Friday 4 January 2013

Discussion article for January 8th


How does a traffic cop ticket a driverless car?



Rapid progress means self-driving cars are in the fast lane to consumer reality. Is the law up to speed too, asks legal expert Bryant Walker Smith
EVER since the 1930s, self-driving cars have been just 20 years away. Many of those earlier visions, however, depended on changes to physical infrastructure that never came about - like special roads embedded with magnets.
Fast forward to today, and many of the modern concepts for such vehicles are intended to work with existing technologies. These supercomputers-on-wheels use a variety of onboard sensors - and, in some cases, stored maps or communications from other vehicles - to assist or even replace human drivers under specific conditions. And they have the potential to adapt to changes in existing infrastructure rather than requiring it to alter for them.
Infrastructure, however, is more than just roads, pavements, signs and signals. In a broad sense, it also includes the laws that govern motor vehicles: driver licensing requirements, rules of the road and principles of product liability, to name but a few. One major question remains though. Will tomorrow's cars and trucks have to adapt to today's legal infrastructure, or will that infrastructure adapt to them?
Consider the most basic question: are self-driving vehicles legal today? For the US, the short answer is that they probably can be (the long answer runs to nearly 100 pages). Granted, such vehicles must have drivers, and drivers must be able to control their vehicles - these are international requirements that date back to 1926, when horses and cattle were far more likely to be "driverless" than cars. Regardless, these rules, and many others that assume a human presence, do not necessarily prohibit vehicles from steering, braking and accelerating by themselves. Indeed, three US states - Nevada, Florida and most recently California - have passed laws to make that conclusion explicit, at least to a point.
Still unclear, even with these early adopters, is the precise responsibility of the human user, assuming one exists. Must the "driver" remain vigilant, their hands on the wheel and their eyes on the road? If not, what are they allowed to do inside, or outside, the vehicle? Under Nevada law, the person who tells a self-driving vehicle to drive becomes its driver. Unlike the driver of an ordinary vehicle, that person may send text messages. However, they may not "drive" drunk - even if sitting in a bar while the car is self-parking. Broadening the practical and economic appeal of self-driving vehicles may require releasing their human users from many of the current legal duties of driving.
For now, however, the appropriate role of a self-driving vehicle's human operator is not merely a legal question; it is also a technical one. At least at normal speeds, early generations of such vehicles are likely to be joint human-computer systems; the computer may be able to direct the vehicle on certain kinds of roads in certain kinds of traffic and weather, but its human partner may need to be ready to take over in some situations, such as unexpected road works.
A great deal of research will be done on how these transitions should be managed. Consider, for example, how much time you would need to stop reading this article, look up at the road, figure out where you are and resume steering and braking. And consider how far your car would travel in that time. (Note: do not attempt this while driving your own car.)
Technical questions like this mean it will be a while before your children are delivered to school by taxis automatically dispatched and driven by computers, or your latest online purchases arrive in a driver-less delivery truck. That also means we have time to figure out some of the truly futuristic legal questions: How do you ticket a robot? Who should pay? And can it play (or drive) by different rules of the road?
Data protection is a more pressing issue. Many cars and trucks available today already collect driving data through onboard sensors, computers and cellular devices. But imagine taking a dozen smartphones, turning on all of their sensors and cameras, linking them to your social media accounts, and affixing them to the inside and outside of your vehicle. That is an understatement of a self-driving vehicle's potential data collection. Because consumer versions of such vehicles do not yet exist, we don't know what data will actually be collected or how it will be transmitted and used. However, legal issues related to disclosure, consent and ownership will mix with important policy questions about the costs and benefits of data sharing. Indeed, some research vehicles in Germany already have privacy notices printed on their sides to warn other road users.
Finally, what happens when things go wrong - or at least not as right as they might? Given that the vast majority of crashes are caused at least in part by human error, self-driving vehicles have huge potential to save lives. But they will not be perfect; after all, humans will remain in the design loop even after they are out of the driving loop. To what standard, then, should these vehicles be held? Must they perform as well as a perfect human driver for any conceivable manoeuvre? Or must they perform merely as well as an average human in a statistical sense? In any case, how should that performance be measured?
These questions will be considered explicitly or implicitly by the regulators who create new standards, the judges and juries that decide who should pay for injuries, and how much, and the consumers who decide what kind of car to buy. The uncertainty that surrounds the answers will affect the speed and price at which these new technologies are introduced.
Why do these questions matter so much? Because ultimately their most meaningful answers will, one hopes, be expressed in terms of lives saved. 

Discussion article for January 8th


French farmers will have to pay to use their own seeds

'Compulsory voluntary contribution' to seed companies extended to 20 more types of crops, and use of saved seeds for other crops banned


In the world of French farming, unrestricted and royalty-free use of seeds may soon be no more than a happy memory. For several decades seeds have been brought under the protection of plant variety certificates, which enshrine plant breeders' rights.
Resowing such seed was theoretically prohibited, but in practice it was largely tolerated in France. In future it will be strictly controlled, the ruling conservative UMP party having passed a bill to this effect in parliament last November. "Of the 5,000 or so cultivated plant varieties on sale, about 1,600 are protected by a certificate [in France]. The latter category account for 99% of the varieties grown by farmers," says Delphine Guey, of France's Inter-Professional Association for Seeds andPlants.
But until now half of all cereals were obtained from farm-saved seed, according to the National Co-ordination for the Defence of Farm-Saved Seed. In other words, illegally. The authorities seem determined to stop turning a blind eye. Agriculture minister Bruno Le Maire is categorical that such seed "can no longer be royalty-free, as is currently the case".
The recent bill transposes into French law a previously ignored 1994 European regulation on protection of plant varieties. As a result farm-saved seed, which was tolerated until now, is now legal, only provided "a fee is paid to certificate holders [seed companies] to sustain funding of research and efforts to improve genetic resources". Small farmers producing less than 92 tonnes of cereal are exempted.
Soft wheat is the onlytype on which duty has been levied in France since 2001. This "compulsory voluntary contribution" is paid to the federation of seed manufacturers. Farmers must pay €0.50 (66 cents) a tonne when they deliver their crop. This system will be extended to 21 species, the list still not finally settled, said Xavier Beulin, the head of France's main farmers' union (FNSEA).
So "for half the crop species – soy, fruit and vegetables – it is forbidden to use your own seeds, and the other half – cereals and fodder – you have to pay to sow", said Guy Kastler, the head of the Semences Paysannes network and a member of the Peasant Confederation.
Several groups of ecologists and small farmers have expressed concerns at seed manufacturers' increasing control over access to seed, due to property rights being extended to crops and the resulting seed. With the new tax, "even farmers who make no use of commercial seed will have to pay for what they use", said Kastler. He is afraid that the share of farm-saved seed will decline as it becomes more expensive and consequently less attractive to farmers.
With the tax and the ban on sowing their own seed, there is a growing incentive for farmers to buy, rather than produce, seed. This worsens concern about increasing dependence on seed manufacturers.
Beulin, on the other hand, maintains that there is good reason for everyone to contribute to research into crop species, because even farm-saved seed is generally derived from company-bred varieties in the first place. Drawing a parallel with legislation to protect the digital rights of creators of music and film, he suggested that "it is only right for [users of farm-saved seed] to pay their share of funding the creation of new varieties, from which they benefit". A further source of concern is the impact of the new rules on farming diversity. Certainly sowing the same variety – almost always the result of research – does not improve biodiversity, particularly as "for all the main crops, none of the varieties in use were handed down by our ancestors; they were all obtained by selection of new varieties", Beulin said.
Kastler said that replanting your own seeds could lead to variations in a species, thus favouring biodiversity. "New characteristics appear so the plant is better suited to the soil, climate and local conditions. This means there is less need for fertilisers and pesticides. Conversely seed companies adapt plants to suit fertilisers and pesticides, which are the same everywhere," he said. France's plant variety certificates are an alternative to patents on living things, as enforced by the United States. This intellectual property right is held by companies that have developed cultivated species through research, and consequently enjoy a monopoly over sales of the corresponding seed, until such time as it comes into the public domain. Some in the industry, including Kastler, are afraid of gradual slippage towards this patent-based regime, by limiting the right of farmers to use protected seed freely.
However, unlike plant variety certificates, patents place an absolute ban on the use of farm-saved seed, with or without the payment of fees, Guey points out. Plant variety certificates also allow plant breeders unrestricted use of a protected variety to exploit its genetic resources and select new ones. But though they may work on a gene belonging to a particular species they cannot patent it or wholly appropriate it. According to Guey this distinction has helped maintain a degree of diversity among French seed companies, and by extension gives farmers a larger choice of species. However, although France has not agreed to patents on living things, patenting of plant genes is increasingly frequent.
This article originally appeared in Le Monde

Discussion article for January 8th (More comprehensive Le Monde LINK the source, by Vincent Maravel at bottom)


French biz leader slams star pay inflation 

Maraval claims most French hits lost money in 2012



An attack on French movie stars' exorbitant pay in a newspaper article by Wild Bunch's Vincent Maraval has whipped up a storm in the Gallic film biz.
The op-ed piece in Le Monde on Friday suggested the local industry should bite the bullet and cut above-the-line costs. To that end Maraval argued France should adopt U.S.-style backends for thesps.
Maraval's article comes as France's 2012 box office blasted past 200 million ticket sales, earning around $1.8 billion, for the fourth year running. French films sold a record-breaking 130 million tickets abroad in 2012.
In such an apparently upbeat scenario, Maraval seems like a bit of a party pooper, but he wrote,
"French cinema's year has been a disaster. All the said-to-be important films have tanked (in France), losing millions of euros."
Among loss-makers, he included two of Wild Bunch's best-sellers last year, "Asterix and Obelix: God Save Britannia" and "Populaire," plus Pathe's "Houba! On the Trail of the Marsupilami," France's biggest homegrown hit. Of Gaul's top 10 movies in 2012, only "What's in a Name?" turned a profit, he said.
He blamed the hike in thesps' pay on France's TV quotas obliging broadcasters to invest in local films. Networks want star-driven vehicles, so top actors "have the power of life and death over a project's TV value," Maraval explained.
Maraval's article added that thesp Vincent Cassel earned $298,000 for 2012's "Black Swan," but $2 million for Gallic gangster bio "Mesrine" in 2008. However, he praised Cassel for reinvesting earnings in French production.
He went on: "For 'Che,' Benicio del Toro earned less than (French thesp) Francois-Xavier Demaison …Philippe Lioret earns twice as much as Steven Soderbergh and seven times (more than) James Gray and Darren Aronofsky.
"French actors are getting rich from public money and the system protected by France's cultural exception," Maraval alleged.
Reactions have not been long coming. "Maraval risks criticizing all of France's film financing system, the basis of its cultural exception," wrote Serge Toubiana, French Cinematheque topper, on his blog. "How can France now plead for a cultural exception in Brussels?"
Eric Garandeau, prexy of France's CNC film board, which administers film funds, said, "Certain films' budget inflation isn't linked to CNC support -- marginal in this case -- but to TV channels' investing on an increasingly small number of big-budget, big-cast films.
"The CNC is ready to work with France's CSA broadcasting authority to draft new parameters for broadcasters' investment in French films," he added.
Maraval told Variety Wednesday he didn't agree with the headline Le Monde gave his article: "French actors are overpaid."

http://www.variety.com/article/VR1118064102/?refcatid=4154&printerfriendly=true

http://www.lemonde.fr/a-la-une/article/2012/12/28/les-acteurs-francais-sont-trop-payes_1811151_3208.html

Discussion article for January 8th


Barre None




Twice a week at a public middle school in a working-class, largely African-American neighborhood in Pikesville, Md., a group of boys ages 7 to 10 line up to run, one by one, diagonally across a vast floor and then leap--with whatever goofy movement they choose--over a plastic container in the middle of the room. Their instructor, Tim Fox, a burly guy who used to be a professional dancer, doesn't tell the boys that what they are practicing is called a jet. He just tells them to have fun and burn off some energy. As for formal ballet training, he says, "I sort of sneak it in."
The class is one of a slew of new boys-only ballet programs popping up around the country, reeling in participants like Fox's students, who have never heard of Billy Elliot but might have seen some nice moves on Glee or So You Think You Can Dance. In Eugene, Ore., the Oregon Ballet Academy has more than doubled its boys-only rosters in the past five years. Some high-profile professional companies, including New York City's American Ballet Theatre, didn't start offering boys-only classes until a year or two ago, and the response has been striking. A pilot program for boys launched this spring by Calgary's School of Alberta Ballet was expected to sign up 10 boys; 40 ended up enrolling. Meanwhile, a growing number of ballet schools in North America and Europe have started organizing annual Boys' Days, a commitment-free way to check out ballet without being the only kid in the room with a Y chromosome.
Yet despite the uptick in boys' participation--and in the number of males dancing on prime-time TV and in movies like this summer's tween-boys bust-a-move-athon, Battlefield America--it's still hard to get newbies in the door. To recruit boys for the Pikesville class that Baltimore County's Sudbrook Arts Centre started offering last September, Goucher College dance professor Laura Dolid sent a flyer home with all public-school students within a 15-mile radius that described the free course as an athletic experience "helping in sports ... by increasing agility, coordination and strength." The emphasis on muscle got three brothers interested in the class, but their Nigerian father wouldn't let them participate because, Dolid recalls him saying, "Boys don't dance." To help combat macho stereotypes, Fox says he spent the first day of class telling the boys about his own passion for dance, which started because it helped him become a more agile catcher for his school baseball team.
In Fox's class--which was funded by a grant from the National Endowment for the Arts and will be offered again next year--the students do a lot of boy stuff, including push-ups and chin-ups. Several of them cite performing in a local production of The Nutcracker, with its sword fights and guns, as a key motivator. But Alfred Murdock III, 8, who wrestles competitively, says he likes training in ballet because "I can feel stronger in my matches so I don't get knocked over."
As boys get older--Fox also teaches a free class for students ages 11 to 14--their aspirations become more college- and even career-oriented. They talk about getting scholarships, and some, like rising sophomore Tres McMichael, want to perform on Broadway. "Do I get teased? Of course!" he says of his peers' reaction to his ballet training. "But the girls in high school think guy dancers are very cool."
To prove the point, a student in the boys-only class in Oregon took eight ballerinas to last year's prom, inspiring at least one teen to enroll after the dance. Every step closer to critical mass helps. On a recent Friday, at the end of Fox's class for younger kids, the boys were asked what they do when people say ballet is just for girls. They answered in unison: "We tell them ballet is for boys too." Stuart Deininger, 7, the youngest and smallest of Fox's students, went even further, lifting his pants to reveal a skinny leg that he has worked hard all season to strengthen. Then he announced, "I just tell 'em, 'Look at this!'"


http://www.time.com/time/magazine/article/0,9171,2117235,00.html