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It's been a pretty excruciating month for Detroit sports fans. The Red Wings got bounced from the playoffs after managing to win only one postseason game. The Tigers got swept by the lowly Mariners, lost Delmon Young to alleged racism, then cut ties with long-time Tiger/sacrificial lamb Brandon Inge. The Pistons disappointing season came to a relieving end, though there is little reason to be optimistic things will change in the near future. And to top things off, THE LIONS TOOK A RECEIVER IN THE SECOND ROUND. THE WORLD IS ENDING! MILLEN IS REBORN! CALVIN JOHNSON IS CURSED!
This hasn't been our best month. But the pandemonium that the fans have displayed in the past weeks has been eye-rolling at best and apocalyptic at worst.
I'm not going to post specific tweets or link to certain message boards; the purpose of this post is not to instigate a witch hunt. If you're interested in the specifics of the uncontrollable chaos, it really shouldn't be that hard to find with rudimentary googling skills.
Instead, I am going to tackle these issues one-by-one in an attempt to set the Doomsday Clock back a couple hours from midnight.
Red Wings - I am starting with this one because it's the toughest to come to terms with. Hockey has always been my second love behind football, and for the past 15 years the Red Wings have been at the center of April in the D. But after playing in only five postseason games, fans are left unsatisfied and confused.
The team may not need to be blown up, but its more than obvious that the team is trending in the wrong direction. Nick Lidstrom may be done, and whatever free agent the Wings muster up, he will fail to fully fill the skates that Lidstrom has hung up.
I could try to sugar coat the situation by pointing to the Wings' 23-game home winning streak, but anyone who watched knows that the Wings looked anything but dominant during that stretch. In fact, during the three months of the streak, the Wings were a paltry 13-13 away from Joe Lewis Arena.
Uh, yeah, so...optimistic spin time. First and foremost, we're spoiled. It was nice to think that the Wings' dynasty would last forever, but it can't and won't. Though the Wings haven't reached the conference finals in three years, they've reached the playoffs in 21-straight seasons which is the longest active streak in any professional sport.
That streak is not likely to end any time soon, either. The Red Wings still have two cornerstones to the team: Pavel Datsyuk and Henrik Zetterberg. Both were struggling with injuries throughout the season and didn't quite look 100% during the postseason. And while the Wings failed to have a 30-goal scorer on the roster this season, second-tier players Valtteri Filppula and Jiri Hudler both saw a significant increase in their production. And it looks like they may have a budding star in Gustav Nyquist. Their roster is still a good two to three lines deep, and with a couple of solid defensive additions and perhaps a goal-scorer, the Wings could be right back in the hunt for the cup a year from now.
Tigers - Perhaps the most surprising development of "April in the D" was the mighty struggle of the Tigers. After an extremely promising start, the Tigers have dropped eight of their last ten and now sit at 11-11, tied with Chicago for second in the AL Central.
If I were to put a Homeland Security coded color to the Tigers' crisis, it would be beige. The season is approximately 12% done. The Tigers lost their #2 starter in his first start of the season and will be getting him back soon. Doug Fister's return will give the Tigers a much-needed boost on the mound.
Additionally, the Tigers have had a pretty brutal schedule to date. Their opponents have included the Red Sox, Yankees, Rays, White Sox, Royals, Rangers and Mariners. All of those teams (outside of the Royals, whom the Tigers swept) are either 0.5 game below .500 or better. Of course, come playoff time, the Tigers will need to start beating the better teams in the league, but that's still four months away and the team is still figuring out its chemistry.
As for the Young situation, it was a classic case of overreaction before the entire story was released. Young was clearly in the wrong for his actions, but in the end, they weren't all that severe. To put things in perspective, the off-field actions of Miguel Cabrera in the past few years (DUI, alleged domestic dispute, etc.) have been much more severe, yet every time he steps into the batters box, all seems to be forgotten. This is, of course, because WE LIKE WHEN MAN HIT BALL FAR. But when Young pushes a guy to the ground, says a hateful word and is labeled as a "hate criminal", we should crucify him, because he rarely hits dingers. It's all hypocritical and reactionary. Take a breath and see where we are in a month from now.
Pistons - Uh...hey, at least THIS isn't us. Remember 2004? When fros were to be feared? Ah...*strokes jewfro*...those were some great times. My best advice: become a football fan.
Lions - I've saved the most absurd for last.
Instant criticism of the draft is nothing new to Lions fans (or any football fan). In fact, that's pretty much what the draft is all about. But I guess I was a bit naive to think that Martin Mayhew and the rest of the front office had gained the benefit of the doubt by now. After Mayhew pulled this team out of the smoldering pit of doom in just three years, you'd think many would just sit back and let the miracle worker do his thing.
|"Play...offs, Helen. Playyyofffffs."
But after the number that Millen did on Lions fans, there's a now-biological reaction to the Lions drafting a wide receiver that involves internal bleeding, vomiting, delusions of persecution, and, of course, foaming at the mouth. It happened with Titus Young last year and it happened ten-fold when the Lions took Ryan Broyles in the second round on Thursday.
When you sift through all the reactionary panic, this pick actually has some intrigue. Though the top three receiver spots on the depth chart are occupied, the fourth receiver is bound to see the field plenty throughout the season. I would be shocked if we didn't see some four-wide sets from Scott Linehan next year. Additionally, Broyles will get a ton of playing time once Calvin Johnson succumbs to the Madden Curse and suffers a terrible ACL tear (kidding). The Lions' identity is clearly a pass-first team, and giving Matthew Stafford more weapons is never a bad thing. Broyles offers a pair of reliable hands that should be around long after players like Nate Burleson have passed their prime.
Were there bigger needs? Sure. Were there players on the board who seemed like a safer bet according to media scouts? Definitely. I, admittedly, was a little disappointed upon hearing the center Peter Konz was still available at that point. But clearly he wasn't high on the Lions' board. Call it "blind faith", but I have full confidence in the Lions' ability to put together a draft board. Actually, don't call it "blind faith". My faith is based on three years of solid drafting and rebuilding a team from nothing. Mayhew has earned my trust more than any mock drafter or any television talking-hair...er head. As they say, "In Mayhew We Trust." And though the picks often seem strange, lest we forget: "Mayhew works in mysterious ways."
April comes to an end tonight. With it, let's put all the terror and fear in the rear-view mirror. Better times are ahead as long as we allow them to happen. At the very least, we won't have to listen to the crappy "April in the D" song anymore.*
*Does this song still actually exist? I don't get FSD here in California.


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NWSB Editor and Writer Chris Anderson talks about Meyers Leonard, Portland's second pick in the 1st round of the 2012 NBA Draft (11th overall). After weeks of working out many athletes and reviewing countless hours of film, the Blazers found themselves drafting Meyers Leonard from Illinois with the 6th overall pick in the 2012 NBA Draft. Leonard's greatest strength is probably his size and ability.
Welcome to Portland Meyers Leonard…Illinois center
July 2, 2012 By Chris Anderson
Filed Under: Portland Trail Blazers Blog Tagged With: 2012 NBA Draft, Blazers, Blazers 2012 Draft, Blazers Blog, Blazers draft 2012, Blazers Draft Blog, Blazers NBA Draft 2012, Draft analysis, Illinois, Meyers Leonard, Meyers Leonard Analysis, Meyers Leonard NBA Draft, Meyers Leonard NBA Draft 2012, NBA 2012, NBA Draft, nba draft 2012, NBA draft analysis, NBA draft blog, Player analysis, Portland Trail Blazers, Portland Trail Blazers 2012 NBA Draft, Portland Trail Blazers Blog, Portland Trail Blazers draft, Portland Trail Blazers Draft blog, RIP City, Rip City Blog, University of Illinois

