Author: Dottie Cooper Katz

SIX BEST WAYS FOR LONG-TERM DATA STORAGE

DATA STORAGE although we believe that digital data will last indefinitely, we have no way of knowing how long it will survive on storage media. This is because every material object has a life, and that life, as well as performance, deteriorates over time. Not to add, the obvious concern that emerges here is how will someone ensure that their critical data remains accessible at all times? This is a difficult subject, as certain storage media, such as floppy discs, have become obsolete as a result of technological advancement. As a result, data recorded on a floppy disc will be lost permanently if it is not transferred to another storage device promptly. The same is true for newer computers that are unable to access floppy discs.

The same is true for CDs and DVDs, as today’s laptops lack a built-in CD/DVD-ROM drive. However, unlike the floppy disc, the situation is not as awful because a user can still utilize CD or DVD by using an external CD/DVD ROM.

So, what are the many types of long-term data storage options?

Three crucial points for long-term data storage must be remembered here. The storage medium must meet the following requirements:

  • Affordable or overhead will grow with time.
  • Reliable, whether data is accessed frequently or not.
  • As secure as daily operational data, if not more so.

With all this in mind, small businesses should consider these options:

  1. SSD technology and On-Site Backup Server

Nothing is more secure than being able to access data from a fixed location. Many small firms are implementing on-site backup systems with many SSDs as Solid-State Drives (SSDs) become more widely available. These servers typically employ “dummy” terminals that are only connected to the server. As a result, the server and the terminals are unable to connect to the Internet. This protects data against attackers at the expense of time spent producing backups and the risk of on-site disasters such as water and fire destroying your equipment and data.

Why choose an SSD over a traditional hard drive? To begin with, it has a longer lifespan than traditional drives, which normally wear out after three years of use. SSDs also have fewer moving parts because they don’t need traditional spinning “platters” to store data. An SSD can last ten years or more under ideal conditions, with no hardware faults. SSDs are great for long-term data storage because of this.

  1. Digital Optical Drives

A current DVD has a maximum size of 4.5 gigabytes, and a Blu-ray disc has a maximum capacity of 35 gigabytes, which is sufficient for many small enterprises. A DVD can last decades if it is properly cared for. However, storing data on DVDs has several drawbacks.

Discs compound efforts as a small organization grow, as separate teams, departments, and divisions may have to handle their backup efforts. This method is inefficient and increases the risk of data loss or theft.

  1. Conventional RAID Array

RAID technology has been utilized in large enterprises for decades. RAID stands for Redundant Array of Independent Disks, and it’s a popular way to combine hard drives to expand storage capacity. RAID, when properly configured, may ensure that essential data is backed up even when users produce it for the first time. Though RAID is a well-known backup strategy, subsequent technological advancements have exposed its flaws. If an emergency occurs, a RAID array can be a single point of failure, causing damage to several hard drives. RAID is difficult to set up and optimize, thus it relies heavily on in-house expertise, which many small enterprises lack.

  1. Off-Site Cloud Storage

Off-site cloud storage is becoming more popular for long-term data storage. Data stored “in the cloud” is stored in off-site data centers, assuring data protection. You can retrieve data in a granular manner and have access to prior versions of each file, as well as restore data remotely from any device with an Internet connection.

Because your storage expands with your organization, a third-party cloud provider helps you keep expenses down by requiring no in-house equipment or hiring. Furthermore, employing a third-party cloud service gives you access to IT professionals who can ensure that your data is backed up as needed and maintained securely at all times.

Overall, for small organizations, the cloud is the best option for long-term data storage. When you work with a reputable cloud provider, you can concentrate on what you do best while leaving the intricacies of data storage and security to a partner you can rely on.

  1. External Hard Drives

External hard drives are a great way to keep crucial data safe and accessible for a longer amount of time. All you have to do now is copy the relevant files to the attached disc drive in the same way that we copied them to another folder. The major storage media is generally referred to as hard discs.

Wireless hard drives have lately been introduced, even though they have wired connectivity. They normally live for eight years at the most. Their lifespan, on the other hand, is mostly determined by the manufacturer and the type of use. Eight years isn’t a set amount of time; instead, if used properly, they can continue to work for any longer.

  1. Flash Drives

USB drives are another name for flash drives. They cost more than an external hard disc or optical storage drive at the moment. However, because they don’t have any moving parts and aren’t as flimsy as CDs, users can rely on them for a longer lifespan.

Manufacturers of USB flash drives say that their devices can keep data for at least ten years. However, according to tech evaluations, if they are kept unpowered and idle for an extended period, their memory cells can degenerate.

FIVE IP CONSIDERATIONS STARTUPS OFTENTIMES OVERLOOK

When asked if they have a patent, many participants on ABC’s hit show Shark Tank say “yes”, demonstrating that businesses understand the value of filing a patent application early to protect their discoveries. When developing a company’s plan for preserving its intellectual property, however, a variety of solutions are available (IP). When it comes to building an IP strategy, five factors are frequently disregarded by businesses, particularly start-ups.

  1. Patents aren’t the only intellectual property asset that should be safeguarded early on: The early filing of at least one patent application is often a critical component of a startup’s IP strategy; however, the early protection of other kinds of IP may be useful for a firm to explore.

