pdf
[10] In situations, where assignments are not desirable, or in jurisdictions, in which assignments are not permissible, another path for further research should be investigated: The question whether the copyright license agreement can provide for additional language and an obligation for the licensor to "assist the project owner in case of enforcement proceedings". This way, the licensee could make a contractual claim on the licensor (contributor) to assign the copyright in case of infringement and related enforcement procedures at any later stage of the project and whenever needed but would not have to be assigned all copyrights right from the start.
[11]This is especially true for copyright law in the Continental European context, in which moral rights play a much bigger role and lead to the argument that the copyright owner can never fully assign her copyright because of the unbreakable bound between the creator and his work.
[12] T Engelhardt, "Drafting Options for Contributor Agreements for Free and Open Source Software: Assignment, (Non) Exclusive licence and legal consequences. A Comparative Analysis of German and US law"(2013) 10(2) SCRIPTed, infra, who notes that legal practice in Germany and US suggests for nonexclusive licensing models to enjoy the same results as assignments, but there is some degree of uncertainty as to their ability to be sublicensed. However, even if an exclusive license agreement seems to be the preferable option compared to an assignment agreement, there may still be situations in which an assignment of copyright is desirable. In this case, and to correspond to different national legal requirements, contributor assignment agreements should include a fall-back license as an alternative method to ensure that in jurisdictions prohibiting assignments sufficient rights are granted to projects to permit them to use and distribute the contribution in the same way as the contributor license would permit.
[13] Even though there are various contributor agreements used by various different projects in the free and open source software context, most of the agreements currently available are somewhat based on the concepts and language provided by the Apache Software Foundation contributor license agreement: http://www.apache.org/licenses/icla.txt
[14] The Harmony project tried to seek for a compromise between the two main arguments – the need for standardization to increase efficiency and reduce transaction costs on the one hand side and the need for customized contributor agreements to reflect each project's governance structures and specific values on the other side. The project offered a system, which allowed each user to choose from a set of pre-defined agreements using a standardized language, and which could then be tailored to reflect specific needs, see details at http://harmonyagreements.org
[15] To achieve this goal, the licenses and agreements have to respond to the differences and particularities in understanding copyright according to national legislations around the world. Standard copyright terms such as "derivative work" or "distribution" and related interpretation as well as licensing practices differ among jurisdictions and reveal several legal issues. Concepts like moral rights, duration of copyright, transfer of copyright, or even authorship itself (e.g. in case of employment) vary from jurisdiction to jurisdiction and require careful consideration when drafting license agreements or assignments agreements.
[16] http://wiki.creativecommons.org/CC_Affiliate_Network and overview at C Maracke, Creative Commons International – The International License Porting Project, jipitec, Vol. 1 2010.
[17] See A Metzger,Internationalisation of FOSS Contributory Copyright Assignments and Licences: Jurisdiction-specific of "Unported"? (2013) 10(2) SCRIPTed, who notes that contributor agreements are drafted as transfer or license contracts.
[18] For details see A Metzger infra, who highlights different subcategories of questions, which are governed by different conflict rules.
[19] For infringement and remedies, Art. 8 Rome II Convention provides for a conflict rule.
[20] See A Metzger infra.
[22] See A Guadamuz and A Rens, Comparative Analysis of Copyright Assignment and Licence Formalities for Open Source Contributor Agreements, (2013) 10(2) SCRIPTed, who have worked with partners around the world and across continents and have received answers from 16 different jurisdictions.
[23]A Guadamuz and A Rens infra, who found that most jurisdictions, accept technical signatures with the exception of Portugal and South Africa, which theoretically accepts technical signatures but only from accredited providers.
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Brisk Insurance clients, Darrell Green and his wife Karli talk about how important it was to have the right insurance appropriate to their situation .
The value of advice Brisk Insurance clients, Willa and Cleve share why you should always seek advice on your insurance from a professional risk adviser.
Brisk Insurance clients, Willa and Cleve share why you should always seek advice on your insurance from a professional risk adviser.
Brisk Insurance client, Dr Dev Tandon talks about how Anand's advice led to a significant refund on ACC levies.


text:
Plowshares disarm weapons
Civil disobedience and nonviolence
Ploughshares in northern Europe
Plowshares disarmament around the world: Chronology 1980-2018
Hammering on military radar
Pictures: SAAB Microwave Becoming² Ploughshares civil disobedience at SAAB Microwave
Ploughshares trial 2009
Deleuze and becoming resistance
Aspects of Visuality and Power
Nuclear Resister's Becoming Ploughshares
Blog – plowshares videos
In the King of Prussia – first plowshares trial
Catonsville Nine – civil disobedience displaces war
meditations on Saab Microwave Becomming2 Ploughshares
by Adam Brentel
The Deleuze & Guattari Thousands Plateaus seminar was plugged-into a Ploughshares action in Mölndal near Gothenburg the 26th of June 2008. It was a post-protest[1] action to disarm radar systems used in warfare in for example Iraq and Afghanistan; the goal for the Ploughshares action was to get into the test range area at the site and transform arms to non-arms, in the vocabulary of the group with reference to the bible – turn weapons into ploughshares.
(New International Version (NIV) Copyright © 1973, 1978, 1984 by International Bible Society)
3 He will judge between many peoples
and will settle disputes for strong nations far and wide.
They will beat their swords into plowshares
and their spears into pruning hooks.
