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A quick piece inspired by my attendance of Tosca this past weekend at the Seattle Opera. What a story!Add a Comment
Writer Neil Gaiman and artist Chris Riddell have once again teamed up on a project. In the past, the two worked on an illustrated book edition of The Sleeper and The Spindle short story; Bloomsbury U.K. published it last year.
According to The Guardian, the two collaborators came together again to express their feelings on the “the Paris terror attacks” with an “artist’s creed.” Altogether, Riddell created four images for this “credo”; both Gaiman and Riddell have shared the finished pieces on their Facebook pages.
Here’s an excerpt from Gaiman’s writing: “I believe that in the battle between guns and ideas, ideas will eventually win. Because the ideas are invisible and they linger and sometimes, they are even true.” What do you think?Add a Comment
Lulu Jr., the children’s division of the self-publishing platform Lulu.com, has teamed up with educational software firm FableVision Learning for a new venture called My Awesome Publishing Company!, a self-publishing platform for kids.
The online book publishing platform teaches kids how to create a book from idea to print edition. The tool guides young writers through writing, production, marketing and distribution until they ultimately publish their own book.
The company is pushing it to both educators as a way to engage kids in the classroom. The tool works on both mobile devices and desktops, so kids can start a project on say a classroom computer and then work on it on their iPad at home, for instance.Add a Comment
I discovered Jon Contino by following the work of Jessica Hische and Drew Melton (the typography world is very small). The first two things that resonated with me was the fact that he, like me, didn’t go to art school, and that he also used his musicianship as a passageway to his passion for design. As much as I’ve grown to love digital illustration and type design, I’m always the most drawn to analog aesthetics–and Jon prioritizes them in his work.
Jon Contino is an award-winning designer, illustrator, art director and self-professed alphastructaesthetitologist. His style is strongly inspired by contemporary street art, his native stomping grounds of New York, and the grit of hand-drawn type. He’s worked with clients like Ogilvy, Nike, Whole Foods, McSweeney’s, Target and The New York Times. He’s also an ADC Young Gun 9 winner to boot, and happens to possess a heartwarming Long Island-born accent.
Jon cites his family as being vital in governing his design and illustration aesthetic. His mother and grandmother happened to be artists, both supporting and assisting in his pursuit of his craft by bringing home reams of butcher paper and instructional drawing books (more about this in the wonderful Shoptalk interview here). He discovered that the lettering he was seeing in movie posters and baseball adverts still counted as typography–even at a very early age. It took me much longer to figure out that illustration and beautifully drawn words weren’t just for books–the marks of our handiwork can truly be found anywhere, if you just slow down and take the time to look.
As a teenager, Jon got his freelancer chops very early on. As a designer geek and drummer in a hardcore band, he was constantly relied upon by his band (and friends’ bands) to supply flyer designs, gig posters and the like. Soon enough, he realized that he could actually “make money at this thing,” and he was preparing invoices and freelancing by the ripe old age of 15.
In 2006, after working for a few different companies and design houses, he opened his own creative studio and has been working for himself ever since. He’s constantly turning pet projects into mini-businesses–most recently, he started up Contino Brand. And even amidst his successes, he’s learned the art of saying no for the sake of self-preservation.
Jon has spoken about how his preference for modern minimalism and his hand-drawn gritty aesthetic meets with a clash. That clash has governed a unique vision that brings the best of clean design and true-to-form drawing together. I’m enthralled by this intersection, and so clearly see the passion and determination that stands solidly behind Jon’s work. His personal history only continues to illuminate it.Add a Comment
This illustration accompanied a New York Times Op-Ed piece byNOV. 27, 2014.
Thanks to AD Steven Attardo for this wonderful assignment.Add a Comment
Children have become heavy new media users. Empirical data shows that a number of children accessing the internet – contrary to the age of users – is constantly increasing. It is estimated that about 60% of European children are daily or almost daily internet users, and therefore, by many they are considered to be “digital natives”.
However, in our view, the use of this “digital natives” concept is misleading and poorly founded, and is based on the assumption that children are quick to pick up new technologies. A recent EU Kids Online study invalidates this assumption. The study shows that even though children actively surf on various online applications, they lack digital skills such as bookmarking a website, blocking unwanted communications, and changing privacy settings on social networking sites. Many children are not capable of critically evaluating information and changing filter preferences.Interestingly, the lack of skills to perform specific tasks while being online does not impinge on children’s beliefs in their abilities – 43% of surveyed children believe to know more about the internet than their parents. At the moment, no correlation between this proclaimed self-confidence and their actual understanding of how internet works can be done due to the lack of data. Nevertheless, it is worth questioning whether, and to what extent, it is reasonable to expect that children understand the implications of their behaviour and what measures could mitigate children’s online risks in the most efficient and effective way.
