2,962 Matching Annotations
  1. May 2020
    1. Ghinai, I., Woods, S., Ritger, K. A., McPherson, T. D., Black, S. R., Sparrow, L., Fricchione, M. J., Kerins, J. L., Pacilli, M., Ruestow, P. S., Arwady, M. A., Beavers, S. F., Payne, D. C., Kirking, H. L., & Layden, J. E. (2020). Community Transmission of SARS-CoV-2 at Two Family Gatherings—Chicago, Illinois, February–March 2020. MMWR. Morbidity and Mortality Weekly Report, 69(15), 446–450. https://doi.org/10.15585/mmwr.mm6915e1

    1. les groupes multi-niveaux peuvent être constitués pour scolariser des élèves prioritaires dont les cours n'ont pas repris et correspondant aux catégories suivantes  les élèves en situation de handicap ; les élèves décrocheurs ou en risque de décrochage ; les enfants des personnels indispensables à la gestion de la crise sanitaire et à la continuité de la vie de la Nation. Dans la mesure du possible, il est également tenu compte des élèves relevant d'une même fratrie ;

      La réunion avec le Dasen (Directeur académique des Yvelines) du 8 mai nous a permis de comprendre que la première semaine, la DSDEN laisse de la souplesse aux écoles et aux communes quant à la "sélection" des publics prioritaires". Pour résumé, certaines écoles prennent des enfants d'enseignants, alors que d'autres se restreignent cette semaine aux enfants déjà accueillis lors du confinement.

      Le souhait du Dasen est que rapidement (semaine prochaine) la liste des publics accueillis s'allonge en fonction des priorités définies dans la circulaire. Il semble important d'engager le dialogue avec l'IEN pour faire apparaître les perspectives de scolarisation de chaque groupe scolaire.    A noter que les choses vont très certainement bloquer à un moment si les communes ne désengorgent pas les écoles en organisant les 2S2C

    1. Part of the problem of social media is that there is no equivalent to the scientific glassblowers’ sign, or the woodworker’s open door, or Dafna and Jesse’s sandwich boards. On the internet, if you stop speaking: you disappear. And, by corollary: on the internet, you only notice the people who are speaking nonstop.

      This quote comes from a larger piece by Robin Sloan. (I don't know who that is though)

      The problem with social media is that the equivalent to working with the garage door open (working in public) is repeatedly talking in public about what you're doing.

      One problem with this is that you need to choose what you want to talk about, and say it. This emphasizes whatever you select, not what would catch a passerby's eye.

      The other problem is that you become more visible by the more you talk. Conversely, when you stop talking, you become invisible.

    1. Chu, H. Y., Englund, J. A., Starita, L. M., Famulare, M., Brandstetter, E., Nickerson, D. A., Rieder, M. J., Adler, A., Lacombe, K., Kim, A. E., Graham, C., Logue, J., Wolf, C. R., Heimonen, J., McCulloch, D. J., Han, P. D., Sibley, T. R., Lee, J., Ilcisin, M., … Bedford, T. (2020). Early Detection of Covid-19 through a Citywide Pandemic Surveillance Platform. New England Journal of Medicine, NEJMc2008646. https://doi.org/10.1056/NEJMc2008646

