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CN Health & Safety Plan planned to be cancelled

Monday, August 29, 2005

On July 18, 2005 CN Rail notified the CAW that they intend to cancel the CN-CAW previously Negotiated Health & Safety Plan. The CAW will be going to arbitration this fall to address the issue. The CAW has asked that employees notify their Health and Safety Rep about any safety concerns at the work place.

One terminal has lost 5-6 full-time positions. CN Rail used to have part-time positions filled as well, but at this time there are no part-time employees to cover work if a full-time employee is absent. Overtime is necessary to keep the trains running on time. Intermodal traffic goes up, but staff goes down. CN Rail expects the trains to go out on time, and in a safe condition, but staff is overworked, because there are not enough of them. In fact, one worker noticed that most of the rail cars that contained 40 foot overseas containers did not have their loading guides in place. Trains are not allowed to go out without these guides placed into the cars (the guides stop the loads from swaying from side to side in the cars), important for safety with double stacked containers, but it seems that in this case the lack of employees forced the train to leave without them.

Some recent derailments have come to the attention of the media and politicians.

On August 3rd 2005 there was a derailment in Wabamun Lake Alberta that spilled toxins into the lake. 2 days later there was a derailment in Cheakamus River near Squamish BC. Both derailments spilled hazardous materials into the water. Many are saying that CN took too long to notify people of the toxic spills.

The Conductor on each train carries with him the shipping manifest with him and has access to that information at all times. Almost any CN terminal that has a clerk working at it with access to the CN Intranet can get this information within minutes.

CTV news has said that this is the 5th derailment for CN this month.

U.K. National Portrait Gallery threatens U.S. citizen with legal action over Wikimedia images

Tuesday, July 14, 2009

This article mentions the Wikimedia Foundation, one of its projects, or people related to it. Wikinews is a project of the Wikimedia Foundation.

The English National Portrait Gallery (NPG) in London has threatened on Friday to sue a U.S. citizen, Derrick Coetzee. The legal letter followed claims that he had breached the Gallery’s copyright in several thousand photographs of works of art uploaded to the Wikimedia Commons, a free online media repository.

In a letter from their solicitors sent to Coetzee via electronic mail, the NPG asserted that it holds copyright in the photographs under U.K. law, and demanded that Coetzee provide various undertakings and remove all of the images from the site (referred to in the letter as “the Wikipedia website”).

Wikimedia Commons is a repository of free-to-use media, run by a community of volunteers from around the world, and is a sister project to Wikinews and the encyclopedia Wikipedia. Coetzee, who contributes to the Commons using the account “Dcoetzee”, had uploaded images that are free for public use under United States law, where he and the website are based. However copyright is claimed to exist in the country where the gallery is situated.

The complaint by the NPG is that under UK law, its copyright in the photographs of its portraits is being violated. While the gallery has complained to the Wikimedia Foundation for a number of years, this is the first direct threat of legal action made against an actual uploader of images. In addition to the allegation that Coetzee had violated the NPG’s copyright, they also allege that Coetzee had, by uploading thousands of images in bulk, infringed the NPG’s database right, breached a contract with the NPG; and circumvented a copyright protection mechanism on the NPG’s web site.

The copyright protection mechanism referred to is Zoomify, a product of Zoomify, Inc. of Santa Cruz, California. NPG’s solicitors stated in their letter that “Our client used the Zoomify technology to protect our client’s copyright in the high resolution images.”. Zoomify Inc. states in the Zoomify support documentation that its product is intended to make copying of images “more difficult” by breaking the image into smaller pieces and disabling the option within many web browsers to click and save images, but that they “provide Zoomify as a viewing solution and not an image security system”.

In particular, Zoomify’s website comments that while “many customers — famous museums for example” use Zoomify, in their experience a “general consensus” seems to exist that most museums are concerned with making the images in their galleries accessible to the public, rather than preventing the public from accessing them or making copies; they observe that a desire to prevent high resolution images being distributed would also imply prohibiting the sale of any posters or production of high quality printed material that could be scanned and placed online.

Other actions in the past have come directly from the NPG, rather than via solicitors. For example, several edits have been made directly to the English-language Wikipedia from the IP address, one of sixteen such IP addresses assigned to computers at the NPG by its ISP, Easynet.