subset: commoncrawl


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text:
by Mike Masnick
Mon, May 9th 2011 11:03am
Filed Under:
copyright, origami, paintings, sarah morris
Wow. Via Joy Garnett, we discover the latest in a long line of ridiculous copyright lawsuits. Apparently six "origami artists" have sued painter Sarah Morris for using their origami patterns as inspiration for some paintings she did. From the exhibits in the lawsuit, you can see the origami folding patterns on the left, and Morris' paintings on the right:
Yeah. The artists don't seem to have any good reason for this lawsuit, other than that they don't like derivative works. They exaggerate in claiming that copyright holders have full control over all derivative works. That is not true. Works that are transformative (as these appear to be) can qualify as fair use. I also think that if you look at the key prong in the fair use test (the impact on the market for the original), it's difficult to see how these painting are not fair use. They don't compete with the original patterns at all. If anything, I would think those paintings would enhance the demand for those patterns. After seeing the paintings, I'd be more curious about the original origami patterns... if I wasn't so turned off by a bunch of greedy origami artists trying to cash in.
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Reader Comments
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Marcus Carab (profile), 9 May 2011 @ 10:56amThe question is, who will fold first?
Pickle Monger (profile), 9 May 2011 @ 11:22am
Re:WIN! :)
el_segfaulto (profile), 9 May 2011 @ 11:56am
Re:I'm sure it will inCrease the demand for both types of art.
Almost Anonymous (profile), 9 May 2011 @ 2:06pm
Re:Wow, done in one. (golfclap)
Scote, 9 May 2011 @ 11:14am
Can you copyright origami?I was under the impression that you can't actually copyright origami but only the folding instructions, just as you can't copyright game play or recipes but you can copyright the instructions. Origami USA disagrees, though, and claims that you can't even teach a fold you learned from a book without express consent.
--However, the document seems to be the opinion of one attorney rather than a consensus.
You can, however, patent some origami, IIRC. I think there is at least one patented paper airplane.
Chronno S. Trigger (profile), 9 May 2011 @ 11:27am
Re: Can you copyright origami?Those creases are part of the instructions.
Scote, 9 May 2011 @ 11:34am
Re: Re: Can you copyright origami?No, the overall pattern of creases is the construction, not the instructions. To claim that the creases are the instructions is like saying that the 2x4s in your wall are instructions. Just because you can reverse-engineer your house construction from the pattern of the lumber doesn't' make the lumber into copyrightable "instructions."
Huph, 9 May 2011 @ 11:49am
Re: Re: Re: Can you copyright origami?Actually, if we're talking about the physical creases left after a model has been unfolded, you'd be correct. However, these images of the fold pattern are included in the instructions. And they actually had to be drawn themselves, as they're not just scans of a folded piece of paper. The final overall crease pattern is often illustrated in the instructions, which is where this painter pulled her images to color from.
It would have been smarter--and much more artistically interesting--if the artist had made the origami models, unfolded them, and then painted those sheets of paper. But, I suppose that would have been a lot more work than she intended to do.
Plus, she didn't credit any of the original origami artists? That's just bad 'form'.
Anonymous Coward, 9 May 2011 @ 12:16pm
Re: Re: Re: Re: Can you copyright origami?Yeah, she should have painted credits on the bottom of the painting.
Anonymous Coward, 9 May 2011 @ 12:21pmThe purpose of copyright is to protect creativity. It offers no protection to things that are merely functional. What they're getting at above, with the "game instructions" analogy, is this:
- The method of playing a game - the actual rules themselves, not how they're written down - can only be protected by patent, not copyright.
- A particular expression of the rules may be copyrightable if it is creative. For example, if you write the rules in very lively, creative prose, rather than drab, functional outlines, your writing may be copyrighted. However, you do not now own THE RULES THEMSELVES, and any other person may write them "in their own words"
The confusion here is that the instructions (rules) are in the form of an image, and we are trained to think images are automatically creative and copyrighted. That is not the case.
The sequence of lines drawn on the paper is purely functional, because if you took "creative" liberties with it, you would have an INCORRECT diagram - just like if you took "creative" liberties with a souffle recipe, it might collapse.
There is limited leeway to express the instructions for a particular design. To the extent that those instructions serve only the function of communicating that information, they are not copyrightable.
For another analogy, this time dealing with images:
If you take a photograph of a painting in the public domain, it may be copyrighted, because your photograph is minimally creative (choice of lighting, posing, etc). However, if you go to great lengths to accurately make a digital scan of the photo which reproduces it faithfully in its original form, then what you're doing is not creative, and the resulting image is in the public domain. This is not theoretical; this is the ruling on an actual case:
Huph, 9 May 2011 @ 12:32pm
Re:I just don't agree that the simple image of creases is expicit instruction. There's no mark up for how, or in what order these creases are supposed to be formed. How could a person possibly derive the final form from these series of creases? I'm not an expert, but don't instructions have to contain some sort of--I can't think of another word--instruction for what you're to do?
Chronno S. Trigger (profile), 9 May 2011 @ 12:50pm
Re: Re:Actually it is possible to make the bird just from those lines. I was actually looking at it earlier trying to figure out how it was folded. I'm not an origami expert so I probably couldn't do it (I only got 3 or 4 folds in), but the people that do it for a living probably could. There's also software out there that can.
Paper Rhino, 10 May 2011 @ 10:58am
Re: Re:It can be done and it is done often. I've done it myself. It isn't as difficult as you might think. There are set patterns and well defined mathematical rules that drive origami. Also, the rule of thumb is that the creases almost always alternate between mountain and valley folds.
There is no order that the folds have to be made. Typically one makes all of the indicated creases and if done correctly the paper will naturally want to collapse into the base. From there it is just a matter of adding details to finish the model. Many of these complex models actually have no sequenced series of folds and can only be formed in this manner.
Lets take the hawk crease pattern above. Someone with a little bit of practice can see that the tail is the bottom left corner, the feet come from the upper left and lower right corner, and the head is the upper right corner. the bulk of the center of the paper gets folded inside the model. I'm not as good with insects but in this case Lang provided clues with the circles. The circles denote that that region of the paper will collapse to form a point. That makes 14 points, probably 6 for legs, 2 for wings, and the rest for the head.
Anonymous Coward, 9 May 2011 @ 12:31pm
It would have been smarter--and much more artistically interesting--if the artist had made the origami models, unfolded them, and then painted those sheets of paper
Also, if you read the PDF Scote linked, your suggestion is not acceptable according to this group. The declare that to be infringement, too:
May I fold someone else�s model?
It depends how you obtained the information on how to fold the model. If you purchased
the instructions or diagrams from the copyright holder for such instructions or diagrams, then there
is no problem. If you observed the model and figured out how to fold it, this would not be a
copyright violation as long as you did not unfold the model and devise a system of folding that was
substantially similar to the diagram developed by the owner of the copyrighted diagram or
instructions. If the owner of the copyright to the model has no copyrighted instructions or diagrams,
then there is no problem with your figuring out how to fold and folding the model in any manner
you choose for your own usage. For publication or commercial usage, the conditions are tighter; see
Paper Rhino, 10 May 2011 @ 10:32am
Re: Re: Re: Can you copyright origami?In practice, crease patterns like these are indeed provided as the instructions to fold origami models, particularly very complex models like those used in this case. There is also an art to creating clear and understandable crease patterns as you have to pick and choose which creases to include, whether or not to show the circle packing and rivers, whether to show the direction of the creases, etc.
That being said, while I have a great deal of respect for Dr. Lang and the other artists in the suit, I think the suit itself is ridiculous and what the artists has done is clearly fair use.
ChurchHatesTucker (profile), 9 May 2011 @ 11:29am
Re: Can you copyright origami?... just as you can't copyright game play or recipes but you can copyright the instructions
To be clear, you can't copyright the rules for games or the purely procedural instructions for recipes.
Scote, 9 May 2011 @ 11:32am
Re: Re: Can you copyright origami?Sorry I wasn't clear on that. I meant you can copyright the specific expression of the rules that you print as instructions. But, as you say, the rules (what I meant by the game play) can't be copyrighted.
ChurchHatesTucker (profile), 9 May 2011 @ 11:49am
Re: Re: Re: Can you copyright origami?I meant you can copyright the specific expression of the rules that you print as instructions.
You can if they're purely procedural.
E.g., If it's along the lines of "Add two tablespoons of pepper" not a problem. If it's "Take a handfull of pepper and BAM!" you have a problem.
At least, that's my understanding of the distinction.
G. Allen, 10 Jul 2011 @ 7:41am
Re: Can you copyright origami?I'm not a lawyer but when an organization says, "Our lawyer says you can't do something that we didn't want you to do anyway.", I have to be a little suspicious.
Anonymous Coward, 9 May 2011 @ 11:32amWhat kind of idiot colors in the lines of origami folding instructions? Is mental retardation a valid defense in a court of law??
Rich, 9 May 2011 @ 11:35am
Re:You might want to Switch to decaf. Sheesh.
Huph, 9 May 2011 @ 11:34amI agree that this is a little nutty, but...
I also think that if you look at the key prong in the fair use test (the impact on the market for the original), it's difficult to see how these painting are not fair use.
... I've always been led to believe that the key prong in Fair Use is the nature of the derivative work. Mainly, is it commercial or not? These paintings would clearly fall under commercial works since I presume they are for sale.
I think that particular point being the key is needlessly constrictive, seeing as how anything is commercial in the sense that it's an advertisement for yourself as an artist. Unless of course you contributed all your works anonymously.
Scote, 9 May 2011 @ 11:38am
Re:"Mainly, is it commercial or not?"
It isn't whether something is commercial or not, it is whether it diminishes the market or the original work.
Are any of the origami artists claiming that they were planning on making wall-sized paintings based on their crease patterns?
Anonymous Coward, 9 May 2011 @ 11:56am
Re: Re:I disagree. From Wikipedia:
1. the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
2. the nature of the copyrighted work;
3. the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
4. the effect of the use upon the potential market for or value of the copyrighted work.
My understanding is that the the factors are listed in order of importance. The market impact is the least important factor--which makes sense considering that educational uses should preclude the market effect. I could be wrong, though. It's not like Fair Use really has any teeth.
Huph, 9 May 2011 @ 12:05pm
Re: Re: Re:^^^ This was me, by the way. Forgot to fill in the fields.
Chris-Mouse (profile), 9 May 2011 @ 1:11pm
Re: Re: Re:The copyright act does not state that the four tests must be done in a particular order, nor does it say that any of the tests is more important than any other. It does say that all four tests must be considered in determining whether or not a use is fair.
the way I see it, the paintings lose on test 1, and win or probably win on all three of the remaining tests, or overall, I would see this as fair use.
DandonTRJ (profile), 9 May 2011 @ 6:55pm
Re: Re: Re:The factors are in no way listed in order of importance. Different cases stress different prongs as having greater or lesser weight, depending on the facts present. Whether the work is commercial or not is by no means dispositive. Look at the specifically enumerated examples of what can be fair use under Section 107 -- it includes news reporting, does it not? Isn't most news reporting done commercially? If everything had to be noncommercial, it would be utterly incongruous to specifically enumerate a largely commercial activity as one of the "classic" cases of fair use.
Huph, 9 May 2011 @ 12:01pm
Re: Re:
Are any of the origami artists claiming that they were planning on making wall-sized paintings based on their crease patterns?
What does that matter? How could we know each individual creator's future plans for their work? Maybe they were planning to turn them into paintings. Can you absolutely say that they weren't planning to do so?
Besides, it's not about money or anything, this is about human decency. If you took someone's designs and built upon them, then by all means the right thing to do is at least acknowledge the people that have helped get you where you are. It's really sad that this happens to Origami artists, because they are constantly building on each other's designs, but they are generally adamant about giving credit.
In fact, I have 3 origami books in front of me right now where at least 70% of the instructions start with the line: "This is a model based on a popular design by..."
ChurchHatesTucker (profile), 9 May 2011 @ 12:35pm
Re: Re: Re:Besides, it's not about money or anything, this is about human decency. If you took someone's designs and built upon them, then by all means the right thing to do is at least acknowledge the people that have helped get you where you are.
