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From this markup, tools can easily and reliably determine that http://lessig.org/blog/ is licensed under a CC Attribution License, v3.0, where attribution should be given to "Lawrence Lessig" at the URL http://lessig.org/.
This paper explains the design rationale for these recommendations and illustrates some specific applications we expect ccREL to support. We begin with a review of the original 2002 recommendation for Creative Commons metadata and we explain why, as Creative Commons has grown, we have come to regard this as inadequate. We then introduce ccREL in the syntax-free model: as a vocabulary of properties. Next, we describe the recommended concrete syntaxes. In addition, we explain how other frameworks, such as microformats, can be made ccREL compliant. Finally, we discuss specific use cases and the types of tools we hope to see built to take advantage of ccREL.
Creative Commons was publicly launched in December 2002, but its genesis traces to summer 2000 and discussions about how to promote a reasonable and flexible copyright regime for the Internet in an environment where copyright had become unreasonable and inflexible. There was no standard legal means for creators to grant limited rights to the public for online material, and obtaining rights often required difficult searches to identify rights-holders and burdensome transaction costs to negotiate permissions. As digital networks dramatically lowered other costs and engendered new opportunities for producing, consuming, and reusing content, the inflexibility and costs of licensing became comparatively more onerous.
Under what license has a copyright holder released her work, and what are the associated permissions and restrictions?
Can I redistribute this work for commercial purposes?
Can I distribute a modified version of this work?
How should I assign credit to the original author?
Equally important is constructing a robust user-machine bridge for publishing and detecting structured licensing information on the Web, and stimulating the emergence of tools that lower the barriers to collaboration and remixing. For example, if a Web page contains multiple images, not all licensed identically, can users easily determine which rights are granted on a particular image? Can they easily extract this image, create derivative works, and distribute them while assigning proper credit to the original author? In other words, is there a clear and usable connection between what the user sees and what the machine parses? ccREL aims to be a standard that implementors can follow in creating tools that make these operations simple.
The motivation for choosing RDF in 2001, and for continuing to use it now, is strongly connected to the Creative Commons vision: promoting scholarly and cultural progress by making it easy for people to share their creations and to collaborate by building on each other's work. In order to lower barriers to collaboration, it is important that the machine expression of licensing information and other metadata be interoperable. Interoperability here means not only that different programs can read particular metadata properties, but also that vocabularies--sets of related properties--can evolve and be extended. This should be possible in such a way that innovation can proceed in a distributed fashion in different communities--authors, musicians, photographers, cinematographers, biologists, geologists, an so on--so that licensing terms can be devised by local communities for types of works not yet envisioned. It is also important that potential extensions be backward compatible: existing tools should not be disrupted when new properties are added. If possible, existing tools should even be able to handle basic aspects of new properties. This is precisely the kind of "interoperability of meaning" that RDF is designed to support.
Instantiating properties as URLs enables anyone to use those properties to formulate descriptions, or to discover detailed information about an existing property by consulting the page at the URL, or to make new properties available simply by publishing the URLs that describe those properties.
As a case in point, Creative Commons originally defined its own "license" property, which it published at http://creativecommons.org/ns#license,8since no other group had defined in RDF the concept of a copyright license. When the XHTML Working Group introduced its own license property in 2005, we opted to start using their version, rather than maintain our own CC-dependent notion of license. We were then able to declare that http://creativecommons.org/ns#license is equivalent to the new property http://www.w3.org/1999/xhtml/vocab#license, simply by updating the description at http://creativecommons.org/ns#license. Importantly, RDF makes this equivalence interpretable by programs, not just humans, so that "old" RDF license declarations can be automatically interpreted using the new vocabulary.
In general, atomic RDF descriptions are called triples. Each triple consists of a subject, a property, and a value for that property of the subject. The triple that describes the license for Lessig's blog could be represented graphically as shown in figure 1: a point (the subject) labeled with the blog URL, a second point (the value) labeled with the license URL, and an arrow (the property) labeled with the URL that describes the meaning of the term "license", running from the blog to the license. In general, an RDF model, as a collection of triples, can be visualized as a graph of relations among elements, where the edges and vertices are all labeled using URIs.
Figure 1: An RDF Triple represented as an edge between two nodes of a graph.
One desirable feature of RDF/XML notation is that it is completely self-contained: all identifiers are fully qualified URLs. On the other hand, RDF/XML notation is extremely verbose, making it cumbersome for people to read and write, especially if no shorthand conventions are used. Even this simple example (verbose as it is) uses a shorthand mechanism: the second line of the description beginning xmlns:xhtml defines "xhtml:" to be an abbreviation for http://www.w3.org/1999/xhtml/vocab#, thus expressing the license property in its shorter form, xhtml:license, on the fourth line.
@prefix xhtml: <http://www.w3.org/1999/xhtml/vocab#> . <http://lessig.org/blog/> xhtml:license <http://creativecommons.org/licenses/by/3.0/> .
The shorthand does not provide improved compactness or readability if a prefix is only used once as above, of course. In N3, prefixes are typically defined only when they are used more than once, for example to express multiple properties taken from the same vocabulary. In RDF/XML, because of the stricter parsing rules of XML, there is a bit less flexibility: predicates can only be expressed using the shorthand, while subjects can only be expressed using the full URI.
We knew at the time that this was a cumbersome design, but there was little alternative. RDF/XML, despite its verbosity, was the only standard syntax for expressing RDF. Worse, the Web Consortium's Semantic Web Activity was focused on providing organizations with ways to annotate databases for integration into the Web, and it paid scant attention to the issues of intermixing semantic information with visible Web elements. A task force had been formed to address these issues, but there was no W3C standard for including RDF in HTML pages.
One consequence of CC's limited initial design is that, although millions of Web pages now include Creative Commons licenses and metadata, there is no uniform, extensible way for tool developers to access this metadata, and the tools that do exist rely on ad-hoc techniques for extracting metadata.
Creative Commons no longer recommends using RDF/XML in HTML comments for specifying licensing information. This paper supersedes that recommendation.
We hope that the new ccREL standard presented in this paper will result in a more consistent and stable platform for publishers and tool builders to build upon Creative Commons licenses.
This section describes ccREL, Creative Commons' new recommendation for machine-readable licensing information, in its abstract form, i.e., independent of any concrete syntax. As an abstract specification, ccREL consists of a small but extensible set of RDF properties that should be provided with each licensed object. This abstract specification has evolved since the original introduction of CC properties in 2002, but it is worth noting that all first-generation licenses are still correctly interpretable against the new specification, thanks in large part to the extensibility properties of RDF itself.
including under which license a Work is distributed.
License properties describe aspects of licenses.
Publishers will normally be concerned only with Work properties: this is the only information publishers provide to describe a Work's licensing terms. License properties are used by Creative Commons itself to define the authoritative specifications of the licenses we offer. Other organizations are free to use these components for describing their own licenses. Such licenses, although related to Creative Commons licenses, would not themselves be Creative Commons licenses nor would they be endorsed necessarily by Creative Commons.
<http://lessig.org/blog/> dc:title "The Lessig Blog" . <http://lessig.org/blog/> cc:attributionName "Larry Lessig" . <http://lessig.org/blog/> cc:attributionURL <http://lessig.org/> . <http://lessig.org/blog/> dc:type dcmitype:Text .
cc:attributionName - the name to cite when giving attribution when the work is modified or redistributed under the terms of the associated Creative Commons license.11 The prefix cc:, as mentioned above, is an abbreviation for http://creativecommons.org/ns#.
cc:attributionURL - the URL to link to when providing attribution.
dc:type - the type of the licensed document. In this example, the associated value is dcmitype:Text, which indicates text. Lessig's blog sometimes includes video, in which case the type would be dcmitype:MovingImage. Recommended use of dc:type is explained at http://dublincore.org/documents/dces/. Individual types like dcmitype:Text and dcmitype:MovingImage are part of the DCMI Vocabulary.
@prefix dc: <http://purl.org/dc/elements/1.1/> . @prefix cc: <http://creativecommons.org/ns#> . @prefix dcmitype: <http://purl.org/dc/dcmitype/> . <http://lessig.org/blog/> dc:title "The Lessig Blog" ; cc:attributionName "Larry Lessig" ; cc:attributionURL <http://lessig.org/> ; dc:type dcmitype:Text .
cc:morePermissions--indicates a URL that gives information on additional permissions beyond those specified in the CC license. For example, a document with a CC license that requires attribution, might, under certain circumstances, be usable without attribution. Or a document restricted for noncommercial use could be available for commercial use under certain conditions.
The information at the designated URL is completely up to the publisher, as are the terms of the associated additional permissions, with one proviso: The additional permissions must be additional permissions, i.e., they cannot restrict the rights granted by the Creative Commons license. Said another way, any use of the work that is valid without taking the morePermissions property into account, must remain valid after taking morePermissions into account.
This is the current set of ccREL Work properties. New properties may be added over time, defined by Creative Commons or by others. Observe that ccREL inherits the underlying extensibility of RDF--all that is required to create new properties is to include additional triples that use these. For example, a community of photography publishers could agree to use an additional photoResolution property, and this would not disrupt the operation of pre-existing tools, so long as the old properties remain available. We'll see below that the concrete syntax (RDFa) recommended by Creative Commons for ccREL enjoys this same extensibility property.
Distributed creation of new properties notwithstanding, only Creative Commons can include new elements in the cc: namespace, because Creative Commons controls the defining document at http://creativecommons.org/ns#. This ability to retain this kind of control, without loss of extensibility, is a direct consequence of using RDF.
We now consider properties used for describing Licenses. With ccREL, Creative Commons does not expect publishers to use these license properties directly, or even to deal with them at all.
In contrast, Creative Commons' original metadata recommendation encouraged publishers to provide the license properties with every licensed work. This design was awkward, because once a publisher has already indicated which license governs the Work, specifying the license properties in addition is redundant and thus error prone. The ccREL recommendation does away with this duplication and leaves it to Creative Commons to provide the license properties.
cc:permits - permits a particular use of the Work above and beyond what default copyright law allows.
cc:prohibits - prohibits a particular use of the Work, specifically affecting the scope of the permissions provided by cc:permits (but not reducing rights granted under copyright).
cc:requires - requires certain actions of the user when enjoying the permissions given by cc:permits.
cc:jurisdiction - associates the license with a particular legal jurisdiction.
cc:deprecatedOn - indicates that the license has been deprecated on the given date.
cc:legalCode - references the corresponding legal text of the license.
Importantly, Creative Commons does not allow third parties to modify these properties for existing Creative Commons licenses. That said, publishers may certainly use these properties to create new licenses of their own, which they should host on their own servers, and not represent as being Creative Commons licenses.
cc:Reproduction - copying the work in various forms.
cc:Distribution - redistributing the work.
cc:DerivativeWorks - preparing derivatives of the work.
cc:CommercialUse - using the Work for commercial purposes.
cc:Notice - providing an indication of the license that governs the work.
cc:Attribution - giving credit to the appropriate creator.
cc:ShareAlike - when redistributing derivative works of this work, using the same license.
cc:SourceCode - when redistributing this work (which is expected to be software when this requirement is used), source code must be provided.
@prefix cc: http://creativecommons.org/ns# . <http://creativecommons.org/licenses/by-sa/3.0/> cc:permits cc:Reproduction ; cc:permits cc:Distribution ; cc:permits cc:DerivativeWorks ; cc:requires cc:Attribution ; cc:requires cc:ShareAlike ; cc:requires cc:Notice .
As new copyright licenses are introduced, Creative Commons expects to add new permissions, requirements, and prohibitions. However, it is unlikely that Creative Commons will introduce new license property types beyond permits, requires, and prohibits. As a result, tools built to understand these three property types will be able to interpret future licenses, at least by listing the license's permissions, requirements, and prohibitions: thanks to the underlying RDF framework of designating properties by URLs, these tools can easily discover human-readable descriptions of these as-yet-undefined property values.
While the previous examples illustrate ccREL using the RDF/XML and N3 notations, ccREL is meant to be independent of any particular syntax for expressing RDF triples. To create compliant ccREL implementations, publishers need only arrange that tool builders can extract RDF triples for the relevant ccREL properties--typically only the Work properties, since Creative Commons provides the License properties--through a discoverable process. We expect that different publishers will do this in different ways, using syntaxes of their choice that take into account the kinds of environments they would like to provide for their users. In each case, however, it is the publisher's responsibility to associate their pages with appropriate extraction mechanisms and to arrange for these mechanisms to be discoverable by tool builders.
Creative Commons also recommends concrete ccREL syntaxes that tool builders should recognize by default, so that publishers who do not want to be explicitly concerned with extraction mechanisms have a clear implementation path. These recommended syntaxes--RDFa for HTML Web pages, and XMP for free-floating content--are described in the following sections. This section presents the principles underlying our recommendations.
Independence and Extensibility: We cannot know in advance what new kinds of data we will want to integrate with Creative Commons licensing data. Currently, we already need to combine Creative Commons properties with simple media files (sound, images, videos) and there's a growing interest in providing markup for complex scientific data (biomedical records, experimental results). Therefore, the means of expressing the licensing information in HTML should be extensible: it should enable the reuse of existing data models and the addition of new properties, both by Creative Commons and by others. Adding new properties should not require extensive coordination across communities or approval from a central authority. Tools should not suddenly become obsolete when new properties are added, or when existing properties are applied to new kinds of data sets.
DRY (Don't Repeat Yourself): An HTML document often already displays the name of the author and a clickable link to a Creative Commons license. Providing machine-readable structure should not require duplicating this data in a separate format. Notably, if the human-clickable link to the license is changed, e.g. from v2.5 to v3.0, a machine processing the page should automatically note this change without the publisher having to update another part of the HTML file to keep it "in sync" with the human-readable portion.
Visual Locality: An HTML page may contain multiple items, for example a dozen photos, each with its own structured data, for example a different license. It should be easy for tools to associate the appropriate structured data with their corresponding visual display.
Remix Friendliness: It should be easy to copy an item from one document and paste it into a new document with all appropriate structured data included. In a world where we constantly remix old content to create new content, copy-and-paste, widgets, and sidebars are crucial elements of the remixable Web. As much as possible, ccREL should allow for easy copy-and-paste of data to carry along the appropriate licensing information.
Consistency: There are many different possible file types. The mechanism for embedding licensing information should be reasonably generic, so that a single tool can read and write the licensing information without requiring awareness of all file types.
Publisher Accountability: It can be difficult to provide for accountability of licensing metadata when files are shared in peer-to-peer systems, rather than distributed from a central location. The method for expressing metadata should facilitate providing publisher accountability at least as strong as the accountability of a Web page with a well-defined host and owner.
Simplicity: The process of embedding licensing information should require little more than a simple and free program. In particular, though complex publisher accountability approaches involving digital signatures and certificates can be used, they should not be required for the basic use case.
@prefix xhtml: <http://www.w3.org/1999/xhtml#> . @prefix cc: <http://creativecommons.org/ns#> . <http://lessig.org/blog/> xhtml:license <http://creativecommons.org/licenses/by/3.0/> . <http://lessig.org/blog/> cc:attributionName "Lawrence Lessig" . <http://lessig.org/blog/> cc:attributionURL <http://lessig.org/> .
What we would like is a way to quickly augment this HTML with just enough structure to enable the extraction of the RDF triples, using the principles articulated above, including, notably, Don't Repeat Yourself: the existing markup and links should be used both for human and machine readability.
about defines the subject of all triples within the <div>. Here we have about="", which defines the subject to be the URL of the current document.
xmlns:cc associates, throughout the <div>, the prefix cc with the URL http://creativecommons.org/ns#, much as N3 does with @prefix.
property generates a new triple with predicate cc:attributionName, and the text content of the element, in this case "Lawrence Lessig," as the object.
rel="cc:attributionURL" generates a new triple with predicate cc:attributionURL, and the URL in the href as the object.
rel="license" generates a new triple with predicate xhtml:license, as xhtml is the default prefix for reserved XHTML values like license. The object is given by the href.
The fragment of HTML (within the div) is entirely self-contained (and thus remix-friendly). Its meaning would be preserved if it were copied and pasted into another Web page. The data's structure is local to the data itself: a human looking at the page could easily identify the structured data by pointing to the rendered page and finding the enclosing chunk of HTML. In addition, the clickable links and rendered author names gain semantic meaning without repeating the core data. Finally, as this is embedded RDF, the extensibility and independence properties of RDF vocabularies are automatically inherited: anyone can create a new vocabulary or reuse portions of existing vocabularies.
Figure 2: RDFa markup of a Creative Commons license notice, illustrating all the current CC Work properties, including the rendering of this markup in a Web browser.
Of course, one can continue to add additional data, both visible and structured. Figure 2 shows a more complex example that includes all Work properties currently supported by Creative Commons, including how this HTML+RDFa would be rendered on a Web page. Notice how properties can be associated with HTML spans as well as anchors, or in fact with any HTML elements--see the RDFa specification for details.
The examples in this section illustrate how publishers can specify Work properties. One can also use RDFa to express License properties. This is what Creative Commons does with the license description pages on its own site, as described below in section 7.2.
Microformat designers have focused on simplicity and readability, and Creative Commons encourages publishers who use microformats to make it easy for tool builders to extract the relevant ccREL triples. Nonetheless, microformats' syntactic simplicity comes at the cost of independence and extensibility, which makes them limited from the Creative Commons perspective.
For example, every time a Creative Commons license needs to be expressed in a new context--e.g. videos instead of still images--a new microformat and syntax must be designed, and all parsers must then, somehow, become aware of the change. It is also not obvious how one might combine different microformats on a single Web page, given that the syntax rules may differ and even conflict from one microformat to the next.15 Finally, when it comes time to express complex data sets with ever expanding sets of properties, e.g., scientific data, microformats do not appear to scale appropriately, given their lack of vocabulary scoping and general inability to mix vocabularies from independently developed sources--the kind of mixing that is enabled by RDF's use of namespaces.
Thus, Creative Commons does not recommend any particular microformat syntax for ccREL, but we do recommend a method for ensuring that, when publishers use microformats, tool builders can extract the corresponding ccREL properties: use an appropriate profile URL in the header of the HTML document.16This profile URL significantly improves the independence and extensibility of microformats by ensuring that the tools can find the appropriate parser code for extracting the ccREL abstract model from the microformat, without having to know about all microformats in advance. One downside is that the microformat syntax then becomes less remix-friendly, with two disparate fragments: one in the head to declare the profile, and one in the body to express the data. Even so, the profile approach is likely good enough for simple data. It is worth noting that this use of a profile URL is already recommended as part of microformats' best practices, though it is unfortunately rarely implemented today in deployed applications.
Not all documents on the web are HTML: one popular syntax for representing structured data in XML. Given that XML is a machine-readable syntax, often with a strict schema depending on the type of data expressed, not all of the principles we outlined are useful here. In particular, visual locality is not relevant when the reader is a machine rather than a human, and remix-friendliness doesn't really apply when XML fragments are rarely remixable in the first place, given schema validation. Thus, we focus on independence and extensibility, as well as DRY.