Trademarks: Early federal registration of a trademark at the United States Patent and Trademark Office can help avoid future disputes about first use and territorial rights, as well as potentially costly litigation. Furthermore, when possible, early registration of a trademark in a foreign jurisdiction might prevent squatters in a first-to-file jurisdiction, such as China, from registering a successful U.S. firm’s mark and then demanding payment from the business to transfer the mark. This type of action gives rise to a shadow sector in which effectively contesting a squatter’s registration of a mark can be a complex, time-consuming, and costly process. These potential hazards can be avoided by applying for trademark registrations in desirable jurisdictions as soon as possible.

Trade Secret: If a startup wants to keep a piece of information or technology as a trade secret, it must take quick steps to safeguard it. Putting adequate procedures/policies in place within and outside of your firm early enough to prevent unintended disclosure of the material is one of these steps. Trade secret protection is no longer practicable once the material is no longer secret. Trade secret protection, unlike other types of IP, is enforceable as long as the subject content is kept secret. As a result, trade secrets can be quite important, and preserving them should be planned as soon as feasible.

  1. You have a patent – now what?: Contrary to belief, a patent does not give the patent owner the right to practice the subject matter described in the patent. Rather, a patent gives the patent owner the right to prevent others from creating, selling, using, or importing the claimed subject matter. Furthermore, obtaining a patent does not guarantee the establishment of a profitable firm. While some inventors/founders can build and expand a firm based on technologies covered by one or more patents, many inventors are ill-equipped to turn a patent grant into a profitable startup.

A range of resources is available to assist innovators in developing a successful business plan. Business incubators and accelerators, for example, may provide resources (such as training, workspace, mentoring, connections, and so on) to a startup to help it expand.

There are also governmental/pseudo-governmental groups dedicated to assisting startups/businesses in achieving a specific aim. On a federal level, the United States Department of Commerce, through several programs such as the United States Commercial Service and SelectUSA, assists enterprises in either expanding outside of the United States or entering the United States market. On a local level, there are several state/regional agencies, such as the Massachusetts Office of International Trade and Investment (MOITI), the Maine International Trade Center, and the Economic Development Corporation of Kansas City, whose mission is to assist businesses in expanding into or growing in a specific state or region.

  1. Likely, filing in as many jurisdictions as possible isn’t the optimal strategy: Filing IP internationally may be a simple way for a firm with infinite resources to cover present and future activity; however, most startups have limited resources and must strategically limit their filings. A decent rule of thumb is to file for protection in the following sequence, from most important to least important:
  • jurisdictions where the startup is operating,
  • jurisdictions where the startup’s customers are located, and
  • jurisdictions where the startup’s competitors are operating.

While there may be value in getting patent protection in a jurisdiction where enforcement by the company is doubtful, a startup may be able to minimize desired filing jurisdictions by eliminating jurisdictions where enforcement is not possible.

In a similar vein, entrepreneurs frequently file Patent Cooperation Treaty (PCT) applications to obtain provisional protection in the Patent Cooperation Treaty’s 153 contracting states (PCT Contracting States). A PCT application has the advantage of giving the applicant additional time to decide where patent protection is desired before submitting to individual jurisdictions. However, if the company already knows it will be filing in a small number of countries/regions (e.g., two or three), the additional expenses of filing the PCT application are often not worth it, and filing directly in the desired countries/regions is likely a more cost-effective method.

  1. Take advantage of USPTO programs that are available: The USPTO’s initial action in response to a freshly submitted application could take two or more years. Add on the time spent arguing with an Examiner, the time it takes from filing to grant can easily exceed three years. Such a delay might be detrimental to a business that wants to show fast results to secure additional funding. Fortunately, the United States Patent and Trademark Office (USPTO) has several programs and methods that can be employed to expedite the patent award process.

Track 1 Prioritized Examination: The purpose of the Track 1 Prioritized Examination program is to complete an application in one year. This is far faster than the standard workflow at the USPTO. The program’s disadvantages include a relatively costly application fee, limitations on the number and type of claims that can be filed, and the stipulation that no extensions of time be granted during the application process. Combining a Track 1 Prioritized Examination request with a focused approach that directs the application’s claims to a specific, practical (albeit restricted) embodiment can be a very effective method for obtaining a lucrative patent grant in a short amount of time.

In-Person Interviews: A phone interview with the Examiner is usually held during the prosecution of a patent application to review pending rejections and come to a resolution concerning the claims. At the applicant’s request, these interviews may be done in person at the USPTO in Alexandria, Virginia. While having a face-to-face appointment with an Examiner, maybe demoing the invention for the Examiner, and having a more candid discussion than is generally held remotely, might dramatically enhance the results of the interview and result in a notice of permission rather than additional office action. When it’s tough to discuss an idea without a physical model or representation, this method can be quite useful.

  1. Broad does not always mean better: Patent law has long held the belief that claiming an invention as broadly as feasible prevents as many potential infringers as possible. In theory, this is a fine idea; nevertheless, for a startup with limited resources, it may not be the most efficient strategy. Instead, it might be more practical to concentrate the claims on a specific embodiment of the invention that is directly linked to a product/process that the startup is currently using or envisioning. By narrowing the claims in this way, an Examiner’s search and examination will be confined to art that is relevant to the claimed embodiment, rather than irrelevant art that could be interpreted as reading on unduly broad claims. As a result, a valuable patent with claims that are specific to the startup’s real activity or product may be granted more swiftly. Following continuation applications may be utilized to widen the claims’ reach to cover further embodiments, but at the very least, the startup will be able to prevent others from creating, selling, using, or importing a system/process that substantially resembles theirs. A patent that is focused on a specific activity or product of the firm and is issued relatively fast might be a great marketing tool for investors and customers.

