Bonjour, Supposons une reproduction de tableau ancien. Pourriez vous me confirmer, si je suis dans le vrai? Comment se fait il que sur WP, on ne parle jamais du support? Le cas des livres d'art est plus douteux. Donc la seule protection qui peut jouer pour une image est celle de la reproduction photographique, effectivement non reconnue aux US.
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Ma question est, ce livre est-il dans le domaine publique ou non? Peut-on reproduire le plan de ces ports ou d'autres informations qu'il contient?
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Dans ce cas, toute forme de licence est acceptable. Si l'image est anonyme, cependant, le seul nom qui figurera est celui de la personne morale. Dites-moi dites-moi Ces photos proviennent de livres et d'articles sur le sujet.
Tales of the Interverse Faire; Da Guv
Et alors? Est-ce que ce sera efficace? Pour l'ajout d'image sous commmons, il faut une licence libre GFDL ou autre. Qu'en est-il pour WP francophone? Pourquoi CC-NC n'est pas admise? Est-ce que toutes licences de type non-commerciale est bannie? Else will need a special autorisation. Please make it clear if you want a positive answer! Bonjour, quelqu'un pourrait-il regarder cette image?
J'ai ne sais pas bien si on peut l'utiliser ici. Cette image est elle dans le domaine public? Que faire? Quelqu'un veut m'aider ou corriger cette situation? Voici les liens aux images en question. Je n'y comrends rien, pour moi j'ai fait pareil por les 2 images. Comment faire? Un mineur peut-il, sans autorisation de ses parents, placer ses productions sous licence GFDL?
Voici un extrait. Si non quel moyen pouvez-vous me conseiller d'utiliser. Si dans ces domaines, l'ayant-droit est agressif, on ne peut plus prendre de photos librement.
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En vous souhaitant bonne continuation pour votre super site. Bonjour, je voudrais savoir si on peut inclure des images des pochettes d'albums de musique dans un article. Sont elles sous copryright? Je comprends pas, des fois copyright, et des fois libre de droit? Est ce que le scan d'une oeuvre libre de droit n'est pas une oeuvre libre de droit?
A qui appartiennent-elles? J'aimerais ajouter un ou deux points. Ici aux USA, il y a plusieurs lois qui se superposent et qui se contredisent. Corel Corp. Dans Brigeman v. Le cycle de l'Assassin Royal en l'occurrence qui contient plusieurs descriptions de blasons. JPG illustrant l'article Gometz-la-Ville. Merci d'avance Benjamin. Ai-je le droit d'utiliser quelques unes de leurs photos pour appuyer mon travail en les citant bien sur ou dois-je leur demander une autorisation?
Je ne vois aucune indication ni dans un sens ni dans l'autre sur le site officiel.
La loi dit bien et cela est valable dans tous les pays que nul ne peut tirer profit de ses exactions. En effet dans l'article sur un personnage, ou sur une BD, il serait illogique de ne pas mettre d'images. Ze Kayl. Les oeuvres d'origine sont libres de droit, mais leurs photos? Je suis en train de bosser sur l'article L'homme de Tiananmen , et il n'y a pas de photo hors copyright puisque cela date de Je ne sais pas bien comment, vu qu'il est mort il y a moins de 70 ans, mais admettons. L' art. J'ai bon? Eh non, tout faux. Comment je peux faire pareil qu'eux?
Bonjour, je viens de supprimer cette image, couverture d'un magazine datant de A noter qu'il n'y a pas de couverture sur l'article de:Der Spiegel. Combien de temps attendons-nous avant de pouvoir utiliser librement une photo qui a presque cent ans mais dont l'auteur m'est inconnu. Pour info, il s'agit d'une carte postale de A quand une image de Gainsbourg sans Gitane au bec?