Similarly, the Open Archives Initiative, defines a complex XML schema for library resources.19 These resources may include megabytes of data, including sometimes the entire resource in full text. Using XSLT, one can extract the relevant ccREL information, exactly as above. Using GRDDL, the Open Archives Initiative can specify the XSLT in its XML schema file, so that all OAI documents are automatically transformable to RDF/XML, which immediately conveys ccREL.
Direct RDF/XML embedding in XML.
Interestingly, because RDF can be expressed using the RDF/XML syntax, one might be tempted to use RDF/XML directly inside an XML document with an appropriate schema definition that enables such direct embedding. This very approach is taken by SVG,20 and there are cases of SVG graphics that include licensing information using directly embedded RDF/XML.
This approach can be made ccREL compliant with very little work--a simple GRDDL transform, declared in the XML schema definition, that extracts the RDF/XML and expresses it on its own. Note that, for ccREL compliance, this transform, although simple, is necessary. The reason for its necessity goes to the crux of the ccREL principles: without such a transform provided by each XML schema designer, tools would have to be aware of all the various XML schemas that include RDF/XML in this way. For extensibility and future-proofing, ccREL asks that publishers of the schema make the effort to provide the extraction mechanism. With explicit extraction mechanisms, publishers have a little bit more work to do, while tool builders are immediately empowered to create generic programs that can process data they have never seen before.
Accountability: providing minimal accountability for the expressed ccREL data.
We handle accountability for free-floating content by connecting any free-floating document to a Web page, and placing the ccREL information on that Web page. Thus, publishers of free-floating content are just as accountable as publishers of Web-based content: rights are always expressed on a Web page. The connection between the Web page and the binary file it describes is achieved using a cryptographic hash, i.e. a fingerprint, of the file. For example, the PDF file of Lawrence Lessig's "Code v2" will contain a reference to http://codev2.cc/download+remix, which itself will contain a reference to the SHA1 hash of the PDF file. The owner of the URL http://codev2.cc/download+remix is thus taking responsibility for the ccREL statements it makes about the file.
This RDFa references the PDF using its SHA1 hash--a secure fingerprint of the file that matches only the given PDF file--and declares its Creative Commons license. Thus, anyone that finds the "Code v2" PDF can find its WebStatement pointer, look up that URL, verify that it properly references the file via its SHA1 hash, and confirm the file's Creative Commons license on the web-based deed.
This section describes several examples, first by publishers of Creative Commons licensed works, then by tool builders who wish to consume the licensing information. Some of these examples include existing, real implementations of ccREL, while others are potential implementations and applications we believe would significantly benefit from ccREL.
Publishers can mix ccREL with other markup with great flexibility. Thanks to ccREL's independence and extensibility principle, publishers can use ccREL descriptions in combination with additional attributes taken from other publishers, or with entirely new attributes they define for their own purposes. Thanks to ccREL's DRY principle, even small publishers get the benefit of updating data in one location and automatically keeping the human- and machine-readable in sync.
Figure 3: Markup for a Bitmunk Song: this is a real excerpt of the actual HTML markup used on the bitmunk.com web site, slightly simplified and indented for readability.
A common use case for Web publishers working in a mashup-friendly world is the issue of mixing content with different licenses. Consider, for example, what happens if Larry Lessig's blog reuses an image published by another author and licensed for non-commercial use. Recall that Lessig's Blog is licensed to permit commercial use.
The inner <div> uses the about attribute to indicate that its statements concern the photo in question. A link to the original source is provided using the dc:source property, and a different license pointer is given for this photo using the normal anchor with a rel="license" attribute.
Bitmunk is a service that supports artists with a legal, copyright-aware, content distribution service. The service needed a mechanism for embedding structured data about songs and albums directly into their web pages, including licensing information, so that browser add-ons might provide additional functionality around the music, e.g. comparing the price of a particular song at various online stores. Bitmunk first created a microformat called hAudio. They soon realized, however, that they would be duplicating fields when it came time to define hVideo, and that these duplicated fields would no longer be compatible with those of hAudio. More immediately problematic, hAudio's basic fields, e.g. title, would not be compatible with other "title" fields of other microformats.
Thus, Bitmunk created the hAudio RDFa vocabulary. The design process for this vocabulary immediately revealed separate, logical components: Dublin Core for basic properties e.g. title, Creative Commons for licensing, a new vocabulary called "hMedia" for media-specific properties e.g. duration, and a new vocabulary called "hCommerce" for transaction-specific properties e.g. price. Bitmunk was thus able to reuse two existing vocabularies and add features. It was also able to clearly delineate logical components to make it particularly easy for other vocabulary developers to reuse only certain components of the hAudio vocabulary, e.g. hCommerce. Meanwhile, all Creative Commons licensing information is still expressible without alteration.
Figure 3 shows an excerpt of the markup available from Bitmunk at http://bitmunk.com/view/media/6579151. Note that this particular sample is not CC-licensed: it uses standard copyright. A CC-licensed album would be marked up in the same way, with a different license value: Bitmunk was able to develop its vocabulary independent of ccREL, and can now integrate with ccREL simply by adding the appropriate attributes.
Figure 4: A Flickr Photo Page with RDFa: this is an excerpt from a Flickr photo page with small amounts of additional markup to show how one would integrate RDFa. The rendering of the HTML is identical with the added RDFa properties. Note the Flickr machine tag upcoming:event, which references an event at upcoming.org. This machine tag is, in fact, an RDF triple, easily expressed in RDFa alongside existing Flickr information and CC licensing.
Flickr hosts approximately 50 million CC-licensed images (as of October 2007). Currently Flickr denotes a license on each image's page with a link to the relevant license qualified by rel="license". This ad-hoc convention, encouraged by the microformats effort, was "grandfathered" into RDFa thanks to the reserved HTML keyword license. Unfortunately, it works only for simple use cases, with a single image on a single page. This approach breaks down when multiple images are viewed on a single page, or when further information, such as the photographer's name, is required.
License assertions scoped to the image being licensed.
A cc:additionalPermissions reference to commercial licensing brokers and a dc:source reference to parent works.
XMP embedding in images themselves.
In addition, Flickr recently deployed "machine tags," where photographers can add metadata about their images using custom properties. Flickr's machine tags are, in fact, a subset of RDF, which can be represented easily using RDFa. Thus, Creative Commons licensing can be easily expressed alongside Flickr's machine tags using the same technology, without interfering.
Figure 4 shows how the CC-licensed photo at http://www.flickr.com/photos/laughingsquid/2034629532/ would be marked up using ccREL, including the machine tag upcoming:event that associates the photo with an event at http://upcoming.org.
Figure 5: Markup for a Nature Precedings article, including how RDFa might be integrated seamlessly into the existing markup. The property nature:tag is used to indicate a Nature-defined way of tagging content, though another vocabulary could easily be used here.
Figure 6: Portions of a Nature Precedings paper, marked up with RDFa. An RDFa-aware browser (in this case any normal browser using the RDFa Bookmarklets) detects the markup, highlighting the title and Creative Commons license, and revealing the corresponding RDF triples.
Nature, one of the world's top scientific journals, recently launched a web-only "precedings" site, where early results can be announced rapidly in advance of full-blown peer review. Papers on Nature Precedings are distributed under a Creative Commons license. Like Flickr, Nature Precedings currently uses CC's prior metadata recommendation: RDF/XML included in an HTML comment. Nature could significantly benefit from the ccREL recommendation, which would let them publish structured Creative Commons licensing information in a more robust, more extensible, and more human-readable way.
Consider, for example, the Nature Preceding paper at http://precedings.nature.com/documents/1290/version/1. Figure 5 shows how the markup at that page can be extended with simple RDFa attributes, using the Dublin Core, Creative Commons, FOAF, and PRISM publication vocabularies.21Notice how any HTML element, including the existing H1 used for the title, can be used to carry RDFa attributes. Figure 6 shows how this page could appear in an RDFa-aware browser.
Open publication of scientific data on the Internet has begun, with the Nature Publishing Group recently announcing the release of genomic data sets under a Creative Commons license.22 Beyond simple licensing, thousands of new metadata vocabularies and properties are being developed to express research results. Creative Commons, through its Science Commons subsidiary,23 is playing an active role here, working to remove barriers to scientific cooperation and sharing. Science Commons is specifically encouraging the creation of RDF-based vocabularies for describing scientific information and is stimulating collaboration among research communities with tools that build on RDF's extensibility and interoperability.
Figure 7: A simple rendering of a bibliographic entry with extra scientific data.
As these vocabularies become more widespread, it's easy to envision uses of ccREL and RDFa that extend the bibliographic and licensing markup to include these new scientific data tags. Tools may then emerge to take advantage of this additional markup, enabling dynamic, distributed scientific collaboration through interoperable referencing of scientific concepts.
Imagine, for example, an excerpt from a (hypothetical) Web-based newsletter about genomics research, which references an (actual) article from BioMed Central Neurosciences, as it might be rendered by a browser (Figure 7). The words "recent study on rat brains", and "CEBP-beta" are clickable links, leading respectively, to a Web page for the paper, and a Web page that describes the protein CEBP-5#5 in the Uniprot protein database.
This RDFa not only links to the paper in the usual way, but it also provides machine-readable information that this is a statement about inflammatory stimuli (as defined by the Open Biomedical Ontologies initiative) activating expression of the CEPB protein (as specified in the UniProt database of proteins). Since the URI of the protein is visually meaningful, it can be marked up with a clickable link that also provides the object of a triple.
This snippet contains two statements: the public CC license and the availability of more permissions. Sophisticated users of this protocol will one day publish company, media, or genre-specific descriptions of the permissions available privately at the target URL. Tools built to recognize a Creative Commons license will still be able to detect the Creative Commons license after the addition of the morePermissions property, which is exactly the desired behavior. More sophisticated versions of the tools could inform the user that "more permissions" may be granted by following the indicated link.
Figure 8: Part of the HTML code for the Creative Commons Attribution, No Derivatives Deed (slightly simplified for presentation purposes) showing the use of ccREL License Properties.
As mentioned above, Creative Commons doesn't expect content publishers to deal with license properties. However, others may find themselves publishing licenses using ccREL's license properties. Here, too, RDFa is available as a framework for creating license descriptions that are human-readable, from which automated tools can also extract the required properties.
One example of this is Creative Commons itself, and the publication of the "Commons Deeds". Figure 8 shows the HTML source of the Web page at http://creativecommons.org/licenses/by-nd/3.0/us/ which describes the U.S. version of the CC Attribution-NoDerivatives license. As this markup shows, any HTML attribute, including LI, can carry RDFa attributes. The href attribute, typically used for clickable links, can be used to indicate a structured relation, even when the element to which it is attached is not an HTML anchor.
In this markup, the "Attribution-NoDerivatives" license permits distribution and reproduction, while requiring attribution and notice. Recall that ccREL is meant to be interpreted in addition to the baseline copyright regulation. In other words, the restriction "NoDerivatives" is not expressed in ccREL, since that is already a default in copyright law. The opposite, where derivative works are allowed, would be denoted with an additional CC permission.
MozCC25 is an extension to Mozilla-based browsers for extracting and displaying metadata embedded in web pages. MozCC was initially developed in 2004 as a work-around to some of the deficiencies in the prior Creative Commons metadata recommendation. That version of MozCC specifically looked for Creative Commons RDF in HTML comments, a place most other parsers ignore. Once the metadata detected, MozCC provided users with a visual notification, via icons in the status bar, of the Creative Commons license. In addition, MozCC provided a simple interface to expose the work and license properties.
Since the initial development, MozCC has been rewritten to provide general purpose extraction of all RDFa metadata, as well as a specialized interface for ccREL. The status-bar icons and detailed metadata visualization features have been preserved and expanded. A MozCC user receives immediate visual cues when he encounters a page with RDFa metadata, including specific CC-branded icons when the metadata indicates the presence of a Creative Commons license. The experience is pictured in Figure 9.
Figure 9: The MozCC Mozilla Add-On. The status bar shows a CC icon that indicates to the user that the page is CC-licensed. A click on the icon reveals the detailed metadata in a separate window.
The results of each extractor are stored in a local metadata store. In the case of Firefox, this is a SQLite database stored as part of the user's profile. The local metadata store serves as an abstraction layer between the extractors and user interface code. The contents are visible through the Page Info interface. The current software only exposes this information as status bar icons; one can imagine other user interfaces (provided by MozCC or other extensions) which expose the metadata in different ways.
Operator26is an add-on to the Firefox browser that detects microformats and RDFa in the web pages a user visits. Operator can be extended with "action scripts" that are triggered by specific data found in the web page. The regions of the page that contain data are themselves highlighted so that users can visually detect and receive contextual information about the data.
It is relatively straight-forward to write a Creative Commons action script that finds all Creative Commons licensed content inside a web page by looking for the RDFa syntax. This allows users to easily identify their rights and responsibilities when reusing content they find on the web. No matter the item, even types of items with properties currently unanticipated, the simple action script can detect them, display the item's name and rights description.
Once this action script enabled, Operator automatically lights up Creative Commons licensed "Resources" it finds on the web. For example, browsing to the Lessig blog, Operator highlights two resources that are CC-licensed: the Lessig Blog itself, and a Creative Commons licensed photo used in one of the blog posts. The result is shown in Figure 10.
Figure 10: Operator with a CC action script on Lessig's Blog. Notice the two resources, each with its "view license" action.
Creative Commons wants to make it easy for artists and scientists to build upon the works of others when they choose to: licensing your work for reuse and finding properly licensed works to reuse should be easy. To achieve this on the technical front, we have defined ccREL, an abstract model for rights expression based on the W3C's RDF, and we recommend two syntaxes for web-based and free-floating content: RDFa and XMP, respectively. The major goal of our technological approach is to make it easy to publish and read rights expression data now and in the future, when the kinds of licensed items and the data expressed about them goes far beyond what we can imagine today. By using RDF, ccREL links Creative Commons to the fast-growing RDF data interoperability infrastructure and its extensive developer toolset: other data sets can be integrated with ccREL, and RDF technologies, e.g. data provenance with digital signatures, can eventually benefit ccREL.
We believe that the technologies we have selected for ccREL will enable the kind of powerful, distributed technological innovation that is characteristic of the Internet. Anyone can create new vocabularies for their own purposes and combine them with ccREL as they please, without seeking central approval. Just as we did with the legal text of the licenses, we aim to create the minimal infrastructure required to enable collaboration and invention, while letting it flourish as an organic, distributed process. We believe ccREL provides this primordial technical layer that can enable a vibrant application ecosystem, and we look forward to the community's innovative ideas that can now freely build upon ccREL.
The authors wish to credit Neeru Paharia, past Executive Director of Creative Commons, for the "free-floating" content accountability architecture, Manu Sporny, CEO of Bitmunk, for the Creative Commons Operator code, and Aaron Swartz for the original Creative Commons RDF data model and metadata strategy. More broadly, the authors wish to acknowledge the work of a number of W3C groups, in particular all members of the RDF-in-HTML task force (Mark Birbeck, Jeremy Carroll, Michael Hausenblas, Shane McCarron, Steven Pemberton, and Elias Torres), the Semantic Web Deployment Working Group chaired by Guus Schreiber and David Wood, and the tireless W3C staff without whom there would be no RDFa, GRDDL, or RDF, and thus no ccREL: Eric Miller, Ralph Swick, Ivan Herman, and Dan Connolly.
Information about Creative Commons is available on the web at http://creativecommons.org. ccREL is a trademark of Creative Commons, see http://creativecommons.org/policies for details.
RDF is a language for representing information about resources in the World Wide Web. We provide a short primer in this paper. Also, see the Web Consortium's RDF Web site at http://www.w3.org/RDF/.
By "publisher" we mean anyone who places CC-licensed material on the Internet. By "tool builders" we mean people who write applications that are aware of the license information. Example tools might be search programs that filter their results based on specific types of licenses, or user interfaces that display license information in particular ways.
RDFa is an emerging collection of attributes and processing rules for extending XHTML to support RDF. See the W3C Working Draft "RDFa in XHTML: Syntax and Processing" at http://www.w3.org/TR/rdfa-syntax. The "RDFa Primer: Embedding Structured Data in Web Pages," may be found at http://www.w3.org/TR/xhtml-rdfa-primer. RDF/XML, described briefly below, is a method for expressing RDF in XML syntax. See "RDF/XML Syntax Specification (Revised)," W3C Recommendation 10 February 2004 at http://www.w3.org/TR/rdf-syntax-grammar/. XMP (Extended Metadata Platform) is a labeling technology developed by Adobe, for embedding constrained RDF/XML within documents. See http://www.adobe.com/products/xmp/.
The Semantic Web Activity is a large collaborative effort led by the W3C aimed at extending the Web to become a universal medium for data exchange, for programs as well as people. See http://www.w3.org/2001/sw/.
The term URI (universal resource identifier) is a generalization of URL (universal resource locator). While a URL refers in principle to a resource on the Web, a URI can designate anything named with this universal hierarchical naming scheme. This generality is used in ccREL for items such as downloaded media files.
The vocabulary page, http://www.w3.org/1999/xhtml/vocab#, is currently a placeholder which the W3C expects to update in early 2008.
The full story is a little more complicated. CC initially used the http://web.resource.org/cc/ namespace, migrating to http://creativecommons.org/ns# for superior human interaction with the vocabulary when it became apparent RDFa would facilitate this. In 2004 the Dublin Core Metadata Initiative approved a "license" refinement of its "rights" term (see http://dublincore.org/usage/decisions/2004/2004-01.Rights-terms.shtml). Had http://purl.org/dc/terms/license existed in 2002, CC would not have defined http://web.resource.org/cc/license. Thanks to the extensibility properties of RDF, http://creativecommons.org/ns#license describes its relationship to each of these other properties.
N3 (Notation 3) was designed to be a compact and more readable alternative to RDF/XML. See http://www.w3.org/DesignIssues/Notation3.html.
The Dublin Core Metadata Initiative (DCMI) promotes the widespread adoption of interoperable metadata standards, and maintains a vocabulary of DCMI Metadata Terms. See http://dublincore.org/.
All current Creative Commons licenses require attribution, and give the publisher the option of specifying a URL with attribution information. The cc:attributionURL property is the preferred way to provide this URL in machine-readable form.
Caveat: The text descriptions of these property values are indicative only. The precise legal interpretations of the properties can be subtle and even jurisdiction dependent. Consult the full Creative Commons licenses ("legal code") for the actual legal definitions.
It is worth noting that, while the xhtml:license property has long been a part of the CC specification, the cc:attributionName and cc:attributionURL properties are new with ccREL. Under the independence and extensibility principle, the solution we select for embedding ccREL in HTML should allow for such extensions without breaking tools that already know about xhtml:license.
See http://microformats.org/wiki/grouping-brainstorming for one discussion.
Profile URLs indicate that the HTML file can be interpreted according to the rules of that profile. This property has been used by some microformat specifications to indicate, e.g., "this page contains the hCard microformat". The property is also used by GRDDL for generic HTML transformations to RDF/XML, though this approach to RDF extraction from HTML is not fully compliant with the principles laid out in this paper: it is difficult to tell which image on a page is CC-licensed when the RDF extraction is achieved via GRDDL.
Gleaning Resource Descriptions from Dialects of Languages (GRDDL) (http://www.w3.org/TR/grddl/) is a W3C recommendation for linking Web documents to algorithms that extract RDF data from the document.
Atom License Extension. See http://tools.ietf.org/html/rfc4946.
Scalable Vector Graphics, http://www.w3.org/Graphics/SVG/, a W3C Recommendation for vector graphics expressed using XML.
The Publishing Requirements for Industry Standard Metadata (PRISM) provides a vocabulary for publishing and aggregating content from books, magazines, and journals. See http://www.prismstandard.org/.
Operator currently does not handle HTML reserved keywords, such as rel="license". Thus, we consider the script for the property cc:license, and provide examples appropriately adjusted. This gap is expected to be filled by early 2008.