Do you remember every time you learned something? Can you properly credit every thought you've had?
And then, do you know where they learned what they know? Are you crediting them?
And how many of these Origami folks were doing paintings based on paper creasings?
Anonymous Coward, 9 May 2011 @ 1:36pm
Re: Re: Re:Who taught you to type, use a computer, read and look things up online (Wikipedia)? Why didn't you credit them in your post your lack of human decency is appalling.
Mrs Brown, 1st grade reading. Mrs. Osborne, librarian ( research) Terry Owen, PC skills, Lestle Elliott, introduced me to Wikipedia. My dad ... sarcasm.
Robothustra (profile), 9 May 2011 @ 4:21pm
Re: Re: Re: Re:So quick to judge others, yet you yourself, do not use complete sentences. Fascinating...
But to comment on the original post, no, many artists do not give credit for the inspiration of all of their works (nor do they have to).
Anonymous Coward, 2 Jan 2012 @ 11:57am
Re: Re:they might have done. that was THEIR prerogative
Allison, 9 May 2011 @ 11:43amIt might be useful to point out that Robert Lang has in fact exhibited his crease patterns blown up to large size before as part of some of his origami displays. He and the other origami artists clearly consider their crease patterns to be artwork, not just instructions.
On another note, why do you think Sarah Morris tried to hide the origin of the crease patterns when she knew who had created them? And why didn't she ask for permission to use them?
E. Zachary Knight (profile), 9 May 2011 @ 11:55am
Re:The question is not "Why didn't she credit or ask permission of the original origami artist?" The question is "Does she have to ask permission or credit the original origami artist?"
I would agree with mike and say that she does not need to credit or ask permission as her work is not meant to compete with the original origami artist. She is selling a painting based on the creases, not instructions on creating the origami pieces.
btr1701 (profile), 9 May 2011 @ 12:11pm
Re: Re: Patterns> I would agree with mike and say that she does
> not need to credit or ask permission as her
> work is not meant to compete with the original
> origami artist. She is selling a painting based
> on the creases, not instructions on creating
> the origami pieces.
But if there's a market for paintings of crease patterns, then the right to exploit that market belongs to the owner of the copyright on the crease patterns, does it not?
crade (profile), 9 May 2011 @ 12:20pm
Re: Re: Re: Patterns1: No
2: It's not a painting of crease patterns, it's a painting inspired by / including crease patterns
3: It's a painting not an essay. You don't "credit" your inspirations in a painting.
4: No
Huph, 9 May 2011 @ 12:21pm
Re: Re:Does she "have to"? Of course not. It's not a precondition to create something. Does she need it in a legal sense? Well, that's what this lawsuit is meant to determine. Does she have a moral or ethical obligation to credit the originators? *I* think so. Your mileage may vary. I don't know that she should owe them money, but not crediting them is pretty low. Even us sample-based artists look askance at someone who doesn't credit their sources. The only reason for doing it is a) avoiding detection/lawsuit or b) to keep others from re-flipping a sample--both of which are extremely selfish motives.
This was a stupid move by an artist who would have most likely been granted free and clear permission to do what she's done. Like I said earlier in this thread, people into origami constantly build upon other people's designs with proper attribution.
Seriously, the whole point of CC and GPL is that the original authors relinquish creative/financial control but demand attribution. I would figure that TD would be all about making sure the original authors get credit. After all, if you're going to let someone build on your work so that you might be able to interest people in more of your original stuff, the crux of the whole endeavor is that attribution must be given.
crade (profile), 9 May 2011 @ 1:00pm
Re: Re: Re:I definately dissagree. Paintings don't have footnotes or liner notes.
CC has various types of licenses, and only some of them demand attribution. GPL is about trying to arm-twist others into creating GPL content. It has nothing to do with attribution. The copyright notice is there for legal purposes of enforcing the license not for attribution.
Demanding attribution for being an inspiration to someone's painting is lame in general. Also, you really take a lot of mystique out of the painting if you explain it's origins. Guessing at, imagining (or determining) Paintings origins and inspirations are supposed to be an excersise for the audience.
ChurchHatesTucker (profile), 9 May 2011 @ 5:45pm
Re: Re: Re: Re:GPL is about trying to arm-twist others into creating GPL content.
No more than a CC license is. It's saying you're free to use this IF you do such and such. Nobody is twisting your arm to use it in the first place (one's own laziness aside.)
Spencer, 5 Sep 2012 @ 11:37am
Re: Re:Robert Lang was the artist sueing. If you look at the comparisons on his website, you can see the striking similarities. She even gave them similar names. When one of the worlds most renowned origami artists sues someone, you really have to agree with them.
Anonymous Coward, 9 May 2011 @ 11:52amOh Gawd , we're in trouble on two fronts here.
1) People who create origami structures suing people for artwork based on them
2) people considering colouring in, to be art.
Scote, 9 May 2011 @ 11:56am
Yes, so obvious you never thought of it.Lots of art seems to be obvious--once you've seen it. But that doesn't actually make it obvious. Take the iconic Obama Hope poster. Simple idea, bold execution. Anybody could do it, but it took Shepard Fairey to actually think of it and bring all the elements together with brilliant execution.
ChurchHatesTucker (profile), 9 May 2011 @ 12:09pm
Re: Yes, so obvious you never thought of it.How many people would see these artworks and thing, "Oh, Origami crease patterns?"
I'm thinking it's a small group of Origami Otaku. It certainly doesn't pass the 'moron in a hurry' test (Yes, yes. I know.)
Anonymous Coward, 9 May 2011 @ 12:28pm
Re: Yes, so obvious you never thought of it.For gawds sake don't reason with my trolling.
on the other hand, my personal view is genuinely that while art is difficult to define, people have disappeared up their own rectums confusing the fact that it is possible to define anything as art with meaning that anything not only can be but is art.
And that is before we get to the massive difference between art & design and accurately defining what exactly that difference is.
Colouring in to me, might qualify as design, but would never qualify as art until such time that I see some colouring in that strikes me as being art.
Thankfully, being only in troll mode today, I am happy to be the final arbiter of that for everyone (as everyone else actually is too if they would only admit it).
On the other hand, getting upset that someone is presumably convincing the gullible that their colouring in of your origami fold patterns has created anything remotely like art is foolish.
Going so far as suing is so obviously and utterly banal that it suggests that no person involved in any part of this nonsense is an artist of any kind.
That is, unless, banal is the new chic.
"Pope: Look, the Last Supper is a significant event in the life of our Lord. The Penultimate Supper was not. Even if they had a conjurer and a steel band. Now I commissioned a Last Supper from you, and a Last Supper I want.
Michaelangelo: Yeah, but look...
Pope: With twelve disciples and one Christ.
Michaelangelo: ONE?!?!
Pope: Yes, one! Now will you please tell me what in God's name possessed you to paint this with three Christs in it?
Michaelangelo: It works, mate!
Pope: It does not work!
Michaelangelo: It does, it looks great! The fat one balances the two skinny ones!"
ChurchHatesTucker (profile), 9 May 2011 @ 1:13pm
Re: Re: Yes, so obvious you never thought of it.on the other hand, my personal view is genuinely that while art is difficult to define, people have disappeared up their own rectums confusing the fact that it is possible to define anything as art with meaning that anything not only can be but is art.
Um. What?
Doug D (profile), 9 May 2011 @ 2:19pm
Re: Re: Re: Yes, so obvious you never thought of it.Anything can be art. Not everything is art.
AC is commenting on the fact that people have lost sight of that second part in defining "art" today.
Anonymous Coward, 9 May 2011 @ 2:30pm
Re: Re: Re: Yes, so obvious you never thought of it.I think what he is saying is that people assume that because anything can be defined as art then everything *must be* art.
Anonymous Coward, 9 May 2011 @ 11:53amAnd why didn't she ask for permission to use them?
Uhm....because she didn't need to?
DogBreath, 9 May 2011 @ 12:06pm
If this lawsuit is successful,then this artist better start burning his paintings now:
After all, someone might actually make a dress from them and further dilute the sewing pattern making industry to beyond the level of saving. /sarc
Anonymous Coward, 9 May 2011 @ 1:21pm
Re: If this lawsuit is successful,As is any art derived from something else...
http://www.google.com/search?hl=en&rlz=&q=bottle+cap+sculpture&um=1&ie=UT F-8&tbm=isch&source=og&sa=N&tab=wi&biw=1332&bih=1177
Mike, 9 May 2011 @ 12:18pm
Derivative WorksAssuming, for a moment, that the original pattern on the paper is copyrightable, I don't think that this is a case of a transformative derivative work.
At the outset, it is an exclusive right of the copyright owner to create and prepare derivative works; it does not matter how transformative. 17 USC 106(2). But, like any exclusive right, it is tempered by a fair use defense. (id. at 107).
The "transformativeness" of a work weighs in favor of a fair use, but is not a defense in and of itself. You would still want to analyze under all four factors.
Moreover, for something to be "transformative," it has to provide some other new social benefit -- think parody, search engines, etc. Simply changing the expression or building upon it does not usually make something a "transformative" use. If anything it is much more like the situations of a photographer taking pictures of a sculpture which is not transformative.
That said, I doubt that there is any copyright in the first instance. The lines on the paper are just about as functional as it gets. They show where to crease the paper. This is a lot like the cases of people trying to get copyrights in printed accounting forms.
Huph, 9 May 2011 @ 12:26pm
Re: Derivative WorksThat's not how these creases work. As someone else already pointed out, many people into origami do consider the patterns exposed by unfolding to be art.
The pictures of the creases in question aren't instructions, they're a document of what the final form would look like if it was unfolded. I challenge anyone to even tell me what these final shapes should look like based on the crease patterns, which are adorned with no instruction as to order and direction of fold.
Anonymous Coward, 9 May 2011 @ 12:34pmSome off the top of the head observations:
- There are differences between the diagrams and the paintings in many of the exhibits, lines left out, some whole shapes left out (she doesn't like to paint curves?), several shapes painted in one solid color instead of demarcating fold lines, etc. They may not seem substantial, but they are there, those artistic choices.
- No crediting...that's a tricky one. Should she also credit Mondrian or Diebenkorn for incorporating that kind of style of painting/expression? Do those origamists who are suing have sole rights to their diagrams or were they also taking or using or refining designs from others? It says right there in the complaint that origami is an ancient art form practiced throughout the world. Where'd they get their inspiration from?
- Fear of crediting? When these kinds of situations can get litigious at the drop of a hat, it might put rather a large chill on even mentioning you saw someone else's work and were inspired by it.
- Where is the harm? The origamists are allowed to build upon thousands of years of history in their art but she isn't allowed to build upon theirs?
I dunno. I've got an artistic bent myself and am trying to see the complainants' point of view...but I'm having a big problem doing that other than, perhaps, if I were them, kicking myself for not thinking of doing what she did. I wouldn't begrudge her efforts, tho. I think they're quite cool. I'd maybe get in touch with her, let her know that I'd be thrilled if she mentioned my work as inspiration, who knows what it could lead to - joint projects, mutual benefit, wider audience, who can say? I wouldn't waste time or money suing, why do people jump to that? More money than brains? I don't get it.
Also, no matter what you think of it, more art is better. Less is worse. Whose side is copyright on?
Confusion of types of IPAs has been said, you can patent techniques, like in medicine or chemistry. But you can't copyright them. You can copyright, for example, a particular literary expression of, for example, a recipe, namely the language used or illustrations. The same would apply to origami: you can thus copyright the particular form you give the instructions. For example, if you wrote up and illustrated instructions for a Phu Tran Rose that would be copyright-protected. The same would apply to a folding-diagram. That also means you can use that copyright over derivative works. An example of a derivative work is a book adapted to a movie because you're translating the ideas of the book into a different medium. In origami an example of a derivative work would be, for example, making a steel sculpture that looks like a completely folded Phu Tran Rose. But adapting a painting from the folding instructions is not derivative, it's transformative. You're taking something which is just a functional set of instructions and transforming it into a visual work of art. This is not derivative since the real artistry of a Phu Tran Rose is not the process, but the final product. It'd be like if you took a video of someone painting a picture; they wouldn't have any copyright claims over that video, if it didn't show the painting.
