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Tuesday, March 31, 2009

Local municipal and provincial volunteers in Manitoba, Canada are exhausted in their efforts to divert the rising waters of the Red River of the North.

It has been hard work with little sleep for the residents who live on the shores of the Red River to shore up their defences with sandbags, build dikes, clear frozen culverts and break ice jams

Volunteers to spell relief for local volunteers and food are desperately needed.

“It’s a week now we’ve been doing this … you’re talking four, five, six public works guys. In my one community we’ve got 25 volunteer firefighters and those guys have been going 24/7, so of course it’s wearing them down.” said Paul Guyader, Manitoba’s emergency measures coordinator.

“We’re dealing with one of the biggest floods the province has ever seen,” said Steve Strang, mayor of St. Clements, Manitoba “We’ve put out hundreds of thousands of bags already. The municipalities are working very well, we’re working with the provincial government, we’ve brought in every possible resource we could to address this issue. The volunteerism within the community has been phenomenal.”

The Portage Diversion has taken some spring waters from the Assiniboine River and diverted the flow to Lake Manitoba.

Roseau River Anishinabe First Nation has been totally evacuated, as well as many homes near the Canada – United States border.

The cold weather is freezing the ice jams into place. Guyader has had 2 Amphibex Excavators operating on the river breaking up ice.

The Red River is right now 16.7 feet (5 metres) above spring ice conditions. The Red River Floodway gates cannot be opened with the current ice jams.

“If we operate now, we can get ice jamming going into the floodway, jamming up against the St. Mary’s bridge, as such, the floodway capacity would be reduced and would cause higher water levels in the city of Winnipeg.” said Steve Topping, Manitoba Water Stewardship spokesman

The floodway was constructed in 1968 following the 1950 flood to divert the overflow spring flooding waters of the Red River. The floodway has been widened the since the 1997 “flood of the century” and the expansion is expected to be completed this spring. As well Manitoba built permanent dikes around communities within the flood plain since the last two major floods..

The Red River waters will crest between the beginning of April to mid April, at which time also the weather should be warming up. Communities are bracing for higher water levels, more ice jams as well as melting snow in the warmer spring temperatures.

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.

Sunday, November 5, 2006

On November 2, Ted Haggard resigned from the presidency of the National Association of Evangelicals and his pastorship in the New Life Church after allegations that he repeatedly engaged in homosexual sex with a prostitute (Mike Jones) and used methamphetamine.

Haggard, a critic of gay marriage and homosexuality, is a leading social conservative voice. Author Jeff Sharlet reported that Haggard “talks to. . . Bush or his advisers every Monday” and opines that “no pastor in America holds more sway over the political direction of evangelicalism.”

In his church, Haggard preached “we don’t have to debate about what we should think about homosexual activity, it’s written in the Bible.”

On Wednesday Haggard denied knowing the male escort, Jones, but admitted Friday that he had summoned the escort to give him a massage in a Denver hotel room and bought methamphetamine from him. He then followed up and said, “I was tempted, I bought it, but I never used it.”

Wednesday, April 25, 2007

The Iranian police forces have faced criticism from Ayatollah Hashemi Shahrudi, the head of the judiciary who was appointed by Grand Ayatollah Ali Khamenei, for their re-invigorated campaign to do away with un-Islamic dress.

Ayatollah Shahroudi proclaimed, “Tough measures on social problems will backfire and have counter-productive effects.” Others have, of course, made it clear that un-Islamic dress can lead to moral corruption, engender innumerable vices, and hurt the Islamic character of the nation.

Some believe that no one had any issue with the creation of an Islamic atmosphere. The core of the matter revolves around the implementation of the Islamic dress code; additionally, heavy-handed measures should be shunned. For instance, Mehdi Ahmadi, information head of Tehran’s police, told Al Jazeera: “Some citizens may complain about the way the law is being enforced but they all agree with the plan itself.”

According to one student, “You simply can’t tell people what to wear. They don’t understand that use of force only brings hatred towards them, not love.” Nevertheless, Hojatoll-Islam Mostafa Pour-Mohammadi, Iran’s interior minister who is in charge of policing, prognosticated positive feedback from the populace when he said, “People are unhappy with the social and moral status of the society. They expect that the fight against social insecurity be properly implemented.” Thus, Hujjat al-Islam Pour-Mohammadi re-iterated the necessity of proper implementation and methodology towards the restoration of morality in the Islamic Republic. Islamic officials and religious people affirm that this is indispensable to promote righteousness, curb sin, and bring open sinners to justice.

Following the Islamic Revolution in 1979, hijab became mandatory in Iran for every woman including foreigners after over 98% of citizens voted for an Islamic government. Women may face caning up to 74 strokes for failing to observe hijab. In this recent crackdown, the authorities have arrested many citizens throughout the country. Not only have women been taken into custody for their hair being uncovered on their foreheads and tight clothes that show body shapes, For men they need to cover from knee to their waist as according to Sharia. Even a foreign journalist was detained because the photograph on her press card was indecent.

It has not been clear whence the directive for the re-newed clampdown emanated. Some have blamed Mahmoud Ahmadinejad while Gholam Hossein Elham, the government spokesman, stated to reporters, “The police work as agents of the judiciary to confront crimes. The government as an executive body does not interfere in the affairs of the judiciary.” The following pre-election speech seems to corroborate this latter statement:

Saturday, August 13, 2005

The Transport and General Worker’s Union and Gate Gourmet, the company that laid off 500 workers after workers staged unofficial strike action, will attend further talks held at a conciliation service by the Advisory Conciliation and Arbitration Service (ACAS) on Saturday.