In the period from August 2005 to July 2006 an individual within the NPG using that IP address acted to remove the use of several Wikimedia Commons pictures from articles in Wikipedia, including removing an image of the Chandos portrait, which the NPG has had in its possession since 1856, from Wikipedia’s biographical article on William Shakespeare.

Other actions included adding notices to the pages for images, and to the text of several articles using those images, such as the following edit to Wikipedia’s article on Catherine of Braganza and to its page for the Wikipedia Commons image of Branwell Brontë‘s portrait of his sisters:

“This image is copyright material and must not be reproduced in any way without permission of the copyright holder. Under current UK copyright law, there is copyright in skilfully executed photographs of ex-copyright works, such as this painting of Catherine de Braganza.
The original painting belongs to the National Portrait Gallery, London. For copies, and permission to reproduce the image, please contact the Gallery at or via our website at”

Other, later, edits, made on the day that NPG’s solicitors contacted Coetzee and drawn to the NPG’s attention by Wikinews, are currently the subject of an internal investigation within the NPG.

Coetzee published the contents of the letter on Saturday July 11, the letter itself being dated the previous day. It had been sent electronically to an email address associated with his Wikimedia Commons user account. The NPG’s solicitors had mailed the letter from an account in the name “Amisquitta”. This account was blocked shortly after by a user with access to the user blocking tool, citing a long standing Wikipedia policy that the making of legal threats and creation of a hostile environment is generally inconsistent with editing access and is an inappropriate means of resolving user disputes.

The policy, initially created on Commons’ sister website in June 2004, is also intended to protect all parties involved in a legal dispute, by ensuring that their legal communications go through proper channels, and not through a wiki that is open to editing by other members of the public. It was originally formulated primarily to address legal action for libel. In October 2004 it was noted that there was “no consensus” whether legal threats related to copyright infringement would be covered but by the end of 2006 the policy had reached a consensus that such threats (as opposed to polite complaints) were not compatible with editing access while a legal matter was unresolved. Commons’ own website states that “[accounts] used primarily to create a hostile environment for another user may be blocked”.

In a further response, Gregory Maxwell, a volunteer administrator on Wikimedia Commons, made a formal request to the editorial community that Coetzee’s access to administrator tools on Commons should be revoked due to the prevailing circumstances. Maxwell noted that Coetzee “[did] not have the technically ability to permanently delete images”, but stated that Coetzee’s potential legal situation created a conflict of interest.

Sixteen minutes after Maxwell’s request, Coetzee’s “administrator” privileges were removed by a user in response to the request. Coetzee retains “administrator” privileges on the English-language Wikipedia, since none of the images exist on Wikipedia’s own website and therefore no conflict of interest exists on that site.

Legally, the central issue upon which the case depends is that copyright laws vary between countries. Under United States case law, where both the website and Coetzee are located, a photograph of a non-copyrighted two-dimensional picture (such as a very old portrait) is not capable of being copyrighted, and it may be freely distributed and used by anyone. Under UK law that point has not yet been decided, and the Gallery’s solicitors state that such photographs could potentially be subject to copyright in that country.

One major legal point upon which a case would hinge, should the NPG proceed to court, is a question of originality. The U.K.’s Copyright, Designs and Patents Act 1988 defines in ¶ 1(a) that copyright is a right that subsists in “original literary, dramatic, musical or artistic works” (emphasis added). The legal concept of originality here involves the simple origination of a work from an author, and does not include the notions of novelty or innovation that is often associated with the non-legal meaning of the word.

Whether an exact photographic reproduction of a work is an original work will be a point at issue. The NPG asserts that an exact photographic reproduction of a copyrighted work in another medium constitutes an original work, and this would be the basis for its action against Coetzee. This view has some support in U.K. case law. The decision of Walter v Lane held that exact transcriptions of speeches by journalists, in shorthand on reporter’s notepads, were original works, and thus copyrightable in themselves. The opinion by Hugh Laddie, Justice Laddie, in his book The Modern Law of Copyright, points out that photographs lie on a continuum, and that photographs can be simple copies, derivative works, or original works:

“[…] it is submitted that a person who makes a photograph merely by placing a drawing or painting on the glass of a photocopying machine and pressing the button gets no copyright at all; but he might get a copyright if he employed skill and labour in assembling the thing to be photocopied, as where he made a montage.”

