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Rezension: Das Modell des deutschen Urheberrechts und Regelungsalternativen
In der aktuellen Ausgabe der informationsrechtlichen Fachzeitschrift Jipitec ist eine umfangreiche Rezension über Till Kreutzers – ebenfalls umfangreiche – Dissertation „Das Modell des deutschen Urheberrechts und Regelungsalternativen” erschienen. Die Rezension von Matthias Leistner (Professor für Bürgerliches Recht, Recht des Geistigen Eigentums und Wettbewerbsrecht an der Uni Bonn) steht unter der offenen Lizenz DPPL, wir veröffentlichen sie hier ebenfalls:
Review: Matthias Leistner – Till Kreutzer, Das Modell des deutschen Urheberrechts und Regelungsalternativen. Konzeptionelle Überlegungen zu Werkbegriff, Zuordnung, Umfang und Dauer des Urheberrechts als Reaktion auf den urheberrechtlichen Funktionswandel. Nomos Verlag 2008, 528 p., ISBN 978-3-8329-3998-4
Till Kreutzer’s study on the existing German copyright system and its fundamental underpinnings, regulatory concepts and possible alternatives is a bold and far-reaching academic enterprise. Essentially, it summarizes and systematizes widespread concerns about the status of the existing copyright system in the academic scene and draws conclusions for a possible future alternative copyright system. This, according to Kreutzer, would have to take the changed factual environment of the copyright industries and the increasing importance of the users (also as authors, particularly in the context of usergenerated content in the Internet) into due account.
To this end, Kreutzer first analyses the normative underpinnings of the existing system (also briefly comparing the fundaments of the droit d’auteur systems to the different concept of Anglo-American copyright law). Second, he describes the recent development of copyright law with regard to the protection of new subject matter in the digital environment (such as computer programs and databases) as well as the factual expansion of copyright in the digital environment – namely due to the European rules on the relationship between exceptions to copyright and technical protection measures. Third, he draws conclusions from this with regard to the current status of the copyright system, concentrating on four so-called neuralgic zones: conditions of protection, the (initial) assignment of copyright, and the scope and term of copyright protection. On the basis of this analysis that highlights the shortcomings of the current system in dealing with the increasingly industrialised system of the “production” of more or less creative works and with the new (partly creative) forms of use in the Internet, he proposes his fundamental regulatory alternatives in the fourth part of his study.
Out of necessity, Kreutzer concentrates on copyright law, specifically on the neuralgic spots identified above, in order to focus his already very broad and voluminous study. Nonetheless, given the fact that he substantially proposes a future two-tier system of copyright law that combines author’s protection for genuine personal intellectual creations with investment protection for works below this threshold, it might have been recommendable to throw a substantive side glance at German unfair competition law, where a doctrine of protection against unfair copying has been in place throughout the last century (and has been used effectively by the courts as an investment protection tool). Recently, some authors have proposed that this doctrine be acknowledged and developed into a genuine and transparent tool for investment protection in unfair competition law. These proposals, which have sparked a vivid discussion among unfair competition lawyers, evidently relate to Kreutzer’s proposals as they represent a fundamental alternative. Therefore, although it was hardly possible for Kreutzer to include even this discussion in his already outstandingly comprehensive study, the discussion certainly should be taken into account as a necessary background for discussing and evaluating his proposals.
As for the normative underpinnings of the droit d’auteur system, Kreutzer quite impressively and correctly points out the shortcomings of a deontological concept centred exclusively on the person of the individual author in the tradition of John Locke’s property theory. (Indeed, Locke himself never wanted to apply his theory to immaterial property; moreover, his own property theory can be re-constructed today in an essentially utilitarian way; cf. Leistner & Hansen, GRUR 2008, 479, 480 et seq.) Instead, utilitarian approaches undoubtedly have to be taken into account. In the most recent literature, these utilitarian approaches no longer follow a “property logic” (trying to internalise all possible positive externalities of intellectual property), but instead emphasize the necessity of limitations to copyright law – safeguarding certain pockets for socially useful services and uses – and essentially reducing the scope of copyright law protection to what is necessary to prevent market failure with regard to the production of intellectual property.
Kreutzer points out that such modern approaches, though they are discussed extensively in literature, are not yet essentially reflected in the existing German copyright law system with its author-centred approach. Furthermore, he analyses the constitutional law framework of German copyright law and comes to the conclusion that constitutional law sets only certain outer limits to a system of copyright law that is orientated more towards investment protection and characterized by a limitation of exclusive protection and an extension of mere liability rights. Indeed, though more recent decisions of the German Federal Constitutional Court suggest that it seems to be willing to take a more active role in copyright law matters, this analysis is certainly convincing.
Against this background, regarding the fundamental underpinnings of a future copyright system, Kreutzer pleads for an essentially dualistic system that combines strong personality protection for the authors of genuine personal, intellectual creations with a broad system of investment protection for works beyond this threshold. Indeed, the reviewer has already entered here in an indirect academic dialogue with Kreutzer. Concerning the diagnosed shortcomings of an exclusively authors-based approach, a slightly similar analysis can be found in Leistner & Hansen (GRUR 2008, 479; for comprehensive and further, partly different, consequences, cf. also Hansen, Warum Urheberrecht?, Nomos 2009).
However, from this author’s viewpoint, instead of re-introducing a dualistic concept to German copyright law, an integrative system combining individual rights-based and utilitarian fundaments of copyright law in an integrative synthesis as the unitary objective of copyright law is the preferable way to adapt German copyright law to the changed digital environment and the accompanying policy discourse pleading for a more balanced copyright law system. Specifically, it is doubtful whether a system of investment protection that effectively unties a broad field of more practical, mundane and industrialised works (such as films and videogames) from the (arguably weaker but still existing) inner link with the personality of the authors and their right to self-determination can really provide for a regulatory development which safeguards the existence of a genuinely creative, multi-faceted cultural and academic development. This will be elaborated further when discussing some of Kreutzer’s concrete conclusions and policy proposals.
In his study of the recent developments of “digital” copyright law, Kreutzer’s analysis is remarkably clear-sighted and is shared in the meantime by an increasing number of authors in the German copyright community. The legislative development in the last twenty years represents a phase of legislatorial activity characterised by a series of more or less pointillist measures which, due to heavy lobbying and the lack of a new fundamental concept of copyright in the digital environment (which could have been used as a benchmark and warning post to prevent industry capture of legislation in parts of the field), have effectively and substantially expanded copyright law protection. Kreutzer emphasizes the inclusion of new protectable subject matter, such as computer programs and databases, into copyright law, as well as the area of exceptions to copyright and their relationship to the protection of technological protection measures.Indeed, the system has become unbalanced in this latter field particularly, primarily due to the fact that the Information Society Directive lets contractual agreements for online uses (accompanied by technological protection measures and their legal protection) prevail over the effective enforcement of the exceptions to copyright law. This unfortunate development, which potentially allows for a privatization of copyright (if the markets accept such solutions, which might well be doubted), goes far beyond what would have been necessary to implement the WIPO Internet Treaties, and it has been criticised in the meantime by an overwhelming majority of European copyright lawyers.
What’s really new and fundamental about Kreutzer’s work is the attempt to genuinely propose a fundamentally alternative copyright system that takes all these developments (which are extensively described in the study and could only be given cursory mention here) into account and to draw the necessary conclusions, including regulatory proposals for the neuralgic spots identified.
Essentially, Kreutzer proposes a two-tier copyright system. For genuine personal intellectual creations with a certain level of individuality, an author’s protection with strong moral rights would remain applicable. For the majority of more commonplace works, traditional droit d’auteur copyright would be changed into an investment protection right with a rather low protection threshold and a correspondingly limited scope of protection, namely reducing the exclusive rights to mere liability rights (possibly administered by collecting societies) in many areas. Against this basic background, works would have to be systematized in different groups (allowing for a higher degree of differentiation, in particular with regard to what is an overlong protection term for certain categories of works). Such systematization, according to Kreutzer, could possibly follow a regulatory technique of an a priori catalogue for certain different categories of works; the a priori systematization of a given work in one of the categories could then be disproven by the right holder in court if the conditions for a “stronger” category were present in the case. As a matter of course, this concept is also slightly related to the idea of a copyright register where right holders would have to decide which category and which term of protection should be applicable to their works; however, the existing proposals in that direction are not extensively discussed or supported by Kreutzer.
The plea for more differentiation in copyright law is certainly justified. In particular, the term of protection is certainly too long with regard to many categories of works, namely (but not only) with regard to computer programs and other more “technical” works. Kreutzer convincingly refutes the possible counter-argument that the overlong term of protection is of no substantial harm anyway because most works lose their economic value long before the end of the protection term: First, the example of the problematic issue of orphan works (in particular in the framework of digitisation projects) clearly shows the potential problems of an overlong term of protection. Second, the very design of copyright undoubtedly structures the markets for the use of copyright-protected works; therefore, a longer term of protection might have a structuring influence for investment decisions (under conditions of uncertainty) in that area even if it is statistically of no substantial economical value.
As for the condition of protection, Kreutzer proposes a different wording which takes into account that the protection very often is no longer granted because of the individual character of the work and the resulting link of the work to the personality of its author; instead, protection is based on certain particular qualities of the work itself. Therefore, according to Kreutzer, the condition of protection should be an “own intellectual creation” instead of a “personal intellectual creation”. Protection should be excluded if a certain “leeway for creativity“ does not exist. Indeed, the European Court of Justice has already followed that terminology and harmonised the criterion of “own intellectual creation” as the European condition of protection in its Infopaq judgment (ECJ, Case C-5/08 Infopaq International A/S v Danske Dagblades Forening  ECR I-6569; meanwhile followed by ECJ, Case C-393/09 Bezpe?nostní softwarová asociace – Svaz softwarové ochrany v Ministerstvo kultury, Official Journal EU 2011, Nr C 63, 8). Although the criterion was deliberately only harmonised with regard to very specific categories of works in the Computer Program Directive, the Database Directive and in the Term Directive (with regard to photographs), the ECJ effectively horizontalised these pointillist regulatory approaches for all categories of works.
In theory, this is an example to support Kreutzer’s thesis that copyright law is in danger of being derogated because of the inclusion of more and more technical and organizational efforts into the protectable subject matter without differentiation between genuine individual creations and weaker investment protection. In practice, however, the new terminology should certainly allow the Member States to continue their more differentiated approaches with regard to the condition of protection in substance. This is because the ECJ has merely coined a new terminology for the condition of protection that should now be used cohesively throughout the Internal Market; however, Member State courts remain at liberty to specify that condition and to apply it to the facts of the cases before them. Thus, the “danger” that was seen in the Infopaq judgment is probably overrated.
As for the initial assignment of copyright, the consequences of Kreutzer’s fundamental approach are clear: For activities that are characterized by an organisational or investment effort, the initial assignment of the right shall be with the investor/organizer. This would approximate European copyright law to the Anglo-American work-made-for-hire doctrine and would undoubtedly simplify matters for all kinds of producers, such as film and video game producers and aggregators of all kinds on the Internet. Actually, Kreutzer indeed tries to show in his study that the European system causes practical problems for the large producers in these fields. However, the consequence of initially assigning copyright to the investors for such categories of works seems problematic. First, solutions to the problem of the rights clearance already exist and can also be further developed in the future by way of more differentiated, area-specific provisions of copyright contract law ??????(which already exist in the area of film producers) as well as by making the system of contractual agreements more flexible with regard to moral rights (see Metzger, Rechtsgeschäfte über das Droit moral im deutschen und französischen Urheberrecht, C. H. Beck 2002, Obergfell, Zeitschrift für Geistiges Eigentum/Intellectual Property Journal 2/2011, 202). Second, one has to bear in mind that the design of copyright law undoubtedly has an impact on the situation of the individual authors (which are needed even with regard to films and video games and the like) and consequently on the quality and diversity of the works that are produced in a given system (cf. Benkler, 22 Intern. Rev. L. & Econ. 81 (2002); Leistner, Zeitschrift für Geistiges Eigentum/Intellectual Property Journal 4/2009, 403, 410).
Taking this into account, the proposal to assign the rights for investment-orientated categories of works to the investors seems highly problematic (cf. similarly Dreier, Computer und Recht 2010, R031-R033). Indeed, first, if this would free investors from the need to acquire the necessary use rights from the individual authors, this would certainly have to be complemented by a corresponding system of obligatory copyright contract law, safeguarding the position of the individual authors contributing to such large collective works. However, such obligatory copyright contract law would then substantially reduce the advantage of having an easier rights clearance system. Moreover, it is far from clear whether such obligatory provisions in copyright contract law would indeed efficiently protect individual authors; the first experiences with the recently revised German copyright contract law have caused a certain scepticism in that regard. Second (and even more importantly), from this author’s viewpoint it cannot be excluded that a streamlining of the rights clearance issue along the lines of Kreutzer’s proposal would indeed lead to a substantially less diverse cultural sector characterised even more by large producers and mass productions. This is because the assignment of rights to the investor would mostly benefit the large producers and could possibly lead to intensified rent-seeking effects in the copyright industries. Against this background, the present German situation might be less “efficient”; however, these inefficiencies might have positive effects by contributing to cultural diversity through the consistent protection of the individual authors’ self-determination.
To complete the overview of neuralgic spots, we can certainly agree with Kreutzer’s proposals for a more transparent acknowledgement of the interests of the users and the general public instead of the present system where the exceptions to copyright do not grant genuine enforceable rights to the users. However, even within the present system, a certain more or less “cautious” development in that direction can already be noticed (see comprehensively Stieper, Rechtfertigung, Rechtsnatur und Disponibilität der Schranken des Urheberrechts, Mohr Siebeck 2009). It is doubtful whether it is really necessary to derogate wide areas of copyright law into an investment protection system in order to encourage these already existing approaches.
Kreutzer has presented a seminal academic study that does not stop at summarizing the widespread misgivings with the present copyright system, but instead goes on to attempt a fundamental proposal for a new, modern two-tier copyright system. This deserves the highest respect. Many of his diagnoses – concerning inter alia the condition of protection (and the extension of protectable subject matter), the term of protection, the provisions on exceptions and their relationship to technical protection measures – are certainly correct. However, his proposed “remedies” can only partly be followed from this author’s viewpoint. Undoubtedly, a more differentiated system is needed with regard to different categories of works. Certainly, such a system would have to substantially shorten the term of protection in some areas. Finally, the exceptions to protection should be made more flexible in order to cope with new digital uses on the Internet (cf. Leistner, IIC 2011, 417 et seq. with further references).
However, Kreutzer’s fundamental proposal – i.e. the derogation of wide parts of copyright law into an investment protection right characterised by a low protection threshold, the initial assignment of the right with the investor in many areas and an extended system of liability rules instead of exclusive rights – cannot be followed by this author (similarly Dietz, Zeitschrift für Geistiges Eigentum/Intellectual Property Journal 4/2010, 484). Indeed, here it seems that Kreutzer concludes his normative proposals from the aptly analysed factual situation. However, such a conclusion from the factual level to the normative level is by no means self-evident.
Many factual developments, such as the increasing importance of large, industrial film and video game productions, the emergence of sometimes qualitatively doubtful user-generated content on the Internet and the like, have to be questioned with regard to their social usefulness, i.e. their contribution to a diverse cultural and academic landscape. Here, copyright law does not necessarily have to reflect and strengthen any of these new developments by making them easier. The example in point is the initial assignment of copyright. Here, Kreutzer’s proposal would arguably weaken the position of individual authors and contribute to a decrease in cultural and academic diversity if it were not complemented by an obligatory copyright contract law (moreover, with regard to the latter, it must be doubted whether such a copyright contract law can really do the job). In a nutshell, the self-determination of the individual authors of such larger productions and works should not be qualified in order to make the production of such works more efficient; from this author’s viewpoint, the existing protection of self-determination of individual ????authors in the droit d’auteur system is the very guarantee for a vivid and diverse cultural and academic sector. Moreover, this is exactly the point where it would have been useful to think further about possible fundamental alternatives to such a concept. Instead of developing copyright into a genuine investment protection right, the existing possibilities in unfair competition law would certainly also have to be taken into account.
This difference between Kreutzer and this author shall by no means diminish the outstanding quality of Kreutzer’s seminal study. Indeed, Kreutzer’s study will have significant impact for a future copyright law in the digital environment. Google ?s Collaboratory think tank has already developed more specified scenarios and proposals for a future copyright law on the basis of Kreutzer’s work (Annual report on 3rd initiative “Urheberrecht für die Informationsgesellschaft”). This initiative should at least be considered by the German legislator in the framework of the “Third Basket” of German copyright law revision. Moreover, some of Kreutzer’s clear-sighted visions have already become true, such as the European harmonisation of the terminology regarding the condition of protection or the remarkable pressure for new investment protection rights, namely for the benefit of newspaper publishers and the organizers of sports events. However, again, the fact that these developments exist and cannot be denied has to be distinguished from the question of whether they should be actively supported by the legislator.
Finally, of course, in the framework of this review it was a particularly intellectually challenging pleasure to discuss Kreutzer’s own conclusions and policy proposals. However, Kreutzer’s work is also a very valuable source of information for anyone who wants to be comprehensively informed about the neuralgic spots where present copyright law reaches its limits. On several occasions this author has used the study as a tool for first orientation on problematic issues in one of these fields. This was always a great pleasure as Kreutzer writes very clearly and has exploited a vast amount of literature. Therefore, the study will hopefully not only be considered by the German legislator but also referred to by many readers and academics.
Recommended citation: Matthias Leistner, Book review – Till Kreutzer, Das Modell des deutschen Urheberrechts und Regelungsalternativen. Konzeptionelle Überlegungen zu Werkbegriff, Zuordnung, Umfang und Dauer des Urheberrechts als Reaktion auf den urheberrechtlichen Funktionswandel, 2 (2011) JIPITEC 165, para. 1.


