lwsimmons.org

Tuesday, December 2, 2008

Chicago, Illinois police arrested William Balfour, the estranged brother-in-law of Oscar-winning American actress and singer Jennifer Hudson, on Monday, multiple media outlets reported. Balfour is expected to be charged with three counts of murder for the slayings of three of Hudson’s relatives in October.

“We have obtained an arrest warrant for William Balfour. He was released to Chicago detectives,” Chicago Police Department spokeswoman Monique Bond told Reuters.

Hudson’s mother, Darnell Donerson, 57, and brother, Jason Hudson, 29 were found dead in Donerson’s home on October 24 and the body of Hudson’s 7-year-old nephew, Julian King was found four days later in a stolen SUV. A handgun police say is tied to the case was found nearby, but Reuters reports that Bond did not comment on any evidence in the case.

The Associated Press reports that police took Balfour into custody on Oct. 24 and held him for 48 before the Illinois Department of Corrections took possession of him on an alleged parole violation. Balfour previously served nearly seven years for a 1999 conviction attempted murder, vehicular hijacking, and possessing a stolen vehicle. CNN reports he was out of jail on parole at the time of the shootings.

Balfour’s mother, Michelle Davis-Balfour, spoke to the press Monday night, saying she thought that there was no case against her son.

“If they found gun powder on his hands, you got a case; if they found a gun on him, he had a case; if they found a fingerprint on the truck that he did this, you got a case; but they don’t have nothing,” Davis-Balfour said, according to the Associated Press. She also said: “My son did not do this. I am sick of this. They need to focus on somebody else.”

Davis-Balfour also accused at least one witness of lying while providing an alibi for his son, saying he was with one of three girls friends when the killings happened.

“He was with Diana that night and with Kate in the morning,” she said, according to CNN.

Attorney for Balfour, Josh Kutnick, told CNN that his client is innocent. “He believes when the evidence comes out, he will be found not guilty,” Kutnick told CNN.

Hudson became famous in 2004 when she was one of the finalists on the third season of the American hit television show American Idol. She later won multiple awards for her role in the 2006 motion picture Dreamgirls.

Tuesday, July 14, 2009

The English National Portrait Gallery (NPG) in London has threatened on Friday to sue a U.S. citizen, Derrick Coetzee. The legal letter followed claims that he had breached the Gallery’s copyright in several thousand photographs of works of art uploaded to the Wikimedia Commons, a free online media repository.

In a letter from their solicitors sent to Coetzee via electronic mail, the NPG asserted that it holds copyright in the photographs under U.K. law, and demanded that Coetzee provide various undertakings and remove all of the images from the site (referred to in the letter as “the Wikipedia website”).

Wikimedia Commons is a repository of free-to-use media, run by a community of volunteers from around the world, and is a sister project to Wikinews and the encyclopedia Wikipedia. Coetzee, who contributes to the Commons using the account “Dcoetzee”, had uploaded images that are free for public use under United States law, where he and the website are based. However copyright is claimed to exist in the country where the gallery is situated.

The complaint by the NPG is that under UK law, its copyright in the photographs of its portraits is being violated. While the gallery has complained to the Wikimedia Foundation for a number of years, this is the first direct threat of legal action made against an actual uploader of images. In addition to the allegation that Coetzee had violated the NPG’s copyright, they also allege that Coetzee had, by uploading thousands of images in bulk, infringed the NPG’s database right, breached a contract with the NPG; and circumvented a copyright protection mechanism on the NPG’s web site.

The copyright protection mechanism referred to is Zoomify, a product of Zoomify, Inc. of Santa Cruz, California. NPG’s solicitors stated in their letter that “Our client used the Zoomify technology to protect our client’s copyright in the high resolution images.”. Zoomify Inc. states in the Zoomify support documentation that its product is intended to make copying of images “more difficult” by breaking the image into smaller pieces and disabling the option within many web browsers to click and save images, but that they “provide Zoomify as a viewing solution and not an image security system”.

In particular, Zoomify’s website comments that while “many customers — famous museums for example” use Zoomify, in their experience a “general consensus” seems to exist that most museums are concerned with making the images in their galleries accessible to the public, rather than preventing the public from accessing them or making copies; they observe that a desire to prevent high resolution images being distributed would also imply prohibiting the sale of any posters or production of high quality printed material that could be scanned and placed online.

Other actions in the past have come directly from the NPG, rather than via solicitors. For example, several edits have been made directly to the English-language Wikipedia from the IP address 217.207.85.50, one of sixteen such IP addresses assigned to computers at the NPG by its ISP, Easynet.

In the period from August 2005 to July 2006 an individual within the NPG using that IP address acted to remove the use of several Wikimedia Commons pictures from articles in Wikipedia, including removing an image of the Chandos portrait, which the NPG has had in its possession since 1856, from Wikipedia’s biographical article on William Shakespeare.

Other actions included adding notices to the pages for images, and to the text of several articles using those images, such as the following edit to Wikipedia’s article on Catherine of Braganza and to its page for the Wikipedia Commons image of Branwell Brontë‘s portrait of his sisters:

“THIS IMAGE IS BEING USED WITHOUT PERMISSION FROM THE COPYRIGHT HOLDER.”

