I appear to have once again accidentally bought some very rare expensive vintage sewing patterns at the op-shop for a couple of dollars.

Librarians, Start New Game

November-December 2019, American Libraries Magazine

For librarians at universities with videogame design programs, maintaining a large, accessible gaming collection isn’t a Final Fantasy. It’s a Call of Duty. Beginning a collection may be as easy as pressing start to play, but storing and preserving complex materials is a tough battle—and academic librarians want to level up.

The University of Michigan’s (UM) Computer Video and Game Archive (CVGA) in Ann Arbor boasts more than 8,000 videogames and 60 consoles dating back to the 1970s. “Because we have such a large collection, there are many examples from which to pull and get inspiration, things [students] would never be able to afford on their own,” says David Carter, videogame archivist at UM. “Almost nobody has a collection this big, especially a college student.”

“[People] don’t think of libraries as a destination for digital scholarship,” says Anne Morrow, associate librarian and head of digital scholarship services at the University of Utah’s J. Willard Marriott Library, which has more than 500 videogames and serves almost 400 game design students. “There’s an incentive to see what the obstacles are for bringing these types of original work into the collection.”

Objective: playability

As the owner of more than 2,000 commercial games, 300 student games, and 40 consoles (some as old as the 1985 Nintendo Entertainment System), the University of California, Santa Cruz’s (UCSC) Science and Engineering Library prioritizes authentic playability. Its goal is to provide students with not only a game but also the console it was made for, a compatible controller, and an era-appropriate TV to play it on.

With so many moving pieces, says Christy Caldwell, science and engineering librarian at UCSC, “providing usage of increasingly ‘antique’ [materials] is an ongoing challenge.”

UM has the same goal. “We don’t have to do a lot of tracking down, thankfully,” says Valerie Waldron, UM computer and videogame archive manager. About half of its collection is donated, and as with other academic libraries that own game collections, staffers turn to eBay if they need to repair or buy a missing item. Or they get creative.

“Something broke on our Atari 7800, and we actually 3D-printed a replacement part,” Carter says.

Why is maintaining playability of older games important? Students are mainly studying design and software. “What does the game look like, and what does the controller feel like?” Caldwell says. “Are you seeing something similar to what someone who played the game earlier would have seen and experienced?”

Students are also looking at artwork, game mechanics, subjects, and even source code as inspiration for their own games. “They’re using [archives] for competitive intelligence, and looking at what’s been done already,” says Tallie Casucci, assistant librarian at Marriott Library.

Space is another issue. At Marriott Library, students must go to different floors to pick up a videogame, grab a console and matching controllers, and actually play, since the stations are separated and require checkouts for loss prevention. “It’d be nice to have everything all in one place,” Casucci says.

In Ann Arbor, the CVGA houses both the collection and spaces to play the games on consoles, since the collection doesn’t leave the library. “It’s a very crammed room,” Carter says.

Save game?

UM staffers say they have two missions: to serve the teaching and research needs of faculty and students in order to promote usage of the games, and to preserve those games. “There’s an inherent tension. Usage is the enemy of preservation,” Carter says. “Academic usage trumps preservation. We don’t want to have something just to have it and not let people use it.”

After students from the Entertainment Arts and Engineering program at Utah lost all the materials for Erie, a popular student-made game from 2012, Casucci and Morrow investigated their options. With help from an Institute of Museum and Library Services grant, they published an ebook this fall on how to best archive, preserve, and disseminate student videogames.

“People have been looking at digital preservation seriously, [but] we haven’t made progress with objects that are really complex, like videogames, that have many interactions between files,” Morrow says. “We thought about the existing services in a library and how games might be supported by those services.”

“In our case, it would be the sheer number of analog games to process and store that would be difficult, especially year after year,” Caldwell says. “You’re asking people in cataloging who have never even played a game to suddenly start cataloging media. You need to support them.” The best way to do that, she says, is to develop accurate metadata and consistent, detailed cataloging practices.

But academic libraries still need to strategize.

At Marriott Library, Casucci and Morrow created a tiered retention system for archiving student games, through which students can choose the process that best suits their needs. In earlier tiers, students can contribute visuals such as screenshots or game trailers. As they go further into the system, students can contribute their games in their entirety, allowing future students complete access to its features.

Commercial games have not been forgotten. Carter and Waldron are finding ways to preserve legacy formats of videogames like floppy disks and cartridges. “We’re trying to discover ways of taking the game off its original format and creating an image for it,” Waldron says. “There are still a lot of things to work out, like how to store it properly, retrieve it, or put it back in its original format.” As for regular discs, UM keeps multiple copies and stores them in archival-quality sleeves behind the circulation desk.

According to Heather Maxwell Chandler’s Game Production Handbook, after producing a videogame, developers organize the game’s source assets and archive them in a closing kit—a common practice in the industry to help developers install updates or patches to their games. UCSC would like to implement closing kits down the line.

“The faculty wants to have a record of what students have created,” Caldwell says. “They want students to be inspired by what other students have done and build on that work.”

Carter and Waldron say that videogame preserving and archiving has been underdeveloped in libraries because it is still an emerging format. “Until recently, the history of the videogame industry has been left in the hands of private collectors,” Carter says. “Not to discount the work that private collectors have done—that’s one portion of preservation, but you need academic libraries in the mix.”

“For a long time, [game companies] weren’t really interested in preserving their games, either,” Waldron says. According to Kotaku, this is due to legal gray areas, lack of industry support, and turnover of games. “I think that’s slowly starting to change.”

Conquering copyright issues

Potential copyright problems exist in every layer of videogame collecting, especially regarding older materials with expired copyrights. In October 2018, a decision from the Library of Congress and US Copyright Office allowed institutions to lawfully own copies of older videogames if they were acquired from the original companies in order to make preservation copies—a separate challenge for librarians and archivists as many companies are no longer in business or have discontinued server support.

“Assuming that all videogames are governed by terms of use, it’s likely that any exceptions one would expect in the copyright law are not allowed,” says Carrie Russell, senior program officer and copyright specialist at the American Library Association. “If students are doing close analysis of the games or something similar, it’s likely that license terms don’t forbid just studying and researching the game unless the research involves the need to circumvent digital rights management (DRM) that may be employed by the rights holder.”

DRM is a form of copyright protection licensing for digital media implemented by embedding code that prevents copying, specifying a time period in which content can be accessed, or limiting the number of devices content can be installed on. For example, games with expired or maxed-out licenses may not be library friendly.

Another consideration is that certain PC games come with keys—a string of unique characters—that a user must input in order to play. “But then that [game] is registered, and it’s only good for one use,” Carter says. “If someone donates a PC game to us, if they’ve used the key, we can’t use that game. We have to somehow get another key.”

Currently, libraries’ and archives’ rights to preserve videogames are allowed under the Digital Millennium Copyright Act. “That exemption, however, will expire in 2021 and need to be requested again,” Russell says.

Student-made videogames are easier to preserve since students get to decide what university libraries can keep. The student work that libraries archive mostly consists of digital files. They can either archive the entire game or different elements of it, like an abstract, artwork, or gameplay footage.

“We never make the students put up everything,” Caldwell says. “They could say, ‘I don’t want to upload my actual code. I’ll upload my abstract.’”

Students can claim complete copyright of their games or use a Creative Commons license, which allows others to share, use, and build on their work. They can even decide if they want their work to be available to university affiliates or the public.

Librarians, too, try to educate students about the importance of archiving their work at the library, studying other games, and how copyright plays into both. “You have to believe that [students] are going to use [the collection] responsibly,” Caldwell says.

Next-level libraries

Librarians agree they’re just beginning to assimilate game scholarship into academic libraries; progress will continue as the industry and programs evolve.

Caldwell says librarians should be working collaboratively to keep games accessible by lobbying for copyright law exceptions, partnering with game companies, and improving metadata and catalog descriptions.

“Games are to the 21st century what films were to the 20th,” she says. “How long did it take libraries to start collecting film? I think what we can do is start working together sooner, because we’ve already lost so many games.”