I was a late-bloomer into the world of swimming – I didn't start until I was 13! I swam through high school and attended Georgetown to swim. However, during my freshman year of college, in 2011, I slipped while trying to open a window and fell five stories to the ground. I broke numerous bones, including my L2 vertebrae, and sustained a spinal cord injury that left me paralyzed from the waist down. After 3 surgeries and months of intensive rehab, I eventually regained the ability to walk again, though I had permanent weakness in me legs. Despite this huge curveball, I was determined to continue swimming! I discovered Paralympic swimming in 2012, and quickly rose to the top of the world rankings for S9 classification sprint freestyle events. Today, I'm living in Naples, FL and am training full-time.
My main achievements are 3x silver medalist at 2015 IPC World Championships in 50m free, 100m free, and 4x100m free relay; 2016 US Paralympic National Team Member; 5-time American Record Holder.
Recently I won 4 medals in Rio (Gold in 50m and 100m free, silver in 4x100m free relay and bronze in 4x100m medley relay), and am the World Record Holder in 50m and 100m free.
Swimmers are notoriously uncoordinated, and I am no exception! I tried many sports as a kid, but swimming really stuck because I loved the direct correlation between the amount of work you put in at practice and your performance at meets.
Michelle Wins Gold at the 2016 Paralympic Games!


