Violation Of Copyright Quotes

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Poet's Note: Kindly do not use my poem without giving me due credit. Do not use bits and pieces to suit your agenda of Kashmir whatever it may be. I, Srividya Srinivasan as the creator of this poem own the right to what I have chosen to feel about the issue and have represented all sides to a complex problem that involves people. I do not believe in war or violence of any kind and this is my compassionate side speaking from all angles to human beings thinking they own only their side to the story. THIS POEM IS THE ORIGINAL WORK OF SRIVIDYA SRINIVASAN and any misuse by you shall be considered as a violation of my copyrights and legally actionable. This poem is dedicated to all those who have suffered in Kashmir and through Kashmir and to not be sliced and interpreted to each one's convenience. ---------------------------- Weep softly O mother, the walls have ears you know... The streets are awash o mother! I cannot go searching for him anymore. The streets are awash o mother with blood and tears, pellets and screams. that silently remain locked in the air, while they seal our soulless dreams. The guns are out, O mother, while our boys go armed with stones, I cannot go looking for him O mother, I have no courage to face what I will find. For, I need to tend to this little one beside, with bound eyes that see no more. ----- Weep for the home we lost O mother, Weep for the valley we left behind, the hills that once bore our names, where shoulder to shoulder, we walked the vales, proud of our heritage. Hunted out of our very homes, flying like thieves in the night, abandoning it all, fearful for the lives of our men, fearful of our being raped, our children killed, Kafirs they called us O mother, they marked our homes to kill. We now haunt the streets of other cities, refugees in a country we call our own, belonging nowhere, feeling homeless without the land we once called home. ------------- Weep loudly O mother, for the nation hears our pain. As the fresh flag moulds his cold body, I know his sacrifice was not in vain. We need to put our chins up, O mother and face this moment with pride. For blood is blood, and pain is pain, and death is final, The false story we must tell ourselves is that we are always the right side, and forget the pain we inflict on the other side. Until it all stops, it must go on, the dry tears on either side, Every war and battle is within and without, and must claim its wounds and leave its scars, And, if we need to go on O mother, it matters we feel we are on the right side. We need to tell ourselves we are always the right sight... We need to repeat it a million times, We are always the right side... For god forbid, what if we were not? --- Request you to read the full poem on my website.
Srividya Srinivasan
Every Pirate Wants to Be an Admiral IT’S NOT AS though this is the first time we’ve had to rethink what copyright is, what it should do, and whom it should serve. The activities that copyright regulates—copying, transmission, display, performance—are technological activities, so when technology changes, it’s usually the case that copyright has to change, too. And it’s rarely pretty. When piano rolls were invented, the composers, whose income came from sheet music, were aghast. They couldn’t believe that player-piano companies had the audacity to record and sell performances of their work. They tried—unsuccessfully—to have such recordings classified as copyright violations. Then (thanks in part to the institution of a compulsory license) the piano-roll pirates and their compatriots in the wax-cylinder business got legit, and became the record industry. Then the radio came along, and broadcasters had the audacity to argue that they should be able to play records over the air. The record industry was furious, and tried (unsuccessfully) to block radio broadcasts without explicit permission from recording artists. Their argument was “When we used technology to appropriate and further commercialize the works of composers, that was progress. When these upstart broadcasters do it to our records, that’s piracy.” A few decades later, with the dust settled around radio transmission, along came cable TV, which appropriated broadcasts sent over the air and retransmitted them over cables. The broadcasters argued (unsuccessfully) that this was a form of piracy, and that the law should put an immediate halt to it. Their argument? The familiar one: “When we did it, it was progress. When they do it to us, that’s piracy.” Then came the VCR, which instigated a landmark lawsuit by the cable operators and the studios, a legal battle that was waged for eight years, finishing up in the 1984 Supreme Court “Betamax” ruling. You can look up the briefs if you’d like, but fundamentally, they went like this: “When we took the broadcasts without permission, that was progress. Now that someone’s recording our cable signals without permission, that’s piracy.” Sony won, and fifteen years later it was one of the first companies to get in line to sue Internet companies that were making it easier to copy music and videos online. I have a name for the principle at work here: “Every pirate wants to be an admiral.
Cory Doctorow (Information Doesn't Want to Be Free: Laws for the Internet Age)
We rape witches, and steal from the Poor.
Petra Hermans
Many of the criminal skills on the Web have emerged from an essential division in the philosophical debate generated by the Internet. In simple terms the debate is between those, on the one hand, who believe its commercial role is paramount and those, on the other, who argue that it is in the first instance a social and intellectual tool, whose very nature changes the fundamental moral code of mass communication. For the former, any copying of computer ‘code’ (shorthand for the computer language in which software or a program is written) that is not explicitly sanctioned is regarded as a criminal violation. The latter, however, are convinced that by releasing software you are also relinquishing copyright.
Misha Glenny (DarkMarket: Cyberthieves, Cybercops and You)
No part of this book may be reproduced, scanned, or distributed in any printed or electronic form without permission. Please do not participate in or encourage piracy of copyrighted materials in violation of author’s rights. Purchase only authorized editions. Otherwise the author may pay a voodoo priestess to put a curse on you that will keep you from experiencing orgasms for the rest of your life.
C.C. Wood (Earning Yancy (NSFW, #2))
The Trans-Pacific Partnership is an international agreement being worked out among 12 countries: Australia, Brunei, Canada, Chile, Japan, Malaysia, Mexico, New Zealand, Peru, Singapore, the United States, and Vietnam. Part of the treaty falls under the traditional heading of “free trade,’’ including efforts to reduce tariffs and end government subsidies. But there are other parts that would increase government regulation, especially when it comes to intellectual property. The United States, in particular, has been pressing for heightened protection of trademarks, patents, and copyrights. The deal would also establish a kind of court system where companies could sue other countries for violating terms. The arguments for TPP
The risks to our nation are increasing, rather than decreasing, every minute we turn a blind eye to China’s theft of billions of dollars’ worth of intellectual property and technology; to years of piracy and copyright law violations; to the CCP’s closed economy, the artificial valuation of its own currency, its relentless political influencing operations; and so much more. As we continue to turn a blind eye, our nation moves closer to losing its independence and its freedom.
Robert Spalding (Stealth War: How China Took Over While America's Elite Slept)