“This image is copyright material and must not be reproduced in any way without permission of the copyright holder. Under current UK copyright law, there is copyright in skilfully executed photographs of ex-copyright works, such as this painting of Catherine de Braganza.

The original painting belongs to the National Portrait Gallery, London. For copies, and permission to reproduce the image, please contact the Gallery at picturelibrary@npg.org.uk or via our website at www.npg.org.uk”

Other, later, edits, made on the day that NPG’s solicitors contacted Coetzee and drawn to the NPG’s attention by Wikinews, are currently the subject of an internal investigation within the NPG.

Coetzee published the contents of the letter on Saturday July 11, the letter itself being dated the previous day. It had been sent electronically to an email address associated with his Wikimedia Commons user account. The NPG’s solicitors had mailed the letter from an account in the name “Amisquitta”. This account was blocked shortly after by a user with access to the user blocking tool, citing a long standing Wikipedia policy that the making of legal threats and creation of a hostile environment is generally inconsistent with editing access and is an inappropriate means of resolving user disputes.

The policy, initially created on Commons’ sister website in June 2004, is also intended to protect all parties involved in a legal dispute, by ensuring that their legal communications go through proper channels, and not through a wiki that is open to editing by other members of the public. It was originally formulated primarily to address legal action for libel. In October 2004 it was noted that there was “no consensus” whether legal threats related to copyright infringement would be covered but by the end of 2006 the policy had reached a consensus that such threats (as opposed to polite complaints) were not compatible with editing access while a legal matter was unresolved. Commons’ own website states that “[accounts] used primarily to create a hostile environment for another user may be blocked”.

In a further response, Gregory Maxwell, a volunteer administrator on Wikimedia Commons, made a formal request to the editorial community that Coetzee’s access to administrator tools on Commons should be revoked due to the prevailing circumstances. Maxwell noted that Coetzee “[did] not have the technically ability to permanently delete images”, but stated that Coetzee’s potential legal situation created a conflict of interest.

Sixteen minutes after Maxwell’s request, Coetzee’s “administrator” privileges were removed by a user in response to the request. Coetzee retains “administrator” privileges on the English-language Wikipedia, since none of the images exist on Wikipedia’s own website and therefore no conflict of interest exists on that site.

Legally, the central issue upon which the case depends is that copyright laws vary between countries. Under United States case law, where both the website and Coetzee are located, a photograph of a non-copyrighted two-dimensional picture (such as a very old portrait) is not capable of being copyrighted, and it may be freely distributed and used by anyone. Under UK law that point has not yet been decided, and the Gallery’s solicitors state that such photographs could potentially be subject to copyright in that country.

One major legal point upon which a case would hinge, should the NPG proceed to court, is a question of originality. The U.K.’s Copyright, Designs and Patents Act 1988 defines in ¶ 1(a) that copyright is a right that subsists in “original literary, dramatic, musical or artistic works” (emphasis added). The legal concept of originality here involves the simple origination of a work from an author, and does not include the notions of novelty or innovation that is often associated with the non-legal meaning of the word.

Whether an exact photographic reproduction of a work is an original work will be a point at issue. The NPG asserts that an exact photographic reproduction of a copyrighted work in another medium constitutes an original work, and this would be the basis for its action against Coetzee. This view has some support in U.K. case law. The decision of Walter v Lane held that exact transcriptions of speeches by journalists, in shorthand on reporter’s notepads, were original works, and thus copyrightable in themselves. The opinion by Hugh Laddie, Justice Laddie, in his book The Modern Law of Copyright, points out that photographs lie on a continuum, and that photographs can be simple copies, derivative works, or original works:

“[…] it is submitted that a person who makes a photograph merely by placing a drawing or painting on the glass of a photocopying machine and pressing the button gets no copyright at all; but he might get a copyright if he employed skill and labour in assembling the thing to be photocopied, as where he made a montage.”

Various aspects of this continuum have already been explored in the courts. Justice Neuberger, in the decision at Antiquesportfolio.com v Rodney Fitch & Co. held that a photograph of a three-dimensional object would be copyrightable if some exercise of judgement of the photographer in matters of angle, lighting, film speed, and focus were involved. That exercise would create an original work. Justice Oliver similarly held, in Interlego v Tyco Industries, that “[i]t takes great skill, judgement and labour to produce a good copy by painting or to produce an enlarged photograph from a positive print, but no-one would reasonably contend that the copy, painting, or enlargement was an ‘original’ artistic work in which the copier is entitled to claim copyright. Skill, labour or judgement merely in the process of copying cannot confer originality.”.

In 2000 the Museums Copyright Group, a copyright lobbying group, commissioned a report and legal opinion on the implications of the Bridgeman case for the UK, which stated:

“Revenue raised from reproduction fees and licensing is vital to museums to support their primary educational and curatorial objectives. Museums also rely on copyright in photographs of works of art to protect their collections from inaccurate reproduction and captioning… as a matter of principle, a photograph of an artistic work can qualify for copyright protection in English law”. The report concluded by advocating that “museums must continue to lobby” to protect their interests, to prevent inferior quality images of their collections being distributed, and “not least to protect a vital source of income”.