A company can establish a comprehensive IP strategy that protects their important IP rights while avoiding potentially negative legal circumstances by taking a holistic approach to developing an IP strategy and examining the points listed above, among others, with the support of a seasoned practitioner.

FRIEZE LOS ANGELES 2022: THE 10 BEST BOOTHS

The worldwide art community is keeping a careful eye on what’s going on in Los Angeles, with gallery after gallery announcing plans to open there. Frieze Los Angeles, which opened its third edition with a VIP preview on Thursday morning, is part of the cause for the sudden surge of interest. The fair, which was held in a custom-built tent across from the Beverly Hilton and featured roughly 100 exhibitors, drew a continuous stream of people and witnessed excellent sales throughout the day.

Frieze sponsored a small brunch before the fair’s opening, at which Beverly Hills Mayor Robert Wunderlich, who arrived on a bicycle and wore a pink helmet, spoke. Afterward, Wunderlich told a reporter that Frieze is a “perfect fit,” because the city “has had a strong relationship to arts and culture since its beginnings that continues now.” “We’re glad Frieze is here, and we’re delighted to be its host,” he continued. To paraphrase Casablanca’s ending, “I hope this is the start of a lovely relationship.”

The ten best booths at Frieze Los Angeles are listed below.

  1. Amelia Toledo at Nara Roesler

Amelia Toledo, a Brazilian artist who was featured in the groundbreaking traveling show “Radical Women,” which opened at the Hammer Museum in 2017, is still mostly unknown in the United States. At this year’s fair, Nara Roesler, a leading Brazilian gallery that has worked with the artist’s estate since 2019, hopes to change that. Toledo was a student of Anita Malfatti and Waldemar da Costa, as well as a friend of Mira Schendel, Lygia Clark, and Lygia Pape, who worked with her for almost eight decades before her death in 2017. Roesler’s booth will include two series that underline the importance of nature in Toledo’s profession. Her lyrically simple “Horizon” paintings, created during the last decades of her life, are displayed on the walls, in which shades of the same color—oranges, blues, and reds—meet at a center horizon line. Several pieces from her “Minas de cor” (Color mines) series are arranged in stainless steel bands on the floor, including yellow and red jasper, crystal quartz, and blue quartzite. Toledo polished the stones to bring out their natural brilliance.

  1. Samuel Levi Jones at Vielmetter

Samuel Levi Jones presents a stunning new series of mixed-media works in this solo booth, in which the covers and pages of Indiana history and law books are juxtaposed in various compositions. These works are striking, no doubt due to the fact that the artist pulped and colored his books, giving them a tactile touch. Though these abstractions may appear straightforward at first glance, Jones is interested in the myriad ways that recorded history can systemically perpetuate inequality.

  1. Tania Candiani at Vermelho

Tania Candiani, a Mexican artist residing in Mexico City, is exhibiting two stunning sets of work at the Vermelho gallery in So Paulo. Two wall installations of rows of black and white alarm clocks form diamond and hourglass forms in Sobre el Tiempo (2008–22). Two life-size sewn paintings from her “Manifestantes” series (2019–22) are also on display, which she began a week before the “revolución Diamantina,” a 2019 march in Mexico City condemning the rape of a woman by four police officers. The artist stated in a statement that she wanted to show “women in various marches and protests around the world.” Taking advantage of the moment of unanimity and protest—when the voice rises. Sewing is a form of noisy drawing for me. “These portraits are voices,” says the artist.

  1. Jennie C. Jones at Alexander Gray Associates

Jennie C. Jones has one striking canvas in the booth of New York’s Alexander Gray Associates, which is currently the subject of an exhibition at the Guggenheim Museum in New York. This 2021 painting, titled Red Tone #5, is part of Guggenheim’s Red Tone series and features two intense red tones. The artist has affixed a grey piece of architectural felt to the side of the work, which can be utilized to attenuate sound. It’s a visual representation of an auditory experience, as well as the painting’s potential for sound—or silence—for the artist. Jones’ use of basic tones is reminiscent of Minimalist painting. Palimpsest (I), a wall-mounted sculpture of old wooden boxes by Valeska Soares from 2016, has a parallel in Red Tone #5.

  1. Evelyn Taocheng Wang at Carlos/Ishikawa

Evelyn Taocheng Wang was born in Chengdu, China, in 1981 and has lived in Rotterdam, the Netherlands, for the last ten years. Her art frequently examines the cultural divide between Chinese and Dutch cultures, as well as the contrasts in their perceptions of class, gender, and beauty. Wang displays two connected sculptures in the booth of London’s Carlos/Ishikawa, after immersing herself in the golden period of Dutch art and the fashion of agnès b. (both of which present classical ideals of European beauty for women). Handmade textiles that resemble giant underwear are laid out across drying racks in them.