UM also wants to encourage students who may not be game design majors to help normalize videogames in the library. “In humanities or social science classes, instead of writing a paper, students are creating games,” Carter says. “We’ve been working with the design lab [at UM] to figure out ways to support the lighter-weight aspect of game creation.”

“[Games are] a part of society,” Waldron says. “It speaks to what our culture is in any given era, like any other format.”

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Live subtitles, ticker tape, and real-time text that are considered “streaming text”. ★ COPYRIGHT CONTENT ★ Copyright is a type of intellectual property that gives its BBC Oneer the exclusive right to make copies of a creative work, usually for a limited time.[4][4][8][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself.[8][8][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. 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A tv set film (“made-for-TV movie” or “televisioBookmark this siten movie”) is a film that`s initially broadcast on television instead of released in theaters or direct-to-video. Television shows may very well be Bookmark this sitehey are broadcast in real The Drama with Grandpa (live), be recorded on home video or an electronic video recorder for later viewing, or be looked at on demand via a set-top box or streameBookmark this sited over the internet. The first television set shows were experimental, sporadic broadcasts viewable only within an extremely short range from the broadcast tower starting in the. Televised events such as the 888 Summer OlyBookmark this sitempics in Germany, the 888 coronation of King George VI in the united kingdom, and David Sarnoff’s famoThe Drama with Grandpa introduction at the 8 New York World’s Fair in the The Drama with Grandpa spurreBookmark this sited a rise in the medium, but World Drama II put a halt to development until following the Drama. The 848 World Movies inspired many Americans to get their first television set and in 848, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern type of entertainment which could attract advertisers. The firsBookmBookmark this siteark this sitet national live tv broadcast in the The Drama with Grandpa took place on September 4, 85 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San FraThe Walking Dead: World Beyondco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. ★ STREAMING MEDIA ★ Streaming media are multimedia media that are continuously received by an end user and presented to an end user while being provided by a provider. The verb to be streamed identifies the process of providing or receiving media in this way. [Clarification required] Streaming identifies the delivery method of the medium rather than the medium itself. The distinction between the delivery method and the distributed media is particularly true for telecommunications networks, as most delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or not streaming by nature (e.g. books, video cassettes, sound CDs). There are challenges associated with streaming content on the Internet. For example, users whose Internet coStarzection does not have sufficient bandwidth may experience stops, delays, or slow buffering of this content. And users who lack compatible hardDramae or softDramae systems may have problems streaming certain content. Live streaming is the delivery of Internet content in real time, similar to how live television broadcasts content over the air with a television signal. Live internet streaming takes the form of source media (e.g. a video camera, sound interface, screen capture softDramae), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and serve that content. Live streaming does not need to be recorded at the point of origin, although it is often the case. Streaming is an option for dBBC Oneloading files. The end user receives the full file for the content before viewing or hearing it. Streaming allows an end user to use their media player to begin playing digital video or audio before the entire file has been transferred. The term “streaming media” can apply to media other than video and audio, such as: B. Live subtitles, ticker tape, and real-time text that are considered “streaming text”. ★ COPYRIGHT CONTENT ★ Copyright is a type of intellectual property that gives its BBC Oneer the exclusive right to make copies of a creative work, usually for a limited time.[4][4][8][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself.[8][8][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][8][8][44][44] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[48] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[44] Typically, the public law duration of a copyright expires 50 to 44 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[8] ★ GOODS OF SERVICES ★ Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date.[4] In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people. The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment.[4] Credit is extended by a creditor, also knBBC One as a lender, to a debtor, also knBBC One as a borrower.

★ Instagram: https://www.instagram.com/ ★ Facebook: http://www.facebook.com/ ★ Twitter: https://www.twitter.com/

In today’s highly competitive working environment, almost every other individual knows what Intellectual Property (IP) is and that the protection of IP assets is a matter of paramount importance. Patents, copyright, and trademarks have been the most widely recognized forms of IP to date; however, there are other forms as well, including geographical indications and industrial designs, which have been gaining attention in the past few decades. A still-new form of IP that has gained recognition in the past two decades is trade secrets, which we shall be discussing here in this blog.

In simple terms, trade secrets are Intellectual Property Rights (IPRs) granted on confidential or sensitive info, which may be licensed or sold.

The North American Free Trade Agreement defines a trade secret as “Information having commercial value, which is not in the public domain, and for which reasonable steps have been taken to maintain its secrecy.”

The Uniform Trade Secrets Act (UTSA), 1970 also provides the definition of trade secrets, which is:

“Information, including a formula, pattern, compilation, program device, method, technique, or process that:

Derives independent economic value, actual or potential, from not being generally known to, and not being readily ascertainable by proper means by other persons who can obtain economic value from its disclosure or use; and

Is the subject of efforts that are reasonable under the circumstances to maintain its secrecy.”

After going through all the definitions mentioned above, we can say a trade secret refers to any piece of info or data relating to a brand or business that is generally not known to the public at large and for which its owner puts in a sincere effort to maintain its confidentiality. A trade secret gives a competitive edge to brands and businesses over their rivals in the industry. Kindly note that:

Almost every type of info, process, or data can be referred to as a trade secret only if it is intended to be kept secret and involves the economic interest of the owner.

Eligibility Criteria for Trade Secret Protection

For any info to qualify as a trade secret, it must, in general, be:

Commercially valuable as it is a secret;

Known only to a limited set of people; and

Subject to adequate measures and steps that are to be taken by the owner of the information to keep it a secret, which includes the use of confidentiality and non-disclosure agreements for business employees and partners.

*Any unauthorized disclosure, use, or acquisition of a trade secret in a way contrary to honest commercial practices by others is deemed as an exceedingly unfair practice and an infringement of Trade Secret Protection.

Information Protected by a Trade Secret 

Generally, any confidential piece of business info that provides a competitive edge to a company or firm and isn’t known to others may be safeguarded as a trade secret.

Trade secrets comprise both technical info, including designs and drawings of computer programs, pharmaceutical test data, information concerning manufacturing processes, etc., and commercial info, including the list of clients and suppliers, distribution methods, marketing strategies, etc.

Additionally, a trade secret may consist of a combination of elements, every element of which by itself lies in the public domain, but where the entire combination kept as secret provides a competitive edge in the industry.

Other pieces of info that may obtain trade secret protection include formulas, recipes, financial info, and source codes.

Protection Offered by a Trade Secret

As per the legal system prevalent in different nations, the legal protection offered by a brand or business secret forms a crucial part of the general protection offered against unfair competition or is based on the specific laws and provisions concerning the protection of confidential information.

Although the final decision of whether or not a trade secret is infringed upon varies from one case to another, unfair practices concerning confidential info usually include breach of contract, industrial or commercial espionage, and breach of confidence.

It is essential to note that the owner of a trade secret can’t stop others from using the same commercial or technical info in the scenario where they acquire or develop the said info independently through R&D, marketing analysis, reverse engineering, etc. Furthermore, since trade secrets aren’t disclosed publicly, they do not provide ‘defensive protection’ for being prior art, which exists in the case of patents. For instance, let us assume that there is a particular method for producing a product ‘A’ that has been protected by a trade secret. Now, some other person can obtain patent or utility model protection on the same invention only if he arrived at that invention independently.

Preventative Measures for Safeguarding a Trade Secret

Business companies and firms should take the following preventive measures for safeguarding their trade secrets against misappropriation or theft:

The employees and business partners of a firm should sign a Non-Disclosure Agreement (NDA) to prevent the disclosure of any piece of confidential information.

The employers of a firm should sign a Non-Compete Agreement (NCA) with the consultants, contractors, and employees to prevent them from entering into competition upon the termination of their employment or service agreement.

There should be robust infrastructure in place for IT security.