The director of Gate Gourmet, Richard Wells, denied that he was being “heavy-handed” over the dismissals. He insisted that the people affected were spoken to, and given written warnings before they were sacked.

As a result of British Airways (BA) staff at Heathrow joining Gate Gourmet’s staff in the strike action, BA are running 50% of their short-haul flights, and 40% of their long haul flights today from 0600 BST/UTC+1. They are expecting to add more flights to the schedule as the day progresses, so passengers are advised to check the British Airways website.

Analysts said that the disruption may lose BA next to £40m because of the refunds that the company are paying out, loss of flight revenue, and the costs of accommodating passengers in nearby hotels.

Only passengers with confirmed reservations have been allowed to board flights at Heathrow. Barriers have been placed around Terminal 4 to stop people without reservations from joining flights. There are limited catering services on-board the flights.

British Airways advises passengers to telephone +44 (0)800 727 800 or check their website before travelling to the airport. They also said that they would refund customers that had to stay in a hotel on Friday night up to £100.

It is noted by passengers, though, that the advice line can be engaged for long periods, so users of the telephone line need to be patient.

Qantas, Finnair, GB Airways, Sri Lankan Airlines, and British Mediterranean are also affected, as they were serviced by BA’s ground staff. Their telephone numbers are listed below.

• Qantas: +44 (0)870 000 0123
• Sri Lankan Airlines: +44 (0)208 538 2000
• Finnair: +44 (0)8705 997711
• GB Airways: +44 (0)870 850 9850
• British Mediterranean Airlines: +44 (0)870 850 9850

Thursday, January 3, 2008

At 12:50 pm on January 3, a ski chairlift ride cost a German skier’s life and another German woman was left with serious injuries after the lift cable derailed from the mast sheaves in a windstorm. The derailed chairlift is the two-seater Fallboden lift at Kleine Scheidegg, next to the Jungfrau mountain in Switzerland.

Two more Australian tourists were lightly injured. About 20 further people had to be evacuated from the stopped chairlift. Wind velocity peaking at 90km/h prevented a helicopter from rescuing the trapped passengers, complicating the rescue.

According to 20min.ch, the lift was manufactured by Garaventa AG, a major Swiss ski lift company, now a part of an international group Doppelmayr/Garaventa. When contacted no one was available for comment.

Shortly before the accident, a wind alarm was activated few times by a 60km/h wind. The operator decided to close the lift and waited for the lift to unload all passengers; at the moment of the catastrophe the bottom station of the lift was already closed, but 75 passengers were still on the lift.

According to the Swiss law, every chair lift must be designed to withstand a lateral wind load of 250 newtons (approx. 25kg) per square meter. However there is no law limit at which wind speed or lateral loads the chair lifts have to be stopped. This safety aspect is left to the responsibility of the operator. The safety of the lift was checked by the Swiss Federal Office of Transport in January 2006. This chairlift accident is said to be the worst in Switzerland for the last 8 years.

Wednesday, December 5, 2007

Once you get a chance to talk to West Palm Beach, Florida native Whitney Cunningham, who placed seventh on the eighth cycle of the popular reality TV series America’s Next Top Model, you begin to understand what host Tyra Banks meant when she described her as the “full package.”

First of all, she is confident and headstrong, which is a must on these kinds of shows, almost as much as it is to take a beautiful modelesque picture. Second, she turns that confidence into drive. She has been receiving steady work as a model since leaving the show, and still believes that her goal of being the first woman to wear a size ten dress on the cover of Vogue is in reach. Third, and probably most important to television viewers, she obliterates the age-old model stereotype that to be pretty and photograph well, one must also be vapid and without a thought. A graduate of Dartmouth College, Cunningham also dreams of becoming a writer, and is working toward dual goals: a model who can express herself like no other model before her.

Cunningham recently sat down with Wikinews reporter Mike Halterman in an impassioned interview, taking hours to field questions from the reporter as well as from fans of America’s Next Top Model. Always in high spirits, Cunningham shows that she is a distinct personality who has carved her own niche in the Top Model history books. At the same time, she exhibits a joie de vivre that is oddly reminiscent of earlier Top Model fan favorite Toccara Jones, who showed America just how to be “big, black, beautiful and loving it.” However, Cunningham is quick to remind everyone that she isn’t big at all; she is simply a regular woman.

This is the first in a series of interviews with America’s Next Top Model contestants. Interviews will be published sporadically.

Sunday, August 21, 2005

A robotic system at Stanford Medical Center was used to perform a laparoscopic gastric bypass surgery successfully with a theoretically similar rate of complications to that seen in standard operations. However, as there were only 10 people in the experimental group (and another 10 in the control group), this is not a statistically significant sample.

If this surgical procedure is as successful in large-scale studies, it may lead the way for the use of robotic surgery in even more delicate procedures, such as heart surgery. Note that this is not a fully automated system, as a human doctor controls the operation via remote control. Laparoscopic gastric bypass surgery is a treatment for obesity.

There were concerns that doctors, in the future, might only be trained in the remote control procedure. Ronald G. Latimer, M.D., of Santa Barbara, CA, warned “The fact that surgeons may have to open the patient or might actually need to revert to standard laparoscopic techniques demands that this basic training be a requirement before a robot is purchased. Robots do malfunction, so a backup system is imperative. We should not be seduced to buy this instrument to train surgeons if they are not able to do the primary operations themselves.”

There are precedents for just such a problem occurring. A previous “new technology”, the electrocardiogram (ECG), has lead to a lack of basic education on the older technology, the stethoscope. As a result, many heart conditions now go undiagnosed, especially in children and others who rarely undergo an ECG procedure.