Several people and organizations in the U.K. have been awaiting a test case that directly addresses the issue of copyrightability of exact photographic reproductions of works in other media. The commonly cited legal case Bridgeman Art Library v. Corel Corp. found that there is no originality where the aim and the result is a faithful and exact reproduction of the original work. The case was heard twice in New York, once applying UK law and once applying US law. It cited the prior UK case of Interlego v Tyco Industries (1988) in which Lord Oliver stated that “Skill, labour or judgement merely in the process of copying cannot confer originality.”

“What is important about a drawing is what is visually significant and the re-drawing of an existing drawing […] does not make it an original artistic work, however much labour and skill may have gone into the process of reproduction […]”

The Interlego judgement had itself drawn upon another UK case two years earlier, Coca-Cola Go’s Applications, in which the House of Lords drew attention to the “undesirability” of plaintiffs seeking to expand intellectual property law beyond the purpose of its creation in order to create an “undeserving monopoly”. It commented on this, that “To accord an independent artistic copyright to every such reproduction would be to enable the period of artistic copyright in what is, essentially, the same work to be extended indefinitely… “

The Bridgeman case concluded that whether under UK or US law, such reproductions of copyright-expired material were not capable of being copyrighted.

The unsuccessful plaintiff, Bridgeman Art Library, stated in 2006 in written evidence to the House of Commons Committee on Culture, Media and Sport that it was “looking for a similar test case in the U.K. or Europe to fight which would strengthen our position”.

The National Portrait Gallery is a non-departmental public body based in London England and sponsored by the Department for Culture, Media and Sport. Founded in 1856, it houses a collection of portraits of historically important and famous British people. The gallery contains more than 11,000 portraits and 7,000 light-sensitive works in its Primary Collection, 320,000 in the Reference Collection, over 200,000 pictures and negatives in the Photographs Collection and a library of around 35,000 books and manuscripts. (More on the National Portrait Gallery here)

The gallery’s solicitors are Farrer & Co LLP, of London. Farrer’s clients have notably included the British Royal Family, in a case related to extracts from letters sent by Diana, Princess of Wales which were published in a book by ex-butler Paul Burrell. (In that case, the claim was deemed unlikely to succeed, as the extracts were not likely to be in breach of copyright law.)

Farrer & Co have close ties with industry interest groups related to copyright law. Peter Wienand, Head of Intellectual Property at Farrer & Co., is a member of the Executive body of the Museums Copyright Group, which is chaired by Tom Morgan, Head of Rights and Reproductions at the National Portrait Gallery. The Museums Copyright Group acts as a lobbying organization for “the interests and activities of museums and galleries in the area of [intellectual property rights]”, which reacted strongly against the Bridgeman Art Library v. Corel Corp. case.

Wikimedia Commons is a repository of images, media, and other material free for use by anyone in the world. It is operated by a community of 21,000 active volunteers, with specialist rights such as deletion and blocking restricted to around 270 experienced users in the community (known as “administrators”) who are trusted by the community to use them to enact the wishes and policies of the community. Commons is hosted by the Wikimedia Foundation, a charitable body whose mission is to make available free knowledge and historic and other material which is legally distributable under US law. (More on Commons here)

The legal threat also sparked discussions of moral issues and issues of public policy in several Internet discussion fora, including Slashdot, over the weekend. One major public policy issue relates to how the public domain should be preserved.

Some of the public policy debate over the weekend has echoed earlier opinions presented by Kenneth Hamma, the executive director for Digital Policy at the J. Paul Getty Trust. Writing in D-Lib Magazine in November 2005, Hamma observed:

“Art museums and many other collecting institutions in this country hold a trove of public-domain works of art. These are works whose age precludes continued protection under copyright law. The works are the result of and evidence for human creativity over thousands of years, an activity museums celebrate by their very existence. For reasons that seem too frequently unexamined, many museums erect barriers that contribute to keeping quality images of public domain works out of the hands of the general public, of educators, and of the general milieu of creativity. In restricting access, art museums effectively take a stand against the creativity they otherwise celebrate. This conflict arises as a result of the widely accepted practice of asserting rights in the images that the museums make of the public domain works of art in their collections.”

He also stated:

“This resistance to free and unfettered access may well result from a seemingly well-grounded concern: many museums assume that an important part of their core business is the acquisition and management of rights in art works to maximum return on investment. That might be true in the case of the recording industry, but it should not be true for nonprofit institutions holding public domain art works; it is not even their secondary business. Indeed, restricting access seems all the more inappropriate when measured against a museum’s mission — a responsibility to provide public access. Their charitable, financial, and tax-exempt status demands such. The assertion of rights in public domain works of art — images that at their best closely replicate the values of the original work — differs in almost every way from the rights managed by the recording industry. Because museums and other similar collecting institutions are part of the private nonprofit sector, the obligation to treat assets as held in public trust should replace the for-profit goal. To do otherwise, undermines the very nature of what such institutions were created to do.”

