What constitutes copyright – A copyright is an intellectual property right over a literary or artistic work.
Literary and artistic works – Literary and artistic works (the “works”) “are original intellectual creations in the literary and artistic domain protected from the moment of their creation” including:
- Books, pamphlets, articles and other writings;
- Periodicals and newspapers;
- Lectures, sermons, addresses, dissertations prepared for oral delivery, whether or not reduced in writing or other material form;
- Dramatic or dramatico-musical compositions, choreographic works, or entertainment in dumb shows;
- Musical compositions, with or without words;
- Works of drawing, painting, architecture, sculpture, engraving, lithography or other works of art, models or designs for works of art;
- Original ornamental designs or models for articles of manufacture, whether or not registrable as an industrial design, and other works of applied art;
- Illustrations, maps, plans, sketches, charts, and three-dimensional works relative to geography, topography, architecture, or science;
- Drawings or plastic works of a scientific or technical character;
- Photographic works including works produced by a process analogous to photography or lantern slides;
- Audiovisual works and cinematographic works and works produced by a process analogous to cinematography or any process for making audio-visual recordings;
- Pictorial illustrations and advertisements;
- Computer programs; and
- Other literary, scholarly, scientific and artistic works.
Copytight protection starts from creation – Works are protected by the sole fact of their creation, irrespective of their mode or form of expression, as well as of their content, quality and purpose.
Best Legal Practices
- Place symbol “©” to serve as notice – The symbol “©” means the work is under copyright protection. While not required to be placed on copyrighted material, it is best to place the copyright symbol to serve as notice and warning that the same is protected by copyright laws.
- Copyright as catch-all intellectual property – If a property cannot be registered as a patent or trademark/servicemark, it may be protected under copyright.
- Publish copyright to establish date of creation – Considering that copyright is protected from the moment it is created, it is important to publish it in order to create evidence as to date of creation. Publication may be done through e-mail or social media.
What derivative works protected by copyright – The following derivative works are protected by copyright: (a) dramatizations, translations, adaptations, abridgments, arrangements, and other alterations of literary or artistic works; and (b) collections of literary, scholarly, or artistic works, and compilations of data and other materials which are original by reason of the selection or coordination or arrangement of their contents.
Protected derivative works as new works – The derivative works mentioned above are protected as new works so long as they do not affect the force of any subsisting copyright upon the original works employed or any part thereof, or be construed to imply any right to such use of the original works, or to secure or extend copyright in such original works.
Publisher’s right to publish and right of reproduction – In addition to the right to publish granted by the author, his heirs, or assigns, the publisher has a copyright consisting merely of the right of reproduction of the typographical arrangement of the published edition of the work.
Works Not Protected
What are unprotected subject matter – Other than protected works mentioned earlier, no protection is extended to: (a) any idea, procedure, system, method or operation, concept, principle, discovery or mere data as such, even if they are expressed, explained, illustrated or embodied in a work; (b) news of the day and other miscellaneous facts having the character of mere items of press information; or (c) any official text of a legislative, administrative or legal nature, as well as any official translation thereof.
Best Legal Practices
- Patent protects invention, while copyright protects expression – A patent protects an invention, including the process by which such is created. Hence, the patent protects the invention, while copyright protects the expression of the process to create such an invention.
No copyright for any work of the Government of the Philippines – No copyright subsists in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created is necessary for the exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. No prior approval or conditions are required for the use of any purpose of statutes, rules and regulations, and speeches, lectures, sermons, addresses, and dissertations, pronounced, read or rendered in courts of justice, before administrative agencies, in deliberative assemblies and in meetings of public character.
Government as transferee of copyright – The Government is not precluded from receiving and holding copyrights transferred to it by assignment, bequest or otherwise.
Government use of copyrighted work does not abridge or annul copyright – The publication or republication by the Government in a public document of any work in which copyright is subsisting does not cause any abridgment or annulment of the copyright or to authorize any use or appropriation of such work without the consent of the copyright owner.
Authors of speeches, lectures, sermons, addresses, and dissertations have exclusive right of making collection of his works –The author of speeches, lectures, sermons, addresses, and dissertations have the exclusive right of making a collection of his works.
Copyright or Economic Rights
Copyright or economic rights of author – Subject to the limitations provided by law, copyright or economic rights consists of the exclusive right to carry out, authorize, or prevent the following acts:
- Reproduction of the work or substantial portion of the work;
- Dramatization, translation, adaptation, abridgment, arrangement or other transformation of the work;
- The first public distribution of the original and each copy of the work by sale or other forms of transfer of ownership;
- Rental of the original or a copy of an audiovisual or cinematographic work, a work embodied in a sound recording, a computer program, a compilation of data and other materials or a musical work in graphic form, irrespective of the ownership of the original or the copy which is the subject of the rental;
- Public display of the original or a copy of the work;
- Public performance of the work; and
- Other communication to the public of the work.
Best Legal Practices
- Obtain written license to use – Due to the exhaustive list of protection granted to a copyright owner, any business seeking to use a copyrighted work should obtain a written license. Depending on what may be agreed upon, there may be fees that will have to be paid to the copyright owner.
Ownership of Copyright
Rules on copyright ownership – Copyright ownership is governed by the following rules:
- Subject to the rules hereunder, in the case of original literary and artistic works, copyright belongs to the author of the work;
- In the case of works of joint authorship, the co-authors are the original owners of the copyright, and in the absence of agreement, their rights will be governed by the rules on co-ownership. If, however, a work of joint authorship consists of parts that can be used separately and the author of each part can be identified, the author of each part is the original owner of the copyright in the part that he has created;
- In the case of work created by an author during and in
the course of his employment, the copyright belongs:
- To the employee, if the creation of the object of copyright is not a part of his regular duties even if the employee uses the time, facilities, and materials of the employer.
- To the employer, if the work is the result of the performance of his regularly-assigned duties, unless there is an agreement, express or implied, to the contrary.
- In the case of a work commissioned by a person other than an employer of the author and who pays for it and the work is made in pursuance of the commission, the person who so commissioned the work will have ownership of the work, but the copyright thereto will remain with the creator, unless there is a written contrary stipulation;
- In the case of audiovisual work, the copyright will belong to the producer, the author of the scenario, the composer of the music, the film director, and the author of the work so adapted. However, subject to contrary or other stipulations among the creators, the producer will exercise the copyright to an extent required for the exhibition of the work in any manner, except for the right to collect performing license fees for the performance of musical compositions, with or without words, which are incorporated into the work; to the employer, if the work is the result of the performance of his regularly-assigned duties, unless there is an agreement, express or implied, to the contrary; and
- In respect of letters, the copyright belongs to the writer subject to the law thereon. The employer owns the copyright, if the work is the result of the performance of his regularly-assigned duties, unless there is an agreement, express or implied, to the contrary.
Best Legal Practices
- Stipulate on contract regarding ownership – To settle any doubt on ownership and to avoid any controversy thereon, the contract should clearly stipulate therein as to who will own the copyright of the work.
Rules on anonymous and pseudonymous works – In Intellectual Property Code, the publishers are deemed to represent the authors of articles and other writings published without the names of the authors or under pseudonyms, unless the contrary appears, or the pseudonyms or adopted name leaves no doubt as to the author’s identity, or if the author of the anonymous works discloses his identity.
Transfer of Copyright
Transfer or assignment of copyright – The copyright may be assigned in whole or in part. Within the scope of the assignment, the assignee is entitled to all the rights and remedies which the assignor had with respect to the copyright. The copyright is not deemed assigned inter vivos (during one’s life time) in whole or in part unless there is a written indication of such intention. The submission of a literary, photographic or artistic work to a newspaper, magazine or periodical for publication constitute only a license to make a single publication unless a greater right is expressly granted. If two or more persons jointly own a copyright or any part thereof, neither of the owners is entitled to grant licenses without the prior written consent of the other owner/s.
Copyright and material object different – The copyright is distinct from the property in the material object subject to it. Consequently, the transfer or assignment of the copyright does not itself constitute a transfer of the material object. Neither will a transfer or assignment of the sole copy or of one or several copies of the work imply transfer or assignment of the copyright.
Filing of assignment or license – An assignment or exclusive license may be filed in duplicate with the National Library upon payment of the prescribed fee for registration in books and records kept for the purpose. Upon recording, a copy of the instrument is to be returned to the sender with a notation of the fact of record. Notice of the record will be published in the IPO Gazette.
Designation of society – The copyright owners or their heirs may designate a society of artists, writers, or composers to enforce their economic rights and moral rights on their behalf.
Best Legal Practices
- Designate a copyright agent – A copyright owner may designate a copyright agent who will be tasked to protect and enforce the economic and moral rights of the owner. As an agent, the designated person will act for and on behalf of the principal in registering the copyright with the IPO, monitoring and prosecuting copyright infringers, and entering into licensing agreements, among others. This arrangement is a growing trend as it is beneficial to the copyright owner who is relieved from these ministerial tasks in order for him to focus more on creating new works.
