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BAR Book Forum: Grace A. Musila's Book, "Wangari Maathai's Registers of Freedom"
Roberto Sirvent, BAR Book Forum Editor
Maathai's approach to environmental conservation centers poor rural communities, especially women, and their need for fuel, fodder and income
"Gender logics that frame women as moral boundary markets for cultural nationalism restrict the possible range of identities women can embody."
In this series, we ask acclaimed authors to answer five questions about their book. This week's featured author is Grace A. Musila. Dr. Musila is an associate professor at the Department of African Literature, University of the Witwatersrand, Johannesburg. Her book is Wangari Maathai's Registers of Freedom.
Roberto Sirvent: How can your book help BAR readers understand the current political and social climate?
Grace Musila: My book is a biographical portrait of the scholar, environmental activist, human rights campaigner and Nobel Prize laureate, Wangari Muta Maathai. Maathai's work and thought was held together by a deep concern about the fate of women in a world that disregards their voices and thoughts, while simultaneously placing them at the coal-face of the devastating effects of poverty, colonial violence, environmental degradation and authoritarian cultures. My book focuses on the ways in which Maathai's life, activism and thought embodied different registers of freedom— in the full meaning of the term: register as bearing witness, recording, acknowledging, and responding to suppressions of well-being— offers readers an example of intersectional thought and praxis, in the ways Maathai retained an attentive eye on the symbiotic relationship between ideas and activist practice. Her life— born in 1940, and passing on in 2011— overlaps with Kenyan, and to an extent African histories, in productive ways, that are rich in insights into the textures of repression, aspirations to freedom, as well as the betrayals of such freedom dreams, across a period spanning from British colonial Kenya, all the way across three regimes in Kenyan history; and their accompanying interactions with global capital. At the same time, her life also traces a distinct trajectory of class formation in colonial and post-colonial Kenya; and the options and hurdles that frame women's lives.
What do you hope activists and community organizers will take away from reading your book?
Maathai's life story is generative for me as a student of gender, Africa and the politics of knowledge production, because it blends together an unusual mix of formal education in biological sciences, intertwined with activist practice, both of which are anchored in deep investment in Gikuyu epistemology. Maathai's life and thought demonstrates an activist and scholarly practice that is about pragmatic navigation of our multiple epistemic genealogies, embracing and repurposing what we need and setting aside that which no longer serves our best interests. I hope readers will find Maathai's demonstration of fluid linkages between intellectual thought, activist mobilization and hands-on action inspiring. Maathai considered the interweaving of critical thought and activist practice indispensable to the forms of world-making necessary for the pursuit of freedom and justice for vulnerable communities. Through her work with the Green Belt Movement, Maathai worked closely with rural, largely illiterate women, to address the harsh effects of environmental degradation and political repression on their lives; while drawing on her own scientific training and packaging both scientific principles and political ideas in accessible terms that resonated with these women's lives and enabled them to make transformative changes while increasing their understanding of civic freedoms, the role of colonialism, capital and patriarchy in producing their current precarity; and the possibility of crafting different futures for themselves.
We know readers will learn a lot from your book, but what do you hope readers will un-learn? In other words, is there a particular ideology you're hoping to dismantle?
In Kenya, and indeed, across much of Africa, there is a long history of criminalization of poor black communities as a threat to environmental conservation; coupled with the belief that environmental conservation is impossible to achieve while prioritizing the needs and livelihoods of these communities. By tracking Maathai's work and thought, my book demonstrates that, to the contrary, British colonial misadventures in Kenya were environmentally disastrous, through replacement of indigenous vegetation with fast-growing foreign tree species for timber; largescale hunting, plantation farming and displacement of local populations. My book dismantles the notion that conservation necessitates exclusion of poor rural communities and their needs. Maathai's approach to environmental conservation centers poor rural communities, especially women, and their need for fuel, fodder and income; while successfully restoring forests and rejuvenating the soil; an approach that stands in sharp contrast to the mainstream conservation industry across Africa, which is an offshoot of masculinist colonial conservation practices aligned with forced displacement of indigenous communities, land alienation and the leisure consumption needs of an affluent, primarily Euro-American white clientele.
Who are the intellectual heroes that inspire your work?
My work draws inspiration from a large range of thinkers, artists and activists whose work embodies an unequivocal commitment to ideas that generate beauty — in the most capacious sense of the term — and enlarge the horizons of the possible for marginalized people. In a world and time where people's humanity and access to dignity is honored or assigned proportionate to their socio-economic location, I draw inspiration from thinkers, artists and activists who linger with marginalized communities; and invest time, thought and imagination in saluting their humanity and crafting other modes of being, in registers that celebrate these communities' beauty and depth. These thinkers and cultural workers include Zoe Wicomb, Toni Morrison, Yvonne Vera, Gabeba Baderoon, Pumla Dineo Gqola, Keguro Macharia, Earl Lovelace, Angela Davis, Christina Sharpe, Tejumola Olaniyan, Jose Eduardo Agualusa, Atieno Odhiambo, Francis Nyamnjoh, Elif Shafak, Kei Miller and a host of others.
In what way does your book help us imagine new worlds?
My book's fine-grained exploration of how Maathai navigated the complexities of her private life as well as the struggles and victories of her public life invites us to pause and think about the freedom dreams of women and other vulnerable communities at different points in history; and the strategies they mobilized to stage their various refusals of systems and agents that sought to minimize the scope of their humanity. An insight in this regard, is the implications of professional and educational achievements for Black women, at a time when women were largely absent in the higher levels of academia and public life; which compelled women like Maathai to be pragmatic about how they navigate the structural limitations that make it difficult to fully embody radical feminist practice. In these contexts, gender logics that frame women as moral boundary markers for cultural nationalism restrict the possible range of identities women can embody, while freeing up men to indulge their adventurous fancies at will, without the burden of being cultural barometers. In her case, early in her marriage, Maathai found herself having to perform particular registers of 'proper African femininity' in order not to jeopardise her husband's political ambitions by seeming 'too westernized.' In the end, her marriage ended, despite her best efforts. Maathai further demonstrates the value of imagination and pragmatism in navigating terrains that make outright radical action possible, through the example of her handling of her ex-husband's insistence that she drops his surname once they divorced. Maathai noted the gap between Gikuyu pronunciation of her husband's name as Maathai and English orthography as Mathai; and decided to add the extra a to the name, renaming herself, Maathai. This imaginative response enabled her to counter her husband's bullying demand that she drop his name, while allowing her to craft a new identity for herself that was not entirely one of surrendering to her ex-husband's wishes.
Roberto Sirvent is Professor of Political and Social Ethics at Hope International University in Fullerton, CA, and an Affiliate Scholar at Yale University's Interdisciplinary Center for Bioethics, where he directs the Race, Bioethics, and Public Health Project. He is co-author, with fellow BAR contributor Danny Haiphong, of the book, American Exceptionalism and American Innocence: A People's History of Fake News—From the Revolutionary War to the War on Terror.
Please join the conversation on Black Agenda Report's Facebook page at http://facebook.com/blackagendareport
Or, you can comment by emailing us at [email protected]
BAR Book Forum
BAR Book Forum: L.H. Stallings' "Funk the Erotic"
We need a different relationship to and with time and temporality to imagine new worlds and to begin bringing those new worlds into being.
BAR Book Forum: John Murillo III's "Impossible Stories"
The author dissects Black time and space in order to better understand the nature and mechanics of Black life and death lived in the antiblack worl
BAR Book Forum: Zakiya Luna's "Reproductive Rights as Human Rights"
This book is a story about a group of (mostly) women who wanted to make change and understood that liberation is an inside job.
BAR Book Forum: Chris A. Barcelos' "Distributing Condoms and Hope"
Replacing cops with social workers could "reproduce the same kinds of harm," as this author explains.
BAR Book Forum: Yelena Bailey's "How the Streets Were Made"
The streets permeate dominant understandings of Blackness, and the life-and-death consequences of these perceptions are at the heart of this book.
BAR Book Forum: B. Brian Foster's "I Don't Like the Blues"
What happens if we really pay attention to what black folks in the rural South are saying and doing in their everyday lives?
BAR Book Forum: Jessica Gordon Nembhard's "Collective Courage"
Many of the great African American thinkers, movers, and shakers were also leaders in the Black cooperative movement.
BAR Book Forum: Ana-Maurine Lara's "Queer Freedom : Black Sovereignty" and "Streetwalking"
The author wants us to deepen our analysis of how power moves through the world to constrain Black life, and how queer Black people resist these co
BAR Book Forum: Erin Manning's "For a Pragmatics of the Useless"
Schizoanalysis opens up new alliances (approximations) in the uneasy overlaps of neurodiversity and black life.
BAR Book Forum: David Vine's "The United States of War"
American warfare has been waged almost exclusively against people of color, dating to independence and 1492.