    1. Introduction         Many are not aware or not very clear about the Copyrights in Music and therefore functioning of Indian Performing Right Society Limited (IPRS). They often ask, “What is the business of IPRS?”          In short, IPRS is to legitimize use of copyrighted Music by Music users by issuing them Licences and collect Royalties from Music Users, for and on behalf of IPRS members i.e. Authors, Composers and Publishers of Music. Royalty thus collected is distributed amongst members after deducting IPRS’s administrative costs. Composers are those who are better known as Music Directors, Authors are better known as Lyricists, Publishers of Music are the Music Companies, or those who hold Publishing Rights of the Musical & Literary Works. Authors and Composers are sometimes referred to as Writers which can mean any or both of them.
    1. About us:Founded in 1941, Phonographic Performance Limited India, also known as PPL India, is a performance rights organization licensing its members’ sound recordings for communication to public in the areas of public performance and broadcast. PPL owns and/or controls the Public Performance rights of over 356 music labels, with more than 3 million international and domestic sound recordings.Who are we?PPL India represents a lion’s share of the total sound recordings in international and domestic music. PPL India represents some of the world’s and India’s largest record labels, including Aditya Music, Lahari Music, Sony Music Entertainment, Speed Records, T-Series, Universal Music, Warner Music and is India’s largest and most respected public performance rights organisation, in terms of both membership and revenue.By purchasing a PPL licence, you have exclusive access to the entirety of our collection spanning a plethora of genres including Bollywood, Pop, EDM, Rock, Hip-Hop, Classical, Jazz, Country, Dance and others by thousands of iconic Artistes from across the globe.What do we do?Under the Copyright Act 1957, every business entity or individual must receive permission from the copyright owners of the sound recording before any public performance takes place. We enforce the rights of our members by ensuring that businesses comply with the law and pay copyright holders for the music they consume. We are a non-profit organisation and the royalties we collect are given to the rightful owners of the music.
    1. Copyright Law: What Music Teachers Need to Know     By Ken Schlager Intellectual property has emerged from the legal backwater to become major news, with frequent high-profile cases of individuals and companies being prosecuted for the illegal use and distribution of copyrighted material. While teachers enjoy many exemptions under copyright law, the classroom does not shelter all uses. As teachers choose materials for their students, it is essential that they know where the legal lines are drawn. The principle of copyright protection in the United States can be traced back to the Constitution. Over the years, Congress has codified these protections in succeeding versions of the Copyright Act. Acknowledging that education is a unique case, the 1976 act went out of its way to address teachers’ pedagogical needs, creating exceptions to the law that allow certain uses of copyrighted material in a classroom setting. These exceptions were clarified in a set of voluntary guidelines jointly hammered out by parties representing the copyright holders and the educators, including MENC. Here’s the bottom line: Before using any printed or prerecorded material in the classroom or for any type of school performance, educators must evaluate whether the use falls under one of the Copyright Act’s specific exemptions or those described in the voluntary guidelines.
  2. Apr 2020
    1. Public Domain Music ( pdmusic.org ) is a place to learn about music and hopefully get inspired to pick up an instrument and start playing. So many people are interested in music, but they think they can’t learn how to play an instrument because it’s too difficult. Or worse, they want to learn how to play an instrument, but they get discouraged in the beginning and never end up following through on their goals.
    1. What is CPDL? The Choral Public Domain Library (CPDL), is an Internet-based free sheet music website which specializes in choral music. Begun in December 1998, CPDL is one of the world's largest free sheet music sites. The goal of CPDL is to host a large collection of music scores and other supporting files (such as midi or other sound files) which can be freely downloaded and used. Most of the scores on CPDL are modern editions based on older works whose copyright has lapsed (or which are otherwise in the public domain), but some scores are newly composed and offered for download by the composer. The primary goals of CPDL are: To make vocal sheet music available for free. To create a website for public domain music that includes only legally downloadable scores (we operate under United States law). To allow development of a viable collaborative model for sheet music distribution. To publish scores that are not otherwise commercially viable. To create a website that catalogs a large number of other free sheet music websites. To encourage (through the CPDL Bulletin Boards) sharing between lovers of vocal music. As well as scores, you can use CPDL to find texts and lyrics, translations, and information about composers - all available for use under a license such as the CPDL license. In August 2005, CPDL was ported to a wiki system. The following page details the transition:
    1. IMSLP stands for International Music Score Library Project and started on February 16, 2006. It is a project for the creation of a virtual library of public domain music scores based on the wiki principle; it is also more than that. Users can exchange musical ideas through the site, submit their own compositions, or listen to other people's composition; this makes IMSLP an ever-growing musical community of music lovers for music lovers.
    1. bout Freesound What is this site anyway? Freesound aims to create a huge collaborative database of audio snippets, samples, recordings, bleeps, ... released under Creative Commons licenses that allow their reuse. Freesound provides new and interesting ways of accessing these samples, allowing users to: browse the sounds in new ways using keywords, a "sounds-like" type of browsing and more upload and download sounds to and from the database, under the same creative commons license interact with fellow sound-artists! We also aim to create an open database of sounds that can also be used for scientific research and be integrated in third party applications. Using the Freesound API researchers and developers can access Freesound content a retrieve meaningful sound information such as metadata, analysis files and the sounds themselves. See the developers section and the API documentation for more information. Freesound API usage is free for non-commercial use, but it can also be licensed for being used in commercial applications.
    1. About Open Music Archive The Open Music Archive is situated within the current discourse surrounding notions of authorship, ownership and distribution, reanimated by a porting of Free/Libre and Open Source software models to wider creative contexts. The Open Music Archive concerns itself with the public domain and creative works which are not owned by any one individual and are held in common by society as a whole. Under copyright law, a music recording has two automatically assigned property rights: A musical composition has a property right and a recording has a separate and independent property right. These property rights are limited by term. In the UK, the term of copyright in a literary, dramatic, musical or artistic work is limited to the life of the author plus 70 years, while the term of copyright in a sound recording is limited to 50 years from the date of recording. The archive attempts to gather recordings and information about recordings whose proprietary interests have expired and make them accessible to a wider public. Artists Ben White & Eileen Simpson have initiated this project following a series of projects which involved researching and gathering music which has fallen out of copyright. Much of this music, although legally in the public domain, is tied to physical media (for example gramophone records) and locked away in archives or private collections which are not widely accessible. The Open Music Archive aims to digitise as much of this music as possible in order to free it from the constraints of a physical collection. The project aims to share the existing resource and to build a larger archive in open collaboration with others. The archive aims to distribute this music freely, form a site of exchange of knowledge and material, and be a vehicle for future collaborations and distributed projects.
    1. Musopen (www.musopen.org) is a 501(c)(3) non-profit focused on improving access and exposure to music by creating free resources and educational materials. We provide recordings, sheet music, and textbooks to the public for free, without copyright restrictions. Put simply, our mission is to set music free.Musopen is a U.S. registered 501(c)(3) tax-deductible non-profit charity, operating out of Palo Alto, California. To verify our non-profit status, please click this link and search for Musopen.
    1. The Sheet Music Project From Project Gutenberg, the first producer of free eBooks. Jump to: navigation, search From approximately 2001-2006, Project Gutenberg volunteers were been engaged in digitizing public domain sheet music, using a variety of techniques, to enable study and performance. For the most part, the musical pieces created were chamber music, with composers such as Brahms and Beethoven. This sub-project is no longer active, because there are other efforts that have stronger workflows for sheet music. Project Gutenberg is, mostly, focused on text. Completed scores ready to download and enjoy. The Sheet Music Project In Progress List, including scanned scores ready for transcription. No longer maintained. The Music HOWTO, describing how to get started. No longer maintained. Thanks to ClassicalArchives.com, source of musical performances for many composers, in many formats. ClassicalArchives.com worked with Project Gutenberg on our sheet music project. Project Gutenberg also received a donation from an anonymous family foundation to help start the sheet music project. Interested in other similar projects? We recommend the Mutopia Project, which has many pieces of sheet music.
    1. Since people over 65 account for about 80% of Covid-19 deaths, Sweden asked only seniors to shelter in place rather than shutting down the rest of the country; and since Sweden had no pediatric deaths, it didn’t shut down elementary and middle schools… 