Hamma observed in 2005 that “[w]hile examples of museums chasing down digital image miscreants are rare to non-existent, the expectation that museums might do so has had a stultifying effect on the development of digital image libraries for teaching and research.”

The NPG, which has been taking action with respect to these images since at least 2005, is a public body. It was established by Act of Parliament, the current Act being the Museums and Galleries Act 1992. In that Act, the NPG Board of Trustees is charged with maintaining “a collection of portraits of the most eminent persons in British history, of other works of art relevant to portraiture and of documents relating to those portraits and other works of art”. It also has the tasks of “secur[ing] that the portraits are exhibited to the public” and “generally promot[ing] the public’s enjoyment and understanding of portraiture of British persons and British history through portraiture both by means of the Board’s collection and by such other means as they consider appropriate”.

Several commentators have questioned how the NPG’s statutory goals align with its threat of legal action. Mike Masnick, founder of Techdirt, asked “The people who run the Gallery should be ashamed of themselves. They ought to go back and read their own mission statement[. …] How, exactly, does suing someone for getting those portraits more attention achieve that goal?” (external link Masnick’s). L. Sutherland of Bigmouthmedia asked “As the paintings of the NPG technically belong to the nation, does that mean that they should also belong to anyone that has access to a computer?”

Other public policy debates that have been sparked have included the applicability of U.K. courts, and U.K. law, to the actions of a U.S. citizen, residing in the U.S., uploading files to servers hosted in the U.S.. Two major schools of thought have emerged. Both see the issue as encroachment of one legal system upon another. But they differ as to which system is encroaching. One view is that the free culture movement is attempting to impose the values and laws of the U.S. legal system, including its case law such as Bridgeman Art Library v. Corel Corp., upon the rest of the world. Another view is that a U.K. institution is attempting to control, through legal action, the actions of a U.S. citizen on U.S. soil.

David Gerard, former Press Officer for Wikimedia UK, the U.K. chapter of the Wikimedia Foundation, which has been involved with the “Wikipedia Loves Art” contest to create free content photographs of exhibits at the Victoria and Albert Museum, stated on Slashdot that “The NPG actually acknowledges in their letter that the poster’s actions were entirely legal in America, and that they’re making a threat just because they think they can. The Wikimedia community and the WMF are absolutely on the side of these public domain images remaining in the public domain. The NPG will be getting radioactive publicity from this. Imagine the NPG being known to American tourists as somewhere that sues Americans just because it thinks it can.”

Benjamin Crowell, a physics teacher at Fullerton College in California, stated that he had received a letter from the Copyright Officer at the NPG in 2004, with respect to the picture of the portrait of Isaac Newton used in his physics textbooks, that he publishes in the U.S. under a free content copyright licence, to which he had replied with a pointer to Bridgeman Art Library v. Corel Corp..

The Wikimedia Foundation takes a similar stance. Erik Möller, the Deputy Director of the US-based Wikimedia Foundation wrote in 2008 that “we’ve consistently held that faithful reproductions of two-dimensional public domain works which are nothing more than reproductions should be considered public domain for licensing purposes”.

Contacted over the weekend, the NPG issued a statement to Wikinews:

“The National Portrait Gallery is very strongly committed to giving access to its Collection. In the past five years the Gallery has spent around £1 million digitising its Collection to make it widely available for study and enjoyment. We have so far made available on our website more than 60,000 digital images, which have attracted millions of users, and we believe this extensive programme is of great public benefit.

“The Gallery supports Wikipedia in its aim of making knowledge widely available and we would be happy for the site to use our low-resolution images, sufficient for most forms of public access, subject to safeguards. However, in March 2009 over 3000 high-resolution files were appropriated from the National Portrait Gallery website and published on Wikipedia without permission.

“The Gallery is very concerned that potential loss of licensing income from the high-resolution files threatens its ability to reinvest in its digitisation programme and so make further images available. It is one of the Gallery’s primary purposes to make as much of the Collection available as possible for the public to view.

“Digitisation involves huge costs including research, cataloguing, conservation and highly-skilled photography. Images then need to be made available on the Gallery website as part of a structured and authoritative database. To date, Wikipedia has not responded to our requests to discuss the issue and so the National Portrait Gallery has been obliged to issue a lawyer’s letter. The Gallery remains willing to enter into a dialogue with Wikipedia.

In fact, Matthew Bailey, the Gallery’s (then) Assistant Picture Library Manager, had already once been in a similar dialogue. Ryan Kaldari, an amateur photographer from Nashville, Tennessee, who also volunteers at the Wikimedia Commons, states that he was in correspondence with Bailey in October 2006. In that correspondence, according to Kaldari, he and Bailey failed to conclude any arrangement.

Jay Walsh, the Head of Communications for the Wikimedia Foundation, which hosts the Commons, called the gallery’s actions “unfortunate” in the Foundation’s statement, issued on Tuesday July 14:

“The mission of the Wikimedia Foundation is to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. To that end, we have very productive working relationships with a number of galleries, archives, museums and libraries around the world, who join with us to make their educational materials available to the public.