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The editors of Ethics & International Affairs are pleased to present the Summer 2019 issue of the journal!
Access the issue with the compliments of Cambridge University Press until the end of July 2019.
The highlight of this issue is a roundtable on "Artificial Intelligence and the Future of Global Affairs," with contributions from Heather M. Roff, Steven Livingston and Mathias Risse, Jeffrey D. Sachs, Amandeep Singh Gill, Sara E. Davies, and Patrick Lin and Fritz Allhoff. The contributions consider how artificial intelligence will affect human rights, economic development, international security, global health, and the Arctic frontier in the coming decades. The issue also contains an essay by Kimberly Hutchings on the idea of the "pluriverse" and what it means for global ethics, a peer-reviewed feature by Sarah-Vaughan Brakman scrutinizing the ethical underpinnings of the Hague Convention on Intercountry Adoption, a review essay by Inderjeet Parmar on diversity and hierarchy in international politics, and book reviews by Megan Blomfield, Ross Mittiga, Tom Pegram, and Clare Wenham.
Decolonizing Global Ethics: Thinking with the Pluriverse
Kimberly Hutchings
Recently there have been a number of calls to open up or "decolonize" normative thinking in international relations. This essay suggests that one way of doing so is to engage seriously with the idea of the pluriverse—or the idea that there are multiple ontological realities, each with distinct ethical and political implications.
ROUNDTABLE: ARTIFICIAL INTELLIGENCE AND THE FUTURE OF GLOBAL AFFAIRS
Artificial Intelligence: Power to the People [Open Access]
Heather M. Roff
Before we can assess how AI will affect various domains of international relations over the coming decades, we must first have a clear understanding of what AI is and is not. This essay seeks to bring some conceptual clarity to the discussion and argues that much of the AI landscape revolves around epistemological questions that are not, in fact, particular to AI.
The Future Impact of Artificial Intelligence on Humans and Human Rights
Steven Livingston and Mathias Risse
How will AI affect human rights in the coming decades? After explaining how AI has already transformed human rights monitoring, this essay explores whether we are on the cusp of creating superintelligent machines. If so, what would humans owe such machines and, conversely, what would those machines owe us?
Some Brief Reflections on Digital Technologies and Economic Development
Jeffrey D. Sachs
AI and other digital technologies are disrupting the traditional development pathway for low-income developing countries. This essay offers some strategies for how these countries can manage this challenge, minimize the economic losses, and still reap the benefits of digital technologies.
Artificial Intelligence and International Security: The Long View
Amandeep Singh Gill
This essay explains how in the years ahead, AI will challenge traditional arms control thinking and require a new governance toolkit. While binding norms will eventually be necessary to manage AI's international security implications, a good start can be made through a soft governance approach.
Artificial Intelligence in Global Health
Sara E. Davies
AI is reaching into every aspect of global health. This essay examines one example of AI's potential contributions and limitations in this area: the prediction, treatment, and containment of a global influenza outbreak.
Arctic 2.0: How Artificial Intelligence Can Help Develop a Frontier
Patrick Lin and Fritz Allhoff
The role of emerging technologies is largely ignored when it comes to the Arctic frontier. As a lesson for other frontiers, this essay will broadly introduce the potential role of AI in the changing Arctic and some of the ethical concerns that deserve attention before the future arrives.
The Principle of Subsidiarity in the Hague Convention on Intercountry Adoption: A Philosophical Analysis
Sarah-Vaughan Brakman
The principles of the best interest of children and subsidiarity constitute the conceptual foundation of the Hague Convention on Intercountry Adoption. This article argues that subsidiarity as it is understood in the convention is at odds with how it has been conceptualized in ethics and social philosophy, and that this misinterpretation runs contrary to the best interest of children.
REVIEW ESSAY
Global Power Shifts, Diversity, and Hierarchy in International Politics
Inderjeet Parmar
This review essay surveys two recent books on global order—Amitav Acharya's Constructing Global Order and Christian Reus-Smit's On Cultural Diversity—and argues that although diversity and hierarchy are important concepts in understanding ongoing global power shifts, IR scholars today would do well to make class and class inequalities more central to their analyses.
REVIEWS [All Open Access]
The Global Climate Regime and Transitional Justice
Sonja Klinsky and Jasmina Brankovic
Review by Megan Blomfield
In this book, Sonja Klinsky and Jasmina Brankovic have joined forces to provide a systematic exploration of how ideas from transitional justice could inform the global climate regime.
Trade Justice
James Christensen
Review by Ross Mittiga
In this book, James Christensen probes a wide array of issues related to international trade, many of which have been overlooked by political theorists, asking where justice and injustice lie in this nonideal landscape.
A Theory of Global Governance: Authority, Legitimacy, and Contestation
Michael Zürn
Review by Tom Pegram
In this book, Zürn's ambition is to demonstrate that a global-politics paradigm is now increasingly well established. Along the way, he mounts a spirited defense of the analytical value of global governance against its critics.
Global Health Governance in International Society
Jeremy Youde
Review by Clare Wenham
In this book, Jeremy Youde applies one of the grande dames of IR theory—the English School—to the setting of global health. The result is new insights for both English School theory and global health practice.
Ethics, Governance, and Emerging Technologies: A Conversation with the Carnegie Climate Governance Initiative (C2G) and Artificial Intelligence & Equality Initiative (AIEI)
Emerging technologies with global impact are creating new ungoverned spaces at a rapid pace. In this critical moment, frameworks and approaches to govern these technologies, ...
FEB 13, 2020 • Podcast
Who Controls the Global Thermostat? with C2G's Janos Pasztor
With record-breaking winter warmth in Europe, catastrophic fires in Australia, and deadly flooding in Indonesia, we are deep into a climate crisis. In this wide-ranging ...

redpajama_set_name: RedPajamaCommonCrawl


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To make a long story short, after one session, oddly the bird seemed calm, so I left it. I came back after an hour to check it and it was kind of slumping more upward against the wall. I ran the energy again and the bird`s toes felt warm. I propped the bird in a corner spot so his fellow comrades would not run him over and then left.
After another session, the bird sat up and was not totally balanced, so it used its wings to do that. By the next morning, it was sitting in a balanced fashion and by the end of three days, you could not tell which bird it was!! When I called my husband to see, he would not believe me at first- he thought that I had taken the bird away or it had died. Amazing- it really works!!


