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For the nightemare

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FCS - 31 Jan 2007 04:01 GMT
I found this and thought it may be of interest.

For the nightemare

"Take a flint stone that hath an hole thorou of his owen growing, and
hange it over the stabil doore, or ell over the horse, and ell write
this charme:

In nomine Patris et Filii et Spiritus Sancti, Amen.

Seint Jorge, Our Lady knight,
He walked day, he walked night,
Till that he founde that foule wight;
And whan that he here founde,
He here bete and he here bounde,
Till trewly there here trouthe sche plight
That sche sholde not come be nighte,
Withinne seven rode of londe space
Ther as Seint Jorge inamed was.

St. Jeorge. St. Jeorge. St Jeorge.

In nomine Patris et Filii et Spiritus Sancti, Amen.

And write this in a bille and hange it in the hors mane."

G DAEB
--
Dave Fawthrop - 31 Jan 2007 07:36 GMT
|I found this and thought it may be of interest.
|
[quoted text clipped - 21 lines]
|
|And write this in a bille and hange it in the hors mane."

Spelling in American was only standardised in the USA about the time of
Noah Webster, http://en.wikipedia.org/wiki/Noah_Webster and in the UK
around the time of Samuel Johnson
http://en.wikipedia.org/wiki/Samuel_Johnson

I still can not get it right without a spellchucker.
Signature

Dave Fawthrop <dave hyphenologist co uk> Google Groups is IME the *worst*
method of accessing usenet. GG subscribers would be well advised get a
newsreader, say Agent, and a newsserver, say news.individual.net. These
will allow them: to see only *new* posts, a killfile, and other goodies.

John Briggs - 11 Apr 2007 11:57 GMT
> Spelling in American was only standardised in the USA about the time
> of Noah Webster, http://en.wikipedia.org/wiki/Noah_Webster and in the
> UK around the time of Samuel Johnson
> http://en.wikipedia.org/wiki/Samuel_Johnson
>
> I still can not get it right without a spellchucker.

Spelling in printed books was pretty well standard, and perfectly
recognisable to us, by c.1650.  My favourite example is A Continuation of
Sir Philip Sidney's Arcadia, by Anna Weamys, 1651.  This was published in a
modernized [sic] edition by Oxford University Press, New York, in 1994.  The
diplomatic reprint (included as an appendix) is often closer to British
usage!
Signature

John Briggs

G DAEB - 11 Apr 2007 02:43 GMT
Is there an FAQ and a group charter? Have I screwed up somewhere here? Maybe
I misunderstood the reply?

As a mere is a mer is a marsh is a mare, depending on which part of Britain
one inhabits, I felt it was of value because it illustrates a clear link
between horses and dreams in pre-Renaissance England--a theme revisited by
PJ Harvey in the last decade or so; and particularly in the light of the
associations the sea has with dreams and subconscious in popular European
iconography.

I note also the Oxford etymology cites it as NIGHT + OE "moere" 'incubus'
but, it would not have been NIGHT in OE to start with so much as "neaht" or
"niht".

Interesting again for the implicit genders in that an incubus as per the
Oxford etymology is a male spirit believed to engage in intercourse with
sleeping women whereas this account seems to imply a female spirit
"here"--the gender neutral Chaucerian "hir" being contraindicated by the
personal pronoun "sche" as distinct from St Jeorge's quest to find her, in
which "He walked day, he walked night".

Perhaps I should've made it clear that I considered its relevance to the
group's name worked at a somewhat more fundamental level than "Coo, din't
they spell funny in't Olden Dayes!?!?!?!?!"

I suppose I'd better get into verbose mode now and point out that the
copyright declaration is a form item I append to the majority of posts I
make which covers my unique and original constructions and is not an attempt
at claiming ownership of prose of 7 centuries' vintage as somehow an
original work.

G DAEB

COPYRIGHT (C) 2007 SIPSTON

--
>I found this and thought it may be of interest.
>
[quoted text clipped - 24 lines]
> G DAEB
> --
Blue Sow - 11 Apr 2007 10:15 GMT
> Interesting again for the implicit genders in that an incubus as per the
> Oxford etymology is a male spirit believed to engage in intercourse with
> sleeping women whereas this account seems to imply a female spirit

That would have been a succubus then.