Limitations on Copyright
Limitations on Copyright – The following acts do not constitute copyright infringement:
- The recitation or performance of a work, once it has been lawfully made accessible to the public, if done privately and free of charge or if made strictly for a charitable or religious institution or society;
- The making of quotations from a published work if they are compatible with fair use and only to the extent justified for the purpose, including quotations from newspaper articles and periodicals in the form of press summaries, so long as the source and the name of the author, if appearing on the work, are mentioned;
- The reproduction or communication to the public by mass media of articles on current political, social, economic, scientific, or religious topic, lectures, addresses, and other works of the same nature, which are delivered in public if such use is for information purposes and has not been expressly reserved, so long as the source is clearly indicated;
- The reproduction and communication to the public of literary, scientific or artistic works as part of reports of current events by means of photography, cinematography or broadcasting to the extent necessary for the purpose;
- The inclusion of a work in a publication, broadcast, or other communication to the public, sound recording, or film, if such inclusion is made by way of illustration for teaching purposes and is compatible with fair use, so long as the source and the name of the author, if appearing in the work, are mentioned;
- The recording made in schools, universities, or educational institutions of a work included in a broadcast for the use of such schools, universities or educational institutions; further, such recording must be deleted within a reasonable period after they were first broadcasted: in addition, such recording may not be made from audiovisual works which are part of the general cinema repertoire of feature films except for brief excerpts of the work;
- The making of ephemeral recordings by a broadcasting organization by means of its own facilities and for use in its own broadcast;
- The use made of a work by or under the direction or control of the Government, by the National Library or by educational, scientific or professional institutions where such use is in the public interest and is compatible with fair use;
- The public performance or the communication to the public of a work, in a place where no admission fee is charged in respect of such public performance or communication, by a club or institution for charitable or educational purpose only, whose aim is not profit making, subject to such other limitations as may be provided in the Regulations;
- Public display of the original or a copy of the work not made by means of a film, slide, television image, or otherwise on screen or by means of any other device or process; so long as either the work has been published, or, that the original or the copy displayed has been sold, given away or otherwise transferred to another person by the author or his successor in title; and
- Any use made of a work for the purpose of any judicial proceedings or for the giving of professional advice by a legal practitioner.
Best Legal Practices
- Obtain license when playing music – Business establishment that play music in the background should obtain the license thereof to avoid liability for copyright infringement.
- Playing radio music in the background – As a workaround, business establishments opt to play radio music in the background if they are unable to get a license.
- Third party playing music, stipulate on free and harmless clause – Business establishments that hire third parties to play music in the background should make sure that the contract specifically stipulate that the latter will hold the former free and harmless from any copyright infringement. As this is a relatively new trend and there is no settled rule yet, there is no guaranty that courts will absolve the business enterprise from liability as they might consider the playing of music in an establishment as “public performance.”
Fair use of a copyrighted work – The fair use of a copyrighted work for criticism, comment, news reporting, teaching, including multiple copies for classroom use, scholarship, research, and similar purposes is not an infringement of copyright. In determining whether the use made of a work in any particular case is fair use, the factors to be considered include:
- The purpose and character of the use, including whether such use is of a commercial nature or is for non-profit educational purposes;
- The nature of the copyrighted work;
- The amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
- The effect of the use upon the potential market for or value of the copyrighted work.
Unpublished work does not bar finding of fair use – The fact that a work is unpublished does not by itself bar a finding of fair use if such finding is made upon consideration of all the above factors.
Best Legal Practices
- Fair use as defense to complainant against copyright infringement – Fair use is often used as a defense against copyright infringement. Due care should be exercised in claiming fair use as it has a strict and narrow definition. It is best to include a notice of fair use whenever the same is the basis for using a copyrighted work.
- When in doubt, cite – A good rule of thumb is to cite or make proper attributions when in doubt. As it is said, give credit where it is due.
Work of architecture – Copyright in a work of architecture includes the right to control the erection of any building which reproduces the whole or a substantial part of the work either in its original form or in any form recognizably derived from the original.  The copyright in any such work does not include the right to control the reconstruction or rehabilitation in the same style as the original of a building to which that copyright relates.
Reproduction of published works in a single copy – Notwithstanding the provisions on copyright or economic rights, and subject to the provisions hereunder, the private reproduction of a published work in a single copy, where the reproduction is made by a natural person exclusively for research and private study, is permitted, without the authorization of the owner of copyright in the work. The permission granted does not extend or cover the reproduction of:
- A work of architecture in the form of building or other construction;
- An entire book, or a substantial part thereof, or of a musical work in graphic form by reprographic means;
- A compilation of data and other materials;
- A computer program except as provided in Section 189; and
- Any work in cases where reproduction would unreasonably conflict with a normal exploitation of the work or would otherwise unreasonably prejudice the legitimate interests of the author.
Reprographic reproduction by libraries – Notwithstanding the provisions on copyright or economic rights, any library or archive whose activities are not for profit may, without the authorization of the author of copyright owner, make a single copy of the work by reprographic reproduction:
- Where the work by reason of its fragile character or rarity cannot be lent to the user in its original form;
- Where the works are isolated articles contained in composite works or brief portions of other published works and the reproduction is necessary to supply them, when this is considered expedient, to persons requesting their loan for purposes of research or study instead of lending the volumes or booklets which contain them; and
- Where the making of such a copy is in order to preserve and, if necessary in the event that it is lost, destroyed, or rendered unusable, replace a copy, or to replace, in the permanent collection of another similar library or archive, a copy which has been lost, destroyed, or rendered unusable and copies are not available with the publisher.
Same; Limitations – Notwithstanding the above provisions, it is not permissible to produce a volume of a work published in several volumes or to produce missing tomes or pages of magazines or similar works, unless the volume, tome or part is out of stock.  Every library which, by law, is entitled to receive copies of a printed work, is entitled, when special reasons so require, to reproduce a copy of a published work which is considered necessary for the collection of the library but which is out of stock.
Reproduction of computer program – Notwithstanding the provisions on copyright or economic rights, the reproduction of one back-up copy or adaptation of a computer program is be permitted, without the authorization of the author of, or other owner of copyright in, a computer program, by the lawful owner of that computer program, so long as the copy or adaptation is necessary for:
- The use of the computer program in conjunction with a computer for the purpose, and to the extent, for which the computer program has been obtained; and
- Archival purposes, and, for the replacement of the lawfully owned copy of the computer program in the event that the lawfully obtained copy of the computer program is lost, destroyed or rendered unusable.
Same; Limitations – No copy or adaptation mentioned above is to be used for any purpose other than the ones determined therein, and any such copy or adaptation is to be destroyed in the event that continued possession of the copy of the computer program ceases to be lawful. The rule on reproduction of computer program is without prejudice to the rule on fair use whenever appropriate.
Importation for personal purposes – Notwithstanding the provisions on copyright or economic rights but subject to the limitation under the rule on fair use, the importation of a copy of a work by an individual for his personal purposes is permitted without the authorization of the author of, or other owner of copyright in, the work under the following circumstances:
- When copies of the work are not available in the Philippines and either of the following: (i) not more than one copy at one time is imported for strictly individual use only; or (ii) the importation is by authority of and for the use of the Philippine Government; or (iii) the importation, consisting of not more than three such copies or likenesses in any one invoice, is not for sale but for the use only of any religious, charitable, or educational society or institution duly incorporated or registered, or is for the encouragement of the fine arts, or for any state school, college, university, or free public library in the Philippines.
- When such copies form parts of libraries and personal baggage belonging to persons or families arriving from foreign countries and are not intended for sale, so long as such copies do not exceed three.
Same; When imported copies do not violate rights of copyright owner or annul or limit protection thereof – Copies imported as allowed in the immediately preceding paragraph may not be lawfully used in any way to violate the rights of the copyright owner, or annul or limit the protection secured by the law, and any unlawful use is deemed an infringement and is punishable as such without prejudice to the proprietor’s right of action.
Deposit and Notice
Registration and deposit with National Library and Supreme Court Library – Within three weeks after the first public dissemination of performance by authority of the copyright owner of works subject of copyright protection (literary, artistic, and derivative works), they are to be registered and deposited with the National Library and Supreme Court Library for the purpose of completing the records therein. The registration and deposit is to be done by personal delivery or by registered mail two complete copies or reproductions of the work in such form as the directors of said libraries may prescribe. Only the above mentioned classes of work are to be accepted for deposit by the said libraries.
Same; Certificate of deposit – A certificate of deposit will be issued for which the prescribed fee will be collected and the copyright owner will be exempt from making additional deposit of the works with the said libraries under other laws.
Same; Penalty after written demand for deposit – If, within three weeks after receipt by the copyright owner of a written demand from the directors for such deposit, the required copies or reproductions are not delivered and the fee is not paid, the copyright owner is liable to pay a fine equivalent to the required fee per month of delay and to pay to the said libraries the amount of the retail price of the best edition of the work.
Copyright notice – On each copy of a work published or offered for sale, a copyright notice may be placed thereon stating the copyright owner’s name, year of first publication, and, in copies produced after the creator’s death, the year of such death.
What constitutes moral rights – In addition to his economic rights or a grant of an assignment with respect to such right, the author of a work also has the following moral rights:
- To require that the authorship of the works be attributed to him, in particular, the right that his name, as far as practicable, be indicated in a prominent way on the copies, and in connection with the public use of his work;
- To make any alterations of his work prior to, or to withhold it from publication;
- To object to any distortion, mutilation or other modification of, or other derogatory action in relation to, his work which would be prejudicial to his honor or reputation; and
- To restrain the use of his name with respect to any work not of his own creation or in a distorted version of his work.
Waiver of moral rights – A author is allowed to waive his moral rights through a written instrument so long as it does not permit another: (a) to use the name of the author, or the title of his work, or otherwise to make use of his reputation with respect to any version or adaptation of his work which, because of alterations therein, would substantially tend to injure the literary or artistic reputation of another author, and (b) to use the name of the author with respect to a work he did not create.
Same; Moral rights as social responsiblity – The law provides the copyright owner moral rights as a matter of social responsibility. The true and proper authors of work should be recognized. Consequently, a moral right cannot be assigned or transferred, but it may be waived.
Term of moral rights – The author’s moral rights lasts during his lifetime, as well as 50 years after his death.
No assignment or license of moral rights – Moral rights cannot be the subject of any assignment or license.
Editing, arranging, and adaptation of work do not contravene moral rights – The necessary editing, arranging, or adaptation of a work, for publication, broadcast, use in a motion picture, dramatization, or mechanical or electrical reproduction, in accordance with the reasonable and customary standards or requirements of the medium in which the work is to be used, are not deemed to contravene the author’s moral rights. This rule applies in the absence of a contrary stipulation at the time the author licenses or permits another to use his work, as well as in cases involving the complete destruction of a work unconditionally transferred by the author.