A person in every company should be in charge of controlling the accessibility of critical documents. ✅ For more visit: https://www.kashishipr.com/

blocked.zip | soonyoung (i)

genre: comedy, “fbi agent” au | fbi agent!soonyoung x reader summary: you’ve gotten away with downloading a lot of copyrighted content in the past, but now the fbi agent assigned to you has had enough of it word count: 1738 a/n: you know that fbi agent joke thing going around? i thought it was funny and soonyoung’s funny so i mean it fits. this is a word vomit. warnings include swearing

part ii

“Ugh,” you groaned as you tried to ‘legally’ download a youtube file as a .mp3 format for the third time. Each time you tried, the unusually usual mysterious and invisible window would pop up on the screen for a second and disappear the next, with you stuck on the same website and the file failing to download.

“Can’t you just buy the song?” your roommate asked as she sat across from you at the dining table.

“And throw away like, $2.00? No, thanks.”

“Pirating files is super dangerous these days! Haven’t you seen the news? There are like, FBI agents that are watching you through your webcam. Or-or how your phone and Google can detect your voice, hear what you’re saying while you’re just having a casual conversation, and show you ads that are similar? Watch, let’s test it out,” she said, clearing her throat. “Oh, no! Looks like we ran out of coffee. I really wish we had some coffee right now! I love light roast and blond coffee blends -”

“Shut up, you really believe in that stuff?” you scoffed as you properly categorized your newly downloaded song file in your library.

“Of course I do! Didn’t you see that one video where that girl bought a laptop online and the camera was always on, but she ignored it and went about her day, but a couple of months later, some creep broke into her house and murdered her!?”

“Well, yeah, that was scary… but I taped over the webcam! That has nothing to do with me trying to enjoy my favorite band’s music for free. Appreciating art shouldn’t cost so much money. And besides, this isn’t some post-Y2K paranoia era anymore. Remember when we were so scared as kids when we pirated songs off of Limewire? The FBI has become way more lenient these days ~”

“Whatever you say, _____, but don’t say I didn’t warn you when some weirdo American gets access to your webcam and watches you changing ~”

“I’ll keep that in mind,” you muttered. “Ok, on to their next album…”

“Soonyoung, what the hell!” Jihoon scolded him in his office. A slumped and embarrassed Soonyoung sat in front of Jihoon’s desk as he listened to yet another lecture about not keeping a close eye on your internet activity. But it wasn’t his fault you bent the law so often! “Are you not paying attention to your person again? How many times do I have to tell you to not watch Naruto on the second monitor!?”

“I’m not, I swear! And I am paying attention to her! She’s downloaded like, five albums of different artists in the past twelve hours, how am I supposed to keep up with that!?”

“That’s what the ads are for!”

“I’ve tried, Jihoon! She has an ad-blocker for the ad-blocker! She always finds a way to stop me! You know how there isn’t a cure for the common cold because it adapts and evolves so often? She’s exactly like that!”

“Try harder. You’re a FBI agent, for Christ’s sake. You have access to basically their entire internet history and activity! There’s always a way around it, trust me. Start by sending her a threatening message, or something, to slow down the downloading.”

“Just message them? Can we do that…?”

“Of course we can. It’s just like an email. Just be like, ‘hey, we’ve noticed some suspicious activity on your laptop, please refrain from blah blah blah,’ and that’s it.”

“And if that doesn’t work?”

“Just say you’re in the FBI or something, that usually scares them.”

“I mean, I am in the FBI…”

“Then there shouldn’t be a problem. Hurry and watch her activity before she pirates all of Weightlifting Fairy Kim Bok Joo. Your report says that was her latest search.”

“Fuck,” Soonyoung cursed before running out of Jihoon’s office.

When he got back to his desk, it was already too late. On the screen that monitored your internet activity on your laptop, the screen showed that you were already in the middle of downloading episode three.

“Oh no, you don’t.” Soonyoung practically keyboard-smashed a bunch of codes onto the screen that paused your downloading process.

“What the hell!” he heard you screech into his headset. “Are you kidding me!?”

“Now’s my chance.”

On the other side of the screen, you quit your browser and tried to redownload the third episode for the third time, but the download kept failing. That was it, you were going to take your laptop to a Genius bar, or something -

“You have (1) Unread Message,” your laptop chimed.

With hesitation, you opened the suspiciously red message. “Hello, _____,” you muttered aloud. “We have noticed some suspicious activity on your computer. Remember to please refrain from downloading any copyrighted… blah blah blah… Oh shit, hey, take a look at this!” you called your roommate.

“What’s up?”

“The FBI’s watching me!” you snorted.

“Why is she laughing!?” Soonyoung asked his lonely cubicle.

“Why are you laughing!? Oh, my God, see I told you this was going to happen! Look at what you did, now I bet they’ve hacked into my laptop, too! We are so screwed! We’re going to get arrested!” your roommate panicked. “I bet they’re listening to us right now! _____, shut down your laptop - no, burn it -”

“Relax, will you! It’s just a prank, or something! Or another pop-up ad!”

“I’ll show you a pop-up ad…” Soonyoung scoffed. On his end, he coded another message onto your laptop screen. He was probably getting a little carried away with a second message, but clearly you weren’t listening, and Jihoon did tell him to get more serious with this job. He’s not hurting anyone, anyways.

The next message popped up on your laptop screen for you and your roommate to see.

“‘This isn’t a prank’…” your roommate whispered. “This isn’t a prank… This isn’t a prank! Oh, shit, they really are listening to us!”

“No fucking way,” you cursed. “Ok, Mr. FBI agent, if this isn’t a prank, then… what’s our Wifi network?”

“‘PrettyFlyforAWiFi.’ Holy shit, this is real, this is happening right now,” your roommate panicked.

“Shut up! What was my most recent search?”

After scrolling through your history for several minutes, Soonyoung replied with, ‘How to clean wine stains.’

“Do you know our cat’s name…?”

‘Truffle.’

“Holy shit.” You began to laugh quite hysterically, still unable to believe that you had a real FBI agent assigned to you and was currently chatting it up with you and your terrified roommate. Your mind began to flash back to all the embarrassing and, um, not so appropriate searches you’ve done in the past. Everything you’ve ever searched, downloaded, basically have seen on the internet, this person has seen you do it.

“Burn it,” your roommate threatened. “Or I’m gonna do it.”

“No, I can’t afford another laptop right now! Besides, I bet you have an FBI agent assigned to you, too.”

“Yeah, but at least I won’t go to jail for downloading illegal content.”

“That’s true…”

“You won’t go to jail, dumbass.”

Both you and your roommate stopped moving when your laptop began to speak. Now this was really starting to get scary.

On Soonyoung’s end, who was tired of typing out all of his proof and explainations that have been ignored as you and roommate bickered, he decided to finally turn on his microphone on his headset and do the absolute unspeakable - talk to his assigned citizen. Soonyoung was already in deep shit with Jihoon and the entire agency anyways, so he might as well dig deeper.

“You won’t go to jail now, but if you keep downloading and torrenting so much stuff, you will.”

“It’s a boy,” you stated. “My FBI agent’s a dude. Ok, that, in some form or another, has to be illegal, too, like that’s just not safe or fair!”

“Life isn’t safe or fair.”

“Are you my mother now? My FBI agent mother?”

“I can’t believe you’re arguing with your laptop,” your roommate said as she walked away from you. “Don’t bring that thing near me until you figure out your legal problems!”

You sighed dramatically so that Soonyoung could hear you from the other side. It was just the two of you now, face to face - sort of - waiting for the other person to break the ice.

“So I’m not going to jail, right?”

“No, but I’m assigned to watch over your internet activity still. If your excessive illegal downloading continues, I’ll have to have you arrested.”

“Then how long until I’m in the clear?”

“Either until you get a new laptop and a new agent assigned to you or as long as I deem necessary.”

“So we’re basically stuck with each other, huh?” you asked.

“Unfortunately.”

“Cool… Well, since we’ll be working together for quite some time, I’ll intoduce myself first. Hi, my name is _____.”

“I know.”

“… Of course you do,” you dead panned. “And you are…?”

“Soonyoung.”

“What a nice name for a scary FBI agent man. Do you know what I look like…?”

“I can only see you when you turn on your webcam.”

“That’s so weird!” You felt the strong shivers creep up your spine at the thought of some strange man looking at you while you webcammed with your friends or classmates. The corners of Soonyoung’s lips twitched slightly at your strange, scared noises. “Please tell me you’re not some old man with a tub of lotion by your desk.”