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Best-seller Books, Plays and Movies
by Rodolfo Espinoza February 1, 2002
In movies, plays, music, art, and literature, the Brazilian
culture continues more alive than ever. Brazilians have never bought as
many books as in recent years and there are a number of movies being made
and released right now which deal with Brazilian historical facts and cultural
values. New playwrights have been able to fill up theaters all over the
country and new poets are finding out their own voice and a public to listen
By Rodolfo Espinoza
Any English-speaking individual a little more distracted taken unaware
to a Brazilian big city might never notice he left home. Several radio
stations seem to ignore any other music but American hits and other less
than successful tunes. On cable, people are served the diet Americans are
used to, including CNN, HBO and MTV. In movie theaters more than 60 percent
of films being shown are from Hollywood. (In the first week of January,
for example, of 29 movies being shown in Rio, 18 were American — including
Space Jam, Daylight and 101 Dalmatians — 3 from England,
3 from France, 2 from Spain, 2 from Italy, 1 from Iran, 0 from Brazil.)
They have been translated into Portuguese, but among the 10 best-sellers
list are books by Ken Follet, Sam Shepard, Morris West, Scott Adams, and
James Redfield. Not to mention the McDonald's, Jacks in the Box and shops
naming themselves with cute little English-sounding names and the Walt
Disney characters spread all over.
Is the Yankee leviathan going to devour what is left of Brazilian culture?
Is America cannibalizing the world and Brazil in the process? The majority
of the Brazilian intelligentsia seems to say yes. They accuse the for-the-masses
cultural offerings of the US of being shallow, caricatured and unfair in
its juggernaut power of marketing their gringo culture. In the 1920s, Brazilian
writer Oswald de Andrade (1890-1954) created a movement called Antropofagia
(Anthropophagy). His proposal was the deglutition of all foreign influences
in order to create a true national art. Back then it was the European cultural
dominance that Brazilian intellectuals feared most. This anthropophagic
action has never stopped in the musical area for example. But today many
intellectuals would prefer seeing Brazil loving itself more and borrowing
less from the outside.
"Culture in Brazil is a luxury item, " said playwright Alcione
Araújo in an interview with the Jornal do Brasil in December.
"The middle class with its pared-down salary has to pay for school,
health plan and taxes. Who is going to consume the cultural product? The
revolutionary vision for the 21st century is to understand that
the only way out during these globalization times is through education
and culture." Araújo is one of those who are betting that 1997
will be a watermark year, bringing Brazil back to its own cultural roots.
The recent samba boom is just one sign that interest in Brazilian culture
among Brazilians is picking up anew. Paulinho da Viola with Bebadosamba
(Drunksamba) and Aldir Blanc with 50 Anos (50 Years), two big
names of MPB (Música Popular Brasileira — Brazilian Pop Music) who
had been silent for years, have just released their contribution to the
samba comeback. Pagode, samba's very close relative, is also a big
hit again and Zeca Pagodinho is back on the charts. Sambista Martinho
da Vila is selling more than ever and rocker emeritus Lula Santos is coming
out soon with his own samba album. New bands like Aquarela Carioca and
Nó em Pingo D'água are giving chorinho a new lease
on life.
Brazilian music does not need any presentation, but it has recently
received anyway some accolades from music bible Billboard. The US
magazine has included three Brazilian albums in its list of best of 1996.
They are Daniela Mercury's Feijão com Arroz, Sérgio
Mendes's Oceano and the sound track for the movie Tieta do Agreste.
In an interview with Jornal do Brasil, playwright and director
Aderbal Freire Filho talked about his hope that Brazil will soon yearn
for art. "Up to the 70s and 80s there was this notion of art as necessary,
committed, which mirrored the social utopias. Then, came the idea that
no art is necessary. Now, I believe that we will have a phase in which
every art is necessary, even art for art's sake, something that's negated
by the engagé artists. Art will be engagé just for the fact
of being art, in a utilitarian, inhuman, cruel and anti-artistic society."
Writer Silviano Santiago analyzed the literary moment in a conversation
with Rio's daily O Globo: "In the 70s, everybody wanted to
participate in a movement, to launch a campaign, to gather a group around
an aesthetic concept. It was that which drew people like (singer-composer)
Caetano Velloso, (theater director) Zé Celso, (movie director) Gláuber
Rocha and (painter) Hélio Oiticica. Today, there is no common idea,
there is no aesthetic movement, but there is a big interest from the market."
Brazilians have never read so much. The stabilization of the economy
with the introduction of the new currency, the Real, in mid 1994, and lower
inflation have created a new legion of readers. In 1994, for the first
time the book industry was able to break the barrier of $1 billion in books
sold. Commenting about the improvement, Culture minister Francisco Weffort
said, "We already have the size of the Spanish market. All we need
now is to improve the quality of the books."
While 290 million books were sold in 1994, this number had risen to
374 million in 1995, and 420 million in 1996. In terms of earnings this
represented $1,261 million in 1994, 1,857 million in 1995, and more than
2 million in 1996. The number of titles published increased from 17,500
in 1991 to more than 50,000 last year. But there is still a lot to grow.
With a population of 160 million people, Brazil has only 1,200 bookstores.
Five-times-smaller Argentina has 850.
The Câmara Brasileira do Livro (Brazilian Chamber of Book) is
hopeful that the recent interest in books will become a trend and will
place more books in peoples' homes. The number of readers in Brazil has
been so insignificant that a first printing of 3,000 copies is considered
a good number. Smaller editions mean also that book prices are considerably
higher in Brazil than in the US.
Maybe a little late, compared to what has happened in Europe and the
US, Brazilian booksellers are also going for the-bigger-the-better philosophy.
Big São Paulo chain bookstores like Ática, Nobel and Saraiva
are all building and opening megastores in which people have close to 100,000
book titles to choose from and can also buy stationery, CDs and videos.
Ática, for example, is spending $20 million in its Ática
Shopping Cultural to be open in May. Saraiva has already opened two of
these huge bookstores. In one of them, with 70,000 books, in the Ibirapuera
shopping mall, people are able to cruise the Internet in the bookstore's
Cybercafé.
Despite recognizing that there has been a recent retraction in the market
for books, Culture Ministry's secretary of Exchange Eric Nepomuceno talked
about his "cautious optimism" about the prospects for Brazilian
culture this year. He seems encouraged by what he sees as a new attitude
by business people who are starting to be aware that financing a cultural
work like a play can bring dividends to a company. "People do not
wait anymore for the State's sacrosanct role," says Nepomuceno, "neither
do they delude themselves with this neoliberal foolishness that the market
solves everything by itself."
President Fernando Henrique Cardoso has started an apparently more adequate
way for the federal government to help the arts and culture in the country.
Law 8,313, better known as the Rouanet law, has been improved in a way
that businesses now can discount up to 5 percent (the limit was 3 percent)
of their federal taxes due to culture. Movies are the ones that are benefiting
the most from the new law. In 1996, the Culture Ministry budget was increased
to more than $200 million, doubling the $103 million applied in 1995. The
Fundo Nacional de Cultura (National Fund for Culture) which finances public
or private non-profit projects had its budget tripled to $32 million in
'96, too little, however, since the demand for funds last year was close
to $350 million.
In recently released movies, Brazilian themes have been treated with
critical acclaim albeit with little popular enthusiasm. Quem Matou Pixote?
(Who Killed Pixote?), from director José Joffily, for example,
discusses the theme of poverty and police corruption and brutality. Another
kind of violence from the Brazilian past, the cangaço (backlands
banditry), has also made it to the big screen through Corisco e Dadá
by Rosemberg Cariry and Baile Perfumado (Fragrant Ball) by Lírio
Ferreira and Paulo Caldas. Several movies to be released in 1997 also deal
with nationalistic themes. Among them, Bruno Barreto's O Que É
Isso, Companheiro? (What's the Matter, Partner?) based on Fernando
Gabeira's book of same name that deals with guerrillas and the student
movement during the military dictatorship in the 60s and 70s.
Director Walter Salles Jr., will be bringing Central do Brasil (a
reference to Federal railroad company Estrada de Ferro Central do Brasil),
a Brazilian-flavored road movie. Sérgio Rezende's Canudos
will retell the 20-year saga of Antônio Vicente Maciel, the Antônio
Conselheiro (Antônio, the Adviser), a holy man who at the end of
the last century lead a revolution of thousands against the federal government
in the Bahia backlands. Canudos, which had as many as 20,000 residents,
was the autonomous town founded by Conselheiro in 1893, four years after
Brazil deposed emperor Dom Pedro II and became a republic. Another film
of the current crop is Paulo Thiago's Policarpo Quaresma based on
Afonso Henriques de Lima Barreto's (1881-1922) book Triste Fim de Policarpo
Quaresma (Policarpo Quaresma's Sad End) which is a portrait of Rio
at the end of last century.
Despite all the enthusiasm of the movie industry and the new releases,
for the films it will be an upstream struggle since 1996 was a very bad
year for movies in Brazil. The country counts only 800 screens (compare
this to the 29,000 movie screens in the US). In 1996 there was a 30 percent
fall in attendance compared to the previous year. In the 70s, when ticket
prices were much lower, theaters made an average of $250 million a year
in tickets. This amount has fallen to a meager $90 million with ticket
prices between $5 and $8 dollars, comparable to those in the United States.
However, some people in the movie industry are not deterred by this
decrease. "The notion that the national film has lost public seems
incorrect to me," says José Carlos Avellar, veteran film critic
and RioFilmes president. "We had 20 Brazilian films distributed commercially
in 1996 and I have the impression that there is still a repressed demand
from people unsatisfied with the American production's total hegemony."
Bruno Wainer, a young distributor, defends the idea that "the public
doesn't care if the movie is French, Brazilian or American. All they want
is a good movie, he says. Producer Luís Carlos Barreto, the chief
of a clan that is an integral part of the motion picture industry in Brazil,
also disagrees that there is no public for Brazilian films: "We were
able in the past to corner 55 percent of the film market. What happened?
We stayed six years off the market, and the foreign movies, mainly American,
took over the screens. Now we are recouping the time. I am sure that at
the end of 1997 Brazilian movies will have conquered from 35 percent to
40 percent of the market." Barreto criticizes those who make movies
only to please the critics. "We need to start making popular, narrative
movies. The critics are making a big mistake. They label as a soap opera
every film that doesn't present an exhibitionism in language."
Since February 1995 when Fábio Barreto's O Quatrilho —
the film won a nomination for an Oscar as the best foreign movie, the first
time this happened to a Brazilian film — started a new era in Brazilian
movies through the use of the new federal audiovisual law, more than 30
films have been shot and released. Between 1975 and 1979, the most productive
time for Embrafilme, the federal organ that was closed by President Fernando
Collor de Mello, only $7.5 million a year was being invested by the government
in movies. In the last two years, the industry has raised around $50 million
through private financing.
Behind much of this revival there is Italian Bruno Stroppiana, 49, a
superproducer. He was the man who made possible the shooting of Cacá
Diegues's Tieta do Agreste last year and he is involved in
at least four other megaprojects: Estorvo (Impediment) based in
Chico Buarque de Hollanda's book to be directed by Ruy Guerra, For All
with direction of Luiz Carlos Lacerda and Buza Ferraz and $8.5-million
superproduction O Xangô de Baker Street based on Jô
Soares book of same name, to be directed by Miguel Faria Jr. Stroppiana
has put all of his money into making movies. "When the Brazilian motion
picture industry fell part in 1990," he revealed, "I bluffed.
I continued to work under the name of Sky Light, distributing only foreign
movies, since there were no national films."
The most populous and powerful state of the Union, São Paulo,
which is the industrial center of the country, is also trying to assert
its cultural leadership, a position it always disputes with former federal
capital Rio de Janeiro. Filmmakers were enthusiastic when Bovespa (Bolsa
de Valores de São Paulo — São Paulo's Stock Market) started
to trade certificates of audiovisual investment last December. Governor
Mário Covas announced a $4 million program to be distributed to
11 films selected by PIC (Programa de Integração Cinema e
TV — Program of Cinema and TV Integration). While this kind of money might
seem negligible by Hollywood standards, it can mean a lot in Brazil where
a feature-length film can be made for less than a million dollars. In 1949,
on average, a movie already cost more than one million to be produced in
Hollywood, nowadays the price has risen to an average of $30 million.
One month after the announcement of the program, five movies had already
benefited from it: Walter Hugo Khouri's Paixão Perdida (Lost
Passion), Ricardo Dias's Fé (Faith), Aurélio Michiles's
O Cineasta da Selva (The Jungle's Filmmaker), Ugo Giorgetti's Boleiros
(Scoundrels), and Hector Babenco's Vinte Anos Depois (Twenty
Years Later). Khouri's movie is budgeted at a mere $1 million and shooting
should start in March.
According to Ivan Negro, PIC's coordinator, the program is to create
a movie pole in São Paulo and establish co-production with TV stations
the same way this is done in France, Italy and the US. Filmmaker Carlos
Reichenbach has hailed the initiative. In an interview with the daily Folha
de São Paulo he declared, "This program is exemplary to
prove that TV can a be a partner since it is already a consumer of films.
This is very important because I believe that quality is the result of
quantity." He has applied for the program's money with his script
Dois Córregos (Two Brooks).
World-renowned Berlin's International Festival of Cinema which takes
place this February between the 13 and 24 is presenting a special section
with the recent crop of Brazilian movies. They include close to a dozen
movies like José Araújo's Sertão de Memórias
(Backlands of Memories), Bia Lessa's Crede-Mi (Believe Me),
Murillo Salles's Como Nascem os Anaw6kx (How Angels Are Born). Compare
this to the Brazilian participation in the Festival in 1995. Then, from
the three so-called Brazilian movies none had been shot in the country
or was spoken in Portuguese.
Documenta, the German art show held every five years in the town of