ARLINGTON — Safety Donovan Wilson wasn't around for the end of two of Texas A&M's first four games this season because of ejections for targeting. The Aggies are thrilled he hung around for Saturday's conclusion against Arkansas.
Wilson's interception late in the fourth quarter sealed a disjointed 24-17 A&M victory over the Razorbacks in AT&T Stadium, a game in which the Aggies were favored by three touchdowns.
Fisher experienced his own mental lapse, one the coach was catching heat for this weekend on social media. Cameras caught Fisher grabbing linebacker Tyrel Dodson's facemask and jerking it back and forth following an on-field tussle between the teams late in the third quarter.
Fisher said Dodson was "pushing and shoving" with the Razorbacks when he needed to focus on the tasks at hand.
No one Saturday had the Aggies' backs more than Wilson, a resilient senior who's in a fifth year following a season-ending injury in the 2017 opener. The Aggies led 24-17 and were hanging on by a thread when Wilson hauled in an errant Ty Storey pass on the A&M 26-yard line with 1:11 left.
Wilson's ejections occurred in the season opener during a rout of Northwestern State and last week in a loss to top-ranked Alabama.
"Maybe he could have made that play in those games," Fisher said.
A&M (3-2, 1-1 SEC) and Arkansas (1-4, 0-2) have new coaches — the Razorbacks hired an A&M graduate and former SMU coach in Chad Morris to try to right their ship — but one thing stayed constant in the SEC West series: A narrow A&M victory.
The Aggies have won all seven of the teams' meetings since joining the SEC in 2012, with the last five victories coming in AT&T Stadium, including three of those in overtime. The neutral-site game is contracted between the schools through 2024, and Saturday's attendance of 55,383 was easily the lowest since the series moved to the home of the Dallas Cowboys.
About half the fans were still settling into their seats when A&M freshman Jashaun Corbin offered the game's most electrifying highlight with a 100-yard return for a touchdown on the opening kick.
Corbin's time at running back will continue to be limited, however, if junior Trayveon Williams keeps turning in showings like on Saturday. Williams' 152 rushing yards were nearly three times as many as the Razorbacks had combined, and A&M outgained Arkansas 377-248 in total yardage, despite an overall lackluster showing by Aggies quarterback Kellen Mond.
The Aggies defense held the Razorbacks to 55 rushing yards. A&M is allowing opponents 85 rushing yards per game, placing it in the top 10 nationally in rushing defense. The Aggies built a 17-0 lead early in the second quarter and then eased up too much for Fisher's liking.
"You've got to take the air out (of opponents)," he said.
Morris was proud of his team for fighting back after falling behind.
"You took a huge punch on the first play of the game," he said.