Signature

Blue Sow

FCS - 17 Apr 2007 03:50 GMT
> > Interesting again for the implicit genders in that an incubus as per the
> > Oxford etymology is a male spirit believed to engage in intercourse with
[quoted text clipped - 4 lines]
> --
> Blue Sow

Well, yes, but this isn't listed as an option in the
dictionary. That was kind of part of the point. I can
pull them all if they're only of interest to me and
aren't really wanted here. I don't mind. If it's not in
any way a relevant snapshot of culture as viewed
through the lens of archaic language, laik.

The dictionary says that nightmares were held to
be a manifestation of incubi. This shows that they
were also at some points at least, held to be succubi.

And this is not relevant to anyone wishing to peer
into the culture of times past? These metaphors
we quivered by?

G DAEB

COPYRIGHT (C) 2007
--
Blue Sow - 17 Apr 2007 10:05 GMT
>>> Interesting again for the implicit genders in that an incubus as per the
>>> Oxford etymology is a male spirit believed to engage in intercourse with
[quoted text clipped - 3 lines]
> Well, yes, but this isn't listed as an option in the
> dictionary.

That would seem to depend on which dictionary you are using.

Certainly the smaller volumes (Pocket OED, Concise OED) provide as you suggest.
However, the larger volumes (OED, SOED) do not.

From the OED (Second Edition):

Etymology: NIGHT n. + MARE n.2 In {beta} forms < the genitive of NIGHT n. + MARE
n.2 Cf. West Frisian nachtmerje, Middle Dutch nachtm{amac}re, nachtm{emac}re,
nachtm{emac}rie (Dutch nachtmerrie, Dutch regional nachtmaar), Middle Low German
nachtm{amac}r (German regional (Low German) Nachtmahr, Nachmaar), Middle High
German nahtmare (German (arch.) Nachtmahr); some forms show alteration of the
second element after corresponding forms of MARE n.1]

Definition: A female spirit or monster supposed to settle on and produce a
feeling of suffocation in a sleeping person or animal.

Topsell (1608) offers dual usage "The spirits of the night, called Incubi and
Succubi, or else Night-mares."

In summary then, in Standard British English, the nightmare would normally refer
to a succubus, rather than an incubus.  Some OE usage may depend on the variety
of Anglo-Saxon from which it derived.

Hope that helps.

Signature

Blue Sow

FCS - 18 Apr 2007 21:23 GMT
> >>> Interesting again for the implicit genders in that an incubus as per the
>
[quoted text clipped - 9 lines]
> --
> Blue Sow

Certainly.

I trust you didn't find the burden of proof too heavy
to carry all on your lonesome. 8?).

G DAEB
--
Blue Sow - 18 Apr 2007 23:21 GMT
>> Hope that helps.
>>
[quoted text clipped - 8 lines]
> G DAEB
> --

Certainly not.  It could have been so much worse, after all, I might have had a
brother.

Signature

Blue Sow

FCS - 19 Apr 2007 02:01 GMT
> >> Hope that helps.
>
[quoted text clipped - 11 lines]
> Certainly not.  It could have been so much worse, after all, I might have had a
> brother.

Can you not remember? What was your sibling's name?
These are often gendered and may help trigger a memory.
I can sympathise with the sense of loss you must feel.

Changing the subject a moment, has this group experienced
cancelbot activity before? I followed-up to the irritated foreigner
earlier and it's gone now. There were angles nobody else had
covered as such.

Oh, and who were you implying I had plagiarised with your
shot about "original material" some time back?

> --
> Blue Sow- Hide quoted text -
>
> - Show quoted text -

G DAEB

COPYRIGHT (C) 2007 SIPSTON
--
Blue Sow - 19 Apr 2007 09:13 GMT
>> Certainly not.  It could have been so much worse, after all, I might have had a
>> brother.
>
> Can you not remember? What was your sibling's name?
> These are often gendered and may help trigger a memory.
> I can sympathise with the sense of loss you must feel.

My 'might have had' refers.

> Changing the subject a moment, has this group experienced
> cancelbot activity before? I followed-up to the irritated foreigner
> earlier and it's gone now. There were angles nobody else had
> covered as such.

'irritated foreigner'?
My software is set to discard messages after 30 days so if it was prior to that ...

> Oh, and who were you implying I had plagiarised with your
> shot about "original material" some time back?

I have no idea what this refers to.  It is highly unlikely that I would imply
anyone had plagiarised anything - it would at best be impolite, and at worst be
potentially litigious.