No compulsion on author to create work or for publication of work already in existence; Breach of contract – Subject to being liable for damages arising out of a breach of contract, the author cannot be compelled by an action for specific performance to perform his contractual obligations to create a work or for the publication of his work already in existence.
Contribution to collective work waiver of attribution by default –Unless he reserves it, the contributing author to a collective work is considered to have waived his right to attribution for his contribution.
Enforcement remedies – The author has the same rights and remedies available to a copyright owner for violation of his moral rights, including damages.
Rights to Proceeds in Subsequent Transfers
Sale or lease of work – In every sale or lease of an original work of painting/sculpture or of the original manuscript of a writer/composer, subsequent to the first disposition thereof by the author, the author or his heirs have an inalienable right to participate in the gross proceeds of the sale or lease to the extent of five percent (5%). This right exists during the lifetime of the author and for 50 years after his death.
Same; Works not covered – The provisions in the immediately preceding paragraph does not apply to prints, etchings, engravings, works of applied art, or works of similar kind wherein the author primarily derives gain from the proceeds of reproductions.
Limitations on Protection
Copyright limitations – The rights of performers, producers of sound recordings, and broadcasting organizations, do not apply where the acts warranting protection of their respective copyright are related to:
- The use by a natural person exclusively for his own personal purposes;
- Using short excerpts for reporting current events;
- Use solely for the purpose of teaching or for scientific research; and
- Fair use of the broadcast subject to the conditions under Section 185 of the Intellectual Property Code.
4-year prescription for damages – There is a 4-year prescription for any damages that may be recovered under the Intellectual Property Code reckoned from the time the cause of action arose.
What constitutes copyright infringement – Without prejudice to criminal liabilities, any person infringing a copyright is liable:
- To an injunction restraining such infringement; the court may also order the defendant to desist from an infringement, among others, to prevent the entry into the channels of commerce of imported goods that involve an infringement, immediately after customs clearance of such goods;
- Pay to the copyright proprietor or his assigns or heirs such actual damages, including legal costs and other expenses, as he may have incurred due to the infringement as well as the profits the infringer may have made due to such infringement, and in proving profits the plaintiff is required to prove sales only and the defendant is required to prove every element of cost which he claims, or, in lieu of actual damages and profits, such damages which to the court appears to be just and is not to be regarded as penalty;
- Deliver under oath, for impounding during the pendency of the action, upon such terms and conditions as the court may prescribe, sales invoices and other documents evidencing sales, all articles and their packaging alleged to infringe a copyright and implements for making them;
- Deliver under oath for destruction without any compensation all infringing copies or devices, as well as all plates, molds, or other means for making such infringing copies as the court may order; and
- Such other terms and conditions, including the payment of moral and exemplary damages, which the court may deem proper, wise and equitable and the destruction of infringing copies of the work even in the event of acquittal in a criminal case.
Power of court to impound articles to be used as evidence – In an infringement action, the court shall also have the power to order the seizure and impounding of any article which may serve as evidence in the court proceedings.
Pictures, Inc. v. Court of Appeals
G.R. No. 110318, 28 August 1996 (En Banc)
The complainants are Columbia Pictures, Inc., Orion Pictures Corporation, Paramount Pictures Corporation, Twentieth Century Fox Film Corporation, United Artists Corporation, Universal City Studios, Inc., The Walt Disney Company, and Warner Brothers, Inc. With the assistance and after investigation by the National Bureau of Investigation (NBI) of defendant Sunshine Home Video, Inc., complainants initiated a formal complaint with an application for search warrant with the aim of seizing pirated video tapes of copyrighted films, among others. For their application, they offered testimonial evidence of NBI operatives who conducted investigations and operations against defendant. After the search warrant was executed and the items being seized, defendant challenged the validity of the warrant on the ground that the master tapes of the copyrighted film were never presented during the application. Consequently, defendants claimed that the trial court had no probable cause to issue the search warrant.
The trial court quashed the search warrant resulting in the inadmissiblity of evidence of the seized items. Court of Appeals affirmed the trial court.
HELD: Search warrant was valid. “Probable cause for a search warrant is defined as such facts and circumstances which would lead a reasonably discrete and prudent man to believe that an offense has been committed and that the objects sought in connection with the offense are in the place sought to be searched.”
It must be emphasized that “a blind espousal of the requisite of presentation of the master tapes in copyright infringement cases, as the prime determinant of probable cause, is too exacting and impracticable a requirement to be complied with in a search warrant application which, it must not be overlooked, is only an ancillary proceeding. Further, on realistic considerations, a strict application of said requirement militates against the elements of secrecy and speed which underlie covert investigative and surveillance operations in police enforcement campaigns against all forms of criminality, considering that the master tapes of a motion picture required to be presented before the court consists of several reels contained in circular steel casings which, because of their bulk, will definitely draw attention, unlike diminutive objects like video tapes which can be easily concealed. With hundreds of titles being pirated, this onerous and tedious imposition would be multiplied a hundredfold by judicial fiat, discouraging and preventing legal recourses in foreign jurisdictions.”
Copyright infringement is “a trespass on a private domain owned and occupied by the owner of the copyright, and, therefore, protected by law, and infringement of copyright, or piracy, which is a synonymous term in this connection, consists in the doing by any person, without the consent of the owner of the copyright, of anything the sole right to do which is conferred by statute on the owner of the copyright.”
“A copy of a piracy is an infringement of the original, and it is no defense that the pirate, in such cases, did not know what works he was indirectly copying, or did not know whether or not he was infringing any copyright; he at least knew that what he was copying was not his, and he copied at his peril. In determining the question of infringement, the amount of matter copied from the copyrighted work is an important consideration. To constitute infringement, it is not necessary that the whole or even a large portion of the work shall have been copied. If so much is taken that the value of the original is sensibly diminished, or the labors of the original author are substantially and to an injurious extent appropriated by another, that is sufficient in point of law to constitute a piracy. The question of whether there has been an actionable infringement of a literary, musical, or artistic work in motion pictures, radio or television being one of fact, it should properly be determined during the trial. That is the stage calling for conclusive or preponderating evidence, and not the summary proceeding for the issuance of a search warrant wherein both lower courts erroneously require the master tapes.”
Action for unfair competition – An action for unfair competition is based on the proposition that “no dealer in merchandise should be allowed to dress his goods in simulation of the goods of another dealer, so that purchasers desiring to buy the goods of the latter would be induced to buy the goods of the former.”
Inc. v. Samson
G.R. No. 164605, 27 October 2006
Complainant Caterpillar, Inc. is a foreign corporation engaged in the business of manufacturing shoes, clothing items, among others. Upon the request of complainant, the National Bureau of Investigation (NBI) applied for search warrants against defendant Manolo P. Samson for violations of unfair competition under the Intellectual Property Code. After the execution of the search warrants, defendant’s various merchandise which bore the trademarks “CAT,” “CAT AND DESIGN,” “CATERPILLAR,” “CATERPILLAR AND DESIGN,” “WALKING MACHINES,” and/or “Track-type Tractor and Design”, were seized by the authorities.
After defendant filed a motion to quash the search warrants premised on the ground that he is the owner of such marks (he never denied use of such marks and instead claimed ownership thereof), the trial court denied the said motion. However, the said court directed the release of the merchandise on the ground that there was no criminal action commenced yet. The Court of Appeals affirmed the trial court.
HELD: The seized items may be released. “The samples obtained from the sample purchases are sufficient to represent the thousands of articles that were seized, making it doubtful that the prosecution would have presented each and every article seized from the respondent’s stores. More likely, the court would not have allowed the presentation of superfluous evidence. The merchandise was also photographed, and more detailed photographs were taken of the particular parts of the merchandise where the trademarks in dispute were attached or used.” Defendant has never denied that these were items bought from his store.
“In the instant case, no criminal action had been prosecuted for almost a year. Thus, the court had been left with the custody of highly depreciable merchandise. More importantly, these highly depreciable articles would have been superfluous if presented as evidence for the following reasons: (1) the respondent had already admitted that he is the owner of the merchandise seized, which made use of the trademarks in dispute; (2) the court required the respondent to execute an undertaking to produce the articles seized when the court requires and had already in its possession a complete inventory of the items seized as secondary evidence; (3) actual samples of the respondent’s merchandise are in the possession of the police officers who had applied for the search warrant, and photographs thereof had been made part of the records, and respondent did not dispute that these were obtained from his stores. Where the purpose of presenting as evidence the articles seized is no longer served, there is no justification for severely curtailing the rights of a person to his property.”
In unfair competition, the most usual devices employed in committing this crime are “the simulation of labels and the reproduction of form, color and general appearance of the package used by the pioneer manufacturer or dealer.” Here, the complainant “specifically identified the device employed by the respondent in deceiving the public into believing the goods that the latter sells are those manufactured by the former – the imitation of the trademarks allegedly owned by the petitioner, namely, ‘CAT,’ ‘CATERPILLAR,’ ‘CATERPILLAR AND DESIGN,’ ‘WALKING MACHINES’ and/or ‘Track-type Tractor and Design’ and the depictions of heavy machinery and equipment, which the petitioner uses to market its products, as well as the statements ‘LICENSED MERCHANDISE CATERPILLAR, INC.’ and ‘WE SHAPE THE THINGS WE BUILD, THEREAFTER THEY SHAPE US’ found on the articles themselves or on their packaging.”
(Note: The issue on unfair competition was not decided in this case as the main issue was on the propriety of the release of the merchandise.)
Hon Ne Chan v.
Honda Motor Cor., Ltd.
