How To Build A Medical Startup: A Useful Resource Guide

Saturday, October 6, 2007

Torbjorn Zetterlund is running for the Green Party of Ontario in the Ontario provincial election, in the Willowdale riding. Wikinews’ Nick Moreau interviewed him regarding his values, his experience, and his campaign.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.

Thursday, June 22, 2006

The Creative Archive project is a BBC led initiative which aims to make archive audio and video footage available to be freely downloaded, distributed, and ‘remixed’. The project is still in a pilot stage, and is only available to UK residents, but the long-term future of the project could have a major impact on the way audiences interact with BBC content.

The project is partly inspired by the Creative Commons movements, and also by a general move within the BBC to be more open with its assets. Additionally, educational audiences such as schools have expressed an interest in using BBC content within the classroom, both to watch and to create multimedia content from.

So far, clips made available under the licence have included archive news footage, nature documentary footage, and video clips content designed for educational uses. “It’s done very well with the audiences we’ve directed them towards – heavy BBC users,” says Paul Gerhardt, project leader. Users downloading the clips are also prompted to fill in a questionnaire, and so far 10-15% of people seem to be doing something with the material, although the BBC can’t be sure what exactly that is.

One of the biggest limitations within the licence as it currently stands during the pilot scheme is that the material is only available for use by people resident in the UK. The BBC’s Creative Archive sites use ‘geo-IP filtering’ to limit downloads to the UK, but there is some confusion over whether people who create their own content using the material can upload their creations to their own websites. A question within the FAQs for one of the more recent selections of clips suggests that this isn’t possible, saying “during this pilot phase material released under the terms of the Creative Archive Licence cannot be used outside the UK – therefore, unless a website has its use restricted to the UK only, content from the ‘Regions on Film’ archive cannot be published on it.”

“We want people to make full use of this content, whether they cut and paste it or whether they share it, and we completely accept that we’ve got a bit of a contradiction at the moment by saying UK-only and yet encouraging people to put it on their sites to share it with others, because you can’t expect people to have geo-IP restriction technology,” admits Mr Gerhardt. “We’re thinking hard about how to deal with this after the pilot – at the moment it’s quite likely that we’re probably going to need to find a distribution partner outside of the UK, so that if you’re outside of the UK you’ve got roughly the same experience as in the UK, but the content could be surrounded by sponsorship messages or advertising or whatever. Once we’ve done that then leakage from one to the other won’t really matter very much.”

The Creative Archive project has not been without critics from the commercial sector, worried that the BBC giving away their content for free would make it difficult for them to be able to make money from their own content. The BBC has explained to some of the commercial players that the content would be limited during the pilot, would not be available in broadcast quality, and that watermarking technologies would be trialled so that content could be recognised when it crops up elsewhere. The BBC is also investigating a business model for the future where there would be a “close relationship between public access to low-resolution content and a click through to monetising that content if you want to buy a high-resolution version”. People who want to play around with the material might discover they have a talent and then find they need to get a commercial license to use it properly, Mr Gerhardt explains, and the project wants to make it easy for this to happen.

Before the project can go ahead with the full scale launch, it will have to go through a ‘public value test’ to assess its overall impact on the marketplace, and commercial media companies will have a chance to input at this point.

For ease in clearing the rights, all of the content available under the pilot project is factual, but in the future the project could include drama and entertainment content. The BBC may also, in the future, work the Creative Archive licences into the commissioning process for new programmes. “This raises some really interesting ideas – if you have a documentary series, you could use the Creative Archive to release the longer form footage, for instance – that would create a digital legacy of that documentary series,” Mr Gerhardt explains. “The other interesting thought in the longer term would be for the BBC, or another broadcaster, to contribute to a digital pool of archive material on a theme, and then invite people to assemble their own content out of that. We could end up broadcasting both the BBC professionally produced programme accompanied by other programmes that other people had made out of the same material.”

One of the ways that the Creative Archive licence differs from the other ‘copyleft’ licences like Creative Commons, aside from the UK-only limitation, is that the licence currently allows the BBC to update and modify the licence, which may worry those using the licence that their rights could suddenly become more restricted. “The licence at the moment is a draft, and we’ve given warning that we may well improve it, but we wouldn’t do that more than once or twice. The ambition is that by the time we scale up to the full service we would have a fixed licence that everyone was comfortable with, and it wouldn’t change after that.”

“The ambition is to think about creating a single portal where people can search and see what stuff is out there under the same licence terms, from a range of different suppliers. The idea is that if we can create something compelling like that, we will attract other archives in the UK to contribute their material, so we’d be aggregating quite a large quantity.”

The Creative Archive project has captured the interest of many Internet users, who are growing increasingly, used the idea of being able to ‘remix’ technologies and content. Some groups have been frustrated with the speed at which the project is developing though, and with some of the restrictions imposed in the licence. An open letter to the BBC urges the dropping of the UK-only limitation, the use of ‘open formats’, and to allow the material to be usable commercially.