Signature

Blue Sow

FCS - 20 Apr 2007 01:26 GMT
> > Changing the subject a moment, has this group experienced
> > cancelbot activity before? I followed-up to the irritated foreigner
[quoted text clipped - 3 lines]
> 'irritated foreigner'?
> My software is set to discard messages after 30 days so if it was prior to that ...

The poster who wanted to know about whether or not
"opening an object" was good sense in English as, in
their own language, it seemed to them not logical.

> > Oh, and who were you implying I had plagiarised with your
> > shot about "original material" some time back?
>
> I have no idea what this refers to.  It is highly unlikely that I would imply
> anyone had plagiarised anything - it would at best be impolite, and at worst be
> potentially litigious.

It was one of the better cheap shots at my form
copyright declaration I've seen. Along the lines
of: material must be original in order for it to
be [...copyrightable...].

As far as I'm aware I was merely corresponding
in an on-line forum, representing myself and my
views and thoughts and opinions and suchlike
and nobody else/'s. As such I take miffage, so
to speak, that you seem to believe it lacks any
of the hallmarks of linguistic novelty that any
other utterance would.

Admittedly there's the technicality that what
makes any font recognisable is the uniformity
of its characters when compared to the variety
in all but the most accomplished calligraphy.

And then there's the fact that I could ask you
to write out 500 times "Daeb is NOT a plagiarist"
and whether you did this by hand or typed it up
(I'm assuming you don't use speech-to-text)
the parametric values of the electrical impulses
fired by your brain when viewed on a timeline
would, still, be unique as any fingerprint.

There's then the paralinguistic element that
even a musician playing perfectly from score
night-in night-out may not be wearing the
same facial expression, or a costume which
fits quite so well as the one at the cleaners,
and may well be triggering linguistic impulses
at a neuronic level depending on whether a
particular dog came first or fourth in the 4:17
at Walthamstow.

All material not originated by myself was, of
course, clearly and unambiguously attributed
by way of auto-generated chevrons in the left.

> --
> Blue Sow

G DAEB

COPYRIGHT (C) 2007 SIPSTON
--
Blue Sow - 20 Apr 2007 10:15 GMT
> The poster who wanted to know about whether or not
> "opening an object" was good sense in English as, in
> their own language, it seemed to them not logical.

Ah yes, I remember the question and that there was a variety of responses.  I
cannot recall them individually, nor attribute them.

> It was one of the better cheap shots at my form
> copyright declaration I've seen. Along the lines
> of: material must be original in order for it to
> be [...copyrightable...].

I suspect we are referring to a throwaway comment here, but nonetheless a
response from me would clarify.

> As far as I'm aware I was merely corresponding
> in an on-line forum, representing myself and my
[quoted text clipped - 3 lines]
> of the hallmarks of linguistic novelty that any
> other utterance would.

In some ways, the answer is in the question.  This is, as you suggest, a
newsgroup on Usenet.
Our contributions are in the medium of electronic communication, and bear some
resemblance to writing in that we type out our contributions, take formal turns,
and can take time to consider our words should we choose to do so, yet the style
of our interaction also has much, perhaps more, in common with conversation.

Two things arise from that with regard to copyright.
It is not possible to copyright talk.  This is just as well unless one wants to
pay royalties for every word spoken to the first person who uttered it.

It is unnecessary to attach a copyright notice to written work as what a person
writes is automatically their copyright.  Certainly, many publishing
establishments take a very dim view of submissions which have been decorated
with such notices.

When I post this composition, I will be placing it in the public domain where it
will be accessible free of charge.  In the unlikely event that someone wishes to
quote me, an appropriate citation would naturally be appreciated.  However, I am
not in a position where I could enforce that, nor might I be aware of the need
to do so if, for example, I am quoted in a newsgroup to which I am not subscribed.

Meanwhile, I do enjoy a good +age inflection such as that which you used above.

Signature

Blue Sow

John Briggs - 20 Apr 2007 11:10 GMT
> Two things arise from that with regard to copyright.
> It is not possible to copyright talk.  This is just as well unless
> one wants to pay royalties for every word spoken to the first person
> who uttered it.

Speech (or music, for that matter) is copyrighted as soon as it is "fixed".
So someone surreptitiously recording your conversation has inadvertently
copyrighted it for you.  American and European copyright diverges over the
question of whether a separate copyright subsists in, say, a newspaper
report of a political speech.