text:
package io.github.loustler.traitt.mixin

import scala.collection.mutable.ArrayBuffer

/**
  * @author loustler
  * @since 08/25/2018
  */
class BasicIntQueue extends IntQueue {
  private[this] val buf: ArrayBuffer[Int] = ArrayBuffer[Int]()

  override def get(): Int = buf.remove(0)

  override def put(x: Int): Unit = buf += x

  override def size: Int = buf.size
}

redpajama_set_name: RedPajamaGithub


text:
Anda Union brings Mongolian tradition to BRAVO! series
JoAnne Wadsworth
These nine members of Anda Union hail from Inner Mongolia in China and refer to themselves as "music gatherers." They perform traditional music promoting ancient Mongolian culture. (Anda Union)
Anda Union brought images of Mongolia's windswept grasslands to BYU for a unique performance of ethnic music. The concert on Thursday, Oct. 27, was part of BYU's BRAVO! series.
The group hails from Inner Mongolia, part of the People's Republic of China, and specializes in ancient and traditional Mongolian music. Most of the group members grew up listening to the songs they perform today. Now they share those songs to promote and protect traditional Mongolian lifestyle.
The instruments used in the performance were all used anciently by grassland shepherds and horsemen. Square-shaped horse-head fiddles in various sizes resemble cellos and upright basses, all with only two strings and a distinctive horse's head carved into the top of the neck above the tuning pegs. The group also played sheepskin drums, Mongolian lutes, chimes, a reed flute and even seashells shaken on a string.
The music incorporated heavy beats, wailing vocals and the gritty drone of "Hoomei," or Mongolian throat singing. Throat singing occurs when the singer manipulates resonance in the throat and produces two pitches simultaneously. Eric Hyer, BYU's Asian Studies coordinator, said throat singing is unique to Mongolia.
"It's this harmonic voice, so it has in some cases this kind of eerie quality," Hyer said. "I don't know that it exists anywhere else."
At one point in the concert, the flute player Chinggel sat alone on stage. The crowd gasped as he began to throat sing and play the flute simultaneously, taking them through a song called "The Holy Mountain."
All the songs were based on old Mongolian legends or tributes to the grasslands. Players introduced each song in broken English and explained what it meant to them. Often they learned the songs from their grandparents or dedicated them to their mothers. Tsetsegmaa, the lead female vocalist, wept as she sang a mournful song about her homeland. At another point, players imitated the whinnies of horses on their fiddles as they commenced a song about battle.
Clips from a documentary about Anda Union were the background of some songs, depicting sweeping Mongolian grasslands and nomadic shepherds living in colorful tents. BRAVO! series producer Jeffrey Martin said they were, in essence, inviting the audience into their world.
The crowd gave the group a standing ovation at the end of the concert.
The players shuffled back onstage for an encore piece, and Nars, the self-elected spokesman of the group, grinned widely.
"Everyone want more horse song?" Nars said. "We will have more horse song!"
The BYU Kennedy Center frequently coordinates with the BRAVO! series to bring Asian groups to campus. Hyer said that Anda Union's visit was made possible by a federal grant awarded to the Kennedy Center for Asian Studies. A portion of the grant is reserved for performances meant to expand student cultural vision.
Martin said Anda Union's visit fits in well with the purpose of the BRAVO! series, which is to inspire students to become better.
"Hopefully it will inspire (students) to think of music in broad terms," Martin said. "They don't have to pick up the horse-head fiddle, but I think these kind of things can help expand our understanding of what music is and culture is, and just enrich us."
The Anda Union arrived at BYU on Monday, Oct. 24, and participated in master classes and community outreach activities for several days. They presented to several world music classes and an auditorium of interested high school students. They will perform at BYU-Idaho later this week, inviting students there into the world of traditional Mongolian music and legend.
"Welcome to Inner Mongolia," Nars said. "Have lots of horses. Welcome."
2016-17 bravo series
Anda Union
BYU Asian Studies
BYU Kennedy center
chris hyer
Mongolian throat singing
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Next articleReaders' Forum Nov. 1
JoAnne Wadsworth is a Public Relations major covering fine arts and communications for The Universe. She plans on pursuing a career as an independent writer.
BYU life science professors emphasize importance of mask-wearing, vaccinations

redpajama_set_name: RedPajamaCommonCrawl


Philippians – Kalkaska Church of Christ – 1725 W. Kalkaska Rd.
Philippians 1:1 1 Corinthians 1:2 Philippians 1:2-4 Philippians 1:5 Financial help Proclaiming the Gospel Defending the Gospel Philippians 1:6 Philippians 1:7 Philippians 1:8-9 Philippians 1:10-11 First we become partakers, Romans 3:22-24 First we become partakers, And then we become partners, Ephesians 2:10 Ephesians 5:1-2 First we become partakers, And then we become partners, And finally, we become perfect. 1 John 3:2 Justified Sanctified Glorified All to the glory and praise of God!


