Modern Cartography and GIS

2019 ◽  
pp. 22-38 ◽  
Author(s):  
Mulalu I. Mulalu
Keyword(s):  
Developing Country ◽  
Rapid Change ◽  
Public Domain ◽  
Work Environments ◽  
Professional Certification ◽  
Conceptual Frameworks ◽  
The Public ◽  
Knowledge Based ◽  
Technological Concepts ◽  
Basic Concepts

This paper presents the view that with the rapid change in technology, which necessitates the constant rethinking of the supporting conceptual frameworks, spatial science practitioners need to be well grounded in the basic technological concepts and research arguments in order to perform their varied tasks with knowledge based integrity. Cartography has now been placed in the public domain as well as in GIS. GIS in turn has introduced GIS Cartography and is also practiced in the public domain. In both cases, there are situations where people do cartography and GIS without understanding their basic concepts and principles. The paper seeks to shed light on the varied exemplification of the cartography and GIS disciplines with a bias in developing country contexts where there is still a piecewise treatment of these disciplines in education and work environments and a shortage of professional bodies and certification routines. By discussing basic concepts and conceptual frameworks, the practice environments, education and accreditation as well as professional certification, the paper highlights some of the basic requirements of spatial science practitioners. The paper is written from the Botswana context as an example of a developing country context, but most issues should relate to other developing country contexts too.

Modern Cartography and GIS

2018 ◽  
pp. 33-49
Author(s):  
Mulalu I. Mulalu
Keyword(s):  
Developing Country ◽  
Rapid Change ◽  
Public Domain ◽  
Work Environments ◽  
Professional Certification ◽  
Conceptual Frameworks ◽  
The Public ◽  
Knowledge Based ◽  
Technological Concepts ◽  
Basic Concepts

This paper presents the view that with the rapid change in technology, which necessitates the constant rethinking of the supporting conceptual frameworks, spatial science practitioners need to be well grounded in the basic technological concepts and research arguments in order to perform their varied tasks with knowledge based integrity. Cartography has now been placed in the public domain as well as in GIS. GIS in turn has introduced GIS Cartography and is also practiced in the public domain. In both cases, there are situations where people do cartography and GIS without understanding their basic concepts and principles. The paper seeks to shed light on the varied exemplification of the cartography and GIS disciplines with a bias in developing country contexts where there is still a piecewise treatment of these disciplines in education and work environments and a shortage of professional bodies and certification routines. By discussing basic concepts and conceptual frameworks, the practice environments, education and accreditation as well as professional certification, the paper highlights some of the basic requirements of spatial science practitioners. The paper is written from the Botswana context as an example of a developing country context, but most issues should relate to other developing country contexts too.

scholarly journals The polonaise from the film Pan Tadeusz directed by Andrzej Wajda as a choreographic work protected by copyright

2021 ◽  
Vol 15 ◽  
pp. 89-100
Author(s):  
Katarzyna Brzózka
Keyword(s):  
Copyright Protection ◽  
Public Domain ◽  
Berne Convention ◽  
Work Of Art ◽  
The Public ◽  
Basic Concepts ◽  
Andrzej Wajda

Choreographic work was the object of copyright protection under the Berne Convention, as revised at Berlin in 1908, as well as under the historical Polish copyright legislations — the 1926 Act (as an original, “not based on any existing work of art” work of “rhythmic art (choreography)”) and the 1952 Act (as a “work of choreographic art” preserved in “scenarios, drawings or photographs”). It was also included, as a “choreographic work”, in the exemplary catalogue of works protected under the Act of 4 February 1994 on Copyright and Related Rights (“the Copyright Act”), currently in force. The purpose of this paper, due to limited framework, is to analyse some basic concepts related to the conditions that a movement composition shall meet in order to qualify as a choreographic work in the meaning of the Copyright Act. It is shown based on the polonaise from the film Pan Tadeusz, directed by Andrzej Wajda. This choice allows to introduce threads related to folklore as well as the use of unprotected pieces of the public domain in choreographies into the discussion. Moreover, the article briefly presents the correlation between choreographic work and other intellectual works — literary, musical, and audiovisual.

Rewritten or Reused? Originality, Intertextuality, and Reuse in the Writings of a Buddhist Visionary in Contemporary Tibet

2017 ◽  
Vol 33 (1-2) ◽  
pp. 203-231
Author(s):  
Antonio Terrone
Keyword(s):  
Public Domain ◽  
The Public ◽  
The Way

The study of Buddhist texts can inform us of the way scriptures were composed, as well as illuminate the reasons behind their production. This study examines the phenomenon of borrowing and reusing portions of texts without attributing them to their ‘legitimate authors’ within the Buddhist world of contemporary Tibet. It shows that not only is such a practice not at all infrequent and is often socially accepted, but that it is used in this case as a platform to advance specific claims and promote an explicit agenda. Therefore, rather than considering these as instances of plagiarism, this essay looks at the practice of copying and borrowing as an exercise in intertextuality, intended as the faithful retransmission of ancient truths, and as an indication of the public domain of texts in Tibet.

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