“The Wikimedia Foundation does not control user behavior, nor have we reviewed every action taken by that user. Nonetheless, it is our general understanding that the user in question has behaved in accordance with our mission, with the general goal of making public domain materials available via our Wikimedia Commons project, and in accordance with applicable law.”

The Foundation added in its statement that as far as it was aware, the NPG had not attempted “constructive dialogue”, and that the volunteer community was presently discussing the matter independently.

In part, the lack of past agreement may have been because of a misunderstanding by the National Portrait Gallery of Commons and Wikipedia’s free content mandate; and of the differences between Wikipedia, the Wikimedia Foundation, the Wikimedia Commons, and the individual volunteer workers who participate on the various projects supported by the Foundation.

Like Coetzee, Ryan Kaldari is a volunteer worker who does not represent Wikipedia or the Wikimedia Commons. (Such representation is impossible. Both Wikipedia and the Commons are endeavours supported by the Wikimedia Foundation, and not organizations in themselves.) Nor, again like Coetzee, does he represent the Wikimedia Foundation.

Kaldari states that he explained the free content mandate to Bailey. Bailey had, according to copies of his messages provided by Kaldari, offered content to Wikipedia (naming as an example the photograph of John Opie‘s 1797 portrait of Mary Wollstonecraft, whose copyright term has since expired) but on condition that it not be free content, but would be subject to restrictions on its distribution that would have made it impossible to use by any of the many organizations that make use of Wikipedia articles and the Commons repository, in the way that their site-wide “usable by anyone” licences ensures.

The proposed restrictions would have also made it impossible to host the images on Wikimedia Commons. The image of the National Portrait Gallery in this article, above, is one such free content image; it was provided and uploaded to the Wikimedia Commons under the terms of the GNU Free Documentation Licence, and is thus able to be used and republished not only on Wikipedia but also on Wikinews, on other Wikimedia Foundation projects, as well as by anyone in the world, subject to the terms of the GFDL, a license that guarantees attribution is provided to the creators of the image.

As Commons has grown, many other organizations have come to different arrangements with volunteers who work at the Wikimedia Commons and at Wikipedia. For example, in February 2009, fifteen international museums including the Brooklyn Museum and the Victoria and Albert Museum established a month-long competition where users were invited to visit in small teams and take high quality photographs of their non-copyright paintings and other exhibits, for upload to Wikimedia Commons and similar websites (with restrictions as to equipment, required in order to conserve the exhibits), as part of the “Wikipedia Loves Art” contest.

Approached for comment by Wikinews, Jim Killock, the executive director of the Open Rights Group, said “It’s pretty clear that these images themselves should be in the public domain. There is a clear public interest in making sure paintings and other works are usable by anyone once their term of copyright expires. This is what US courts have recognised, whatever the situation in UK law.”

The Digital Britain report, issued by the U.K.’s Department for Culture, Media, and Sport in June 2009, stated that “Public cultural institutions like Tate, the Royal Opera House, the RSC, the Film Council and many other museums, libraries, archives and galleries around the country now reach a wider public online.” Culture minster Ben Bradshaw was also approached by Wikinews for comment on the public policy issues surrounding the on-line availability of works in the public domain held in galleries, re-raised by the NPG’s threat of legal action, but had not responded by publication time.

Thursday, August 13, 2009

In a settlement, hailed by the United States Department of Housing and Urban Development (HUD) as a “historic civil rights settlement,” the county government for Westchester County, New York has agreed to spend US$51.6 million to build 750 affordable housing units that will primarily be offered to non-white minorities.

The settlement is the result of a federal lawsuit filed by the Anti-Discrimination Center of Metro New York (ADC) against the county under the False Claims Act, which alleged that the county was negligent in its oversight of federal funds that it received from HUD for community development which stipulated that it “affirmatively further fair housing.” The ADC suit which claimed $180 million in damages, also said the county failed to build affordable housing and reduce segregation in some of the more affluent communities.

Prior to the settlement, the United States District Court for the Southern District of New York ruled that Westchester had failed to analyze the effect of race in relation to access to fair housing when it applied for HUD funds.

The county redistributed the federal funds to town and village governments, and the court concluded it did so without ensuring that guidelines were being followed or considering where the affordable housing was being placed.

Westchester County admitted no wrongdoing and says it has “for many years considered the impact of race on affordable housing,” according to County Executive Andrew Spano.

Westchester County will also pay $8.4 million as a fine to the federal government and $2.5 million to cover legal expenses of the ADC.

630 of the 750 housing units must be built in communities which are less than 3% black and less than 7% Hispanic. The county will be required to market the homes “aggressively” to minorities, though federal law prevents them from being offered exclusively to certain races.

The case is a landmark for HUD and the way that the Obama administration will use the government agency. “This is about expanding the geography of opportunity for families who may have been limited in their housing choices. The agreement we announce today demonstrates Westchester County’s commitment to make sure its neighborhoods are open to everyone, regardless of the color of their skin,” said HUD Secretary Shaun Donovan. “This agreement signals a new commitment by HUD to ensure that housing opportunities be available to all, and not just to some.”