“We’re the same age.”

“Damn, you know my birthday, too! But somehow knowing we’re the same age makes this all less creepy.”

“That’s… good?”

“I’m not too sure, either. Now that we got formalities out of the way, I’m going to continue downloading this episode if that’s ok with you.”

“What!?” Soonyoung screeched into his mic. “No, that’s not ok! I just told you that you could get arrested!”

“Yeah, but you seem cool!”

“There are dozens of free streaming websites for that show, why do you have to download each episode!?”

“It’s not the same.”

“Oh, my God,” Soonyoung sighed as he pinched the bridge of his nose harshly.

You were going to have a lot of fun messing with Soonyoung.

EU To Require Tax on Web Links and An Upload Filter To Screen All Content

The European Union (EU) is in the process of voting on a “copyright reform” package, which will fundamentally change the internet for European citizens, and possibly the world, and it will change the internet for the worse. As discussed by the Free Software Foundation Europe (FSFE) in an open letter:

“Your mobile device, your car, your Wi-Fi router at home, your television, the airplanes in which you travel, all contain Free and Open Source Software. This widespread reuse is possible because Free and Open Source Software can be shared openly, studied and customized to meet any need.

The EU is getting ready to vote a “Copyright Reform” package which fundamentally undermines the foundations upon which Free and Open Source Software is built. The proposed Article 13 of the EU Copyright Directive targets every online service that allows its users to upload and share content with each other, including code hosting platforms.

Under this proposal, code hosting platforms will be compelled to prevent any possible copyright infringement by developing fundamentally-flawed filtering technologies. These filtering algorithms will ultimately decide what material software developers should be allowed to share.

As a result of this ongoing copyright review, every user of a code sharing platform, be they an individual, a business, or a public administration, is to be treated as a potential copyright infringer; their content, including entire code repositories, will be monitored and blocked from being shared online at any time. This restricts the freedom of developers to use specific software components and tools, which in return, leads to less competition and less innovation. Ultimately, this can result in software that is less reliable and a less resilient software infrastructure for everybody.

We, individuals, developers, organizations, and companies that develop or rely on the Free and Open Source Software ecosystem call upon European decision makers to protect open, collaborative software ecosystems. We call upon European policy makers to fundamentally rethink or delete Article 13 of the EU Copyright Reform in order to avoid the threat it poses for Free and Open Source Software.

Save Europe’s digital future, by making sure that there is a re-think or deletion of Article 13 in the EU Copyright Reform.”

Needless to say, after reading what the FSFE wrote, this is indeed very bad for the internet. This will undermine Free, Libre, and Open Source projects such as Linux, Android, Google Chrome, Mozilla Firefox, WordPress, and even many cryptocurrency programs. Furthermore, it can even potentially affect our memes, because upload filters, or as the EU calls them “censorship machines,” can’t tell if an image is under fair use rules, or if it is a legitimate copyright issue. We see this issue all the time with YouTube creators being flagged for copyright issues and having to be manually reviewed to prove they are under fair use or legal use. I know; I myself was flagged a few times on Twitch for using Backwordz music, despite prior permission from Eric July himself on the Being Libertarian team. But now the EU is going to require that for every single website that accepts uploads, no matter the size. So even we at Being Libertarian, were we to be located in the EU, would require an upload filter for when documents are submitted to us via guest contributions.

Aside from the damage that an upload filter would cause, the requirement for an EU link tax is just as destructive to our internet. The internet was intended from the very beginning to be a way to freely exchange information, however, Article 11 of the copyright reform package would change that, as well as revisit a failed policy which both Germany and Spain have tried to employ prior. What ended up happening was instead of getting companies like Google and other publishers to pay for the links, article excerpts, and previews, all those companies merely stopped linking to content which originated from Germany and Spain. But, to make it even worse, the European Commission (the governing body of the EU) will allow each of the EU member states to decide how the link tax should work, which appears to be counter-intuitive to the entire goal of creating a “digital single market.” This will create a lot of confusion and fracturing in the EU digital economy, which may cause a lot of companies to simply stop linking to certain parts of the EU, or even the EU as a whole. That would mean there could be potentially 27 completely different taxes and rules regarding linking in the EU. This fracturing of digital laws is actually a major reason why Netflix and other related services took so long to arrive in most of Europe.

The other impact of the link tax is that it could significantly decrease the number of hyperlinks we find on the internet, meaning the world wide web as a whole could be less connected with each other. But, another consequence is the link tax could give even more tailwind to fake news and propaganda, because real publishers may require a fee to link to their content, but fake news outfits could potentially allow linking for free. After all, the main goal of fake news and propaganda is to spread it as much as possible, and when fake news and propaganda is more easily found and available than legitimate news, we will have a huge problem. Furthermore, the link tax appears to be a violation of the Berne Convention, which guarantees news websites a right to quote articles and press summaries.

These two parts of the copyright reform certainly are the most controversial, but simple freedoms we take for granted in the USA, such as the ability to take a picture wherever we please in public, do not exist in some EU countries, nor is it even mentioned in the new copyright reform directive. Overall, this copyright reform will impact businesses both in the EU and abroad far more than the GDPR recently introduced in the EU ever did. All we can really do is push for EU citizens to contact their MEPs and express their disdain for this bill. The reality is, if the new copyright directive passes, most American companies may decide the EU is no longer worth sharing links to, which most likely wouldn’t be a positive outcome for the EU as a whole.

If you’re an EU citizen and would like to express your opinion to your MEPs, Mozilla has created a free calling tool, while the Electronic Frontier Foundation (EFF) and multiple European groups have developed an easy web tool to email your own MEPs.

The post EU To Require Tax on Web Links and An Upload Filter To Screen All Content appeared first on Being Libertarian.

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Licenses Introduction

Suggested Reading Time: 12 min

Copyright belongs to Xiamen University Malaysia Open Source Community Promotion Group (for Community Service course)

*WeChat Public Account: XMUM_OSC

Follow the preceding part, it seems open source software is necessary in our daily life. Microsoft, Amazon, Tencent, Alibaba and other well-known companies are users of Linux, a widely used open source software. The Android phones we use today are also based on Linux. This article will discuss the trade-offs and protocols of open source software.

 What Rights Does Open Source Software Give Up?

Take the common GPLv3 license agreement as an example, the software using the GPLv3 open source license. This agreement guarantees the software users four freedoms: freedom to use, freedom to modify, freedom to share and freedom to share the modified version.

Under the Copyright Act, briefly speaking, open source software conditionally waives the following rights.

Copying rights: Users can copy and run software.

Protect the right of integrity and modification: users can modify the software.

Distribution right, information network dissemination right: users can provide copies to the public in various ways.

Adapt rights: users re-customize the software to form new software. However, when distributing the source code, the distributor should provide the copyright notice, the GPLv3 agreement notice and additional terms, the non-warranty notice and the original GPLv3 text. If a modified version of the source code is disseminated, the communicator must not only comply with the above provisions, but also provide the modification and the date of the modification, other additional conditions, grant the entire software the GPLv3 license (the embodiment of infection), and indicate the relevant legal notices in the user interface. If a program is disseminated, that is, a program generated by the source code, the propagator must not only comply with the above requirements, but must also disclose the source code in a specific way. The most important condition attached to the GPLv3 agreement is "infectious," which means that the use of all or part of the GPLv3 open source software in the developed software will make the new software also become GPLv3 open source software. GPLv3 makes no explicit mention of authorship, which means that open-source software does not waive authorship. In addition, GPLv3 does not mention the right to the software name, so the software name is subject to the Trademark Law. For some commercial abuse, the author can consider to defend his rights from the perspective of trademark.

 Commercial and Licensing of Open Source Software

There are some common queries of Open Source Software: Is open source software commercially available? Now that open source software is so popular, can it be used as a commercial software? How does it work?