Du coup, je souhaiterais savoir ce qu'il en est, et si je peux remettre les paroles. Merci par avance, cordialement Ico Bla? Quelle sont les droits d'auteur sur des cours? Puis-je les mettre en ligne sur WP? Mais bon, ce n'est que mon avis Mais qui est le cocontractant? Donc, finalement, qui est le cocontractant? Ca ne tient pas deux minutes. Donc, Wikimedia a le droit de bannir. De fait, rien n'oblige par exemple de mettre les images qui sont des contributions sous GFDL. Juste un rappel. Et pour l'ayant-droit de l'image, devant quelle juridiction attaquer? Quel droit est applicable? Je ne pense pas qu'il s'agisse d'une violation de droit d'auteur, mais on n'est jamais assez prudent.
Elle fait actuellement l'objet d'une discussion concernant son copyright. En effet un tag indique:.
This image is in the public domain because according to the non-retrospective copyright law of July 10, of the People's Republic of Poland, all photographs by Polish photographers or published for the first time in Poland or simultaneously in Poland and abroad published without a clear copyright notice before the law was changed on May 23, are assumed public domain.
This applies worldwide. Quelle est la position des grands juristes manitou de Wikipedia France? Peut-on l'incorporer sans risque dans un article? Petite question juridique: Est-il legal de mettre sur wikipedia les regles de certains jeux warhammer, magic etc Smith espouses an early trickle-down theory of capital and morality equitably traversing the whole of human society, from pauper to nobleman. Jeremy Bentham calls pleasure and pain the two masters of the human condition upon which all sociopolitical life is constructed as a secondary operation. Universal emotion and natural rights discourses morally justify free-market economics: this is the natural state of every human being; this is freedom.
Championing a residual body politic, a self-styled bourgeois freed itself of empire and discursively legitimized self-rule on the basis of capital and innate moral virtue. Laissez-faire embeds itself within US democracy and European empire. Although it seemed to offer an alter- native epistemological and political model to imperialism, liberal democracy nevertheless imperializes. Think not only of the longstanding failure to abolish slavery but also of Manifest Destiny, westward expansion, and US military incur- sions and political manipulations too numerous to count in Latin America during the nineteenth and twentieth centuries.
Even after mid-century decolonization and leftist revolutions, the vertical rationality of empire persists through the Cold War era. It is only with the fall of the Soviet Union that the affective epistemology of capitalism fully unfolds to achieve cultural visibility and popular influence. Rather than the very form of order, verti- calities consequently become anathema to this principle of order.
The result is an extreme horizontalization of relationships on an immanent plane; everything rests within a body politic organized on the principles of organicity, harmony, happiness, love, equality, trust. By the linking of rational epistemology with imperialism, I mean the Cartesian privileging of a thinking mind over a residual and even abject body—commanding, regulating, decreeing, imposing, exploiting, colonizing, disciplining.
The mode of thinking thinks for and in place of the subject, who is always a third-person other, always the object of discourse. The relationship between sovereign and subject is consequently based on fear, suspicion, mistrust, strategy, repression, the unyield- ing assertion of superiority—superiority of knowledge, decision making and judgment, critical acumen.
In this epistemology, a vertical dualism organizes and segregates the ruling head from the subject body, reserving all powers of governance for the head and imposing all duties of subservience on the body as remainder. If, since the advent of laissez-faire—inspired bourgeois rebellion, we see hybrid affective-rational modalities between reason and affect in the resulting two-hundred- year variations on an admixture between rationally vertical forms of rule of the many by the few i. We should be able to identify and decipher the epistemological dis- cursive structures that shift over time to lend foundational legitimacy to the dom- inant social order and its archetypical model of politico-economic power.
To explain the aesthetic operations of affective free-market epistemology, I turn now to a comparison of two versions of the same artistic work, one made during the French Revolution, the other in our neoliberal present. This pair of cultural examples provides a means of reading the arc of intensifying cultural protagonism of epistemological horizontalized affectivity during the period — I would like to look at these two works as a series in the discursive life of free-market Homo oeconomicus.
In both cases, we see an aes- thetically rendered rejection of verticality insofar as the representation of the subject works unrelentingly against its transcendence and exaltation; instead of any kind of rising above, there is a morally inflected insistence on immanence and dwelling within. In their early careers, both Jean-Paul Marat and his painter David mixed with elite society but nevertheless became supporters of the revolution.
