Array After that this patch should apply to the Zope 2.8/2.9 releases pretty easily.Then you just restart Zope and you should see these services on your network.diff -ur Zope-2.8.5-final/lib/python/ZServer/FTPServer.py Zope-2.8.5-mdns/lib/python/ZServer/FTPServer.py— Zope-2.8.5-final/lib/python/ZServer/FTPServer.py 2005-12-18 23:25:56.000000000 -0800 Zope-2.8.5-mdns/lib/python/ZServer/FTPServer.py 2006-02-08 12:46:15.000000000 -0800@@ -80,6 80,7 @@import marshalimport statimport time from utils import mdns_announceclass zope_ftp_channel(ftp_channel):@@ -640,6 641,10 @@ self.hostname, self.port )) mdns_announce(None, self.port, service=_ftp._tcp) def clean_shutdown_control(self,phase,time_in_this_phase):if phase==2:diff -ur Zope-2.8.5-final/lib/python/ZServer/HTTPServer.py Zope-2.8.5-mdns/lib/python/ZServer/HTTPServer.py— Zope-2.8.5-final/lib/python/ZServer/HTTPServer.py 2005-12-18 23:25:56.000000000 -0800 Zope-2.8.5-mdns/lib/python/ZServer/HTTPServer.py 2006-02-08 12:47:46.000000000 -0800@@ -58,6 58,7 @@from zLOG import LOG, register_subsystem, BLATHER, INFO, WARNING, ERRORimport DebugLoggerfrom medusa import logger from utils import mdns_announceregister_subsystem(’ZServer HTTPServer’)@@ -384,6 385,7 @@server_protocol = ‘HTTP’channel_class = zhttp_channelshutup=0 service = _http._tcpdef __init__ (self, ip, port, resolver=None, logger_object=None):self.shutup=1@@ -397,6 399,9 @@ self.server_port )) self.mdns = mdns_announce(None, port, service = self.service, info=self.SERVER_IDENT) def clean_shutdown_control(self,phase,time_in_this_phase):if phase==2: self.log_info(’closing %s to new connections’ % self.server_protocol)@@ -422,3 427,4 @@class zwebdav_server(zhttp_server):server_protocol = ‘WebDAV’ service = _webdav._tcpdiff -ur Zope-2.8.5-final/lib/python/ZServer/utils.py Zope-2.8.5-mdns/lib/python/ZServer/utils.py— Zope-2.8.5-final/lib/python/ZServer/utils.py 2005-12-18 23:25:56.000000000 -0800 Zope-2.8.5-mdns/lib/python/ZServer/utils.py 2006-02-08 12:48:02.000000000 -0800@@ -56,3 56,39 @@from medusa import logger# override the service name in logger.syslog_loggerlogger.syslog_logger.svc_name=’ZServer’ try: import avahi, dbus, dbus.glib hostname = None def mdns_announce(name, port, service=_http._tcp, **kwargs): global hostname bus = dbus.SystemBus() server = dbus.Interface(bus.get_object(avahi.DBUS_NAME, avahi.DBUS_PATH_SERVER), avahi.DBUS_INTERFACE_SERVER) g = dbus.Interface(bus.get_object(avahi.DBUS_NAME, server.EntryGroupNew()), avahi.DBUS_INTERFACE_ENTRY_GROUP) if name is None: if hostname is None: hostname = %s:%s % (server.GetHostName(), port) name = hostname info = [%s=%s % (k,v) for k,v in kwargs.items()] g.AddService(avahi.IF_UNSPEC, avahi.PROTO_UNSPEC, 0, name, service, , , # domain, host (let the system figure it out) dbus.UInt16(port), info, ) g.Commit() return g except ImportError: def mdns_announce(server, name, port): pass
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-ne (click to enlarge graph)AbstractThe California Department of Developmental Services (DDS) quarterly reports have been used by some to calculate incidence of autism. The California DDS has explicitly stated that their data should never be used to calculate the incidence or prevalence for autism. This post will also include a more thorough analysis and discussion of the DDS autism data than has been offered in previous reviews on this site. The conclusion from this analysis is that the California DDS data which the DDS states should never be used for descriptive epidemiology purposes and which does not resemble existing epidemiology, should not be used as epidemiology.IntroductionThe California DDS system is a voluntary system that provides services to persons with disabilities within the State of California. It does not provide services when such are not requested, nor does it accumulate data on such persons (Department of Developmental Services, 2005).For those who enter the system, the DDS does compile certain data. These data are useful when making reports to law makers or consumer advocates who wish to see for whom, resources are being allocated.Among other categories, the DDS serves autistic children and adults, who are at least 3 years old. This systemâs collection of data over the years, make it appealing to those who wish to calculate prevalence or incidence or autism. This suddenly becomes an issue when we consider the claims of a current autism epidemic (MSNBC, Autism: The Hidden Epidemic, March 3, 2005).Within the peer reviewed literature the DDS data have also been used to argue for an autism epidemic (Balxill, Baskin, & Spitzer 2003). These data have also been used to help support an argument for a proposed decrease in new intakes of children receiving services for autism (Rollens, 2006). The data have likewise been used to support the idea of diagnostic substitution as the source of the apparent increase of autism (Croen, Grether, Hoogstrate, & Selvin, 2002).The changes in the DDS data have been argued as proof of an autism epidemic now in recession due to the removal of thimerosal (Rollens, 2006). It seems prudent then to show some restraint when discussing what epidemiological data indicate.The fact that the DDS has argued against this use of their data for epidemiological purposes, has been stated as a valid reason to discard such analyses http://interverbal.blogspot.com/2006/01/review-of-california-department-of.html. The presence of these uncontrolled threats, as well as the differences from existing descriptive epidemiology, offer a strong agreement with the statements by the DDS, that these data should not be used to calculate incidence or prevalence.MethodsThe DDS autism data were taken from the quarterly reports (DDS, 2006) and from personal communications with the DDS. Data were calculated to form a prevalence rate per 10,000.The DDS data served as the denominator and census data as the numerator. As there was numerous data entry and calculations used this process an additional student checked for accuracy of data entry and calculations on all relevant points. Mean and standard deviation data was calculated as an additional descriptive tool for the net, quarterly report data changes.AnalysisFigure 1. shows the prevalence rate of 3-5 year olds as calculated from the DDS data and the USCB. This is not indicative of slowing of the increase as other points in the data path are also the same or very nearly the same.The 3-5 cohort is the youngest group via the DDS that we have adequate data on. However, shifting from other categories may affect this as well, in particular for school aged children (Eagle, 2003).The data for ages 6-9 are sometimes discussed as being more accurate than the 3-5 data. The DDS keeps attrition data, but does not have it organized into a database. This is unfortunate as instability is part of the picture of the DDS data. The changes between the World Health Organization, International Classification of Diseases (ICD) has been given as a possible reason for the increase of certain medical conditions (Friis & Sellers, 2004).In July of 2003 a more restrictive eligibility criteria was put into place for the DDS services (Rollens, 2003). Nor does these data allow us to present an epidemic threshold as we are unsure what the normal rate might be.When we speak of autism incidence, we should speak of the youngest populations. This does two things: It makes comparing data over the years difficult and it means that a 6 year old who is diagnosed with autism also met criteria for such in the past. This obscures attempts to determine case clustering.DiscussionThreats to ValiditySince lay persons insist that these data are proof positive of certain causes for autism via âcum hoc, ergo prompter hocâ reasoning, it seems fair to subject analyses based on the DDS data for threats to internal and external validity.There are seven threats to internal validity. The analyses of the DDS data have failed to control for all six sources of error. This is present in the DDS data due to the more restrictive criteria put applied in 2003.In Information Bias, we find that some other factors influences the accuracy of reporting. This may apply in July 2003, when the DDS autism numbers change, spiked high. This may account in part for the discrepancy between the high variability seen in recent years in the incidence calculated via the DDS data and what is seen for incidence via the epidemiology which has been stable in the recent years (Jick et al., 2006).ConclusionFuture analyzers of the DDS data should be aware that these data are not recommended for this purpose according to the DDS. Now I would like to take the chance to reciprocate and ask a question: What is the ethical standing of using the California DDS data when the DDS has stated that they should not be used for this purpose and when they do not resemble other existing epidemiology?Notes: I want to thank the US Census Bureau and the California DDS for very generously fielding my questions.ReferencesAmerican Psychiatric Association. US Department of Education data on autism are not reliable for tracking autism prevalence.
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.Leonard Cohen ( Montreal, Quebec, 21 September, 1934)Year Inducted: 2006; Era Inducted To: ModernWith an extraordinary career spanning more than forty years, Canadian musical icon Leonard Cohen has earned the distinction as one of the most influential artists of his generation. A legendary songwriter, Cohen has brought honesty and artistry in a way few others have. His stark images of love, beauty and despair have touched fans and inspired writers and musicians the world over.Throughout his storied lifetime, Cohen has succeeded as both poet and pop star. Inspired by his own history and romantic experiences, his intelligent musings and musical gifts have endured no matter where he resides - be it the urban chaos of Los Angeles and Montreal, the domestic comfort of a Greek island or monastic isolation of a Zen Buddhist Monastery.His intense lyrics, spiritual observations and deft humour weave throughout his impressive body of work. Cohen’s extraordinary writing and musical talents have gained him numerous accolades, among them: the Governor General’s Award for poetry in 1969 which he declined, stating, the poems themselves forbid it absolutely, followed by several Juno Awards, honorary degrees, and in 2003, the Companion of the Order of Canada, Canada’s highest civil honor for achievement in the arts.Leonard Norman Cohen was born in Montreal on September 21, 1934. He attended McGill University, where at 17, he formed a country western trio called the Buckskin Boys. While still an undergraduate, Leonard became part of Montreal’s burgeoning Bohemian scene and published his first collection of poetry (Let Us Compare Mythologies) in 1956. The Spice Box of Earth (1961), his second collection of poems, catapulted Cohen to international recognition.After a brief stint at Columbia University in New York, Cohen traveled throughout Europe and settled on the Greek island of Hydra where he wrote another collection of poetry (Flowers for Hitler, 1964) and two highly acclaimed novels (The Favourite Game, 1963 and Beautiful Losers, 1966). The books have been translated into many languages including Chinese and Japanese.After seven years on Hydra, Cohen’s restless spirit led him to the United States where he pursued his career as a songwriter. Championed by singer/songwriter Judy Collins, Cohen appeared at the Newport Folk Festival in 1967 where he caught the eye - and ear - of legendary Columbia A&R man John Hammond (who also recruited Billie Holiday, Bob Dylan and Bruce Springsteen to the label) and by Christmas of that year, Columbia released his signature debut album, The Songs of Leonard Cohen.Songs like the enduringly popular Suzanne, and Hey, That’s No Way to Say Goodbye, So Long, Marianne, and Sisters of Mercy propelled Cohen to the top of the pop music pantheon. The songs had such power that Robert Altman’s 1971 film, McCabe and Mrs. Miller became, in effect, the first longform video for Cohen’s soundtrack.Songs From a Room (1969), his second album, and Songs of Love and Hate (1971) further reinforced Cohen’s standing as a sentry of solitude. With Bird On a Wire, The Story of Isaac, Joan of Arc, and Famous Blue Raincoat, he continued to stretch the borders of the lyrical landscape of the times.Recent Songs (1979), co-produced with Henry Lewy (who had previously worked with Joni Mitchell), continued Cohen’s dissection of the male female union, but also reflected his many explorations into the religious sphere. Various Positions (1984) marked the full flowering of these religious journeys. Songs like Hallelujah, The Law, Heart With No Companion, and If It Be Your Will, are contemporary psalms, born of an undoubtedly long and difficult spiritual odyssey, so difficult that its conclusion left Cohen - in his words wiped out. I’m Your Man (1988) was the culmination of Cohen’s professional and personal reintegration, a beautifully crafted work that speaks eloquently to his experience as a musical elder. Buoyed by now classic songs like First We Take Manhattan, Tower of Song, and Ain’t No Cure For Love, the album went to #1 in several countries. Despite many long passages of time between albums, Cohen’s music has been kept on the airwaves through interpretations by artists as diverse as Neil Diamond, Nick Cave, Diana Ross, Joan Baez, Rita Coolidge, and Joe Cocker. Longtime musical colleague Jennifer Warnes released the critically acclaimed Famous Blue Raincoat in 1986, an entire album of Cohen’s work.In 1992, a number of contemporary recording artists collaborated on a tribute to Leonard Cohen. I’m Your Fan (1991) was the brainchild of Christian Fevret, editor of French rock magazine, Les Inrockuptibles. Originally intended for release on the magazine’s small offshoot label Oscar, the project mushroomed into an 18 song cover collection released by Atlantic, featuring such prominent musicians as R.E.M., John Cale, Nick Cave, lan McCulloch, The Pixies, House of Love and Lloyd Cole. Tower of Song (1995) featured interpretations of Cohen songs by more mainstream artists such as Billy Joel, Sting, Elton John, Willie Nelson and Bono.1992 saw the release of his eleventh album, The Future, an amazingly aural documentation befitting a cultural malaise. It was following the 1993 Future tour that Leonard Cohen retreated from public life and lived several years at the Zen Center on Mount Baldy in Southern California.In January 1999, Cohen came down from the mountain armed with hundreds of new lyrics and poems. He settled in Los Angeles where he released two records, first another live album entitled Field Commander Cohen Tour of 1979 and in October, after nine years, the entrancing collection, Ten New Songs. After such a long silence, the power of this new studio album lay in its singleness, its unity of tone, songs flowing one into the other with a grave, contained intensity. In 2002, many of his best-known songs were digitally remastered and released on the double CD The Essential Leonard Cohen.In 2004, Cohen returned with Dear Heather, produced with collaborators and singers, Sharon Robinson and Anjani Thomas. This musically diverse collection of songs seemed to celebrate the beauty of the world he had returned to with soaring lyrical styles and musical arrangements. Cohen’s supporters and the sizeable online community of newsgroups and chat lines continually dissecting his creations anxiously await his next release. He is now working on new songs for his next album for a possible mid-2006 release. He is also working on new songs for Anjani Thomas’ forthcoming album Blue Alert, to be released in Spring 2006.A lyrical icon whose musical trials and travails have led him through an odyssey of hope, conflict and love, Leonard Cohen has taken us to that place by the harbor and our world has become much richer for the journey.INDUCTED SONGS In 1966, Leonard Cohen penned Suzanne with the landscape of the Old Port in Montreal in mind. Leonard Cohen revealed, the song was begun, and the chord pattern was developed, before a womans name entered the song. And I knew it was a song about Montreal…” The beautiful poem and love song was originally inspired by the view of the Montreal harbour from the observation tower of the Notre-Dame-de-Bon-Secours chapel, known as the Sailors Church. Remnants of the chapel are found in the lines, And the sun pours down like honey/ On our lady of the harbour which are in reference to the Our Lady of the Harbour statue that stands, with arms outstretched, towards the St. Lawrence river. It was after Cohens chance meeting with Suzanne, the wife of sculptor Armand Vaillancourt, that life was breathed into the piece. She invited him to her home located near the river where the pair shared a cup of tea. “Suzanne takes you down to her place near the river,” begins the beautiful and descriptive narrative of the woman who “feeds you tea and oranges that come all the way from China.” Suzanne is poetry set to music. The beautiful and descriptive narrative was published in Selected Poems 1956-1968 (Toronto 1968) and later released on his debut LP, Songs of Leonard Cohen, in 1967. Judy Collins would be the first to record the song after having heard it sung to her over the telephone by Cohen, himself, and Noel Harrison would take the single to Number 56 on the pop charts. The song would go on to become one of Cohens most covered singles with over 100 versions to its credit. COVER ARTISTS INCLUDE: Judy Collins, Nina Simone, Neil Diamond, Peter Gabriel, Françoise Hardy, Noel Harrison, Pauline Julien, Harry Belafonte, Roberta Flack, Graeme Allwright, Catherine McKinnon, Chad Mitchell, Tom Northcott, Joan Baez, and Genesis.On a small Greek island, Leonard Cohen moved into an old seamans house. There were no telephone poles or wires, but electricity finally came and with it wires that stretched across his windows. Watching them with a sense of disappointment and annoyance, Cohen noticed a bird on one of the wires: this was the genesis of the famous and much loved song. As with most of his work, it took many years to revise it and bring it to some acceptable version. Bird on the Wire reached #2 on the U.S. Billboard music chart, #31 on Billboard Hot Adult Contemporary chart, and was used as the inspiration for a 1990 movie staring Mel Gibson, in which Aaron Neville sang the title song. COVER ARTISTS INCLUDE: Willie Nelson, Joe Cocker, k.d. lang, Jennifer Warnes, Neville Brothers, Johnny Cash, Tom Cochrane, Judy Collins, Rita Coolidge, Buffy Sainte-Marie, Soul Asylum, and Blackeyed Susans.Hallelujah is considered by many to be one of the most beautiful musical pieces ever written. Yeah but I remember, yeah when I moved in you and the holy dove, she was moving too and every breath we drew was Hallelujah. Although Hallelujah never neared the top of the charts or received significant airplay, it has become a favorite of both fans and artists, including Jeff Buckley and Bob Dylan, both of whom recorded cover versions. Buckleys 1994 version is considered by many to be the most dramatic and striking version, helping to launch the song into mainstream popularity. Most recently, Rufus Wainwrights cover, following Buckleys style, appeared on the soundtrack of the blockbuster hit, Shrek. COVER ARTISTS INCLUDE: Bono, Jeff Buckley, John Cale, Alison Krauss Bob Dylan, k.d. lang, Patricia OCallaghan, Rufus Wainwright, and India Arie.Featured on the album Im Your Man, the moody song Everybody Knows was one of Leonard Cohens first collaborations with American songwriter and vocalist Sharon Robinson. Everybody Knows gained mainstream popularity when a cover version by Concrete Blonde was used in the 1990 soundtrack for Pump Up the Volume which reached #20 on American charts. The original song also appeared in the popular Atom Egoyan film, Exotica, and was covered by Don Henley on a Leonard Cohen tribute album in 1995. COVER ARTISTS INCLUDE: Concrete Blonde, Dark Gift, Keith Hancock, Don Henley, Dayna Kurtz, Mean Larry & Friends, Jean-Claude Toran, Florent Vollant, and The Washington Squares.Many of Cohens songs have a recurring theme of love. According to Cohen, Aint No Cure For Love addressed the idea that it “doesnt matter whether we found ourselves in the loneliness of separation or the vertigo of union, everyone finally learns there aint no cure for love.” Released by Jennifer Warnes on her brilliant 1986 Leonard Cohen tribute album Famous Blue Raincoat, Aint No Cure For Love was later released by Cohen in 1988 on his Im Your Man album. Considered by many to be his comeback album, Im Your Man reached
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-ne Another example of Excess Copyright does not come from the collectives’ It is Excess Caution in copyright - most obviously evident in Canada’s classrooms.The educational community in Canada is perhaps the best (or worst) example of excess caution in copyright matters. The authors state that “This publication is a starting point in increasing awareness of your rights and obligations, as a teacher, in selecting and using copyrighted materials in your educational institution.”The main trouble with the publication is that it is a litany of excess caution about what teachers and students can’t do (remember “Can’t Copy”) and is a constant and non-critical pointer to Access Copyright’s view of the world and referrals to several other content owner and collective friendly publications and websites. Most seriously conspicuous by its absence - even though the publication bears a copyright notice of 2005 and is in its second edition - is the lack of any reference to or even apparent recognition of the landmark March 4, 2004 Supreme Court of Canada (“SCC”) decision in CCH v. If the amount taken from a work is trivial, the fair dealing analysis need not be undertaken at all because the court will have concluded that there was no copyright infringement. However, if a work of literature is copied for the purpose of criticism, it will not likely be fair to include a full copy of the work in the critique.(Emphasis added)Instead, COPYRIGHT MATTERS! advises that one can: “make a single copy of works, such as articles or photographs, protected by copyright for private study, research, criticism, review, or news reporting under the sections of the Copyright Act that allow such uses of copyright material — Assuming that the original work has not been altered or adapted, it is the work that is being performed - not the annotations which usually serve to mainly to explain and comment on the work and which often have a very “thin”, if any, copyright element in themselves.One of the most problematic and excessively cautious passages in COPYRIGHT MATTERS! Therefore, reproduction of any work or a substantial part of any work on the Internet would infringe copyright unless you have the permission of the owner.(emphasis added)The emphasized portion is a pretty categorical statement. 29 of the Copyright Act, fair dealing for the purpose of research or private study does not infringe copyright. rights, then surely teachers and students in our publicly funded educational institutions deserve no less and should be advised accordingly.It is crucial for Canadians to realize that the fair use doctrine of American copyright law - which is one of its best features - inherently involves pushing the envelope and fighting the good fight in court when necessary. It’s one thing to have “respect for copyright agreements and the copyright laws that govern our country”. They don’t have an organization such as Access Copyright and their educational sectors push for the ability to teach and do research and do not function as proxies for copyright collectives - which are fewer and weaker in these far more ambitious countries.There are risks in education.
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Patent Office consultation: a confirmed cynic writesYesterday the IPKat posted a blog on the UK Patent Office’s surprise launch of a consultation paper on the role of inventive step in patent law. The post concluded:Merpel wonders why this initiative has come at this time from the UK Patent Office. Its unlikely that the UK government would consider fiddling around with an internationally accepted norm for patentability if no other jurisdictions had the same intention”. Above: The UK Patent Office is full of little surprises.Left: Diogenes, the original cynic, doggedly seeks the light …A much-loved senior member of the UK patent profession, who has asked for his name to be garbed in anonymity, adds:”I wondered, too; is it in preparation for the Gowers review [on which see the IPKat here]? And if hundreds of judgments of the finest human minds etc have not brought a universally satisfactory definition in just one jurisdiction (the UK, never mind Germany and the Netherlands) what does the UK Patent Office hope to achieve – except, am I too cynical, satisfying a Minister that they are seen as doing something ..? The CIPA Patents Committee will now look at it and dozens of fine brains at the cost of £[BIG FIGURE] per hours lost earnings will come up with something
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