Kassel, is the world's largest and most important contemporary art exhibit.
When it opens its doors next June 21, at least three Brazilians will be
sharing space with the best the art world has to offer. They are world-renowned
Hélio Oiticica, Lygia Clark, both dead in the 80s and Carioca
(from Rio) Antônio José de Barros Carvalho e Mello Mourão,
better known as Tunga, 45, a performancing artist who will be presenting
among other works his Crime da Mala (Suitcase Crime).
Already shown in New York, the live art consists of seven young and
blond men dressed in black and carrying a black suitcase. Every time they
open the suitcases broken pieces of sculpture representing people fall
on the floor. In another performance, a group of seven naked young girls
will get inside a room and then walk up to little mounds of argyle against
which they will press their vagina to leave there their sex imprint. Tunga
is also a sculptor who uses copper, plumb or iron to make jars, calices,
and his obsessive theme: tresses. He studied architecture, but he never
finished the course.
Brazil has never produced a great name in the arts as it has in music,
literature or architecture. But, recent art auctions in London and New
York have shown that Brazilian artists are starting to get some respect
in the world. Last November, Christie's of New York auctioned 26 paintings
and drawings by Di Cavalcanti (1897-1976), Cândido Portinari (1903-1962)
and Italian-Brazilian Alfredo Volpi (1896-1988) , three of Brazil's best
modern painters, getting $2.1 million for them, double of what was anticipated
by the event organizers. Di Cavalcanti's Mulheres com Frutas (Women
With Fruit) brought $650,000. The painter had never sold any work before
for more than $500,000. The painting was bought by Argentinean art collector
Eduardo Constantini who in 1995 had acquired Tarsila do Amaral's (1886-1973)
Abaporu for $1.43 million, a record price for a Brazilian painting.
There is still a long way before the Brazilian art becomes accepted. The
best Colombian and Mexican painters are sold for $3 million and more. In
a recent article about São Paulo's Bienal, the British magazine
The Economist classified Brazilian painting as "mediocre".
For the good theater professional there does not seem to be any lack
of work. Despite all the criticism against TV Globo network, which feeds
Brazil with a daily diet of several prime-time soap operas, nobody denies
its merit in making Rio a flourishing place for theater. There are all
of those actors and actresses in between novelas raring to work
on the stage.
Veteran actress Fernanda Montenegro, 67, 47 of them on stage, for example,
has her agenda taken up until 1998. She is shooting right now Walter Salles
Jr.'s movie Central do Brasil. In March she starts taping her participation
in a Globo network novela (soap opera). She stars in the Anton Pavlovich
Chekov's play The Seagull, June in Salvador (state of Bahia). In
the ensuing months she will also be Molly in the Irish Brian Friel play
of same name and Coco Chanel in a play written by Paulista (from
São Paulo) playwright Maria Adelaide Amaral.
"There was a time in which the actor belonged only to the theater,"
says Montenegro. "Afterwards came movies and the theater, and radio,
but the theater continued to be the base. Then came TV, ravenous. And today
the beast called an actor is available as long as he wants it. There is
a myriad of possibilities, even from the point of view of economic survival."
Going to the international front, off-Broadway could be soon showing
a work by one of Brazil's most prominent playwrights. Alfredo Dias Gomes
has recently traveled to New York to negotiate the rights for Roque
Santeiro (Roque, the Saint Maker), a play that has been having full
houses in Rio. It was Leon Lydey, the translator of the play into English
in the 1970s, who suggested that the work be brought to New York. It would
not be anything extraordinary, however. Roque Santeiro had its world
première in 1976 in the US, when the text was still known as O
Berço do Herói (The Hero's Cradle).
Ironically, the play was sponsored by the Brazilian embassy in Washington
at the same time that the Brazilian military regime had forbidden the play
to be shown in Brazil. Gomes had two other plays shown on New York's off-off-Broadway:
O Pagador de Promessas (Keeper of Promises) and O Santo Inquérito
(The Holy Inquisition). Dias Gomes has become better known these days
by his socially-aware TV novelas (soap operas).
The alternative press, which was an important way of spreading ideas
and publishing poems during the 70s, is having a revival with a twist.
While these publications were many times artisan copies made by mimeograph,
much of so-called underground press nowadays has nothing of underground.
Some like Inimigo Rumor (Enemy Rumor) and Item have slick
covers and daring graphic projects. They deal with arts (Item),
theater (O Percevejo), literature (Inimigo Rumor, Caderno de
Literatura Brasileira) and culture in general (O Carioca, Remate
de Males, Revista da USP).
With 150 pages and sold for $15 in libraries, Inimigo Rumor started
publication in January. The magazine published by Sette Letras bookstore
intends to divulge poetry from unknown and renowned poets. A similar formula
has been used with success by O Carioca, a literary magazine created
in Rio in January that has already become a cultural institution of the
city. Editor Chacal explains: "O Carioca intends to record
the culture that is made in Rio. It's an affirmation of the young culture,
but we are not afraid to pay homage. Our first issue celebrated the Carnaval
blocos like Suvaco do Cristo (Christ's Armpit)."
Another way Brazilians are preserving their culture is by taking care
of their historic monuments. At the end of 1996 there were more than 250
historic buildings being restored across the country. Thanks to private
effort and government grants neoclassical structures, baroque churches
and a number of other landmarks are being brought back to their past glory.
While five years ago, projects dealing with historic monuments represented
1 percent of all the money applied by private companies in the cultural
field, today this amount has jumped to more than 40 percent. From $87 million
allotted to the Culture Ministry as a supplement for the 96-97 period,
$60 million were allotted to the restoration of historic buildings.
Ouro Preto in Minas Gerais, a historic city, with 32 churches from the
XVII century, has become a shining example of what preservation can do
to a place and to the pride of its inhabitants. Its San Francisco de Assis
church, for example, the masterpiece of Antônio Francisco Lisboa,
the Aleijadinho (Crippled One) the most important sculptor Brazil has ever
produced, has regained all of its original splendor. Many other churches
and buildings with the help of government and private companies have also
been restored. Tourism has picked up in the city. Rio has renovated its
Biblioteca Nacional and Salvador (Bahia) recuperated a whole neighborhood
known as Pelourinho, in 1993 at a cost of $30 million. Thanks in part to
this work Salvador has seen an increase of 100,000 tourists a year. Even
the New York Times praised the effort.
IN VERSE
While in fiction, the big names have not changed in decade or so, there
is new blood in poetry. Young poet Pedro Amaral, 22, is being presented
by some critics as the best poet Brazil has produced in many years. Amaral
released his first book, Vívido (Vivid), at the end of 1995.
He confesses to have been influenced by Portuguese Fernando Pessoa (1888-1935)
and Brazilian poets João Cabral de Melo Neto (b. 1920) and Carlos
Drummond de Andrade (1902-1987).
Jorge Viveiro de Castro, Sette Letras publishing house's editor, and
the person who discovered Amaral, says, "He was the rare case of a
writer who didn't look for me. On the contrary, it was I who ran after
him. He is very meticulous, changing the rhythm of a poem with a semicolon,
improving even more what already was very good. The poet loves synthesis
and rarely goes over one page when he writes. "I am always cutting
until I get to that minimum necessary to say what I want. As for women,
my relationship with them is one of enchantment and that's why they are
always in my poems. I fall in love very easily.
A sample
Apreciação
O biquíni convida
A brincar de esconder
Ele chama, ele instiga
A gente a percorrer,
No rasto da malícia,
A ligeira divisa,
Entre o casto e a delícia,
Entre ver e não ver.
Lúdico, elucida
Ao menino que o vê
Desde onde a vida
Desde onde e porquê.
The bikini invites
To play hide and seek
It calls, it incites
Us to tread,
In the malice's path,
The tenuous divide,
Between chaste and delight,
Between to see or not to see.
Ludic, it elucidates
To the boy who sees it
From where life
From where and why.
Another young and respected poet is Antônio Cícero, who
is first a philosopher with a published essay (O Mundo Desde o Fim —
The World Since the End), and who is better known as the author of
many hit songs' lyrics in partnership with Marina Lima, his singer and
composer sister. His first poetry book, Guardar (To Keep) was published
at the end of 1996 by Record. The poet, who likes to read classic Latin
and Greek poets in the original, is a rigorous philosopher and a very sophisticated
poet.
Talking about the poetic avant-garde in Brazil in an interview with
the daily O Estado de São Paulo he declared: "I have
a deep personal admiration for Augusto and Haroldo de Campos. I am even
afraid of saying some things so I won't hurt them, but I have to say. I
think that this Poundian hierarchy that places inventors on one side and
diluters on the other is entirely wrong. Poetry cannot be thought of like
that. It's not the novelty, but the imponderable that counts in poetry.
Goethe, for example, hasn't written the first Faust, but he has
written the best."
He sees music as a place for some poets to write without being ridiculed
by the literati: "Composer Chico Buarque de Holanda is a great poet
who likes to write traditional verses with rhymes. If he practiced this
kind of poetry in a book he would be called reactionary, conservative.
But in music he does it and no one can say a thing. Without this outlet,
poetic talents like Chico Buarque and Caetano Veloso wouldn't have a way
to express themselves and maybe would even keep quiet."
Guardar uma coisa não é escondê-la ou trancá-la.
Em cofre não se guarda coisa alguma.
Em cofre perde-se a coisa à vista
Guardar uma coisa é olhá-la, fitá-la,
mirá-la por admirá-la, isto é,
iluminá-la ou ser por ela iluminado.
Guardar uma coisa é vigiá-la, isto é,
fazer vigília por ela, isto é, velar por ela,
isto é, estar acordado por ela, isto é,
estar por ela ou ser por ela.
Por isso melhor se guarda
o vôo de um pássaro
do que um pássaro sem vôos.
Por isso se escreve, por isso se diz,
por isso se publica,
por isso se declara
e declama um poema:
Para guardá-lo:
Para que ele por sua vez,
guarde o que guarda:
Guarde o que quer
que guarda um poema:
Por isso o lance do poema:
Por guardar-se
o que se quer guardar
To keep
To keep something is not to hide it or lock it up.
In a coffer we don't keep anything.
In a coffer we lose sight of something.
To keep something is to look at it, to gaze at it,
To eye it for admiring it, that is,
to illuminate it or to be by it illuminated.
To keep something is to watch it, that is,
to keep vigil for it, that is, lie in wait for it,
that it, to be awake for it, that is,
to exist for it or to be for it.
That's why we better keep
a flight of a bird
than a bird without flights.
That's why we write, that's why we say,
that's why we publish,
that's why we declare
and recite a poem:
To keep it:
So that it, in turn,
will keep what it keeps:
Will keep whatever
a poem keeps:
From there a poem's spirit:
For keeping
what we want to keep.
LAUGHING ON STAGE
At times it seems as if the theater in Brazil these days is being double-handedly
saved by Mauro Rasi, and Miguel Falabella, both comic playwrights. Together
they have half dozen plays being put on all over the country, all very
successful. They started together in a loose theatrical movement called
besteirol (bunch of silliness) and have become very prosperous writers,
directors and producers.
Rasi, 46, considered the best comedy writer in Brazil right now, and
a master in creating unforgettable characters, had three works playing
simultaneously in Rio and São Paulo at the beginning of the year:
Pérola (Pearl — the daily routine of a country family in
the 50s), A Dama do Cerrado (The Savannah's Lady — what happens
when a woman after a 20-year affair with a politician decides to tell the
story to her hairdresser), and As Tias do Mauro Rasi (Mauro Rasi's
Aunts — based on the authors' own four aunts). In all his plays, the author
talks about his family. In Pérola, his most successful work,
with 400,000 tickets sold in two years, the main character is based on
Rasi's own mother who died in 1993.
Even though going to the theater — despite all the campaigns to popularize
it — is still limited to the elite, Rasi is getting rich writing and directing
plays. According to the weekly newsmagazine Veja, the playwright
is getting a $120,000 monthly check for the copyrights and ticket sales
from his plays. These three plays alone have already brought to the theater
800,000 people. Today he brings more people to the theaters than Marcos
Caruso whose Trair e Coçar É Só Começar
(To Betray and to Scratch All You Have to Do Is to Start) is being
presented for 11 years and has already sold 1.6 million tickets.
Curiously, Rasi lived from his father's allowance until he was 37. At
age 18 he moved to Paris and from there to New York, with the excuse that
he was learning piano. In Paris he decided he wanted to be the Jean Paul
Sartre of Brazil and in the Big Apple he found out that his family could
be a source of inspiration for a career as a playwright. At 20 he was back
in Brazil. Success did not come immediately though. Ladies da Madrugada
(Ladies of Dawn), his first play which mixed Carmen Miranda and Evita
Perón, was a flop. His first hit would come in 1987 with A Cerimônia
do Adeus (The Farewell Ceremony).
Miguel Falabella, 38, son of intellectual parents, who got a degree
in English literature, has as many friends as foes and he is often disparagingly
called "mean blonde". Falabella has become famous for his memorable
and effective phrases and well-concocted plots. Three of his plays were
being shown in Rio in January. Loiro, Alto, Solteiro, Procura (Blond,
Tall, Single, Searches), Como Encher um Biquíni Selvagem (How
to Fill Up a Wild Bikini) and Todo Mundo Sabe que Todo Mundo Sabe
(Everybody Knows That Everybody Knows) three comedies dealing with loneliness
and the stresses of the big city.
The author seems to be all over these days, as playwright, newspaper
columnist, soap opera writer, actor, director and producer, TV star. And
he is full of new projects for 1997, including taking to the big screen
his play Querido Mundo (Dear World), writing a new play based on
his family and love-affair memories already baptized as Motivos Florais
(Floral Motives) and opening the Teatro Miguel Falabella at the NorteShopping
in Rio. He is also in negotiations to bring A Partilha (The Partition)
to Broadway.
Rodolfo Espinoza
Joãozinho da Babilônia
Brazilian Women Find Their Voice Against Repression and the Government
A Ballerina's Tale: From Brazil's City of Steel to the Spotlights of the World
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Occupational therapy's role in skilled nursing facilities. The American Occupational Therapy Association website. Available at: https://www.aota.org/-/media/corporate/files/aboutot/professionals/whatisot/rdp/facts/factsheet_skillednursingfacilities.pdf. Accessed December 31, 2018.


text:
Blockchain Enabled Video Streaming
What is Chainlink VRF
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Innovations in video streaming are branching out across multiple verticals to meet users' growing demand for engaging video experiences. While live streaming via CDNs has improved viewing experiences, OTT platforms have provided access to a wider range of content, and social video networks have provided a platform for individual content creators and influencers to monetize their work. It's no surprise that video streaming consumes 80 per cent of all Internet bandwidth today.While everything appears to be in order on the surface, let's take a look behind the scenes.
Streaming a video is exorbitantly expensive, and social video startups can face multi-million-dollar streaming bills. The expense of video streaming is primarily because of a process known as transcoding, which reformats raw video to make it compatible with a wide range of bandwidths and devices. Now, if we talk money, transcoding costs around $3 /stream per hour to a cloud service like Amazon and up to $4500 per month for one media server.
Due to such high infrastructure costs, either social media startups or broadcasters are forced to shut down their operations entirely or levy a heavy tax on their viewers or bombard them with advertisements.
Can we have a scalable and cost-effective video infrastructure solution to keep up with the demand growth as demand for video services grows exponentially? A peer-to-peer, blockchain-secured video streaming platform could be a game-changer in this situation, and it has the potential to improve video streaming while lowering associated costs. Aside from cost reduction, a blockchain-based video streaming platform can weave monetisation opportunities for content creators and viewers. Let's deep dive more into the concept of blockchain based-video streaming.
Evolution of blockchain-based video streaming
Centralized vs decentralized video streaming
How is a decentralized video streaming beneficial?
How does decentralized video streaming work?
What are the advantages of blockchain-based video streaming?
What are the various components of blockchain-based video streaming?
Video streaming has gained enormous traction because of its salient features that give an enriched experience of visual media. People are changing their mode of entertainment from text and image-based formats to quick video illustrations.
Because of this major paradigm shift, video streaming is attracting major internet traffic, thus contributing to a large part of the online business. With the tremendous growth of video streaming, the demand for network bandwidth and storage is also huge. The storage, data transmission and streaming have been done by centralized cloud servers till now.
Talking about the centralized cloud servers, content creators do not have complete control over their data and have to adjust to the rules made by the central cloud servers.
Thus, there is an increased interest and need for uprooting centralized video streaming and bringing decentralization in the field of content transmission and video streaming.
The centralized video streaming has a client-server approach, in which the client directly receives the content from its designated server with some amount of delay which affects the entire process for instance the high rate hours. The mechanism of the client-server approach affects the server's bandwidth and can easily bottleneck the entire functioning of the system because there are a large number of client requests.
These days most video streaming platforms are based on the client-server model of the content delivery networks which has some major drawbacks. Below mentioned are some of the main drawbacks of the client-server model:
Flash crowd
A lot of streaming servers cannot feed more than a hundred streaming sessions at the same time.
Bandwidth cost
Bandwidth cost is a major problem for the content provider as there is no distribution of the content and therefore the load is on the main content provider. Thus, the cost also increases relatively as compared to the P2P networks. Whereas, in P2P networks the cost is shared by all the participants of the decentralized video streaming platform.
As there is only one central server, hence the client-server model is prone to a single point of failure, which is not the case in the P2P network platforms.
Whereas in decentralized P2P video streaming, algorithms are channelized for multicasting the media content among the different clients. The clients can also participate equally in scattering the media content to the other clients, removing the pressure from the server node. With equal client participation and media content distribution, a decentralized video streaming platform has minimum scaling issues.
Blockchain technology works as a peer-to-peer network, eliminating any central authority. P2P network provides features that do not focus on one single server but work by distributing the media content. Video content curators benefit from the decentralized mechanism of blockchain because they directly publish and deliver the video content to their audience without any intermediary intervention or central server.
Video streaming is much better when done on a decentralized platform as it uses a P2P structure. With a P2P network, the probability that one stream can split and get scattered is higher. This happens because the replication rate of the video streaming is higher in P2P than it is in the client-server CDN structure. Creators and audience, both parties have access to join the blockchain network without any intermediate controller. The content curators independently broadcast their content on the network, which after getting an affirmation and consensus by the other nodes is received by the audience.
Video streaming based on blockchain aids the content curators in acquiring direct access to the earnings generated through the blockchain platform. It also helps the content curators to provide videos on the basis of audiences' demand, where the public only pays for the content they are most interested in viewing. The content creators can also utilize the blockchain to securely encrypt their video storage.
With the help of blockchain, content curators earn revenues in the form of crypto tokens from the audience. They earn it when the audience pays subscription fees to subscribe to their favourite streamers. Along with this, the audience can too earn a good amount of reward if they want to rent their excess disk space and the network bandwidth for storing and publishing the videos. Let's now understand the ways in which blockchain transforms video streaming in the next section.
Decentralized video streaming works on a distributed network. To access a blockchain-based streaming platform, you will have to access nodes on a decentralized network that is dedicated to the streaming protocol. Nodes are the computers that store blockchain's blocks data and act as infrastructure for the peer-to-peer network.
Within the ecosystem of the streaming platform, the video streams that need to be transcoded, are sent by the broadcaster nodes. After this, the orchestrator nodes will receive the video stream. These orchestrators work with the help of their CPU/GPU. They transcode and distribute the video with the help of the server's bandwidth. In return for their service, the orchestrator nodes charge a certain amount of gas fee from the broadcasters.
Thus, different from torrenting, the seeders or the orchestrators are straight away monetized to implement the orchestrator nodes and the internet bandwidth for streaming the videos. To be an orchestrator, the participant has to stake some amount of tokens on the blockchain platform. This will help prevent any irrelevant behaviour on-chain. If any of the orchestrators' functions or transcodes the video in a malicious way, the tokens owned by them will be slashed.
The various ways in which the blockchain supports and reinvents online video streaming are as follows:
Blockchain-based CDN
Storage space optimization is very important in context to the terabytes of content delivered on the online platforms daily. Therefore, a blockchain-based content delivery network is essential as it helps in using the collective ideal storage space from the users spread across the globe.
With the help of a blockchain-based management system, the content creators can use the collective unused space by converting the space into P2P cloud storage and data delivery system.
Ownership and accessibility
One of the most common issues of online media and the OTT sector is the security of ownership and access to creators' content. For instance, in centralized a video streaming platform, where one of the users pays for using the platform and thus, the videos cannot be seen by others. This lacks transparency, unlike when you buy a DVC or CD in which you own the cassette.
With the help of blockchain, the issue of ownership can be easily addressed at a protocol level. Blockchain helps the creators and the audience encrypt their videos and store those videos permanently using the IPFS swarm. Blockchain broadcasts the video content in an autonomous manner with the help of various relay nodes and IPFS, thereby maintaining transparency and integrity of ownership in a decentralized way.
Blockchain also maintains ownership of the video streamers in the form of NFTs. People who broadcast their video content also have the access to trade it on the marketplaces in exchange for cryptocurrencies. They also secure their video content ownership via tokenizing their content on the platform.
To avoid third-party intervention in revenue earning, blockchain smart contracts help in direct communication to establish an independent relationship between creator and audience. It eliminates the intermediary cost and automatically looks out for license security.
Quick transactions and micro-payments
Blockchain enables users and content creators to make micropayments online without incurring any transaction expenses or service fees. The user may utilize a cryptocurrency wallet to monetize their monthly spending by utilizing a blockchain-enabled browser. The browser may then obtain licensing information from the public blockchain and examine the uploaded media using content IDs.
As a result, it uses on-chain payment to ease the transaction between the user and the content owner.
Content licensing and effective monetization
Virtual content creators are well aware of the implications of intellectual property laws, as well as the convenience with which their work may be stolen or copied. They have the right to demand ownership compensation if their intellectual property is used for commercial reasons.
When working with a larger corporation, the responsibility of protecting intellectual property rights are solely of the content creators'. Implementing blockchain technology can make defending copyrights much easier. Once produced, the blocks, which are stored on a multitude of servers throughout the world, cannot be changed. As a result, content owners will have total control over their work.
Decentralized content distribution models
Without the need for middlemen, any participant may check their transaction records directly on the blockchain. Through the peer-to-peer network, the blockchain also removes the need for any central authority to authorize transactions, allowing for more flexible and seamless exchanges.
An OTT service provider or a user who wishes to deliver the video via network to the audience is known as the broadcaster. The broadcaster transcodes a video with encryption and packaging, where the different entities on the network act as nodes to validate these tasks in return for payments in cryptos.
CDN stands for content delivery network, which can be a centralized CDN solution or a decentralized CDN solution as per the requirements of the blockchain-based video streaming platform.
Relay nodes
The broadcaster can make a choice in terms of the distributed network of relay nodes to channelize and distribute the video for streaming. These relay nodes minimize the network latency and also provides high scalability.
Consensus algorithms
There are various consensus protocols like PoW or Proof-of-work and PoS or Proof-of-Stake that are used by the blockchain-based video streaming platforms.
In a blockchain-based framework for video streaming, both the users and the broadcasters function on the basis of smart contracts. For instance, the payment sent from the end-user to the broadcaster is channelized with the help of smart contracts, which includes pre-determined terms to be followed.
Communication sub-module
The communication sub-module powers the connection protocols on the video-streaming platforms for the decentralized storage communication between the various nodes.
Events sub-module
The events sub-module looks for different communications like video transmission, user-interaction and display during the streaming process.
Distributed blockchain technology is transforming video streaming by changing how people create, share, and view video. In order to avoid centralized video streaming servers, several new video streaming services are embracing blockchain application development to construct peer-to-peer content distribution architectures and cryptocurrency-based payment systems.
Are you planning to create a video streaming application with unique features? Our experts will assist you in creating a dynamic and user-friendly video content streaming application.
Akash's ability to build enterprise-grade technology solutions has attracted over 30 Fortune 500 companies, including Siemens, 3M, P&G and Hershey's.
Akash is an early adopter of new technology, a passionate technology enthusiast, and an investor in AI and IoT startups.
A Comprehensive Guide to Smart Contract Auditing
Smart contract audits are an integral part of the smart contract development process. Take a closer look at how it can be beneficial to your project.
Top managed blockchain solutions 2023
Follow our article to get an insight into all the top-managed blockchain solutions. Managed blockchain solutions help businesses to leverage the advantages of blockchain technology seamlessly.
Ways to Ensure Smart Contract Security
Smart contracts have been plagued by security incidents that have caused significant financial losses to smart contracts. Know how to protect smart contracts!