It is probably closer to the truth to say that, in terms of privacy and data protection awareness, children are anything but “digital natives”.
Indeed, children’s actions online are being recorded, commercialised and serve for the purposes of behavioural advertising without them actually realising. This media illiteracy is tackled by awareness raising campaigns and policy measures on domestic and EU levels. However, it seems that these measures only partially address the challenges posed by children’s online engagement.
The European Commission (EC) seems to be in favour of legislative measures providing for a stronger legal protection of children’s personal data in the online environment. In Article 8 of the proposal for the General Data Protection Regulation, the EC introduces verifiable parental (or custodian) consent that would serve as a means of legitimising the processing of a child’s personal data on the internet.
Article 8 of the proposal foresees that parental consent would be required in cases where the processing operations entail personal data of children under the age of 13. The age of 13 would be the bright-line from which the processing of children’s personal data would be subjected to fewer legal constraints.
In practice, this would divide all children into two groups; children that are capable to consent (i.e. 13-18 year olds) to the processing of their personal data and children that are dependent on parental approval of their online choices (i.e. 0-13 year olds). Drawing such a strict line opposes the stages of physical and social development. Also, it requires the reconsideration of the general positive perception of the proposed parental consent from a legal point of view. In particular, it is necessary to evaluate whether the proposed measure is proportionate and whether it coincides with the human rights framework.
In a recent article published in the International Data Privacy Law Journal, we have analysed the proposal to distinguish between children younger and older than 13 years and found many practical and principled objections. Apart from the practical objections, which are often self-evident (e.g. what about the protection of children in the age group from 13 to 18 year old? How to ensure the enforcement of the proposed parental consent?), there are several fundamental problems with the proposed 13 years-rule.
The bright-line rule, which would require data controllers to obtain parental consent before processing personal data of children aged under 13, seems to be incompatible with the notion of evolving capacities. The proposed measure is based on the assumption that from the age of 13 all children are able to provide an independent consent for the processing of their personal data in the online environment. The proposed Article 8 ignores the fact that every child develops at a different pace and that the introduction of parental consent does not ensure more guidance regarding online data processing. We also regret that Article 8 in its current form doesn’t foresee a way in which children could express their own views regarding the data processing operation; the responsibility to consent would rest exclusively with a parent or a legal guardian. This set-up opposes the idea of children’s participation in the decision-making process that concerns them, an idea anchored in the UN Convention on the Rights of the Child (UNCRC) and that is recognised by both the EU and its Member States.
Finally, our analysis suggests that children’s rights to freedom of expression and privacy may be undermined, if the proposed parental consent is introduced. As a result of Article 8, children’s access to information could become limited and dependent on parents. Also, the scope of their right to privacy would shrink as parents would be required to intervene in children’s private spaces (e.g. gaming accounts) to make informed choices. Therefore, it can be observed that the introduction of parental consent contradicts the key principles of human rights law enshrined in the UNCRC.
Featured image credit: Student on iPod at school. Photo by Brad Flickinger. CC-BY-2.0 via Flickr.
The post Parental consent, the EU, and children as “digital natives” appeared first on OUPblog.
While in Idaho a few weeks ago, we watched a lone eagle repeatedly try to catch a coot in the water.Add a Comment
On the subject of competition law inspections and similar procedures, tensions have been building between the European Court of Human Rights (ECtHR) and the Court of Justice of the European Union (EUCJ). The latest case-law appears like a step in the direction of reconciling the two. One of the crucial points that must be resolved in the future is the lawfulness of the authorities’ extensive digital evidence gathering during on-site inspections. Such searches are nowadays a matter of routine, although the law seems to be lagging behind. Not only must the lawfulness of those measures be resolved, but also the matter of procedure. Companies subject to inspections have gone to court repeatedly in order to obtain up-front judicial control of specific measures such as copying and mirroring of hard drives and servers.
Delta Pekárny concerned a competition law inspection. The inspection began with an examination of digital correspondence. Delta Pekárny was subsequently fined for refusing to allow an in-depth examination of its data. It challenged that decision, arguing, among other points, that it was contrary to domestic law and to the European Convention on Human Rights (ECHR) for the Czech Competition Authority to carry out an inspection without having received prior authorisation from a court. In the judgment, the ECtHR makes references to EU law, to a comparative study of the investigative procedures prevailing in all Member States, and to the Commission’s inspection powers. The ECtHR considered that in the absence of a prior judicial authorisation by a judge, an effective control afterwards of the necessity of the measure, and rules on destruction of copies made, the procedural guarantees were insufficient to prevent the risk of an abuse of powers. There had been a violation of Article 8 of the ECHR (right to respect for private and family life, home and correspondence).