Various aspects of this continuum have already been explored in the courts. Justice Neuberger, in the decision at v Rodney Fitch & Co. held that a photograph of a three-dimensional object would be copyrightable if some exercise of judgement of the photographer in matters of angle, lighting, film speed, and focus were involved. That exercise would create an original work. Justice Oliver similarly held, in Interlego v Tyco Industries, that “[i]t takes great skill, judgement and labour to produce a good copy by painting or to produce an enlarged photograph from a positive print, but no-one would reasonably contend that the copy, painting, or enlargement was an ‘original’ artistic work in which the copier is entitled to claim copyright. Skill, labour or judgement merely in the process of copying cannot confer originality.”.

In 2000 the Museums Copyright Group, a copyright lobbying group, commissioned a report and legal opinion on the implications of the Bridgeman case for the UK, which stated:

“Revenue raised from reproduction fees and licensing is vital to museums to support their primary educational and curatorial objectives. Museums also rely on copyright in photographs of works of art to protect their collections from inaccurate reproduction and captioning… as a matter of principle, a photograph of an artistic work can qualify for copyright protection in English law”. The report concluded by advocating that “museums must continue to lobby” to protect their interests, to prevent inferior quality images of their collections being distributed, and “not least to protect a vital source of income”.

Several people and organizations in the U.K. have been awaiting a test case that directly addresses the issue of copyrightability of exact photographic reproductions of works in other media. The commonly cited legal case Bridgeman Art Library v. Corel Corp. found that there is no originality where the aim and the result is a faithful and exact reproduction of the original work. The case was heard twice in New York, once applying UK law and once applying US law. It cited the prior UK case of Interlego v Tyco Industries (1988) in which Lord Oliver stated that “Skill, labour or judgement merely in the process of copying cannot confer originality.”

“What is important about a drawing is what is visually significant and the re-drawing of an existing drawing […] does not make it an original artistic work, however much labour and skill may have gone into the process of reproduction […]”

The Interlego judgement had itself drawn upon another UK case two years earlier, Coca-Cola Go’s Applications, in which the House of Lords drew attention to the “undesirability” of plaintiffs seeking to expand intellectual property law beyond the purpose of its creation in order to create an “undeserving monopoly”. It commented on this, that “To accord an independent artistic copyright to every such reproduction would be to enable the period of artistic copyright in what is, essentially, the same work to be extended indefinitely… ”

The Bridgeman case concluded that whether under UK or US law, such reproductions of copyright-expired material were not capable of being copyrighted.

The unsuccessful plaintiff, Bridgeman Art Library, stated in 2006 in written evidence to the House of Commons Committee on Culture, Media and Sport that it was “looking for a similar test case in the U.K. or Europe to fight which would strengthen our position”.

The National Portrait Gallery is a non-departmental public body based in London England and sponsored by the Department for Culture, Media and Sport. Founded in 1856, it houses a collection of portraits of historically important and famous British people. The gallery contains more than 11,000 portraits and 7,000 light-sensitive works in its Primary Collection, 320,000 in the Reference Collection, over 200,000 pictures and negatives in the Photographs Collection and a library of around 35,000 books and manuscripts. (More on the National Portrait Gallery here)

The gallery’s solicitors are Farrer & Co LLP, of London. Farrer’s clients have notably included the British Royal Family, in a case related to extracts from letters sent by Diana, Princess of Wales which were published in a book by ex-butler Paul Burrell. (In that case, the claim was deemed unlikely to succeed, as the extracts were not likely to be in breach of copyright law.)

Farrer & Co have close ties with industry interest groups related to copyright law. Peter Wienand, Head of Intellectual Property at Farrer & Co., is a member of the Executive body of the Museums Copyright Group, which is chaired by Tom Morgan, Head of Rights and Reproductions at the National Portrait Gallery. The Museums Copyright Group acts as a lobbying organization for “the interests and activities of museums and galleries in the area of [intellectual property rights]”, which reacted strongly against the Bridgeman Art Library v. Corel Corp. case.