Whether you can copyright an origami work seems like a tough question. Would you have to get Phu Tran's permission to diagram his rose design? A patent on an origami work might be appropriate, though you can imagine why people wouldn't like that since it costs so much money and time to file and is more short-lived. Perhaps you could apply trade secret protection for creating an origami work, though that would also be limited and would preclude publishing any instructions (and publishing such instructions is the main way to make money through origami). I think with the state of copyright law you could make the case that origami is copyrightable. But the sticking point seems to be the fact that these people publish instructions on how to replicate the works. The courts had argued that you can't copyright recipes because the ingredients and their proportions are facts. Does the same apply to published origami instructions? Would it have copyright protection if no instructions were published? We might imagine similar cases, such as, for example, a magic trick. Does David Copperfield have copyright over the disappearing Statue of Liberty illusion? Does Criss Angel retain copyright over his levitation illusion, though he published instructions on how to replicate it?
From a practical perspective it should be evident that the amount of innovation in origami in the 20th century is immense, just as in the fashion industry and among illusionists, despite (or perhaps because of) weak IP protection.
Re: Confusion of types of IPYes, yes, and YES. This exactly right.
Paper Rhino, 10 May 2011 @ 11:11am
Re: Confusion of types of IPFor the most part, origami designers believe crease patterns like these and other forms of instructions for origami models are analogous to sheet music. As with music, the performance (in origami's case the model itself) is copyrightable as is the sheet music (the crease pattern).
Would a painting and coloring in of the full sheet music for a song still in copyright be considered transformative? I think so but I don't think the legality of that is completely cut and dry.
Allison, 9 May 2011 @ 12:42pmIf you read the complaint, you would see that she knows a LOT about Robert Lang, one of the plaintiffs... and a lot about his origami. She clearly knew where the patterns were from, but chose not to credit. Highly advanced origami patterns like these are very personal to each origami artist, as opposed to basic traditional patterns.
Gary Larson in drag, 9 May 2011 @ 1:49pm
Re:I know a lot about Leonardo di ser Piero da Vinci I was inspired to use his highly advanced composition, coloring, patterning and very personal vision to create and make tons of moo..la off of his slightly famous painting. I can't remember if i credited him. Yea, he's dead now and I assume that MR. Lang isn't but really ... what is the difference? Yes my art was transformative, I used his exact composition but my moonalisa has a slightly different face. Really now, if ol' Leonardo was still alive do you think he would be suing me???
Anonymous Coward, 9 May 2011 @ 1:02pmClearly a blatant rip off.
Why are you losers so eager to defend artists that can't come up with anything original, and so eager to demean and rip off the works of those that do?
Masnick and every one of you seem to desperately want to achieve idiocracy.
Anonymous Coward, 9 May 2011 @ 1:21pm
Re:And we could achieve it, if you'd just tell us how you did it.
Anonymous Coward, 9 May 2011 @ 1:46pm
Re:Such an unoriginal angle you've got there, you don't mind me asking who you stole it from?
The eejit (profile), 9 May 2011 @ 11:46pm
Re:Dude, America is the nation of the drowning economy of art, clearly.
Wise (profile), 9 May 2011 @ 1:11pm
ReadingBy reading the legal document, the legalese points towards the original 6 "artists/designers" having copyright documentation. Also it cites that the defendant has knowledge of the origin, but has never officially credited the work as being inspired by the direct authors thereof, only that they previously existed, nor does she ask permission towards the use of the patterns.
Though we like to pretend that it comes down to decency, what supersedes this is capital gain. If the [transformative] artwork profits, it would decently be at the behest of the creator, however it is not - I'll beg to notion that the defendant consulted her lawyers prior to tasking the art in question and was told that it would be [transformative] and thus irrelevant for permissive rights.
NullOp, 9 May 2011 @ 1:17pm
Oiy!This world is just chock full 'o stupid, no?
Anonymous Coward, 9 May 2011 @ 1:54pmthey fold paper, she colored in the lines, not art, its rubbish disguised as art
Some thoughts on visual quotes, 'originality', and idea versus expression...A long-time fan, this is my first ever comment on Techdirt. (Joy Garnett here, aka 'newsgrist').
Some thoughts:
- Visual art has ALWAYS utilized quotes: visual referencing. Visual language is composed of such referencing. In that respect, visual art is 'open source". Always has been.
- You can't copyright an arrangement of shapes any more than you can copyright the color blue, or an arrangement of a selection of colors. Legally speaking, such things are usually "not sufficiently 'original'". At any rate, the attempt to make it impossible for another artist to re-use such an arrangement of shapes is not practical, nor is it legally or ethically viable. If such prohibitions were legally enforced (or even enforceable, which they are not), art production would abruptly cease -- a perfectly Kafka-esque scenario. Of course, all the actual artists would go underground, leaving behind an above-ground cultural landscape populated by Disney, CNN, mangy old Associated Press photos, and Hallmark cards. Someone please write a juicy sci-fi thriller along these lines. You can send me my residuals poste restante. :-)
- More on owning compositions: consider a Monet painting of a haystack: a particular geometric shape set against a horizon line, painted with a certain palette. By extension of Allison's logic above, (where she states that Lang's crease patterns were blown up and exhibited as paintings...), if artists were able to copyright compositions -- for that IS what we are talking about here re: crease patterns -- no one else would be allowed to paint the haystack in the same composition or utilizing the same palette. So much for Impressionism (etc), eh?
- Moving right along: Lang's design, which initially was intended as an instructional diagram, is an "idea" and not yet an "expression"; if he himself took the idea and re-purposed it as a painting, then *anyone* can. And why not? These are instructions: instructions are meant to INSTRUCT. They offer a set of procedures to be followed. And procedural instructions are one of the things not protected by copyright... that is because they need to be covered by patent law, which has much stricter rules for inventions and new procedures. Did Lang patent those instructions? something tells me not; nor would he be able to demonstrate that his origami patterns are sufficiently unique or new vis-a-vis traditional origami patterns -- and hence patentable. That they are not.
- Lastly: Sarah Morris appropriated these various arrangements of shapes in order to make her signature paintings; that they comment on the flatness of painting vis-a-vis the ironic use of patterns intended as templates for 3D objects is a conceptual twist that changes the meaning of these patterns considerably. This new meaning adheres to the crease patterns only in her work. They do not change, hinder, impede, supercede, destroy or harm the originating diagrams (or the market for them) in any way. This is one element among many that demonstrates how Morris's use is a transformative use. This also highlights the fact that all artworks have a conceptual dimension, and are not merely about appearances -- people! ---> get past the notion that art is just about "appearance"! the underlying ideas are largely what contribute to the nature, meaning and purpose of any given work.
Anonymous Coward, 9 May 2011 @ 3:47pmAs long as we're flinging analogies around... sheet music is a copyrightable copy of a musical work. It is also a set of instructions on how to reproduce said work. Similarly, a crease pattern is a short-hand set of instructions on how to reproduce a paper sculpture that is itself copyrightable. SO, while it may very well not be possible to copyright the words "perform a valley fold here" any more than it is possible to copyright the symbol for a quarter not on middle C of a stanza, the work as a whole is itself protected by copyright, and should be protected in diagrammatic copies.
Robothustra (profile), 9 May 2011 @ 4:17pm
Re:Yes, but in this case, the artist was not re-creating the paper sculpture, but creating something entirely new (a painting) out of the instructions for how to re-create a paper sculpture.
Robothustra (profile), 9 May 2011 @ 4:16pm
Monkey see, monkey doI look at it like this: People often file such outrageous lawsuits because when you look at what major corporations do - it's the same thing. We cannot allow large corporations with large sums of money to do it and then expect others not to.
Anonymous Coward, 9 May 2011 @ 8:33pmIt is not "something entirely new" if as Dr. Lang has already claimed, he has shown his crease patterns as art in themselves. Modifications of color are not transformative, that much is clear in the copyright office publications.
fan of origami, 9 May 2011 @ 10:16pmit is interesting that this made it to the blog-o-sphere at all, but it seems that more research has gone into the comments than the post itself.
For those who may not know, Robert Lang is one of the greatest artists in the field of Origami and he should be compensated for his work. This seems to be far more clear cut than the case Shepard Fairey just settled with the AP for an undisclosed sum.
To anyone that thinks a crease pattern is instructions i would invite them to check his site, grab any crease pattern and recreate one of his works> It can be done, but it only took me 10 years to learn how
Re:I agree that Lang should be compensated for HIS work; but he should not be compensated for Sarah Morris's work. Try to see the difference. This case is a kind of extortion.
Allison, 10 May 2011 @ 7:57amMany comments suggest that the plaintiffs should have gotten in touch with Morris and worked something out... Lang did get in touch with her and she basically shut him down. Read the complaint, it is all there! Including her snarky letter to him which offers no credit or compensation, and basically tells him that what he makes is not art. This is why they were driven to the court, it was a last resort not a rash, gold-digging action. Like any artists, they want credit where credit is due. While they do build on fundamental origami concepts, their designs are very new and unique the origami world. It is more analogous to a painter building on the tradition of using certain brushstrokes. Morris should have involved the origami artists somehow from the get-go since she definitely knew who she was stealing from (again, read the complaint) and once she was contacted she should have at least tried to resolve the situation with them instead of blowing them off.
Anonymous Coward, 11 May 2011 @ 9:50am
Re:Hurt feelings =/= infringement.
use the paper for $ you lose the art, 13 May 2011 @ 9:38am
down with 'artists' like thisGo Robert Lang. I hope you teach this one a valuable lesson. YOU are the artist.
Adrian, 22 May 2011 @ 1:21amIf that is not a crime, I'll sell those paintings with diferent colors.
David, 1 Aug 2011 @ 12:12amI found this article from an origami forum. I had a LOT to say, so here it is:
Rowena Toledo, 21 Mar 2013 @ 7:58am
Final Verdict?What happened?
rob k, 20 Feb 2014 @ 12:02pm
Re: Final Verdict?The dispute was settled as of March 21, 2013. At least that is the date of the article that says the dispute. One condition is that Ms. Morris will have to give some attribution to the other artists. Other terms and conditions were to remain confidential.
As soon as the origami artists drew their plans for what would be folded into some kind of object, the drawings were copyrighted. A work is copyrighted as soon as it is placed in "fixed form." (Registration does not give anyone a copyright; their work is copyrighted when it is in fixed form. Registration simply helps to prove you got the idea first and gives you certain extra rights, like collecting statutory damages and attorney fees.)
Morris essentially took a copyrighted work of art and added color to it. That is a derivative work and is copyright infringement if you don't have permission.
In addition, instructions are contain "protected expression" and are therefore, can be copyrighted. "The Copyright Handbook," Stephen Fishman, Attn. Nolo Press Ch. 6 S. 4, "Examples of Works Containing Protected Expression.
Finally, I could find nothing in Nolo that even comes close to permitting this to be fair use. Fulfilling one condition for fair use does not help. All for factors must be considered. Particularly #3, the amount of a work used.
It looks to me like Ms. Morris used very close to 100% of the original work, if not, in fact, 100%.
I am not a lawyer. What I say here is based on material from "The Copyright Handbook" S Fishman Attn. Nolo Press 1994.
Gwiz (profile), 20 Feb 2014 @ 1:07pm
Re: Re: Final Verdict?Morris essentially took a copyrighted work of art and added color to it. That is a derivative work and is copyright infringement if you don't have permission.
Not necessarily. Derivative works can and have been considered Fair Use quite often. If it's Fair Use then no infringement actually occurred and permission is not required whatsoever.
Finally, I could find nothing in Nolo that even comes close to permitting this to be fair use. Fulfilling one condition for fair use does not help. All for factors must be considered. Particularly #3, the amount of a work used.
It looks to me like Ms. Morris used very close to 100% of the original work, if not, in fact, 100%.
That is also not exactly true either. None of the four factors are any more important than the others - it all depends on the individual circumstances of each case. Nor does a Fair Use ruling require that ALL of the factors be met. There have been cases where only one factor was met, but was strong enough that the use was considered Fair Use anyways.
As for the amount of work used, there are no set rules defining how much can be used and still be considered Fair Use. In fact, there was a case in 2011 where a complete web article was used and the court still found that it was Fair Use.
http://www.techdirt.com/articles/20110318/23595613558/big-big-loss-righthaven-reposting-full-art icle-found-to-be-fair-use.shtml
Tommy, 1 Aug 2015 @ 6:52amWhat I think most people don't get is how much time these artists are actually putting in these models. Then a dude comes and tries to make money off repainting these crease patterns. This is what the artist like Robert j. Lang is living on. It is not greed, it's their job. That may be the sued artists job aswell, but they could do something original instead.


