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Indian Government must demand review of TRIPS, as mandated in the TRIPS Agreement and must not concede more than what TRIPS requires. ('Left Parties Note on Third Patents (Amendment) Bill', People's Democracy, Vol. 28 No. 47, November 21, 2004) .
In reality, interpreting the text of the TRIPS agreement and its 'flexibilities' is a mug's game. Whenever countries have tried to take advantage of such 'flexibility', they have been targeted by MNCs and governments of imperialist countries acting on their behalf, led by the US. The much-acclaimed Declaration on TRIPS and Public Health in the Doha Ministerial Meeting of WTO in 2000 was a short-lived victory and was rendered hollow by the bilateral bullying tactics of the US government and the MNCs. This bullying forces developing countries to adopt 'TRIPS-plus' measures -measures that are not required even by the TRIPS Agreement -which will further favour MNCs. ('US Bullying on Drug Patents: One Year After Doha', Oxfam Briefing Paper 33, 2002) The response of the aspirant capitalist classes of the Third World has been two-pronged, involving both conflict and collaboration with global pharmaceutical majors, and the governments and multilateral bodies that further their interests. Thus, on the one hand, the strategies adopted by the top Indian pharmaceutical companies in recent years have included export-led growth through subsidiaries or acquisitions in high-margin markets, partnering with MNCs through licensing, collaborative R&D or co-marketing arrangements, and contract research and manufacturing. On the other hand, Indian generic drug makers who have successfully developed alternative processes for the manufacture of patented drugs have been aggressively challenging patent claims and trying to have longer exclusivity periods. MNCs in turn see major cost advantages in outsourcing manufacturing and clinical research to Indian companies. Studies indicate that a handful of large domestic pharmaceutical firms have the capacity to use their aptitude for reverse engineering for new drug discovery. They are in turn selling these new molecules to MNCs for further development and sale. The Indian Government is in turn providing a range of tax concessions to encourage such R&D. (Ernst & Young Global Pharma Report 2004; IMS Pharma 16 June 2000; 'Pharmaceuticals: Uneasy Alliance', Economic and Political Weekly Editorial, October 19, 2002). Commerce Minister Kamal Nath put it thus, "
the transformed Indian pharma industry is itself looking for patent protection -particularly the bio-tech sector, in which India has aggressive prospects". With an Intellectual Property protection framework in place, he said that the pharma industry could take advantage of the huge scope for outsourcing of clinical research. .
The companies and the Commerce Minister spoke the language of the market. The CPI(M) provided it the cloak of 'national interest'. The fulminations of a decade earlier, when the Indian 'bourgeois-landlord state led by the big bourgeoisie' was 'surrendering' to imperialism, turned into an obfuscating 'protection of national interest'. But it was still the language of opposition and resistance to the Ordinance route that the Government had taken. .
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I’m not a tarot aficionado, but I love the art of the iconic Tarot de Marseille. “Le troubadour” is not a standard tarot card, but a figure that I invented and illustrated based on the images found in the original deck.
The troubadour is the card of the observer and the poet, who reflects life back to itself. He represents the alchemical power of interpretation, and the paradox of seeing truth clearly through the lens of parable and fiction. Reversed, the troubadour represents artifice and obfuscation, and is associated with wasted time and mindless entertainment.
4me4you features ‘Towards a Blue Room’.
Artist: Timothy Lai
4me4you recently had the privilege of experiencing the captivating exhibition at Josh Lilley Gallery featuring the works of Timothy Lai. Lai's paintings, much like the subjects they depict, reside in a realm of perpetual transformation, hovering delicately between the tangible and the abstract, between revelation and retreat. Inspired by Chet Baker's poignant rendition of Blue Room, Lai's artistry celebrates the nuanced moments of domesticity—some mundane, others turbulent—that define the human experience. Each canvas serves as a vessel for the essence of suspended time, inviting viewers to decipher the subtle clues and profound implications embedded within.
Lai assumes the role of a conductor, orchestrating an intimate symphony of visual narratives that demand active participation from the observer. Through techniques of camouflage and pixelation, he veils his subjects, blurring the boundaries between viewer and viewed. In safeguarding their vulnerability, Lai initiates a dialogue on the intricate dynamics of subjectivity, where the relinquishment of individual identity converges with the emergence of collective consciousness. As witnesses to his artistry, we are propelled into the roles of reluctant bystanders, silent mediators, or compassionate companions, navigating the uncharted waters of human connection with patience and empathy.
Spanning a diverse array of larger vignettes and intimate compositions, Lai employs the compositional frame as a tool for dissecting barriers—both societal and self-imposed—that shape our existence. Drawing from a rich tapestry of historical and visual references, he reimagines the act of masking as a conduit for deeper introspection and nuanced discourse. From religious rites of enshroudment to the deliberate obfuscation of truth in contemporary art, Lai challenges conventional notions of concealment, inviting viewers to confront the complexities of perception and identity.
"Towards a Blue Room" serves as a profound exploration of confluence, probing the liminal spaces where boundaries blur and possibilities unfold. In Lai's masterful strokes, dissolution intertwines with protection, reflection merges with exposure, offering glimpses into the kaleidoscopic nature of human experience. Each brushstroke beckons us to traverse the threshold between certainty and ambiguity, forging new pathways of understanding and connection.
In essence, Lai's work transcends the confines of traditional artistry, offering a kaleidoscopic lens through which to interpret the intricacies of the human condition. As we immerse ourselves in the labyrinth of his creations, we are reminded of the profound power of art to illuminate, provoke, and ultimately, unite us in our shared journey towards understanding.
This evocative black and white photograph captures a face partially obscured by metal wires, evoking a sense of constraint and tension. The metal wires crossing over the subject's eyes and mouth symbolize barriers to communication and perception, reflecting a profound commentary on the suppression of expression and the obfuscation of truth. The stark contrast and close-up composition amplify the emotional impact, inviting the viewer to contemplate the forces that bind and silence within our own lives. This piece challenges the observer to reflect on personal and societal limitations, making it a powerful statement on freedom and censorship.
We settled into the Antik Holel Bristol. This is our view. There is a little park in front of the hotel but it is obfuscated they a leafy tree.
Couldn't use the flash for this one, since the white colour was totally obfuscating everything else.
It is an advanced type of program that provides you the facility to encrypt, obfuscate, and manipulate many kinds of malware with just one click.
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investigated. Therefore, the names of alleged perpetrators in a majority of cases are unknown. Further, due to the extensive work carried out by the IPTK in North Kashmir and around Srinagar, a pre-dominance of cases contained in this report are from these areas. .
It is also important to note that this report does not attempt to travel through the chain of command to establish the full list of all possible perpetrators who could be held responsible for specific crimes. Further investigations would be necessary to understand more comprehensively the role of superior authorities involved in these crimes. In general, only cases where names of alleged perpetrators exist have been included here. The purpose is to ensure transparency49. .
The focus is squarely on indictments against the Indian State and its functionaries. Within an occupation where authorities disregard the rule of law and criminalize the populace on the basis of their political aspirations, it is vital to first and foremost hold the authorities accountable. The IPTK is not unmindful of its responsibility to highlight other human rights violations. But, the Indian State does not even recognize the rights of belligerents in a conflict. All such actions by belligerents are immediately labeled as .anti-national.. These issues stem from the fact that the Indian State does not acknowledge the existence of an international or non-international / internal armed conflict. Therefore, it is difficult to correctly investigate and appreciate such crimes. .
This report, by and large, allows official documents to speak for themselves. The intention behind this choice was not to in anyway undermine the validity or significance of oral testimonies in speaking truth to power, but was seen as a way of confronting the State with facts that it itself would consider valid and beyond reproof. If official documents, produced by the States own functionaries and institutions tell the .Official Truth. the documents in this report repeatedly and conclusively certify the impossibility of justice in Jammu and Kashmir. The documents are of different types: FIRs, statements before police and /or magistrates, police final reports [closure reports or charge sheets], High Court petitions, objections, other documents forming a part of the court record such as compliance reports, status report, judicial enquiries, SHRC documents from complaints to objections, police submissions and final orders. Further, documents from other State sources and ministries such as the MHA, MOD and Government of Jammu and Kashmir have been considered where available and relevant. As far as possible, the IPTK sought to contact the victims/ their surviving family members and obtain signed statements regarding the circumstances under which killings or other violations were carried out. The families were also provided an opportunity to consent to the use of such information in this report. On occasion, particularly in widely reported cases, media reports have also been considered. Acknowledging that while the documentary and other sources unearthed by the IPTKs investigation points to damning evidence, it is not the conclusive establishment of guilt by a court of law, the IPTK has chosen to refer to specific officers and others named as .alleged perpetrators.50. .
To provide as authentic and relevant a report as possible, the IPTK submitted various queries under the RTI Act, 2009 to the Government of Jammu and Kashmir and under the RTI Act, 2005 to the Indian Government51. Further, in almost all the cases, information on every FIR number and High Court petition number referred to in the report has been sought under the RTI Act, 2009 from the concerned authorities. .
During the two years of preparing this report the IPTK has faced and learnt from numerous challenges. Limited human and monetary resources were a major challenge. This impacted on the ability of the IPTK to carry out extensive fieldwork and individual interviews on every case reported. The RTI process, that greatly enriched its quality, was often a time consuming and frustrating one due to the frequent obfuscation by governmental authorities and their personnel. .
A tabular summary provides an overview of the report. Chapter I specifically deals with cases where a strong and detailed indictment exists against the alleged perpetrators. Cases within each Chapter are listed chronologically. .
49 For an example of a report that also names alleged perpetrators, see generally: PUCL/PUDR, Who are the guilty?, 2003 [www.pucl.org/Topics/Religion-communalism/2003/who-are-gui...]. 50 In a majority of cases the names of the alleged perpetrators are listed. As far as possible, full names and accurate designations are provided. In some cases, incomplete information is provided, for example: only the designation of an officer. 51 RTIs were filed on the following areas, and no response has been received to date: information relating to all prosecutions against the police in Jammu and Kashmir from 1990 to 2011 and information relating to all .interrogation centres. in Jammu and Kashmir from 1989 to date was sought from the Government of Jammu and Kashmir and the Jammu and Kashmir Police. Information was sought from the Jammu and Kashmir Police on all encounters from 1989 to date in Jammu and Kashmir. Deficient information was provided. Information was sought from the Jammu and Kashmir Police on all FIRs filed against the police and armed forces in Jammu and Kashmir between 1989 and 2012. No information was provided. The police stated that they could not provide the information as per Section 8(1) (a) of the RTI Act, 2009 that provides an exemption for information that would prejudicially affect the sovereignty and integrity of India or its other interests or as the information could lead to an incitement of an offence. But, in contrast, in a RTI seeking substantiation of a statement in the Jammu and Kashmir Assembly in 2012 that there had been 444 FIRs filed against the police and armed forces over the last three years in Jammu and Kashmir, information, albeit deficient, was provided [Annexure 25]. Information was sought from the Government of Jammu and Kashmir on suspensions and terminations of the police and the armed forces in Jammu and Kashmir from 1989 to 2012 for human rights violations and fratricides. No information was provided. Similar applications were made to the MHA and MOD for the agencies working under them. In the case of the MHA, the IB stated that there had been suspensions or terminations for human rights violations. The CRPF stated that they were exempted from providing information under the RTI Act, 2005 except in cases of human rights or corruption matters but that in the instant case the exception would not be relevant for the information sought. In the case of the MOD, it was stated that there had been 24 terminations from 1994 to 2012 [including 12 for rape, 3 for molestation and 3 for .death.]. Further, information had been sought on all inquiries conducted on the orders of the High Court in Jammu and Kashmir. Limited, deficient, but useful information was provided. .
alleged Perpetrators 16 IPTK/APDP .
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@u240b: I've kinda missed these perlish rubies! gist.github.com/281740#file_omg.rb #obfuscated #ruby
4me4you features ‘Towards a Blue Room’.
Artist: Timothy Lai
4me4you recently had the privilege of experiencing the captivating exhibition at Josh Lilley Gallery featuring the works of Timothy Lai. Lai's paintings, much like the subjects they depict, reside in a realm of perpetual transformation, hovering delicately between the tangible and the abstract, between revelation and retreat. Inspired by Chet Baker's poignant rendition of Blue Room, Lai's artistry celebrates the nuanced moments of domesticity—some mundane, others turbulent—that define the human experience. Each canvas serves as a vessel for the essence of suspended time, inviting viewers to decipher the subtle clues and profound implications embedded within.
Lai assumes the role of a conductor, orchestrating an intimate symphony of visual narratives that demand active participation from the observer. Through techniques of camouflage and pixelation, he veils his subjects, blurring the boundaries between viewer and viewed. In safeguarding their vulnerability, Lai initiates a dialogue on the intricate dynamics of subjectivity, where the relinquishment of individual identity converges with the emergence of collective consciousness. As witnesses to his artistry, we are propelled into the roles of reluctant bystanders, silent mediators, or compassionate companions, navigating the uncharted waters of human connection with patience and empathy.
Spanning a diverse array of larger vignettes and intimate compositions, Lai employs the compositional frame as a tool for dissecting barriers—both societal and self-imposed—that shape our existence. Drawing from a rich tapestry of historical and visual references, he reimagines the act of masking as a conduit for deeper introspection and nuanced discourse. From religious rites of enshroudment to the deliberate obfuscation of truth in contemporary art, Lai challenges conventional notions of concealment, inviting viewers to confront the complexities of perception and identity.
"Towards a Blue Room" serves as a profound exploration of confluence, probing the liminal spaces where boundaries blur and possibilities unfold. In Lai's masterful strokes, dissolution intertwines with protection, reflection merges with exposure, offering glimpses into the kaleidoscopic nature of human experience. Each brushstroke beckons us to traverse the threshold between certainty and ambiguity, forging new pathways of understanding and connection.
In essence, Lai's work transcends the confines of traditional artistry, offering a kaleidoscopic lens through which to interpret the intricacies of the human condition. As we immerse ourselves in the labyrinth of his creations, we are reminded of the profound power of art to illuminate, provoke, and ultimately, unite us in our shared journey towards understanding.
Apparently, this is to help smolts get back into salt water but also to obfuscate the view into the water so birds can't swoop down and eat them.
By Julie Rong
Stuyvesant High School, 11th grade
The wilderness may obfuscate this beacon of light, but it will persevere.
Tashweesh (which is the Arabic word for disruption or obfuscation) is an Arabic color font that features an 8-bit pixellated letterform design. The font is suitable for most modern applications including web, print and smart phones. Tashweesh typeface consists of three styles (Dark, Black and White). It comes in both vector and raster color font formats (OpenType-SVG, COLR and SBIX*).
On the left are obviously daylilies...I can't remember what these are, so I'll let them bloom before deciding what to do with them.
On the right though...did I just discover some wee iris in this bed (2 huge clumps of daylilies just got moved and were obfuscating this plant)? I definitely want to start with some irises this year, but must admit I've never grown one, so I'm a total newb.
I think the correct time for transplanting iris is after they've bloomed?
Doubtlessly it's some sort of invasive species though...that's usually my luck with found things!