Wikimedia Commons is a repository of images, media, and other material free for use by anyone in the world. It is operated by a community of 21,000 active volunteers, with specialist rights such as deletion and blocking restricted to around 270 experienced users in the community (known as “administrators”) who are trusted by the community to use them to enact the wishes and policies of the community. Commons is hosted by the Wikimedia Foundation, a charitable body whose mission is to make available free knowledge and historic and other material which is legally distributable under US law. (More on Commons here)

The legal threat also sparked discussions of moral issues and issues of public policy in several Internet discussion fora, including Slashdot, over the weekend. One major public policy issue relates to how the public domain should be preserved.

Some of the public policy debate over the weekend has echoed earlier opinions presented by Kenneth Hamma, the executive director for Digital Policy at the J. Paul Getty Trust. Writing in D-Lib Magazine in November 2005, Hamma observed:

“Art museums and many other collecting institutions in this country hold a trove of public-domain works of art. These are works whose age precludes continued protection under copyright law. The works are the result of and evidence for human creativity over thousands of years, an activity museums celebrate by their very existence. For reasons that seem too frequently unexamined, many museums erect barriers that contribute to keeping quality images of public domain works out of the hands of the general public, of educators, and of the general milieu of creativity. In restricting access, art museums effectively take a stand against the creativity they otherwise celebrate. This conflict arises as a result of the widely accepted practice of asserting rights in the images that the museums make of the public domain works of art in their collections.”

He also stated:

“This resistance to free and unfettered access may well result from a seemingly well-grounded concern: many museums assume that an important part of their core business is the acquisition and management of rights in art works to maximum return on investment. That might be true in the case of the recording industry, but it should not be true for nonprofit institutions holding public domain art works; it is not even their secondary business. Indeed, restricting access seems all the more inappropriate when measured against a museum’s mission — a responsibility to provide public access. Their charitable, financial, and tax-exempt status demands such. The assertion of rights in public domain works of art — images that at their best closely replicate the values of the original work — differs in almost every way from the rights managed by the recording industry. Because museums and other similar collecting institutions are part of the private nonprofit sector, the obligation to treat assets as held in public trust should replace the for-profit goal. To do otherwise, undermines the very nature of what such institutions were created to do.”

Hamma observed in 2005 that “[w]hile examples of museums chasing down digital image miscreants are rare to non-existent, the expectation that museums might do so has had a stultifying effect on the development of digital image libraries for teaching and research.”

The NPG, which has been taking action with respect to these images since at least 2005, is a public body. It was established by Act of Parliament, the current Act being the Museums and Galleries Act 1992. In that Act, the NPG Board of Trustees is charged with maintaining “a collection of portraits of the most eminent persons in British history, of other works of art relevant to portraiture and of documents relating to those portraits and other works of art”. It also has the tasks of “secur[ing] that the portraits are exhibited to the public” and “generally promot[ing] the public’s enjoyment and understanding of portraiture of British persons and British history through portraiture both by means of the Board’s collection and by such other means as they consider appropriate”.

Several commentators have questioned how the NPG’s statutory goals align with its threat of legal action. Mike Masnick, founder of Techdirt, asked “The people who run the Gallery should be ashamed of themselves. They ought to go back and read their own mission statement[. …] How, exactly, does suing someone for getting those portraits more attention achieve that goal?” (external link Masnick’s). L. Sutherland of Bigmouthmedia asked “As the paintings of the NPG technically belong to the nation, does that mean that they should also belong to anyone that has access to a computer?”

Other public policy debates that have been sparked have included the applicability of U.K. courts, and U.K. law, to the actions of a U.S. citizen, residing in the U.S., uploading files to servers hosted in the U.S.. Two major schools of thought have emerged. Both see the issue as encroachment of one legal system upon another. But they differ as to which system is encroaching. One view is that the free culture movement is attempting to impose the values and laws of the U.S. legal system, including its case law such as Bridgeman Art Library v. Corel Corp., upon the rest of the world. Another view is that a U.K. institution is attempting to control, through legal action, the actions of a U.S. citizen on U.S. soil.