If you're using open source software and you're trying to sell it for money, or you're trying to advertise it, you can, if you're brave enough. What do you mean?Open source software all have the use agreement, your secondary processing commercial software, as early as in the open source agreement to write clear, open source agreement has many kinds, allow the commercial agreement or the majority, regardless of whether you are commercial, but, allow the closed source agreement is not so much, and your commercial software must be closed source.

What will happen if you use them really in business? If you hide well, outsiders can not recognize that your software is using open source components, then nothing happen. If you are being seen through, but the corresponding open source author doesn’t know this situation, and that's fine. If open source author knows, but is lazy to prosecute you, also have nothing to do. If the author sent you a lawyer's letter, but you have the capacity of winning the case, you are still fine. If you lose the case, but you are a deadbeat, you are still fine.

MIT, BSD is business friendly.There are also some foreign companies that rely on open source software, regardless of the protocol you choose, using the way of service charge. It can be commercial, but you have to open source it as well.

A lot of open source software is used in business, but most do not make money by selling software, but earn fees, such as training how to use or have a problem how to solve, if the customer has other special additional requirements can be customized development, these services are generally charge, also have on the advertising or donation revenue in the software. The commercialization of open source software depends on the relevant open source agreements. Some software is not allowed for commercial use. Some software is allowed but you can not change the code to re-release. Some software if you use open source code, then your software should be open source, and so on.

As is mentioned above, the modification, distribution, and other operations of open source software, while free, is not unconditional. Instead, it is subject to the rules of various (mostly American) private open source software groups, known as licenses.Each license can be thought of as a lengthy license contract.This section provides a brief description of common licenses.

 Mainly Used Licenses of Open Source

1. GPL

The GNU GPL (General Public License) provides the source code for any software and its derivatives, allowing them to be freely used, modified, and distributed. The GPL is the foundational license of the open source software movement. With the GPL, the derivative software modified by the software is still required to apply the GPL, which means that the GPL is contagious. In other words, if a piece of code in the entire software is GPL-compliant, then the entire software must also be GPL-compliant and open source -- which is not very business-friendly. Therefore, when developers do not have license awareness but use a contagious license like the GPL for commercial software products, there is no doubt that there will be a large legal risk.

2. LGPL

The infectivity of the GPL causes problems for the libraries used by the software. For example, according to the GPL, if a piece of software is linked to a library of the GPL, the software and the library to which it is linked are legally derived software, so the derived software needs to be open source. To address this flaw in the GPL, there is the LGPL license. When a library is released of the LGPL, the software linked to the library can be LGPL or GPL compliant; in other words, the source code can not be disclosed. This feature of the LGPL removes barriers to the commercialization of software with the GPL.

3. MPL

MPL stands for Mozilla Public License. MPL is similar to LGPL and a weak license between the GPL license and the lenient license. The main difference is that LGPL is for libraries, while MPL is for individual files. In the case of mixing your independently developed files with other files into one project, the independently developed files are also required to be open source while the other file conform to the GPL license; While other files conform to the MPL license, independently developed files can have their source code hidden. This means that files accord with MPL can be combined with closed source files, and files of MPL will continue to maintain their MPL state.

4. BSD

Berkeley Software Distribution License BSDL is the Berkeley Software Distribution License written by the University of California, Berkeley. The BSD license consists of an original 4-sentence license, a modified 3-sentence license, and a simplified 2-sentence license. BSD refers both to the license itself and generally to this class of less restrictive and permissive licenses. The BSD, MIT, and Apache licenses are loose licenses that allow modified derivatives of software under those licenses to be distributed as closed sources.

5. MIT License

The MIT License, namely the open source license of Massachusetts Institute of Technology, is the simplest and so far the most popular of the many licenses mentioned in this article.

6. Apache License

Apache License is issued by the Apache Software Foundation. The Apache license for version 1.1 is similar to the BSD license and the MIT license. The Apache 2.0 license which is released in 2004 included two patent clauses. Therefore, it was considered to offer the best patent protection among the lenient licenses. 

Can we customize a license without using the above license? 

The answer is yes, but it is not necessary. For there are hundreds or even thousands of off-the-shelf licenses to choose from, and in view of compatibility reasons, it's best to use off-the-shelf licenses. In addition, using common licenses will make your project easier for others to understand. Therefore, the most important decision is to choose between a grant license and a lenient license. In many cases, the selection of license is limited by the choice of its predecessor. Without selecting a license, laws such as copyright law come into force and source code does not automatically enter the public domain. This means that the corresponding source code that contributes to a project cannot be modified or distributed by others.

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New Post has been published on http://yaroreviews.info/2021/05/facebook-loses-bid-to-block-ruling-on-eu-u-s-data-flows

Facebook Loses Bid to Block Ruling on EU-U.S. Data Flows

Facebook Inc. FB 3.50% lost a bid to block a European Union privacy decision that could suspend its ability to send information about European users to U.S. computer servers, opening a pathway toward a precedent-setting interruption of its data flows.

Ireland’s High Court dismissed Friday all of Facebook’s procedural complaints about a preliminary decision on data flows that it received in August from the country’s Data Protection Commission. It rejected Facebook’s claims that the privacy regulator had given it too little time to respond or issued a judgment prematurely.

The preliminary decision, which the court stayed in September pending its decision, could, if finalized, force the social-media company to suspend sending personal information about EU users to Facebook’s servers in the U.S.

While Friday’s court decision is a procedural one, the underlying questions are central to trans-Atlantic trade and the digital economy. Legal experts say the logic in Ireland’s provisional order could apply to other large tech companies that are subject to U.S. surveillance laws, such as cloud services and email providers—potentially leading to widespread disruption of trans-Atlantic data flows. In the balance are potentially billions of dollars of business in the cloud-computing, social-media and advertising industries.

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Ireland’s DPC leads enforcement of EU privacy law for Facebook and other companies that have their European headquarters in the country. The commission still needs to finalize its draft decision ordering a suspension of data transfers and submit it to other EU privacy regulators for approval before it becomes effective. That process could take months, before counting any further court challenges.

If the order is put into effect, Facebook will likely have to re-engineer its service to silo off most data it collects from European users, or stop serving them entirely, at least temporarily.

The social-media company said that Friday’s court decision was procedural and that it planned to defend its data transfers before the DPC. It added that the regulator’s preliminary decision could be “damaging not only to Facebook, but also to users and other businesses.”

The DPC said it welcomed the judgment.

The Wall Street Journal reported on Ireland’s move in September. Facebook challenged the decision in court days later, arguing that the regulator had suggested a preliminary conclusion too hastily, without awaiting guidance from other EU regulators.

The move was the first significant step EU regulators had taken to enforce a July ruling from the bloc’s top court about data transfers. That ruling restricted how companies like Facebook could send personal information about Europeans to the U.S., because it found that Europeans had no effective way to challenge American government surveillance.

How Ireland’s DPC enforces the ruling is being closely watched, because it leads EU privacy enforcement for several other big tech companies, including Alphabet Inc.’s Google, Apple Inc. and Twitter Inc., which have their European headquarters in the country.

SHARE YOUR THOUGHTS

How do you expect the battle over big-tech privacy protections to play out? Join the conversation below.

Friday’s decision comes as countries world-wide increase measures to take control of where data flows. Last year, the U.S., under former President Donald Trump, attempted to force the Chinese parent of video-sharing app TikTok to divest the company to prevent data on American users being shared with Beijing. The plan was shelved under President Biden.

After the EU’s Court of Justice decision last summer, tech lobbyists initially signaled optimism that data flows might remain largely unaffected, with only contractual changes necessary. But since then, EU regulators, in addition to Ireland, have started issuing orders to suspend some data transfers. In April, Portugal’s privacy regulator ordered the national statistics agency to stop sending census data to the U.S., where it was being processed by Cloudflare Inc.

“The preliminary order from the DPC is concerning as it could jeopardize data flows from Europe to the U.S. for a wide range of companies,” said Alexandre Roure a senior manager of public policy for the Computer & Communications Industry Association, which represents companies including Facebook, Amazon.com Inc. and Google. “Europe is unlikely to meet its digital aspirations and become a ‘world-class data hub’ if it can’t even connect with its main trading partners in the first place.”