Nation will not take up sword against nation,
nor will they train for war anymore.
4 Every man will sit under his own vine
and under his own fig tree,
and no one will make them afraid,
for the LORD Almighty has spoken.
The two groups met up and connected in a café in central Gothenburg to have a breakfast coffee and discuss the action of the day; we were five persons present, the two activists and three from the seminar out of which two would leave and then join later in the day. The writer of this text functioned as a connector between the groups, functioning somewhere on the line between two points as we strived towards the smooth. Together we became a war machine for a couple of hours, mowing out from our seminar room to the test range of SAAB Microwave to disarm weapons – the question was and still is whether it was on the symbolic or on a material plane – on the plane of expression or consistency.
The three of us took tram no.4 to Mölndal around 11 o'clock, on the walk from the tram stop to the site the two activists picked up wooden sticks from a pile of construction junk, it was to become a ladder for climbing the fence. They had been there two days earlier to prepare and practice, they had even entered the area to do some damage to the Test Range building in order to secure success. Cardboard had been piled up in the bushes surrounding the area to be used protect their bodies from the barbed wire that tops the fence they where about to climb. The two groups, the two activists, and me disconnected a hundred meter from the place where they were to climb the fence at 11.50, I followed the action from a distance, trying to blend into the milieu socially, but as I had a wooden footstool and thermos with coffee with me it was hard, business people and engineers do not stroll around the area, it is not a leisure area but a military protection compound. I decided to have a sit at the loading platform of SAMHALL, I looked less suspicious there with my footstool and thermos with coffee.
People showed up as they started to build the latter from the sticks by sticking them into a corner of the fence, as it was lunchtime, first the two seemed anxious about it but when the first couple of white-collar workers had passed without taking notice they carried on in the most of natural ways. Many workers going to lunch passed by, some of them seemed curious, maybe even enjoyed by the strange event taking place; was it a performance by artists, ploughshare activists or where they workers from SAMHALL arranging a pick nick, who could tell?
Five minutes later, when finally going over the fence, a man called the guard on his mobile phone, he hesitated for a while and then made the call – "someone is going of the fence in west" he said, actually it was in east of the building, I was walking by the group as he made the call, then they walked on. It took another 13 minutes before the guard arrived, not in a hurry but calmly passing me by.
It is prohibited to take photos of the test range making it problematic to follow with camera without committing an offence. I was disconnected from the activist group, still I took some photos of what happened, even though it is illegal, it seemed safe and now I have confessed it too, and no one was really there to bother either. Eniro.se has also taken photo of the building and published it on their internet site, the same building that is illegal to photo from the ground is legal to photo from above? They have even pixelated the most sensitive part of the area in order to focus the attention to it. I can only conclude that the photos I took are already visible on www.eniro.se, but from a more interesting perspective.
Figure 1 shows a screen saving from eniro.se outlook mode. The test range area is pixelated but it was the building above it was the target of the post-protest action. They climbed the fence east of the building. The interrogation took place at the main entrance of Saab Microwave.
The tension between symbolic and practical and the lack of interest both from the workers, the guard and later on the police is interesting and must be analysed from a power perspective, what does it mean and what really happened that day, what effects and affects will there be?
Inside the fence but outside the test range building the activists found a radar parabola on the ground at the same time as the guard found them, they had already planted figs now the embarked on turning the parabola into something else, at least making it less useful in warfare. They did their work then they shook his hand and introduced themselves. They where allowed to make phone calls to inform the outside that they where caught on the inside. One single police arrived about 15 minutes later.
Adam Brentel
Adam Brentel is a Deleuze philosopher in Gothenburg
[1] http://ickevald.net/perherngren/postprotest_per_herngren.htm
Deleuze's dictionary
Abstract machine
Social machine
Exteriority
Links to plowshares
Plowshares movement
Pictures of the plowshares action
Classical theory of resistance
Postprotest by Per Herngren
Manual for civil disobedience
Per Herngren English
Kurdish, Polish, Arabic, Spanish, Dutch


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Hey everyone! So today I thought of doing a short makeup, let's say, tutorial. This look is really fast and easy to recreate, so if you haven't tried it yet, maybe it's time to do this.
Firstly prepare your face with a mattifying cream. The one I used is perfect as a base for really hot days. Next put some foundation, I mixed two, because of the tan I got recently. Now it's time for concealer, choose one or even two shades brighter than foundation to achieve the effect of highlighted face. Apply matte powder all over the face. Countour your face only under cheekbones line and a bit on forehead at edge brow-level. Lastly highlight your cheeckbones, forehead, top of the nose, chin and Cupid bow not too much, so everything look subtle but still bright.
This is time for doing brows now. Generally I don't use any pencils, but Dua's brows are so dark here. Before I applied eyeshadows, I used makeup fixer mist as a base. I chose the darkest, almost black, shadow from Makeup Revolution palette. What a shame that they don't have any cute names, but luckily they smell so good. Okay, moving on, I applied this super glittery pinky shade all over the lid and a littel bit of traditional silvery glitter. Next I used a Revlon mascara and then one from Bell. I guess that Dua has falsies, but I don't have any, so I tried to achieve this effect traditional way.
The last step, the easiest one - lips. I mixed these two listicks and powdered them, so the color was more similar to Dua's and of course to mattify them.
Hope you liked the post. Let me know if you ever tried to recreate any of Dua Lipa's makeups. If yes, let me know which one. And next post on Monday. See ya!