David Gerard, former Press Officer for Wikimedia UK, the U.K. chapter of the Wikimedia Foundation, which has been involved with the “Wikipedia Loves Art” contest to create free content photographs of exhibits at the Victoria and Albert Museum, stated on Slashdot that “The NPG actually acknowledges in their letter that the poster’s actions were entirely legal in America, and that they’re making a threat just because they think they can. The Wikimedia community and the WMF are absolutely on the side of these public domain images remaining in the public domain. The NPG will be getting radioactive publicity from this. Imagine the NPG being known to American tourists as somewhere that sues Americans just because it thinks it can.”

Benjamin Crowell, a physics teacher at Fullerton College in California, stated that he had received a letter from the Copyright Officer at the NPG in 2004, with respect to the picture of the portrait of Isaac Newton used in his physics textbooks, that he publishes in the U.S. under a free content copyright licence, to which he had replied with a pointer to Bridgeman Art Library v. Corel Corp..

The Wikimedia Foundation takes a similar stance. Erik Möller, the Deputy Director of the US-based Wikimedia Foundation wrote in 2008 that “we’ve consistently held that faithful reproductions of two-dimensional public domain works which are nothing more than reproductions should be considered public domain for licensing purposes”.

Contacted over the weekend, the NPG issued a statement to Wikinews:

“The National Portrait Gallery is very strongly committed to giving access to its Collection. In the past five years the Gallery has spent around £1 million digitising its Collection to make it widely available for study and enjoyment. We have so far made available on our website more than 60,000 digital images, which have attracted millions of users, and we believe this extensive programme is of great public benefit.
“The Gallery supports Wikipedia in its aim of making knowledge widely available and we would be happy for the site to use our low-resolution images, sufficient for most forms of public access, subject to safeguards. However, in March 2009 over 3000 high-resolution files were appropriated from the National Portrait Gallery website and published on Wikipedia without permission.
“The Gallery is very concerned that potential loss of licensing income from the high-resolution files threatens its ability to reinvest in its digitisation programme and so make further images available. It is one of the Gallery’s primary purposes to make as much of the Collection available as possible for the public to view.
“Digitisation involves huge costs including research, cataloguing, conservation and highly-skilled photography. Images then need to be made available on the Gallery website as part of a structured and authoritative database. To date, Wikipedia has not responded to our requests to discuss the issue and so the National Portrait Gallery has been obliged to issue a lawyer’s letter. The Gallery remains willing to enter into a dialogue with Wikipedia.

In fact, Matthew Bailey, the Gallery’s (then) Assistant Picture Library Manager, had already once been in a similar dialogue. Ryan Kaldari, an amateur photographer from Nashville, Tennessee, who also volunteers at the Wikimedia Commons, states that he was in correspondence with Bailey in October 2006. In that correspondence, according to Kaldari, he and Bailey failed to conclude any arrangement.

Jay Walsh, the Head of Communications for the Wikimedia Foundation, which hosts the Commons, called the gallery’s actions “unfortunate” in the Foundation’s statement, issued on Tuesday July 14:

“The mission of the Wikimedia Foundation is to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. To that end, we have very productive working relationships with a number of galleries, archives, museums and libraries around the world, who join with us to make their educational materials available to the public.
“The Wikimedia Foundation does not control user behavior, nor have we reviewed every action taken by that user. Nonetheless, it is our general understanding that the user in question has behaved in accordance with our mission, with the general goal of making public domain materials available via our Wikimedia Commons project, and in accordance with applicable law.”

The Foundation added in its statement that as far as it was aware, the NPG had not attempted “constructive dialogue”, and that the volunteer community was presently discussing the matter independently.

In part, the lack of past agreement may have been because of a misunderstanding by the National Portrait Gallery of Commons and Wikipedia’s free content mandate; and of the differences between Wikipedia, the Wikimedia Foundation, the Wikimedia Commons, and the individual volunteer workers who participate on the various projects supported by the Foundation.

Like Coetzee, Ryan Kaldari is a volunteer worker who does not represent Wikipedia or the Wikimedia Commons. (Such representation is impossible. Both Wikipedia and the Commons are endeavours supported by the Wikimedia Foundation, and not organizations in themselves.) Nor, again like Coetzee, does he represent the Wikimedia Foundation.