  1. Christina Quarles at Pilar Corrias

Pilar Corrias of London has brought a variety of pieces by its roster artists to its group booth, including a Philippe Parreno “Marquee” sculpture and a mixed-media painting by Gisela McDaniel. A striking new work by Christina Quarles, which will be included in the main exhibition of this year’s Venice Biennale, is also on display at the gallery. This new artwork, titled Another Day Over, adds to Quarles’ current body of work, which began in 2020 as lockdown began. Quarles has been recognized in recent years for her paintings in which various bodies blend into one another, but in Another Day Over, there appears to be only one figure—a reflection of the loneliness many people are feeling as the pandemic continues. It hangs between two Tschabalala Self chair sculptures.

  1. Tschabalala Self at Galerie Eva Presenhuber

In the case of Tschabalala Self, Galeria Eva Presenhuber has imported one of the artist’s significant works, which was last seen in Los Angeles three years ago at the Hammer Museum. The sculpture, which represents a Black lady leaning over, began as a plaster-and-gauze sculpture before being cast in bronze and painted pink. A pink carpet has been added as well. Self has stated that her work aims to reimagine how Black women have been represented in art throughout history, and here, she depicts her female figure as a person who is regenerating the surroundings around her.

  1. Helen Pashgian at Lehmann Maupin

Helen Pashgian, a Pasadena resident, has a lovely installation on the outside of Lehmann Maupin’s booth, which faces a mural that Betye Saar (of Roberts Projects) will be re-creating throughout the fair. Pashgian is displaying two recent entries in her ongoing series of mystical spheres produced with cast epoxy, each resting atop four-and-a-half-foot-tall pedestals, which are currently the focus of a survey at SITE Santa Fe in New Mexico. A rare Pashgian painting from the artist’s collection is sandwiched between the other works. Her unique cast epoxy approach has been adapted for a square canvas, where bright threads of color dance together. New works by Liza Lou, Catherine Opie, Nari Ward, and Lari Pittman, as well as a study for Calida Rawles’s newly unveiled commission at the SoFi Stadium in Inglewood, where the Super Bowl was held last Sunday, were on display at the gallery.

  1. Camille Henrot at Hauser & Wirth

Camille Henrot, who just joined Hauser & Wirth following the closing of Metro Pictures, exhibits a new series of paintings in a custom-built installation with pale green walls and frosted glass cut-outs. The pieces, titled “Do’s and Don’ts,” use numerous old etiquette books that the artist’s mother used to hold as source materials, which are then assembled into highly layered canvases that include gesso, peeled-off vinyl, screen-prints, directly applied paint, and more. As is typical of Henrot’s work, the artist is interested in investigating the impact of technology on our daily lives, specifically how digital technology has altered our social conventions.

  1. Bruce Nauman at Sperone Westwater

For four minutes, artist Bruce Nauman says “thank you” over and over again from an old-school television in Sperone Westwater’s booth. Thank You, a video sculpture created in 1992, appears simple at first glance. However, when Nauman repeats the remark, his tone becomes more abrasive and harsh. That simplicity is disturbing, and it raises the question of just how dangerous a simple “thank you” may be in the wrong hands.

10 CONTEMPORARY FILIPINO ARTISTS YOU MUST KNOW

Fresh and new, undiscovered talents breaking into the scene and making waves are referred to as “up-and-coming.” The artists on this list aren’t necessarily unknown; in fact, most of them have been working continuously for the past few years. They’ve been pounding the streets, carving out a name for themselves in the art and design industries. Their works are fascinating, tough, and unexpected, which is why they’re on this list. These are ten Filipino artists who you should keep an eye on since they are the shape of things to come.

MARTHA ATIENZA

Atienza was born in Manila to a Dutch mother and a Filipino father and won the Ateneo Arts Award in 2012 for her video work Gilubong ang Akon Pusod sa Dagat (My Navel is Buried in the Sea). She is interested in researching experimental narratives that examine the divide between the commonplace and the fantastic in everyday life as a filmmaker and visual artist. At the moment, Atienza is concentrating on the impact of modern art on social change.

OLIVIA D’ABOVILLE

D’Aboville is a Filipino-born French-Filipina sculptor who studied tapestry and textile building at Duperré, a prominent Textile Design school in Paris. She is fascinated by natural architecture and the richness of our seas’ biodiversity. D’Aboville’s art weaves complex structures that resemble identifiable biological forms out of commonplace things, producing surprising and astonishing outcomes. Sacred Geometry, her most recent exhibition in Makati, addresses the limitless iterations found in natural patterns and shapes.

TENGAL DRILON

Drilon’s work is presented with the goal of experience and interaction. He is a Filipino sound artist, composer, musician, curator, and filmmaker. Drilon’s work confronts the interplay of sound and picture, a juxtaposition that leads to striking comparisons, using several methodologies. He is the creator and director of Sabaw Media Art Kitchen, a non-profit organization that connects and exchanges new media artists in Southeast Asia. Sabaw develops a platform for digital culture and the interface of art and technology through events, seminars, conversations, and forums.

KRISTIAN HENSON

Graphic design is undeniably art, even though it is frequently disregarded. Filipino-American Kristian Henson is a contemporary graphic designer whose work surpasses any visual artist working today, with a distinct aesthetic and taste beyond many in his sector. There’s no doubt that, with his schooling from the Art Center College of Design and the Yale School of Art, he has the expertise and craftsmanship to silence any doubters. Henson has collaborated with Swindle Magazine and American artist Shepard Fairey and has received the coveted Art Directors Club Young Guns Award. Henson most recently produced the layout for the printed edition of The Manila Review’s second issue in the Philippines.

WINNER JUMALON

Jumalon, who won the Cultural Center of the Philippines’ 13 Artists Award, is no stranger to such lists. Jumalon’s recent paintings, which he just exhibited at Art Basel HK, try to tap into the collective experiences of family and friends, as well as himself. His unsettled portraiture explores moments of suspense and drama, amplifying the unsaid tensions between subject and observer.

HANNA PETTYJOHN

Pettyjohn’s complex paintings are evocative and melancholic, shifting between longing for the past and the intensity of the present. He is best known for portraiture. She explores the location of her family history, the interaction and interstice between Americans and Filipino in deeply personal paintings. Her vision of the United States and her family informed these large-scale paintings, which were based mostly on her experience living in Dallas-Fort Worth, Texas. We are confronted formally with shapes and objects that appear disassociated from their original meaning in Pettyjohn’s most recent series of paintings from her show The Glass Between Us, presenting a system of ambiguity and uncertainty.

CHRISTINA “GOLDIE” POBLADOR

Poblador is a painter, glass sculpture, and installation artist who is fascinated by how natural and man-made processes affect our surroundings, effectively depicting the sublime, beautiful, and awful. Poblador is now on view as part of the Goethe Institut’s Riverscapes: Influx traveling show. She was invited to make works with many other Southeast Asian artists that looked at the cultural implications of environmental change in river-bordering communities. She graduated from the University of the Philippines, Diliman, with a Bachelor of Fine Arts in painting and will begin graduate studies at the Rhode Island School of Design in the United States this fall.

MARK SALVATUS

Salvatus is a multidisciplinary artist living in Manila. His art operates within the field of site-specificity, elaborating on the truth, actual, and imagined aspects of the terrain. His art seeks to reconfigure the binaries of urban existence, such as those between person and space, self and community, by doing so. He’s also the director of the 98B COLLABoratory, which aims to bring artists, architects, curators, writers, musicians, filmmakers, educators, researchers, performers, and students together with the general public. The current mission of the laboratory is to connect and invite local artists to revive locations that embody Metro Manila’s history and legacy.

SHIREEN SENO

Shireen Seno, a photographer, and filmmaker was born in Tokyo and reared in both Japan and the United States. Seno has worked for renowned Filipino filmmakers John Torres and Lav Diaz and holds a Bachelor’s degree in Architectural and Cinema Studies. Big Child, her 2012 feature film, is a coming-of-age narrative of a boy and his family in 1950s Mindoro after the Philippines were liberated by the Americans. Seno’s video, like most of her photographs, depicts a Filipino family struggling against the tides of history and colonialism.

COSTANTINO ZICARELLI

Zicarelli, a Filipino-Italian artist born in Kuwait, describes himself as a failed graffiti artist and musician. He says he strives to merge his failed attempts into more fascinating visual shapes, having earned a degree in advertising from the University of Santo Tomas’ College of Fine Arts and Design. Zicarelli’s most recent graphite drawings are stunning scenes that combine his reality with contemporary subcultures and deviant, macabre imagery in a medium of delicate complexity. Zicarelli’s art produces often-illogical associations that question, confront, and investigate. He is best known for monochrome works, whether drawing, painting, or installation.

Art business advice – Protect your Art Under IP Code

For the art world, the internet is similar to the American frontier: full of opportunity and promise, but also a place to be cautious. You can now share your art with a global audience, meet and acquire new collectors and fans, raise funds for your art projects, and make life-long friends with just a few clicks. However, with this convenience comes a slew of new risks and drawbacks, leaving artists exposed and vulnerable at times.

The biggest looming nightmare for many artists is copyright infringement. Art is your craft and your livelihood; it requires a personal investment of time, money, effort, and soul. It is also your intellectual property. Protecting your art should be a top priority. There are a few options to help you with this, and we’ve laid them out for you in a quick and easy guide.

HOW TO PROTECT YOUR ART FROM COPYRIGHT INFRINGEMENT

“Intellectual property is a property right that can be protected under federal and state law, including copyrightable works, ideas, discoveries, and inventions. The term intellectual property relates to intangible property such as patents, trademarks, copyrights, and trade secrets.” US Legal,

“Copyright protection subsists, in accordance with this title, in original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device.”  United States Copyright Office.

In layman’s terms, intellectual property is your right to protect your original work, whereas copyright is established when an original work is physically created (not just conceptually). Unregistered work, on the other hand, can be difficult to prove as your own, which is why it is critical to keep digital or physical records. Consider how well you can demonstrate that you are the creator of the artwork in question if you ever need to take a case to court.

So, how can you legally protect your art from copyright infringement?

  1. Always sign your work with your name.

This is the first step in safeguarding your artwork against copyright infringement. Make it a habit to sign all your work, preferably with the year it was completed.

  1. Register Your Work

If you are a U.S. artist, it is strongly advised that you register your work with the Copyright Office of the United States Library of Congress. Even though copyright is automatically granted at the time of creation, registering the work ensures that you have adequate proof that the work is yours. In the event of a copyright infringement suit, it also allows you to demand more money. In the United States, the registration procedure is as follows:

  1. Navigate to the Library of Congress website and select the electronic Copyright Office (eCO). Completing the registration form and paying the required fee.
  2. After the registrar’s office has reviewed your application, you will be mailed an official certificate of registration. This serves as documented proof of your copyright, which will also be filed online as a public record.

After reading this article, we recommend that you check your country’s copyright laws. Although intellectual property laws are similar across the board, there maybe some nuances and differences to be aware of.

  1. Maintain Digital Records of Your Work

A picture is worth a thousand words, especially if someone claims to be the author of your work. Having a digital library of your artwork will save you a lot of time and trouble if you are sued for copyright infringement, as you will be able to present this record in court. The great thing about photographs is that their metadata frequently includes the date they were taken. A professional photographer can be used to ensure that two people have evidence to support any copyright infringement cases.

  1. Recognize the possible risks

Because you make a lot of art, it’s critical to concentrate your copyright protection efforts where they’ll be most effective. For example, if you create more abstract or conceptual art (which is more difficult to reproduce), your risk of copyright infringement will be significantly lower. However, if your pieces contain creatures or characters that could be borrowed or replicated, or if you create images that are very iconic or have high mass-market appeal, you should always protect them using the steps outlined above.

KEEPING YOUR ART SAFE ON YOUR WEBSITE

There’s no denying that posting your work online can be dangerous. Simultaneously, in today’s increasingly digital art world, online exposure is frequently critical to an artist’s success. While nothing is perfect, there are some precautions you can take to help protect your art on the internet.

  1. Convert Your Photographs to Flash

You may want to convert your images into a flash slideshow before posting them online. This prevents web users from simply copying and pasting the image. You can accomplish this by downloading special slideshow converters or consulting a web design expert.

  1. Only use small, low-resolution images for publication.

For most people, stealing a small, low-resolution image is simply not worth it. However, before you go resizing all your images to thumbnails, make sure you don’t save them over your high-resolution images. Once you save an image as small and low-resolution, you will never be able to convert it back to high resolution. Save the web-ready version as a separate file for everything you value.

To resize images, you can use almost any image-editing software on either Windows or Mac. The process is pretty much the same whether you’re using Photoshop or Paint. The “Resize” toolbar option is usually found under the “Edit” toolbar. Converting to a lower resolution can be more difficult.

  1. Consider Including Watermarks on Your Images

A watermark is a logo or name that is superimposed over an image. Watermarks identify you as the artist of your image and are extremely difficult to remove or change.

The copyright notice, best known as the C symbol (©), plus the year the work was published, or the abbreviation ‘Copr’, is the most used. This watermark should also include the year of completion as well as your name. It should look something like this:

PROTECTING YOUR ART ON SOCIAL MEDIA.

While you can keep track of the number of people visiting and viewing your works on your site (and there are some good measures to protect them from being copied), once you add your images to social media there is no knowing where they will end up. However, avoiding social media altogether can be a serious disadvantage too. So, how do you protect your image? Here are some tips!

  1. Read the Terms and Conditions.

Do you use Instagram to promote your artwork? What about other social media platforms? Recently, artist Richard Prince made $100,000 by selling a series of other people’s Instagram photos. Though this appears to be a blatant copyright infringement, the situation is in legal limbo. One thing is certain: if these images had been registered federally with copyright, they would have been protected. When you post your artwork to other platforms, make sure to read the terms and conditions to see what copyright protection your artwork has.

  1. Always include a watermark in your image.

A watermark, like a website, is one of the best tools for protecting your art on social media. Not only does a watermark make it clear to the viewer that your work is protected by copyright, but it will also help you in court because the other artist will be unable to claim “innocent infringement” if he or she uses your work (meaning it was copied unknowingly).

Put your watermark in a prominent place on the image. Don’t just slap it on the edge; you don’t want anyone cropping it out.

It is becoming increasingly important to protect your artwork from copyright infringement, especially in our digital age. These safeguards and practices, hopefully, will ensure that your intellectual property remains your own.

The Craft of the Chinese Feast

Any individual who has partaken in a Peking duck meal realizes that such multicourse, celebratory suppers are a major ordeal in China, and have been for a considerable length of time. Another display at the Princeton College Workmanship Exhibition hall shows devouring from the tenth to the fourteenth hundreds of years — during the Liao, Tune and Yuan administrations — through banqueting curios and canvases. The display is separated into segments covering galas delineated in funerary workmanship, feasts for women eating in isolation, and an intricate supper committed to insightful issues for men, all demonstrating the strict, social and political significance of such undertakings. There will be a few talks and movies appeared during the display’s run.

“The Endless Gala: Banqueting in Chinese Craftsmanship From the tenth to the fourteenth Century,” through Feb. 16, Princeton College Workmanship Historical center, Princeton, N.J., 609-258-3788, artmuseum.princeton.edu.

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Fire guts working at Detroit’s outside craftsmanship venture

DETROIT — Fire has wrecked a structure that is a piece of Detroit’s mainstream open air craftsmanship undertaking known as the Heidelberg Task.

Flares were shooting through the rooftop before firemen managed the blast Monday morning. The structure east of downtown Detroit has “you” covered all up it, one of numerous structures with crafted by craftsman Tyree Guyton. The back was gutted, and heaps of blocks were all over the place.

Guyton is known for connecting shoes, timekeepers, vinyl records, soft toys and different items to summary homes in the area.

A representative, Dan Lijana, says the Heidelberg Undertaking has been hit with flame before. He says, “Each time we’ve risen up out of it more grounded.”

Specialists state an individual is in guardianship in the examination.

Copyright 2019 The Related Press. All rights held. This material may not be distributed, communicated, reworked or redistributed.

Workmanship That Is Political and Individual

This article is a piece of another arrangement on Visionaries. The New York Times chosen individuals from everywhere throughout the world who are driving the limits of their fields, from science and innovation to culture and sports. 

The craftsman Shirin Neshat has had an uncommon direction to workmanship world conspicuousness. She left her local Iran as an adolescent during the 1970s, before the unrest and the fall of the shah, and wound up learning at the College of California, Berkeley. By her own record, she didn’t wind up making craftsmanship genuinely until her mid 30s. Be that as it may, Ms. Neshat, 62, has turned out to be one of the most unmistakable experts in the media of photography, video and film. 

Presently New York-based and working with a few collaborators in an enormous Bushwick studio, Ms. Neshat makes workmanship that addresses themes like outcast, political upheaval and Iran’s past and future. The greatest presentation of her vocation, “Shirin Neshat: I Will Welcome the Sun Once more,” keeps running from Oct. 19 to Feb. 16 at The Expansive in Los Angeles. 

The show takes a gander at her three-decade profession — including her eminent ’90s arrangement “Ladies of Allah,” with photos overlaid in calligraphy — however a great part of the consideration will be on another group of work called “Place that is known for Dreams.” 

“I’m keen on this combination between the old and the new, the antiquated and the contemporary.” 

It involves a progression of 111 photographic representations of Americans hung in salon-style course of action and two dreamlike, high contrast recordings. In the recordings, which she considers a “diptych,” an Iranian picture taker in a state of banishment goes around New Mexico, taking representations and getting some information about their fantasies. It’s at that point uncovered that the pictures and data she has gathered are being broke down by a mystery settlement of Iranian researchers working in a dugout. Albeit depicted by an on-screen character, the picture taker/spy is a sub for Ms. Neshat and the whimsical social event of thoughts that energizes her specialty. 

“It’s consistent with state that each craftsman’s work is a projection of what their identity is and the existence they have lived,” she said in her studio over the late spring. “I have no enthusiasm for making self-portraying work, however the work is close to home.” The accompanying discussion has been altered and consolidated. 

What should individuals think about this show, and explicitly the new works? 

I’ve had this fixation on dreams. Making films about dreams, you’re ready to address a ton of sociopolitical, social and intense subject matters. Since dreams are blameless. There’s a comprehensiveness about them, and they are multifaceted. 

The manner in which you’ve set it up in the film, Iranians and Americans are inconsistent, however in confounded and nuanced ways. 

Consider the obsession of the Iranian government and the enthusiasm in this nation, and the long stretches of threat between the Iranian and American societies. We make beasts out of one another. They disparage American culture, individuals and government; and the Americans deride the Muslims. Thus in the story, the Iranians are gathering individuals, by means they had always wanted. For me it was a spoof, finished with surrealism and ludicrousness. 

Who are your persuasions regarding filmmaking? All things considered, unmistakably, the moderation of Abbas Kiarostami [the Iranian executive who passed on in 2016], yet additionally individuals like [Ingmar] Bergman and [Andrei] Tarkovsky. I react to the melancholic state of mind of Scandinavian and Russian film. 

“Making films about dreams, you’re ready to address a ton of sociopolitical, social and intense subject matters.” 

Where do you discover wellsprings of imagination? 

I’m truly established in the Iranian culture I originate from. I think there are a ton of feelings in the work, and I believe that is something that makes it non-Western, as it were. There’s a culture of verse in Iran, and we are for the most part profoundly lovely in the manner that we convey what needs be. There’s a great deal of yearning, there’s a ton of sentimentality. The Expansive presentation isn’t just my greatest ever, it’s likewise a noteworthy show in Los Angeles, which has the biggest Iranian people group outside of Iran. Also, I felt that it was essential to make a work that discussions about being a worker, particularly being an Iranian outsider, today. 

I know the “Place where there is Dreams” films utilize some enhancements. How does innovation communicate with your work for the most part? 

I used to truly demand working with a 16-or 35-millimeter camera in our filmmaking and in my still photography work; we generally worked with film. In any case, increasingly more I inclined toward computerized cameras in light of the fact that the measure of control and opportunity I picked up in the last yield was exceptional. Be that as it may, my work is constantly about an equalization: I utilize my very own hands to compose antiquated, conventional calligraphy. I’m keen on this combination between the old and the new, the antiquated and the contemporary. Indeed, even in the manner in which that I dress, I join the kohl from antiquated Egypt around my eyes with present day, insignificant garments. 

“There’s a culture of verse in Iran, and we are on the whole profoundly wonderful in the manner that we convey what needs be.” 

What did you need to be the point at which you were a child, and how does your youth remain with you today? 

I was exceptionally honored on the grounds that I experienced childhood in a center high society condition, yet we never went to exhibition halls. It was a community, and we were extremely commonplace. My dad was a scholarly person, he was an exceptionally uncommon Iranian; he voyaged a great deal, he read numerous books, and he was a doctor and a rancher. So I think he was my motivation as far as imagining that anything was conceivable. In any case, what developed in me to turn into a craftsman was extremely intuitive, something that despite everything I don’t get it. 

It’s hard for you to return to Iran for political reasons, so how has that affected you? 

It’s a sweet-and-harsh history for me. I am exceptionally fortunate that my mom’s still near, my family still lives in Iran. Be that as it may, every day when I address my mom, we’re helped to remember how we have been ceaselessly isolated. 

What was your first stage in the US like? 

I got myself alone in this nation. So I needed to settle on an incredible course. That next 10 years wound up sort of a dull period for me since I was really shocked about this partition, and not realizing how to deal with myself monetarily and inwardly. What’s more, I have a favorable opinion of the work that I do today‚ with its despairing tone and its tending to of issues like surrender, being an untouchable, being constantly a pariah — they all originate from my experience. It was somewhat extreme. I was bad at school when I was at U.C. Berkeley; I think I was one of the most noticeably awful understudies. I didn’t bloom. 

“I resulted in these present circumstances nation alone truly, and I took care of myself.” 

What was your enormous break? 

I was laboring for a long time for a philanthropic association that still exists called the Customer facing facade for Craftsmanship and Engineering. En route, individuals found my work and included me in certain shows. Thus I ended up found coincidentally. 

Yet, to be found, you must make convincing workmanship, no? 

It took me some time to pay attention to myself. Furthermore, I imagine that is the best way. A ton of craftsmen are at school, and they’re attempting to have a profession following they graduate. I let them know, “You need to carry on with a real existence and not make craftsmanship as a result of the need of profession.” 

How would you characterize achievement? 

I think the one thing I feel extremely pleased about is that I’m exceptionally independent. I resulted in these present circumstances nation alone, truly, and I took care of myself. What’s more, if the clock stops directly here, I feel that I have accomplished a lot I had always wanted. 

How does your future look? 

I’d at present prefer to accomplish more. I don’t feel like a disappointment, yet I think I have a feeling that I’m battling constantly. Some portion of the reason I battle is my very own issue: I’m exceptionally goal-oriented, I get things done in an extremely huge manner, I go for broke. Also, in light of the fact that I’ve changed my medium, I feel like a tenderfoot — despite everything I feel like a youthful craftsman despite the fact that I’m not youthful. Also, that is the establishment of who I am. Regardless i’m needing to rethink myself, and that essentially is the thing that keeps me on my toes and keeps me energized.

Atlanta Couple Endowments High Exhibition hall Accumulation Of European Craftsmanship

ATLANTA — Atlanta’s High Exhibition hall of Craftsmanship has reported two or three has talented it a gathering of Impressionist and post-Impressionist sketches, including works by Claude Monet, Camille Pissarro and Henri Matisse

The Atlanta Diary Constitution reports Tuesday that the 24-painting gift from humanitarians Doris and Shouky Shaheen is the most huge endowment of European workmanship to the exhibition hall since 1958. That year, the Samuel H. Kress Establishment gave the base of the historical center’s European accumulation by gifting 30 Italian works. 

The High declared it’ll name an exhibition after the Shaheens and show the accumulation there not long from now. 

A historical center authority declined to evaluate the estimation of the blessing, yet said it wouldn’t have been conceivable with current assets. This year, a Monet painting sold for $110 million at sale.

Pressured – Kate Middleton’s Birthday

Before Prince William and Kate Middleton wedded, they were a youthful couple, who were forcefully pursued by the paparazzi. Be that as it may, after a specific episode, the Duke of Cambridge lashed out and chose to make a move.

As an individual from the Royal Family, Prince William was appointed protectors to shield him from picture takers. In any case, Kate was left inclination overpowered by the consideration.

As indicated by the narrative, “Sovereign William at Thirty,” the imperial was left irate in 2007 after Kate’s birthday festivity was demolished. “On Kate’s 25th birthday celebration, she needed to run the gauntlet of cameras pressed onto the road outside her level,” the storyteller uncovered.

Illustrious journalist Roya Nikkhah guaranteed Kate attempted to keep up her protection because of her association with Prince William. “You would see many paparazzi and press picture takers outside her home which is hard for anybody attempting to advance,” she clarified.

“It was as though whatever she did – regardless of whether she got down to business or would not like to get down to business – she would be examined and nearly harassed.”

The occurrence appeared to be the issue that is finally too much to bear for William, who issued an announcement about the paparazzi’s conduct. “Sovereign William is despondent at the paparazzi provocation of his better half. He needs more than anything for it to stop,” an illustrious representative said at the time.

Alongside the announcement, the Duke of Cambridge additionally made legitimate move and constrained the Royal Family to ensure Kate.

“William did not take all around compassionate to this, and that was the point at which we began to see the Royal Family – driven by Prince William on this – beginning to make a move against the press and against interest and provocation by picture takers of Catherine,” Nikkhah said.

After three years, Prince William proposed to Kate, which enabled her to have imperial security monitors. Since her commitment to William, the Royal Family has kept on guaranteeing Kate, who is relied upon to progress toward becoming Queen sometime in the not so distant future, had nonstop insurance.

Catherine Kate Middleton, Duchess of Cambridge and Prince William, Duke of Cambridge go to Easter Sunday administration at St George’s Chapel on April 21, 2019 in Windsor, England.