      As time passes, I do think there is a place for more targeted interventions such as these as we ease restrictions.

    1. This is a comic book about intellectual property law and the public domain: https://law.duke.edu/cspd/comics/digital/.

      A well-designed graphic novel/comic book with a narrative that dives into intellectual property and IP law. An excellent introduction to copyright, illustrating use-cases throughout. Thought-provoking and entertaining reading on fair use and public domain.

    1. Wynants, L., Van Calster, B., Bonten, M. M. J., Collins, G. S., Debray, T. P. A., De Vos, M., Haller, M. C., Heinze, G., Moons, K. G. M., Riley, R. D., Schuit, E., Smits, L. J. M., Snell, K. I. E., Steyerberg, E. W., Wallisch, C., & van Smeden, M. (2020). Prediction models for diagnosis and prognosis of covid-19 infection: Systematic review and critical appraisal. BMJ, m1328. https://doi.org/10.1136/bmj.m1328

    1. Google's move to release location data highlights concerns around privacy. According to Mark Skilton, director of the Artificial Intelligence Innovation Network at Warwick Business School in the UK, Google's decision to use public data "raises a key conflict between the need for mass surveillance to effectively combat the spread of coronavirus and the issues of confidentiality, privacy, and consent concerning any data obtained."
  3. Mar 2020
    1. his is a creative educational fair-use mashup which ironically makes use of clips from Disney films as it explains how copyright works. The discussion of fair use begins around the 6-minute 30-second mark in the video:

      The value of this resource is it's ability to take a very serious topic, copyright, and make it humorous enough to keep the watcher interested. It would also make an interesting video for discussion since most of the images should be recognizable to most students.

    2. More information about the public domain

      In the document "2.3 The Public Domain", I'd suggest to add a brief paragraph about the fact that, due to the Berne Convention, new works enter the public domain every year on the same date: January 1st. That date is called "Public Domain Day" and is celebrated around the world.