text:
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text:
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Scouting the Yellow Jackets
Georgia Tech finished its 2010 season with an 18-14 record. Returnees for the Yellow Jackets include Monique Mead, who led her squad in kills with 515, and Asla Stawicka, who posted a team-high 131 total blocks.
"This is the third season for the coaching staff at Georgia Tech," Blair said. "We expect them to be well coached and be one of the top teams in their conference."
The Golden Eagles are 4-6 all-time against the Yellow Jackets, including a 3-0 loss in their last meeting back in 2004.
Scouting the Wildcats
Last season, Kansas State finished with a 12-19 record. Returning for the Wildcats, is Kaitlynn Pelger, who led Kansas State in kills with 328 in 2010.
"Kansas State is a perennial power in their conference," Blair said. "They are very athletic and well coached."
This will be the Golden Eagles first meeting against the Kansas State and third match against a Big 12 opponent, with its previous two matches coming against Missouri.
Fans who cannot attend the matches can follow at the livestats at the link here


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Nashville, Tenn. - The Tennessee State softball team was picked to finish sixth in the East Division in the 2013 Ohio Valley Conference Preseason Poll, which is voted on by the league's head coaches and sports information directors. The Tigers ended last season 15-39, 5-25 in the OVC.
Head Coach Jeff Dabney and the Tigers opened practice on Monday as they took advantage of the two indoor facilities on campus to escape the weather. They are preparing for another challenging schedule in 2013 with eleven games against teams who competed in the 2012 NCAA tournament. The team opens play against South Alabama at the Mississippi State Bulldog Classic on Friday, February 8. The second day of the three day event will pair the Tigers against Troy and the host Bulldogs. TSU will close out play against Georgia State on the final day.
The team will travel the following weekend to their second Southeastern Conference venue as they take part in the Auburn Tournament. Day one opens with Bryant before facing the host Tigers. TSU closes out play with Chattanooga and Indiana State.
The Tigers will then return for the home opener and the first of two tournaments at Tiger Field. The Tiger Invitational will be held from Feb. 23-24 and will consist of five teams, including Bradley, Butler, IUPUI and HBCU opponent Morgan State.
Before the Tigers' second tournament of the season, they will travel to Irondale, Ala. to compete in the Tiny Lassiter HBCU Classic from March 1-3. Howard will be the opponents on day one, while games with Maryland-Eastern Shore and Savannah State highlight day two. A showdown with Hampton is scheduled for the final day.
The 15-game TSU Tiger Classic is next on the slate and will be held March 8-10. The Big Blue will host Alabama State, Mississippi Valley State, Saint Louis, Nebraska-Omaha and Big 10 opponent Indiana.
The Tigers will play on three consecutive days during spring break as they return to action on March 12, by hosting Auburn for a single game. The young squad will then load up to hit the road as they challenge ACC opponent Florida State on March 13. TSU will remain in Tallahassee, Fla. to play a single game with Florida A&M on March 14.
Coach Dabney's team will continue the road trip with the start of OVC play at Jacksonville State. The two teams will play a traditional three-game series with a doubleheader on Saturday and a single game on Sunday.
The Tigers will return for a seven-game home stand beginning with a cross-division doubleheader with defending OVC champions UT Martin on March 23. The following day, Southeast Missouri State will come to Tiger Field for a twin bill. A three-game series with Morehead State will close out the home stand over the Easter Weekend.
TSU will step out of conference on April 2 for a single game in Knoxville against SEC and national power Tennessee. The midweek game with the Volunteers is the start of a ten game stretch away from the friendly confines of Tiger Field. Doubleheaders with SIU-Edwardsville, Eastern Illinois and Murray State sandwich a three-game divisional series at Eastern Kentucky.
The Tigers return home on April 21 for a double-dip with Austin Peay before hosting three games over two days with Tennessee Tech on April 27 and 28. TSU will then play its final non-conference games during a doubleheader in Itta Bena, Miss. versus Mississippi Valley State.
The regular season concludes on May 4-5 at home as they host crosstown foe and new OVC member Belmont. Postseason play begins on May 9 with the OVC Tournament.


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In a casual bar in the located in the center of New Reyo 3 heros wait impatiently for their 4th comrade to join them. Behind them a stripper dances for an old science teacher who's quite enjoying himself and next to them a paintball player and a roman soldier chat as their friend; a sailor snores gently next to them. The bar keeper anxiously looks towards the door as he waits, hoping that the next hero doesn't show up.
(The hero's are from left to right Hawkins (leader of the ESF), Raynor (leader of the heavy assault group in the ESF), and sitting opposite them is Odin (leader of the sand raider division in the ESF). One seat remains empty and the group down drinks and tell old war stories. Hawkins bursts into the story of his heroic deeds on Reyo, and Odin laughs and downs another drink. Raynor remains quiet, staring at the locked briefcase on the table in front of Hawkins.
The door opens and the bar keeper looks up praying it's not who he thinks it is. The final hero walks into the room, cloak billowing behind her she dusts a little snow from her shoulder then looks around.
She turns slowly and looks at the old teacher who is trying to get a better view of something. She draws a pistol from her belt and taps the man on the shoulder.
He ducks swiftly but not fast enough, and his body explodes into red blood that drenches the poor girl who stares in horror at the headless corpse.
Kat laughs softly and hands the girl some money. "Now go find a real job," Kat says.
Hawkins turns and looks at the dead body. "Really, another one Kat"
(Kat) "He was a pervert Hawkins, he deserved it"
(Hawkins) "I just hope they kick us out for that"
He turns back to the table. "Take your seat Kat and we'll begin."
Kat sits down. "So what's this about"
Hawkins looks around at the others. "Are you; my comrades ready to charge into an adventure with me that will almost certainly end in our deaths.
Raynor looks up from his drink. "Off course, where we going this time."
(Hawkins) "You'll see soon enough."
(Odin) "Count me in I need to kill something soon or I'll get bored."
(Kat) "I'm with you Hawkins."
(Hawkins) "Good."
Hawkins opens the briefcase and reveals a glowing piece of crystal.
(Odin) "Is that what I think it is."
(Kat) "That's a piece of the original OTC isn't it? How did you get that."
(Hawkins) "Remember that raid onto the Ice World, well while exploring part of their base I found this lying besides a vault made of ice and protected by who knows what. The vault was open and empty."
(Kat) "So the original has been stolen."
(Odin) "Let me guess we're going after it."
(Raynor) "Well, shit let's do this."
(Hawkins) "Good we leave tomorrow."
He leaves, walking past the dead body on the floor.
(Odin) "We're in some real deep shit now aren't we."
(Kat) "Yep, but it might get interesting."
Raynor puts down his beer. "This beer sucks."
He kicks the table over and spits onto the wreckage then leaves with the others.
They armor up and get ready for the battles to come.
Welcome to the next section of the Reyo trilogy. Hope you Enjoy


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Lil Mama Speaks On Nicki Minaj Comparisons! "Im So Super Model"
"Lil Mama Talks About (Not) Looking Like Nicki Minaj at The 2011 MTV Movie Awards " - JoyDailyTV
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Hale Anuenue
Hale Anuenue was built in 1978, and originally served as housing for the Rainbow Warrior football team.
It was paid for by the football booster club, and managed by the Athletics Department. It was turned over to Student Housing Services in the early 1990s, and currently houses 42 residents in single rooms. "Anuenue" means "rainbow" in Hawaiian.
Hale Anuenue houses residents in double rooms on three floors accessible by stairs. This air-conditioned residence hall is less than two blocks from businesses ranging from restaurants, grocery stores, a copy center, and more! Hale Anuenue is also just minutes away from the Duke Kahanamoku Aquatic Complex and Stan Sheriff Center.
- Floors: 3 floors
- Kitchen: roof top
- Lounges: 3
- 6 Minutes to Campus Center
- 2 Minutes to Stan Sheriff
Community Desk: 808-956-6154
On-Call: 808-620-1009
Map Address:
2741 Varsity Place
Honolulu, HI 96826