> It is unnecessary to attach a copyright notice to written work as
> what a person writes is automatically their copyright.  Certainly,
> many publishing establishments take a very dim view of submissions
> which have been decorated with such notices.

That would be because they wish to appropriate the copyright for themselves
(with or without payment).  Again, there is a divergence in American and
European copyright law over the existence of a separate copyright in the
typographical arrangement of a printed work (that copyright would
automatically belong to the publisher - unless the author has done the
typesetting, of course.)
Signature

John Briggs

Blue Sow - 20 Apr 2007 11:26 GMT
>> Two things arise from that with regard to copyright.
>> It is not possible to copyright talk.  This is just as well unless
[quoted text clipped - 4 lines]
> So someone surreptitiously recording your conversation has inadvertently
> copyrighted it for you.

Of course.  The copyright rests in the recorded work, not in the original talk.
They may also have infringed certain of the participants' rights, but that is a
separate issue.

>> It is unnecessary to attach a copyright notice to written work as
>> what a person writes is automatically their copyright.  Certainly,
[quoted text clipped - 3 lines]
> That would be because they wish to appropriate the copyright for themselves
> (with or without payment).

All of the leading publishers in the UK regularly steal their writers' work in
that way?  Perhaps not eh?  It is more a case of awareness, or lack thereof.
Copyright rests with the author, regardless of any © which may or may not be
inscribed upon the work.

"*Copyright is an automatic right* and arises whenever an individual or company
creates a work. To qualify, a work should be regarded as original, and exhibits
a degree of labour, skill or judgement"  [my emphasis]

Source: http://www.copyrightservice.co.uk/copyright/p01_uk_copyright_law 
(Accessed 20.04.2007)

Signature

Blue Sow

John Briggs - 20 Apr 2007 13:16 GMT
>>> Two things arise from that with regard to copyright.
>>> It is not possible to copyright talk.  This is just as well unless
[quoted text clipped - 8 lines]
> original talk. They may also have infringed certain of the
> participants' rights, but that is a separate issue.

Copyright rests in the work recorded.  There is a separate copyright in the
recording.

>>> It is unnecessary to attach a copyright notice to written work as
>>> what a person writes is automatically their copyright.  Certainly,
[quoted text clipped - 8 lines]
> awareness, or lack thereof. Copyright rests with the author,
> regardless of any © which may or may not be inscribed upon the work.

All American publishers insist on assignment of copyright to them.

> "*Copyright is an automatic right* and arises whenever an individual
> or company creates a work. To qualify, a work should be regarded as
> original, and exhibits a degree of labour, skill or judgement"  [my
> emphasis]

"Original" and "a degree of labour, skill or judgement" are legal terms, and
may not mean what you think they mean :-)

The bar is set very low for originality, and "a second (or minute) of
labour, skill or judgement" might have been more appropriate :-)

> Source:
> http://www.copyrightservice.co.uk/copyright/p01_uk_copyright_law
> (Accessed 20.04.2007)

I would be wary of treating that as Gospel - they start with a complete
howler "Copyright law originated in the United Kingdom from a concept of
common law; the Statute of Anne 1709. It became statutory with the passing
of the Copyright Act 1911."  I know what they mean - but I very much doubt
if they do.
Signature

John Briggs

Blue Sow - 20 Apr 2007 15:30 GMT
> All American publishers insist on assignment of copyright to them.

From the original copyright owner i.e. the author, and to do so or not is the
author's decision (not much of a choice but it is a principle).

"Copyright protection subsists from the time the work is created in fixed form.
The copyright in the work of authorship immediately becomes the property of the
author who created the work. Only the author or those deriving their rights
through the author can rightfully claim copyright."

Source: http://www.copyright.gov/circs/circ1.html  (Accessed 20.04.2007)

>> "*Copyright is an automatic right* and arises whenever an individual
>> or company creates a work. To qualify, a work should be regarded as
[quoted text clipped - 3 lines]
> "Original" and "a degree of labour, skill or judgement" are legal terms, and
> may not mean what you think they mean :-)

That might be better posted to uk.culture.paranormal (-:
I would hope that they are legal terms, given the topic.

