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FOSS Open Content/References

1 See, Jeremy Rifkin, The Age of Access (London: Putnam Publishing Group, 2000).

2 Contested Commons Public Report: A Public Record (New Delhi: Sarai: CSDS, 2005) p.vi.

3 While there is a distinction between the commons and the public domain, for the purpose of this e-Primer, they are being used interchangeably in their popular sense. For a discussion of this, see David Lange, "Recognizing the Public Domain," 66 Law & Contemp. Probs. 463 (Winter/Spring 2003)

4 For an excellent overview of copyright issues in the South see Alan Story et al. eds., The Copysouth Dossier, available at http://www.copysouth.org

5 See, Douglas Hay, Albion's Fatal Tree: Crime and Society in Eighteenth-Century England (New York: Pantheon Books, 1975); Peter Linebaugh, The London Hanged: Crime and Civil Society in the Eighteenth Century (Cambridge: Cambridge Univ. Press, 1993); Peter Linebaugh and Marcus Rediker, The Many-Headed Hydra: The Hidden History of the Revolutionary Atlantic (beacon Press, 2001)

6 See, James Boyle, Shamans, Software, and Spleens: Law and the Construction of the Information Society (Cambridge, Mass., Harvard University Press, 1996).

7 A number of activists and scholars have argued that we need to avoid using the phrase "intellectual property" since it conceals more than it reveals. The phrase includes a range of property claims from trademarks, copyright, patents, geographical indications, etc., all of which belong to distinct domains, and that there is nothing that brings them together. We acknowledge this to be a serious question, and use the phrase in reference to its global usage, albeit with a certain degree of agnosticism.

8 Nitin Govil, "War in the Age of Pirate Reproduction," Sarai Reader 04: Crisis Media, pp. 378–383.

9 For more on the Free Software movement, see Kenneth Wong and Phet Sayo, Free/Open Source Software: A General Introduction (UNDP-APDIP and ISON, 2004) available at: http://www.iosn.net/foss/foss-general-primer/foss_primer_print_covers.pdf and http://en.wikibooks.org/wiki/FOSS_A_General_Introduction

10 Felix, Stalder, "The State of Open Content in Non-Western Countries," available at: http://oc.openflows.org/intro. According to Stalder, "there is no generally accepted definition of Open Content."

11 See, Lawrence Liang, “Copyright, Cultural Production and Open Content Licensing”, Indian Journal of Law and Technology, vol.1 (2006), p. 96.

12 See, John Locke, Two treatises of civil government. P. Laslett (Ed.) (London: Cambridge University Press, 1967).

13 See, Peter Drahos,A Philosophy of Intellectual Property (Dartmouth, 1996); James Boyle, Shamans, Software, and Spleens: Law and the Construction of the Information Society. (Cambridge, Mass., Harvard University Press, 1996); Justin Hughes "The Philosophy of Intellectual Property,” 77 The Georgetown Law Journal (1988) p. 287.

14 See, Martin Kretschmer, Artists’ Earnings and Copyright: A review of British and German music industry data in the context of digital technologies, available at: http://www.firstmonday.org/ issues/issue10_1/kretschmer/. See also an interesting take on the music industry by a major American musician in “Courtney Love does the Math,” available at: http://archive.salon.com/tech/feature/2000/06/14/love/

15 Lawrence Liang, Guide to Open Content licenses (Rotterdam: Piet Zwart Institute, 2005), also available at: http://pzwart.wdka.hro.nl/mdr/research/lliang/open_content_guide

16 See, generally, Mark Rose Authors and Owners. The invention of copyright (Cambridge, Massachusetts. London: Harvard University Press, 1993);Martha Woodmansee,“The Genius and the Copyright: Economic and Legal Conditions of the Emergence of the ‘Author’’ Eighteenth Century Studies (1984) p. 425; Martha Woodmansee, “On the Author Effect: Recovering Collectivity” Cardozo Arts & Entertainment Law Journal vol. 10, no. 2 (1992) p. 279; Mark Rose, “The Author as Proprietor: Donaldson v. Becket and the Genealogy of Modern Authorship” 23 Representations (1988) p. 51; Peter Jaszi, “On the Author Effect: Contemporary Copyright and Collective Creativity,”Cardozo Arts and Entertainment Law Journal (1992), p. 293.

17 See, John Frow, “Copy”, from Tony Bennett et al. eds., The New keywords: A revised vocabulary of Culture and Society (Maden: Blackwell, 2005).

18 James Boyle, Shamans, Software, and Spleens: Law and the Construction of the Information Society. (Cambridge,Mass., Harvard University Press, 1996).

19 See, Diane Leenheer Zimmerman,“Authorship Without Ownership: Reconsidering Incentives In A Digital Age,” DePaul Law Review (2003), p. 1121; Glynn S. Lunney, “Re-examining Copyright’s Incentives-Access Paradigm,” Vanderbilt Law Review (1996), p. 483; Linda J. Lacey, “Of Bread and Roses and Copyrights,”Duke L.J. (1989), p. 1532.

20 Marcus Maher, “Open Source Software: The Success of an Alternative Intellectual Property Incentive Paradigm,” 10 Fordham Intell. Prop. Media & Ent. L.J., p. 619.

21 Jeffrey Joyner, “Future Technology Clauses: Would their Lack of Compensation Have Discouraged Shakespeare‘s Creativity and Denied Society's Access to His Works in New Media?” Southwestern University Law Review (2002), p. 575.

22 John Kelsey & Bruce Schneier,“The Street Performers Protocol and Digital Copyright,” available at: http://www.firstmonday.org/issues/issue4_6/kelsey/. See also, Roger Clarke, “Open Source Software and Open Content as Models for eBusiness,” available at: http://www.anu.edu.au/people/Roger.Clarke/EC/Bled04.html; Magnus Cedegren, “Open Content and Value Creation,” available at: http://www.firstmonday.org/issues/issue8_8/cedergren/index.html.

23 Steven Cherensky, “A Penny for their Thoughts: Employee-Inventors, Preinvention Assignment Agreements, Property, and Personhood,” 81 Calif. L. Rev., p. 595.

24 Trevor Ross, "Copyright and the Invention of Tradition,” Eighteenth-Century Studies 26.1 (Fall, 1992), pp. 1–28.

25 Peter Manuel, Cassette Culture: Popular Music and Technology in North India (New Delhi: Oxford Univ. Press, 2001).

26 Lawrence Liang,Mayur Suresh et al.,“Copyright/Copyleft: Encountering the sustaining myths of Copyright,” available at: http://www.infochangeindia.org/IPR_article4.jsp

27 Chris Sprigman, “The Mouse That Ate The Public Domain: Disney, The Copyright Term Extension Act, And Eldred V. Ashcroft,” 537 U.S. 186 (2003), available at: http://writ.news.findlaw.com/commentary/20020305_sprigman.html

28 Lawrence Lessig, Free Culture (Pengiun, 2004), also available at http://www.lessig.org

29 Eldred v. Ashcroft, 239 F.3d 372. See also, Pamela Samuelson, “The Constitutional law of Intellectual Property after Eldred v. Ashcroft”; Nadine Farid, “Not In My Library: Eldred V. Ashcroft And The Demise Of The Public Domain,” Tulane Journal of Technology and Intellectual Property (Spring 2003) p. 1; Sue Ann Mota, “Eldred V. Reno – Is The Copyright Term Extension Act Constitutional?” 12 Alb. L.J. Sci. & Tech., p. 167.

30 This principle was diluted in subsequent cases like Campbell v.Acuff Rose Music, 114 S.Ct. 1164.

31 Johnny Acton, The Ideas Companion, (London: Think Books, 2005).

32 John Howkins, The Creative Economy: How People Make Money From Ideas (Harmondsworth: Penguin, 2002).

33 See, Edward Herman and Robert McChesney, The Global Media: The New Missionaries of Corporate Capitalism (New York: Cassell, 1998).

34 Alan Story et al., eds., The Copysouth Dossier, available at: http://www.copysouth.org

35 Ibid.

36 Niva Elkin, “What contracts can’t do: The limits of private ordering in facilitating a Creative Commons,” 74 Fordham Law Review 2005.

37 Consumer International,“Copyright and Access to Knowledge,”p. 2. See also,Andrew Rens,Achal Prabhala & Dick Kawooya, “Intellectual Property, Education and Access to Knowledge in Southern Africa.”

38 Ibid, p. 3.

39 Ibid.

40 See sections in Alan Story et al., eds., The Copysouth Dossier, available at: http://www.copysouth.org.

41 Ibid.

42 http://ocw.mit.edu/index.html

43 Lawrence Lessig, Free Culture (Penguin, 2004), available at: http://www.lessig.org; Siva Vaidhyanathan, Copyrights and Copywrongs (New York: New York University Press, 2001), p. 11. See also Lawrence Lessig, The Future of Ideas (New York Random House, 2001); Yochai Benkler, “The Wealth of Networks,” available at: http://www.benkler.org/wealth_of_networks/ index.php/Download_PDFs_of_the_book

44 Siva Vaidhyanathan on copyrights and wrongs, available at: http://interviews.slashdot.org/article.pl?sid=02/05/15/166220

45 “Who is the Author? Sampling/Remixing/Open Source.” See also Severine Dusollier, “Copyleft and authorship reconsidered,” 26 Colum. JL & Arts, pp. 281–296 (2003).