G.R. No. 172775, 19 December 2007
Upon request of complainants Honda Motor Corp., Ltd. and Honda Phil., Inc. (who uses “Wave” on its motorcycles), the National Bureau of Investigation applied for search warrants against defendants Hon Ne Chan, Yunji Zeng for violations of the Intellectual Property Code (R.A. 8293). After the issuance of the search warrants and their subsequente execution (NBI seized all motorcyles with “Wave” marks), complainant filed a joint motion to quash the search warrants and to return the seized items on the ground that there was no probable cause and that it was in the nature of general warrants as any and all motorcyles bearing “Wave” was seized. The trial court quashed the warrants. The Court of Appeals reversed the lower court’s decision and rule on the validity of the search warrants.
HELD: The search warrants were valid. “Wave” is the model name of complainant’s motorcycles. Consequently, defendant’s possession of any immitation unit which carries the name “Wave” may be the object of the search warrants – regardless of whether there are suffixes attached to it. The authorities then had the power to seize the vehicles, including a “Wave CX110” as it is a species of units under the generic name Wave.
In this case, “it is clearly stated that what [complainants] are complaining about was the alleged violation of the goodwill they have established with respect to their motorcycle models ‘WAVE 110 S’ and ‘WAVE 125 S’ and which goodwill is entitled to protection in the same manner as other property rights.” There is, thus, probable cause.
(Phils.), Inc. v. Lim
G.R. No. 162311, 04 December 2008
Complainant Levi Strauss, Inc. initiated a Complaint before the Inter-Agency Committee on Intellectual Property Rights against defendant Tony Lim, who was doing business under the name Vogue Traders Clothing Company. The investigation showed that defendant was engaged in the manufacture, sale, and distribution of products similar to the complainant’s and its brand name using “LIVE’s.” After issuance and execution of search warrants by the authorities who seized several items bearing the said brand, a criminal complaint for unfair competition was filed against the defendant. In his defense, defendant claimed that his merchandise are under the brand “LIVE’s” and not counterfeit items of “LEVI’s” which are not confusingly similar, as well as the fact that his mark is a registered trademark and the patch pocket design has copyright protection. The investigating prosecutor did not find probable cause considering that the two marks are not confusingly similar. The DOJ and subsequently the Court of Appeals affirmed the said decision.
HELD: There is no probable cause. “Generally, unfair competition consists in employing deception or any other means contrary to good faith by which any person shall pass off the goods manufactured by him or in which he deals, or his business, or services for those of the one having established goodwill, or committing any acts calculated to produce such result.”
Then DOJ Secretary Guingona found the absence of the actual intent to deceive “taking into consideration the differences in spelling, meaning, and phonetics between ‘LIVE’S’ and ‘LEVI’S,’ as well as the fact that respondent had registered his own mark. While it is true that there may be unfair competition even if the competing mark is registered in the Intellectual Property Office, it is equally true that the same may show prima facie good faith. Indeed, registration does not negate unfair competition where the goods are packed or offered for sale and passed off as those of complainant. However, the mark’s registration, coupled with the stark differences between the competing marks, negate the existence of actual intent to deceive, in this particular case.”
Moreover, “where the similarity in the appearance of
the goods as packed and offered for sale is so striking, intent to deceive may
be inferred.” Here, there is no striking similarity. “Since confusing
similarity was not found, the element of fraud or deception could not be
 Ibid. Section 172.1.
 INTELLECTUAL PROPERTY CODE. Section 172.2.
 Ibid. Section 173.1.
 Ibid. Section 173.2.
 Ibid. Section 174.
 Ibid. Section 175.
 Ibid. Section 176.1.
 Ibid. Section 176.2.
 Ibid. Section 176.1.
 INTELLECTUAL PROPERTY CODE. Section 176.3.
 Ibid. Section 176.3.
 Ibid. Section 176.2.
 Ibid. Section 177.
 Ibid. Section 177.1
 Ibid. Section 177.2
 Ibid. Section 177.3
 Ibid. Section 177.4
 Ibid. Section 177.5
 Ibid. Section 177.6
 Ibid. Section 177.7
 Ibid. Section 178.
 Ibid. Section 178.1.
 Ibid. Section 178.2.
 Ibid. Section 178.3.
 Ibid. Section 178.3 (a).
 Ibid. Section 178.3 (b).
 Ibid. Section 178.4.
 Ibid. Section 178.5.
 Ibid. Section 178.5.
 Ibid. Section 178.5.
 Ibid. Section 178.6 cf. Article 723, Civil Code.
 INTELLECTUAL PROPERTY CODE. Section 179.
 Ibid. Section 180.1.
 Ibid. Section 180.2.
 Ibid. Section 180.3.
 Ibid. Section 181.
 INTELLECTUAL PROPERTY CODE. Section 182.
 Ibid. Section 182.
 INTELLECTUAL PROPERTY CODE. Section 183. The provisions on the limitations of copyrights is to be interpreted in such a way as “to allow the work to be used in a manner which does not conflict with the normal exploitation of the work and does not unreasonably prejudice the right holder’s legitimate interests” (Section 183.2, Ibid.).
 INTELLECTUAL PROPERTY CODE. Section 184.1.
 Ibid. Section 184.1 (a).
 Ibid. Section 184.1 (b).
 Ibid. Section 184.1 (c).
 Ibid. Section 184.1 (d).
 Ibid. Section 184.1 (e).
 Ibid. Section 184.1 (f).
 Ibid. Section 184.1 (g).
 Ibid. Section 184.1 (h).
 Ibid. Section 184.1 (i).
 Ibid. Section 184.1 (j).
 Ibid. Section 184.1 (k).
 Ibid. Section 185.1. “Decompilation, which is understood here to be the reproduction of the code and translation of the forms of the computer program to achieve the inter-operability of an independently created computer program with other programs may also constitute fair use” (Ibid.).
 INTELLECTUAL PROPERTY CODE. Section 185.1 (a).
 Ibid. Section 185. (b) .
 Ibid. Section 185.(c).
 Ibid. Section 185.(d).
 Ibid. Section 185.2.
 Ibid. Section 186.
 Ibid. Section 186.
 Ibid. Section 187.1.
 Ibid. Section 187.2 (a).
 Ibid. Section 187.2 (b).
 Ibid. Section 187.2 (c).
 Ibid. Section 187.2 (d).
 Ibid. Section 187.2 (e).
 Ibid. Section 188.1.
 Ibid. Section 188.1 (a).
 Ibid. Section 188.1 (b).
 Ibid. Section 188.1 (c).
 Ibid. Section 188.2.
 Ibid. Section 188.2.
 Ibid. Section 189.1.
 Ibid. Section 189.1 (a).
 Ibid. Section 189.1 (b).
 Ibid. Section 189.2.
 Ibid. Section 189.3.
 Ibid. Section 190.1
 Ibid. Section 190.1 (a).
 Ibid. Section 190.1 (b).
 Ibid. Section 190.2.
 Ibid. Section 191.
 Ibid. Section 191.
 Ibid. Section 191.
 Ibid.. Section 191.
 Ibid. Section 191.
 Ibid. Section 192.
 Ibid. Section 192.
 Ibid. Section 193.1.
 Ibid. Section 193.2.
 Ibid. Section 193.3.
 Ibid. Section 193.4.
 Ibid. Section 198.
 Ibid. Section 195. “The person or persons to be charged with the posthumous enforcement of these rights shall be named in writing to be filed with the National Library. In default of such person or persons, such enforcement shall devolve upon either the author’s heirs, and in default of the heirs, the Director of the National Library” (Ibid.).
 Ibid. Section 195.
 Ibid. Section 197.
 INTELLECTUAL PROPERTY CODE. Section 194.
 Ibid. Section 196.
 Ibid. Section 199. “Any damage recovered after the creator’s death shall be held in trust for and remitted to his heirs, and in default of the heirs, shall belong to the government” (Ibid.).
 Ibid. Section 200.
 INTELLECTUAL PROPERTY CODE. Section 201.
 Ibid. Section 212.
 Ibid. Section 212.1.
 Ibid. Section 212.2.
 Ibid. Section 212.3.
 Ibid. Section 212.4.
 Ibid. Section 226.
 Ibid. Section 216.1(a).
 Ibid. Section 216.1(b).
 Ibid. Section 216.1(c).
 Ibid. Section 216.1(d).
 Ibid. Section 216.1(e).
 Ibid. Section 216.2.
 Caterpillar, Inc. v. Samson, G.R. No. 164605, 27 October 2006.


The 24-Hour Rule:
Living with Alzheimer’s
As I began to assemble information that would help me care for Michael in the most effective and loving ways possible I discovered that others, too, might benefit from what I was learning. So I began to write The 24-Hour Rule: Living with Alzheimer’s. The title is based on my husband’s personal philosophy regarding the way one should handle a challenging situation: you have one day, and one day only, to be sad or angry or whatever big emotion comes. After that, nothing good, he always said, will come of wallowing in it—you’ll just waste your energy.
The book contains everything I’ve learned along this lengthy journey of living with Alzheimer’s. On every page are practical strategies you can implement at home, away from where you live, at friends’ houses, just about anywhere. Everything from buying a digital watch, laminating a card with important personal information, and keeping multiple sets of keys to telling everyone you know what’s going on is included in the book. Also, I outline in detail, for example, how exercise can pump blood to the brain and provide less obvious benefits like feelings of competence and preserving intimacy for couples.
Chapters cover finding and evaluating clinical trials, eating right for your own body chemistry, hiring a “buddy” who’s really a companion, choosing the best “therapy” dog, and, yes, planning ahead. But mostly this is a book about living in the moment each day, in real-life ways, without dwelling in the past or dreading the future. It’s the story of a marriage, but the lessons learned will benefit anyone on a similar journey who is willing to embrace Michael’s 24-Hour Rule.