> The bar is set very low for originality, and "a second (or minute) of
> labour, skill or judgement" might have been more appropriate :-)

All of which are apparent to a reader of "the from Vinci code" (-:

>> Source:
>> http://www.copyrightservice.co.uk/copyright/p01_uk_copyright_law
[quoted text clipped - 5 lines]
> of the Copyright Act 1911."  I know what they mean - but I very much doubt
> if they do.

Do you have evidence of that?

Their description does not differ significantly from that at
http://www.ipo.gov.uk/home.htm

Signature

Blue Sow

John Briggs - 20 Apr 2007 17:46 GMT
>>> Source:
>>> http://www.copyrightservice.co.uk/copyright/p01_uk_copyright_law
[quoted text clipped - 7 lines]
>
> Do you have evidence of that?

I have already provided it: "Copyright law originated in the United Kingdom
from a concept of common law; the Statute of Anne 1709. It became statutory
with the passing of the Copyright Act 1911."  Would you care to try and
disentangle that, giving particular emphasis to the difference between
Common Law and Statute Law?  Students may use the Wikipedia as a resource
:-)

> Their description does not differ significantly from that at
> http://www.ipo.gov.uk/home.htm

In which case, one probably derives from the other :-)
Signature

John Briggs

Blue Sow - 20 Apr 2007 19:16 GMT
>>>> Source:
>>>> http://www.copyrightservice.co.uk/copyright/p01_uk_copyright_law
[quoted text clipped - 7 lines]
>
> I have already provided it:

If you think so (-:

"The history of copyright in the UK is usually traced back to privileges granted
by the monarch in the early modern period before 1700, giving printers (but not
authors as such) exclusive rights to print and distribute books. After the
Anglo-Scottish Union of 1707, the author gained the exclusive ‘right and
liberty’ of printing books through the Statute of Anne 1709; a right and liberty
usually exercised, however, by granting a licence to the actual printer. The
Statute of Anne confined the right to a 14-year term, renewable once. Questions
about whether the author was entitled to a perpetual right to copyright under
the common law, or whether the statute had restricted its duration, were
answered by the courts in favour of the latter view. Henceforth copyright was
clearly a right dependent only on statute, lasting for only a limited period of
time."

Source:  http://www.britac.ac.uk/reports/copyright/guidelines.pdf

> Students may use the Wikipedia as a resource
> :-)

Especially those that enjoy failing?  (-:
Everyone else, student or otherwise, can do proper research.

>> Their description does not differ significantly from that at
>> http://www.ipo.gov.uk/home.htm
>
> In which case, one probably derives from the other :-)

Indeed.  So it may be taken as gospel after all.

To conclude, all of these interesting points are not dependent upon the author
attaching a copyright statement to every word they utter on Usenet, although the
law grants them the right to do so in superfluity (-;

It is raining.

Signature

Blue Sow

John Briggs - 20 Apr 2007 20:00 GMT
> "The history of copyright in the UK is usually traced back to
> privileges granted by the monarch in the early modern period before
> 1700, giving printers (but not authors as such)

Publishers, rather than printers.  Not authors at all :-)

> exclusive rights to
> print and distribute books. After the Anglo-Scottish Union of 1707,
> the author gained the exclusive ‘right and liberty’ of printing books
> through the Statute of Anne 1709; a right and liberty usually
> exercised, however, by granting a licence to the actual printer.

Publisher.

> The
> Statute of Anne confined the right to a 14-year term, renewable once.
[quoted text clipped - 3 lines]
> latter view. Henceforth copyright was clearly a right dependent only
> on statute, lasting for only a limited period of time."

"Statute of Anne" is a pretty meaningless term, popular with American
writers on copyright, but it does show that the origin of copyright is
Statute, not Common Law.  Common Law copyright (if it ever existed, which is
doubtful) was a wheeze invented by publishers to try and claw back the
ground they had lost to authors.  Common Law copyright in unpublished works
(assuming it ever existed, of course) was definitively abolished by the
Copyright Act of 1911.  (That "henceforth" means after 1774.)
Signature

John Briggs

FCS - 20 Apr 2007 19:44 GMT
> > The poster who wanted to know about whether or not
> > "opening an object" was good sense in English as, in
> > their own language, it seemed to them not logical.
>
> Ah yes, I remember the question and that there was a variety of responses.  I
> cannot recall them individually, nor attribute them.

What makes it even more irksome is it seems to have
happened again with a follow-up I made to this post. On
early indications anyway. As it's also happened with one
further down the thread I shall have to wait and see but
as the "object" post hasn't turned up at all and it's been
a few days now I suspect some sad creep is playing the
old cyberstalking games.