Why Men Watch Football is a 172-page hardcover book that is the definitive work on a subject that millions have asked themselves at one time or another: Why do men watch football so much? The book is a serious study of the male psyche, and it also has a humorous side.
BOB ANDELMAN is the author of 11 books, including a trio of sports-related books: Stadium For Rent, Why Men Watch Football, and The Corporate Athlete.
His writings have appeared in Redbook, National Law Journal, Billboard, Cleveland Plain Dealer, St. Petersburg Times, Tampa Tribune, Detroit Free Press, San Francisco Examiner and other publications.
Andelman graduated from the University of Florida with a major in Film Studies in 1982. He lives in St. Petersburg, Florida, with his wife, teenage daughter and dogs.


The American Dream in the '30s looked quite different from today's vision of it.
While the phrase has grown and expanded to mean many different things to many different people, its rise to popularity started in 1931, when famed historian and writer James Truslow Adams wrote in his book The Epic of America about "the American dream, that dream of a land in which life should be better and richer and fuller for every man, with opportunity for each according to his ability or achievement." Read on for a closer look at the American Dream through the years.
In the 1930s, the American Dream was simple and didn't involve waiting in long lines to score the newest iPhone on the day it came out or being able to get the latest credit card with a slew of perks. Adams even clarified to say that "it is not a dream of motor cars and high wages merely, but a dream of a social order in which each man and each woman shall be able to attain to the fullest stature of which they are innately capable, and recognized by others for what they are, regardless of the fortuitous circumstances of birth or position." Check out these fascinating facts about America that you never learned in school.
In the 1940s, the term started becoming more common to use and to hear. It appeared in advertisements for intellectual products and services such as plays, books, and articles.
One change that kicked off the American dream moving into the materialistic realm was the G.I. Bill that had been introduced in 1944, helping millions of veterans buy homes and get a college education. As veterans began benefitting from those opportunities, TV shows like Leave it to Beaver and I Love Lucy started spreading the ideas of suburban living and consumerism more than ever. Don't miss these rare, candid photos of what life was like in the 50s.
By the time the 1970s and 1980s rolled around, the "American Dream" was seen extensively in advertisements for home builders to directly tie the idea of buying or building a house to the vision of the country and what it meant to be a true citizen.
Once the 1990s hit, technology began to influence the American dream heavily. People started craving their own personal computers, cell phones, televisions (for each room), and video games. By the 2000s, this started to take a turn, especially during the first half of the decade.
Later in the 2000s, with the crash of the economy, the American dream shifted towards the idea of financial security vs. gaining more things. Check out these "dream big" quotes to get motivated right now.
Some millennials argue that the phrase is a term of the past, with 48 percent of them believing the American Dream to be dead, according to a Harvard Institute of Politics poll, which could be because of the increase in student loan debts many millennials are carrying, the desire to live at home with their parents longer, or just because their ideas of work-life balance have completely shifted from years before. For example, some people change jobs as often as once every five years, craving more fast-paced environments and less stability. There's also increasing awareness that overcoming "circumstances of birth or position," as Adams described in the '30s, might be easier said than done.
So is the American Dream dead? Perhaps that answer can be found in the buying power of millennials, who spend $65 billion a year, and Generation Z, who spend $143 billion a year. It's far from dead, but it sure has changed. Here's how 10 billionaires describe their definitions of success.


text:
James Best, 'Dukes of Hazzard' sheriff, dies at 88
HICKORY, NC -- The prolific actor best known for his role as Sheriff Rosco P. Coltrane on "The Dukes of Hazzard" has died. James Best was 88.
His wife, Dorothy Best, said Tuesday that Best died Monday night in hospice care in Hickory from complications of pneumonia.
Best starred on the television series that ran from 1979 to 1985. He was the lawman chasing the Duke brothers.
Dorothy Best says they'd been married 29 years and that he's survived by children and grandchildren.
She said he was an incredible man and an incredible talent.
FAMOUS DEATHS OF 2015
arts & entertainmentcelebrity deathsfamous deathsu.s. & world


text:
Carols by Candlelight HB
Dolphin hunt in Taiji
Schools Strike 4 Climate Hervey Bay
Woman in critical condition after Wondunna Crash
Ray Revill says he was attacked during a road rage incident
Barnaby Joyce announces funding boost for struggling farmers
Burnt car at Fraser Lakes Golf Club
Paramedics attacked
'We're here for people's welfare': Paramedics attacked
by inge.hansen
29th May 2018 4:00 PM | Updated: 30th May 2018 5:29 AM
PARAMEDICS have endured a terrifying attack where a man wielding a pole savagely smashed in the windscreen of their ambulance at a Maryborough intersection.
A senior officer and student paramedic were transporting a patient from the Maryborough CBD to Hervey Bay hospital when they were flagged down by a man at a set of traffic lights about 12.05am Tuesday.
Police will allege the man pulled out a metal pole, striking the front of the windscreen and sending glass flying into eye of one of the paramedics.
The injured driver backed away from the corner of Lennox and Sussex Streets and called for help.
An ambulance vehicle in Maryborough was attacked by a male brandishing a metal pole - Officer in Charge of the Maryborough Ambulance Station, Marco Polino. Valerie Horton
The senseless attack comes just weeks after a Victorian judge allowed two women, who drunkenly bashed a paramedic so badly he was unable to work again, to escape jail time.
The 63-year-old paramedic was punched and left with a broken foot following the attack.
Officer in Charge at Maryborough Ambulance Station Marco Polino said yesterday the paramedics in Tuesday's attack took immediate action.
"The crew has immediately taken evasive action and put the vehicle into reverse and retreated from the scene while calling for police assistance urgently," he said.
"Thankfully QLD police were within the area and responded within 30 to 60 seconds and arrived on scene to assist us."
After being taken to hospital for treatment, the injured paramedic was discharged about 3.15am.
A Queensland Police spokesman said the man who attacked the paramedics was receiving treatment in hospital.
Mr Polino said the paramedics were understandably shaken.
"It was a very unexpected occurrence and it's happened in the early hours of the morning," he said.
"It resulted in them being out of service for a fairly significant amount of time of the evening which potentially could have impacted on our ability to respond to the community here in Maryborough and Hervey Bay."
Repair costs of the vehicle are expected to exceed $1,500 and may take up to a fortnight to complete.
"We've got a number of ambulance vehicles and officers on call throughout the evening across the Fraser Coast," Mr Polino said.
"Taking one of these vehicles offline would have had a significant impact on operations throughout the night."
Mr Polino said the patient awaiting transportation to Hervey Bay Hospital was in a stable condition at the time of the attack and was able to wait for a second ambulance to arrive.
However, the incident delayed the patient's treatment.
In response to recent attacks on paramedics, Mr Polino said violence towards paramedics would not be tolerated and offenders would be prosecuted "to the full extent of the law".
"At the end of the day, we're here for people's welfare," he said.
"We're here to care for the community and it just blows my mind that someone would want to do something like this to the people that are here to care for them."
Paramedics attacked with metal pole
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text:
Stony Brook University Men's Soccer Club
The Official Website of the Stony Brook University Men's Soccer Club
Welcome to SBUMSC
Seawolves Lead the Pack – Looking to Make a Splash at Playoffs
May 10, 2013 · by SBUMSC	· Bookmark the permalink.	·
All was well at Adelphi University on a brisk April day this past Saturday, that is, until the Stony Brook University Club Soccer team stepped onto campus. The Seawolves were going into their last game of the regular season and were feeling eager to add one more win to their record. Team members walked onto Adelphi's Motamed Field looking for redemption after a tragic 2-2 tie that plagued Stony Brook's near perfect record this past fall.
As the game was about to start, a wave of motivation passed through the Seawolves as club president and team captain David Song huddled in the group for some words of inspiration. "This is it guys. This is the game that decides our season, leave it all out on the field!" The Seawolves knew what they had to do.
At the sound of the whistle, Stony Brook immediately took control of the game. Within 10 minutes, the Seawolves had Adelphi chasing wave after wave of attack by the Stony Brook offense. It wasn't too long after when Stony Brook's Daiki Nakamura struck gold. In the 14th minute, the ball found its way to senior defender Josef Gaster who made a run into Adelphi's defensive third. With one look, Gaster floated a ball into the six yard box which was clumsily cleared by Adelphi's goalie. The spinning ball found the waiting foot of Nakamura who blasted the ball past the unexpected keeper to make it 1-0.
"That was a world class finish!" exclaimed junior midfielder Philip Borzumato as he witnessed the "shoe shine" celebration take place at midfield.
It was long before Nakamura found the back of the net once again. At the 24th minute mark, play started to build up from the defense as outside back Stephen Georgilis sent a long pass towards a streaking Jimmy Magana down the left flank. Magana played a low cross into the box which was first dummied by forward David Song which threw the Adelphi defense for a loop. The confused defenders were only able to pull themselves together in time to witness Nakamura tuck another one in with a one-time finish to make it 2-0.
The last Stony Brook goal came from a corner kick at the 35th minute of the match. Freshman midfielder Tye Petrotta stepped up to take the corner on the left side. With three crashing red jerseys, Petrotta saw where the opportunities lie. He placed a high floater into the top of the six yard box which was miscleared off of an Adelphi defender's chest. Sophomore center back Chris Koumas pounced on this opportunity and performed a "tricycle kick" to blast the ball out of the air and into the upper corners of the net, taking the Seawolves to a 3-0 lead. The halftime whistle blew shortly after.
The second half was more of the same as the Seawolves continued to dominate possession of the ball. The Stony Brook defense gave a stellar performance as any Adelphi attack was neutralized almost instantaneously. Goalies Billy Blaine and Kevin Mulder together held a shutout for Stony Brook. The game was unfortunately called prematurely due to Adelphi's Varsity Lacrosse team needing to use the field for a pre-game tanning session before their match three hours later.
Stony Brook looks to finish first in their conference and hopes to make a real impact this weekend in Lancaster, PA to bring the title of "Best in Region One" back to Long Island.
Stony Brook 3 – Adelphi 0
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Depending on your location, you may need to shop around for earthquake insurance. In California, your homeowner's insurance provider is required to also offer earthquake insurance, although they won't necessarily offer the best deal. One thing to watch for is insurers that stop taking on new policies in an area several weeks after a major earthquake because of the increased risk of aftershocks.
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Thanks to a population of hard-working, dedicated people comprising a vibrant culture, the City of Fresno has developed a unique character unlike any other community in California. With more than 500,000 residents, Fresno ranks the fifth largest city in California.
This growing region of Central California covers a wide variety of distinct and engaging neighborhoods, including the Tower District and Fig Gardens. Fresno as a whole boasts a number of theaters, performing arts centers and museums.
While Fresno does not have a major sports team of its own, plenty of fans follow local clubs, including Fresno Grizzlies baseball and the Fresno Fuego, a developmental soccer team. Of course, the Fresno State Bulldogs are the college pride of the town. Fresno also presents a wide variety of annual events, from fairs, to holiday festivals, to celebrations of all kinds.
At CKM Auto Service, we are proud to serve Fresno drivers with complete auto repair services on just about any vehicle. Whether you live in Fresno or are just visiting, we'll deliver the reliable automotive results you need, no matter what make of vehicle you own.