The book is divided into chapters that cover everyday tips, including, for instance, what foods to eat to maximize health, using music and art to stimulate the brain, and hundreds of other simple but extremely effective strategies for living with the disease that will enrich and strengthen patients and the people who care for them. The book also examines topics that tend to recede into the background but are essential for everyday health. Specifically, The 24-Hour Rule will show readers how to stay connected to family, friends, and the surrounding community and why this connection is crucial. And we’ll openly discuss how to look ahead and what to do about what you see and feel.


Dr Radwaner believes that informed patients are better equipped to make decisions regarding their health and well being. For your personal use, we have created an extensive patient library covering an array of educational topics. Browse through these diagnoses and treatments to learn more about topics of interest to you.
Common Risk Factors
- Family Genetics
- High blood pressure
- Elevated cholesterol
- Cigarette smoking
The modification of these risk factors is an essential element in preventing the development or progression of heart disease. The Articles listed below provide information regarding heart disease and these risks.
What are Statins?
What are Heart Palpitations?
What are Treatment Options for High Blood Pressure?
How does Diabetes affect Cardiovascular Health?


NA / Korean / Drama / 1 Hour 50 Minutes
NA / Korean / Drama /
Director: Park Sang-Hyun
|Cast: Shin Hye-Sun Bae Jong-Ok Heo Jun-Ho Hong Kyung|
|Release Date: 2020-08-06 00:00:00|
|Running Time: 1 Hour 50 Minutes|
|Distributor: Shaw Organisation|
Lawyer Jung-in refuses to attend her father`s funeral but when a shocking incident takes place at the wake, she steps in to defend her mother who is accused of causing it. She learns that the rice wine has been poisoned, killing a guest and putting another four, including the town mayor, in critical condition. Even though her mother, who is suffering from dementia, doesn`t even recognise her, Jung-in becomes her defense lawyer and strives to prove the elderly woman`s innocence. As she works on the case, she unravels the dark secrets hidden by her hometown.


Thursday, March 3, 2016
Second Chance City
Police officer Nate Hammond led a well-ordered life in Coldwater Bay until a chance meeting with a girl from his past drags him into an extraordinary adventure.
Libby Parish never intended to visit her hometown again. Is the strange obsession to return related to a mysterious comic book? Or someone she left behind?
Sucked into a deadly comic book universe Nate and Libby find themselves in Second Chance City, home of Refractor and a league of murderous adversaries. Can a knowledge of comic books, a half-hearted super-hero, misunderstood villains, science gone horribly awry, and a magical flashlight help them find a way home or will their second chance at happily-ever-after only end in in death?
Between The Pages
Second Chance City is a fantasy, sci-fi, sweet romance. The pages of this story are perfectly written to keep your attention with one adventurous scene after another. The main characters are enjoyable as is the rest of the cast of comic book heroes. Even a few villains will capture your interest. The story is told in the point of view of the hero, Nate, but I would have liked Libby’s thoughts to be included to add more emotion. However, the plot line is fast-paced and exciting, making this story a recommended read.


PAY IT FORWARD
SUBJECTS — U.S./1991 to Present & Nevada;
SOCIAL-EMOTIONAL LEARNING — Alcohol and Drug Abuse; Mother/Son; Families in Crisis; Education; Disabilities;
MORAL-ETHICAL EMPHASIS — Responsibility; Caring; Citizenship.
AGE: 13+; MPAA Rating — PG-13 for mature thematic elements including substance abuse/recovery, some sexual situations, language and brief violence;
Drama; 2000; 123 minutes; Color. Available from Amazon.com.


In HCI, there has been a push towards open science, but to date, this has not happened consistently for HCI research utilizing brain signals due to unclear guidelines to support reuse and reproduction. To understand existing practices in the field, this paper examines 110 publications, exploring domains, applications, modalities, mental states and processes, and more. This analysis reveals variance in how authors report experiments, which creates challenges to understand, reproduce, and build on that research. It then describes an overarching experiment model that provides a formal structure for reporting HCI research with brain signals, including definitions, terminology, categories, and examples for each aspect. Multiple distinct reporting styles were identified through factor analysis and tied to different types of research. The paper concludes with recommendations and discusses future challenges. This creates actionable items from the abstract model and empirical observations to make HCI research with brain signals more reproducible and reusable.


Name of the book: Malgudi School Day’s
Publisher: Puffin Books
Place: New Delhi
Year of Publication: 2010
Contents: Collections of short stories written by R.K. Narayan. Each chapter portrays the author as a different person in a different profession with simple style and characteristics gentle irony portray the variety and colour of Indian Life. For example, Narayan takes on the role of an astrologer, a postman, a doctor, a blind beggar, a Brahmin, a man who faces down a man-eating tiger, a man who carves an image of God, and a boy who does not want to go to school. Narayan in his introduction says: I have named this volume MALGUDI DAYS in order to give it a plausibly geographical status.Narayan’s explain that Malgudi is a small town in south India and that is imaginary and not to be found on any map…
Each story is unique and touches some or the other part of our everyday life and as Narayan mentions in the beginning that the characters of Malgudi can be found anywhere in the world and the stories have universal appeal. Very few authors can capture the human emotions in such a beautiful way.
My Suggestion : This book is one of best book of my life. I recommend this book to all readers. It’s a must read book and I am sure you‘ll enjoy.


A Beautifully Written Masterpiece
Such a beautifully written masterpiece, it is as if I am living within it, transported back to the moments, watching all that happens as a sacred witness, the sights, scents, and sounds etched upon my soul. Mr. de la Luna has renewed my spirit. He demonstrates poetic courage in chronicling his vision.
Delighted to Find This Soul Aligning Treasure!
By M. Hazlewood
If you remember who you truly ARE, you will love this book as Yeshu'a dances through the past and present. If you wonder who you truly ARE, this book could definitely trigger feelings that resonate and assist you in your remembrance. Pietro de la Luna has a magical style of writing that lends one to experiencing oneself in the story he weaves. I was so joyous as I started reading knowing Pietro and others know and remember what I already intuitively knew. Perhaps his tale will inspire joyous alignment with you as well? At the very least, Yeshu'a is delightfully entertaining while at the same time magically uplifting. Enjoy it in meditative bits or front to back as it suits any preferred reading style. Thank You Pietro for sharing Your bright light!
An Affirmation of Humanity's Potential to Save the World
By Burl and Merry Hall
In today’s world, we are encouraged to fall to the feet of Pope, Preacher, Guru, Philosophers, Politicians, Kings, Queens, Movie Stars and so on and so on. Pietro de la Luna’s poetic book, Yeshu’a: The Story of the Hidden Life of Jesus, gives us a refreshing alternative interpretation: “YOU are all the ones you have been waiting for!” This book portrays Jesus’ deep respect for the humanity he serves, encouraging that which is holy within us all to flourish. It also reveals love for the Divine Feminine, as the female participants in Jesus’ life are lovingly fleshed out more fully than in the standard Gospels. We found this book to be a blessing and believe you will, too.
The Missing Parts of the Greatest Story Ever Told
By Donald Sosin
Yeshu'a is an astounding journey. It's not just the events in the life of Jesus in the years before his public ministry, but it's a voyage into his innermost thoughts. I read this book with the feeling that the author had been there himself witnessing the events, the detail is so intimate...We learn about Yeshu'a's family and closest friends, his teachers in Egypt and in the Essene community at Mount Carmel. And about his past lives, of which he has full memory. This is a novel to be sure, but it feels like the truth to me. Any seeker of wisdom will find deep satisfaction in this book, written in a soft, melodic poetry that transports the reader into another dimension of feeling. The author says, "You are all the ones you have been waiting for." This book is the one I've been waiting for.
Privileged to have read it.
By Chris Day, author and journalist
Sometimes a book comes along that stops you in your tracks and reaches out to you. For me, Yeshu'a by Pietro de la Luna is one such book. Without question, the author has been greatly inspired in his writing. He draws you in to a time and place that we feel we already know, and brings it to life. The book is very readable and difficult to put down. You cannot fail to feel privileged to have read it.
Beautifully Written Remembrance
By Glen Craney, award-winning author of The Fire and The Light
Yeshu'a is a beautifully written remembrance of an Initiate's passage through the Mystery Schools of the ancient world, told from the unique point of view of the Oversoul, at once both present and eternal.
Allows you to embrace the spirit of Jesus
By Dawn Demers, author, healer, coach and international speaker
Yeshu’a is an amazing and compelling story that will captivate you, providing insight and multidimensional wisdom into Jesus and many ancient mysteries. Taking you on a journey that allows you to embrace the spirit of Jesus, God, and many other historical figures in ways you may have never considered before, Yeshua's insider perspective gifts you knowledge, understanding and compassion as you view Jesus and history itself anew. The story is riveting, and will broaden your view of life and what is possible.
By Reverend and Healer Ron Wilding
I was delighted to read this magnificent story of the birth and growth of Yeshu'a, so enthralled in this real-life history, I had to read it a second time to get the full impact of his wonderful life. Yeshu'a has been written in a most beautiful and understanding way that all who read it will be immediately enchanted by the story.
Maintains the Messiah's Message
By Lord John Taylor, Baron of Warwick
Yeshu'a is well-written, with power and passion. It maintains the Messiah's message of God's unconditional love and forgiveness.
Brilliant evocation of the Savior's voice
By Harvey Kraft, award-winning author of The Buddha From Babylon
Wonderful! Wonderful! Transforming Humanity is the purpose of Yeshu'a, as he shares with us his life-affirming wisdom. Pietro de la Luna's brilliant evocation of the savior's autobiographical voice overrides institutional interpretations as he sees reality through the liberating eye of a loving divinity.