G DAEB

COPYRIGHT (C) 2007 SIPSTON
--
FCS - 20 Apr 2007 19:54 GMT
> > > The poster who wanted to know about whether or not
> > > "opening an object" was good sense in English as, in
[quoted text clipped - 15 lines]
> COPYRIGHT (C) 2007 SIPSTON
> --

Yup, two posts gone into the void yet this one shows
up straight away. Same session. Same machine. And
same group.

Enjoy my work do you creepo? Going to be passing
it off as your own are you? Grow up. And leave my
posts alone. Read them by all means, but have the
courtesy to wait until they appear here.

Anything that needs saying can be said to me directly.

Your lack of integrity is not my problem. Your lack
of self-control is not my responsibility. Your lack of
taste is not my concern.

G DAEB

COPYRIGHT (C) 2007 SIPSTON
--
FCS - 21 Apr 2007 22:38 GMT
> > The poster who wanted to know about whether or not
> > "opening an object" was good sense in English as, in
> > their own language, it seemed to them not logical.
>
> Ah yes, I remember the question and that there was a variety of responses.  I
> cannot recall them individually, nor attribute them.

I don't believe this. I have now tried 4 times
to follow-up to this post and none of them
has done anything but disappear off in to
some kind of cybervoid.

Years I've been using this news gateway
and nothing like this has ever happened
before. Which suggests it is something
malicious, and targetted, in this instance.

> > It was one of the better cheap shots at my form
> > copyright declaration I've seen. Along the lines
[quoted text clipped - 3 lines]
> I suspect we are referring to a throwaway comment here, but nonetheless a
> response from me would clarify.

It was taken as such. Making a copyright declaration
does indeed seem to be the USENET equivalent of
wearing shorts. But it was taken as such in the wider
context of you decided to play a game of "oh what did
you mean by *that* word then?"

I'd thought you were a bit older than that from the
general tone of your posts.

> > As far as I'm aware I was merely corresponding
> > in an on-line forum, representing myself and my
[quoted text clipped - 10 lines]
> and can take time to consider our words should we choose to do so, yet the style
> of our interaction also has much, perhaps more, in common with conversation.

No, not really. As someone who can type as well as
write I try to post articles rather than waste all the
bandwidth that the often unseen but nonetheless ever
present verbose headers take up and all the reproduced
text that leads to nothing more than a glib, and often
not particularly clever let alone original, one-liner.

Some people's lengthier articles I read. Some I don't.
It tends not to matter so much whether I agree with
them or not as whether or not they can write with an
engaging well-paced style and proffer a reasonably
structured argument.

Your comments seem to apply for USENET generally,
yes, but in this instance it seems more the equivalent
of a televised debate than conversation as such.

> Two things arise from that with regard to copyright.
> It is not possible to copyright talk.  This is just as well unless one wants to
> pay royalties for every word spoken to the first person who uttered it.

Actually, with your comments below about publishers
claiming copyright, any edition of Question Time or
even Trisha is copyright--yet they are indeed "talk".

So, assuming they shoot 3 or 4 shows in a day, then
someone's doing 6 impossible things before sign-off.

> It is unnecessary to attach a copyright notice to written work as what a person
> writes is automatically their copyright.  Certainly, many publishing
> establishments take a very dim view of submissions which have been decorated
> with such notices.

It is unneccessry also to adopt any of the conventions
of Standard English, such as grammar or, indeed, even
spelling.

Grammar in the form of apostrophes, commas and
other clause delimiters, full stops &c. can generally
be inferred. Not to mention that very few paragraphs
are ever more than a few sentences long, whether
one is talking about USENET posts, newspaper articles
or teletext systems. Literature in the form of novels and
also academic works may be exceptions to this.

Spelling, as has been demonstrated by researchers
from Oxford University, is largely redundant provided
you get the first and last letters in place and make
sure indicative vowels and consonants lie between
them.

The pros and cons of this are somewhat debatable
as it assumes that the only people we ever write
for are both accomplished readers already--and I
have no problem with my writings being used in
adult literacy programmes, regardless whether
or not people agree with me. Not only that but
when you consider disability issues there is the
issue of to what extent on-line dicussion forums
such as these are a lifeline for blind and partially-
sighted people who rely on text-to-speech software
applications, which the Oxford bods didn't mention
as being able to handle such constructions.

