the industrialism

theguardian.com
Intellectual property laws demand a 21st-century solution
The health and wellbeing of people should be put before corporate profits
By Joseph Stiglitz

When the South African government attempted to amend its laws in 1997 to avail itself of affordable generic medicines for the treatment of HIV/Aids, the full legal might of the global pharmaceutical industry bore down on the country, delaying implementation and extracting a high human cost. South Africa eventually won its case, but the government learned its lesson: it did not try again to put its citizens’ health and wellbeing into its own hands by challenging the conventional global intellectual property (IP) regime.

Until now. The South African cabinet is preparing to finalise an IP policy that promises to expand access to medicines substantially. South Africa will now undoubtedly face all manner of bilateral and multilateral pressure from wealthy countries. But the government is right, and other developing and emerging economies should follow in its footsteps.

Over the last two decades, there has been serious pushback from the developing world against the current IP regime. In large part, this is because wealthy countries have sought to impose a one-size-fits-all model on the world, by influencing the rule-making process at the World Trade Organization (WTO) and forcing their will via trade agreements.

The IP standards advanced countries favour typically are designed not to maximise innovation and scientific progress, but to maximise the profits of big pharmaceutical companies and others able to sway trade negotiations. No surprise, then, that large developing countries with substantial industrial bases – such as South Africa, India and Brazil – are leading the counterattack.

These countries are mainly taking aim at the most visible manifestation of IP injustice: the accessibility of essential medicines. In India, a 2005 amendment created a unique mechanism to restore balance and fairness to patenting standards, thereby safeguarding access. Overcoming several challenges in domestic and international proceedings, the law has been found to comply with WTO standards. In Brazil, early action by the government to treat people with HIV/Aids resulted in several successful negotiations, lowering drug prices considerably.

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vimeo

On this day in music history: October 20, 1989 - “Pretty Hate Machine”, the debut album by Nine Inch Nails is released. Produced by Trent Reznor, Flood, Adrian Sherwood, Keith LeBlanc and John Fryer, it is recorded at The Right Track Studios in Cleveland, OH, Blackwing Studios, Roundhouse Studios in London, Unique Recording Studios in New York City and Synchro Sound Studios in Boston, MA from May - June 1989. While working as an assistant engineer, handyman and janitor at The Right Track Studios in Cleveland, Trent Reznor begins making his debut release under the Nine Inch Nails moniker, at night during studio off hours with the studio managers’ permission. The album features Reznor playing most of the instruments and doing much of the programming and sequencing which is done on an Apple MacIntosh Plus computer. Released on the indie label TVT Records, it is one of the first independently released albums to reach platinum status in the US and is considered a landmark record in the Industrial Rock genre. It spins off three singles including “Head Like A Hole” and “Down In It”. Due to legal issues between Reznor and his former label TVT, the album goes out of print from 1997 to 2005, before the musician acquires the rights to the the master tapes. It is reissued first by Rykodisc, then by UMe (Universal Music Enterprises) in 2010 in a newly remastered edition. “Pretty Hate Machine” peaks at number seventy five on the Billboard Top 200, and is certified 3x Platinum in the US by the RIAA.

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Ardid y Vino wine cabinet by Santiago Rubio

Ardid y Vino is a wine cabinet, designed to hold eight bottles of red wine or liquor and six glasses plus a lilt extra space for accessories. The designer Santiago Rubio created the red front door of a flexible textile, so that you can see the amount of bottles in the cabinet through the front. The main body of the cabinet imitates a table cloth, that has been dragged to one corner with a bottle of wine.

anonymous asked:

What kind of dev earns the most money? Heard some devs talk in a café today and one said the writers are the ones with the least income while another said he's convinced the 3D guys who only do modeling earn even less. What is common and who's on top of the list (besides the obvious CEO...) and who's at the bottom?

Standard disclaimer applies. Mileage may vary, different studios are different, etc. There will sometimes be overlap between the tiers. In my experience (in general):

  1. Studio Head/General Manager
  2. Executive Producer
  3. Technical Director, Senior Producer
  4. Other Directors
  5. Senior Programmers
  6. Senior other devs 
  7. Mid-level Programmers
  8. Mid-level other devs (including producers), senior QA
  9. Entry-level Programmers
  10. Entry level other devs (not including producers)
  11. Entry level producers
  12. QA

Of course, there’s different specialties within each discipline too. Concept artists don’t get as much as technical artists or animators. Engine or graphics programmers usually make more than gameplay programmers. Technical designers earn more than level designers. In general, there are two main factors that drive salary within a discipline - the amount technical skill you need for the job and the number of candidates who are available for that job. Finding an engine programmer that’s well-versed in the hardware and firmware for PS4 and Xbone is pretty hard - there are only a handful of engineers in the world who can do that sort of thing well. Finding an artist candidate who wants to do concept art is super easy in comparison.

The main exception to this is if you’re a producer. In that case, seniority is almost everything. Producers start off pretty low on the totem pole, but have the highest room for growth… mostly because keeping things on track and on schedule is a really, really hard job as you get more responsibility.


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I did not see Harvey again until September 2013 when I was in Toronto for the premiere of “12 Years a Slave,” the first feature film I was in. At an after-party, he found me and evicted whoever was sitting next to me to sit beside me. He said he couldn’t believe how fast I had gotten to where I was, and that he had treated me so badly in the past. He was ashamed of his actions and he promised to respect me moving forward. I said thank you and left it at that. But I made a quiet promise to myself to never ever work with Harvey Weinstein.
— 

Lupita Nyong’o, “Speaking Out About Harvey Weinstein”, The New York Times  

“He said he couldn’t believe how fast I had gotten to where I was, and that he had treated me so badly in the past. He was ashamed of his actions and he promised to respect me moving forward.”

Dreams I Have: Tattooing this on the forehead of every man who dares suggest that sexual assault is not, in its basest, simplest form, a refusal to view women as being goddamn human beings. Capable of anything. Deserving respect, as any man would require, simply by existing.

2

Synthetics of the Alien Universe

Ash - Ian Holm 

Behind the Scenes Alien 1979 

Hyperdyne Systems - 2122


David - Michael Fassbender 

Behind the Scenes Prometheus 2012 

Weyland Industries - 2093

Just got back from the Ministry show and they literally played one song that wasn’t from their shitty thrash albums but they even played that song with a thrash vibe and I’m like…….. please just go back to what y'all used to do for pete’s sake