David, born into the affluent bourgeoisie, studied at the Royal Academy of Painting and Sculpture, won its Prix de Rome, and was admitted to the Royal Academy; yet he became the premier painter of the revolution and, like Marat, a member of the National Convention, the political body of the republic. When Marat was murdered, David painted him as the embodiment of revolutionary political commitment. The opposition between aura art and cinema shows him grappling with shifts in a deeper diachronic life than his historical moment and media would let him address directly.
In the sense that these paintings have become part of permanent museum collections, they appear to satisfy the definition of what Benjamin would consider aura art— original and one of a kind. Never mind that the revolutionary government that commissioned it ordered copies for other cities and made efforts to maximize its public visibility and spectatorship.
It is not coincidental that a painting widely considered to be radically paradigm shifting—in Timothy J. The revolutionary regime wanted new heroes and tasked David with painting three portraits of their martyrs. The Death of Marat is the only one to be completed and to survive the era intact. Here we have a work of aura art that nevertheless rejects the elitism of that aura status, instead, in effect, seeking the attributes of cinema art as understood by Benjamin: The Death of Marat was meant to be reproduced for propagandistic dissemination and consumption under an intended democratization—or at least commonization, so to speak—of politics and culture at large.
Perhaps universal dissemination of the image was impossible, but it seems to have been a goal to maximize access, cutting across lines of class hierarchy. The painting provocatively eschews symbols of elitism and religion, seeking instead to portray Marat as an everyday hero who claimed to hold the wellbeing of the people as his highest ideal. Marat was assassinated by knife wound in his bathtub by Girondist-royalist sympathizer Charlotte Corday. In the painting, his body—some say lifeless, others on its last breath—slumps back, his head and right arm draping downward, plume in hand still poised to write, left arm resting on his makeshift desk, still grasping between thumb and forefinger the petition he believed Corday to have brought him.
For the painting, David apparently revised the content of the original letter, which called for a list of executions by guillotine, so as to soften the moral content of what Marat was about to condone with his signature forever forestalled. There is none of the classical symbolism of spiritual transcendence, no ecstatic Baroque meeting of his Maker, no won- drous ascendance into a grand beyond. The light source is agonizingly horizontal and unseen, with an easing of the darkness toward the upper right of the frame but no true relief from above or behind. There is neither horizon nor upward dynamism, thus no thereafter.
The play of light marks this as a death in mid-action, that of a devotee of his cause, perhaps a martyr—even one with the significance of Christ, though lacking signs of exaltation. His arrested movement enshrines his intent, while the slight float of the paper in his hand indicates the political cause for which he died. This initiated an ideological oscillation of artistic interest investment between vindicating Marat and exonerating his assassin Corday. Edvard Munch and Pablo Picasso made early twentieth-century versions of the painting that in both cases foregrounded the role of the female aggressor.
As in the time of the Second French Republic, so the early twenty-first century experienced a resurgence of interest in the painting and a sudden proliferation of versions by other artists from both the high art and online communities. The one to which I now turn puts a twenty-first-century garbage activist in the place of Marat. But Muniz made his name with a series now owned by the Smithsonian American Art Museum that bears the following gallery label on each of the works see any of the individual works listed below : Vik Muniz drew portraits of the children of sugar cane workers he met on the Caribbean island of St.
These faces are more than just anony- mous human visages with meaningless first and last names, the titles insist; they belong to real living children who have run, sweated, bathed, drunk orange juice, tried unsuccessfully to swim. The storytelling titles are abbreviated invitations to endearment and empathic connection that make us chuckle and want to know more. They consequently make it impossible to maintain a relationship of affectless dis- tance to the work we are beholding.
Although one must travel and pay to gain access to view them in person, it is also true that one may take an online gallery tour without doing either, as I have. This digital open access nevertheless calls attention to difference in privilege between the institution holding the image and the subject represented therein. Surely it would not be impossible or inconceivable to trace a relationship between the national wealth derived from proprietary interests in the Caribbean sugar industry and the national wealth that constructed its venerable halls of culture.