Kaldari states that he explained the free content mandate to Bailey. Bailey had, according to copies of his messages provided by Kaldari, offered content to Wikipedia (naming as an example the photograph of John Opie‘s 1797 portrait of Mary Wollstonecraft, whose copyright term has since expired) but on condition that it not be free content, but would be subject to restrictions on its distribution that would have made it impossible to use by any of the many organizations that make use of Wikipedia articles and the Commons repository, in the way that their site-wide “usable by anyone” licences ensures.

The proposed restrictions would have also made it impossible to host the images on Wikimedia Commons. The image of the National Portrait Gallery in this article, above, is one such free content image; it was provided and uploaded to the Wikimedia Commons under the terms of the GNU Free Documentation Licence, and is thus able to be used and republished not only on Wikipedia but also on Wikinews, on other Wikimedia Foundation projects, as well as by anyone in the world, subject to the terms of the GFDL, a license that guarantees attribution is provided to the creators of the image.

As Commons has grown, many other organizations have come to different arrangements with volunteers who work at the Wikimedia Commons and at Wikipedia. For example, in February 2009, fifteen international museums including the Brooklyn Museum and the Victoria and Albert Museum established a month-long competition where users were invited to visit in small teams and take high quality photographs of their non-copyright paintings and other exhibits, for upload to Wikimedia Commons and similar websites (with restrictions as to equipment, required in order to conserve the exhibits), as part of the “Wikipedia Loves Art” contest.

Approached for comment by Wikinews, Jim Killock, the executive director of the Open Rights Group, said “It’s pretty clear that these images themselves should be in the public domain. There is a clear public interest in making sure paintings and other works are usable by anyone once their term of copyright expires. This is what US courts have recognised, whatever the situation in UK law.”

The Digital Britain report, issued by the U.K.’s Department for Culture, Media, and Sport in June 2009, stated that “Public cultural institutions like Tate, the Royal Opera House, the RSC, the Film Council and many other museums, libraries, archives and galleries around the country now reach a wider public online.” Culture minster Ben Bradshaw was also approached by Wikinews for comment on the public policy issues surrounding the on-line availability of works in the public domain held in galleries, re-raised by the NPG’s threat of legal action, but had not responded by publication time.

Atlantic storm Danielle strengthens to hurricane force

Tuesday, August 24, 2010

Tropical Storm Danielle is now a Category 1 hurricane, with winds up to 130 km/h (80 mph). The storm is headed towards Bermuda and forecasters at the National Hurricane Center in Miami, Florida expect it to strengthen over the next two days. Hurricane Danielle is the second hurricane of the 2010 Atlantic hurricane season.

North America is simultaneously threatened by Tropical Storm Frank. The 80 km/h (50 mph) storm in the Pacific Ocean is about 210 km (130 miles) south-south west of Acapulco, Mexico. Mexico has issued a tropical storm watch in the area.

Hurricane Danielle formed near the Cape Verde Islands off the coast of West Africa, being classified as Tropical Depression Six. It then developed into a more organized cyclone.

Meteorologists predict that Danielle will be the first of several storms to form within the next two weeks, as the Atlantic hurricane season is currently at its peak. “There are signs that the Atlantic is acting like it should in August and September. We’re seeing more activity than we did earlier in the season,” said Rick Knabb of the Weather Channel.

Even though the 2010 season seems to be one with low activity, emergency officials are still stressing safety and awareness to residents in hurricane-prone areas. “It only takes one storm to cause a loss of lives and devastating property damage,” Lauren McKeague, Florida Division of Emergency Management, says. Hurricane Andrew was a catastrophic Category 5 storm that came during a year when it was a lower-than-average season.

Finding The Best Heating Contractors In Fort Collins

byAlma Abell

As summer draws to a close, it is about that time to be thinking about what is needed to prepare for the winter. A cold winter ahead means that reliable heating is very important, and so it is equally important to find the best heating products to ensure a warm and comfortable season. Finding heating contractors in Fort Collins is an easy task, but what about finding a heating contractor who can provide both energy and cost efficient products, as well as excellent customer service? Tri-City Heating and Air Conditioning Inc. is one of the choices for families looking for high quality products and overall satisfaction. The best heating contractors in Fort Collins are the ones who can boast not only a vast range of products to keep everyone’s home toasty and safe this winter, but also feature offerings to replace current heating equipment with newer, more energy efficient products. It is a must to find a company that can save one money on energy bills.