Still, it's not actually necessary where most people
are concerned to follow the conventions of Standard
English. Yet you do. And most people don't.

Similarly, whilst the folk-logic that copyright has no
meaning on USENET applies and keeps being
regurgitated mindlessly, then those of us who write
at our leisure are perhaps being inconsiderate and
discourteous to those who may be tempted to use
our work for academic purposes such as copying
it into an essay because it's too much effort to
write their own paraphrase.

Whether or not this is linked to the fact that it's an
unusual student these days who doesn't hand essays
in that have been computer composed and printed
out yet this kind of literacy - being able to type - is
largely something left to the individual to learn is a
different matter.

There is the fact that DVORAK layouts are held to
be both easier to use once learnt and also associated
with a lower incidence of RSI/CTS than QWERTY
keyboards, yet they are hardly ubiquitous. Whilst
this shouldn't pose too much problem for people
using IBM-clones, it would be the death knell for
Apple in the hardware arena. Yet I can quite see
why it is that there is resistance to including typing
on the national curriculum as the liabilities in the
long term don't bear thinking about.

Besides, how many programmers that you know
have ever actually learnt to type formally?

I've taken time off between contracts because of
strains before now. But then I hardly type as per
the textbook these days, despite having learnt to.

But a copyright declaration at the bottom of a post
is likely to remind any tempted student that pasting
it in willy-nilly would indeed be plagiarism just as it
would copying any other source wholesale. Something
it may be easy to forget at 3AM with a looming
deadline.

As such I see it as a courtesy, even if it is the
equivalent of wearing shorts. And good practice.

> When I post this composition, I will be placing it in the public domain where it
> will be accessible free of charge.  In the unlikely event that someone wishes to
> quote me, an appropriate citation would naturally be appreciated.  However, I am
> not in a position where I could enforce that, nor might I be aware of the need
> to do so if, for example, I am quoted in a newsgroup to which I am not subscribed.

Again, this is something I prefer to view as you exercising
your right to make copies of your work available to the
public--a right which it appears may be being infringed in my
case, as per my opening paragraph.

You wouldn't be able to enforce copyright if someone slurped
it off a website and pasted it in an essay yet it doesn't stop
people making declarations to that effect on the webpages
they produce.

Thinking more cynically, why did YouTube make a point
of saying copyright would reside with the originators of
material they plan to pay the equivalent of a royalty to
if the copyright declarations on custom-built blogging
sites didn't imply an arrangement more like that you
allude to above with various, unnamed, publishing houses?

> Meanwhile, I do enjoy a good +age inflection such as that which you used above.
>
> --
> Blue Sow

G DAEB

COPYRIGHT (C) 2007 SIPSTON
--
FCS - 22 Apr 2007 03:27 GMT
> > > The poster who wanted to know about whether or not
> > > "opening an object" was good sense in English as, in
[quoted text clipped - 7 lines]
> has done anything but disappear off in to
> some kind of cybervoid.

At last! It'll be interesting to see if the
rest now turn up or not. Not least for
the range of approaches I took to
different topics.
Blue Sow - 22 Apr 2007 10:27 GMT
>> I don't believe this. I have now tried 4 times
>> to follow-up to this post and none of them
[quoted text clipped - 5 lines]
> the range of approaches I took to
> different topics.

All four of the posts you mention have appeared on my screen, and remain there
now.  Perhaps NTL is having a bad news day (week, month, year, as apt).

Signature

Blue Sow

FCS - 22 Apr 2007 17:23 GMT
> >> I don't believe this. I have now tried 4 times
> >> to follow-up to this post and none of them
[quoted text clipped - 11 lines]
> --
> Blue Sow

ROTFLMAO. Hey thanks for that. If two of them were short
compleynts against creepy people blocking my posts then
still some of them haven't got to you. These two should now
have been cancelled. And the last one was one I took some
extra precautions with to ensure I shouldn't have to sit down
and compose another catch-22 esque revisitation.

As I didn't address any of your points in those two posts I
wasn't really thinking of them as "follow-ups" as such, but,
no, I know this wouldn't be clear to you or, indeed, anybody else.

Ah, the joys of distributed network logistic diagnostics in
loosely-bounded possibility frameworks...

Thanks though,

G DAEB

COPYRIGHT (C) 2007 SIPSTON
--
 
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