46 See, Jane Gaines, Contested Culture: The Image, the Voice, the Law (University of North Carolina Press, Alan Trachtenberg, 1991).

47 Kembrew McLeod,“Freedom of Expression:Overzealous Copyright Bozos and other enemies of Creativity, available at: ”http://kembrew.com/documents/mcleod-freedomofexpression3.pdf

48 Fan Communities typically write their own stories using famous fictional characters.For instance you will find many Harry Potter communities who write their own versions of stories, thereby challenging the assumption that people are passive consumers.

49 Michel de Certeau, The Practice of Everyday Life (Steven Rendall trans., 1984), pp. xi-xii.

50 Phillipe Aigrain, “Positive Intellectual Rights and Information Exchanges,” available at: http://opensource.mit.edu/papers/aigrain.pdf

51 Raqs Media Collective, “A Concise Lexicon for the Global Commons,” Sarai Reader 03: Shaping Technologies (New Delhi: Sarai/CSDS, 2003).

52 Lawrence Liang,“Copyright, Cultural Production and Open Content Licensing,” Indian Journal of Law and Technology, vol. 1 (2006), p. 96.

53 For a more detailed analysis see, Shun-Ling Chen, Free/Open Source Software: Licensing e-Primer (UNDP-APDIP and IOSN, 2006),available at: http://www.iosn.net/licensing/foss-licensing- primer/ and http://en.wikibooks.org/wiki/FOSS_Licensing

54 Raqs Media Collective, “A concise lexicon for the global commons,” Sarai Reader 03: Shaping Technologies (New Delhi: Sarai/CSDS, 2003).

55 Information from http://en.wikipedia.org

56 Yochai Benkler,“Wealth of networks,”p.70, available at: http://www.benkler.org/wealth_of_networks/index.php/Download_PDFs_of_the_book

57 Nature, 15 December 2005.

58 James Boyle, “The Opposite of Property,” Law and Contemporary Problems, 1 (Winter/Spring 2003); See also David Lange, “Recognizing the Public Domain,” Law & Contemp. Problems, Autumn 1981, p. 147; Harry Arthurs, “Reconstitution of the Public Domain”; Yochai Benkler, “Through the Looking Glass:Alice and the Constitutional Foundations of the Public Domain,”66 Law & Contemp. Probs, available at: http://www.law.duke.edu/journals/lcp/articles/ lcp66dWinterSpring2003p173.htm

59 Taken from Lawrence Liang, Guide to Open Content licenses (Rotterdam: Piet Zwart Institute, 2005).

60 Project Gutenberg is a volunteer effort to digitize, archive and distribute cultural works. Founded in 1971, it is the oldest digital library. Most of the items in its collection are the full texts of public domain books. The project tries to make these as free as possible, in long-lasting open formats that can be used on almost any computer.

61 Raqs, “Media Collective, A concise lexicon for the global commons,” Sarai Reader 03: Shaping Technologies (New Delhi: Sarai/ CSDS, 2003).

62 See, Magnus Cedegren, “Open Content and Value Creation,” First Monday, vol. 8 (2003), available at: http://www.firstmonday.org/issues/issue8_8/cedergren/index.html

63 Yochai Benkler,“Wealth of Networks,”p. 62, available at: http://www.benkler.org/wealth_of_networks/index.php/Download_PDFs_of_the_book

64 Ibid., p. 69.

65 Felix Stalder,“The State of Open Content in Non-Western Countries,” available at: http://oc.openflows.org/draft_reports

66 The TRIPS Agreement lays down the minimum global standard that has to be met in national laws on intellectual property rights. It was negotiated at the end of the Uruguay Round of the General Agreement on Tariffs and Trade (GATT) treaty in 1994. The obligations under TRIPS apply equally to all member states; however, developing countries were allowed extra time to implement the applicable changes to their national laws, in two tiers of transition according to their level of development. The transition period for developing countries expired in 2005. The transition period for least-developed countries was extended to 2016.

67 Alan Story, et al. eds., The Copysouth Dossier, available at: http://www.copysouth.org, see also, Niva Elkin Koren, “What Contracts Can’t Do: The Limits of Private Ordering in Facilitating a Creative Commons,” 74 Fordham Law Review, 2005.

68 Ibid.

69 Ibid.

70 See, Ravi Sundaram,“Recycling modernity: Pirate electronic cultures in India,” Sarai Reader 01: The Public Domain (New Delhi: Sarai/CSDS, 2001). See also, Lawrence Liang, “Porous legalities and avenues of participation,” Sarai Reader 05: Bare Acts (New Delhi: Sarai/CSDS, 2005).

title: FOSS Open Content/References


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FOSS Open Content/Contextualizing Open Content

If Open Content, like its predecessor the Free Software movement, attempts to create a practice which is radically different from the way the copyright imagines our relationship to knowledge and culture, then the first question that needs to be addressed is: what exactly is the problem with copyright. Mainstream logic and popular discourse seem to suggest that copyright is a system that was created for the benefit of content creators, so why would content creators want to consider any other option at all? It is important to look at the myths that copyright generates for itself in a critical fashion, and examine whether these myths have any basis in reality.

The Myths of Copyright
Copyright has a rather straightforward justification for itself. We shall begin with what may be considered a rather typical account of the necessity of copyright law.Copyright is the branch of intellectual property law that protects original works of authorship. These include literary, artistic, musical and dramatic works as well as software. In recent years, copyright law has included protection for performers’ rights. The key assumption that sustains copyright law is that authors have a natural right over their works of intellectual labour12 and that copyright protection is required to provide an incentive to create intellectual works. Copyright therefore grants an exclusive right to authors over their works, including the right to authorize reproduction, adaptation, performance, distribution, etc.

It is alleged that in the absence of a copyright system, there would be no incentive for authors to produce and, consequently, there would be a general decline in the world of creativity and the arts. Hence, copyright inherently includes a balance between the protection of authors on the one hand and the interest of the public on the other. It is recognized that excessive protection may result in curbing public access to works; therefore, copyright protects only unique expressions and not ideas per se. It is argued that copyright seeks to achieve a balance between public access and creator rights by providing the creator of the work a period of time during which s/he shall have the exclusive rights to the work.As such, any person who uses the work of another person is indulging in an act of stealing the other person’s ideas, resulting in substantial losses for the author of the work.This is the underlying ‘myth of copyright’.

The myth of copyright seems to have intrinsic appeal, relying as it does on a battle for progress (copyright promotes creativity) against a potentially dystopic world (there will be no creativity without copyright). The reason why we choose to use the phrase ‘the myth of copyright’ is because we recognize the wonderful success of copyright in narrating itself as a universal truth. The history of copyright is always narrated in an ahistorical manner following a universally teleological route as though it were the natural culmination of events.

Yet there seem to be gaps in this story; it is neither complete nor accurate without locating the real-world operation of copyright.While copyright’s initial purpose may have been to provide an incentive for creators, it is important not to be taken in completely by this mythical claim. Consider, for instance, the following: transferred to either the recording company, the publisher, or the person commissioning a work of art, etc. ‘royalties’ from sales of their records. They sell ‘services’, as do many programmers and designers. production. Furthermore, an Open Content model does not preclude the creator from making money off his/her work.
 * Most creators/authors are rarely the owners of their own copyright. It usually gets
 * Musicians often make most of their money from live performances rather than from
 * Monetary incentive is rarely the only reason for a person to be engaged in cultural

Copyright may have begun as a system of balances to provide incentives to creators while also ensuring that there was a free circulation of works in the public domain, which all other creators could build upon. For example, copyright explicitly allowed (and still allows) public libraries to exist as an alternative, non-commercial distribution channel for cultural works.Over time, this balance has shifted drastically in favour of content owners such as large publishing houses, media conglomerates, etc. In the contemporary context, it is arguable that copyright is often used as a tool to prevent or curb creativity and that the move away from copyright is an important one in that it seeks to refocus on the interest of the general public as well as artists and creators.

Let us now have a closer look at some of the sustaining myths of copyright and examine their validity as universal truths.

The Myth of the Solitary Genius as Author
At the heart of copyright is the figure of the Author and his/her rights.As simple as it may sound, this assertion is important to our understanding of copyright, for at the heart of the statement lies the presumption that everyone has a clear understanding of authorship. For instance, ask any person to rattle of the names of the great authors, and you will find a varied crowd ranging from Shakespeare, Chaucer, Kalidas and Valmiki to Salman Rushdie and perhaps Jeffrey Archer. In this chapter we shall examine some of the scholarship on the history of the discourse of authorship which suggest that the idea of the author may have a more complex history than merely a reference to the individual named as an author.

There are then two sets of self-fulfilling prophesies that are achieved by the assertion that copyright protects the rights of authors. It assumes a category which makes universal sense across cultures and across time – namely that of the author – and, having erected this universal figure of the author and asserting that copyright is meant for his/her protection, it universalizes the relationship between copyright and creativity. Our first task is then to historicize the emergence of the author as a relatively modern phenomenon that has arisen in the context of the crisis caused by the print revolution.

Before the invention of the printing press, the act of writing was a very localized activity. It was impossible to disseminate knowledge in any significant manner since the inaccuracies of copying prevented any widespread use of the written work.The invention of the printing press thus enabled a number of innovations. Duplication became easier and more accurate. Mass distribution became viable.The printing press revolutionized information storage, retrieval and usage. Printing, unlike writing, allowed a society to build on the past with a confidence that each step was being made on a firm foundation. The revolution in the ability to accurately reproduce works fostered an understanding that progress can occur through a process of revision and improvement. Additionally, access was now available to the literate public. Printing provided a mechanism by which a larger reading public developed, thus constituting the emerging public sphere.

This new reading public that emerged demanded books – both original works and reprints – and set the stage for the impending conflict over the ownership of such information. As Mark Rose observes, “a sufficient market for books to sustain a commercial system of cultural production”had to exist before a formal regime of intellectual property could come into being. What was earlier the monopoly of the Stationers Company, a guild recognized and regulated by the Crown, became a mass industrial activity with a number of publishers in the provinces (Scotland) publishing cheap reprints for the new reading public.

The reaction from the literary and artistic world was to move away from the ‘ills of industrial revolution’; thus, they began deploying the notion of the author as a unique and transcendent being, possessing originality of spirit. The romantic artist was therefore deemed to have a sort of intangible property, wholly contained within the self – the author’s original, creative works. This romantic theory of authorship has since remained the dominant account of the process of creativity.

Thus, there is an inextricable link between copyright and the concept of an author. The proprietary author emerges as the London publisher’s mode of maintaining strict control over copyright. However, once unleashed, the idea of the author starts taking on a new meaning with unexpected consequences. It emerges as a new social relationship, which will transform the way society perceives the ownership of knowledge. This establishment of the ideological figure of the author naturalizes a particular process of knowledge production where the emphasis on individual contribution denigrates the concept of community knowledge and helps promulgate the notion of the individual as owner.

However, we have to ask the question of whether any act of creation happens in a vacuum, with the author creating something out of nothing. Common sense informs us that even the magician who seems to pull a rabbit out of an empty hat is engaging in a sleight of hand.

A number of the Open Content projects such as Wikipedia base themselves on an alternative model of production, one in which the individual myth of creation is contested and negated. But it would be important for us to remember that this is not a new phenomenon; over centuries, a number of cultures have grown and spread on the basis of collaborative production.

Copyright and the Incentive for Creativity
One of the main justifications for copyright law is that in the absence of copyright, authors of works would lack the incentive to further create; that artists cannot produce new works without economic incentive. Copyright is justified on the basis that it stimulates investment of time and money in the creation of new works, and that many authors of copyrighted works rely on the income derived from their publication for their livelihood.

There may even be a case for the proposition that without incentives, authors would find it difficult to create new works; however, the statement that copyright law is the basis for this incentive requires a closer examination. Is copyright synonymous with incentives or does copyright merely create an illusory idea that it is the best system to foster creativity?

Firstly, many authors who have little hope of ever finding a market for their publications and whose copyrights are, as a result, virtually worthless, have in the past, and at present, continued to write, create and invent. While it may not be a general phenomenon, it is possible that people produce works for pure personal satisfaction, or even for peer respect and recognition.

Secondly, historically, there is much evidence to suggest that copyright law and incentive were rarely linked. The 19th Century, for instance, saw the proliferation of literary works, despite the absence of any meaningful protection afforded to authors by virtue of their copyright.While copyright protection existed, these rarely benefited the author beyond an initial payment for the copyrights in their works. This payment, often referred to as an honorarium, bore no relationship to the exchange value of that work; rather, it was merely an acknowledgment of the writer’s achievements. In the vast majority of cases, most profits went to the publisher and, on occasion, authors were even asked to underwrite a portion of the publishing costs. Moreover, without the publisher, the copyright in effect had no value, as the work could never be published.Hence, copyright protection in reality benefited the publisher, but rarely the author.

With the enactment of every subsequent Copyright Act, the protection given to authors was reduced. In England, prior to 1814, copyright of a work reverted to the author after a term. The author could then renew proprietary rights in a work and could conceivably gain from again transferring the copyright. However, after 1814, such renewal terms were eliminated and the author lost his/her position in the mechanisms of copyright. The typical transaction consisted of the transfer of the copyright to the publisher by the author for a one-time payment. Subsequent to that, the author had little role to play in the publication of a work, and the author reaped little reward.

This can be seen in a number of recent cases regarding the translation of works into new media. At issue in these cases is whether the author, who has transferred copyright in, say, a film, to another party, has a proprietary interest in translations of this work into new media, say release over the Internet, the development of which was unforeseen at the time of copyright transfer. In the United States, there are a number of cases where it has been held that the author no longer has a proprietary interest in works that have been translated into new media. In such cases, where does copyright provide an incentive to authors?

In addition, the existence of alternative incentives further erodes the incentive claim of copyright protection. Two non-monetary incentives have been identified above: personal satisfaction and recognition. Many people have created works without thought of monetary benefit. It is doubted that Anne Frank wrote her diary or Nehru his letters with the intent to eke the benefits arising out of copyright protection.

Furthermore, advancement and honour in one’s field and recognition are other forms of compensation for authorship. As in the term ‘honorarium’, discussed above, there is great prestige in composing an acclaimed book, article or piece of art.These incentives will always be present, regardless of whether one is awarded monopoly rights.

Original authors may also have the benefit of being the first movers in the market. By entering the market first, the authors of works may be able to capture a certain degree of the economic rewards that copyright aims to bestow even without the actual conferral of such legal rights.

Currently, there exist several mechanisms – primarily Internet based – for creating incentives that stand independent from copyright. The Street Performer, or the Fairshare Protocols are examples of such devices. Under the first method, the authors contemplate a menu of options available to artists. Under the latter system, several people make a payment directly to the author to finance future works, with the understanding that they are given access to a portion of the consequent profits.What each have in common is that a release price will be set for a work, and that it will be made available in digital form without (or with few) copyright restrictions, once members of the public voluntarily donate sufficient funds to meet the asking price. An author might set up a website and announce a book project directly to the public. Usually, though not necessarily, the author might begin by posting a chapter or two to give readers a sample of what is to come.

Copyright Protects the Poor Struggling Author
We are constantly regaled with stories of how the copyright system acts as the basic protection for poor struggling authors who would otherwise be unable to protect themselves against piracy or knowledge theft. Let us clarify at the very outset that we are not the enemies of creative workers, and we would of course like to see all creative labour recognized and rewarded.Take, for instance, the following account from American cartoon creator Bill Waterson of how the system works for unknown artists and creators.

It was perhaps his rather unpleasant experience with the formal system of intellectual property that prompts Bill Waterson to make critical references to it in his comics.

The metaphor of the poor struggling author tends to blur the critical difference between the authorship of a work and the ownership of the same.While there is a tendency in copyright law to invoke liberal individualism to justify economic structures that frustrate the aspirations of real-life individuals, it is somewhat surprising to encounter the individualistic romantic conception of ’authorship’ deployed to support a regime that disassociates creative workers from a legal interest in their creations. Take, for instance, the ’work-for-hire’ doctrine of copyright law. This doctrine states that the firm or individual who paid to have a work created, rather than the person who created it, is regarded as the ‘author’ for purposes of copyright ownership. Thus, works of copyright conflict are, in fact, often created by unromantic authors sitting in their cubicles creating for large corporations.

When a work is deemed to have been made ‘for hire’, the alienation of labour is formally and legally complete: the ‘author’ of the ‘work’ is the person on whose behalf the ‘work’ was created, not the individual who created it. In this legal configuration, the employer's rights do not derive from the employee by an implied grant or assignment. Rather, those rights are the direct result of the employer's status. Ironically, the employer’s claims are rationalized in terms of the romantic conception of ‘authorship’ with its concomitant values of ‘originality’ and ‘inspiration’.

Secondly, if one were to closely analyse the publishing agreements of various publishing houses,one would notice immediately that unless you are an author of some fame,contracts are absolutely one-sided, with the individual author having little bargaining power, as s/he assigns all rights in favour of the publishing house.

Piracy has always been portrayed as being an assault on the rights of authors. It is interesting to note, for instance, that during the initial days of one of India’s largest music companies, T Series, the company was often approached by various small-time singers requesting them to release their works through the pirated circuit because HMV, the owners of the work’s copyright, were unable or uninterested in issuing the works, and the authors therefore did not have a chance to ensure that the works were available to the consuming public.

The example of Harry Potter series author J K Rowling as a struggling single mother is often used as an example of copyright protecting the rights of poor authors. However, now that Ms. Rowling has become one of the highest-paid authors in the world and has enjoyed great publishing success, the poor author metaphor would not seem to apply.Clearly, pirates respond only to market demand, and not every book, film, CD or other form of intellectual property is pirated. There is a particular popularity or price limit that is required to be achieved before a work enters into the piracy circuit. Presumably then, if a work has achieved enough status to become pirated (as in the case of the Harry Potter books), the poor struggling author has already struck rich.Thus, the sight of Madonna appearing in TV ads condemning piracy because it deprives her of livelihood is not quite convincing when images of her many villas and islands flash in your mind.

Expansion of Copyright Over the Years
Even assuming that copyright began its career as a system of balance between owners of copyright and the public interest, this system has grossly shifted in favour of owners and at the costs of the public.

There are three ways to account for the expansion of copyright. These are through the term of copyright, the reach of copyright and the scope of copyright.When copyright began in 1709 with the Statute of Anne, it was for a limited term of 14 years.Over the years, however, there has been a gradual expansion of the term of copyright, primarily pushed by the entertainment industry.Much has been written about the ‘mouse that ate up the public domain’, or the story of how Disney corporation has been one of the major actors in pushing for an extension of the term of copyright. If this artificial lease on life had not been constantly granted to copyright, Mickey Mouse would have – or rather should have – been in the public domain by now.

Writing about the extension of copyright term in the United States, Lawrence Lessig says that:

The latest extension was challenged by Lawrence Lessig and others in Eldred v.Ashcroft, where Lessig took a constitutional argument to say that the extension term violated both the copyright clause of the US Constitution as well as the first amendment. The Supreme Court upheld the validity of the extension.While the case was an exciting attempt at linking copyright to the oldest public law tradition, namely constitutional doctrines, it also seriously reveals the limitation of the constitutional argument when it comes to questioning property.

The second area of expansion of copyright has been in terms of the reach of copyright.Where copyright was initially supposed to be for the protection of ‘original’works of authorship, since the idea of originality in copyright is a very minimal one, it has allowed for all kinds of works to be brought under the umbrella of a copyright claim. It is ironic that the same doctrine of copyright and authorship is used to protect the works of a single author as much as that of a large corporation employing thousands of coders to prepare software. The question of databases, for example, is an area of contention in copyright law, where mere collection of facts have sought protection on the basis of being original works of authorship, the argument being that originality requires proving a minimum standard of originality, or, as long as it can be shown that there was a slight element of originality combined with investment and labour, then it would fall under the protection of copyright law.

Finally, and most troubling, has been the scope of copyright. When copyright began, it was primarily concerned with a single right, namely the right to reproduce or the right to make copies. But with the emergence of new technologies and new media, the cultural commodity has now become – via the control of derivative rights – an endless commodity of signification as well as of property.

How Copyright Impedes Creativity and Access to Knowledge
It is a combination of all three aspects; the term, the reach and the scope of copyright which imposes a heavy cost on the ability of people to access knowledge and culture.While this is not limited to only developing countries, the impact on them is greater.We can look at the impact of copyright on questions of creativity and access to knowledge in two ways: one is by looking at access barriers set up by copyright as a result of the price of information, and the second is by looking at the ways in which creativity and social practices are curtailed through copyright law.

It is important to locate the debate on copyright within the larger political economy of the knowledge and culture industries. The core copyright industries are serious business: the top three exports of the US, for instance, are movies, music and software. In 2001, the value of the copyright industries stood at $535 billion and exports from the same accounted for $88 billion to $97 billion. By comparison, chemicals exports were valued at $74.6 billion and automobiles at $56.52 billion. It is only within this context of the global political economy of the media industry that we can even begin to understand the ramifications of licensing in copyright law. The contemporary media empire is one of convergence and of cross-holdings; the classical distinctions between types of media no longer apply. It is precisely this world of the disaggregated media commodity in which the control over derivate rights through licensing becomes a critical component of the way through which media empires are imagined.It is the disaggregated media commodity that can be controlled through time and space, which is critical in maintaining large media empires that span the globe.

The developed nations, led by the United States, remain the main producers and consumers of cultural goods. From the 1990s, the export value of US copyrighted products (which include books, but are mainly entertainment commodities such as films, music and television programmes), exceeded the total for clothing, chemicals, cars, computers and airplanes combined. In 1997, the value of copyrighted products was $414 billion, according to one popular account.The core copyright industries extend to “all industries that create copyright or related works as their primary product: advertising, computer software, design, photography, film, video, performing arts, music (publishing, recording and performing), publishing, radio and TV, and video games.”This list does not even begin to cover the economic value of patents and trademarks, which is considerable.

Ironically, it could be argued that it is precisely the highly hierarchical structure of global media that enables the increased importance of alternative paradigms such as Open Content, peer production, etc. New technologies and tools have provided the context through which effective voluntary individual action can be enabled, and these technologies allow for various decentralized production practices, which challenge the market monopoly.

Given that developing nations remain as net importers of proprietary and copyright material, one then has to look at the amount that developing nations end up paying in the form of royalties to developed countries, and the difference it would make if the same money was used for other areas of concern, such as health, education and infrastructure.

The often prohibitive cost of educational materials inhibits educational opportunities, hence the need to ensure that educational materials remain affordable. Educational materials that are protected by copyright are not always affordable. The possibility of assigning and licensing copyright has enabled the sustenance of various industries, such as the book publishing industry and the music publishing industry. These copyright-enabled industries determine the price and the availability of copyrighted materials. As a result, vast amounts of educational materials have been priced at a level that is beyond the reach of consumers in developing countries. This constitutes a barrier to access to knowledge, hence a denial of the right to education.

The Consumer International (CI) report,“Copyright and Access to Knowledge”, argues that:

In many cases, the books that are being used in primary schools, in legal education, in engineering and in medicine are textbooks which are imported from the UK or the US. In the absence of an indigenous textbook publishing sector, most of these books have to be imported, and they are rarely subsidized. Even in the few cases when textbooks come at a subsidized rate, their prices are still astronomical. Take, for instance, the results of the study by CI, which looked at the comparative costs of textbooks in Thailand, Indonesia and in the US, as shown in Table 1.

A comparative price study was conducted to illustrate the relatively high cost of educational materials in developing countries in gross domestic product (GDP) terms. The study compares the prices of five university textbooks in Indonesia, Thailand and the US. In absolute terms, the retail prices of textbooks in Indonesia and Thailand are generally lower than the list prices of the same books in the US. This may be due to the commendable practice of major textbook publishers publishing international or student editions for distribution in developing countries like Indonesia and Thailand.

The report goes on to state that:

'''Table 1. Comparative Survey of Textbook Prices in Thailand, Indonesia and the US (US$)'''

GDP per capita of Thailand (2004)*: $2,539 GDP per capita of Indonesia (2004)*: $1,184 GDP per capita of the US (2004)*: $39,883 Exchange rate as at 1 July 2005: US$1 = THB 41.39 US$1 = IDR 9,791.92 ^ Price of international edition § Student Edition is available in Thailand for US$11.23 @ Price of the 5th Edition ° Price of hardcover version
 * Data obtained from UN Human Development Report 2006
 * 1) Price of the 9th edition

With the increasing move of having electronic databases for scientific as well as social science journals, the situation is no better. While one would have imagined that enabling electronic resources would increase access to these materials, this is far from the case. In most cases, these databases are owned by very large publishing houses, and access to these databases is at exorbitant prices and usually restricted to large institutions and universities. In most universities in developing nations, where the library budget is often dismal, it becomes impossible to have access to any of these databases, thereby perpetuating the knowledge/information gap that exists.

Scholarly communication or access to the entire scientific record has always relied on a global network of libraries sharing the burden of acquisition of the estimated 70,000 or so academic journals that are published around the world. Academic libraries share these resources primarily through a system of inter-library loans. If a researcher requires an article from a journal that is not in Library A’s collections, staff members contact Library B, which does subscribe, and get a photocopy of the article, which the researcher can keep. This is frequently done free of charge as there is a principle of reciprocity at work, but in theory, the researcher may have to cover the copying costs.

Journal publishers typically charge higher subscription rates to libraries than to individuals, precisely in order to recover what they see as lost sales from this kind of activity, which is, of course, perfectly legal under fair-use exemptions. However, with the advent of multi-layered protection of digital content, libraries that subscribe to electronic journals through access to a database sometimes find that they are forbidden by the terms of the contract from sharing electronic or paper copies of articles with other institutions. The researcher then has no other resort than desist, or to turn to a commercial document delivery service to obtain a copy, perhaps at a transaction cost of $8 or more. This is an active disincentive to enquiry, especially in poor countries, where research funds are spread thin and $8 represents a significant cost.

At another level, if the system of intellectual property protection effectively closes off parts of the scientific record, not through censorship or formal barriers, but by making access unaffordable, it can be argued that the requirement of full disclosure is not being met.

One of the most significant initiatives in recent times has been the US-based Massachusetts Institute of Technology’s Open CourseWare (MIT OCW) initiative, which makes world-class learning materials available for free download and use. It has been reported that the largest users of the materials have thus far been from countries in Africa and Latin America.42 Since the site’s public launch on 30 September 2002, users from more than 215 countries, territories, and city-states around the world have visited the MIT OCW. The site has received more than 25,000 email messages regarding its usefulness.

The Impact of Copyright on Free Speech and Creativity
The second important issue to examine is the impact of copyright on the process of creativity itself. As we have argued, creativity is not a mythical process in which someone creates something out of nothing, but is an incremental process where people may make use of existing material, mix, match and develop something new. This is particularly true of the digital era, where technologies have made it easier for people to produce music, films, photographs, etc. However, if copyright imposes a cost by means of a licensing fee that has to be paid for the use of pre-existing material, it might be increasingly more expensive to produce content.

Hip-hip artist Siva Vaidhyanathan brilliantly captures the way in which stricter copyright depletes culture in his account of the music industry:

A lot of contemporary creativity rests on the ability to borrow, appropriate and re-signify existing works. This is an important aspect of creativity in a culture of mass media, where everyone is fixed as a consumer, rather than a producer.

Moving beyond the level of the individual creator, the world’s largest film industry, India’s Bollywood, has been known to a certain extent for its creative adaptation of Hollywood hits. Some of these are done with religious rigor, ensuring that the copy tries to stay as close to the original as possible, and yet in every instance of these acts of copying, there is necessarily an act of rendering the text intelligible for the ‘Indian’ audience. This is a subject that has merited serious ethnographic analysis in terms of what it is that makes a ‘cultural copy’. (For instance, what are the conditions that are taken into mind while translating Seven Brides for Seven Brothers into Satte pe Satta?) Very often, you have had Indian versions of the Hollywood film which have been far better than the original (a case in point is Masoom, a remake of Man,Woman and Child). In 2003, however, a very curious case was filed against an Indian TV serial, Karishma. The ‘grand old lady of pulp’, Barbara Taylor Bradford, was informed by a ‘fan’ that people in India were making a lavish remake of her novel AWoman of Substance. She flew to India and promptly filed an injunction suit against the serial in an attempt to prevent its broadcast. But this begs the question: what exactly was she attempting to protect, since the idea behind A Woman of Substance, namely, a woman’s rags-to-riches story, is an idea that cannot be protected under copyright law? These processes of adaptations or copying are central to the process of cultural production, and a quick survey of Hollywood history will itself reveal the number of ‘inspired’ films that they have made.

Copyright as a Threat to Free Speech
The Electronic Frontier Foundation has been documenting various instances and cases of how copyright is being used to silence dissenting speech acts. They range from scientists withdrawing papers after being threatened with action under the Digital Millennium Copyright Act to members of fan fiction communities being asked to withdraw materials which the copyright owners find offensive (http://www.chillingeffects.org).

While copyright claims are often made on the basis of property rights, because they deal with the world of ideas and creativity, the line between property and censorship becomes very blurred.

Where do we even begin to draw the line between culture and property in the contemporary, where from the time that we wake up to the time that we go to sleep, we are engaging with media forms/property of all kinds, from advertisements (‘the landscape of the modern’), to music, to films, to the software we use, to the mobile phones that we carry. De Certeau said that “[My] purpose…is to make explicit the systems of operational combination…which also compose a ‘culture’, and to bring to light the models of action characteristic of users whose status as the dominated element in society…is concealed by the euphemistic term ‘consumers’. Everyday life invents itself by poaching in countless ways on the property of others.”

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
Arabic/available

=Exercise 1= available مَوْجُوْدٌ mawˈd͡ʒuːd/mawˈd͡ʒuːdun unavailable غَيْرُ مَوْجُوْدٍ ˈɤajru mawˈd͡ʒuːd/ˈɤajru mawˈd͡ʒuːdin book كِتَاْبٌ kiˈtaːb/kiˈtaːbun chair كُرْسِيٌّ ˈkursiː/ˈkursiːjun computer حَاْسُوْبٌ ħaːˈsuːb/ħaːˈsuːbun student تِلْمِيْذٌ tilˈmiːð/tilˈmiːðun pen قَلَمٌ ˈqalam/qalamun eraser مَحَّاْيَةٌ maħˈħaːjah/maħˈħaːjatun word كَلِمَةٌ kaˈlimah/kaˈlimatun airport مَطَاْرٌ maˈtˠaːr/maˈtˠaːrun restaurant مَطْعَمٌ matˠˈʕam/matˠˈʕamun school مَدْرَسَةٌ madˈrasah/madˈrasatun here هُنَاْ hunaː there هُنَاْكَ huˈnaːk/huˈnaːka

 * 1) اَلْكِتَاْبُ مَوْجُوْدٌ. alkiˈtaːbu mawˈd͡ʒuːd
 * 2) اَلْكُرْسيُّ مَوْجُوْدٌ. alˈkursiːju mawˈd͡ʒuːd
 * 3) اَلْحَاْسُوْبُ غَيْرُ مَوْجُوْدٍ. alħaːˈsuːbu ˈɤajru mawˈd͡ʒuːd
 * 4) اَلْتِّلْمِيْذُ مَوْجُوْدٌ.
 * 5) اَلْقَلَمُ مَوْجُوْدٌ.
 * 6) اَلْمَحَّاْيَةُ غَيْرُ مَوْجُوْدَةٍ.
 * 7) اَلْكَلِمَةُ غَيْرُ مَوْجُوْدَةِ.
 * 8) اَلْمَطَاْرُ هُنَاْكَ.
 * 9) اَلْمَطْعَمُ مَوْجُوْدٌ.
 * 10) اَلْتِّلْمِيْذُ هُنَاْلِكَ.
 * 11) اَلْمَدْرَسَةُ هُنَاْ.
 * 12) اَلْمَطَاْرُ غَيْرُ مَوْجُوْدٍ.

=Romanisation=

=Key= 1. The book is available. 2. The chair is available. 3. The computer is unavailable. 4. The student is available. 5. The pen is available. 6. The eraser is unavailable. 7. The word is unavailable. 8. The airport is there. 9. The restaurant is available. 10. The student is there. 11. The school is here. 12. The airport is unavailable.

title: Arabic/available


text:
Arabic/existance

The strange letter لا is a ligature lam + alif (= 'la')

=Exercise 1=

Vocabulary
exists (to exist)  يوجَد doesn't لا

book كِتابُ school مَدرَسَة restaurant مَطعَمُ student تِلميذُ airport مَطارُ word كَلِمَةُ pen قَلَمُ

 * 1) الكِتابُ لا يوجَد.    There is no book.
 * 2) المَدرَسةُ لا توجَد.    There is no school.
 * 3) لا يوجد مطعم.     There is no restaurant.
 * 4) هناك تلميذ.       There is a student.
 * 5) هناك مطار.        There is an airport.
 * 6) الكَلِمةُ لا توجَد.    The word doesn't exist.
 * 7) .الكلمة غير موجودة. The word doesn't exist.
 * 8) هناك كتاب.        There is a book.
 * 9) هناك مدرسة.       There is a school.
 * 10) هناك مطار.        There is an airport.
 * 11) هناك قلم.         There is a pen.
 * 12) لا يوجَد مطار.      There is no airport.

=Key= 2. There is no school. لا توجد مدرسة 4. There is a student هناك طالب 6. The word doesn't exist. الكلمةُ غير موجودة 8. There is no school. ليست هناك مدرسة 10. There is no pen. لا يوجد قلم 12. There's no airport. لا يوجد مطار. ليس هناك مطار

title: Arabic/existance


text:
File:Parfait Amour bw.jpg

http://www.beveragewarehouse.com

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Parfait Amour bw.jpg


text:
Arabic/thereIs

=Exercise 1=

there is no مامِن there is a هُناكَ book كِتابُ airport مَطارُ restaurant مَطعَمُ notebook دَفتَرُ hospital مُستَشفَى school مَدرَسةُ chair كُرسيُّ apartment (home) شُقّةُ apartment (building) عِمارَةُ

 * 1) مامِن كِتابِ.
 * 2) هُناكَ كِتابُ.
 * 3) هُناكَ مَطارُ.
 * 4) هُناكَ مَطعَمُ.
 * 5) مامِن دَفتَرِ.
 * 6) هُناكَ مُستَشفى.
 * 7) مامِن مَدرَسةِ.
 * 8) مامِن كُرسيُّ.
 * 9) هُناكَ كُرسيُّ.
 * 10) مامِن شِقّةِ.
 * 11) مامِن عِمارةِ.
 * 12) مامِن عِمارةِ.

ا

=Key= 2. There is a book. 4. There is a restaurant. 6. There is a hospital. 8. There is no chair. 10. There is no apartment. 12. There is no apartment building.

title: Arabic/thereIs


text:
Arabic/describing

=Exercise 1= big كَبِيْرٌ old قَدِيْمٌ small صَغِيْرٌ new جَدِيْدٌ cheap رَخِيْصٌ expensive غَاْلٍ university جَاْمِعَةٌ apartment شُقَّةٌ school مَدْرَسَةٌ eraser مَحَّاْيَةٌ penقَلَمٌ airport مَطَاْرٌ computer حَاْسُوْبٌ apartment (home) شُقَّةٌ

 * 1) اَلْمَدْرَسَةُ كَبِيْرَةٌ.
 * 2) اَلْجَاْمِعَةُ قَدِيْمَةٌ.
 * 3) اَلْشُّقَّةُ صَغِيْرَةٌ.
 * 4) اَلْمَحَّاْيَةُ جَدِيْدَةٌ.
 * 5) اَلْقَلَمُ رَخِيْصٌ.
 * 6) اَلْمَدْرَسَةُ جَدِيْدَةٌ.
 * 7) اَلْمَطَاْرُ كَبِيْرٌ.
 * 8) اَلْحَاْسُوْبُ غَاْلٍ.
 * 9) اَلْمَطْعَمُ غَاْلٍ.
 * 10) اَلْجَاْمِعَةُ غَاْلِيَةٌ.
 * 11) اَلْمَحَّاْيَةُ غَاْلِيَةٌ.
 * 12) اَلْشُّقَّةُ جَدِيْدَةٌ.

=Key= 1. The school is large. 2. The university is old. 3. The apartment is small. 4. The eraser is new. 5. The pen is cheap. 6. The school is new. 7. The airport is big. 8. The computer is expensive. 9. The restaurant is expensive. 10. University is expensive. 11. The eraser is expensive. 12. The apartment is new.

title: Arabic/describing


text:
Template:Special Relativity

Special Relativity

title: Template:Special Relativity


text:
Template:Special Relativity/Section

 Special Relativity/

title: Template:Special Relativity/Section


text:
Adventist Youth Honors Answer Book/Recreation/Camping Skills III

| /Completed Honors /Honors with Divisional Variants


text:
Adventist Youth Honors Answer Book/Recreation/Camping Skills III (General Conference)

2. Work for three hours on a wilderness beautification project, such as making or clearing a trail.
Options other than making or clearing a trail include litter pick-up in a park, along a river or stream bed, or along a trail. If your Pathfinders think of another project that seems to meet the spirit of this requirement, go for it!

7. Know how to properly sharpen a hatchet and knife
A tool can be sharpened with a whetstone. Most whetstones need to be kept wet when they are in use – some are wet with water and others are wet with oil. Stones with finer grain typically use oil, but you can use water on them as well. The purpose of wetting a whetstone is to allow the steel removed from the blade to float away. The finer the stone, the finer the edge it will make on a tool, but the longer it will take to sharpen it. For this reason, a very dull tool should be sharpened first with a coarser stone, and then with a finer stone. Then it should be kept sharp. You can keep a blade sharp by respecting it – do not chop into the ground with a hatchet, and to not stick a knife blade in the ground either. Dirt is highly abrasive, and rock will ding the edge very quickly. Close a pocket knife when you are finished using it and do not allow the business end of a blade to touch anything other than the things you are trying to cut with it.

Hatchet
It is tempting to take a dull hatchet to a power grinder, but unless you are very careful, this could be a huge mistake. A grinder will not only remove steel from a blade, but it will also heat it. It is very easy to heat it too much, causing the steel to lose its temper (tempered steel is hard and holds an edge better than untempered steel). Steel is tempered by heating it to the point that it becomes non-magnetic, then quickly cooling it. If it is allowed to cool slowly, the iron crystals in the blade will align themselves with the Earth's magnetic field as they cool, and aligned crystals make for soft steel. So the first advice we can give on sharpening a hatchet is to stay away from the grinder.

Instead, use a file or a stone. Hold the file so that it passes over the edge of the blade, but at a steep angle. Sharpen one side, and then the other.

Knife
To sharpen a knife, hold the blade at about a 15° angle and scrape it along a whetstone as if you were trying to shave off a thin layer of the stone. Be sure to sharpen both sides.

9. Describe the various types of tents and their uses.
D ifferent types of tents are used for different purposes. A 4 season tent is going to do well for any type of conditions, whereas other types of tents (most today are 3 seasons) don't do as well in all seasons (usually the winter season is not a good time to use such a tent). So, seasons are one way of signifying different types of tents.

T he different types of camping would be another way to distinguish the types of tents. A family tent is more than likely going to be heavy (weight wise) and bulky. It will often have lots of room (can fit 6 people). A backpacking tent is small and lightweight. Usually, you won't put the gear in a backpacking tent (you hang your pack or keep it out of your tent). A backpacking tent will fit people snuggly (usually no more than 2 per tent). A mountaineering tent can stand the rough climate and terrain in addition to being lightweight. Mountaineering tents are designed for some gear to fit inside the tent (thus being a little bit more spacious than backpacking tents). Mountaineering tents may also allow for up to 3 or four people to sleep snuggly in a single tent.

T he final way to classify tents by different types is by the material used. I don't use this method for teaching camping skills 3 though. Tents may be classified by the materials used to build them (like aluminum poles vs carbon fiber poles, etc.).

10. How does condensation occur in tents, and how can it be prevented?
Each breath a person exhales contains water because of the moisture content of the lungs, throat, mouth, and nasal cavity. This moisture rises until it comes in contact with a cool surface such as the inside of the tent, where it condenses.

A good tent will be made of breathable material that allows the moisture to pass through (such as a nylon mesh), and there will be a rain fly on the outside to keep the rain out of the tent. Water vapor passes through the mesh and condenses on the fly. It then runs off the underside of the fly and drips off the edge outside the tent.

Two Half Hitches
While camping, plan and give a ten-minute devotional or organize and lead a nature Bible game or lead out in Sabbath School or camp church or vespers.

12. While camping, plan and give a ten-minute devotional or organize and lead a nature Bible game or lead out in Sabbath School, camp church, or camp vespers.

 * This is your activity.

13. Properly locate and build one of the following and describe its importance to the individual and the environment
You should take into consideration where your sleeping area(s) are in relation to these water-related areas. Specifically, water flows downhill, so, you do not want water runoff from the 'sink and dishwashing' or 'shower water' flowing to your sleeping area(s).

Also, the location of the 'latrine' should be considered depending on where you get your water source. For example, you do not want to put the 'latrine' upstream and take your shower and wash your dishes downstream. But pay attention! Just because your latrine is downstream and downhill from you does not mean it is downstream and downhill from other campers. Be considerate. A latrine should never be located within of any water supply.

Replace Mantel on Camp Lantern

 * As with most things, practice and repetition makes a task simple.

 * Turn OFF the gas valve completely.
 * Remove the lantern cover and the glass covering. Place these in a safe and stable place.
 * Remove any remains of the old mantel. Do this carefully if the lantern is still HOT.
 * Tie the new mantel in place on the gas pipe. There is a string around the collar that slips over the gas pipe.
 * Pressurize the gas tank.
 * Hold a lighted match near the mantel and turn on the gas valve. The mantel should begin to burn.
 * Replace the glass cover and the lantern cover.
 * Open the gas valve completely when the mantel starts to glow brightly.

Demonstrate refilling gas in a Lantern and Stove

 * Be sure not to spill any fuel, or if you do, make sure you clean up properly.

Maintain Pressure Pump on a Camp Stove

 * Most stoves can use either liquid or gas fuel. Gas-fuel stoves are simpler to operate than liquid-fueled stoves. The gas, being already pressurized, flows from the fuel canister into the burner, where it ignites, in the same manner as a domestic kitchen stove.

 * Liquid-fuel stoves are more complex because the liquid fuel must be vaporized prior to burning. To accomplish this, the stove design brings the fuel line containing the liquid fuel near the flame of the burner. The heat from the flames converts the liquid fuel to a gas before it reaches the burner, where it mixes with air and is ignited. Some models use a spray system that does not require preheating.

 * Most stoves operating with liquid fuels must be heated or primed before the burner is turned on. Many stoves require the operator to open the fuel valve briefly without igniting the fuel so that it flows into a small pan. This small quantity of fuel is then lit and allowed to burn down. When the fuel valve is opened again, the fuel vaporizes from the heat of the pan. Some stoves do not have this apparatus and must be preheated by the application of an external heat source such as a solid fuel block.

 * In many stoves, the priming pressure is generated by a small hand pump that forces air into the fuel container. As the fuel is consumed, the pressure decreases according to Boyle's Law, so the pump must be operated occasionally during use to maintain steady stove operation.

 *  In the picture (above/right), the pressure pump knob is also the cover to the fuel tank. This MUST fits on the tank properly. If this cover is not correctly fitted, you cannot pressurize the stove. You would pressurize the tank by operating the pump several times before lighting the stove. During the course of use, you will need to operate the pump again, to maintain the pressure in the tank.


text:
Talk:Windows Programming/Dynamic Link Libraries

Would it be possible for someone to put a full example in here including the creation of a sample dll a .def file, possibly a .manifest, and something to call the dll? There should be shell commands for compiling this in windows with cl.exe (the visual studio C compiler). That would make this a bit more clear. It would be good to have a discussion of using other people's dlls and how to find out what those dlls export.