Whether it's to make a bold statement or retain the character and charm of your period home, we provide timber front doors to perfectly suit any property.
We supply timber French doors for any style of property, perfectly suiting the character and charm of any period home, including Victorian, Edwardian and Georgian houses.
We supply and install a wide range of Aluminium bi-fold doors suitable for all types of property, old and new.


Looking to get your bike serviced? want a discount?
we are pleased to offer a £10 discount off any of our 3 main service options for all customers who are happy to bring us their bikes!
for all your bike related shed needs, simply give us a call, send an email or book online.
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The Palestinians suffer grievous oppression at the hands of a Netanyahu led administration. An oppressed people have only three possible options open to them: resist violently, resist non-violently or simply accept the oppression. Fair minded people would agree that the last is unthinkable while the first is counter-productive and invariably continues the unending cycle of violence. Non-violent resistance is the only option. BDS is an expression of non-violent resistance. To condemn it is by implication to push the oppressed into resistance which will intensify the oppression. Perhaps that is what Israel wants – an excuse to intensify oppression.
Businesses targeted from supporters of boycott programme in Australia are often not Jewish, or even Israeli. They are companies that profit from the building of settlements in the Palestinian territories. How is this 'anti-Semitic'? Disinvestment is targeted towards similar companies.
Boycott of Israeli academic or cultural institutions is most often promoted by members of those in the Australian Jewish community who are appalled and feel demeaned in their Jewish identity by the actions of a Netanyahu government acting outside the ethical standards expected of Jewish culture and tradition.
The hypocrisy of the Zionist lobby is breath taking. Every attempt is made by the Israeli government to maintain an economic boycott of Palestine and Palestinians. Palestinian business people and entrepreneurs are not free to engage with and trade internationally. Energy and communications in the Palestinian territories are administered to give maximum benefit to Israel. The division of Palestine into areas A, B and C ensures that the very considerable tourism to the Holy Land benefits Israel and not Palestine etc etc.
The Israeli lobby would like legislation passed in Australia to prosecute the promotion of BDS. The Victorian Premier, speaking to a Jewish gathering, is reported to be sympathetic to this notion. Should he proceed to have such legislation drafted in the Victorian parliament it will give a wonderful platform to BDS supporters to make known the real agenda of BDS and the oppressive violations against international law of the Israeli government.


Commissioned to design Ian Fleming's James Bond novels for Penguin Books working closely with the Fleming Estate and the incredibly talented photographer Toby McFarlan Pond. The brief was to create a strong set of jackets with as little reference to the films as possible and to intoroduce new readers to the author. The featured in Creative Review (below). The covers have a high gloss finish with the titles printed in metallic ink, and the name JAMES BOND appears at the be bottom of each jacket, matt laminated and embossed.
Working with the Fleming family and Toby McFarlan Pond, to create a set of limited edition covers.
The covers have a high gloss finish with the titles printed in metallic ink. James Bond appears embossed and matt varnished at the bottom of each jacket. Only 500 sets were produced and were produced.


Only America West has tapped loan guarantees offered with conditions as part of the post-Sept. 11 industry bailout; the rest of the package was a quick financial shot in the arm.
Five days after the terrorist attacks, at a private meeting on Capitol Hill, aviation expert Darryl Jenkins gave congressional leaders his stamp of approval on a multibillion-dollar bailout being lobbied for by the airline industry.
The massive cash infusion would be a shot in the arm for the ailing industry, he reasoned, and would send a message to terrorists that America would not allow them to knock out such a vital industry.
But six months later, Jenkins, other industry experts and some economists believe the $5 billion payout to compensate carriers for lost business shouldn't have been rushed through without more strings attached.
The $10 billion in loan guarantees made available was tied to strict preconditions, but so far only one major carrier, America West, has tapped that fund.
"Should we have been a little more circumspect and argumentative? With what we know now, we probably did act too hastily," said Jenkins, director of the Aviation Institute at George Washington University.
"Longtime structural problems could have been better addressed through Chapter 11 than a bailout," he said.
Jenkins worries that major carriers have less incentive and leverage to tackle fundamental problems, such as the high cost of labor, now that the intense financial pressure has been lifted. Knowing that their employers received hundreds of millions of dollars apiece, unionized workers at United, US Airways and other airlines have become less likely to accept wage reductions in labor negotiations, he said.
Wall Street analysts argue that while the emergency aid bolstered a few of the weakest carriers, it only delayed recovery for the rest of the industry. A Chapter 11 bankruptcy here or there, or even some consolidation, would have increased the remaining carriers' market share and returned them to profitability sooner, analysts said.
The impact on consumers is another story.
"One big bankruptcy I think the customers would survive just fine," said Michael E. Levine, a professor at Harvard Law School and a former airline executive. "Two big ones, and you're beginning to push pretty hard on the level of competition in the industry."
But in the immediate aftermath of the 48-hour shutdown of the nation's air space, and as concerns about the safety of air travel mounted, airline executives pleaded with Congress for a bailout, saying it was the only action that could prevent widespread bankruptcies.
"In those dark days after Sept. 11, we were all scared," Jenkins conceded. "None of us thought we'd ever recover from all of this."
Indeed, the rush to bail out the airlines also had patriotic roots, said Clifford Winston, an economist at the Brookings Institution in Washington who also was invited to the Sept. 16 meeting on Capitol Hill.
"We were going to make a statement to the world that we will not allow terrorist attacks to damage our industries," he said. "That's what I think was motivating it."
Although Winston is not opposed to economic decisions made with a social goal in mind, he said Congress may have gone about it the wrong way. Instead of giving away cash, the government should have cut airfare taxes, he said. That would have spurred revenues by enabling carriers to squeeze more profits out of each ticket sold, he said.
Certainly the airlines believe they've made significant strides in reducing their high fixed costs since Sept. 11: About 100,000 employees were let go, flight schedules were reduced and smaller planes were substituted for larger ones. And late last week Delta Air Lines became the first major carrier to eliminate base commissions to travel agents.
Still, airline officials say the industry's persistent malaise is evidence of just how badly they needed the federal aid.
"The prospect of carriers going bankrupt wasn't just one or two, but more like half the industry," said David Swerienga, chief economist of the Air Transport Association, an industry trade group based in Washington.
Michael Boyd, a Colorado-based airline consultant, said travelers who rely on smaller airports were the real beneficiaries. If an airline serving a tiny community went bankrupt, there is no guarantee a competitor would take over the route.
"With some of these communities, when they lose air service, they lose economic growth," Boyd said.
But critics of the bailout say there is nothing to prevent airlines from leaving less profitable airports anyway. That is exactly the type of precondition that Rep.
Peter DeFazio, a Democratic congressman from Oregon who voted against the bailout package, would have liked to have seen written into the airline stabilization act.
Passenger demand has gradually improved over the past six months, yet it remains about 10 percent below year-ago levels, even with a 15 percent decrease in the average price of a domestic ticket.
Wall Street analysts predict major carriers will post losses of as much as $3.5 billion this year — roughly the same outlook for the industry in 2001 before Sept. 11. No major carriers have filed for bankruptcy in the past six months, and analysts do not expect any in the immediate future.


