The first of eight prosecutions brought under New Zealand's three-strikes copyright law (passed as a rider to the emergency legislation freeing up money to provide relief for the Christchurch earthquake) has fallen apart.
The RIANZ (Record Industry Association of NZ) withdrew its case against a student in shared accommodation without saying why.
However, as Torrentfreak reports, NZ activists at Tech Liberty point out that the notices sent to the student, and the damages claimed, were all badly bungled and unlikely to withstand legal scrutiny.
The recording group asked for just over NZ $370 (US $303) to cover the costs of the notices and copyright tribunal hearing, plus NZ $1,250 (US $1,024) as a deterrent. However, eyebrows were certainly raised when it came to their claim for the music involved in the case.
The infringements were alleged to have taken place on five tracks with the cost of each measured against their value in the iTunes store, a total of NZ $11.95 (US $9.79). This sounds reasonable enough, but RIANZ were actually claiming for $1075.50 (US $880.96).
“RIANZ decided, based on some self-serving research, that each track had probably been downloaded 90 times and therefore the cost should be multiplied by 90,” says Tech Liberty co-founder Thomas Beagle. “There is no basis in the Copyright Act or Tribunal regulations for this claim.”
I don't think we can count on this kind of cack-handedness in the future. The RIANZ will perfect its procedures soon enough, and we'll start seeing punitive fines and even disconnection based on mere accusation of living in a house where the router is implicated in an unproven allegation of copyright infringement.
For many people, a drone wouldn't even be called music, just an irritating noise, like the buzzing of a refrigerator, the hum of traffic, the sound of bees in a hive. For others, it is OMMMM, the sound of the universe in Hindu cosmology, or, put in the language of modern physics, an expression of the fact that everything vibrates, everything is a wave. Yet a recent packaged-for-mainstream double CD compilation called Roots of Drone confirmed what I already suspected: that in the last decade or two, drone has become a musical genre. This may seem odd since after all, a drone is basically a tone, or set of tones that are sustained over time. And in a consumer marketplace driven by a craving for endless but often trivial kinds of novelty, making the same sound for a long time is a powerful gesture of refusal. Even so, there's now drone rock, drone metal, drone-based techno, drone within the classical tradition, drone-folk and so on. And now, the varieties of drone too are apparently inexhaustible. Here then is a sampling of drone's diversity...
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Stella Ehrhart is an eight-year-old girl in Omaha who dresses as a different historical, prominent or local figure every day, with few repeats; she's been at it since the start of second grade. Much of her inspiration is drawn from 100 Most Important Women of the 20th Century, and she and her fellow students and teachers play a guessing game each day to figure out who she is. She has dressed as her principal, Elvis Costello, Jan Brady, Georgia O'Keeffe, and Old Turtle. Erin Grace reports in the Omaha World-Herald:
So they try to support her desire for self-expression. Teachers, in fact, embrace it and have used Stella's outfits du jour as teachable moments.
“We'd have to get on the computer and figure out who she was,” said her second-grade teacher, Shannon Roeder, who keeps a picture of an overtly costumed Stella (it was Halloween) hanging in her classroom. In the picture, Stella poses in front of Roeder's bumper-sticker-plastered Prius, its license plate reading “ENDWAR,” wearing a cardboard car cutout also plastered in bumper stickers, with the same vanity plate.
Stella's costumes prompt classroom discussion, some copycatting and further creativity. When she dressed as Rosa Parks, she and her classmates devised a play and designated different people as the bus driver and other bus passengers.
On Monday, she sat in her Joan Baez “costume,” which was a military-green fitted half-blazer over a patterned blouse with black slacks and cowboy boots. She looked like any other third-grader, head bent over some bellwork — math and grammar exercises that at times had her stumped.
Liz To has designed a coat-hanger-based disassemblable stove for Tibetan nomads who cook indoors. It's a clever way of recycling one of the more pernicious waste products of western society (coat hangers) and relieving one of the worst health problems faced by Tibetan nomads (indoor pollution from dung fires). Apart from the rather unfortunate orthography (it's called "thab." -- all lower case, with a superfluous period), this is just great.
thab. is designed for Tibetan Nomads who live and cook inside tents. For cooking, they usually use the three stone cooking method however that causes health issues. They use yak dung as their cooking fuels.
They often boil water or soup therefore thab. must be strong, durable, efficient, safe and inexpensive.
Tibetan Nomads travel from one place to another every few months therefore thab. is designed to be disassembled so it can be portable.
When I first heard of the Billy Pilgrim Traveling Library, a new Houston-based bookmobile venture, I felt myself get a bit unstuck in time. For one thing, I usually see “traveling library” used to describe the library boxes that were shipped as part of early extension efforts that were especially popular in the 1890s. And the photos used to promote it so far, like this one of the first bookmobile in Texas, are decidedly and delightfully old school.
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