Came up with a new top 10 idea while at Cori's place – past Saturday night. Also came up with a great salad recipe today. Take left over pizza crouton size it and fry in some olive oil – add to what ever type salad. I used mixed greens – pizza croutons & blue cheese dressing.
1. Sunrise. Seen it everywhere from bed to the boat to breakfast. The sunrise catamaran party was by far the coolest – toss up between breakfast & bed for a second.
2. Boat ride to San Juan Visitor center. You can see how lovely it is on hanging out with whale sharks post.
3. Rent a cart and go north or south – you can read about Random bits of Randomness blog – Our last day and A trip down south and get the visual on my road less traveled and early morning fishing.
Numbers four & five go hand in hand – both fun options. Some docks put concrete underneath to start artificial reefs.
6. Is a two for one -Â Hol Chan Marine Museum near the Texaco station in town and while you are in the area stop by Domingos popular tortilla on Back st. and watch the corn tortillas being made. Lara and Mitch vote the flour ones from Domingo's as best tortillas in town.
8. Buy someone ice-cream even if you don't know them – DandE's on Middle st. is super tasty and has some great flavors like coconut, soursop, java joe, peanut butter. They do sorbet as well for those who want dairy free.
9. Sunset – on a catamaran cruise my preferred choice – you can see why from Sunday Sunset post of our Feb 2009 trip. [Heading from up north to down south on water taxi is another boat option] Even if you do not make it on a boat there are many other good places including a few rooftops to enjoy the sunset from.
Some random pictures from yesterday and today – who knows what tomorrow holds check back and see.
Thanks terry. It is a great spot here definitely a good spot to start over in a few ways – just make sure you are well set to come.
really neat site…will be in belize in may, need cheap long term housing so I can get a good feel for ambergris and san pedro, have friends who rave about it. selling my stuff and coming down….can't wait for the good life. looking for the adventure of starting over.
Thanks so much Nancy1340 glad you are loving the new look. I am still working out the photo gallery size and sideshow issue Nancy thanks for your patience [and everyone else].
Love love the new look for your blog but the tiny photos are too small then when I click on them they are 3X to big for the monitor. The ol' scroll back & forth and up & down. Is it just my computer that's the cause?
Thanks travellogged – if you make it out this way give me a holler.
Gorgeous photos — I haven't been to Belize yet but it's on my list!