Mr Gerhardt has publicly welcomed debate of the licence, but makes it clear to me that the whole BBC archive will never all be available under the Creative Archive terms. “We will make all our archive available, under different terms, over the next five to ten years, at a pace to be determined. There would be three modes in which people access it – some of the content would only be available commercially, for the first five year or so after broadcast, say. The second route is through a ‘view again’ strategy where you can view the programmes, but they’d be DRM-restricted. And the third mode is Creative Archive. Over time, programmes would move from one mode to another, with some programmes going straight to the Creative Archive after broadcast.”

Others who disagree with the ‘UK-only’ restriction within the licence include Suw Charman, from the Open Rights Group, who has said “it doesn’t make sense in a world where information moves between continents in seconds, and where it is difficult for the average user to exclude visitors based on geography.” On the project generally, though, she said “I think that it is a good step along the way to a more open attitude towards content. It is a toe in the water, which is far preferable to the attitude of most of the industry players, who are simply burying their heads in the sand and hoping that lawsuits and lobbying for new legislation will bolster their out-dated business plan.”

Other organisations currently participating in the Creative Archive scheme include the British Film Institute, the Open University and Teachers’ TV. Two artists have been awarded scholarships to create artworks using BBC archive material, and BBC Radio 1 has held a competition asking people to use the footage in creative ways as backing visuals to music. The process of making the BBC’s archive material fully available may be a long one, but it could end up changing the way that people interact with the UK’s public service broadcaster.

Tuesday, April 14, 2020

In February 2017, the Iranian Chess Federation announced two teenage chess players, Dorsa Derakhshani and her younger brother Borna Derakhshani, were banned from representing the national team. The federation announced their decision although Dorsa Derakhshani had previously decided and informed the chess federation she did not wish to play for Iran.

Dorsa Derakhshani is currently 21 years old and holds the International Master (IM) as well as Woman Grand Master (WGM) titles. Her brother, Borna, plays for the English Federation and holds the FIDE Master title.

Dorsa Derakhshani was banned since she did not wear a hijab, an Islamic headscarf, while competing at the Tradewise Gibraltar Chess Festival in January 2017. Under the laws of Islamic Republic of Iran, hijab is a mandatory dress code. Her brother Borna Deraskhsani was banned for playing against Israeli Grand Master (GM) Alexander Huzman at the same tournament. Iran does not recognise the existence of Israel, and previously, Irani athletes have avoided playing against Israeli athletes.

Mehrdad Pahlavanzadeh, the president of the country’s chess federation, explained the decision to ban the players saying, “As a first step, these two will be denied entry to all tournaments taking place in Iran and in the name of Iran, they will no longer be allowed the opportunity to be present on the national team.” ^{((fa))Farsi language: ?????? ????? ?? ??? ??? ?? ??? ????? ?? ?? ???? ???????? ?? ?? ????? ? ?? ??? ????? ?????? ??????? ????? ??????? ? ???? ???? ???? ?? ??? ??? ?? ??????? ????.} He further stated, “Unfortunately, something that should not have happened has happened and our national interest is paramount and we have reported this position to the Ministry of Sports.” ^{((fa))Farsi language: ????????? ?????? ?? ????? ????????? ?????? ??? ? ????? ??? ?? ?? ?? ???? ?????? ???? ? ?? ??? ???? ?? ?? ????? ???? ?? ????? ?????.}

IM Dorsa Derakhshani, who currently studies at Saint Louis University in the United States and plays for the United States Chess Federation, discussed her chess career, time in Iran and the 2017 controversy, and her life in Saint Louis with a Wikinews correspondent.

Thursday, August 21, 2008

On Thursday, 15-year-old student, Ryan McDonald, was shot and killed. The shooting occurred at just after 8:00am (UTC-5), at Central High School, in Knoxville, Tennessee.

According to Deputy Chief of Police of the Knoxville police department, William C. Roehl stated that the shooting was not “random” and that “they had contact with one another”. The shooting which occurred 8:11am (UTC-5), followed a confrontation in the cafeteria. Police arrived on the scene at 8:13am, and the suspect was taken into custody at 8:17am. McDonald was taken to the University of Tennessee Medical Center where he died at 8:57am, according to the police.

Police have arrested Jamar B. Siler, also 15, and charged him with first-degree murder. Judge Tim Irwin set September 17, 2008 as the trial date. Siler is being held at a juvenile detention center.

Kevin Perry, a pastor at Word of Life Ministries, said he had spoken to a student who witnessed the shooting.

“He saw them when they were arguing and pushing and shoving,” Perry said, recounting what the student had told him. “He didn’t see the guy shoot him. What he did see was the guy fall.”

Another high school student, Chad Griffin, was ten feet away from where the confrontation occurred and said that “he [McDonald] got shot and started walking and he was holding his chest. There was blood everywhere. And then he fell and his arm hit me.”

The school was preparing to release students, and bring them to a local church were they could be picked up by their guardians. Central High School has around 1,400 students.

Sunday, July 8, 2007

The U.S. Army installation at Fort Lee in Virginia will begin using a program called RAPIDGate that will replace passes issued to non-military persons who regularly require access to the facility. The program will take effect July 10, when the practice of issuing 90-day passes to people who present a valid driver’s license, vehicle registration, and proof of insurance for the vehicle used for access ends. Those passes will be grandfathered out as they expire.

The RAPIDGate program for fast entry into Fort Lee replaces what was once access privileges performed by the installation itself, which came free of cost. The new outsourced program administered by Portland, Oregon-based Eid Passport, Inc. enhances security to the installation by performing background checks. Their service comes at a price. The screening process makes a ten-year felony background check, performs a check against terrorist and sexual offender watch lists, and does a social security cross reference to validate a person’s identity.

Qualified applicants are issued a pass that enables them to bypass inspection pits and use any of the facility’s seven gates for access. Businesses whose employees would benefit by this are required to contact the program provider and have “point of contact” persons who can validate an applicant’s employment. Enrollment in the program costs the business US$199. A pass for each employee of the business costs $159 annually. The pass for employees expires after a year, when a new background check is required by the program.

The program is a voluntary alternative for civilians to conform with new access policies mandated by the Department of Defense and the U.S. Army, according to an information pamphlet distributed by the base. A kiosk will be set up at Fort Lee to accept applications that process a photograph, social security number, and fingerprint.

Those without a RAPIDGate pass will need to enter the fort at locations where their vehicle can be inspected. A rigorous inspection involves armed guards asking the driver to place keys on the dash board, pop the hood and the trunk, open the glove box, and have all occupants exit the vehicle and open all doors, including the hood and trunk. While the vehicle is inspected inside, another guard uses a mirror attached to a wand to inspect under the chassis of the vehicle’s undercarriage.

Eid Passport, Inc. specializes in identity authentication and background screening. Fort Lee will be the 12th military installation out of an estimated 250 military installations on U.S soil to implement identity screening as part of new policies mandated by the Department of Defense (DoD).

“The pass contains no personal information,” said David Smith, the director of marketing for Eid Passport. It does contain a barcode which is scanned at entry. The RAPIDGate program database includes a biometric fingerprint that might be checked by the scanning device against the presenter of the pass in times of elevated security. The pass is also embedded with an active RFID transmitter. The pass is scanned on entry to the fort at the gate check point, but not upon exit. If the RFID transmitter works properly, movement into and out of the base will be recorded.

The Fort Lee pamphlet mentions a “a new mandate” by the DoD. That mention appears to be in reference to portion of the language found in an Instruction issued in October last year by the DoD that states, “Implement a verification process, whether through background checks or other similar processes, that enables the U.S. Government to attest to the trustworthiness of DoD contractors and sub-contractors.”

The Instruction stems from a Directive signed by President Bush in August of 2004. That Directive, from the Department of Homeland Security, says in part, “Wide variations in the quality and security of forms of identification used to gain access to secure Federal and other facilities where there is potential for terrorist attacks need to be eliminated.”

Fort Lewis in Washington state was the first U.S. military installation to adopt the RAPIDGate program as a test in 2004. Since then, Fort Sam Houston, Fort Carson, and Fort Bragg, among other installations have adopted the program.

“What happened at Fort Dix, [New Jersey], as we look at it, is a Fort Dix issue,” Laura Arenschield reported spokesman for the 18th Airborne, Tom McCollum, as saying in June. “That should not be taken as an invitation for someone to try it here at Fort Bragg, but (security) is a living, breathing entity. You have to constantly change it just to keep those who are trying to penetrate it on their toes.” The new security measures will go into effect at Fort Bragg, North Carolina, which is among the largest of domestic military bases, starting July 8.

Thursday, November 8, 2007

What you are about to read is an American life as lived by renowned author Edmund White. His life has been a crossroads, the fulcrum of high-brow Classicism and low-brow Brett Easton Ellisism. It is not for the faint. He has been the toast of the literary elite in New York, London and Paris, befriending artistic luminaries such as Salman Rushdie and Sir Ian McKellen while writing about a family where he was jealous his sister was having sex with his father as he fought off his mother’s amorous pursuit.

The fact is, Edmund White exists. His life exists. To the casual reader, they may find it disquieting that someone like his father existed in 1950’s America and that White’s work is the progeny of his intimate effort to understand his own experience.

Wikinews reporter David Shankbone understood that an interview with Edmund White, who is professor of creative writing at Princeton University, who wrote the seminal biography of Jean Genet, and who no longer can keep track of how many sex partners he has encountered, meant nothing would be off limits. Nothing was. Late in the interview they were joined by his partner Michael Caroll, who discussed White’s enduring feud with influential writer and activist Larry Kramer.