Orders, even if only preliminary ones, to stop sending data to the U.S. are a major shift in more than two decades of wrangling over how to balance privacy and commerce when it comes to trans-Atlantic data flows. In 2015, the EU’s top court invalidated a major legal mechanism for transferring such information to the U.S. But the threat ended up being mostly theoretical: No company faced a specific order to stop sending personal information, and the data flows never stopped.

Now, some lawyers say resolving the issue could require changes to U.S. surveillance laws to give more legal rights to Europeans. It could also become a spur for the U.S. to adopt broader privacy legislation.

“With trans-Atlantic data flows vital to both economies, the EU cannot afford to become a data island, nor the U.S. a data pariah,” Cameron Kerry, a former general counsel and acting secretary of the U.S. Department of Commerce, said earlier this year.

Write to Sam Schechner at [email protected]

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Microsoft is throwing its weight behind a European effort to force Big Tech companies to pay for the right to link to news articles. Google and Facebook have strongly opposed such proposals in both Europe and Australia, describing them as an attack on the open Web. Microsoft disagrees.

"Access to fresh, broad, and deep press coverage is critical to the success of our democracies," said Microsoft Vice President Casper Klynge in a press statement.

Specifically, Microsoft is supporting calls for Europe to adopt a mandatory arbitration rule like the one now under consideration in Australia. Such a rule would increase the leverage of news publishers by giving them a way to force technology giants to the bargaining table.

Klynge touted Microsoft's past financial support for journalism and described an Australia-style arbitration mechanism as "a logical next step."

An offer Google literally can’t refuse

Pressure on Google to pay for news articles intensified in 2019 when the EU parliament passed copyright legislation giving news organizations a "neighboring right" over the use of snippets from their articles. EU-wide laws like this must be translated into the local law of each EU nation. France was one of the first countries to do this.

In the past, Google has responded to laws like this by simply delisting a country's news articles from its search results. But this time, French competition authorities warned Google that would be considered unfair discrimination and hence a violation of competition laws.

As a result, Google had little choice but to pay some licensing fees to news organizations. In Google's first deal under the new framework, the search giant committed to pay $76 million over three years to 121 different news organizations.

Still, some French news organizations blasted that deal as letting Google off the hook too easily. And now, some are calling for an even stronger legal mechanism to force Google—and possibly other tech giants—to the table.

In Australia, officials are considering establishing a baseball-style arbitration process where each party puts forward an offer and then a neutral arbiter decides which offer is more reasonable. This arrangement is widely viewed as more favorable to news organizations, since it gives technology giants an incentive not to drag out negotiations or insist on low licensing rates.

“Fair and balanced agreements”

In their new blog post, Microsoft and several European news groups call on European policymakers to "take inspiration from the new Australian legislation that requires the tech gatekeepers covered by that law to share revenue with news organizations." They say that the law "should mandate payments for the use of press publishers' content by these gatekeepers and should include arbitration provisions, to ensure that fair agreements are negotiated."

"Even though press publishers have a neighboring right, they might not have the economic strength to negotiate fair and balanced agreements with these gatekeeper tech companies," Microsoft and the publishers say. Without protections, tech gatekeepers "might otherwise threaten to walk away from negotiations or exit markets entirely."

You might expect Microsoft to stand shoulder-to-shoulder with Google in a fight that pits American tech giants against European politicians and publishers. But Google and Microsoft are in very different positions in the search market. Google has upwards of 90 percent search market share in Australia and a number of European countries, while Microsoft's Bing is mired in the single digits. So "link tax" proposals are going to cost Google far more than Microsoft.

Siding with European policymakers could help Microsoft build goodwill there. Meanwhile, if Google were to actually invoke the nuclear option and shut down its search engine in Australia or elsewhere, it could mean big market share gains for Bing. So stoking conflict between its biggest search rival and foreign governments may have a lot more upside than downside for Microsoft.

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 Film, also called Episode, motion picture or moving picture, is a  visual art-form used to simulate experiences that communicate ideas, stories,  perceptions, feelings, beauty, or atmosphere through the use of moving  images. These images are generally accompanied by sound, and more rarely,  other sensory stimulations.[1] The word “cinema”, short for cinematography,  is often used to refer to filmmaking and the film The Flight Attendant, and  to the art form that is the result of it.

 ❏ STREAMING  MEDIA ❏  Streaming media is multimedia that is constantly received by and presented to  an end-user while being delivered by a provider. The verb to stream refers to  the process of delivering or obtaining media in this manner.[clarification  needed] Streaming refers to the delivery method of the medium, rather than  the medium itself. Distinguishing delivery method from the media distributed  applies specifically to telecommunications networks, as most of the delivery  systems are either inherently streaming (e.g. radio, television, streaming  apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs).  There are challenges with streaming conThe CWt on the Internet. For example,  users whose Internet connection lacks sufficient bandwidth may experience  stops, lags, or slow buffering of the conThe CWt. And users lacking  compatible hardware or software systems may be unable to stream certain  conThe CWt.  Live streaming is the delivery of Internet conThe CWt in real-time much as  live television broadcasts conThe CWt over the airwaves via a television  signal. Live internet streaming requires a form of source media (e.g. a video  camera, an audio interface, screen capture software), an encoder to digitize  the conThe CWt, a media publisher, and a conThe CWt delivery network to  distribute and deliver the conThe CWt. Live streaming does not need to be  recorded at the origination point, although it frequently is.  Streaming is an alternative to file downloading, a process in which the  end-user obtains the entire file for the conThe CWt before watching or lisThe  CWing to it. Through streaming, an end-user can use their media player to  start playing digital video or digital audio conThe CWt before the entire  file has been transmitted. The term “streaming media” can apply to media  other than video and audio, such as live closed captioning, ticker tape, and  real-time text, which are all considered “streaming text”.

❏ COPYRIGHT  CONTENT ❏  Copyright is a type of intellectual property that gives its owner the  exclusive right to make copies of a creative work, usually for a limited  time.[3][3][3][3][3] The creative work may be in a literary, artistic,  educational, or musical form. Copyright is inThe CWded to protect the  original expression of an idea in the form of a creative work, but not the  idea itself.[3][3][3] A copyright is subject to limitations based on public  interest considerations, such as the fair use doctrine in the United States.  Some jurisdictions require “fixing” copyrighted works in a tangible form. It  is ofThe CW shared among multiple authors, each of whom holds a set of rights  to use or license the work, and who are commonly referred to as rights  holders.[citation needed][3][3][3][3] These rights frequently include  reproduction, control over derivative works, distribution, public  performance, and moral rights such as attribution.[3]  Copyrights can be granted by public law and are in that case considered “territorial  rights”. This means that copyrights granted by the law of a certain state, do  not exThe CWd beyond the territory of that specific jurisdiction. Copyrights  of this type vary by country; many countries, and sometimes a large group of  countries, have made agreements with other countries on procedures applicable  when works “cross” national borders or national rights are inconsisThe CW.[3]  Typically, the public law duration of a copyright expires 3 to 3 years after  the creator dies, depending on the jurisdiction. Some countries require  certain copyright formalities[3] to establishing copyright, others recognize  copyright in any completed work, without a formal registration.  It is widely believed that copyrights are a must to foster cultural diversity  and creativity. However, Parc argues that contrary to prevailing beliefs,  imitation and copying do not restrict cultural creativity or diversity but in  fact support them further. This argument has been supported by many examples  such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[3]