Whatever their social and historical cir- cumstances of exploitation, these children are, without exception, represented as joyful and proud and, as such, possessed of radiant beauty. At the same time, both institution and viewer, through the exculpatory route of affect, are spared a hard-line social critique in the form of an accusation or an admission that they are responsible for this sacrifice.
Rather than force viewers to reflect rationally on their cultural culpability and complicity, these works afford an affective encounter with the inviolable personhood of these individuals on a horizontalized plane of equality forged of common emotional experience. The difference is that garbage becomes the raw material of portraiture, yielding an even more powerful and stark symbolism.
Muniz arrives at the dump thinking he will find and foreground trash; his surprise is that, instead, he finds people working there who give this trash a human face. In the course of Waste Land, we see Muniz develop the idea of working with the catadores to produce their own art. Muniz maintains his status as artistic director and is, ultimately, the artist credited with the works themselves, but he nevertheless ideates and executes a more participatory project than he had imagined.
Selecting a group of interested and willing catadores based on preliminary meetings, conver- sations, and tours of the landfill, Muniz proposes to make a portrait of each one, some remakes of canonical works of art, others derived from personal photographs. For each piece, Muniz projects the image onto a warehouse-sized floor. The catadores- cum—artistic collaborators then gather and distribute trash onto the image projec- tion, filling in the formal outlines with the raw material of their work life.
Otherwise, the film puts Muniz on the same plane as the cata- dores, as a peer who has gained access to the cosmopolitan world of high culture through talent and hard work and without losing his humility or native sense of community. In , Muniz founded the nonprofit Escola Vidigal to offer free art programs to local children in the neighboring Rio de Janeiro favela low-income neighborhood.
Both are invested in egalitarian alternatives to classic institutionality—of art, of education, of labor. This is possibly because a tombstone to this Marat who looks like he could be resting in a moment of inspi- ration would not make sense in a portrait that is not so much about death as it is about life. The most obvious and significant change in this version, however, is the obtrusive and visually inescapable garbage.
As in the original, the bath- tub intersects the right edge of the frame. There is no light source. The eye-catching prominence of two white toilet seats, extended to the full-and-open position and therefore immediately recognizable for what they are, also lends the trash a meta-identity as such. I want to give special consideration to what happens to the background in the passage from the prelim- inary photograph to its reconfiguration in garbage. Instead, garbage completely saturates the area around the tub, turning it into an image of resting within rather than rising above the conditions of possi- bility for political subjectivity.
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This is a revolutionary reversal of the original that lovingly affirms rather than violently counters. Is this, in other words, the happy freedom of horizontality? The same preferential horizontality is notoriously at work in the rhetoric of the ultra-neoliberal Tea Party on the US political Right, which decries any perceived overreach of democracy into economic regulation as tyranny and its insufficiently free-market—friendly presi- dents as kings Lepore. Nature provides such in every society,—only let us have the real instead of the titular. Let us have our leading and our inspiration from the best.
Tales of the Interverse Faire - Da Guv: Da Guv (Paperback)
Let the powers be well directed, directed by love, and they would everywhere be greeted with joy and honor. Trade is an instrument in the hands of that friendly Power which works for us in our own despite. We design it thus and thus; it turns out otherwise and far better. This beneficent tendency, omnipotent without violence, exists and works. Every line of history inspires a confidence that we shall not go far wrong; that things mend. Trade goes to make the governments insignificant, and to bring every kind of faculty of every individual that can in any manner serve any person, on sale. Instead of a huge Army and Navy, and Executive Departments, it converts Government into an Intelligence-Office, where every man may find what he wishes to buy, and expose what he has to sell, not only produce and manufactures, but art, skill, and intellectual and moral values.
This is the good and this the evil of trade, that it would put everything into market, talent, beauty, virtue, and man himself. Thus we return to my opening question. Have one to sell? Sell now - Have one to sell? Get an immediate offer. Get the item you ordered or get your money back. Learn more - opens in new window or tab. Seller information greatbookprices2 Contact seller. Visit store. See other items More See all. Item Information Condition:. Sign in to check out Check out as guest. The item you've selected was not added to your cart.
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