I want full examples!!! Thanks -69.122.196.117 01:21, 14 August 2007 (UTC)


text:
File:Mozart Amadeus losvalles.jpg

Source: http://www.losvalles.i.cl

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Mozart Amadeus losvalles.jpg


text:
Category:Book:Special Relativity

ja:Category:特殊相対論

title: Category:Book:Special Relativity


text:
User:Whiteknight/Notes/Special Relativity

< Book Foundry — All Books
 * 24 December 2008: All pages reviewed. Many of the pages are very monolithic and might need to be broken down into smaller pages. Some pages are equation-heavy and need more prose. Images need general improvement, and more new images need to be added. Needs a public collection and associated artifacts.


text:
File:Cafe marakesh cocktailznl.jpg

Source: http://www.cocktailz.nl

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Cafe marakesh cocktailznl.jpg


text:
File:Starbucks Coffee liqueur bauer.jpg

Source: http://www.bauerwines.com

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Starbucks Coffee liqueur bauer.jpg


text:
File:Starbucks Cream Liqueur arg.jpg

Source: http://www.argonautliquor.com

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Starbucks Cream Liqueur arg.jpg


text:
File:Absinthe-original.jpg

Source: http://www.originalabsinthe.com

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Absinthe-original.jpg


text:
File:Aguardiente winechateau.jpg

Source: http://www.winechateau.com

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Aguardiente winechateau.jpg


text:
File:Chambord bauerwines.jpg

Source: http://www.bauerwines.com

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Chambord bauerwines.jpg


text:
File:Chartreuse Verte chfr.jpg

Source: http://www.chartreuse.fr/

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Chartreuse Verte chfr.jpg


text:
File:Chartreuse Jaune chfr.jpg

Source: http://www.chartreuse.fr/

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product nor of the internet business from which the image was obtained. This image was obtained from a manufacturer's website or an online business selling that product. The source of the file is listed under the image. The owners of the trademark and the image are acknowledged.

/Images

title: File:Chartreuse Jaune chfr.jpg


text:
File:Metaxa 7.jpg

Source: en:User:Contributor175

Non-free use rationale
This image meets the following non-free use criteria:
 * No free alternative possible
 * If this is a promotional image from the company, then any "user-supplied" image whose sole purpose was clearly to represent the same copyrighted box/item art (and nothing else, and with no significant artistic input- i.e. a "mechanical" reproduction, whether by scanner or camera) would likely have the same restrictions.
 * Is being used to demonstrate the product and/or its marketing
 * Serves to demonstrate the product being discussed rather than being used in a solely decorative manner.
 * Does not deprive company of ability to make money in any way
 * Is not being used in misleading or misrepresentative manner

Disclaimer

 * Use of this non-free image of a proprietary product is not an endorsement of that product. The source of the file is listed under the image. The owners of the trademark, Remy-Cointreau, are acknowledged.

/Images

title: File:Metaxa 7.jpg


text:
Arabic/pointing

=Translation Exercises=

Exercise 1
this هٰذَا\هٰذِهِ computer حاسوبُ pen/pencil قَلَمُ restaurant مَطعَمُ eraser مِمْحَاةٌ apartment (suite) شُقّةُ book كِتابُ notebook دَفتَرُ student تِلميذُ female student تِلميذةُ teacher مُعَلِّمُ female teacher مُعَلِّمةُ

ا
 * 1) هٰذا حاسوبُ.
 * 2) هٰذِهِ مَدرَسةُ.
 * 3) هٰذا قَلَمُ.
 * 4) هٰذا مَطعَمُ.
 * 5) هٰذِهِ مِمْحَاةٌ.
 * 6) هٰذِهِ شُقّةُ.
 * 7) هٰذا كِتابُ.
 * 8) هٰذا دَفتَرُ.
 * 9) هٰذا تِلميذُ.
 * 10) هٰذا مُعَلِّمُ.
 * 11) هٰذِهِ تِلميذةُ.
 * 12) هٰذِهِ مُعَلِّمةُ.

Key
1. This is a computer. 2. This is a school. 3. This is a pen/pencil. 4. This is a restaurant. 5. This is an eraser. 6. This is an apartment. 7. This is a book. 8. This is a notebook. 9. This is a male student. 10. This is a male teacher. 11. This is a female student. 12. This is a female teacher.

Exercise 2
that ذٰلِكَ \ تِلْكَ student تِلميذَةُ airport مَطارُ book كِتابُ restaurant مَطعَمُ eraser مِمْحَاةٌ pen قَلَمُ teacher مُعَلِّمُ\مُعَلِّمةُ

ا
 * 1) ذٰلِكَ تِلميذُ.
 * 2) تِلْكَ تِلميذة.
 * 3) هٰذا مَطارُ.
 * 4) ذٰلِكَ مَطارُ.
 * 5) ذٰلِكَ كِتابُ.
 * 6) ذٰلِكَ مَطعَمُ.
 * 7) تِلْكَ  مِمْحَاةٌ.
 * 8) ذٰلِكَ قَلَمُ.
 * 9) هٰذِهِ مِمْحَاةٌ.
 * 10) تِلْكَ مُعَلِّمةُ.
 * 11) ذٰلِكَ مُعَلِّمُ.
 * 12) تِلْكَ مُعَلِّمةُ.

Key
2. That is a (female) student. 4. That is an airport. 6. That is a restaurant. 8. That is a pen. 10. That is a (female) teacher. 12. That is a (female) teacher.

Exercise 3
this/that ذٰلِكَ \ تِلْكَ this هٰذا\هٰذِهِ that ذٰلِكَ \ تِلْكَ airport مَطارُ restaurant مَطْعَمُ eraser مِمْحَاةٌ university جامِعةُ pen قَلَمُ student تِلميذُ\تِلميذةُ apartment (suite) شُقّةُ notebook دَفتَرُ ا
 * 1) ذٰلِكَ مَطارُ.
 * 2) ذٰلِكَ مَطْعَمُ.
 * 3) تِلْكَ مِمْحَاةٌ.
 * 4) تِلْكَ جامِعةُ.
 * 5) ذٰلِكَ مَطارُ.
 * 6) هٰذا قَلَمُ.
 * 7) تِلْكَ تِلميذةُ.
 * 8) ذٰلِكَ قَلَمُ.
 * 9) تِلْكَ شُقّةُ.
 * 10) هٰذِهِ تِلميذةُ.
 * 11) ذٰلِكَ دَفتَرُ.
 * 12) تِلْكَ جامِعةُ.

Key
2. That is a restaurant. 4. That is a university. 6. That is a pen. 8. That is a pen. 10. This is a student. 12. That is a university.

title: Arabic/pointing


text:
Arabic/relations

=Translation Exercises=

Exercise 1
book كِتابُ from مِن school مَدرَسةُ notebook دَفتَرُ airport مَطارُ with مَعَ near قُربَ city مَدينةُ in في above فَوقَ apartment (suite) شُقّةُ apartment (building) عِمارةُ chair كُرسيُّ ground أَرضُ table طاوِلةُ under تَحتَ teacher مُعَلِّمُ

ا
 * 1) الكِتابُ مِن المَدرَسةِ.
 * 2) الدَفتَرُ مِن المَطارِ.
 * 3) الكِتابُ مَعَ الدَفتَرِ.
 * 4) المَطارُ قُربَ المَدينةِ.
 * 5) المَطارُ في المَدينةِ.
 * 6) الشَمسُ فَوقَ الـأَرضِ.
 * 7) الكِتابُ في الشُقّةِ.
 * 8) العِمارةُ في المَدينةِ.
 * 9) الكُرسيُّ عَلى الـأَرضِ.
 * 10) الكِتابُ عَلى الطاوِلةِ.
 * 11) الطاوِلةُ تَحتَ الكِتابِ.
 * 12) المُعَلِّمُ في المَطارِ.

=Key= 1. The book is from the school. 2. The notebook is from the airport. 3. The book is with the notebook. 4. The airport is near the city. 5. The airport is in the city. 6. The sun is above the earth. 7. The book is in the apartment. 8. The apartment building is in the city. 9. The chair is on the ground. 10. The book is on the table. 11. The table is under the book. 12. The teacher is in the airport.

title: Arabic/relations


text:
Arabic/Pointing and describing

=Translation Exercises=

=Exercise 1= this/that ذاكَ\تاكَ big كَبيرُ pretty/beautiful جَميلُ ugly قَبيحُ good جَيِّدُ cheap رَخيصُ expensive/dear غالِ this هَذا\هَذِهِ that ذَلِكَ\تِلكَ

ا
 * 1) ذاكَ كَبيرُ.
 * 2) تاكَ جَميلُ.
 * 3) هَذا قَبيحُ.
 * 4) ذَلِكَ جَيِّدُ.
 * 5) تِلكَ قَبيحةُ.
 * 6) تِلكَ جَيِّدةُ.
 * 7) تاكَ جَميلةُ.
 * 8) هَذا رَخيصُ.
 * 9) ذَلِكَ غالِ.
 * 10) تِلكَ رَخيصةُ.
 * 11) هَذا كَبيرُ.
 * 12) تِلكَ غالِيةُ.