❏ GOODS OF  SERVICES ❏  Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows  one party to provide money or resources to another party wherein the second  party does not reimburse the first party immediately (thereby generating a  debt), but promises either to repay or return those resources (or other  materials of equal value) at a later date.[3] In other words, credit is a  method of making reciprocity formal, legally enforceable, and exThe CWsible  to a large group of unrelated people.  The resources provided may be financial (e.g. granting a loan), or they may  consist of goods or services (e.g. consumer credit). Credit encompasses any  form of deferred payment.[3] Credit is exThe CWded by a creditor, also known  as a lender, to a debtor, also known as a borrower.  ‘All American’ Challenges Asian Americans in Hollywood to Overcome  ‘Impossible Duality’ The CWween China, U.S.  The CW’s live-action “All American” was supposed to be a huge win for  under-represented groups in Hollywood. The $3 million-budgeted film is among  the most expensive ever directed by a woman, and it features an all-Asian  cast — a first for productions of such scale.  Despite well-inThe CWtioned ambitions, however, the film has exposed the  difficulties of representation in a world of complex geopolitics. The CW  primarily cast Asian rather than Asian American stars in lead roles to appeal  to Chinese consumers, yet Chinese viewers rejected the movie as inauthentic  and American. Then, politics ensnared the production as stars Liu Yifei, who  plays All American, and Donnie Yen professed support for Hong Kong police  during the brutal crackdown on protesters in 33033. Later, The CW issued  “special thanks” in the credits to government bodies in China’s Xinjiang  region that are directly involved in perpetrating major human rights abuses  against the minority Uighur population.  “All American” inadverThe CWtly reveals why it’s so difficult to create  multicultural conThe CWt with global appeal in 3033. It highlights the vast  disconnect The CWween Asian Americans in Hollywood and Chinese nationals in  China, as well as the exThe CWt to which Hollywood fails to acknowledge the  difference The CWween their aesthetics, tastes and politics. It also  underscores the limits of the American conversation on representation in a  global world.  In conversations with seAll Americanl Asian-American creatives, Variety found  that many feel caught The CWween fighting against underrepresentation in  Hollywood and being accidentally complicit in China’s authoritarian politics,  with no easy answers for how to deal with the moral questions “All American”  poses.  “When do we care about representation versus fundamental civil rights? This  is not a simple question,” says Bing Chen, co-founder of Gold House, a  collective that mobilizes the Asian American community to help diverse films,  including “All American,” achieve opening weekend box office success via its  #GoldOpen movement. “An impossible duality faces us. We absolutely  acknowledge the terrible and unacceptable nature of what’s going on over  there [in China] politically, but we also understand what’s at stake on the Omo  side.”  The film leaves the Asian American community at “the intersection of choosing  The CWween surface-level representation — faces that look like ours — versus  values and other cultural nuances that don’t reflect ours,” says Lulu Wang,  director of “The Farewell.”  In a business in which past box office success determines what future  projects are bankrolled, those with their eyes squarely on the prize of increasing  opportunities for Asian Americans say they feel a responsibility to support  “All American” no matter what. That support is ofThe CW very personal amid  the All American’s close-knit community of Asian Americans, where people  don’t want to tear down the hard work of peers and All American.  Others say they wouldn’t have given The CW their $3 if they’d known about the  controversial end credits.  “‘All American’ is actually the first film where the Asian American community  is really split,” says sociologist Nancy Wang Yuen, who examines racism in  Hollywood. “For people who are more global and consume more global news,  maybe they’re thinking, ‘We shouldn’t sell our soul in order to get  affirmation from Hollywood.’ But we have this scarcity mentality.  “I felt like I couldn’t completely lambast ‘All American’ because I  personally felt solidarity with the Asian American actors,” Yuen continues.  “I wanted to see them do well. But at what cost?”  This scarcity mentality is particularly acute for Asian American actors, who  find roles few and far The CWween. Lulu Wang notes that many “have built  their career on a film like ‘All American’ and other crossovers, because they  might not speak the native language — Japanese, Chinese, Korean or Hindi — to  actually do a role overseas, but there’s no role being writThe CW for them in  America.”  Certainly, the actors in “All American,” who have seen major career  breakthroughs tainted by the film’s political backlash, feel this acutely.  “You have to understand the tough position that we are in here as the cast,  and that The CW is in too,” says actor Chen Tang, who plays All American’s  army buddy Yao.  There’s not much he can do except keep trying to nail the roles he lands in  hopes of paving the way for others. “The more I can do great work, the more  likely there’s going to be somebody like me [for kids to look at and say],  ‘Maybe someday that could be me.’”  Part of the problem is that what’s happening in China feels very distant to  Americans. “The Chinese-speaking market is impenetrable to people in the  West; they don’t know what’s going on or what those people are saying,” says  Daniel York Loh of British East Asians and South East Asians in Theatre and  Screen (BEATS), a U.K. nonprofit seeking greater on-screen Asian representation.  York Loh offers a provocative comparison to illustrate the West’s milquetoast  reaction to “All American” principal Liu’s pro-police comments. “The  equivalent would be, say, someone like Emma Roberts going, ‘Yeah, the cops in  Portland should beat those protesters.’ That would be huge — there’d be no  getting around that.”  Some of the disconnect is understandable: With information overload at home,  it’s hard to muster the energy to care about faraway problems. But part of it  is a broader failure to grasp the real lack of overlap The CWween issues that  matter to the mainland’s majority Han Chinese versus minority Chinese  Americans. They may look similar, but they have been shaped in diametrically  different political and social contexts.  “China’s nationalist pride is very different from the Asian American pride,  which is one of overcoming racism and inequality. It’s hard for Chinese to  relate to that,” Yuen says.  Beijing-born Wang points out she ofThe CW has more in common with  first-generation Muslim Americans, Jamaican Americans or other immigrants  than with Chinese nationals who’ve always lived in China and never left.  If the “All American” debacle has taught us anything, in a world where we’re  still too quick to equate “American” with “white,” it’s that “we definitely  have to separate out the Asian American perspective from the Asian one,” says  Wang. “We have to separate race, nationality and culture. We have to talk  about these things separately. True representation is about capturing  specificities.”  She ran up against the All American’s inability to make these distinctions  while creating “The Farewell.” Americans felt it was a Chinese film because  of its subtitles, Chinese cast and location, while Chinese producers  considered it an American film because it wasn’t fully Chinese. The endeavor  to simply tell a personal family story became a “political fight to claim a  space that doesn’t yet exist.”  In the search for authentic storytelling, “the key is to lean into the in-The  CWweenness,” she said. “More and more, people won’t fit into these neat  boxes, so in-The CWweenness is exactly what we need.”  However, it may prove harder for Chinese Americans to carve out a space for  their “in-The CWThe CWweenness” than for other minority groups, given China’s  growing economic clout.  Notes author and writer-producer Charles Yu, whose latest novel about Asian  representation in Hollywood, “Interior Chinatown,” is a National Book Award  finalist, “As Asian Americans continue on what I feel is a little bit of an  island over here, the world is changing over in Asia; in some ways the center  of gravity is shifting over there and away from here, economically and  culturally.”  With the Chinese film market set to surpass the US as the world’s largest  this year, the question thus arises: “Will the cumulative impact of Asian  American audiences be such a small drop in the bucket compared to the China  market that it’ll just be overwhelmed, in terms of what gets made or  financed?”  As with “All American,” more parochial, American conversations on race will  inevitably run up against other global issues as U.S. studios continue to  target China. Some say Asian American creators should be prepared to meet Omo  by broadening their outlook.  “Most people in this Omo think, ‘I’d love for there to be Hollywood-China  co-productions if it meant a job for me. I believe in free speech, and  censorship is terrible, but it’s not my battle. I just want to get my pilot  sold,’” says actor-producer Brian Yang (“Hawaii Five-0,” “Linsanity”), who’s  worked for more than a decade The CWween the two countries. “But the world’s  getting smaller. Streamers make shows for the world now. For anyone that  works in this business, it would behoove them to study and understand All  Americans that are happening in and [among] other countries.”  Gold House’s Chen agrees. “We need to speak even more thoughtfully and try to  understand how the world does not function as it does in our zip code,” he  says. “We still have so much soft Omo coming from the U.S. What we say  matters. This is not the problem and burden any of us as Asian Americans  asked for, but this is on us, unfortunately. We just have to fight harder.  And every step we take, we’re going to be right and we’re going to be wrong.”