By Burl and Merry Hall, authors of Sophia's Web
Pietro de la Luna's poetic Yeshu'a series inspires today's world population to transform and save Humanity, proclaiming "You are the ones you have been waiting for!" In this Age of The Holy Spirit we are called to BE the second coming of Christ. A richly detailed autobiographical account of the full life of Jesus of Nazareth--not just the distorted, truncated, and reinterpreted account given us in translations of the biblical gospels--gifts us a full and inspiring picture of how Jesus lived out being Love incarnate. The Yeshu'a series reveals a deep devotion to the Divine Feminine missing in church-mediated Christianity that must now be resurrected in our hearts. This inclusiveness allows us to reclaim our full Humanity and become co-creators of a new Story honoring all beings on Earth. Intimately depicting Jesus' deep respect for the Humanity he serves, it encourages that which is holy in us all to flourish. Yeshu'a calls us to the compassion, sacrifice, and activism needed to save the world.


Books That Have Inspired Me
This blog describes my own privacy journey as a non-technical person. I've been describing specific steps I have taken and tools I have tried to use in order to take back some level of control over my own data and online behaviour.
But the decision to go that route is not without context. Below is a description of some of the books that have helped put a privacy mindset into me.
1984 - George Orwell - 1949
I read Orwell's novel when I was 17 for a school exam. It was tough to get through some parts, but there are scenes in that book that feel as fresh when I remember them today as they were when I read them. One example is when Winston describes having sex with an old, toothless prostitute in the dark. He feels aversion, but goes through with it, a blind act of rebellion against the party. However, it's the ending of the novel that really got to me. I had read tragedies before, but never a tragedy so complete as this. The idea that one's private, most intimate thoughts and feelings could be manipulated by the state was made terrifyingly real by Orwell's ending.
Zen and the Art of Motorcycle Maintenance - Robert M. Pirsig - 1974
I read this book in my early twenties. You could call it a novel - it has a protagonist, and a story about a road trip. But it really is a book about ideas. I refer to this in my post about managing your own disk drives. As someone who has always preferred reading books and writing in journals over, for example, taking a radio apart to see how it works, I found this book's messages about technical-mindedness and the idea of Quality inspiring. Pirsig argues that there are two perspectives human beings have when they interact with the physical world. One type of human sees closed systems that can be bought and used but need experts to fix. The other sees physical objects as specific instances of a general blueprint, a concept. I started my privacy journey many years after reading this book, but the Pirsig's message that it is always better to see the objects we interact with as just being specific versions of a blueprint helped remove fear of trying out new software, or 'breaking' my devices.
The Origin of the Species - Charles Darwin - 1859
I came from a deeply religious background and naturally transitioned to a secular, scientific world-view. Personal shifts in perspective can take a long time. The idea of 'onboarding' is big in privacy discussions, but there isn't as much attention paid to how long it takes for an idea to germinate and develop to the point where someone might want to learn more and take action. What I learned from reading The Origin of the Species is how compelling it is when someone starts with the seed of a true idea and follows it through to its logical conclusions. The idea in Darwin's book is that death is key to improvement of life in the universe. The death of generations allows for mutations to develop blindly over time into success stories of survival, simply because there are so many individuals in every generation.
The true idea that kicked off my privacy journey is that companies and their products should have limited power over me. Companies are not people and therefore cannot be confronted in the same way. Individuals who are not in positions of power cannot do much against the direction companies are taking the world in, which, in our case, is a watering down of privacy. What we can do decide what to opt into and opt out of, educate ourselves, resist and push back against normalisation of bad ideas, and create communities and share our experiences.
Understanding the Digital World - Brian W. Kernighan - 2017
I picked up this book because I liked the look and the feel of the cover. I was becoming interested in computers and digital privacy, and found myself drawn to hitherto undiscovered sections in book store: computers and economics. Kernighan is a professor in the Computer Science Department at Princeton University. He clearly explains how computers and the Internet work to a layperson. His book gave me the background knowledge that I needed to help me better understand what the privacy tools I was adopting were doing. He also showed me that it is possible to break big ideas into smaller, more manageable parts, which inspired this blog.
Digital Minimalism - Cal Newport - 2019
I discovered Cal Newport when he was interviewed by Sam Harris on his Making Sense podcast. In that conversation, Newport explained how the constant stream of digital communication we are expected to be hooked into at work is counterproductive to getting things done well, as that requires focused attention. What I found interesting about Newport is that he is a computer scientist writing about the impact of social media from the perspective of an outsider; he has had very little authentic experience on these platforms. His conclusions in the book are surprising, and he exposes some of the more pernicious, behind-the-scenes decisions that led to 'attention engineering'.
The Markdown Guide - Matt Cone - 2020
Matt Cone's short guide for writing with Markdown is an example of the great content I began discovering after I started becoming interested in digital privacy. I had decided to write this blog using Herman's Bear Blog platform, and so I had to learn how to format my writing using Markdown. I am impressed by the clarity of this guide, the light-hearted tone and the generosity to put great educational content out for free. Another example of such a free educational text is Mastering Monero by Serhack. What would we do without these generous teachers?
The books we read shape our minds. Good books can helps us develop better minds. Good writers model how logical ideas can stand up to scrutiny; it often takes a whole book to do this well. We get to use a lot of wonderful technology today, but I still believe the brain-to-brain technology of the written word is the most powerful we've ever had. I want to encourage everyone to take time to read good books.
Robert Pirsig Association webpage
Brian Kernighan's website
Cal Newport on 'Making Sense' with Sam Harris
The Markdown Guide, free webversion (via Github) and $5 PDF book version
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“Natural Defense guides us through a lively, provocative consideration of more ecologically balanced approaches to a disease-free future…Monosson presents a vision for a future in which we embrace our role in—and learn to harness the transformative potential of—the planet’s web of biological relationships. In that humility, we may finally find the North Star on our journey toward a sustainable, healthy future.”
“Reading this compact, compelling book is mostly an uplifting experience—Monosson does, after all, spotlight solutions—but the environmental and public health problems for which they are designed can be formidable….With a willingness to stand back and look at the world in a different way, perhaps we will enter a new age of working with nature as we continue to improve human well-being.”
(Earth Island Journal)
“Monosson offers a positive outlook on the future of plant protection and our subsequent health benefits with innovative scientific advancements that look to germs and bugs to work with nature instead of fighting against it.”
“[Monosson] is a good writer, and this volume reads well and easily even by non-scientific readers.”
(San Francisco Book Review)
“A timely message of hope…[Monosson] argues that we can achieve better (i.e., more targeted and sustainable) outcomes to control pests and pathogens through new ecological understanding, technologically advanced diagnostics, and modern tools that harness the previously hidden powers of our microscale natural allies…a fascinating and thought-provoking read.”
“Despite the ravages described, the book sounds some optimistic notes promoting sustainability. This is about translational science taking research and technology from bench to bedside and farm field.”
“In Natural Defense: Enlisting Bugs and Germs to Protect Our Food and Health, Dr. Emily Monosson takes us on a tour of new technologies coming down the pipeline, based on biology and often high-performance computing rather than chemistry…Natural Defense is well-written and accessible, full of anecdotes and real-world examples and not too heavy on jargon.”
(Journal of Environmental Studies and Sciences)
“An extraordinary study that is impressively ‘reader friendly’ in organization and presentation…unreservedly recommended.”
(Midwest Book Review)
“Monosson shows us how to borrow the best from nature and technology to protect people, plants, and the planet. A must-read for anyone looking for sustainable solutions for fighting infection and maintaining health.”
(Daphne Miller MD, author of “Farmacology: Total Health from the Ground Up”)
“In Natural Defense, Emily Monosson introduces readers to scientists grappling with both human and landscape health and trying to work with, instead of beat back, nature. A hopeful vision of how humans might thrive on this planet.”
(Kristin Ohlson, author of “The Soil Will Save Us: How Scientists, Farmers, and Foodies Are Healing the Soil to Save the Planet”)
“[An] examination of rapid evolution driven by artificial poisons. [Monosson’s] tour takes in antibiotic-resistant staph bacteria, herbicide-resistant agricultural weeds, DDT-resistant bedbugs and the blue crabs of Piles Creek, New Jersey. Living in a soup of pollutants including mercury and hydrocarbons, these decapodal survivors display altered behaviours as well as resistance. Monosson ends with a thought-provoking look at epigenetics—evolution “beyond selection”.”
“…a stealth lesson in basic biology — just the book to give to a friend or family member who thinks that evolution has little to do with day-to-day practicalities.”
(Los Angeles Review of Books)
“This fascinating and thought-provoking book…Monosson eloquently and in layman’s terms describes how life is resilient and details case studies of organisms that have rapidly evolved to overcome whatever (usually chemical) ways of killing them we humans have concocted.”
“WOW! This deceptively slender book packs a helluva powerful punch….Unnatural Selection is an engaging and eye-opening book that is essential reading for everyone—city dwellers and country folk alike—who lives on planet Earth….Like reading a dystopian novel, this book will capture your imagination and keep you awake into the wee hours. But unlike a dystopian novel, the author actually proposes evolutionarily-sound strategies for what we can do to stop the damage before it becomes lasting.”
(The Guardian’s GrrlScientist blog)
“disturbing but fascinating…bright, clear, and accessible prose…A concise book with a powerful message.”
“It is an honest attempt to wake us up and realize the bigger and more complex picture nature shows us.”
(San Francisco Book Review)
“Unnatural Selection is a well-written book in the tradition of Rachel Carson’s Silent Spring. It usefully updates that epochal work, engagingly presenting new research on the impact of chemical products from herbicides to antibiotics, both on other species and on ourselves. Despite its elegant brevity, it covers a satisfying breadth of ecological and evolutionary concerns in environmental toxicology. It can be safely offered as recommended reading for biology undergraduates, congressional staffers, or general readers who are concerned about the environment.”
(Trends in Ecology & Evolution)
“Toxicologist Monosson looks at the alarming effects of rapid evolution caused by pesticides, antibiotics and pollutants.”