The ECtHR’s legal assessment in Delta Pekárny cannot, in my opinion, be seen as a criticism of the investigation procedure under Regulation 1/2003, a procedure that has been copied in several Member States. Rather, the outcome seems specific to the procedural rules applicable in the Czech Republic.
Delta Pekárny builds partly on Robathin, a case that concerned a search warrant at the office of an Austrian practicing lawyer who was suspected of aggravated theft, aggravated fraud and embezzlement. The warrant was issued by an investigating judge in the context of criminal proceedings. All files of the lawyer’s computer system were copied. The ECtHR held that domestic law and practice must afford adequate and effective safeguards against any abuse and arbitrariness. There should be particular reasons to allow the search of all data, having regard to the specific circumstances prevailing in a law office. There were no such reasons either in the search warrant itself or in any other document. The ECtHR found that the seizure and examination of all data went beyond what was necessary to achieve the legitimate aim. There was a violation of Article 8 of the ECHR.
The Robathin case concerned classic or hard core criminality. Depending on the circumstances, a competition law fine can be considered a criminal penalty. Competition law cases nevertheless lean more towards the administrative enforcement side, and this can influence the procedural requirements.
A hint at how the ECtHR may regard competition law dawn raids came in Bernh Larsen Holding. The case concerned a tax inspection.Three companies used a server jointly and the Norwegian tax authorities copied the entire sever content. The inspection order was adopted without prior judicial authorisation. Volumes of surplus information without importance for the tax inspection had been copied, including private correspondence and business secrets. The ECtHR accepted considerations of efficiency of the tax audit, but made clear that this did not confer on the tax authorities an unfettered discretion. The Court assessed whether the measure was necessary and proportionate. There was a wider margin of appreciation since the measure was aimed at legal persons and not at an individual. The nature of the interference was not of the same seriousness and degree as in the case of search and seizure carried out under criminal law since the consequences of a tax subject’s refusal to cooperate were exclusively administrative. The outcome was that the Norwegian order had been subject to important limitations and was accompanied by effective and adequate safeguards against abuse. There was no violation of Article 8 of the ECHR.
The judgments of the ECtHR can be seen in relation to those of the EUCJ. In Nexans, the Commission carried out a dawn-raid and decided to remove four DVD-ROM discs and a copy of the hard drive of the laptop of an employee of Nexans France, for later review at its premises in Brussels. The inspection decision, as well as the mirroring measures and other measures, were appealed to the General Court. Nexans’ claim relating to the Commission’s decision to remove copies of certain computer files and of the hard drive, was deemed inadmissible. After reminding that Nexans could bring its claims within an appeal against a final decision, the General Court pointed out that Nexans could also bring an action for damages against the Commission if it believed that copying of several computer files and of a hard drive for later examination in its offices was illegal and had caused harm. There was consequently no assessment in substance.
“Step by step, the Court in Strasbourg is moving into domains that have, for many years, primarily been a matter for the EUCJ”
An outcome which appears opposite can be observed in Deutsche Bahn. Deutsche Bahn challenged three Commission inspection decisions. One of the claims was that Deutsche Bahn’s defence rights had been infringed in view of irregularities during the first inspection. According to Deutsche Bahn, the second and third inspections were based on information that had been unlawfully obtained during the first inspection. Among other things, the Commission had searched certain e-mails that were clearly unrelated to the subject-matter of the first inspection. Allegedly the Commission officials had also used certain keywords unrelated to the inspection during their electronic search. The General Court looked into all those aspects in relative detail and finally rejected the plea as unfounded. The General Court’s judgment has been appealed.
While the General Court’s judgment in Nexans seems somewhat difficult to reconcile with the case-law of the ECtHR, the approach in Deutsche Bahn appears to be more in line with the methodology envisaged by the ECtHR in Robathin and Bernh Larsen Holding. The facts of Delta Pekárny may be too specifically related to Czech domestic law to be of general application. Nevertheless, the ECtHR’s approach is telling. Step by step, the Court in Strasbourg is moving into domains that have, for many years, primarily been a matter for the EUCJ. This as such, should come as no surprise. The EUCJ has made references to the ECHR for decades in competition law rulings. Can we in the years to come expect to see a mutual alignment?