=Key=

2. That is pretty. 4. That is good. 6. That is good. 8. This is cheap. 10. That is cheap. 12. That is expensive.

title: Arabic/Pointing and describing


text:
D Programming/DUI

To be completed.

Duit (formerly DUI; now GtkD) is a D language graphical user interface wrapping (or binding) GTK+ graphical toolkit

GtkD is released under the LGPL license.

GtkD Code Example
import gtk.MainWindow; import gtk.Label; import gtk.Main; void main( string[] args ) { Main.init(args); MainWindow win = new MainWindow( "Hello World" ); win.setDefaultSize(200, 100); win.add( new Label( "Hello World" )); win.showAll; Main.run;  // here was Main.main, which was wrong }

Its main website is:
 * http://gtkd.org/

Older out-of-date websites are
 * http://www.dsource.org/projects/gtkd
 * http://dui.sourceforge.net/

title: D Programming/DUI


text:
Basic Computer Security/Web Security/Web Browser Security

Choosing a Secure Web Browser
There are many different web browsers available to you, all of which will display the web in a similar way. However, they are all built in different ways, and for this reason the security features employed in each will be different. Listed below are some of the popular browsers:

 * Microsoft Internet Explorer
 * Mozilla Firefox
 * Safari
 * Opera
 * Google Chrome

Extensions
The extensions AdBlock Plus, Ghostery, and NoScript (ScriptSafe for Chrome users) can help protect against infection.

Microsoft Internet Explorer
Though in the past Internet Explorer (abbreviated to IE) was described as a generally insecure browser, much has been done to keep its users safe on the Internet. With version 7 of Internet Explorer, there are a wide range of security features that have been employed. This particular version checks visited websites against a black-list of reported phishing websites to try and ensure that you do not give your details away to a fraudulent website. Whilst this is not 100% effective, it helps keep your data secure. IE7 supports the latest data encryption technologies as well as the most up-to-date web certificate verification techniques. IE 7 will automatically check a website's security certificate to see whether or not it is valid. IE will not let a website download or install a program without your explicit consent.

Unfortunately, Internet Explorer 7 is only supported in Windows XP SP2 (or above) and Windows Vista. For this reason many people tend to opt for Mozilla Firefox, which will work on almost any version of Windows.

Mozilla Firefox
Mozilla Firefox has for a very long time been touted as a very secure web browser. As it is open source, any holes in the browser are patched quickly as there are always a large number of people developing patches at any one time. The security features employed in Firefox are almost identical to those used in Internet Explorer, checking websites against phishing black-lists, supporting certificates and encryption, and giving the user complete control over downloaders and installers. Another advantage of Firefox over Internet Explorer is that it is compatible with multiple operating systems as well as most versions of Windows.

Safari
Safari is the proprietary browser for Apple's computers as well as the iPhone. While generally secure under Apple systems, the Windows version of the Safari browser has had problems. These problems are regarding "carpet bombing." Since many Windows users have multiple web browsers installed, the carpet bombing technique makes use of a "blended attack". The original carpet bomb would allow the download of files onto the system without user confirmation. A second flaw allowed files to be stolen from the users computer.

Opera
Opera is a proprietary web browser based on open-source code but is not as common as the other already listed. It has some special security features, e.g. cookie and cache clean up every time the browser shuts down and a possibility to edit cookies directly from the browser.


text:
User talk:Zeus-chu~enwikibooks

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:05, 14 August 2007 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Zeus-chu. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Zeus-chu~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:55, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:40, 19 April 2015 (UTC)

title: User talk:Zeus-chu~enwikibooks


text:
User talk:Surethaiyal

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:05, 14 August 2007 (UTC)

title: User talk:Surethaiyal


text:
User talk:Mms~enwikibooks

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:05, 14 August 2007 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Mms. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Mms~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:31, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:16, 19 April 2015 (UTC)

title: User talk:Mms~enwikibooks


text:
User talk:Chamath

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

title: User talk:Chamath


text:
User talk:Silverdrake3

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

title: User talk:Silverdrake3


text:
User talk:Sirwarrior

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

title: User talk:Sirwarrior


text:
User talk:Circusmind

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

title: User talk:Circusmind


text:
User talk:M040

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

title: User talk:M040


text:
User talk:Matthew16~enwikibooks

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Matthew16. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Matthew16~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:28, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:14, 19 April 2015 (UTC)

title: User talk:Matthew16~enwikibooks


text:
User talk:JordanRC~enwikibooks

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called JordanRC. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name JordanRC~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:21, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:06, 19 April 2015 (UTC)

title: User talk:JordanRC~enwikibooks


text:
User talk:Cheezboy

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

title: User talk:Cheezboy


text:
User talk:Lydia (usurped)

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

title: User talk:Lydia (usurped)


text:
User talk:Bmd~enwikibooks

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Bmd. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Bmd~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 22:59, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 04:39, 19 April 2015 (UTC)

title: User talk:Bmd~enwikibooks


text:
User talk:Dukejib

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:06, 14 August 2007 (UTC)

title: User talk:Dukejib


text:
User talk:Peterry

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:07, 14 August 2007 (UTC)

title: User talk:Peterry


text:
User talk:Patrick.pl

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 13:07, 14 August 2007 (UTC)

title: User talk:Patrick.pl


text:
Arabic/Romanisation System

=Romanisation System= To make Arabic more accessible, this book uses transliteration along with Arabic written in Arabic letters. The system used in this book is based on the loose conventions used to chat in Arabic when the Arabic alphabet is not supported.

 * The following numerals are used to represent Arabic letters not having a Latin equivalent: 2, 3, 6, 7, 9.
 * 2 represents hamza ء (original alif sound), the sound that separates vowels as if "Martin" were written in Arabic. It would most likely not be written with a hamza because that is not how it is usually pronounced in English. If you find that someone pronounces "Martin" as "Mart-in" rather than "Mar-tin", that pronunciation would be written with a hamza in Arabic (in transliteration, mart2in).
 * 3 represents 3ain. 3ain is an important Arabic sound but is difficult to people unfamiliar with Arabic.
 * 6 is the "emphatic" "t" sound. It is a "t" sound pronounced with more of the tongue touching the roof of the mouth.
 * 7 is a special "h" sound. It is pronounced far deeper in the throat the normal "h".
 * 9 is the emphatic "s" sound. Unlike the normal Arabic "s" sound, this "s" sound is pronounced with the tongue near the place behind the upper teeth. It is not that important to master.
 * The apostrophe is used to indicate modify consonants to represent different consonants. For example: t', d', 7', 3' represent the more frictive versions: the th in think, the th in "the", the throaty "ch" in Munich, the throaty Parisian French "r" (approximately)).
 * The apostrophe is used after a vowel to lengthen it.

The orthography or spelling conventions used with the transliteration are a compromise between transcribing actual pronunciation and spelling (although in Arabic, they do not significantly differ). Keep the following in mind:
 * tilde (~) indicates that the letter before must be pronounced like the letter after it so eL~Da'r must be pronounced ed-da'r.
 * The definite article in Arabic will be spelt and is pronounced as (L)
 * Anything in parentheses after a word is pronounced in some registers and not others. You should be capable of understanding Arabic pronounced either way.

Examples

 * 1) L kalime(tu) huna'k(a)
 * 2) L kita'b(u) huna'k(a)
 * 3) L kursiy(yu) huna'k(a)
 * 4) L madrase(tu) huna'k(a)
 * 5) L mu3allim(u) huna'k(a)
 * 6) L~tilmi'd'(u) huna'k(a)
 * 7) L qalam(u) huna'k(a)
 * 8) L ma77a'ye(tu) huna'k(a)
 * 9) L~daftar(u) huna'k(a)
 * 10) L kita'b(u) huna'lik(a)

title: Arabic/Romanisation System


text:
XQuery/Filtering Words

Motivation
Sometimes you have a text body and you want to filter out words that are on a given list, often called a stoplist.

Sample Program
Sample Input Text Input Text: {$input-text}

Discussion
The input string is split into words using the tokenize function which accepts two parameters, the string to be parsed and a separator expressed as a regular expression. Here words are separated by one or more spaces. The result is a sequence of words.

This program uses XPath generalized equality to compare the sequence $stopwords/word with the sequence (of one item) $word. This is true if the two sequences have items in common, that is if the stoplist contains the word.

Alternative coding
You can also use a quantified expression to perform a stopword lookup using the some...satisfies – see XQuery/Quantified Expressions expression such as:

There are other alternatives; the stop words as a sequence of strings, or a long string and use contains or a element in the database.

There are however significant differences in performance. There is a set of tests which show the differences in a number of alternatives. Unit Tests

What these tests reveal is that, on the eXist db platform, both the suggested implementations are far from optimal. Testing against a sequence of strings takes about a fifth of the time to compare with elements. Generalised equality is equally superior to the use of a qualified expression.

Recommended Practice
It would appear that the preferable approach is:

If the stop words are held as an element, it is better to convert to a sequence of atoms first:

Note that referencing the stop list in the database slightly improved performance.

title: XQuery/Filtering Words