“This is consistent with the president’s desire to see a fully integrated society,” said HUD Deputy Secretary Ron Sims. “Until now, we tended to lay dormant. This is historic, because we are going to hold people’s feet to the fire.”

It is not yet decided where the affordable housing will be placed, but Westchester County has a number of towns and hamlets which qualify under the stipulated racial requirements, including Chappaqua, which is noted as the official residence of Secretary of State Hillary Clinton and former President Bill Clinton.

“Some constituents have had strong reactions, but that’s just based on what they read in the papers and what the headlines are,” said County Legislator Peter Harckham. “But there are no details yet to get excited about.”

“I certainly approve of nondiscriminatory policy for housing,” Alan Harrow, a resident of Somers, told The Journal News. “Looking at it from my own point of view, I moved into this very rural area, and if there’s suddenly a large housing development and 200 families there, it’s probably something I won’t really welcome.”

Tuesday, April 14, 2009

The Red River at Winnipeg is almost clear of ice blocks and ice jamming, however there are still dangers from the Red River flood.

Ice blocks which were as high as two storey buildings were ripping out trees, fences and railway ties. “You’ll see huge pans of ice standing vertical, up to 20 feet (6.1 m) high,” said Steve Topping, an official with the provincial Water Stewardship Department. “Ice was shoved up on the shore and took out trees with a very devastating effect. It has changed people’s view of the river.”

“It is incredible, the force. One piece of ice pushed out of the river about 20 feet. You watch the force push this up right in front of your eyes,” said Dean North, of the Selkirk Golf and Country Club.

Royal Canadian Mounted Police are ticketing sight seers who are driving through road closure signs and approaching excavators, cranes and crews breaking up the ice. Vehicles, people, boats, and kayaks are getting in the way.

An eight year old boy is in critical condition after slipping on a culvert Thursday. He was pulled underwater by the speed of the flowing water and remained under for about five to ten minutes until adults could rescue him. The air ambulance supplied by Alberta’s STARS (Shock Trauma Air Rescue Society) remains in the city of Winnipeg, Manitoba.

“This is not a spectator sport. It’s not about getting the best pictures for the family albums. I know floods are seen as a bit of an event, but some of the instances I’m hearing about, people should give their head a shake, they really should,” said Steve Ashton Manitoba Emergency Measures Minister, “Those who fall into the river or get into trouble in another way would be not only endangering themselves but the emergency response crews trying to rescue them. I don’t want to see a situation … where we’re trying our darndest to prevent flooding and save lives and somebody [who] decides to go have a white-water experience ends up killing themselves.”

Early Easter Sunday morning floodwater reached the rural municipalities of St. Andrews and St. Clements north of Winnipeg. Residents were sent an evacuation advisory Good Friday, however some residents remained. Rescue efforts commenced Saturday night to find those stranded and unable to leave as their vehicles cannot travel in the swollen overland floodwaters. Some people were rescued from roof tops as entire houses were swept off of their foundations by the large ice blocks hurtling down the river.

Highways in the area remain closed. Neil Gobelle, of Manitoba Infrastructure and Transportation said to “definitely continue to watch the Red River Valley and north of the city up in the Selkirk area. Things are changing quite a bit, quite quickly, so we’ll keep an eye on those areas.”

As of Easter Sunday, Winnipeg is expected to be ice free on the Red River. The River rose 4 feet (1.2 m) in the course of 24 hours. Rain is in the forecast and the higher temperatures of 17 °C (62.6 °F) will cause melting of snow and ice.

A weather system caused by La Niña is being watched by the United States National Weather Service and its potential effects between April 16-18 for residents along the Red River Valley. “We want people to be aware there is a very real possibility of the river going higher than what is out there,” said Mark Ewens, data manager at the NWS, “To have spring floods like this back-to-back is just an unfortunate series of events that have come along to plague us this spring. We’re wanting people to understand that this is a potentially serious problem.”

Friday, October 12, 2007

The Internet is very much present at the Frankfurt Book Fair 2007, not just, like in previous years, as a means for the journalists who have 80 workplaces for their own notebooks to report on the fair, but like before as a chance – and as a threat for rights-owners of digital media.

After a marginal existence in the previous year, bloggers have got their own “living room 2.0” at the fair, furnished with everything a blogger needs, including media attention. Every day from Wednesday October 10 to Sunday October 14 they will write and podcast about the big names to meet, the events not to be missed and their very personal experiences and thoughts. Three of the bloggers write in English, two English language podcasts are done, to widen the reach of the Book Fair 2.0. The blog entries and podcasts will be available until after the book fair at http://www.book-fair.com/en/wordpress/ and the bloggers themselves can be visited on the weekend at hall 4.2, Q411, though until now it is more the media and less the visitors of the fair, the bloggers come in contact with.

Digitalization and digital media, especially books and magazines offered digitally, are a hot topic at this year’s Frankfurt Book Fair, as more and more publishers want to see the digital counterparts of their traditional media not just as a field to be present in, but as a possible profit center. With scientific books, this move already was quite successful: Publishing house Springer for example, offering over 40,000 ebooks and over 1700 electronic magazines, of which over 1200 are still actively continued with Springer, nowadays does an ebook-variant of every traditional scientific book they print – and already has the largest part of their cash-flow from digital media.