Featured image credit: FW Pomeroy’s statue of Justice atop the Old Bailey. Photo by Ben Sutherland. CC-BY-2.0 via Flickr
An official trailer has been unleashed for House of Cards season 3. In December 2014, Netflix delivered “a special message from the White House” and revealed that the third season will be released in its entirety on February 27th.
The video embedded above offers glimpses of what’s to come for the diabolical Underwoods played by Golden Globe winners Kevin Spacey and Robin Wright–what do you think? The Facebook post has drawn more than 66,000 \"likes\" and the Twitter post has drawn more than 4,700 “favorites.” (via Deadline)Add a Comment
The files will also have backward compatibility to EPUB 2 for readers using older devices. HarperCollins worked with RSI Content Solutions on the implementation. RSI is sharing the process with the DITA for Publishers open source community, so that other publishers can use the new format.
“Implementing EPUB 3 enables us to support industry standards while increasing accessibility for the disabled community,” stated Leslie Hulse, VP of business development at HarperCollins. “We look forward to the enhanced benefits this new format will provide readers.”
By David Nieves
Today during DC’s “Download This!” panel new books were announced that will expand the publisher’s digital comics universe. Wonder Woman 77 will be written Marc Andreyko with cover art contributed by Nicola Scott. No story details or interior artist were mentioned, but the comic will debut as a six-part weekly series in December with print editions to follow. The series follows Lynda Carter’s TV Wonder Woman and is a natural extension of what the publisher started when they launched Batman 66.
Fables: The Wolf Among Us spins out of the popular Telltale games series which was originally based on the Bill Willingham Fables series. The creative team on the digital comic will include Matthew Sturges who will co-write with Dave Justus with art by Steve Sadowski, Travis Moore, and Shawn McManus. Covers will be by Chrissie Zullo. This will be Vertigo’s first digital series.
Mortal Kombat X will be written Shawn Kittelsen and drawn by Dexter Soy with covers by Ivan Reis. The series serves is a prequel to the highly anticipated game of the same name by NetherRealm Studios and Warner Interactive Entertainment. The story takes place 25 years after the events of 2011’s Mortal Kombat game and will tell the stories of characters both new and old.Display Comments Add a Comment
We can’t keep it a secret any longer!
As of today, We Give Books has a new home at First Book. The online platform, which features nearly 300 digitally-optimized children’s books, enables anyone with access to the Internet to put books in the hands of kids in need, simply by reading online.
This generous gift to First Book comes from The Pearson Foundation along with $1.3M in cash to support We Give Books and help First Book deliver new online programs and services to our growing network of 140,000 classrooms and community organizations serving children in need.
You can get involved too!
Children, parents, caretakers and educators can visit www.wegivebooks.org and select books to read together. Reading on the site also triggers donations of new books to programs and classrooms serving children in need. Launched just four years ago, We Give Books has helped deliver more than 3.25 million books to children around the world.
We could not be more thankful to the Pearson Foundation or more thrilled for We Give Books to join the First Book family, helping us provide even more critical reading opportunities to young people across the United States and around the world.
Learn more about We Give Books joining First Book here. Then check out We Give Books and start reading today.Add a Comment
Back in 2009 when I first decided that illustration was definitely the route for me, I was finally beginning to stumble on a lot of other illustrators that really governed my taste and aesthetic going forward. Interestingly, a lot of them happened to reside across the pond in Great Britain. Julia Pott, Lizzy Stewart and Gemma Correll are a few that come directly to mind when thinking of the geography, and are some of my favorite working artists to this date. Lize Meddings also happens to hail from the UK. I stumbled upon her work via Tumblr of all places, and am quite happy I did!
Lize Meddings is a Bristol-based fine artist and illustrator with a penchant for the color pink, animals, nature and all kinds of positive self-expression. She works in both analog and digital formats, showcasing wonderful brushwork and gestural figures. Since finishing up the Illustration program at Plymouth College of Art & Design, she’s become a self-publishing fiend–constantly working on the next comic, zine, print, bag or fine art commission. The idea of a creative block seems far and away from this one’s mind.
Lize is quite interested in the act of characterization, if that wasn’t obvious before. Her medium of comfort is a brush and some ink, but she also demonstrates a natural comfort around the use of color. I particularly love the way she draws eyes–very fairylike for some reason.
Something I’ve noticed about several British illustrators is the tendency towards a more “naive” aesthetic. While that might sound negative, it’s completely the opposite. There’s a unique youthfulness in Lize’s work that allows it to appeal to a wider, younger audience, all while the messages remain witty and cheeky. It takes a special person to turn reality into something appealing, and she does just that by focusing on the relatable, more beautiful aspects of life.
Follow along with Lize’s illustrative adventures: