European court of human rights: which countries get the most judgments?

nevali:

The UK was found against for lack of effective investigation on five occasions, not to have offered a fair trial on three occasions, and to have failed its duty on prohibition of torture twice.

See also this.

I wonder if those rulings have anything to do with the UK government’s recent attempts to limit the ECHR powers? What better way to avoid looking bad than curtail the abiliity of the court to rule against you? Of course you *could* try to correct some of the root causes behind people having to go to the ECHR, but that’d be too hard, or politically awkward.

seej500: 3liza: playstationgirl: I don’t understand, why are you insulting and calling this person a piece of garbage when their argument makes sense? Just because it is not the technical definition of ‘stealing’, it doesn’t mean you aren’t taking away their profits from what they made. As an artist, 3liza, you would be pissed if someone found a picture of your art on the internet and then reproduced it for their own profit, or if people never bought anything to support you because it was readily available on the internet. Again, you can fly off the handle and say that we’re supporting ACTA, MMPA, whatever but in reality we’re not - we’re just saying that this is the consequence of illegal pirating & downloading of property by consumers that takes away from the profits of those creating it (regardless of their economic status, and whether they ‘need it’ or not). It makes sense - if you steal and pirate everything, soon someone’s going to get pissed and trying to stop you doing it. It doesn’t mean that you’re ‘human garbage’. It means you see the logical conclusion, and can understand why it would happen. It doesn’t mean you support what ACTA proposes, it means you support a better way of doing it. This argument would make sense IF Megaupload, PirateBay, et al had been selling copies of illegally-reproduced music for profit.  Which they aren’t.  Internet pirates do not pirate media to make money, and to claim as much is incredibly disingenuous, just as it is disingenous to claim that the corporations that control an artist’s work are doing it “for the artists” instead of as a way to immorally profit from the work of actual creators. Then you attempt to tell me what I want, “as an artist”.  Let me tell you something about being an artist.  As an artist, my stuff is widely available on the internet.  I make sure of it.  Anyone can download my work and print it and hang it on their walls to be enjoyed, which is exactly what sites like PirateBay are doing for musicians.  And yet, because I make a good product that people like, and because people want to support me as an artist, they still buy my paintings.  It’s fuckin’ BONKERS, I know!  By your logic, since photos of my paintings and JPEGs of my digital drawings are available in high resolution for free online, no one should ever spend money on me again.  And yet… Here, I’ll just let Mr. Gabe Newell, CEO of the intensely-profitable game company Valve Software, let you know how things work “for artists”: We think there is a fundamental misconception about piracy. Piracy is almost always a service problem and not a pricing problem. For example, if a pirate offers a product anywhere in the world, 24/7, purchasable from the convenience of your personal computer, and the legal provider says the product is region-locked, will come to your country three months after the U.S. release and can only be purchased at a brick and mortar store, then the pirate’s service is more valuable. Most DRM solutions diminish the value of the product by either directly restricting a customer’s use or by creating uncertainty. Our goal is to create greater service value than pirates, and this has been successful enough for us that piracy is basically a non-issue for our company. For example, prior to entering the Russian market, we were told that Russia was a waste of time because everyone would pirate our products. Russia is now about to become our largest market in Europe. Our success comes from making sure that both customers and partners feel like they get a lot of value from those services. They can trust us not to take advantage of the relationship that we have with them. We usually think of ourselves as customer centric rather than production centric. Most of our decisions are based on the rapidly evolving opportunities to better serve our customers, and not on optimizing to be a better game company or digital distributor. The latter focus would be more of a straitjacket than conceptual aid. Your argument is that human civilization deserves to be punished by corporate monopolies because someone copied a Radiohead album.  That the removal of profit from megacorporations by consumers fed up with paying $25 for an album, (maybe $2 of which goes to the actual artist), is punishable with global criminalization. But the radical idea that people will buy a product that isn’t shitty, and doesn’t come with a bunch of humiliating DRM bullshit, and is easy to purchase, and not prohibitively expensive, is not an argument that you or your buddy n8tacles or the MPAA or the RIAA is willing to listen to. The fact that I am an artist, that I am directly “at risk” of “losing money” because someone “stole my work”, and that I’m still not interested in having my copyrights “protected” by these motherfuckers, means something. What 3liza says.  If you happen to know any politicians, please print this out and press it, hard, against their faces. Hear-hear. The men in suits do not give a damn about anything other than protecting their bottom line, and providing a better service than ‘the pirates’ is more difficult than bullying weak-spined or utterly corrupt politicians into criminalising masses of otherwise law-abiding citizens around the world. seej500: 3liza: playstationgirl: I don’t understand, why are you insulting and calling this person a piece of garbage when their argument makes sense? Just because it is not the technical definition of ‘stealing’, it doesn’t mean you aren’t taking away their profits from what they made. As an artist, 3liza, you would be pissed if someone found a picture of your art on the internet and then reproduced it for their own profit, or if people never bought anything to support you because it was readily available on the internet. Again, you can fly off the handle and say that we’re supporting ACTA, MMPA, whatever but in reality we’re not - we’re just saying that this is the consequence of illegal pirating & downloading of property by consumers that takes away from the profits of those creating it (regardless of their economic status, and whether they ‘need it’ or not). It makes sense - if you steal and pirate everything, soon someone’s going to get pissed and trying to stop you doing it. It doesn’t mean that you’re ‘human garbage’. It means you see the logical conclusion, and can understand why it would happen. It doesn’t mean you support what ACTA proposes, it means you support a better way of doing it. This argument would make sense IF Megaupload, PirateBay, et al had been selling copies of illegally-reproduced music for profit.  Which they aren’t.  Internet pirates do not pirate media to make money, and to claim as much is incredibly disingenuous, just as it is disingenous to claim that the corporations that control an artist’s work are doing it “for the artists” instead of as a way to immorally profit from the work of actual creators. Then you attempt to tell me what I want, “as an artist”.  Let me tell you something about being an artist.  As an artist, my stuff is widely available on the internet.  I make sure of it.  Anyone can download my work and print it and hang it on their walls to be enjoyed, which is exactly what sites like PirateBay are doing for musicians.  And yet, because I make a good product that people like, and because people want to support me as an artist, they still buy my paintings.  It’s fuckin’ BONKERS, I know!  By your logic, since photos of my paintings and JPEGs of my digital drawings are available in high resolution for free online, no one should ever spend money on me again.  And yet… Here, I’ll just let Mr. Gabe Newell, CEO of the intensely-profitable game company Valve Software, let you know how things work “for artists”: We think there is a fundamental misconception about piracy. Piracy is almost always a service problem and not a pricing problem. For example, if a pirate offers a product anywhere in the world, 24/7, purchasable from the convenience of your personal computer, and the legal provider says the product is region-locked, will come to your country three months after the U.S. release and can only be purchased at a brick and mortar store, then the pirate’s service is more valuable. Most DRM solutions diminish the value of the product by either directly restricting a customer’s use or by creating uncertainty. Our goal is to create greater service value than pirates, and this has been successful enough for us that piracy is basically a non-issue for our company. For example, prior to entering the Russian market, we were told that Russia was a waste of time because everyone would pirate our products. Russia is now about to become our largest market in Europe. Our success comes from making sure that both customers and partners feel like they get a lot of value from those services. They can trust us not to take advantage of the relationship that we have with them. We usually think of ourselves as customer centric rather than production centric. Most of our decisions are based on the rapidly evolving opportunities to better serve our customers, and not on optimizing to be a better game company or digital distributor. The latter focus would be more of a straitjacket than conceptual aid. Your argument is that human civilization deserves to be punished by corporate monopolies because someone copied a Radiohead album.  That the removal of profit from megacorporations by consumers fed up with paying $25 for an album, (maybe $2 of which goes to the actual artist), is punishable with global criminalization. But the radical idea that people will buy a product that isn’t shitty, and doesn’t come with a bunch of humiliating DRM bullshit, and is easy to purchase, and not prohibitively expensive, is not an argument that you or your buddy n8tacles or the MPAA or the RIAA is willing to listen to. The fact that I am an artist, that I am directly “at risk” of “losing money” because someone “stole my work”, and that I’m still not interested in having my copyrights “protected” by these motherfuckers, means something. What 3liza says.  If you happen to know any politicians, please print this out and press it, hard, against their faces. Hear-hear. The men in suits do not give a damn about anything other than protecting their bottom line, and providing a better service than ‘the pirates’ is more difficult than bullying weak-spined or utterly corrupt politicians into criminalising masses of otherwise law-abiding citizens around the world.

seej500:

3liza:

playstationgirl:

I don’t understand, why are you insulting and calling this person a piece of garbage when their argument makes sense?

Just because it is not the technical definition of ‘stealing’, it doesn’t mean you aren’t taking away their profits from what they made. As an artist, 3liza, you would be pissed if someone found a picture of your art on the internet and then reproduced it for their own profit, or if people never bought anything to support you because it was readily available on the internet.

Again, you can fly off the handle and say that we’re supporting ACTA, MMPA, whatever but in reality we’re not - we’re just saying that this is the consequence of illegal pirating & downloading of property by consumers that takes away from the profits of those creating it (regardless of their economic status, and whether they ‘need it’ or not).

It makes sense - if you steal and pirate everything, soon someone’s going to get pissed and trying to stop you doing it. It doesn’t mean that you’re ‘human garbage’. It means you see the logical conclusion, and can understand why it would happen. It doesn’t mean you support what ACTA proposes, it means you support a better way of doing it.

This argument would make sense IF Megaupload, PirateBay, et al had been selling copies of illegally-reproduced music for profit.  Which they aren’t.  Internet pirates do not pirate media to make money, and to claim as much is incredibly disingenuous, just as it is disingenous to claim that the corporations that control an artist’s work are doing it “for the artists” instead of as a way to immorally profit from the work of actual creators.

Then you attempt to tell me what I want, “as an artist”.  Let me tell you something about being an artist.  As an artist, my stuff is widely available on the internet.  I make sure of it.  Anyone can download my work and print it and hang it on their walls to be enjoyed, which is exactly what sites like PirateBay are doing for musicians.  And yet, because I make a good product that people like, and because people want to support me as an artist, they still buy my paintings.  It’s fuckin’ BONKERS, I know! 

By your logic, since photos of my paintings and JPEGs of my digital drawings are available in high resolution for free online, no one should ever spend money on me again.  And yet…

Here, I’ll just let Mr. Gabe Newell, CEO of the intensely-profitable game company Valve Software, let you know how things work “for artists”:

We think there is a fundamental misconception about piracy. Piracy is almost always a service problem and not a pricing problem. For example, if a pirate offers a product anywhere in the world, 24/7, purchasable from the convenience of your personal computer, and the legal provider says the product is region-locked, will come to your country three months after the U.S. release and can only be purchased at a brick and mortar store, then the pirate’s service is more valuable.

Most DRM solutions diminish the value of the product by either directly restricting a customer’s use or by creating uncertainty. Our goal is to create greater service value than pirates, and this has been successful enough for us that piracy is basically a non-issue for our company. For example, prior to entering the Russian market, we were told that Russia was a waste of time because everyone would pirate our products. Russia is now about to become our largest market in Europe.

Our success comes from making sure that both customers and partners feel like they get a lot of value from those services. They can trust us not to take advantage of the relationship that we have with them.

We usually think of ourselves as customer centric rather than production centric. Most of our decisions are based on the rapidly evolving opportunities to better serve our customers, and not on optimizing to be a better game company or digital distributor. The latter focus would be more of a straitjacket than conceptual aid.

Your argument is that human civilization deserves to be punished by corporate monopolies because someone copied a Radiohead album.  That the removal of profit from megacorporations by consumers fed up with paying $25 for an album, (maybe $2 of which goes to the actual artist), is punishable with global criminalization.

But the radical idea that people will buy a product that isn’t shitty, and doesn’t come with a bunch of humiliating DRM bullshit, and is easy to purchase, and not prohibitively expensive, is not an argument that you or your buddy n8tacles or the MPAA or the RIAA is willing to listen to.

The fact that I am an artist, that I am directly “at risk” of “losing money” because someone “stole my work”, and that I’m still not interested in having my copyrights “protected” by these motherfuckers, means something.

What 3liza says.  If you happen to know any politicians, please print this out and press it, hard, against their faces.

Hear-hear. The men in suits do not give a damn about anything other than protecting their bottom line, and providing a better service than ‘the pirates’ is more difficult than bullying weak-spined or utterly corrupt politicians into criminalising masses of otherwise law-abiding citizens around the world.

casemanxp: Will always adore this man. Paul Duffield’s Carl Sagan day 2010 tribute Fixed the source and click thru link to the artist’s page. casemanxp: Will always adore this man. Paul Duffield’s Carl Sagan day 2010 tribute Fixed the source and click thru link to the artist’s page.

casemanxp:

Will always adore this man.

Paul Duffield’s Carl Sagan day 2010 tribute

Fixed the source and click thru link to the artist’s page.

(via dovryn)

theairtightgarage: The Incal, Book One: The Dark Incal Page 36/45 theairtightgarage: The Incal, Book One: The Dark Incal Page 36/45

theairtightgarage:

The Incal, Book One: The Dark Incal

Page 36/45

(Source: cali-luvvv, via squarewaves)

Random Blowe: Anti-Olympics Poster Competition - The Results) Random Blowe: Anti-Olympics Poster Competition - The Results)

Random Blowe: Anti-Olympics Poster Competition - The Results)

new-aesthetic: “This is a scarf I knitted based on a sample of the The Amen Break. I took an image of the waveform of the amen break and converted it into a knitting pattern, which I uploaded onto a hacked knitting machine. The knitting pattern repeats over and over the same way that the amen break sample gets looped in so many musical compositions.” andrewsalomone.com » Blog Archive » The Amen Break Scarf new-aesthetic: “This is a scarf I knitted based on a sample of the The Amen Break. I took an image of the waveform of the amen break and converted it into a knitting pattern, which I uploaded onto a hacked knitting machine. The knitting pattern repeats over and over the same way that the amen break sample gets looped in so many musical compositions.” andrewsalomone.com » Blog Archive » The Amen Break Scarf

new-aesthetic:

“This is a scarf I knitted based on a sample of the The Amen Break. I took an image of the waveform of the amen break and converted it into a knitting pattern, which I uploaded onto a hacked knitting machine. The knitting pattern repeats over and over the same way that the amen break sample gets looped in so many musical compositions.”

andrewsalomone.com » Blog Archive » The Amen Break Scarf

(Source: hellsmetal, via thecutups)

raid71: And breathe…. on Flickr. And breathe raid71: And breathe…. on Flickr. And breathe

raid71:

And breathe…. on Flickr.

And breathe

prostheticknowledge:

Glitch Sequencer 

Free MIDI music tool for Windows, Mac, and Linux. Not strictly for making ‘glitch’ music, it utilizes cellular automata to create generative compositions:

Glitch Sequencer is a free cellular automaton based MIDI sequencer for the PC and Mac. It offers an interesting style of composition based on evolving patterns and is great for fast, fluid experimentation. Glitch Sequencer was written by Bret Truchan in Processing using themidibus MIDI library.

More info can be found at the Glitch Sequencer website here

maxcapacity: Z169 (by Max Capacity +) maxcapacity: Z169 (by Max Capacity +)

maxcapacity:

Z169 (by Max Capacity +)

(via maxcapacity)

seej500: fact-host: [source] Wednesday Morning Knowledge. The High-5 is a month younger than me. Who knew? seej500: fact-host: [source] Wednesday Morning Knowledge. The High-5 is a month younger than me. Who knew?

seej500:

fact-host:

[source]

Wednesday Morning Knowledge.

The High-5 is a month younger than me. Who knew?