This is harder for fiction publishing houses as the Pabel Möwig group (VPM), which has become active early. They do offer the digitized new adventures of – say, the outer-space-hero Perry Rhodan -, but the turnover is still only a small addition to the print and other media versions. Readers become readier to read on a screen, but their readiness is still growing slowly. Since a new generation of readers is growing up using the internet as a reference work – especially Google and Wikipedia – it will become more and more natural in the future.

A growing number of service companies in the publishing sector therefore offers re-digitalization apart from increasingly effective content management systems, with which new forms of media can easily be compiled from the contents of a data base.

Older works, of which the publishing house owns the rights, but for which a reprint might not be profitable, are scanned, divided into content sections and tagged. When the original type face isn’t good enough, books are typewritten in third world countries two or three times which are corrected and merged into a final version. Once in the system, digitalized books can be at disposal as MobiPocket ebooks or Print On Demand (POD) and with aid of the Amazon BookSurge program remain available, possibly even within 24 hours.

Digital content can also be used as a marketing-tool with the “Search Inside” from Amazon.com, where the full text of a book is visible but only small parts of the book are shown at a time.

Right after Amazon, Google also presented their own projects for the digitalization of books, where publishers have the option of just sending a box or container full of their books in printed form and leave the job of digitalization to Google, where afterwards their content will be findable with Google Book Search. The difference between those two internet services was obvious, though: Amazon wants to earn money with books, while Google’s business is advertising, their revenue model is AdSense and AdWords, targeted as perfect as possible with full text search. Both services had to answer questions as to how they will protect the content from unpaid exploitation, as probably fewer and fewer users will be willing to pay for a digital eBook when they can read the content for free, up to twenty pages at a time. The freeloader mentality of many Internet users was seen as a threat by many of the publishers.

Even without LaDainian Tomlinson and Philip Rivers, the Chargers made sure the Indianapolis Colts won’t repeat as Super Bowl champions.

Now San Diego must make sure it doesn’t repeat its last performance at New England.

That will be especially difficult without an injured L.T., who departed in the first half with a bruised left knee, and starting quarterback Rivers, who went out in the third quarter with a damaged right knee in the Chargers’ stunning 28-24 victory Sunday.

With Billy Volek at quarterback and Michael Turner as the main runner, San Diego went 78 yards on eight plays, with Volek sneaking in from the 1 with 4:50 remaining for the lead. The Chargers’ big-play defense then held on downs at its 7, and stopped Indy again in the final moments to preserve their eighth straight win.

To make it nine in a row and advance to their second Super Bowl — the other was a loss to San Francisco after the 1994 season — the Chargers will need all the resourcefulness they showed at Indianapolis. Being undermanned against undefeated New England hardly is an enticing prospect.

Still, with All-Pro cornerback Antonio Cromartie getting an interception and fumble recovery, and linebackers Shawne Merriman and Shaun Phillips plaguing Peyton Manning, the Chargers showed they have the ability to throw off any offense. Maybe even the most prolific attack in NFL history.

The Chargers didn’t come close against the Patriots in Week 2, falling 38-14. That was the beginning of a slide to 5-5 for San Diego, but the Chargers (13-5) are rolling now.

It was a gutty showing by Rivers, who threw for three scores — he banged his right knee on a 56-yard screen pass TD by Darren Sproles to end the third quarter. And Turner, who could be a starter elsewhere but usually sits behind league rushing leader Tomlinson, gave the offense the balance it desperately needed in the late stages of the upset, rushing for 71 yards.

The Chargers’ opportunistic defense, which led the league in takeaways (48) and turnover margin (plus-24), grabbed two interceptions — both on tipped balls — and a fumble. While San Diego couldn’t stop Manning’s offense from steadily marching downfield most of the game, it could make the key plays that get you closer to the Super Bowl.

Still, if Tomlinson is limited or sidelined, how much chance do the Chargers have against the perfect Patriots? Not to mention perhaps missing Rivers or tight end Antonio Gates, who courageously played much of the day on a dislocated toe.

For the Colts (13-4), it was a bitterly quick elimination from the postseason.

A year ago, they won three playoff games, then beat Chicago in the Super Bowl. They couldn’t recapture their touch on offense or defense this time, and a defense that allowed the fewest points during the season wore down against the equally physical Chargers.

Manning did throw for 402 yards, completing 33 of his 48 throws, but both interceptions killed deep scoring threats.

Rivers was 14-of-19 for 264 yards, and Volek went 3-of-4 for 48 yards in his clutch relief role. Vincent Jackson became Rivers’ top target and had seven catches for 93 yards and a score.

[edit]

Monday, April 6, 2009

Leaders and central banks in Russia, China, Malaysia, Indonesia, Thailand, and Kazakhstan have called for an international currency system.