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MIAMI (CBSMiami) – Over the course of two days, nearly 3,000 people cycled, ran, walked, volunteered and donated at the fifth edition of the Dolphins Cycling Challenge aimed at beating cancer.
"We are thrilled with the results of DCC V. In addition to raising a record amount of money for Sylvester Comprehensive Cancer Center, we brought the message to a broad range of people in all three counties," said DCC V Chair Richard Berkowitz.
The event officially started Saturday morning, at 6:45 a.m., with the 104 mile ride which started at Sun Life Stadium. Former Miami Dolphins player and retired CBS4 Sports Anchor Kim Bokamper served as Grand Marshal.
Riders in 2015 had the option of six routes over one or two days. Also added was a new 5K around Sun Life Stadium.
The event is a collaborative effort between the Miami Dolphins and the University of Miami Miller School of Medicine, with 100 percent of the rider-raised funds going directly to fund research at Sylvester Comprehensive Cancer Center. CBS4 was a corporate sponsor of the event.
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What Drives the Spectacular Advancement in Hyperphosphatemia Drugs?
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Jonathan is a psychologist and specializes in using psychodynamic therapy called ISTDP to support those who are struggling with emotional suffering and anxiety. He is fluent in both English and Mandarin, and also a current core trainee in the 3 year ISTDP core training program with Dynamic Psychotherapy in Melbourne, Australia under Julie Cochrane, Australia's first ISTDP practictioner.
Jonathan Zielinski has a Bachelor's degree in Psychology from SUNY Buffalo in New York and a Master's in Applied Psychology (M.A.P.) with a Focus in Counseling from Fudan University. He was the first foreigner to ever participate and complete the highly competitive clinical internship program at Shanghai University Psychological Counseling Center under China’s most renowned expert in Lacanian Psychoanalysis, Qing Wei. Jonathan was also the first foreigner to complete the renowned clinical internship program at Shanghai Yangpu District Mental Health Ward and is one of two foreigners able to conduct Intensive Short Term Dynamic Psychotherapy (ISTDP) in China and the only one able to do so in Mandarin.
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Sample size in psychological research over the past 30 years
|dc.contributor.author||Marszalek, Jacob M.|
|dc.title||Sample size in psychological research over the past 30 years||eng|
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The Connected Health Kit
The Futurice Connected Health is a toolkit designed to help co-create digital solutions for real-life healthcare workflows and medical environments. The future of health is digital and connected, and it relies on data-enabled services and interfaces that bridge the gap between the digital and physical worlds. But this future will not happen on its own. There are several challenges to solve first, from eliminating information gaps and missing data connections to minimizing supply chain delays.


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Radio station for gay listeners goes on air
Tuesday 22 June 2010
Britain's first FM radio station dedicated to gay and lesbian listeners went on air this week, promising to go beyond the traditional diet of high-energy pop from scene icons such as Kylie Minogue and Madonna.
Manchester's Gaydio was finally granted a licence by Ofcom in 2008 after being conceived to accompany the city's Pride festival which attracts 250,000 people annually. From last weekend, DJs have been delivering a 24-hour mixture of music and speech programming to a potential audience of 2.4 million people.
The co-founder Ian Wallace said he hoped both gay and non-gay listeners would be attracted to the service, which will broadcast on FM in the Manchester area and will be available online to the rest of the country.
"What we found is that a lot of people thought it would be Kylie and Madonna FM, but it is about playing music that people want to listen to today and tomorrow – though I would be lying if I said they wouldn't feature sometimes," he said.
The station hopes to build on the success of Gaydar, which has proved highly popular with listeners tuning in through digital in London and Brighton and which also has a thriving internet following.
Mr Wallace said advertisers had already registered interest and were keen to target the above-average disposable incomes of many in the gay, lesbian, bisexual and transgender communities.
Maisie Williams single-handedly rises to the challengeTV
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WATCH | Durban snake catcher captures third black mamba at Verulam home
Durban-based snake expert Arnold Jason safely captured a third male black mamba at a family home in Verulam.
The snake was captured during a viral Facebook LIVE which left many scared for their safety but grateful he arrived on time to capture the 2.8m snake.
Gasps from shocked residents can be heard in the background while he captures it.
“It’s another boy. This is the third boy coming out of here so there has to be a female around here. They can smell her. It is mating season for black mambas and they want to live with her so that as soon as the mating season starts they are already there.
“I can only assume it is a girl attracting all these boys because there is no other reason,” Jason said.
He said there seems to be a lot to black mamba “activity”.
The process was not without threat as the snake had its mouth open because black mambas are always “ready to bite”, according to Jason. It was also “frustrated” while he captured it.
He said the female snake has not been captured.
He put the snake in a plastic bag and safely transferred him to the wild. Watch the video below:


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From the Introduction:
A system based for a campaign in which resources are limited and metal armour such as chainmail and plate are expensive and uncommon.
From the Publisher's Website:
The rulebook details the game mechanics. Included are rules for character generation and progression. A new system still in development, amendments and changes are likely.

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"Almost Like Being in Love": An Evening of Lerner & Lowe... and Friends!
Monday, February 25, 2019 at 7:00PM
The York Theatre Company
619 Lexington Ave.
(Enter on 54th St. between Lex and 3rd)
The York Theatre Company is located inside Saint Peters at 619 Lexington Ave. (Corner of 54th St.) Entrance is on the south side of 54th St. just East of Lexington Ave. Take the Elevator to floor LL1.
By Subway: Take the E or M trains to 53rd St./Lexington Ave. or the 6 train to 51st St./Lexington Ave.
A one-night only concert dedicated to the legendary team that gave the world such showstoppers and standards as "I Could Have Danced All Night,” “Almost Like Being in Love,” “Camelot,” “I Remember It Well,” “The Rain in Spain”, and much, much more!

domain: artistic


Johnson-noise thermometry based on a quantized-voltage noise source at NIST
Alessio Pollarolo, Tae H. Jeong, Samuel P. Benz, Paul D. Dresselhaus, Horst Rogalla, Weston L. Tew
Johnson Noise Thermometry is an electronic approach to measuring temperature. For several years, NIST has been developing a switching-correlator-type Johnson-noise thermometer that uses a quantized voltage noise source as an accurate voltage reference. When this method is used to measure resistors at the triple-point of water, the system creates a direct electronic method for determining the ratio of the Boltzmann constant k to the Planck constant h. In 2010, NIST optimized the JNT system for use with 100 ohm sense resistors and produced a determination for k with a relative standard uncertainty of 12x10^-6. In order to further validate and improve the measurement method, we modified the system to operate with a 200 ohm resistor source instead of the 100 ohm source. In this paper, we summarize the technical challenges and achievements to date and project what is achievable in the near future.
Temperature: Its Measurement and Control in Science and Industry, Vol. 8


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Toyota unveiled its all-hybrid seventh-generation ‘widebody’ Camry last week, internally known as XV80, which will exclusively be powered by a hybrid powertrain as its signature long-selling V6 option will no longer be available. This is arguably as important a move for the brand in the U.S. market as the introduction of the first Prius in 2001. Hybrids have come a long way in the last 22 years, and Toyota continues to define them for the mainstream market.
I Need A Project Car For A Tall Dude | WCSYB?
As many other automakers have completely shut down their sedan lineups, Toyota continues to dominate the (admittedly shrinking) market with its Camry. The somewhat bland family sedan was the fifth-best-selling vehicle in the U.S. last year, selling 295,201 examples. At that kind of volume, any significant improvement in fuel economy is going to add up fast.
I wanted to figure out exactly how much fuel would be saved by converting Camry to a hybrid-only lineup, so I did some math. Maybe this will prove to other automakers that turning normal cars into no-nonsense fuel economy misers is a great way to improve corporate average fuel economy numbers without resorting to typically expensive and slow-to-adopt electric vehicles. Maybe Toyota was right all along about the transition to EVs.
Let’s Do Some Math!
Of those 295,201 Camry sold in the U.S. in 2022, Toyota says 7 percent of them were the V6-powered XSE model (20,664 units), 11 percent of buyers opted for the hybrid (32,472 units), and the rest were the standard four-cylinder model.
Using fuel economy data from the EPA and assuming the annual driving mileage of the average American is 13,476 miles, I calculated that a Camry V6 driver would consume 518.3 gallons of gasoline per year, a four-cylinder Camry driver would burn 434.7 gallons, and a Camry Hybrid driver would get through something like 276.05 gallons in a year. There are a couple different Camry Hybrid models available, getting between 46 and 52 miles per gallon depending on spec, so I met them in the middle.
Multiply that average fuel consumption number by the number of that variety of Camry sold, and you’ll get a consumption figure for all Camrys sold in a year. All of the 2022 Camry V6s burn 10,710,151.2 gallons of gas per year, all of the Camry Hybrids burn 8,963,895.6 gallons of gas in a year, and the remaining non-hybrid and non-V6 Camrys consume a massive 105,225,655.5 gallons annually. If you have a 2022 Camry, you’re contributing to a total of 124,899,702.3 gallons burned annually.
What About The New Car?
Obviously Toyota hasn’t released all of the information about the next-gen Camry yet, and the EPA doesn’t have fuel consumption numbers available either. We can assume that the new hybrid-only Camry will be at least as fuel efficient as its predecessor, but that’s not good enough for Toyota. Between the last-gen Prius and the new Prius, the engineering team managed to make the new car nine percent more fuel efficient despite moving to a larger and more powerful drivetrain. You can pretty much bet that the new Camry will do the same.
I’m going to wager that the standard Camry Hybrid will be at least 9 percent more efficient than the current 48-MPG-average Camry Hybrid. And that doesn’t even take into account the likely availability of an AWD model with electric motors on the rear axle, or a Camry Prime plug-in hybrid model, which would pump those numbers up even higher. I’m going to conservatively estimate that the average 2025 Camry will achieve 52 MPG combined. Considering the current Camry Hybrid LE already gets 52 combined, that shouldn’t be too farfetched.
While Camry sales have been declining steadily since the early 2000s, I’m going to wager this new model will drive a bit of a sales spike in its first full year on sale, at least matching the 2022 sales number. I’m sure some of the buyers will be stepping up from a Prius, but hopefully an equal number will be coming from a larger truck or SUV, seeking improved fuel economy to balance it out.
Okay, so if the same 295,201 people purchase brand new 2025 Camry Hybrids, and get a combined average of 52 miles per gallon, they’ll consume 259.2 gallons per year individually and 76,516,099.2 gallons combined.
That adds up to a totally wild 48,383.603.1 gallons saved every year, just by Camry drivers upgrading from an old Camry to a new Camry. Toyota will dramatically increase the number of customers experiencing the joys of hybrid driving and improved fuel economy. Toyota has an opportunity here to do for hybrids what Audi and Subaru did for all-wheel drive.


Robredo graces Los Angeles fundraiser of only Filipino orchestra outside PH
Vice President Leni Robredo addresses FASO audience. CONTRIBUTED
LOS ANGELES — Philippine Vice President Leni Robredo visited Los Angeles recently to attend an invitation-only fundraising event organized by a local Filipino American non-profit organization.
The Filipino American Symphony Orchestra (FASO) held its inaugural awards gala on Saturday, June 17 at the Mary Pickford Estate and invited Robredo as its guest of honor.
Earlier in the afternoon, select attendees participated in a meet and greet with the vice president. During the dinner, she addressed the crowd for nearly 15 minutes, in which she talked about the importance of the arts and progress on her office’s anti-poverty program.
“I consider it a great honor to be given the chance to help, even in a very small way, in raising funds to sustain the only Filipino symphony orchestra outside of the Philippines,” she said in her speech. “Bringing music to every man, woman and child, especially for those who long the sounds of home, is a very important advocacy.”
No talk of PH politics
Though she did not go into the political situation in the Philippines, she vaguely touched upon “global and local challenges, many of which we cannot control.”
“But the extraordinariness of ordinary people are giving us hope,” she said, citing examples she’s seen through Angat Buhay, which focuses on nutrition and food security, universal healthcare, education, rural development and women empowerment. She noted that the program is now in 127 areas of the country.
With the current situation in the Philippines — including the Marawi crisis which is now in its fifth week — Robredo denied requests to be interviewed by local media.
Since May 23, Philippine troops have been fighting the Islamic State(IS)-linked Maute group, prompting President Rodrigo Duterte to declare martial law in the Mindanao region. This week, the government has recorded 375 deaths associated with the clash.
“There are many ways each of us can give our nation a push towards a brighter future,” the vice president concluded in her speech.
Also during the event, four awardees were recognized: Filipina singer and actress Sylvia La Torre and soprano Maria Christina Navarro for Excellence in Music, and musician and teacher Cecilia A. Coo-Cruz and accountant and former FASO board member Titus Verzosa for Excellence in Service.
Robredo’s overseas trip was not without controversy, however. Nearly a dozen protestors held signs outside the gated community where the event was being held. On the internet, various bloggers questioned where the proceeds of the gala would go to, alleging that they would benefit the vice president.
However, throughout the gala program, several of FASO’s board members reiterated that the funds would be put toward the orchestra and its music education programs.
As of this writing, the total amount raised on Saturday had not yet been disclosed.
While in LA, Robredo met with members of the United Bicolandia Los Angeles, an association of individuals who immigrated to the U.S. from the Bicol region, where the vice president is also from.
Afterwards, she made her way to Boston, where her eldest daughter, Aika, will be attending a master’s program at Harvard University. The vice president returned to the Philippines on Thursday, June 22.


In this issue, you’ll learn about the shipment of Caterpillar’s 17-metre longwall shearer from Europe to a coal mine in Australia. It was the first time this heavy piece of machinery was shipped in one piece, and Venture has the whole story, from loading to offloading.
Coincidentally, WWL also recently shipped 152 units of heavy machinery for mining equipment company Joy Global, a move that included sailing to a port outside the regular schedule.
Venture also visits the Port of Hueneme, a popular port on the West Coast of the United States. Here, WWL supports car manufacturers and other customers with a number of services, ranging from ocean transport to vehicle processing. And did you know that WWL has doubled its service from Europe to this particular port, from twice a month to weekly?
Read all about this and more in Venture 1, 2016, and feel free to send us your feedback. We’d love to hear from you!
The next issue will hit the newsstands in June.


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A group, Kogi West Development Front (KWDF), has alleged manipulation of the outcome of February 25 senatorial election in the zone.
In a statement signed by Lukman Muhammadu and Victor Emmanuel, president and secretary general respectively, the group said the poll was allegedly manipulated against the senatorial candidate of the Peoples Democratic Party (PDP), Paul Tajudeen Yusuf.
The group insisted that the outcome of the senatorial election did not reflect the wishes of the people of Kogi West.
It alleged officials of the Independent National Electoral Commission (INEC) failed to use Bimodal Voter Accreditation System (BVAS) machines in many parts senatorial zone.
“In spite of a massive support base across Lokoja, Kotonkarfe, Kabba, Yagbaland and other parts of Kogi West Senatorial zone where Honourable Teejay Yusuf’s laudable developmental initiatives have gained much respect over the years, unscrupulous electoral officials and few others from the state and local governments brazenly manipulated our votes.
“Why should the INEC BVAS be so horribly bypassed on such a large scale across Kogi West senatorial zone. Totally and very mindlessly, they ignored possibilities of igniting massive public reactions which have only been stemmed by the strident appeals from Honourable Teejay Yusuf and his associates who counsel youth to peacefully await Judicial review of the manipulated electoral process.
“We had peaceful, orderly election with widespread assumption that Teejay Yusuf whose support transcends ethnic, religious and political divides, is our collective choice; it is extremely provocative that… officials ended up subverting the people’s will with several INEC officials’ deliberate bypass of BVAS,” the group said.
The group expressed confidence that the PDP candidate will get justice in the election petition tribunal.

domain: sociology


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Finding Christian speculative fiction (sci-fi and fantasy and horror), in my youth was impossible. C.S. Lewis' Chronicles of Narnia and Space Trilogy graced the lonely shelf. Every modern genre author credits Lewis as their inspiration for good reason: he's all that genre fans could find.
In the seventies and eighties of my childhood, Mom would take me into the local Christian bookstores, and I'd straight-edge for the fiction shelves. After years of only finding Lewis' titles, I stopped looking in Christian stores. My favorite fiction came from secular stores.
I'd given up in the early eighties—about a year before Steven Lawhead's Empyrion was published. After Peretti's Darkness books came out, I hopefully scanned Christian shelves again for a couple more years before abandoning hope. Obviously this was a once per decade event.
A year ago the only Christian spec-fic authors of which I'd ever heard were Lewis, Peretti, Dekker, and arguably, Jenkins. Since then, I've discovered dozens of Christian spec-fic authors on the Web. I formed the Lost Genre Guild in September of 2006, and we've erected a respectable Web infrastructure for the promotion of our favorite fiction. Genre fans, read on for a killer link with more traditionally published titles than you'd ever dreamed existed.
Some spec-fic sub-genres have recently broken the CBA publishing dam.
- Doors opened for Christian fantasy after the Lord of the Rings films scored at the Box-Office.
- Genre purists and book-retailers don't lump horror into the genre, but the definition of setting and characters does. The race we call "angels" are supernatural extra-dimensional beings. At some point when nobody was looking, some creative librarian tacked up a "spiritual thrillers" label on the shelf that ought to have read "horror." "Spiritual thrillers" sounds more like Hannibal Lechter sitting across a confessional from Clarisse Starling than fallen angels under the bed, but at least the belief system that inspired The Exorcist is also moving forward. I wonder if The Prophecy series of films, featuring Christopher Walken, didn't also have an effect. And Anne Rice accepting Christ surely looked good to the CBA world.
That leaves one of spec-fic's three main sub-genres still floundering behind the dam: science fiction. I believe there are several reasons for this. There have been no sci-fi cross-over films or popular culture fiction to shoehorn publishers into risking bets on new authors. Many view Christianity and science to be a contradiction in terms. Sci-fi's been such an anti-Christian world-view genre it's no real surprise that mothers dodge children around the aisle.
You've just read introduction to a four part series that will explore the concept of Christian science fiction. Because you're still reading, you get a cookie! The most complete Biblical spec-fic book store I've ever found belongs to Jeff Gerke, AKA novelist Jefferson Scott. Any genre fan will want to see and bookmark this site of Lost Genre novels:


Elop said to take the position after Nokia deal closes
Microsoft has been building up to the completion of the purchase of Nokia's hardware side for a while. We also knew that Microsoft wanted Elop to come back to the software giant after the purchase was complete. We learned he would receive over $24 million last September once the deal was complete this year.
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Rumors suggest that Elop will come back to Microsoft after the Nokia purchase is complete reports VideoGamer. Elop will take over as head of the Microsoft Devices and Studios group according to reports. That group is currently headed up by Julie Larson-Green. She will be transferring to a new position within the company as the head of the Applications and Services group.
Larson-Green has only been at her current spot with Microsoft for 7 months. She will continue in her current role until the purchase of Nokia is complete. That is expected to happen this quarter. In his new position, Elop will be in charge of Xbox and Microsoft Surface. Elop was considered in the running to replace Ballmer as CEO of Microsoft, but the software giant went with a different candidate.
Microsoft hasn’t come out and confirmed the rumor just yet, but this is no surprise. Microsoft has been working to get Elop back for a while. I wonder if the move has anything to do with the performance of Larson-Green? The Xbox One is being outsold by most counts by the PS4 and the Surface line of tablets aren’t popular.


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Some of the small body guitars made of mahogany sound great!!You should try an old model Gibson,like an LGO,LG1,or LG2.They have plenty of good high end,and great mids.Remember,Ian Anderson of Tull always played that small body vintage Martin.I do sessions from time to time with a producer who could use anything (he owns a Martin),but uses an old LG1,and it smokes! I just bought one to rebuild for $20,and believe me,they are still out there.These guitars are good for a complete mix,where you don't need all that boomy bass that you are going to have to roll off anyway.
I always liked the sound that Ian Anderson got on that small body Martin back in the 70s, I think he used it as he was doing more picking than strumming- probably also had a lot to do with the recording techniques too. Other than that I just love recording the J200..everything else sounds a bit bland.


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In my last post
, I shared the first half of the art journal I created in the beautiful book created for me by Janet Plant in a long-ago swap. Today, I'll share the rest of its pages.
The journal is filled with positive messages and quotations, many of them from Patti Digh's book Life is a Verb
I was still stamping "YES" on all the pages through the second half of the book. It was rather cathartic, I remember, to stamp the word with its energetic exclamation point over and over again! Almost defiant in the face of what felt like an overwhelming "life NO." (It was last November, and happily, with the rose-colored glasses I wear when I look at the past, I don't even recall what was weighing down on me at the time.)
Ah, more reflections on that perfectionism that never leads to perfection.
And more flaps! This time, the paper lifts to reveal an image from a magazine I enjoyed (along with another quotation and a moo card I taped into place), and I journaled on the back of the flap.
I didn't add any writing to this spread in the journal, but found a number of fresh, green, garden-ish images, along with another moo card taped in and a tiny envelope I received from F.M.
in one of our swaps.
I created another flap from a light-weight piece of green fabric, almost like an organza (says this fabric non-expert).
More YESes, more quotations from Patti, more collage pieces from my stash.
Patti's book gives the reader lots of food for thought, to be sure.
And here we are at the back cover, with images of dance and meditation.
"We are fools whether we dance or not, so we might as well dance," says the Japanese proverb.
And from Natalie Goldberg: "Our task is to say a holy yes to the real things of our life." So appropriate for this journal filled with YES. I feel like it gave me a solid, positive push into this new year, where I am refusing to fritter away my time, focusing instead on the better things, the real things, the lasting things.
If you are a reader of romance novels, or simply indulge one from time to time as a guilty pleasure, I want to tell you about a newly available book you can download to your Kindle (or the free Kindle app on your iPhone) for only 99 cents (while the sale lasts!). The book is called Found in You, written under the pen name K. L. Ruse
. The author, Kim Russo, is the parent of a little girl in my daughter's gymnastics class. As we chatted one day in November, she shared the news that her book would be released in January, the first in the Lost and Found
series. Please consider supporting this emerging author by purchasing Found in You
! [Please note that there is another book available that is also entitled Found in You
that is a pretty hard-core erotic read. If you want, purchase that one too, but make sure you also get the one by author K. L. Ruse!]
I love all the flaps and hidden messages and sort of "wildness" of the pages. My new goal is to be less organized or stylized and let more freedom into my art journal. Thanks for the inspiration.
Your art journal is fantastic! Well done...
I love that you were inspired by Patti, she's great. And this book looks incredible!
Hi Andria...I think I sent you a tea packet I detected in your previous post. I'm loving this look into this journal...it's very beautiful. Yes, make this a yes year...I'm trying for that also. I have never read Patti's book...maybe it's time I did. Have a great weekend!
oh it's looking so beautiful. I love seeing other artist's journals.
So beautiful, inspired and inspiring ;)
I can definitely feel the YES in these pages, so yummy and full of fun. Thanks for sharing! Makes me want to fill a whole journal with just images and collage fun!
Wow, what a wonderful journal. Love what you did with it. Working in a journal somebody else made for you feels like a special kind of collaboration. To make a book for your girls sounds like an amazing idea, hope it comes into being.
Do you know that I have wanted to come here and see these pages for a week now and have just been watching time whisk by. (while doing a bunch of stuff). I find that I get inspired to use my paper and ephemera stash when you share your work. You do really interesting and eye appealing things with your scraps, and I just seem to hoard them! I have my rolodex cards on the work table to make for my swap with you (and haven't yet), and rather than do what I was going to do, I may just brave my stash of papers. Why do I feel like I can never find those neat looking bits again in my whole life!? Yours look great! I love all the flaps and anything interactive.
Okay, I probably won't put flaps on the rolodex cards.
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Lamp. Saturday , November 25th , 2017 - 20:58:08 PM
Moroccan Henna Lamps and Wall Sconces: The Moroccan lamps are available in different shape and size and you can choose from a variety of designs, half of which are unique. You can choose a lamp according to the existing decor or even the size of your room. You can hang the lamps from the ceiling or place them on the bed side table and event compliment them with henna wall sconces. Wherever you choose to put it, it is definitely going to glorify the surrounding and make your home look beautiful. If you have wrought iron decorations in your home then the mix of wrought iron denoting the Victorian era mixed with the Moroccan lamps denoting the early civilizations will create an intoxicating style.
The Moroccan henna leather lamps are made by professional artisans who have been doing it for centuries and the skill gets passed on from one generation to another. This is the exact reason why these lamps are unique. The best part is that no two henna lamps will have the same design. The lamps are made from goatskin with each section being hand-tied to a frame and finally the henna is applied for creating beautiful designs on the leather. Since so much effort goes into making a single henna lamp hence it is like a piece of treasure and owning one means that you belong to the elite class of people. It will become an integral part of your interior decoration.
Consider these examples:Tanha Medium Floor Lamp has a measurement of 44\" L x 15\" W x 15\" D with orange cotton lining and made of dark bamboo. This floor lamp reflects a romantic ambiance that you can see in your own living room.A Satori Bamboo Floor Lamp is a spicy-hued floor lamp, which comes in orange or light green cotton lining, accents any figure of normal tones in your home. It is also made with dark bamboo with a size of 64\"x 19\"x 8\".The Mai Bamboo Floor Lamp is a round shaped lamp consisted of red lining which is also made of bamboo and rattan.Phangan Bamboo Floor Lamp is crafted from bamboo and rattan mix with a rectangular-form designed white cotton lining. It measures 6 x 59 x 59.Adong Bamboo Table Lamp is constructed from rattan and bamboo mixture with square-shaped table lamp and a white cotton lining.Lastly, Phayam Bamboo Floor Lamp is square in shape and is made from rattan and bamboo mix with white cotton lining as well as 2 bulbs. Some assembly may be required. It measures 10 x 59 x 59.
Any content, trademark/s, or other material that might be found on this site that is not this site property remains the copyright of its respective owner/s. In no way does Big Mouth claim ownership or responsibility for such items, and you should seek legal consent for any use of such materials from its owner.


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domain: finance


text:
The Kenyatta International Convention Centre is an icon and landmark Kenya safari. It is an architectural impressive structure and the tourist attraction in Kenya, it is formally known as the Kenyatta International Conference Centre and named by the first president of the republic of Kenya. Kenyatta International Centre boasts of being the leading facility in the meetings industry in East Africa and has held quite number of the regional and international conferences like the World Bank Conference in 1973, Inter-parliamentary union summit in 2008, other UN based conferences, 8th African Growth and Opportunity Act (AGOA), 7th Global Conference on health, the 5th Pan African Malaria conference, Internet corporation for Assigned Names and Numbers (ICANN) Congress and the 2010 international Federation of Biomedical Laboratory Scientists (IFBLS), 10th WTO meeting, TICAD VI,2nd High Level Meeting on the GPEDC among others.
Kenyatta International Convention Centre is ranked as one of the top places to hold conferences on the continent, after completion, the building held the rank of the tallest building in Nairobi up until the construction of the Teleposta Towers. The building has since then ceded its position as the tallest tower to a host of other newer projects including the UAP Old Mutual Tower, Times Tower and the Britam Tower, which is the tallest building in Nairobi as of 2020.
This is a state corporation established under the Tourism Act 2011 whose objectives and purpose is to promote the business of meetings, incentive travel, conferences and exhibitions also known as the MICE.
Kenyatta International Convention Centre is located at the heart of the central business district of capital city Nairobi, Kenyatta International Convention Centre boasts of its proximity and easy accessibility to and from all major five-star hotels, most of which are ten minutes’ walk and five minutes away by car.
Kenyatta International Convention Centre has the capacity to hold both large and small events, both indoors and outdoors. The facility has excellent rooms, with good ambiance, clean and air conditioning.
The Kenyatta International Convection Centre is PAD friendly with the ramps that go through the center making it accessible to all the guests during their Kenya Wildlife safari. The Kenyatta International Convection Center has well trained and professional employees who are happy to help and give you a world class experience.
The 30th floor lies the highest observation deck in the city of Nairobi open to all visitors on a safari who are able to enjoy a panoramic view of the capital city, the Helipad, the only one in the city located on the top tier of the tower, has become a popular area of focus for both local and international visitors to the centre. From this vantage point one is able to see the entire city of Nairobi and surroundings, only then can one appreciate the beauty and complex pattern that it embodies.
Besides viewing safari, the Centre has become a haven for the journalists, artists and performers who delight in the perfect photography and videoing angles it presents at sunrise and sunset. Occasionally the deck is rented out for small special functions including the cocktails, dinners and the launches.
Core functions of the Kenyatta International Convention Centre.
The Kenyatta international Convention Centre develops and implement the national meetings, Incentives for conventions and exhibitions strategy.
Performs any functions that are ancillary to the objective and purpose for which the convention centre is established.
Kenyatta International Convention centre organizes and host meetings and provide incentives for the conventions and exhibitions at the Convention Centre.
Where to stay.
There are various of accommodation facilities to the tourists who come to visit the Centre as the accommodation facilities are located near or within the Kenyatta International Convection Centre as they are ranged into Budget, Mid-range and the luxury accommodation like the trademark Hotel, Tribe Hotel, The Boma Hotel, Sarova Panafric, Intercontinental Hotel Nairobi, City lodge Hotel and many more.
Kenyatta International Conventional Centre is so famous that one should not miss out in a Kenya safari in that it is the largest convention centre in East Africa and in Kenya, the centre is acrusial address for many government and official offices for the representatives such as the elected senators and it is a renowned international venue for the conferences, meetings, exhibitions and five star hotels.

domain: geography


Residents at Shepparton Villages were given the chance to make their votes for this year's federal election last week, when the Tarcoola Village set up a polling booth at their Hakea Lodge.
Most residents lined up before morning tea to be given the opportunity to cast their vote, with the polling booth open between 9amand 1pm.
Shepparton Villages CEO, Kevin Bertram said, "Setting up this polling booth at the villages gives the residents a chance to vote. Many of them cannot get down to voting centres on the day of the election.
"A lot of them have voted through the years and they care about what is going on out there, so they enjoy voting," Kevin said.
Early voting has commenced in Shepparton for people who are unable to vote on polling day they can now vote at our early voting centres.
Early voting centres in Shepparton are located at 377 and 390 Wyndham Street.
The Federal Election will be held on Saturday, September 7 and voters can complete their preferences at Notre Dame College, St George's Road Primary School, Gowrie Street Primary School, Bourchier Street Primary School, Guthrie Street Primary School, Wilmot Road Primary School, Wanganui Park Secondary College, Mooroopna Primary School, Grahamvale Primary School and G T Coulson Community Activity Centre in Mooroopna.
As printed in the Shepparton Adviser, Wednesday, September 4, 2013.


Farah Khan with son at FIFA WC 2022: The fever for FIFA World Cup 2022 is not yet over. On December 18, Argentina, led by Lionel Messi, defeated France 4-2 on penalties after the two teams were knotted at 3-3 after 90 minutes of play. Several B-Town celebs were present to witness the historic game at Qatar, Choreographer and director Farah Khan also attended the game with her son Czar Kunder.
After taking her son to see the FIFA World Cup 2022 Finals choreographer and director Farah Khan asked Czar Kunder to 'pay the dues' for the FIFA tickets by pampering his mother.
On Monday, Farah posted a photo of Czar, wearing an Argentina jersey, massaging her feet while she was sitting on the bed. While Farah took the picture from behind, her son sat down next to her facing opposite the camera.
Before the magnificent game in Qatar, Farah posted a small video of fireworks. She also shared a photograph of herself with Czar, who was grinning at the camera. "My son better b pounding my feet for life #worldcup2022 #qatar #doha #bestseats.. thank you," Farah wrote as the description for the photo.
Along with Farah, other Bollywood stars like Shah Rukh Khan, Kartik Aaryan, Ranveer Singh, Mohanlal, and Mammootty attended the final match live. Before the game, Shah Rukh participated in a live discussion with former English footballer Wayne Rooney about his upcoming movie 'Pathaan' which also featured Deepika Padukone. In the meantime, Deepika Padukone became the first Indian citizen to unveil the FIFA World Cup trophy.