      The "Public Domain Day" Wikipedia article (CC BY-SA) is very helpful: https://en.wikipedia.org/wiki/Public_Domain_Day

      Also the website "Public Domain Day International - Global celebrations of the liberation of works", by Sebastiaan ter Burg, informs about PD Day celebrations around the world: https://www.pdday.org/

    1. Turkey’s government says it is not disclosing the location of cases to prevent the risk of increasing transmission rates by encouraging people to move from areas with high rates to places where there are no or few cases.

      I'm amused as to how many possible reasons governments come up with to not disclose data.

      I do not understand how likely people are to move between areas, do people have more than 1 housing options?

      There is an obvious conflict of interest in a government hiding information that is bound to invite questions or make their performance look poor in contrast to other countries etc.

    1. The legal principles employed to sustain state public health police power were sic utere tuo ut alterum non laedas (use that which is yours so as not to injure others) and salus publica suprema lex est (public well-being is the supreme law).12 The principle of sic utere describes the power of the state to prevent or prohibit “the use of private property or the commission of private acts in a manner harmful to others.”15 The principle of salus publica, on the other hand, recognizes police power as a means to “prevent or avoid public harm even if the action has not harmed others.
    2. quarantine was already a well established form of public health regulation, and was considered proper exercise of the police power of the states; the Supreme Court, in its affirmation of this power, noted that the state had the power to quarantine “to provide for the health of the citizens.”10,11 The uncontrollable nature of epidemic diseases moved the Supreme Court to uphold such extreme measures on the basis of the defense of the common good.8
    1. Not only are public transport datasets useful for benchmarking route planning systems, they are also highly useful for benchmarking geospatial [13, 14] and temporal [15, 16] RDF systems due to the intrinsic geospatial and temporal properties of public transport datasets. While synthetic dataset generators already exist in the geospatial and temporal domain [17, 18], no systems exist yet that focus on realism, and specifically look into the generation of public transport datasets. As such, the main topic that we address in this work, is solving the need for realistic public transport datasets with geospatial and temporal characteristics, so that they can be used to benchmark RDF data management and route planning systems. More specifically, we introduce a mimicking algorithm for generating realistic public transport data, which is the main contribution of this work.
  4. Feb 2020
  5. Jan 2020
    1. Beaucoup d’adolescents téléphonent au mortjusqu’à l’annulation de la ligne téléphonique et/ouenvoient des SMS et des messages vocaux sur samessagerie. Ils y écoutent sa voix, vont consulterdes messages écrits et des photos archivés dansleur smartphone,

      Dans ces exemples par contre le deuil n'est pas public mais privé. L'auteur parle de l'individuel non public, du seul moment ou le deuil devient personnel. Cela tranche avec l'idée de "deuil public" du paragraphe précédent mais sans transition de la part de l'auteur.

  6. Dec 2019
  7. Nov 2019
    1. I believe that many of the current challenges in public sectors link back to two causal factors: googletag.cmd.push(function() { googletag.display('div-gpt-ad-1560300455224-0'); }); The impact of increasing reactivism to politics and 24-hour media scrutiny, in public sectors (which varies across jurisdictions); and The unintended consequences of New Public Management and trying to make public sectors act like the private sector.
    1. However, PIPA is the agency's first standalone bot, meaning it can be used across multiple government agencies. Crucially, the bot can be embedded within web and mobile apps, as well as within third-party personal assistants, such as Google Home and Alexa.  According to Keenan, the gang of five digital assistants released so far by the DHS have answered "more than 2.3 million questions, reducing the need for people to have to pick up a phone or come into a service centre for help.” “This is what our digital transformation program is all about – making life simpler and easier for all Australians.”

      Scope of PIPA

    1. uman Services has a number of public-facing chatbots already. The newest of them is ‘Charles’, launched last year, which offers support for the government’s MyGov service.Others include ‘Sam’ and ‘Oliver’, both of which launched in 2017. The department’s customer-facing digital assistants have so far answered more than 2.3 million questions. Human Services also uses a number of staff-facing chatbots. In November Keenan revealed that the department had launched an Augmented Intelligence Centre of Excellence, which the minister said would boost collaboration with industry, academia and other government entities.

      Chatbots that exist

    1. Before implementing Alex 2.5 years ago, IP Australia staffers were taking 12,000 calls per month."Now I'm not saying Alex was the only intervention we had, but it was one of the main ones. Acting on the insights we were getting from Alex, we're now down to 5,000 calls per month and still dropping," Stokes said. "The value for money and return on investment is quite good."

      IP Australia using chatbox named Alex to reduce calls received

  8. Oct 2019
  9. Sep 2019
    1. explain the difference between listening and hearing understand the value of listening identify the three attributes of active listeners recognize barriers to effective listening employ strategies to engage listeners provide constructive 
feedback as a listener

      Main learning objectives of Listening Effectively in Principles of Public Speaking

    1. separate public domain illustrations

      The main source images for this collage:

      Borrow, George Henry, and E. J. Sullivan. "I did not like reviewing at all--it was not to my taste." Lavengro, Macmillan and Co., London, 1896, p. 296. British Library Flickr, HMNTS 012621.h.20. Accessed 1 February 2018.

      Dodge, Mary Elizabeth. "A Terrible Tiger." When Life is Young: a Collection of Verse for Boys and Girls, Century Co., 1894, New York, p. 201. British Library Flickr. Accessed 1 February 2018.

    1. Abstract

      Abstract is a sales pitch and a guide; the authors summarize their entire paper into less than 100~200 words to draw you in and guide you throughout the rest of the paper.

      This is a literature review on the relationship between the public opinion and foreign policy. The American public is, largely, regarded as uninterested and unaware of foreign policy. However, here the authors survey the literature and conclude that the public is able to hold a nuanced and coherent view on foreign policy and is able to make a voting decision based on this view.

  10. Aug 2019
    1. public forum

      What about public forums like G2, Capterra, or Stackshare, how can these be leveraged to share government software insights? Could be framed as open ongoing RFI processes. We should be sharing with each other openly on these platforms. Hope it would at-least improved the level of interfaces / skin vendors put on the same "management" software.

  11. Jul 2019
    1. I also strongly support the public annotation, archiving and active curation of artifacts (papers, reports, student projects, annotated list of resources, slideshows etc.) that are produced within the COI so as to provide resources for other and subsequent COIs located around the globe (Tibbo, 2015; Ungerer, 2016).

      This is a call to annotate! What better way to support this notion that to create public annotations with Hypothesis :) Leaving this here in the hopes that future annotators of this article will find this and help annotate this important update to a seminal model.

  12. May 2019
    1. general history journals, or in books or digital forums

      My beef is more with historians who don't even know they're doing it, and do things like put coded markers to interpretive structures into narratives in textbooks. Undergrads from other majors in surveys, who will never read historiography, miss these markers and don't realize they're reading a story told through a particular lens.

    2. relentlessly abstract and obscure prose, often in imitation of models once current in literary criticism and philosophy

      Sometimes that obscure language actually helps historians make subtle but important points. I'm thinking of something like Hayden White's Metahistory here. Having said that, I'm pretty unforgiving when something I'm reading puts me through that "foreign-language" wringer but then doesn't pay off with a big insight.

    3. Nobel laureate physicist Ernest Rutherford allegedly claimed that “all good science can be explained to a bar[tender].”

      Long tradition of top-level physicists like Hawking writing for the general public.

    4. The Point Isn’t to Sound Smart. The Point Is to Communicate.

      As grad students we're exposed to all kinds of jargon and specialized analysis and argument. But it's not really that much more difficult to understand that just as most regular people (who ARE interested in history) aren't interested in our professional arguments, they aren't interested in our technical language. Failing to adjust our language to our audience is just sloppy, like using the passive voice.

    1. oundaries between different learning and discourse spaces (e.g., public vs. private, formal educationvs. workplace learning) are to be crossed if not totally dissolved

      This is probably a long-term goal of mine that I might as well own up to.

  13. Apr 2019
    1. The consensus reception holds that the visual composition of the structures lack a unified voice due to the heavy handedness of the individual star-architects who were commissioned to design its various structures.Most critics write from the lens of art criticism and therefor focus on the aesthetics of structures as though they were sculptures in a museum. For decades, critics from this tradition have failed to understand or assimilate the principles of urban design that make cities vibrant and walkable.

      This struck me as very interesting, as it frames the article as a rejection of accepted criticism of many respected voices in the field. Instead, the author conducts a potential use study of the space for future users, from the perspective of walkability. It is written not for other scholars of the field but for a general audience, New Yorkers in particular.

    2. The primary benefit of this would be to make the Hudson River and Public Square park areas more easily accessible to everyone who lives and works east of Hudson Yards. Opening 10th avenue to street facing retail, turning the six lane street two-way, and adding bike lanes would also make it more forgiving.

      Concluding appeal and explanation of the author's call to action. Considering the lack of walkability and limited potential use, they suggest a new design that will maximize access. This also has the benefit of altering the public's sense of that the space is exclusive.