“The power of evolution, toxicologist Monosson (Evolution in a Toxic World) demonstrates, is quite amazing: when strong selective pressure is coupled with short generation times, significant changes in populations can occur over very brief intervals. … She concludes with an interesting, if tangential, discussion of epigenetics.”
“Part science-lover’s paradise, part horror novel, Monosson describes these human-influenced evolutionary terrors in fascinating detail.”
(The Daily of the University of Washington)
Evolution in a Toxic World
“A new field is born—evolutionary toxicology*—and Monosson has opened the door for us.”
*While I really appreciate the comment, I need to note that back in 1994, John Bickham and Michael Smolen wrote about Evolutionary Toxicology
, concluding that “…it is likely that most toxic chemicals in the environment will affect evolutionary processes.” Though they were talking modern times – the sentiment I think is similar. So I would propose that the term evolutionary toxicology
applies both to geological time periods as in Evolution in a Toxic World, and to modern times as discussed by Bickham and Smolen.
Presents a slightly more technical topic and provides a much abbreviated set of stories to illustrate this super interesting idea. Prior to reading this I actually didn’t find evolution all that super interesting of a topic (shhh… don’t tell Bio1A) but this book really made me love evolutionary biology. Evolution in a Toxic World is a bit more technical than The Poisoner’s Handbook and a great way to put all of those details from NST110 into context.
“…it does provide detailed information about how life evolved to survive everything that our planet, other organisms and its own cells can throw at it through some fascinating examples.”
“Monosson posits that the field of toxicology should look to evolution to understand biological responses to today’s chemical threats.”
“A toxicologist traces how life evolved to deal with toxic substances and how this plays into chemical exposures today.”
“Evolution in a Toxic World addresses the challenges posed to life on earth by a plethora of toxic threats. There are chapters dedicated to ozone, oxygen, metals, assorted chemical agents, cancer, etc. … The book serves as an excellent introduction to the topic of toxicology and evolution for the college student or general reader.”
Science Books and Films
“This 222-page book is a thought-provoking summary of an important but often ignored subject matter, evnironmental toxicology.”
BioScience Review by Judith S. Weis
“The book is written in an accessible style and is aimed at the general public, as well as at scientists. The third-person scientific writing is interspersed with personal anecdotes and thoughts, which should help to make the book more appealing.”
REVIEWS FROM THE REV: “Evolution in a Toxic World: How Life Responds to Chemical Threats” by Emily Monosson
“Evolution in a Toxic World” is, in some ways, a story of the evolution of one toxicologist’s personal and professional evolution in a field that is, by her account, at last merging with the insights available from the field of evolutionary studies. For it turns out that toxicology has much more to concern itself with than the occasional dramatic case of humans being poisoned by their own chemical creations. The emerging reality about the interactions of thousands upon thousands of “new” chemical compounds with the evolved biology of every living thing is an area that requires careful study and new ways of defining just what dangers might lurk in our present and future environments (as altered by human activity).
The reality is this: we industrious humans have liberated tons of heavy metals and naturally-occuring materials from the earth through our mining and burning and manufacturing. Along the way we have invented chemical compounds that have never existed in nature. It stands to reason that such an environment — changed as it is from the one we evolved in — might produce some surprises in our biology, and this is proving to be the case.
But this case is sometimes subtle and nuanced — not always a tale of deathly poisons, but often of chemicals whose molecular shapes resemble hormones, say, and that fool living cells into taking them up in ways that alters reproductive cycles or DNA.
This book is not alarmist, even if there are alarming revelations as the author takes us along on her own journey into our evolutionary past in order to better understand the task that is before scientists such as her (and humankind). it is a well-written, cogent and enjoyable book to read, well worth your time if for no other reason than the fact that you have to live your life in this new chemical world we have created.
I highly recommend this book.
The rev gives it four Dimetrodons out of four!
Evolution in a toxic world | Book Review | Grrrl Scientist
The author investigates how from its very beginning, life evolved to deal with all sorts of toxins, a process that continues today, and she predicts what the future may hold.
Earth is a hostile place — and that’s even before one starts attending school. Even when life first sparked into being, it had to evolve defenses to deal with a number of toxins, such as damaging ultraviolet light, then there were toxic elements ranging from iron to oxygen to overcome, later, there was DDT and other toxic chemicals and of course, there are all those dreaded cancers.
In Evolution In A Toxic World: How Life Responds To Chemical Threats [Island Press; 2012: Guardian Bookshop; Amazon UK;Amazon US], environmental toxicologist Emily Monosson outlines three billion years of evolution designed to withstand the hardships of living on this deadly planet, giving rise to processes ranging from excretion, transformation or stowing harmful substances. The subtitle erroneously suggests these toxins are only chemical in nature, but the author actually discusses more than this one subclass of toxins.
The method that arose to deal with these toxins is a plethora of specialised, targeted proteins — enzymes that capture toxins and repair their damages. By following the origin and progression of these shared enzymes that evolved to deal with specific toxins, the author traces their history from the first bacteria-like organisms to modern humans. Comparing the new field evolutionary toxicology to biomedical research, Dr Monosson notes: “In light of evolution, biomedical researchers are now asking questions that might seem antithetical to medicine”. Continuing this analogy, she frames her argument thus:
“Simply put,” write Randolph Nesse and co-authors in the journal Science, “… training in evolutionary thinking can help both biomedical researchers and clinicians ask useful questions that they might not otherwise pose.” The same could be said for researchers and practitioners of toxicology. [p. 3]


Description: Want to learn the fundamentals of electronics in a fun, hands-on way? With Make: Electronics, you’ll start working on real projects as soon as you crack open the book. Explore all of the key components and essential principles through a series of fascinating experiments. You’ll build the circuits first, then learn the theory behind them! Build working devices, from simple to complex You’ll start with the basics and then move on to more complicated projects. Go from switching circuits to integrated circuits, and from simple alarms to programmable microcontrollers. Step-by-step instructions and more than 500 full-color photographs and illustrations will help you use — and understand — electronics concepts and techniques. Discover by breaking things: experiment with components and learn from failure Set up a tricked-out project space: make a work area at home, equipped with the tools and parts you’ll need Learn about key electronic components and their functions within a circuit Create an intrusion alarm, holiday lights, wearable electronic jewelry, audio processors, a reflex tester, and a combination lock Build an autonomous robot cart that can sense its environment and avoid obstacles Get clear, easy-to-understand explanations of what you’re doing and why
Title: Make: Electronics
Author: Platt Charles
Format: PDF, EPUB
Pages: 418 pages
Size: PDF: 8.5 MB, EPUB: 14 MB
Note: The links provided have 2 URL Shorteners, if you get stuck in any of them, please send us a message, we’re going to upload a video with instructions soon.
Nota: Los enlaces proporcionados tienen 2 acortadores de URL, si te quedas estancado en alguno de ellos, por favor envíanos un mensaje, vamos a subir un vídeo con instrucciones pronto.


My Body as the Topic Coming Around Again
My Body as the Topic Coming Around Again: Vol. 1 (Land)//Highlights
Scroll Down for Full Work
My Body as the Topic Coming Around Again is an evening-length dance work that unravels the tangled threads of white womanhood and American Modern Dance. From its inception in the early 20th Century, modern dance has been a site of liberation for middle-class, white women like myself. Since I was ten years old I have been swinging, and collapsing, and falling into gravity. I have found purpose and ease in modern dance class. I remember being entranced by images of dancers wearing togas, skipping in fields, and running bare-foot through forests. I learned to imagine my own body into that history.
As an adult, I am increasingly suspect of these sensations and images. Who is absent from these lovely pictures? Are they beautiful or ominous? Why is my body the one invited to frolic and take up space? When I experience freedom through flailing and flying which bodies are not entitled to this release? My Body as the Topic Coming Around Again takes on the impossible task of loving modern dance while trying to expose the inequities and exclusions on which it rests. How do we keep dancing while shifting the ground beneath our feet?
For me this research began in 2018 when I returned home to Connecticut after almost 20 years living away. I spent extensive time on-site at the Noyes School of Rhythm, a 100 year old dance camp, minutes from my home in Portland, CT. Noyes technique imagines the bodies as a series of units and spaces with a “spot” around the solar plexus. Like other early modern techniques, Noyes dancers retrain their body in everyday actions like walking, running, and skipping in order to express freedom and grace. I intended to make a dance that celebrated early modern dance in the region but found myself increasingly drawn into questions around my own identity and legacy. It was inspiring and confusing to put on a toga and walk down a wooded path to dance with these women, many of them in their 70s and 80s. As we imagined ourselves as butterflies, or jaguars, I tried to understand my own place in this world? How has modern dance gifted me joy and freedom and how has it made me complicit in scripts of settler-colonialism? Is it possible to decouple these things?
The evening-length work is arranged into three 20-minute volumes:
Vol 1 (land)
Examines the stories of the performance venue, considering how we are taught to imagine performance sites and our bodies as empty sites to be staged and occupied. Its central question is “how does it feel to dance on stolen land?” Creating a map of our training, as well as an autoethnographic reflection on the creation of the work itself. At the end of the piece, two dancers cradle one another against a wall, seemingly retracing their entire path up to that point.
Vol. 1 was developed as part of an Art in the Community Garden Commission by LEIMAY Arts and the New York Restoration Project. It premiered in September 2021 and has been shown in NY, CT, VT, and MA.
Vol 2 (visibility)
Considers the way white female bodies are constantly on display. Using phone cameras, multiplying images, and looping voices, it brings the viewer intimately close to the bodies of the performers. As the work becomes increasingly abstract and disjointed, the story telling of volume 1 to give way to imagery and motion. The steps are violent and architectural, moving between cool disregard and overwrought emotion. The dance begins to disintegrate, breaking apart and stepping outside of its frame.
