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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