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DURHAM — A record number of U.S. children were covered by health insurance in 2011, mostly due to substantial increases in the enrollment rates of public insurance, according to new research from the Carsey Institute at the University of New Hampshire.
The new research is presented in the Carsey Institute brief "Record Number of Children Covered by Health Insurance in 2011" conducted by Michael Staley, a research assistant at the Carsey Institute and a doctoral candidate in sociology at the University of New Hampshire.
"The increase in children covered by health insurance likely stems from policies enacted to increase participation in government-sponsored health insurance programs. In addition, we continue to see significant declines in private insurance and increases in public insurance, which reflects the economic and job market of 2011, four years after the beginning of the Great Recession," Staley said.
According to Staley, between 2008 and 2011, the rate of private coverage among children decreased by more than 5 percentage points across the United States, while public rates increased by more than 9 percentage points.
"While unemployment rates have declined since 2008, research shows that some individuals are taking jobs with no health benefits, with health benefits that are not available to dependents, or with unaffordable premiums. Thus, many parents have turned to public programs such as Medicaid, the State Children's Health Insurance Program (SCHIP) or other state programs," he said.
The key findings are as follows:
■ Rates of insurance coverage for children under age 18 increased from 90 percent in 2008 to 92.5 percent in 2011.
■ With the exception of the Midwest, all regions experienced a modest increase in children's health insurance coverage between 2010 and 2011.
■ Rural places and central cities in the South and West experienced the greatest increases in rates of coverage since 2008.
■ The proportion of children covered by public health insurance increased substantially for the fourth consecutive year in every kind of place — rural, suburban, and in central cities.
■ Rates of private insurance coverage among children decreased for the fourth consecutive year.
"As more families turn to public insurance to provide coverage for their children, costs are likely to increase, despite cost-reducing measures required by the Affordable Care Act that go into effect in 2014. Some proposed policy changes would shift a greater proportion of the cost of care back to families, which could be particularly burdensome for low-income families, who may choose to forego care because of higher costs," Staley said.
The complete Carsey Institute report about this research is available at http://www.carseyinstitute.unh.edu/publication/689.
This analysis is based on U.S. Census Bureau estimates from the 2008, 2009, 2010, and 2011 American Community Survey.


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Abby Explorer Basics has 6 fun categories for young learners. Children can explore the alphabet, numbers, colors, shapes, and animals. Abby Explorer Basics offers a quiz mode, so that your child will be engaged as well as enforcing their learning. There is also a drawing section, where children can let their creativity shine or practice their writing skills.
Children can learn the alphabet, numbers, shapes, colors, and animals by clicking the buttons. They will then hear the corresponding word. When Quiz Mode is on, the child will be asked to touch a specific button. If the shuffle button is pushed down, the answers will shuffle after each question. Your child may also shuffle the words at any time. Abby Explorer Basics offers subtitles, so your child can also practicing reading or simply have subtitles on if you are in a quiet place.
The animals category has a special mode, where children can turn off the animal names and hear animal sounds instead.
Abby Explorer Basics also has a drawing category, where your child can let their creativity shine or even practice writing the alphabet or numbers! Abby Explorer Basics is a great way for young minds to start learning and exploring!


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Strumenti&abutment per Locator
Showing items 1-12 of 45
Showing items 1-12 of 45
To get the best possible experience using our website we recommend that you update your browser to the latest version or use another browser. A list of the most popular web browsers can be found below.
Just click on an icon to get to the download page.


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Jump to navigation
The Digital Domains workshop at Dartmouth College, scheduled for March 20 - 22, 2014. With support from the Neukom Institute of Computational Science, the workshop will bring together archaeologists, engineers, and computer scientists from the US, Mexico, and Europe to share research that reconstructs and engages archaeological landscapes through remote sensing and GIS.
Attendance is free and open to the academic community, so please feel free to share information about the workshop with your students and colleagues.
The conference features two papers of immediate interest to archaeologists of the ancient Near East:
Jesse Casana and Jackson Cothren: The CORONA Atlas Project:
Regional-scale archaeological prospection and site morphometric analysis in the Near East
Bjoern Menze and Jason Ur: Using Micro Unmanned Aerial Vehicles in Archaeological Prospection – a Discussion of Potential Applications for the 'Erbil Plain Archaeology Survey' (EPAS)
You can find more information about the conference and the speakers on the Digital Domains website (listed).
Students and scholars who use computing to reconstruct, visualize, and analyze past and present environments are encouraged to submit applications to present a poster which will be displayed during afternoon and evening receptions. Contact me directly before February 3rd to submit a poster abstract or to request more information.
AIA Tours


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It all amounts to exactly this: The field is full of rip-off artists, sleazy characters, phonies, and middlemen out to wring every dime from content that doesn't really belong to them.
Like a good country song, the details change but the stories stay the same -- trucks and a heartache.
The problem with that speech, of course, is that it's true and everybody knows it. The music business as it stands right now, as it has stood for decades, is a rip-off. It can be more or less effective, it can represent artists and serve the listeners better or worse, but in its present form it can't be a truly honest business.
This is because, as I said in last week's column, music isn't a commodity. It's not a product that can be assembled in a production line or held in your hands. It's something that comes naturally from every living person -- some better than others -- and can be enjoyed by every living person, for free as long as the musician is willing, with no other assistance needed.
The standard business model, perfected in the age of vinyl recordings, presented music as a tangible thing -- a record -- that a businessman could manufacture and sell like any other widget. But the music on those records is only a captured bit of the ephemeral, constantly changing musical experience.
A Bruce Springsteen song is never exactly the same two concerts in a row. A performance of Beethoven or Bach sounds different depending on who is playing, and were those composers themselves to play their most famous music for us, we would likely hear shocking differences from the versions we know -- more radical than any modern interpreter would dare.
The experience of music is determined by its creators and by its listeners. By definition, it is never completely recreated, but is created anew every time. It happens in the moment and will change in the next moment.
The traditional music business, built around the sale of fixed music recordings, handles manufacturing, packaging, and distributing, middlemen selling something they didn't make themselves, something never really theirs to begin with.
These days, though, tech is trashing that model, by fits and starts turning the business of music from a product-based market into something more like a social media service directly connecting artists and listeners.
As I noted in my conversation with composer Bob Ostertag, artists are wrestling with the new tools, using the freedom the Internet provides to bypass the middlemen entirely and using sales platforms like Apple's (NASDAQ:AAPL)
While recordings are still the primary currency of these artists, more and more are emphasizing the recordings as calling cards, samples of the more true, live experience.
All Business Is Tech
TheStreet's Rocco Pendola has been pointing out how technology affects local business. In his piece Monday, he speculated Pandora could offer artists and concert-goers dynamic tools to build their relationship, exploiting the company's deep databases of user information and music content to post ads and opportunities for ticket sales to specific users for local events.
In an earlier video, Pendola pointed out that local businesses can compete on a local level with national chains, like Starbucks
These ideas are simple, but very powerful. Music is inherently live and therefore inherently local. The future of the music business is not in product sales, but in the service of that artist-listener relationship. Artists are thinking about tech. They're embracing it and using it to reach their audiences directly.
While all of these new technologies have their roots in traditional music marketing -- radio, record stores, mail-order houses and record clubs, publishers, etc. --noneis modeling itself on traditional record labels. That space, controlled right now by fewer than a handful of giant corporations, including Sony (NYSE:SNE)
Even now, the major labels can really market only the biggest draws, the acts competing for the top spots on Billboard's charts. Anything that can't sell hundreds of thousands of albums is not on their radar. Funding for the development of artists, for tours, for studio costs -- all of that is long gone.
The music business will probably rebound from the current rout and reestablish a new role for middlemen, but only after the landscape has settled and the new technologies have become common currency. Small labels that will add value to the experience through artist development will spring up, using the same distribution technologies as the artists themselves.
Virtual media technology will continue to improve, allowing even closer representations of the live music experience.
In the meantime, companies that don't necessarily represent artists but are, instead, working to expand the direct relationship between artist and listener are the surest bet for the future of the business.
- 1
Daily Recap Newsletter
entertainment, education and
smart market commentary.