1. Will we see you in Portland at 19NTC?
As much fun as it is using technology to share our knowledge and see and hear each other, it's hard to beat meeting up in person when we get the chance. We're really excited to share that we will again be hosting an in-person meetup at NTC this year!
However, we know there are many people in this group who are attending and presenting.
2. RE: Will we see you in Portland at 19NTC?
Awesome. I should be able to make it - my flight isn't until later.
Without repeating what the talk is about, the premise is - we need to shift the nonprofit sector toward better and more robust metrics than what we tend to like to use. We will discuss some of those and moving forward. Also there may be Princess Bride references.
Subject: Will we see you in Portland at 19NTC?
3. RE: Will we see you in Portland at 19NTC?
Yes! The Connect sessions don't seem to be showing up in the App, so I (gasp) wrote it down so I'll remember to be there on Friday.
I'm presenting a session on Sketchnotes again this year, and pretty excited about the Tactical format.
4. RE: Will we see you in Portland at 19NTC?
So in addition to the Data Community Connect session Janice mentioned, she and I will be joining @Carrie Rice and @Adam London for a session called Data is Not a Four-Letter Word: Get Your Team on Board. Really excited for the collaborative workshop format of that one.
Also, I'd like to plug @Janice Chan and @Dar Veverka's session Strategic Knowledge Management: Don't Stop at Halfway, which I plan on attending because it sounds super-applicable to my org.
5. RE: Will we see you in Portland at 19NTC?
Both sessions have a Google drive of downloadable goodies and lots o links for folks to dive into post-session.
6. RE: Will we see you in Portland at 19NTC?
I am not sure if I will be able to make the meetup, but I shall try!
How do you excite people about learning how to input data? Keep them enthused when you need to chat about data accuracy? Document the process in a way that can stay fluid but accurate? And do all of this when working the jobs of three people? Sound familiar? Here are some tips and tricks about getting colleagues on board with learning about technology, keeping them engaged, and creating SOPs to ensure ease during transitions.
7. RE: Will we see you in Portland at 19NTC?
I will be at the meetup. I am not a presenter, but these are few of the sessions that I am planning on attending.
8. RE: Will we see you in Portland at 19NTC?
Sadly my flight leaves on Friday afternoon so I can't make the community session. I'm actually really disappointed to miss it.
9. RE: Will we see you in Portland at 19NTC?
So many great sessions! Look forward to seeing those of you who can join us on Friday -- and we'll try to take good notes for those of you who can't make it!
10. RE: Will we see you in Portland at 19NTC?
I don't know why, I missed this thread earlier. Was catching up on the messages and I saw a few familiar names already! Also, thank you @Timothy Edingfield for plugging my session (Managing program data using CRM)! I hope you found it useful. We had a packed room yesterday and I had so much fun sharing my experiences and wisdom earned from failures too, with the audience.
Wanted to send over a special Woot to @Adrienne Figus. Your sketch notes on our session were phenomenal. I hope I can come for your session (I have a few meetings getting scheduled around the time)! I'm a fan already!!
Janice, Dar (and anyone else whom I might have missed) : I feel like I've known you forever from NTEN boards. I'll try to attend your sessions; they are on my radar, and very relevant to some of the orgs I'm working with!!
Have fun and enjoy your time at the NTC.


I was at a Game Stop this past weekend and was looking through the clearance section when I noticed a roll a Deadpool wrapping paper. I didn't want to buy it and carry it through the mall with me so I decided I would come back on my way out and grab it. I forgot about it and left the mall without it. I decided I would go back in today to see if it was still there. It was not on the clearance rack so I asked the girl at the counter if she knew if it had been purchased or if they had any more of the wrapping paper. She told me the wrapping paper was no longer available. I regaled her with my story of woe about forgetting it when leaving the mall last weekend, she then told me to hold on and went into the back. She came out with the roll of wrapping paper and said, "It is no longer in our system. I cannot sell it to you but you can have it. We were just going to throw it out." WINNING!
PoolFan wrote: I was at a Game Stop this past weekend and was looking through the clearance section when I noticed a roll a Deadpool wrapping paper. I didn't want to buy it and carry it through the mall with me so I decided I would come back on my way out and grab it. I forgot about it and left the mall without it. I decided I would go back in today to see if it was still there. It was not on the clearance rack so I asked the girl at the counter if she knew if it had been purchased or if they had any more of the wrapping paper. She told me the wrapping paper was no longer available. I regaled her with my story of woe about forgetting it when leaving the mall last weekend, she then told me to hold on and went into the back. She came out with the roll of wrapping paper and said, "It is no longer in our system. I cannot sell it to you but you can have it. We were just going to throw it out." WINNING!
That's awesome. I have never even seen that one before.
I came across this album today.
I was able to purchase one of the limited edition Deadpool Pinball Soundtrack LPs from someone who bought the game but didn't want the record. The disk is a clear red like the one above.
Wow! Pinball games sure have changed... I don't recall ever hearing an OST so elaborate on anyone!
And kudos on the Run the Jewels set. I almost weeped when I saw the cover art on Noto's Instagram. It's so good!!
I made a topper for my pinball game based around the Deadpool candy bowl holder I found around Halloween.
PoolFan wrote: I made a topper for my pinball game based around the Deadpool candy bowl holder I found around Halloween.
Looks great. V. jealous. What's the candy bowl holder made of - plastic or ceramics? And have you repainted it in some way? It looks very glossy!
It is made out of styrofoam and the gloss is just the original paint.


We are a leading Super Grade (EPC) Electrical Contractor based in Mangalore, Karnataka. We execute various 11KV-220KV Transmission line works and Sub station projects. With an ISO 9001:2008 certification, and Bharathiya Udyoga Ratna Award winner from the Govenrment of India, Roopa Engineering Corporation leads from the front in a perpetual aspiration for the better while striving for the best quality and performance at all times.
We have separate divisions working in the different areas of Manufacturing, Turnkey Projects, Project Consultation, etc to form a unique edge during execution of various electrical projects.As a Super Grade Electrical contractor, the scope of work includes design, testing of towers and other equipment required for the construction of transmission lines and sub-stations and the construction activities from survey, civil works, erection to stringing and commissioning of equipment's. Currently undertaking the construction of electrical transmission lines ranging from 11 KV to 220 KV, Roopa Engineering Corporation has many fully commissioned lines under its belt.


text:
Q: App update losing all data as Code/Resouce path for pkg changes We recently submitted an update of our to Google Play, and have had a handful of users report an issue with all of their data disappearing.
We've managed to reproduce the issue once, and it was caused by:
5787 08-17 12:50:56.309 937 1030 W PackageManager: Code path for pkg : com.attidomobile.passwallet changing from /data/app/com.attidomobile.passwallet-2 to /data/app/com.attidomobile.passwallet-1

5789 08-17 12:50:56.309 937 1030 W PackageManager: Resource path for pkg : com.attidomobile.passwallet changing from /data/app/com.attidomobile.passwallet-2 to /data/app/com.attidomobile.passwallet-1

Note, this is not the same problem as Resource/Code path changing for pkg on Android App update. We are ProGuarding our app, but the actual folder it's being installed to is changing.
Anyone experienced this, or know of the reasons why the PackageManager changes the code/resource path?
I found this post describing the update process for pre-installed applications which seems to match what is happening, but our app isn't a pre-installed app:
http://debuggingisfun.blogspot.co.uk/2014/09/android-3rd-party-application-as-system.html
We've gone through the changes between versions and there have been no significant changes; the only change in the manifest is to the version number, plus some logic changes in the code.
We've never seen this issue before with any of our previous app updates (and there's been a lot, the app is nearly 3 years old and this is update 38).

redpajama_set_name: RedPajamaStackExchange


text:
This Is Something That Happens
By Tim Knight - 1 year ago (05, Dec 2018 7:14:46 PM)
An Object Lesson in Greed
I don't watch television, but I heard an interview with Howie Mandel (on Gilbert, of course) about the revival of his Deal or No Deal show. I say, good for Howie, because he's really reinvented himself and is a success later in life. But this isn't about Howie………it's about a contestant who was on a few days ago. Just watch this.
Blue Line FAILURE…….and a New Book
Umm, so, that blue line I mentioned as crucial support. Here's what just happened, now that futures re-opened.
Crack Addict
By Tim Knight - 1 year ago (05, Dec 2018 12:13:13 PM)
What a strange week so far, and we're only talking about two trading days. Monday was the bullgasm, with Santa Claus Rally on everyone's lips. Tuesday was "I am Tariff Man" day, when all the G20 gains were set on fire. As for the question "what next?" my main focus is on the key price levels I've spotted below for these respective indexes. Most of them are gap-related, but not all of them.
The Dow Jones Composite:
What a 93% Approval Rating Looks Like
By Tim Knight - 1 year ago (05, Dec 2018 10:17:42 AM)
Dead Quiet
By Tim Knight - 1 year ago (05, Dec 2018 7:07:50 AM)
The markets and the government are shut down today to commemorate the death of Bush 41. The GLOBEX markets remained open overnight and recovered a small fraction of Tuesday's losses. Here's the NQ: