World Animal Protection And Other Leaders Move To Reduce Greenhouse Pollution From Food And Agriculture

World Animal Protection and other Leaders, urge UN Officials to Reduce Greenhouse Gases from Intensive Animal Agriculture

World Animal Protection, a global animal-welfare organization, along with 14 other organizations released a policy brief yesterday, urging leaders attending the 2019 United Nations' Framework Convention on Climate Change (COP25) to take immediate action to reduce planet-warming emissions from food and intensive animal agriculture.

In the policy brief the organizations outlined five key actions

• Providing technical assistance for countries to include food and agriculture in emissions reduction targets
• Promoting sustainable diets and food production in climate and development policies
• Internalizing the costs of livestock production and ending tax subsidies for feed crops
• Aligning efforts across government departments to address meat and dairy production as well as consumption
• Shifting procurement to prioritize purchasing low-impact foods.

"We as a society are watching our world burn because of the over production of meat and dairy. Intensive animal farming is among the biggest contributors to climate change," said Alesia Soltanpanah, Executive Director World Animal Protection, US. "We cannot stand around and wait for the next generation to make a difference. Our world leaders need to take immediate action to transform our global food system."

World Animal Protection and other Leaders, urge UN Officials to Reduce Greenhouse Gases from Intensive Animal Agriculture (image via World Animal Protection)

A report by the Food and Agriculture Organization of the United Nations found that the livestock sector alone accounts for at least 14.5% of global greenhouse gas emissions, more than all forms of transportation combined. What's more, it is projected that demand for animal products will increase 70% by 2050. Studies have shown that it will not be possible to meet global climate targets, including limiting the temperature increase of 1.5°C above pre-industrial levels set forth by the Paris Agreement, without dramatically reducing meat and dairy consumption and production.

Thus far, the conversation around the overconsumption of animal-based foods has been largely absent from international climate talks and commitments. The majority of food-related efforts focus on improving production practices with few or no significant targets for shifting to less climate-intensive diets.

By reducing meat and dairy consumption through public policy, world leaders can not only create a more sustainable future, but also free up resources to move to higher welfare practices for farmed animals.

It is vital that every effort to cut back consumption of animal-based products is taken to ensure we have a habitable planet for humans and animals.

The call for action was prepared by Brighter Green and Center for Biological Diversity, in partnership with the Food and Climate Alliance and endorsed by World Animal Protection, 50by40, Animal Legal Defense Fund, Buddhist Tzu Chi Foundation, Compassion in World Farming, Farm Forward, Feedback, Health Care Without Harm, Humane Society International, ICLEI, Israeli Forum for Sustainable Nutrition, ProVeg International, and Vegetarianos Hoy.

• To learn more, please click here

SOURCE: World Animal Protection

Related Story:

• New Report From World Animal Protection Says Improving Animal Welfare on Farms Is Key to Fighting Superbugs

"This is Spinal Tap" Litigation Accelerates Towards Trial

"This is Spinal Tap" Litigation Accelerates Towards Trial

Harry Shearer, Christopher Guest, Michael McKean and Rob Reiner, the four co-creators of the iconic 1984 mockumentary film This is Spinal Tap (TIST), have set the stage for their trial with StudioCanal in Los Angeles, in the coming months.

According to the plaintiffs' complaint, Vivendi, through its agent StudioCanal, willfully manipulated certain accounting data, failed to protect the rights entrusted to it and ignored contractually-obligated accounting and reporting processes - all of which served to deny Shearer, and his fellow co-creators, their rightful stake in the production's profits. The action seeks hundreds of millions of dollars in compensatory and punitive damages, and a declaration that the co-creators own all copyright and trademark interests in the film property.

The four creators successfully overcame Vivendi's use of procedural methods in an attempt to dismiss and delay the case. After a year of mediation and informal exchange of information, the co-creators became frustrated by StudioCanal's continued delay and failure to acknowledge the co-creators' rights and their entitlement to past-due profits. StudioCanal's attitude demonstrates a fundamental failure to appreciate the duties expected of a film rights owner. StudioCanal's tactics have only served to harden the creators' determination to prevail.

• The four are also warning other artists in profit-share agreements with rights-owners of the battles they face in receiving the fruits of their labors, despite a rightful entitlement.

On Nov. 5th, the plaintiffs announced the settlement of their claims against Vivendi's UMG regarding the film's soundtrack recordings. The ongoing case against Vivendi's StudioCanal is not affected by the UMG settlement.

The litigation against StudioCanal and senior executive Ron Halpern, now shifts to a pre-trial discovery phase. This gives the plaintiffs the right to seek full access to StudioCanal's internal books and records going back decades - since the creators first offered up for exploitation the independent film they had created. This allows the four artists to confirm what they have long suspected: that the defendants have, for more than two decades, deliberately shielded their corporate failings and accounting sleight of hand, and withheld accurate information relating to the revenues and profits generated by the film. The French company stood idly by while others made a killing from sales of merchandise inspired by the film and the much-beloved, faux heavy metal band it depicts.

"The past year has felt like being stuck in limbo. We're now back and unleashed, ready to burrow deep into StudioCanal's ledgers to see what commercial secrets and corporate failings they have concealed," said Harry Shearer, TIST co-creator and band bassist. "Their failed motions to dismiss, delay and obfuscate won't help the studio now we are able to dig up what they have been hiding all these years. We get to depose key figures, including top executives of StudioCanal and Vivendi, such as Mr. Ron Halpern. They reported that we were entitled to $81 between the four of us, for 35 years of merchandise sales. Even with the limited information we now have, it is clear that StudioCanal shielded millions of dollars in revenues from us and manipulated the accountings in their favor."

"It's been revelatory. We've been woefully underestimated by Studio Canal," said Christopher Guest, who played guitarist Nigel Tufnel. "They simply refused to acknowledge us or our concerns. In discussions over the recordings UMG 'got it' and throughout showed respect for talent, for intellectual property and the creative process. UMG's approach eventually brought about an amiable and equitable solution to our music claims. StudioCanal, however, has been dismissive to the point of contemptuous. "

"The stay in proceedings is now over," declared lead litigator Stanton "Larry" Stein. "We move with determination to the next phase, in which we will seek comprehensive discovery of StudioCanal's accounting procedures and licensing transactions. When my clients filed this case three years ago, they did so seeking equity, fair treatment and fealty to the contractual arrangement between the film's creators and the studio. What's extraordinary is the strength of the French studio's grip on the film's rights, having failed to properly guard, or exploit them over the past 35 years. We look forward to entering the discovery phase and bringing this case to trial. The creative industry in Hollywood will be closely watching this litigation as we go onwards to trial."

"This isn't just about the four of us – it never has been," said co-creator and TIST Director Rob Reiner. "The film was made on the thinnest of budgets. And so many creative people worked hard contributing their talents to a film that has stood the test of time. That's why we took on this fight. Not just for us, but for all hardworking artists who should get their fair share from their creative efforts."

"After all the delays we are closing in," said Michael McKean, lead singer and guitarist David St Hubbins in TIST. "StudioCanal has had three years to take our claims seriously – yet focused instead on trying to get rid of us. Now that they have failed to swat us away procedurally, we are about to expose their other legions of failings. Year after year, brand pirates have been left to run amok, as recently as last month taunting us via social media, while flooding the market with unauthorized Spinal Tap t-shirts and other products. StudioCanal had a duty to properly exploit film and image rights and collect revenues. They haven't, so we will. It is time to return this beloved film to its rightful owners."

This is Spinal Tap – produced independently on a shoestring budget, has become a cult classic since its first theatrical run, in 1984. The film has garnered international praise and acclaim, having been included in "best ever" lists such as The New York Times Guide to the Best 1,000 Movies Ever Made; Entertainment Weekly's 100 Greatest Movies of All Time where it appeared on the "Just Too Beloved to Ignore" list; and the 100 Greatest Movies of All Time list published by Total Film.

The band Spinal Tap, composed of Shearer, Guest and McKean, performing as their beloved stage personae in the company of a rotating cast of percussionists willing to risk the kit (as so many of their predecessors have been accident prone), has toured the world multiple times since the film's release. Hundreds of thousands of Spinal Tap sound recordings have been sold over the ensuing decades and the film has been released on scores of video formats down the years. 

Full-length Spinal Tap albums are still available for physical sale, download and streaming today from UMG, thanks to the plaintiffs having concluded a settlement with the label in a positive and constructive manner.

• Additional Information Available at FairnessRocks.com

SOURCE: Harry Shearer

Codemasters Acquires Slightly Mad Studios

Codemasters, the award winning British video game developer and publisher, has agreed to acquire Slightly Mad Studios (SMS), makers of Project Cars (above) and Need for Speed.

Codemasters today announced it has agreed to acquire racing simulation specialists, Slightly Mad Studios. The acquisition will cement Codemasters' position as a world-leading games developer and publisher of racing videogames and expands its portfolio to include the award-winning Project CARS, together with an unannounced Hollywood blockbuster title. Frank Sagnier will remain CEO of Codemasters Group plc which now includes Slightly Mad Studios and Ian Bell will retain his position of Founder and CEO of Slightly Mad Studios. Codemasters now employs c.700 people globally with offices including London, Birmingham, Southam and Runcorn.

Both companies share a rich history of creating AAA racing games. Codemasters has been a UK leader for over 30 years and is the creator of the critically acclaimed intellectual properties including DiRT, GRID and the BAFTA-winning official FORMULA 1 Series. Slightly Mad Studios has been established for 10 years and is the proud developer and owner of the Project CARS franchise which has generated both critical and commercial success. Slightly Mad Studios has also delivered high-quality racing simulations alongside its own IP including two Need for Speed titles on behalf of Electronic Arts.

"We are delighted to bring such an incredible racing game developer to the Codemasters family, and this unequivocally establishes us as a global powerhouse in the development of racing titles," said Frank Sagnier, Chief Executive Officer at Codemasters. "We share the same passion and vision and our new partnership will accelerate our growth. With more streaming services coming to market and the next generation of games consoles due in 2020, this is the perfect time for Codemasters to take its next step."

"Our combined racing games portfolio is the envy of the industry and this new partnership will enable us to learn from each other, share resources and take advantage of emerging platforms and technology," said Ian Bell, Founder and Chief Executive at Slightly Mad Studios. "My team is excited to be joining Codemasters and we can't wait to forge a relationship based on creativity, passion and the desire to create new racing experiences that excite and delight our communities."

About Codemasters:

Codemasters (AIM: CDM) is an award winning British video game developer and publisher with over 30 years of heritage. The company specialises in high quality racing games including DiRT, GRID and the BAFTA award-winning official F1 series of videogames.

• For more information on Codemasters' product portfolio, please visit codemasters.com. 

About Slightly Mad Studios:

Slightly Mad Studios is the team behind the critically acclaimed GTR series, Need For Speed Shift & Shift 2 Unleashed. It has over 10 years of pedigree in racing games, and Project CARS represents the culmination of all that experience and heritage.

• Keep up to date with Slightly Mad Studios by visiting their website: slightlymadstudios.com

SOURCE: Codemasters

A Giant Leap For Beaglekind! In a Macy's Thanksgiving Day Parade First, Nasa Astronauts and Astronaut Snoopy Launch Festivities with Greetings From Space

World-Famous Beagle Snoopy—in 8-Inch Plush Form—Was “Floating On Air” with Astronauts Christina Koch and Jessica Meir as They Sent Greetings from the International Space Station to Millions of Macy's Parade Viewers, While a New 49-Foot Tall Astronaut Snoopy Macy’s Parade Balloon Soared Over Manhattan. (CNW Group/DHX Media Ltd. (dba WildBrain))

As more than 50 million viewers watched the Macy's Thanksgiving Day Parade in amazement nationwide, NASA astronauts Christina Koch and Jessica Meir, accompanied by an 8-inch plush of Astronaut Snoopy in a bright orange spacesuit, offered greetings to the 93rd annual Parade from the International Space Station, traveling 17,000 miles per hour more than 200 miles above the Earth.

Koch and Meir wished viewers a Happy Thanksgiving as part of the Peanuts-NASA partnership that emphasizes science education for students, as NASA's new Artemis program prepares to send the first woman and the next man to the Moon. Then it's "on to Mars!" said Koch. (In Greek mythology, Artemis is the twin sister of Apollo and goddess of the Moon.)

• Koch, Meir, and the Snoopy plush concluded the greeting by waving while floating out of view in the microgravity atmosphere of the Space Station.

Meanwhile, as fans thronged the sidewalks of Manhattan, former NASA astronauts Kay Hire and Dr. Janet Kavandi joined Charlie Brown aboard the Snoopy's Doghouse float. The float featured a telescope atop Snoopy's doghouse and a satellite antenna, along with such iconic Peanuts visuals as Charlie Brown's infamous football—and, of course, Snoopy's red supper dish.

Snoopy, the Longest-Running Character Balloon in the Macy's Parade, soared for his 40th flight down the Streets of Manhattan and his Second time as Astronaut Snoopy (he First Wore a Space Suit for the 1969 Parade). This time sporting a Brand-New Orange Spacesuit Honoring the 50th Anniversary of the First Moon Landing (image via Patch)

"It is Peanuts meeting history – what a thrill to see our Peanuts gang join four extraordinary astronauts (both current and former) as we celebrate historic accomplishments in space exploration— and, even more thrilling, as we anticipate the future discoveries that still await us," said Jeannie Schulz, widow of Peanuts creator Charles M. "Sparky" Schulz. "My only wish is that Sparky could have been here to see this. He was an enormous admirer of NASA and the extraordinary men and women who work at the agency. He celebrated their work in his comic strips long before the moon landing. He would be proud to know that his beloved characters continue to inspire young people to engage in science education and follow tomorrow's astronauts to the moon and on to Mars."

Starting as early as 1959, NASA advocate Charles Schulz began incorporating space-exploration themes into his comic strip. During the Apollo missions, Schulz gave NASA permission to use Snoopy on its safety materials. The relationship reached new heights in 1969, when NASA sent Peanuts into space, through the formation of the Silver Snoopy award. In July 2018, NASA and Peanuts Worldwide looked to the future with the signing of a multi-year, formal Space Act Agreement, supporting fresh entertainment content plus STEM-based educational materials for the next generation.

"In July 2018, NASA and Peanuts Worldwide looked to the future with the signing of a multi-year, formal Space Act Agreement, supporting fresh entertainment content plus STEM-based educational materials for the next generation..."

About Peanuts

Charles M. Schulz first introduced the world to the Peanuts characters in 1950, when the Peanuts comic strip debuted in seven newspapers. Since then, Charlie Brown, Snoopy and the rest of the Peanuts gang have made an indelible mark on popular culture. 

Snoopy in Space (image via iMore.com)

The new series Snoopy in Space launched on AppleTV+ on November 1, 2019. Peanuts animated specials and series air on major networks and streaming services, including ABC, Cartoon Network and Boomerang in the U.S., Family Channel in Canada, and the WildBrain Spark network on YouTube. 

Fans also enjoy Peanuts through thousands of consumer products around the world, amusement parks attractions, cultural events, social media, and a daily comic strip available in all formats from traditional to digital.

Snoopy in Space - Trailer

SOURCE: DHX Media Ltd. (dba WildBrain)

The National Gallery of Canada Presents: Beautiful Monsters in Early European Prints and Drawings (1450-1700)

Hendrick Goltzius The Dragon Devouring the Companions of Cadmus, 1588 Engraving on cream laid paper 25.5 × 32 cm National Gallery of Canada, Ottawa Purchased 2019 -  Photo: NGC (CNW Group/National Gallery of Canada)

Monsters and supernatural creatures –, sometimes horrifying, always fascinating – created between 300 and 500 years ago are the subject of a new exhibition of works on paper on view at the National Gallery of Canada from November 29, 2019, to March 29, 2020.

Beautiful Monsters in Early European Prints and Drawings (1450–1700) presents nearly 70 rarely exhibited prints and drawings by 45 artists selected from the National Gallery of Canada collection, including a number of recent acquisitions and promised gifts. Springing from the imagination of artists such as German painter and printmaker Albrecht Dürer (1471–1528) and fed by the collective fears of the Renaissance and Baroque periods, these images were produced using a variety of techniques including etching, engraving, woodcut and drawing.