The Food Chain starts in the Soil.
Plant roots must be able to access a balanced range of major and minor nutrients from the soil if they are to attain optimum yield potential or in the case of forage, to provide healthy nutrition for livestock.
Sustainable soil management recognises soil is an ecosystem comprising of chemical, physical and biological components. The soil chemistry affects the physics and in turn the physical condition affects the workability, root development and soil biology.
For the optimum crop performance it is necessary to assess and correct chemical imbalances, soil structure and lack of biology all of which either singly or in combination limit the response to inputs, reduce yields and depress profitability.
By creating a hospitable root zone environment – ideally 25% air to breath and to fix nitrogen from, 25% water to drink and move around in, 45% mineral and 5% humus/colloidal organic matter – biological activity can flourish and soil productivity can be increased as a result of an effective symbiotic relationship between plant roots and soil flora and fauna.


text:
The 1982–83 Soviet League Season was the 37th year of competition in the Soviet Championship League. CSKA Moscow won the championship, its 7th in a row and 26th overall.

Regular season

5th-8th place

Relegation

External links
Season on hockeystars.ru

1982–83 in Soviet ice hockey
Soviet League seasons
Sov

redpajama_set_name: RedPajamaWikipedia


We've found the brightest Blue Glow in the Dark PLA 3D Printing filament you can print! For your enjoyment, here is 1kg (2.2lbs) of Blue Glow-in-the-dark PLA filament, ready for your 3D printer. This material glows ultra bright, and is super fun to use. PLA is a bioplastic which transitions quickly from liquid to solid. This makes it an ideal printing material, one of the most commonly used in consumer 3D printing (along with ABS).


I am trying to create a slogan for my child care business. The name of my business is Nardia's Babies Child Care Center. I want something catchy, fun, and a bit silly.
Nardia works hard, so your child can have fun.
We run around so you don't have to!
I would do a brainstorm session. Write down the things you want to make apparent. Look at pictures. What are you wanting to say? I think that one below is cute, catchy and says a lot.
If you specialize in baby care, then work around this topic. Concentrate on making a mother's life easier. Babies take a lot of a parent's time and they are looking for a person who can help. Furthermore, first time mother's are afraid to leave their baby with just anybody. So make your business stand out and a place that all mother's will want their children to be.
Wee ones, little ones, and bigger ones all find something fun at Nardia's.
Wee care to take care.


text:
Mistrzostwa Świata w Szermierce 1986 – 49. edycja mistrzostw odbyła się w bułgarskiej stolicy – Sofii.