Seek out heating contractors in the city of Fort Collins who supply excellent service leading to high customer satisfaction. For example, contractors who are available long after the sale for repairs and advice on how to maintain and fix your new sustainable units are an ideal feature of a great company. The typical consumers want excellent service to back up the products that they use because it provides them with peace of mind should something go wrong. If a company does not appear friendly or willing to help with any problems should they arise, they are not worth the time or money.

When searching for heating contractors located in the area, it is also important to look at the amount of experience that each company has. The longer the company has been around shows that it has a strong reputation within the community. To summarize, the best kind of heating contractors are the ones who are experienced in providing high quality products and go above and beyond in customer satisfaction. Finding a great heating contractor who can provide satisfaction, quality and experience is not as daunting of a task as it may seem if one keeps in mind what to look for.

Ontario Votes 2007: Interview with Libertarian candidate Aaron Parent, Essex

Sunday, October 7, 2007

Aaron Parent is running for the Libertarian in the Ontario provincial election, in the Essex 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.

Nobel Laureate Hans Bethe passes away at age of 98

Monday, March 7, 2005

Nobel Laureate in Physics Hans Bethe died in his home in Ithaca, New York on March 6, 2005, according to Cornell University, where he was professor emeritus of physics.

Hans Albrecht Bethe (pronounced Bay-ta) was born on July 2, 1906 in the city of Strasbourg, then part of Germany (now part of France). He studied physics at Frankfurt and obtained his doctorate from the University of Munich.

Bethe, whose mother was Jewish, fled Germany in 1933 when the Nazi Party came to power. Bethe, along with hundreds of other Jewish academics, were fired from their posts as a result of one of Adolf Hitler‘s first anti-Semitic acts. Bethe moved first to England and in 1935 to the USA where he taught at Cornell University.

Between 1935 and 1938, he studied nuclear reactions and reaction cross sections. This research was useful to Bethe in more quantitatively developing Niels Bohr‘s theory of the compound nucleus.

During World War II, he served as a prominent member of a special summer session at the University of California, Berkeley at the invitation of Robert Oppenheimer, which outlined the first designs for the atomic bomb and served as the beginning of the Manhattan Project. When Oppenheimer started the secret weapons design laboratory, Los Alamos, he appointed Bethe as Director of the Theoretical Division.

After the war, Bethe argued that a crash project for the hydrogen bomb should not be attempted, though after President Truman announced the beginning of such a crash project, and the outbreak of the Korean War, he signed up and played a key role in the weapon’s development. In 1968, he reflected upon the choice, noting that “It seemed quite logical. But sometimes I wish I were more consistent an idealist.” Though he would see the project through to its end, in Bethe’s account he was primarily hopeful that the weapon would be impossible to produce. He later characterized Stanislaw Ulam was the “father” of the hydrogen bomb, and Edward Teller as its “mother,” and himself as its “midwife.”

Among his many honors, Bethe received the Max Planck medal in 1955, and in 1961 he was awarded the Eddington Medal of the Royal Astronomical Society for his work in identifying the energy generating processes in stars. In 1967, Bethe was awarded the Nobel Prize in Physics for his studies of the production of solar and stellar energy, stellar nucleosynthesis. He postulated that the source of this energy are thermonuclear reactions in which hydrogen was converted into helium.

During the 1980s and 1990s, Bethe campaigned for the peaceful use of nuclear energy, arguing against the nuclear arms race and against nuclear testing. In 1995, at the age of 88, Bethe wrote an open letter calling on all scientists to “cease and desist” from working on any aspect of nuclear weapons development and manufacture. In 2004, he signed a letter along with 47 other Nobel laureates endorsing John Kerry for president of the United States citing Bush‘s apparent misuse of science.

Creator of website satirizing Glenn Beck on winning domain name case

Tuesday, November 10, 2009

Wikinews interviewed the creator of a parody website satirizing American political commentator Glenn Beck, about his thoughts after prevailing in a domain name dispute brought by Beck before the World Intellectual Property Organization (WIPO) in Geneva, Switzerland. Florida resident Isaac Eiland-Hall created the website in September, and it asserts Beck uses questionable tactics “to spread lies and misinformation”. Eiland-Hall was represented in the case by free speech lawyer Marc Randazza.