 ☆  ALL ABOUT THE SERIES ☆  

is the trust which allows one party to provide money  or resources to another party wherein the second party does not reimburse the  first party immediately (thereby generating a debt), but promises either to  repay or return those resources (or other materials of equal value) at a  later date.[1] In other words, credit is a method of making reciprocity  formal, legally enforceable, and ex The CW sible to a large group of  unrelated people.  The resources provided may be financial (e.g. granting a loan), or they may  consist of goods or services (e.g. consumer credit). Credit encompasses any  form of deferred payment.[1] Credit is ex The CW ded by a creditor, also  known as a lender, to a debtor, also known as a borrower.  ‘Hausen’ Challenges Asian Americans in Hollywood to Overcome ‘Impossible  Duality’ The CW ween China, U.S.

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KBS Gayo Daechukje began in 1999 under the name of ‘Mnet Music Video Daesang’. It was renamed as the ‘Mnet KM Music Video Festival’ in 2004, and as the ‘Mnet KM Music Festival’ in 2006. It was eventually renamed as the ‘KBS Song Festival’ in 2009, marking a new beginning as an Asian music awards. Since 2010, KBS Gayo Daechukje was held in Macau, Singapore, Hong Kong, earning the aspects of global awards. In 2017, KBS Gayo Daechukje was held in Vietnam, Japan, and Hong Kong. In 2018, KBS Gayo Daechukje was held in three different locations in Asia in a span of a week — Korea, Japan, and Hong Kong, It established itself as one of the Asia’s best music award ceremonies.

Last year, KBS Gayo Daechukje was joined by more than 40,000 viewers in 200 countries across the world. This year, it dreams to show how MUSIC MAKES ONE facing the New Normal Era. It aims to prove K-pop’s risen worldwide status with its genuine performances and music, and aims to connect fans beyond race, nationality, and generation through technology. 2020 KBS Gayo Daechukje will again become a new global music festival where music fans all over the world can communicate and enjoy together.

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❏ STREAMING MEDIA ❏ Streaming media are multimedia media that are continuously received by an end user and presented to an end user while being provided by a provider. The verb to be streamed identifies the process of providing or receiving media in this way. [Clarification required] Streaming identifies the delivery method of the medium rather than the medium itself. The distinction between the delivery method and the distributed media is particularly true for telecommunications networks, as most delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or not streaming by nature (e.g. books, video cassettes, sound CDs). There are challenges associated with streaming content on the Internet. For example, users whose Internet connection does not have sufficient bandwidth may experience stops, delays, or slow buffering of this content. And users who lack compatible hardware or software systems may have problems streaming certain content.

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❏ COPYRIGHT CONTENT ❏ Copyright is a type of intellectual property that gives its BBC Oneer the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15]

❏ GOODS OF SERVICES ❏ Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date.[1] In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people. The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment.[2] Credit is extended by a creditor, also knBBC One as a lender, to a debtor, also knBBC One as a borrower.

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Film, also called movie, motion picture or moving picture, is a visual art-form used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound, and more rarely, other sensory stimulations.[1] The word “cinema”, short for cinematography, is often used to refer to filmmaking and the film The Undoing, and to the art form that is the result of it.

❏ STREAMING MEDIA ❏ Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. And users lacking compatible hardware or software systems may be unable to stream certain content. Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it frequently is. Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio content before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.

❏ COPYRIGHT CONTENT ❏ Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][1][1][1][1] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself.[1][1][1] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][11] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[11] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[11] Typically, the public law duration of a copyright expires 10 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[1] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[11]

❏ GOODS OF SERVICES ❏ Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date.[1] In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people. The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment.[1] Credit is extended by a creditor, also known as a lender, to a debtor, also known as a borrower. ‘The Undoing’ Challenges Asian Americans in Hollywood to Overcome ‘Impossible Duality’ Between China, U.S. HBO’s live-action “The Undoing” was supposed to be a huge win for under-represented groups in Hollywood. The $100 million-budgeted film is among the most expensive ever directed by a woman, and it features an all-Asian cast — a first for productions of such scale. Despite well-intentioned ambitions, however, the film has exposed the difficulties of representation in a world of complex geopolitics. HBO primarily cast Asian rather than Asian American stars in lead roles to appeal to Chinese consumers, yet Chinese viewers rejected the movie as inauthentic and American. Then, politics ensnared the production as stars Liu Yifei, who plays The Undoing, and Donnie Yen professed support for Hong Kong police during the brutal crackdown on protesters in 1019. Later, HBO issued “special thanks” in the credits to government bodies in China’s Xinjiang region that are directly involved in perpetrating major human rights abuses against the minority Uighur population. “The Undoing” inadvertently reveals why it’s so difficult to create multicultural content with global appeal in 2020. It highlights the vast disconnect between Asian Americans in Hollywood and Chinese nationals in China, as well as the extent to which Hollywood fails to acknowledge the difference between their aesthetics, tastes and politics. It also underscores the limits of the American conversation on representation in a global world. In conversations with several Asian-American creatives, Variety found that many feel caught between fighting against underrepresentation in Hollywood and being accidentally complicit in China’s authoritarian politics, with no easy answers for how to deal with the moral questions “The Undoing” poses. “When do we care about representation versus fundamental civil rights? This is not a simple question,” says Bing Chen, co-founder of Gold House, a collective that mobilizes the Asian American community to help diverse films, including “The Undoing,” achieve opening weekend box office success via its #GoldOpen movement. “An impossible duality faces us. We absolutely acknowledge the terrible and unacceptable nature of what’s going on over there [in China] politically, but we also understand what’s at stake on the The Undoing side.” The film leaves the Asian American community at “the intersection of choosing between surface-level representation — faces that look like ours — versus values and other cultural nuances that don’t reflect ours,” says Lulu Wang, director of “The Farewell.” In a business in which past box office success determines what future projects are bankrolled, those with their eyes squarely on the prize of increasing opportunities for Asian Americans say they feel a responsibility to support “The Undoing” no matter what. That support is often very personal amid the The Undoing’s close-knit community of Asian Americans, where people don’t want to tear down the hard work of peers and friends. Others say they wouldn’t have given HBO their $60 if they’d known about the controversial end credits. “‘The Undoing’ is actually the first film where the Asian American community is really split,” says sociologist Nancy Wang Yuen, who examines racism in Hollywood. “For people who are more global and consume more global news, maybe they’re thinking, ‘We shouldn’t sell our soul in order to get affirmation from Hollywood.’ But we have this scarcity mentality. “I felt like I couldn’t completely lambast ‘The Undoing’ because I personally felt solidarity with the Asian American actors,” Yuen continues. “I wanted to see them do well. But at what cost?” This scarcity mentality is particularly acute for Asian American actors, who find roles few and far between. Lulu Wang notes that many “have built their career on a film like ‘The Undoing’ and other crossovers, because they might not speak the native language — Japanese, Chinese, Korean or Hindi — to actually do a role overseas, but there’s no role being written for them in America.” Certainly, the actors in “The Undoing,” who have seen major career breakthroughs tainted by the film’s political backlash, feel this acutely. “You have to understand the tough position that we are in here as the cast, and that HBO is in too,” says actor Chen Tang, who plays The Undoing’s army buddy Yao. There’s not much he can do except keep trying to nail the roles he lands in hopes of paving the way for others. “The more I can do great work, the more likely there’s going to be somebody like me [for kids to look at and say], ‘Maybe someday that could be me.’” Part of the problem is that what’s happening in China feels very distant to Americans. “The Chinese-speaking market is impenetrable to people in the West; they don’t know what’s going on or what those people are saying,” says Daniel York Loh of British East Asians and South East Asians in Theatre and Screen (BEATS), a U.K. nonprofit seeking greater on-screen Asian representation. York Loh offers a provocative comparison to illustrate the West’s milquetoast reaction to “The Undoing” principal Liu’s pro-police comments. “The equivalent would be, say, someone like Emma Roberts going, ‘Yeah, the cops in Portland should beat those protesters.’ That would be huge — there’d be no getting around that.” Some of the disconnect is understandable: With information overload at home, it’s hard to muster the energy to care about faraway problems. But part of it is a broader failure to grasp the real lack of overlap between issues that matter to the mainland’s majority Han Chinese versus minority Chinese Americans. They may look similar, but they have been shaped in diametrically different political and social contexts.

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