"By looking at these works from the Gallery's collection closely, one can see all the talent and ingenuity Renaissance and Baroque artists devoted to creating creatures that are both monstrous and refined," said Sonia Del Re, PhD (Art History), exhibition curator and Senior Curator of Prints and Drawings at the National Gallery of Canada. "Visitors of all ages will be fascinated by these beasts from a bygone era that continue to fuel the imaginations of dreamers and creators today."

Beautiful Monsters in Early European Prints and Drawings (1450–1700) is divided into four themes:

• Demons presents illustrations of biblical stories and accounts of the lives of saints. The works include a remarkable miniature drawing on vellum by Flemish artist Johan Wierix (1549–1620) titled Frontispiece to "The Creation and Early History of Man," c. 1606, which was donated to the Gallery in 2019 by Frank and Marianne Seger.
• Mythological Creatures brings together images that illustrate Greco-Roman myths, often involving hybrid creatures that are half-human, half-animal. This section features The Dragon Devouring the Companions of Cadmus, a work by the famous Dutch engraver Hendrick Goltzius (1558–1617), which the Gallery acquired earlier this year. This masterpiece, a collaboration between the engraver and the painter Cornelis van Haarlem (1562–1638), was produced in 1588 based on a painting by van Haarlem, now in the collection of The National Gallery, London.
• Sea Monsters features dangerous beasts emerging from the depths of the ocean and includes one of the most celebrated images in the history of printmaking: Battle of the Sea Gods (1485) by Italian artist Andrea Mantegna (1431–1506).
• Ornamental Beasts comprises, among other works, small-scale models for decorating utilitarian objects such as silverware, armour and ceramics with fanciful figures.

The exhibition ends with the print Hell (1935) by M.C. Escher (1898–1972). It is the printmaker's interpretation of a detail from the famous Renaissance painting The Garden of Earthly Delights by Hieronymus Bosch (c. 1450–1516), which he saw in Madrid in 1922.

The exhibition Beautiful Monsters in Early European Prints and Drawings (1450–1700) is complemented by programming for all ages.

Monstrous Activities

Two fun activities have been incorporated into this exhibition: a monster scavenger hunt, an activity sheet available in the space that invites visitors to find 8 monsters in the artworks on display, which they can then take home and colour; and "Monster Mash" activity, which encourages visitors to create their own hybrid monsters on two magnetic walls.

Meet the Expert: Sonia Del Re

Thursday, December 12 at 6:00 p.m., exhibition curator Sonia Del Re will explain why fantastic creatures appear in so many Renaissance drawings and prints. In Gallery C218. In English with a bilingual question period. Free admission.

Concert

Saturday, January 25, 2020, at 2:00 p.m., Ottawa storyteller and comedian David Brennan will bring to life the myths and legends of the fantastic creatures in the exhibition. His performance will be accompanied by the music of the Ottawa Baroque Consort. In the Auditorium.

Study of a Dragon - Circle of Giulio Romano (image via National Gallery of Canada)

SOURCE: National Gallery of Canada

Wonder Media Begins Production on Animated Series to Prevent Teen Suicide, Public Invited to Contribute to Indiegogo to Help Fund New Episodes

Wonder Media, the animation studio that produced the "Protect Yourself Rules," sex abuse prevention series for The Barbara Sinatra Children's Center, is beginning production on a new animation series, "Prevent Teen Suicide: My Life is Worth Living." The company seeks help to fund the first series of episodes for this important issue. The public can contribute on Indiegogo. 

Today, Wonder Media, the education technology (EdTech) animation studio that produced the "Protect Yourself Rules," a sexual abuse prevention animation series for The Barbara Sinatra Children's Center Foundation, announced that it is beginning production on "Prevent Teen Suicide: My Life is Worth Living." The public is invited to participate in this powerful initiative to help lower the 56% increase in teen suicides, as reported by the Centers for Disease Control and Prevention.

The studio that specializes in producing animated stories to connect with children at risk, the teen suicide project comes on the heels of what they accomplished for the The Barbara Sinatra Children's Center Foundation to prevent child abuse. The "Protect Yourself Rules" series and the "Stop the Secrets that Hurt" series have been viewed by more than 200 million people worldwide. The printable extension lessons have been downloaded in 15,000 cities. 

The series has been adopted by Education for Justice, an initiative of the United Nations and The Boy Scouts of America has made them required viewing for every Cub Scout in the world.

Wonder Media, the animation studio that produced the "Protect Yourself Rules," sex abuse prevention series for The Barbara Sinatra Children's Center, is beginning production on a new animation series, "Prevent Teen Suicide: My Life is Worth Living." The company seeks help to fund the first series of episodes for this important issue. The public can contribute on Indiegogo.

The Prevent Teen Suicide pilots were developed by Wonder Media for the Gabe Alvarado Foundation with national suicide experts Dr. James Mazza and Dr. Jennifer Stuber. Wonder Media, was co-founded by Terry Thoren and Ryan Cannon. Thoren is the former CEO of Klasky Csupo, the company that incubated The Simpsons and produced Rugrats and The Wild Thornberrys.

"We are passionate about protecting children," said Thoren, "Animation knows no race, religion, culture or creed. Research shows that children and teens, will pay attention to behavior exhibited by animated characters before they trust the advice of a teacher or parent. Crowdfunding allows those who have been affected by the tragedy of suicide to contribute to something powerful and help us bring down the rise in teen suicides."

• The studio seeks $375,000.00 to fund the first series of episodes for this important issue; the public can contribute on Indiegogo.

The Prevent Teen Suicide pilots were developed by Wonder Media for the Gabe Alvarado Foundation with national suicide experts Dr. James Mazza and Dr. Jennifer Stuber.

SOURCE: Wonder Media

Related Story:

• Wonder Media's Sexual Abuse Prevention Animated Series Produced for the Barbara Sinatra Children's Center Foundation, Adopted by the Boy Scouts of America and the Crimes Against Children Research Center

New Report From World Animal Protection Says Improving Animal Welfare on Farms Is Key to Fighting Superbugs

New Report From World Animal Protection Says Improving Animal Welfare on Farms Is Key to Fighting Superbugs (image via World Animal Protection)

The world is facing a public health crisis because of antibiotic resistance. According to the United Nations, currently at least 700,000 people die each year due to drug-resistant diseases. Antibiotic-resistant bacteria, also known as "superbugs," can even be found in the food you eat.

That's because antibiotics are vastly overused in raising farmed animals globally. Superbugs can start on farms and then enter our food chain and environment. When antibiotic resistant superbugs are passed to people, they make us less able to fight disease.

A new report from the global charity World Animal Protection has found superbugs in pork sold at Walmart stores in the United States. The report showed that 80% of the bacteria isolated from Walmart's pork products were resistant to at least one antibiotic, with significant resistance to classes of antibiotics considered highly important or critically important by the World Health Organization.

• Last year the charity released a report where pork products tested in five countries, including Spain and Thailand, also had superbugs resistant to antibiotics.

Pork products sold at Canadian Walmart stores have not been tested, but Canada does import pork from the US. According to the US Meat Export Federation, last year, 205,568 metric tonnes of US pork valued at USD$765 million was exported to Canada.

As of December 2018, in Canada, a veterinary prescription is required for antibiotics given to farm animals and antibiotic use in the livestock industry has decreased. However, administering antibiotics to farm animals for disease prevention is still commonplace.

The results from the Walmart pork testing come on the heels of a Canadian study from the Council of Canadian Academies warning of the potential rise in the percentage of bacterial infections that are resistant to antibiotic treatments. The report states that overuse of antibiotics on farm animals raised for food contributes to this. It's estimated that about 400,000 Canadians are likely to die from drug-resistant infections by 2050.

One solution to help stop this and the overall global superbug crisis, would be to keep farm animals in better conditions.

"We know that raising animals in low welfare farms with crowding and unsanitary conditions makes the animals stressed and more vulnerable to illness. Mother pigs (sows) are still largely housed in cages where they cannot even turn around. That is why it is important to transition from these environments to higher welfare farms where animals have space to move and can live in an enriched environment. It's better for them and they are healthier and less prone to disease in the first place," says Lynn Kavanagh, Campaign Manager at World Animal Protection Canada.

Farmers who raise pigs in better conditions, agree that the health is much better for the animals. In Canada, all producers are expected to eliminate the practice of confining mother pigs in gestation (pregnancy) crates by 2024 and the Retail Council Of Canada, which includes companies such as Walmart Canada, has committed to sourcing pork from mother pigs raised in group housing by 2022. However, Walmart Canada has still not made a public commitment to this on their website. World Animal Protection encourages them to do this as consumers expect companies to be transparent about their animal welfare commitments.

World Animal Protection is also calling on global supermarkets to improve the lives of pigs by only sourcing pork from high welfare farms. World Animal Protection's Raise Pigs Right campaign wants pigs to be freed from cages and not left to suffer in barren environments that promote disease and increase the risk of superbugs. Rather, these highly intelligent, social animals should be allowed to live in groups, with room to move around naturally.

"Change is possible and higher welfare systems are good for the health of animals and people and it's good for business too," says Kavanagh.

The Video:

Around the world pigs are raised in intensive farm conditions ,which includes overcrowding,unsanitary conditions and being kept in cages. This leads to increased stress and illness for the animals. However, some farmers choose to raise their animals in better conditions with space to move freely, have access to the outdoors, and have comfortable straw bedding, allowing pigs to simply be pigs. This video profiles one Canadian farmer doing just that.

Notes:

World Animal Protection's report, US pork and the superbug crisis: how higher welfare farming is better for pigs and people, follows global testing conducted by the organization of Walmart pork products in Brazil. In December 2018, World Animal Protection released a global report on the results of pork samples tested for the presence of bacteria resistant to specific antibiotics. The project was prompted by research suggesting a link between low-welfare farming systems and overuse of antibiotics. Bacteria resistant to antibiotics considered most critically important to human health by the World Health Organization were found in samples sold by major supermarkets in Brazil, Spain and Thailand, including samples sold in Walmart stores in Brazil.

Key Findings

Amongst the 32 batches of samples, 51 total isolates were detected: E. coli was detected in 14 (43.75%) batches; Enterococcus in 27 (84.38%) batches; Listeria in four (12.5%) batches; and Salmonella in six (18.75%) batches.

Of the 32 batches tested, 30 (94%) were positive for at least one of the four bacteria.

• Twelve (37.5%) batches were positive for Enterococcus only;
• one (3%) batch was positive for Listeria only; and,
• one (3%) batch was positive for Salmonella only.

16 (50%) batches were positive for at least two bacteria:

• eight (25%) were positive for both E. coli and Enterococcus;
• two (6%) were positive for Enterococcus and Salmonella;
• one (3%) was positive for E. coli and Listeria;
• two (6%) were positive for E. coli, Enterococcus, and Salmonella;
• one (3%) was positive for E. coli, Enterococcus, and Listeria; and,
• one (3%) was positive for all four bacteria.

Antibiotic resistance results by species

Enterococcus:
Twenty-six (96.3%) of the Enterococcus isolates were resistant to at least one class of medically important antibiotics. The most common resistance was to lincosamides (lincomycin), streptogramins (quinupristin/dalfoprisitin), and/or tetracylines (tetracycline). All three classes are categorized as highly important.

Seventeen of those isolates (65.38%) were multi-drug resistant:

• Thirteen isolates were resistant to lincosamides, streptogramins, and tetracyclines.
• One isolate was resistant to lincosamides, streptogramins, and oxazolidinones.

Oxazolidinones are categorized as critically important.

• One isolate was resistant to lincosamides, streptogramins, tetracyclines, and macrolides.

Macrolides are among the classes categorized as HPCIAs.

• One isolate was resistant to lincosamides, quinolones, and nitrofuran derivates.

Quinolones are categorized as HPCIAs

• One isolate was resistant to lincosamides, streptogramins, tetracyclines, amphenicols, macrolides, and aminoglycosides.

Aminoglycosides are categorized as critically important; amphenicols are considered highly important.

Listeria:
All four (100%) Listeria isolates present in the sample batches were resistant to lincosamides, which are listed as highly important.

One isolate (25%) was resistant to six total classes of antibiotics: lipopeptides, penicillins, streptogramins, macrolides, lincosamides, and glycopeptides.

Macrolides and glycopeptides are listed as HPCIAs.
Penicillins and lipopeptides are categorized as critically important.
Lincosamides and streptogramins are highly important.

Salmonella:
Two of the Salmonella isolates (33.33%) were resistant to one antibiotic class, while the rest of the isolates were pan-susceptible.

The two resistant isolates were resistant to quinolones, which are categorized as HPCIAs.

E. coli:
Nine E. coli isolates (64.29%) were resistant to at least one class of medically important antibiotic.

• Four (28.57%) were resistant to tetracyclines alone, and one (7.14%) was resistant to tetracyclines and sulfanomides.

Tetracyclines and sulfanomides are considered highly important.

• Another isolate (7.14%) was resistant to both tetracyclines and aminoglycosides.

Aminoglycosides are considered critically important.

Three E. coli isolates were multi-drug resistant:

• One (7.14%) was resistant to tetracyclines, aminoglycosides, and penicillins.

Penicillins are categorized as critically important.

• One (7.14%) was resistant to tetracyclines, sulfanomides, aminogylcosides, and amphenicols.

Amphenicols are categorized as highly important.

• One (7.14%) was resistant to tetracyclines, sulfanomides, aminoglycosides, penicillins, macrolides, and cephalosporins (1st/2nd generation).

First and second generation cephalosporins are categorized as highly important.

For further information, please access the full report here.

SOURCE: World Animal Protection

His Dark Materials: How To Decode The Story's Linguistic Secrets

The mysterious world of His Dark Materials (BBC/Bad Wolf/HBO)

The BBC dramatisation of Philip Pullman’s His Dark Materials trilogy has brought to the screen a universe that the author describes as “like ours, but different in many ways”. One of the ways Pullman achieves this eerie blend of similarity and strangeness is through his use of language.

Countries are given archaic spellings: Brytain, Eireland, Corea and Groenland. Alternatively, they are identified by historical names such as Nippon for Japan (from the Japanese “land of the rising sun”) and Cathay for China (from the medieval Latin Cathaya).

The Pacific Ocean is renamed the Peaceable Ocean, a direct translation of the Latin name which it was given in the 16th century in recognition of the calm seas experienced by the explorer Ferdinand Magellan.

In English, scientific terms are typically formed using the suffix -logy; this goes back to the Greek logos (“word, discourse”). Instead, Pullman draws on the Old English practice of using cræft (“skill”) – as in Old English tungol-cræft (“star-skill” or “astronomy”) – hence atomcraft “particle physics”. Scientists are known as philosophers (literally “lovers of wisdom”), drawing on an earlier use of the word to refer to scholars working in any field of research.

Pullman also revives words that have fallen out of use in contemporary English, such as gyropter – from the Greek gyros (“circle”) and pteron (“wing”) – as an alternative to helicopter – from Greek helix (“spiral”).

The photogram – from the Greek photo (“relating to light”) and gram (“written”) – has been replaced by photograph in modern English, while aeronaut – from Greek aer (“air”) and nautes (“sailor”) – was an early term for a balloonist.

Alongside these, Pullman introduces his own coinages, such as the chthonic (or “underground”) railway station and the alethiometer, which Lyra uses to determine the truth (Greek aletheia).

Here be dæmons

A striking feature of Lyra’s world is the dæmon, an animal embodiment of a human’s soul, an idea partly inspired by paintings like Hans Holbein’s Lady with a Squirrel and a Starling and Leonardo da Vinci’s Lady with an Ermine.

Although the word is pronounced identically with English demon, its distinctive spelling is intended to evoke the older sense of an “attendant spirit” and thereby distinguish it from the Judaeo-Christian use to refer to an evil spirit or devil.

Leonardo da Vinci’s The Lady with an Ermine. (via Wikimedia Commons)

The names of the characters draw on a similar array of etymological sources. Some are named after identifiable historical individuals, such as Lee Scoresby, after the Arctic explorer William Scoresby. John Faa is the name of a historical Scottish figure who was formally acknowledged as King of the Gypsies during the 1500s. Gyptian is an archaic form of Gypsy, itself a reduced form of Egyptian – when Romany peoples first appeared in Britain in the 16th century, they were wrongly thought to be of Egyptian origin.

The surname of Ma Costa recalls English occupational surnames, such as Brewer and Baker: coster is an abbreviated form of costermonger. Originally a name for an apple-seller (from costard “apple”) it later came to be applied to any street trader. More ominously, Mrs Coulter has a name linked with ploughing: a coulter being the iron blade attached to the plough used to slice up the soil (from Latin culter “knife”).

Lyra’s origins

The unusual name of the heroine, Lyra Belacqua, sets her apart from these naming practices. Given the influence of the poet and artist William Blake, some have seen connections with Lyca, “The Little Girl Found” from Blake’s Songs of Innocence and Experience. Others, meanwhile, have proposed links to the Lyra constellation.

‘I owe something to Norse mythology, you know…’ (BBC/Bad Wolf/HBO)

Pullman himself has explained that he took the name from what he mistakenly understood to be the author of his favourite childhood hymn: Lyra Davidica. Although he later discovered that this was the Latin for “Harp of David”, he used it as the name for his heroine anyway. The appeal of the character has since led to its popularity as a girl’s name. Lyra’s surname, meanwhile, is that of a Florentine craftsman trapped in ante-purgatory in Dante’s Divine Comedy.

The most important literary source, however, is John Milton’s Paradise Lost, a poem which has held a lifelong fascination for Pullman and which provides both the metaphorical and literal “Dark Materials” for Pullman’s cosmology – the title is, in fact, a quotation from the poem, specifically Book Two, lines 910-19:

… into this wild abyss,
The womb of nature and perhaps her grave,
Of neither sea, nor shore, nor air, nor fire,
But all these in their pregnant causes mixed
Confusedly, and which thus must ever fight,
Unless the almighty maker them ordain
His dark materials to create more worlds,
Into this wild abyss the wary fiend
Stood on the brink of hell and looked a while,
Pondering his voyage…

Norse mythology, meanwhile, is the source for the name of the armoured bear Iorek Byrnison, whose surname fittingly draws upon the Norse word brynja (“mail coat”). But not all names are so carefully chosen.

In a radio interview, Pullman, perhaps in jest, claimed that the name of the witch Serafina Pekkala was plucked from a Finnish telephone directory.

Well, we do live in the real world, after all.

About Today's Contributor:

Simon Horobin, Professor of English Language and Literature, University of Oxford

This article is republished from The Conversation under a Creative Commons license. 

First Ever Climate-Resilient Nation: Dominica Amazes World With Formidable Eco-Conscious Economic Model and Inspiring Survival Stories After Hurricane Maria

Dominica aims to become the world's first climate-resilient nation, with critical support from the Citizenship by Investment Programme - (www.cbiu.gov.dm)

Affectionately called the 'Nature Isle of the Caribbean', the Commonwealth of Dominica leaves a lasting impression on those who visit it, conquering more and more travel journalists. Enthusiastic reviews keep pouring in, especially about the people on the beautiful island, who are known for their kindness, peacefulness and strong community sense.

Having resiliently survived several natural disasters in recent years, there is little now that shakes the 75,000 inhabitants of the island. The small but resolute country is winning over a wide spectrum of international stakeholders, ranging from nature lovers to economic experts.

A National Geographic article this week paid tribute to Dominicans' resilience and unity in the face of adversity, noting the government's formidable turnaround pace following mass devastation worth 226% of GDP in the wake of Hurricane Maria in 2017, at a time when the island was still recovering from 2015's Tropical Storm Erika. Despite the magnitude of the destruction and the psychological cicatrices, Dominica not only prevailed, but exceeded all expectations. Immediately after Maria, Prime Minister Roosevelt Skerrit called on the international community to join Dominica's fight against climate change and support its goal to become "the world's first climate-resilient nation". The response was instantaneous.

Dominica after Hurricane Maria and two years later. The infrastructure was rehabilitated using Citizenship by Investment funds.

To date, Dominica attracts foreign direct investment from reputable individuals and families around the world through its Citizenship by Investment (CBI) Programme. Investors are willing to contribute with significant amounts to Dominica's economy and receive its citizenship in return, along with a sense of pride for supporting the island's ambitious pledge to become fully climate resilient. The solidarity among investors grows with the completion of more and more luxury eco-resorts, currently counting Marriott, Hilton, Kempinski, Jungle Bay, Secret Bay and Sanctuary Rainforest, whose shares qualify for citizenship, provided the applicants first pass a rigorous due diligence process. The latter was marked with 10/10 points in this year's CBI Index, released by Professional Wealth Management (PWM) magazine, a publication from the Financial Times.

In August, multinational firm PricewaterhouseCoopers produced an extensive assessment of Dominica's CBI Programme for the past five years. The report concluded that "CBIP-funded public expenditure generated tangible impacts on almost every aspect of life in Dominica" and that "it was instrumental to the post-Maria recovery effort".

Earlier this year, leading accounting company Ernst & Young, British financial firm Smith & Williamson, and eminent Queen's Counsel Balraj Bhatia all pledged for Dominica's integrity, concluding that CBI could not be used as evidence of tax residence, therefore dispelling any myths where the two concepts were often confused. In fact, Dominica scored so well against various indicators valued by investors and was called a model for transparency and accountability of CBI funds, that it was officially declared as offering the world's best economic citizenship.

A few weeks ago, the Financial Times' PWM released a documentary unravelling just how much the CBI funding helped transform the island into a pristine ecotourism destination, ripe for sustainable investment opportunities. The 5-part series notes that Dominica is very selective about the CBI-approved hotels it allows to be built and prioritises quality over quantity, similar to whom it accepts as citizen through CBI. Dominica's strategy is by far not a race to the bottom, but quite the opposite – it is establishing a league of its own by building a sustainable ecotourism sector that educates visitors, citizens and businesses to respect the island's natural surroundings and way of living.

Importantly, the documentary notes that the Dominican diaspora, many of whom left after Maria and Erika, is slowly returning home. The CBI hotels are creating thousands of jobs in construction and hospitality, whereas those with an entrepreneurial spirit have the chance to set up their own businesses in ancillary services in travel and tourism. Dominica's thriving luxury ecotourism will further bring employment and business opportunities to farmers; fishermen; taxi drivers; tour operators; wellness specialists; artists specialising in handcrafting, culture and heritage; the Kalinago tribe; street food vendors; local artisans; restaurant and bar owners; Air B'n'B hosts; etc. Moreover, the National Employment Programme, also sponsored by CBI, tackles youth unemployment and was also involved in a post-Maria "Community Clean-Up and Beautification" action.

Meanwhile, the government has been putting aside millions from the CBI Programme to raise funds for the construction of a new international airport, "the only missing link" to catapult Dominica onto the global tourism scene, though still keeping in mind the quality-over-quantity principle. A new cruise village and port, also CBI-funded, will complement the island's regional connectivity and put Dominica firmly on the cruise map.

In addition, the new 7MW geothermal plant, partly funded by CBI, would provide the island with clean energy, lower electricity costs for the public and private sector, and ensure energy security in the long term.

SOURCE: CS Global Partners

Seventeenth Century French Artifact Arrives In Seattle For An Immersive Exhibition

By donning a HoloLens, guests are taken into a 15- to 20-minute experience where the Mont-Saint-Michel model comes to life.

Seattle's Museum of History & Industry (MOHAI) and Microsoft Corp. on Thursday announced the opening of a new exhibit, "Mont-Saint-Michel: Digital Perspectives on the Model," which features a unique blend of 17th and 21st century technology.

Powered by Microsoft AI and mixed-reality technology as well as the recently released HoloLens 2 device, the interactive exhibition transports visitors into a holographic tour of the picturesque Mont-Saint-Michel, a medieval monastery perched atop a remote tidal island off the coast of Normandy, France.

The virtual experience is complemented by a physical relief map of the Mont-Saint-Michel, an intricate, three-dimensional model of the landmark. Entirely crafted by hand in the 1600s by the resident Benedictine monks, the 1/144-scale model precisely depicts the monument in such intricate detail that maps like this were considered valuable strategic tools to leaders like Napoleon and King Louis XIV, who considered the maps military secrets and hid them from public view.

"The Museum of History & Industry is honored to share this icon of world history, enhanced by leading-edge technology, to create a unique experience born of innovations both past and present," said Leonard Garfield, MOHAI's executive director. "More than 300 years separate the remarkable relief map and today, but the persistent human drive toward invention and creativity bridges those years, reflecting the unbroken quest for greater understanding and appreciation of the world around us."

The opening of the exhibit is timed with the 40th anniversary of the Mont-Saint-Michel being designated as a UNESCO World Heritage Site. This is the first time the relief map, as well as the mixed-reality experience, has been in North America.

"The relief maps were technological marvels of Louis XIV and Napoleon's time. It's exciting to see how we can blend old and new technology to unlock the hidden treasures of history, especially for younger generations," said Brad Smith, president of Microsoft. "This exhibit provides a unique model for preserving cultural heritage around the world, something Microsoft is committed to through our AI for Good program."

The Mont-Saint-Michel experience is an example of Microsoft's AI for Cultural Heritage program, which aims to leverage the power of AI to empower people and organizations dedicated to the preservation and enrichment of cultural heritage. 

Microsoft is working with nonprofits, universities and governments around the world to use AI to help preserve the languages we speak, the places we live and the artifacts we treasure. For example, earlier today Microsoft announced it is working with experts in New Zealand to include te reo Māori in its Microsoft Translator application, which will enable instant translations of text from more than 60 languages into te reo Māori and vice versa. This will be one of the first indigenous languages to use the latest machine learning translation technology to help make the language accessible to as many people as possible. 

• The AI for Cultural Heritage program is the fourth pillar of Microsoft's AI for Good portfolio, a five-year commitment to use AI to tackle some of society's biggest challenges.

The relief map is on loan to MOHAI from the Musée des Plans-Reliefs in Paris, which houses more than 100 historically significant and well-preserved relief maps. The relief map of Mont-Saint-Michel is considered the museum's crown jewel.

"One of the challenges in the history of art is the relationship with the public. To gain the attention, to capture the view or the interest of the public, is not always evident," said Emmanuel Starcky, director, Musée des Plans-Reliefs. "With the HoloLens technology, you have now the possibility to realize immersive experiences in art, where you still see the reality but have more information about it. It will be a unique experience for the American public to discover the relief map, its condition in the 17th century and its evolution through three centuries, as well as reflect on the purpose of those relief maps."

Drawing from hundreds of thousands of detailed images, Iconem, a leader in the digital preservation of cultural heritage sites, used Microsoft AI to create a photorealistic 3D digital model of the historic structure. Then, French mixed-reality specialists at HoloForge Interactive developed a unique Microsoft HoloLens experience to draw people into the artifact like never before.

• The "Mont-Saint-Michel: Digital Perspectives on the Model" exhibit, including both the original relief map and mixed-reality experience, will be on display at MOHAI Nov. 23, 2019 through Jan. 26, 2020.

SOURCE: Microsoft Corp.

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