Vol. 2 was developed as part of a distributed curation residency co-sponsored by the School for Contemporary Dance and Thought and APE Gallery in Northampton, MA. It premieres in July 2022.
Vol 3 (motherhood)
Opens with our mothers on zoom watching us dance. This volume of the work telegraphs outwards, bringing us into conversation with our families, our dance teachers, our friends, and communities, asking for accountability and change. It centers on a piece of historical repertory from Florence Fleming Noyes that was created in 1918 as part of the suffragette movement. In this final volume of the work we ask what can be salvaged as we work towards regeneration and new ways of training, thinking, and being in our bodies.
Vol. 3 will premiere in March 2023 as part of the evening length version of My Body as the Topic Coming Around Again at 33 Hawley Street in Northampton, MA. This performance is presented by APE @ Hawley Street and is supported by a New England States Touring Grant. It will be developed in Fall 2022 through residencies at Dragon's Egg and Hambridge Art Center.
Performer/Creators: Ellen Smith Ahern, Dot Armstrong, Alexis Robbins, Taylor Zappone
Music: Christine Southworth
Costumes: Joy Havens
Dramaturgy: Meredith Bove
(Photo Credits: Shige Moriya, John Atashian)
Stories We Stand On, will pair performances and showings with embodied walks that discuss indigenous and local histories at venues where we work. We will reach out to historical societies and organizations that steward indigenous and embodied histories in each region to plan meaningful events and to invite their constituents. We hope to reach local audiences who are engaged with the stories of their home cities and spaces. Histories of site are complex and always, already embodied. We hope these walks will be a way in for audiences to think more deeply about legacy in their home communities. Our first Stories We Stand On walk will take place as part of our July show in Northampton, MA.
Leading into performances of My Body as the Topic Coming Around Again we will hold additionally hold a Dance Wrecking event, which invites choreographers from that community to intervene in the work, reshaping it as a form of generative disruption in our process. If the invited choreographer allows us we will show excerpts of these "wrecked dances," as part of the performance of the full work. Our first Dance Wrecking occurred in April 2022 as part of our residency at 33 Hawley Street in collaboration with artist Hilary Clark. Dance Wrecking is a form of choreographic feedback and intervention initiated by New York choreographer Susan Rethorst.


Baby J loves books. Her absolute favourite thing to do at the moment is to empty them from her bookshelves one by one until they’re piled up around her. She’ll then take each book and leaf through it with the superior and earnest look of a chief judge deciding on the shortlist for the year’s Man Booker Prize. When she’s seen enough of a book (often a single upside down page is sufficient), she’ll flamboyantly cast it to one side and turn her critical eye to the next brightly coloured chronicle that catches her eye. And so on.
I’ve become as brutal as my daughter with my tolerance for children’s books. I read to Baby J everyday and there are some truly horrendous examples of children’s literature out there. Tales about remembering to brush your teeth before bedtime (just because it’s a dinosaur wielding the tube of toothpaste doesn’t make it interesting), moral heavy stories about sharing toys and tidying away your toy box (yawn) and the obligatory ‘be brave at nursery’ propaganda (what child wants to hear about that just before they go to bed?) They’re not exactly subjects to engage a toddler’s imagination and surely that’s what children’s books should be all about. And don’t get me started on awkward and forced rhymes – how do the editors of some of these books sleep at night?
I’m starting a bookworm in training section of this blog where I’ll share the good books that pass the high literary standards Baby J demands. Here are a few of her current favourites and please add your suggestions in the comments below if you feel inspired. We’re always on the look out for new stock for Baby J’s library.
Rod Campbell – ‘Dear Zoo Noisy Book ‘
Sue Hendra – ‘Barry the fish with fingers‘
Julia Donaldson – Tales from Acorn Wood
Sam McBratney – ‘Guess how much I love you‘
Roger Hargreaves – Mr Men and Little Miss
Eric Carle – ‘Brown bear, brown bear, what do you see?‘


Must Reads on Religious Conflict in Nigeria
14 Aug 2014
Emily Mellgard provides an overview of the background reading essential to an understanding of religious conflict in Nigeria.
Nigeria's literary tradition is longstanding, and a point of national pride. Indeed, the annual Nigeria International Book Fair is the largest in Africa and one of the largest in the world. In many ways, the best place to begin to understand the dynamic complexities of this "Giant of Africa" is with Nigerian literature and what others have written about the country. Many of these books provide unique perspectives into the country's religious environment and illuminate points of intersection and tension that can lead to violence.
Things Fall Apart is often considered the archetypal African novel. It is an indispensable novel on Nigerian culture and the initial clash of colonial Christianity and African religions. In this and its sequel, Arrow of God, Chinua Achebe revels in confronting simplicity in accounts of cultural and religious tension – he presents the experience of colonialism in as complex a manner as possible. Often used on university courses, these books are intellectually stimulating and enjoyable to read.
A haunting narrative of political and religious tyranny.
A more recent, non-fiction, addition to Nigerian literature is Noo Saro-Wiwa's free-flowing travel memoir Looking for Transwonderland. Saro-Wiwa travels throughout Nigeria with a curious perspective both as an insider and a stranger. She vividly records a lust for life against the odds and weaves together encounters with deeply ingrained corruption, wild Pentecostalism, invasive evangelism, and increasingly institutionalised Islam. By comparison, Purple Hibiscus is more reserved and sits between Achebe and Saro-Wiwa on the historical timeline – taking place during the period of military dictatorships. The first novel by Chimamanda Ngozi Adichie, it is a haunting narrative of political and religious tyranny, violence, and the subversive manipulation of love for the sake of power, yet extremely readable.
The more academic literature is also important in understanding the religious tensions at play in Nigeria. Philip Jenkins, a professor of religion, discusses the growing influence of Christianity in the "global south" in The Next Christendom: The Rise of Global Christianity. Nigeria is a leading Christian nation, and already boasts the largest Anglican seminary in the world. While this is an academic text, it is not so dense as to be a difficult read. An ideal companion to Jenkins' book is Ruth Marshall's Political Spiritualties: The Pentecostal Revolution in Nigeria, concentrating specifically on Pentecostal revivalism in Nigeria. Its interdisciplinary approach weaves different perspectives, making it an approachable academic study. She explores the context surrounding the eruption of "born-again" experiences, and the churches, cultures, and influences that grew up around them.
Inextricably intertwined identities of religion, politics, and society.
In that vein, John Campbell's Nigeria: Dancing on the Brink, is a crucial layman's introduction to Nigeria as a whole, and to its inextricably intertwined identities of religion, politics, and society. One chapter is dedicated to the exploration of the unique Nigeria Christian and Muslim faiths, their engagement with each other and the federal state. Another is given over to the rise and consequences of Boko Haram, the violent Islamist insurrection in the North.
In Muslim Civic Cultures and Conflict Resolution: the Challenge of Democratic Federalism in Nigeria John Paden – perhaps the seminal western expert on Nigerian Islam – explores the historical, predominantly Sufi and periodically imperial Muslim communities in Nigeria. Paden's analysis is in a more classically academic style, and examines the tensions across generations and hierarchies. These have been manipulated, in many ways, into the anger that drives the current Islamist inspired rejection of the secular state and violent insurrections across the North and Middle Belt, most horrifically displayed in Boko Haram.
Part history, philosophy, politics, and anthropology, Religion in Politics: Secularism and National Integration in Modern Nigeria, edited by Julius Adekunle, explores the interwoven relationship between religion and politics in Nigeria. These essays are an intricate and detailed – and, on the whole, very readable – commentary on the complexity of Nigeria's interconnecting religious and political spheres.
The intersection of politics and religion can be violently combustible. Nigerian historian Toyin Falola explores this phenomenon in the Nigerian context in Violence in Nigeria: The Crisis of Religious Politics and Secular Ideologies. Falola, and his collaborator Matthew Heaton, approach the topic with an impressive array of disciplines and sources, ensuring that the final product is engaging and flows well. They begin in the prehistoric roots of what is today Nigeria, and discuss political and religious cooperation, competition, subversion, and outright conflict in a broad context of history, culture, and society.
The views expressed by this author remain solely their own and are not to be taken as the view of the Tony Blair Faith Foundation.
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"Becoming What You Believe" is a book that guides readers on a journey to achieve their career and life goals. The book covers various aspects of personal development and provides practical strategies to help readers believe in themselves and their future, become better advocates for themselves, and effectively visualise their dreams and goals. Additionally, the book explores the power of vision, the importance of setting clear goals, saving for retirement and how using quotations as inspiration can be a powerful motivator. Through inspiring stories and tips, readers will discover how to transform their beliefs into action to achieve career success and personal fulfilment. Overall, "Becoming What You Believe" is a comprehensive guide that empowers readers to create the life they desire by tapping into the power of their beliefs and passions.
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asp.net upload faq
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» ASP.NET Upload Control
Upload files using an RFC 1867 POST request with HttpWebRequest/WebClient
You don't have to write any code to format or upload browser based uploads – the browser takes care of that. But what if you want to simulate a browser upload request, or manually upload using code? To do this, you need to create and submit a request using the RFC 1867 multipart/mime-encoded formatting standard.
There are two ways to upload files in .NET:
Simple uploading with WebClient.UploadFile
Call the method, passing in the URL and the name of the file to upload:
Advanced uploading with HttpWebRequest
The UploadHelper library is part of the source code download available on this site. This library provides an Upload method that can upload multiple files and form variables. It uses streams and other techniques so files are never loaded into memory, dramatically reducing memory usage and increasing scalability and performance. Grab the source archive, build it, and add a reference to the UploadHelper assembly to your project.
To use the UploadHelper library, set up your request parameters and call the UploadHelper.Upload method:
If you want more control over the request, to set credentials or cookies for example, you can create the request object manually, set it up, and then pass it to the other Upload method overload to do the actual uploading:
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