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The Animation Podcast Ep. 17. The Animation Podcast is a weekly podcast news show that looks into the latest news in the animation industry, hosted by FilmBook, created and narrated by FilmBook author Mathieu Brunet a.k.a. AniMat from the ElectricDragon505 YouTube channel.
In this episode, The Animation Podcast examines (the highlights):
- Inside Out was the big winner at this year's Annie Awards with 10 wins
- Frozen will have a holiday special in 2017 and a Broadway show in 2018
- Joe Manganiello, Jack McBrayer and Danny Pudi joins cast in Smurfs: The Lost Village
- Hiromasa Yonebayashi might return to Studio Ghibli
- Mat's Pick of the Week: Cinesite opens new animation studio in Montreal, Canada
Credits and contact:
- If you'd like to advertise within this podcast as a sponsor, please email [email protected].
- You can donate and support this Podcast by clicking this Donate link to contribute once or this Donate linkto contribute every month. Thanks to all our donors.
- Any and all feedback, compliments, topic discussions, even hate mail, can be sent directly to [email protected]. Please list "The Animation Podcast" in the title of your email. We would LOVE to hear from you! Thank you for listening to the show.
Listen to this episode of The Animation Podcast and leave your thoughts on it below in the comments section. For more The Animation Podcast, visit our Podcast Page, our Podcast Google+ Page, our Podcast YouTube Channel, and consider subscribing to us by Email, "following" us on Twitter, Tumblr, Google+, or "liking" us on Facebook for quick updates.
The Animation Podcast Ep. 17
Podcast (the-animation-podcast): Play in new window | Download
Subscribe: Apple Podcasts | Android | Email | Google Podcasts | Stitcher | TuneIn | RSS


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[Look for the podcast play button below.]
We continue our special Pride Month guest star extravaganza today. I have the distinct pleasure of welcoming a true original in the world of erotic photography, Kevin Johnson, aka Boots Bryant.
Boots is here as part of The Erotic Mind podcast series. In our conversations with noted erotic artists we've uncovered quite a bit about the creative process involved in this specialized art form. We've visited with numerous artists who create their art in a variety of media. We've discovered that the term "erotic art" covers a vast array of visual and literary expressions; some very graphic, others are subtlety suggestive. But all reflect the irrepressible spirit of the human sexual experience.
Boots is first and foremost a photographer, but he is also an erotic author. He shoots mainstream fashion stuff as well as his edgier stuff. But whatever he shoots you can be sure that it will pulse with enormous sexual energy. His photography can be both exquisitely beautiful and stunningly disturbing. And often his images are both of these things at the same time.
Boots and I discuss:
- His nom de smut — Boots Bryant
- The Mask Series.
- His commissioned gigs.
- The three new series he's working on.
- His unsettling early life.
- Taking up photography as a kid.
- How he began to shoot nudes.
- Finding his models.
- His music hobby.
Look for Boots in all of this erotic glory on his website HERE! Or on his Facebook fan page HERE!
See a slideshow of some Boots' stunning images below.
Check out The Lick-A-Dee-Split Connection. That's Dr Dick's toll free podcast voicemail HOTLINE. Don't worry people; no one will personally answer the phone. Your message goes directly to voicemail.
Got a question or a comment? Wanna rant or rave? Or maybe you'd just like to talk dirty for a minute or two. Why not get it off your chest! Give Dr Dick a call at (866) 422-5680.
Look for my podcasts on iTunes. You'll fine me in the podcast section, obviously, or just search for Dr Dick Sex Advice. And don't forget to subscribe. I wouldn't want you to miss even one episode.
I wanna take a moment to remind you to check out another great website in the Dr Dick family of sites. It's my new PRODUCT REVIEW site — drdicksextoyreviews.com
That's right, sex fans, now it's so easy to see what hot and what's not in the world of adult products. I review of all kinds of adult related goodies — sex toys for sure, but also condoms, lubes, herbal products, fetish gear as well as educational and enrichment videos. DON'T MISS A SINGLE ONE!
Look for the drdicksextoyreviews.com. You'll be so glad you did.
Podcast: Play in new window | Download


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Did you know it's "Computer Science Education Week"?
"No, I didn't know that." I didn't either… until just this morning when I received an e-mail about it. Apparently December 6-12, 2009 is officially Computer Science Education Week. And it's about time, if you ask me. Microsoft Research has also joined the cause, and provided resources to encourage and support students in making… Read more


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Sony DVP-SR760 HDMI DVD Player
- Product Description
- Product Features
- Technical Specification
- Additional Information
- Customer Reviews
- Questions and Answers
Product Features
- Get closer to High Definition
See old favorites in a new light, or modern blockbusters clearer, sharper and with more passion. Upscale Standard Definition DVDs closer to 1080p Full High Definition for an intense experience that really sucks you into the action.
- Free your digital movies and music
Dive into your movie and music libraries and enjoy old favorites on the big screen and surround sound with a USB connection. Plug in your laptop or transfer to a memory stick for fast access to your film library.
- Create a tidier, neater environment
Cut down on wires and enjoy high quality picture and sound through just one cable with HDMI connectivity. The player's compact size and clean lines also makes the most of limited space.
Technical Specification
|Product Description
|Sony DVP-SR760H - DVD player
|Product Type
|DVD player
|Dimensions (WxDxH)
|27 cm x 20.9 cm x 3.85 cm
|950 g
|Media Type
|CD-R, CD-RW, SVCD, DVD-R, DVD+RW, DVD-RW, DVD+R, DVD, CD, Video CD, mini DVD, DVD+R DL, DVD-R DL
|Media Format
|Video D/A Converter
|12bit / 108MHz
|Remote Control
|Remote control - infrared
|Sound Output Mode
|AC 230V (50/60 Hz)
|Form Factor


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L.L. Bean issues snowshoe recall due to potential fall hazard
L.L. Bean issues snowshoe recall due to potential fall hazard
FREEPORT, Maine —
L.L. Bean is recalling a type of snowshoe due to a potential fall hazard.
According to the Consumer Product Safety Commission, the plastic on the Adventure Adjustable Snowshoes can weaken and break during use, leading to a fall hazard.
The recall, which was issued on Tuesday, impacts the L.L. Bean Adventure Adjustable Snowshoe 25-30-inch and L.L. Bean Adjustable Snowshoe Package 25-30-inch.
So far, there have been 4 reports of the plastic on the snowshoe cracking, although no injuries have been reported.
Anyone who purchased the snowshoe should contact L.L. Bean for a full refund.
Click here for more information on the recall.


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No one was hurt during a fire on Little Possum Road in Bluffton on Friday evening.
Firefighters were called to a burning mobile home at the end of Little Possum Road, which is located off Simmonsville Road, at about 4 p.m., said Capt. Randy Hunter, spokesman for the Bluffton Township Fire District.
The first responders on the scene reported heavy flames. The mobile home was destroyed.
Lt. Joe Babkiewicz, spokesman for the Bluffton Police Department, said suspect Willie Lee Fields, 51, was arrested on suspicion of arson in connection to the fire. According to Babkiewicz, witnesses said they saw Fields light a pair of pants on fire and put the pants on the mobile home.
Fields lives in the mobile home next door to the one that caught fire, Babkiewicz said. There is a history of disputes between Fields and the couple renting the destroyed property.
According to a release from Babkiewicz, one of the tenants was in the mobile home when the incident occurred, but they got out safely before the fire spread.
Firefighters were putting out hot spots at 6 p.m. Friday night.
"One of the difficulties we have here is it's a 90-degree day, 70-plus percent humidity really taxes our guys out," Hunter said. " It makes it very difficult to fight the fires. The other thing that we have a problem with here is we have no fire hydrants in this area. So we have to bring out a water tanker."
Hunter said the conditions are right for a fire to spread in the area.
"With our conditions that we have-- dry-- obviously one of our concerns is putting the fire out but now we have to be concerned with it spreading to the woods, the pinestraw, whatever else," he said. "If it gets big enough, it could be coming to these other structures."
The Red Cross assisted the displaced couple.
Fields was placed into custody on Friday night and was transported to the Beaufort County Detention Center where he was awaiting a bond hearing on Saturday morning. Fields was charged with Felony 3rd Degree Arson.


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Taking Web page screenshots is a common task for IT professionals, developers, and even non-tech workers. And while there are plenty of stand-alone screenshot applications and even built-in OS tools, Firefox users have a third option-Add-ons. Here are five Firefox Add-ons that let you take, edit, and even share screenshots of a Web page.Note: Firefox and the following Add-ons are continuously updated. Check the developer comments on each plugin's Mozilla Web page to ensure it will work with your version of Firefox.
Screengrab is the most popular Firefox screenshot plugin with 25,379 weekly downloads as of this writing. It allows you to capture what's visible in the current browser window, an entire page, a section of the page, or a specific frame.
You can save the image as a JPEG or PNG file or copy it to the clipboard. Screengrab doesn't have many options, but it gets the job done.
Note: Click each image for a full-size version.
Bill Detwiler has nothing to disclose. He doesn't hold investments in the technology companies he covers.
Full Bio
Bill Detwiler is Managing Editor of TechRepublic and Tech Pro Research and the host of Cracking Open, CNET and TechRepublic's popular online show. Prior to joining TechRepublic in 2000, Bill was an IT manager, database administrator, and desktop support specialist in the social research and energy industries. He has bachelor's and master's degrees from the University of Louisville, where he has also lectured on computer crime and crime prevention.