Wikinews interviewed Randazza for the article “US free speech lawyer Marc Randazza discusses Glenn Beck parody”, and previously reported on the Beck v. Eiland-Hall case in articles, “US free speech lawyer defends satire of Glenn Beck”, “Satirical website criticizes Glenn Beck for ‘hypocritical’ attempts to silence free speech”, and “Glenn Beck loses domain name case over parody website”.

Luxury Apartments In Chelsea Nyc Offers A Luxurious Living Experience

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byAlma Abell

If you’ve always dreamt of experiencing the finer things of life such as living in an exquisite apartment surrounded by a welcoming, friendly neighborhood, then perhaps it’s time to make that dream a reality! Luxury apartments in Chelsea NYC offer a luxurious living experience that will exceed your expectations. These apartments are epitome of luxury and elegance. The building itself is a timeless, contemporary structure with a sophisticated appeal.

Luxury Apartments Offers an Ultra-Modern Living Style

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Residents can choose between 2 interior design palettes. Each apartment is tailored designed with high-quality white oak flooring; each room is spacious throughout the apartment, state-of-the-art kitchen appliances, and elegant bathrooms. The stunning views from the apartment will take your breath away. The exquisite and open-spaced apartment is like your private escape after a long day at work. Luxury apartments in Chelsea NYC are designed for individuals that want to enjoy a luxurious and relaxed living without interruptions. One of the many perks of residing in one of these beautiful apartments is being pampered by the amenities that are offered.

Amenities Include:

  • Swimming Pool on the 50th Floor
  • Fitness Facilities
  • Salon and Spa
  • Private Dining Suites
  • Lounges
  • Club Room for Work Space and Game Day
  • Play Areas for Children
  • Access to Extensive Collection of Concierge Services

Explore the Neighborhood

One of the biggest advantages of residing in a luxury apartment in a big city is being able to explore the neighborhood. This permits you to experience a whole new way of living, from residing in an exquisite apartment to shopping at the best boutiques. You’re able to take strolls through several beautiful parks, discover the arts, take in the nightlife at one of the popular entertainment facilities, and enjoy fine cuisine from one of the many gourmet restaurants. For more information visit

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False cancer cure claims lead to federal charges against five US companies

Saturday, September 20, 2008

The United States Federal Trade Commission filed charges against five companies for “deceptive advertising of bogus cancer cures”. An additional six companies also named in the federal agency’s complaint have settled and their cases will not go into litigation; however, they will be required to send letters to their former customers, and four will be forced to offer reimbursement

The five companies charged are Omega Supply, San Diego, California; Native Essence Herb Company, El Prado, New Mexico; Daniel Chapter One, Portsmouth, Rhode Island; Gemtronics, Inc., Franklin, North Carolina, and Herbs for Cancer, Surprise, Arizona. According to Lydia Parnes, director of the Federal Trade Commission’s Bureau of Consumer Protection, “There is no credible scientific evidence that any of the products marketed by these companies can prevent, cure, or treat cancer of any kind.”

Attorney Richard Jaffe who represents the firm Native Essence, one of the companies charged, protested against the FDA’s action. “In our view it’s a battle between the right to speak and the government’s censorship.” Native Essence sells herbal supplements and informs customers of herbs that have historic use for cancer and other ailments. Jaffe asserts the claim of historic use is truthful and does not necessarily mean that the herb is effective. Other items marketed by the companies named in the action include laetrile, essiac tea, mushroom extracts, and black salve. FDA representative Douglas Stearn expressed concern that people who have cancer may select these items instead of treatments that have been studied and found effective, or that unstudied herbal treatments could produce drug interactions with conventional medicine.

Before filing legal action the FTC sent over 100 warning letters and many firms dropped or changed the health claims for their products. In conjunction with the announcement the FDA announced a new website that urges cancer patients to discuss all treatments they consider trying with their physicians, warns about the dangers of delaying or stopping cancer treatments in favour of alternative medicine, and gives advice about spotting and reporting false health claims.