Speaking on April 1 in advance of the G-20 summit in London, Russian president Dmitry Medvedev argued that the international finance system needed a “new construction” including “new currency systems”, saying that such a new system could be the purpose of a revamped IMF and World Bank. The IMF was originally founded in 1946 as the overseer of the Bretton Woods system, which from its founding until the 1970s tied the western world’s currencies to the US Dollar, which was in turn backed by gold. Russia’s proposal was for the new currency to serve as a reserve currency, one which would take the place of the dollar, euro, and other heavily-traded currencies as an international standard of exchange.

Medvedev’s comments are a reversal of Russian position from a lukewarm response following a looser outline for a worldwide currency by Kazakhstani president Nursultan Nazarbayev. On March 11, Nazarbayev suggested the establishment of the “acmetal”, a portmanteau of “acme” and “capital“, as a reserve currency replacing the ruble in international transactions, first for Central Asia and then worldwide. 1999 Economics Nobel laureate Robert Mundell, speaking to the Daily Telegraph, endorsed the idea, saying “It would be a very good idea if the G-20 took that idea up in London”.

2001 Nobel economics prize winner Joseph Stiglitz, meanwhile, said the new currency could come about quickly if it was based on an expansion of the IMF’s already established system of Special Drawing Rights, units of exchange used by the IMF which already have some of the features of currency. Stiglitz argued that, as the US dollar has become the standard global reserve currency, it has inadvertently created a system which hurts the world economy. “It’s a net transfer, in a sense, to the United States of foreign aid,” he argued, reasoning that when other countries purchase US dollars in order to use them on international markets (such as for the buying and selling of petroleum), they effectively give the US a zero-interest loan — sometimes at times when they can least afford it. Stiglitz made his comments as head of a United Nations panel of economists giving recommendations to address the global financial crisis.

In the weeks leading up to the G-20 conference, the People’s Republic of China also began discussing a new system for reserve currencies. In a March 23 speech, Zhou Xiaochuan, governor of the People’s Bank of China, endorsed a new reserve currency, saying “the desirable goal of reforming the international monetary system, therefore, is to create an international reserve currency that is disconnected from individual nations and is able to remain stable in the long run, thus removing the inherent deficiencies caused by using credit-based national currencies.” Zhou went on to endorse the expansion of the SDR system in the long-term creation of a reserve currency government by the IMF. While Zhou did not mention the US dollar specifically, analysis by Qu Hongbin, chief China economist for HSBC, for the Financial Times said that the speech “is a clear sign that China, as the largest holder of US dollar financial assets, is concerned about the potential inflationary risk of the US Federal Reserve printing money”.

China holds $740 billion as assets; inflation in the US economy, which has been low in recent years, would directly cause those assets to lose value.

While the Chinese government has engaged in currency swaps with several other growing economies, such as South Korea, Argentina, Malaysia and Indonesia, the Chinese Yuan cannot be used itself as a reserve currency as it cannot be freely traded on the global market.

The Chinese-Russian proposal was not entered onto the agenda at the G-20 meeting itself. Nonetheless, British Prime Minister Gordon Brown said that the G-20 was open to considering the proposal if and when a detailed one is presented. United States President Barack Obama, meanwhile, endorsed the continuation of dollar supremacy, saying that the US dollar is “extraordinarily strong” and arguing that its strength was the result of the intrinsic stability of the United States economic and political system; US treasury secretary Timothy Geithner had, the week before, made comments that while he supported an expansion in the SDR mechanism he rejected the idea of a global currency. Rather than change the role of SDRs, the G-20 meeting instead added $250 billion in support to the fund backing SDRs.

After the G-20 conference ended on Thursday, Malaysia’s The Star BizWeek reported that the central banks of Indonesia, Malaysia and Thailand had endorsed the Chinese proposal. All three countries have close economic ties with China and suffered heavily from the collapse of their currencies in the 1997 Asian Financial Crisis; the sudden growth in the value of the US dollar relative to those countries’ native currencies sharply increased debt in Southeast Asia’s economies, leading to a wave of bankruptcies.

International reaction from other economies has been mixed and guarded. Luiz Inacio Lula da Silva, President of Brazil, said that the currency proposal was important to discuss but did not give extensive comment. And while UPI reports that India supported the SDR proposal at the G-20 conference, the Indian Press Trust quotes Indian Prime Minister Manmohan Singh as saying last month, “It is too early to talk about common currency.”

Calls for an independent global reserve currency are not new. In 1944, John Maynard Keynes proposed the “bancor“, a unit like the SDR supported by a basket of commodities. Keynes’ idea was rejected and the US dollar took the equivalent role under the Bretton Woods system. Keynes proposed that the bancor system would be reinforced by a tax on participating countries’ current accounts, the difference between their exports and their imports, in order to encourage balanced trade. Meanwhile, monetary unions have become more popular since the end of the gold standard, with most of the European Union now trading the euro, and several countries outside the EU using it as a de facto currency; five West African countries adopting the eco at the end of this year; and the African Union planning to introduce the afro in 2028. Proposals for a North American currency union based around the so-called “amero” have been frequently discussed as the focus of conspiracy theories in the United States, but none of the US, Canada or Mexico have actively pursued the establishment of any such monetary union, however the dollar is the currency of several Latin American countries.