Klasyfikacja medalowa

Medaliści

Mężczyźni

Kobiety

Bibliografia

Mistrzostwa świata w szermierce
1986 w sporcie


text:
Trump's escalating trade war with China could wipe out benefits from his tax reform
By Andrew Keshner
Economist says the Trump administration giveth — and taketh away
'This would completely wipe out any jobs from the Tax Cuts and Jobs Act,' Nicole Kaeding, vice president of federal projects at the Tax Foundation, said of President Trump's (pictured) trade war with China.
AndrewKeshner
Gains from President Trump's sweeping 2017 tax code overhaul could be blotted out by rising tariffs.
The Tax Cuts and Jobs Act of 2017 created an estimated 340,000 full-time equivalent jobs, but when you add up all of America's enacted and threatened tariffs, plus China's retaliatory tariffs, that could end up slashing more than 580,000 full-time equivalent jobs from the economy, according to one analysis released this month.
"This would completely wipe out any jobs from the Tax Cuts and Jobs Act," Nicole Kaeding, vice president of federal projects at the Tax Foundation, a conservative-learning, pro-growth think tank, told MarketWatch. Her organization calculates all tariffs could combine to carve $188 billion off the country's gross domestic product in the long term.
Higher business costs on everything from cosmetics to toys to washing machines will make all those products that much more expensive for consumers, many observers worry. Speaking about American and Chinese economies both taking on costs, White House economic adviser Larry Kudlow told Fox News on Sunday, "'In fact, both sides will pay. Both sides will pay in these things."
Also see: Most of the profit in the health-care industry is going to drug companies — here's why you should care
Here's what they stand to lose, according to some recent estimates. Across the country, the average American took home on average $1,400 more in his/her paycheck in 2018. Married couples with two children took home approximately $3,000 more, according to the Heritage Foundation, a conservative think tank based in Washington, D.C.
The latest tariffs will add another $500 a year in costs for the average U.S. household, Katheryn Russ, an economics professor at the University of California at Davis, told NPR. Another estimate by Trade Partnership Worldwide, an international trade and economic consulting firm, says the tariffs announced last year will cost consumers an average of $767 per year.
The Tax Policy Center, a non-partisan think tank based in Washington, D.C., estimates that the richest Americans have gained the most from the Tax Cuts and Jobs Act. The top 95% to 99% of earners experienced a tax cut of more than 4%, while the middle quintile saved less than 2% and the lowest quintile saved less than 0.5%.
Kaeding said higher consumer prices, as a result of the current trade war, will mostly hurt middle and low income consumers because it's tougher for them to absorb day-to-day costs the way more well off taxpayers can. "The tariff actions pursued by the Trump administration move in the opposite direction. They slow economic growth and they raise taxes on Americans,' Kaeding said.
Don't miss: Trump's tariff war with China will hit TVs, dishwashers, toys, lithium batteries, iPhones — even Silly Putty
The country's just coming off the first tax season under the new law; as of earlier this month, average refunds were 1.6% lower than 2018 refunds, according to Internal Revenue Service figures. Companies like H&R Block HRB, -0.88% have said the people are being taxed less, but out-of-date withholdings are making for middling refunds.
Some would argue they didn't even win with the new tax rules, let alone tariffs. This tax season, the country was dotted with stories of taxpayers who swung from 2018 refunds to 2019 tax bills. Either way, Kaeding is hardly alone saying average consumers will get caught in the crossfire as American tariffs climb to 25% on $200 billion in Chinese goods, and Beijing counters with its own rising retaliatory tariffs.
Days earlier, President Trump tweeted TWTR, -0.76% that tariffs are a win-win, showing the Chinese government he was serious, while also raking in tariff revenue. "Would be wise for them to act now, but love collecting BIG TARIFFS!," Trump tweeted. He's previously said the U.S. takes in about $120 billion in tariffs, mostly from China.
Sure, American-imposed tariffs brought in revenue, Kaeding acknowledged, but not China's tariffs. "We have the economic harm without any of the revenue generation," she said.
Andrew Keshner
Andrew Keshner is a personal finance reporter based in New York.
H&R Block Inc. U.S.: NYSE: HRB
Twitter Inc. U.S.: NYSE: TWTR


text:
Q: What do we know about the set of all fans? I know the question is not very rigorous, but I have been trying to prove some facts about toric varieties and I think giving this set some structure would be very helpful.
So, suppose you fix a lattice $N$. What do we know about the set of fans in this lattice?

redpajama_set_name: RedPajamaStackExchange


text:
Poster Competition Entry Form
2023 National NAIDOC Week Poster Competition
In selecting the 2023 National NAIDOC Week winning artwork, the Committee will consider the following:
How well the artwork reflects the 2023 National NAIDOC Week Theme: For Our Elders
The cultural appropriateness of the artwork
The artwork's Appeal to a broad audience
The extent to which the artwork represents National NAIDOC Week as a celebration
Whether the artwork is in an appropriate format and style for conversion into a printable poster
Please note that if an artwork contains the Aboriginal Flag it must also contain the Torres Strait Islander flag and vice versa.
Please note that artwork cannot consist solely of a photograph and will not eligible for entry.
Participating artists must be aged 16 years or older at the time that the Entry Form is submitted
Where a participating artist is under the age of 18, the artist's adult parent/guardian must complete the Entry Form by stating their own name on behalf of the name of the artist to indicate their agreement with these terms and conditions on behalf of the artist
Group entries will be considered providing each artist within that group submits an Entry Form, and all artists are aged 16 years or older at the time the Entry Form is submitted
Artwork should not be framed or mounted behind glass
The decision of the Competition judges will be final and absolute. No correspondence about the judges' decision will be entered into
The artist may submit only one artwork (entry)
The National NAIDOC Week Poster Competition closes on Monday 6 February 2023 at 8:00pm (AEDT)
The winning artwork is subject to the Terms and Conditions of the 2023 National NAIDOC Week Poster Competition.
Please indicate the entrant's age *
All applicants must be 16 years and older. Where a participating artist is under the age of 18, the artist's adult parent/guardian must complete the Entry Form by stating their own name on behalf of the name of the artist to indicate their agreement with these terms and conditions on behalf of the artist.
Entry type *
Group entry
Please note if you are submitting a group entry, each member of the group must complete an entry form.
Group Name *
Title * - Select -MrMsMrsMissDrProf
How do we contact you?
Suburb *
State * - Select -ACTNSWNTQLDSATASVICWA
Entrants must be Aboriginal and/or Torres Strait Islander, as defined by the following:
is of Aboriginal and/or Torres Strait Islander descent
identifies as Aboriginal and/or Torres Strait Islander
is accepted as such by the community in which he or she lives or has lived.
Do you identify as *
Both Aboriginal and Torres Strait Islander
Does the artist identify as *
Description and meaning of artwork *
I accept the Terms and Conditions *
By ticking this box I confirm that I have read and understood the terms and conditions and I agree to be bound by them.
Picture of Artwork *
Allowed file types: gif jpg jpeg png.


Rebecca, 15. was with her parents John, 50. Agricultural Labourer and Martha, 55. They were residing in Owermoine, Dorset. With them was ther brother John, 20. Agricultural Labourer and niece Mary 2.
Everyone was recorded as haaving been born in Dorset.


text:
Q: Gnuplot animation vector i am trying to make a fluid vector animation in gnuplot. To create the vector values i use FORTRAN. My FORTRAN subroutine program prints vector data in a txt file called vekdata.txt and creates another file called plotvek.txt with gnuplot commands. This subroutine is inside a do loop so for every iteration vekdata.txt gets updated.
So i was wandering how i can make an animation of this as it develops in time? Is there some simple commands? As it is now it prints a huge amount of picture to my screen. Every picture is a bit different so i know the code works.
do t=1,1000

call vektorplot(storu,storv,n,Re,t)

end do

open(21,access='sequential',file='plotvek.txt',status='unknown')

write(21,*)'set term png enhanced'
write(21,*)'# plotvek.txt'
write(21,*)'set output sprintf(''frame_%09d.png'',',t,')'

!animation commands
write(21,*)'set output sprintf("frame_%9d",'t,')'

close(21,status='keep')

call execute_command_line("gnuplot -persist plotvek.txt")

A: The gif terminal has an option to make a gif animation, but you have to plot it all in one call to the gnuplot script.
You could try something like this:
$ makevectors | gnuplot

where makevectors is the executable of your fortran code, only it prints everything to STDOUT, first
set term gif animation
set out 'vectors.gif'
# plus the rest of your settings
do for [i=1:100] {plot '-' using 1:2:($3*30):($4*25) with vectors}

, then 100 data sets, with an EOF after each. Lastly print
set out

(Ok, the output would close anyway, but just to be very orderly) and you've got a file with that gif animation.
Update: I'd recommend you move your gnuplot commands to a script file and have gnuplot call that on the command line makevectors | gnuplot script.gp. That way you don't have to recompile the program every time you want to change a line colour or something.

A: I'm posting here an alternative.
Although I usually prefer the animated gif as Karl answers, sometimes too big gifs are difficult to rented and especially for very long movies, they tend to create unresponsive applications (browser or slide presentations).

Basically you write to a file every frame and then create a movie.
In this link you have both gif and movie examples. I'm going to recall here the principles.
For every frame you set a png terminal and output file. As fortran command, this would be something like:
write(21,*)'set term png enhanced'
write(21,*)'# plotvek.txt'
write(21,*)'set output sprintf("frame_%09d.png",',n+1,')'
[...]

Then, once the program is run, you can create a movie:
mencoder mf://frame_%09d.png -mf fps=30 -ovc lavc -o my_video.avi

Of course mencoder has a tons of options to tune your movie.
Another alternative to mencoder is ffmpeg:
ffmpeg -framerate 1/5 -i frame_%09d.png -c:v libx264 -r 30 -pix_fmt yuv420p my_video.mp4