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Citation Lito




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Lito Mayo Artists Profiles In-text: (Artverite.net, 2014) Bibliography: Artverite.net, (2014). Artists Profiles. [online] Available at: https://web.archive.org/web/20140811124748/http://artverite.net/artists_profiles.htm [Accessed 21 May. 2014].
 * Artverite.net

Vignettes Column; Lito Mayo In-text: (De Jesus, 2014) Bibliography: De Jesus, A. (2014). Vignettes Column; Lito Mayo. Business Day, p. 12.
 * De Jesus, A. G.

In-text: (Graphic artists pay tribute to Lito Mayo, 1983) Bibliography: Graphic artists pay tribute to Lito Mayo. (1983). Celebrity Magazine, p. 28.
 * Graphic artists pay tribute to Lito Mayo

Santos, S. Violent Dispersal: Dalawang Dekada ng Musika ni Bobby Balingit “Punk na ako nun, naimpluwensiyahan ni Lito Mayo, isang pintor na punk.” "I was Punk then, influenced by Lito Mayo who was a Punk artist." In-text: (Santos, 2008) Bibliography: Santos, S. (2008). Violent Dispersal: Dalawang Dekada ng Musika ni Bobby Balingit. [online] Violentdispersal.blogspot.com. Available at: http://violentdispersal.blogspot.com/2008/01/dalawang-dekada-ng-musika-ni-bobby.html [Accessed 21 June. 2014].
 * Violent Dispersal: Dalawang Dekada ng Musika ni Bobby Balingit

Bro. Manolito "Lito" Mayo a Future National Artist - Thomasian Triskelion - The Proud. The Brave. Tau Gamma Phi - Triskelions Grand Fraternity In-text: (Pacete, 2007) Bibliography: Pacete, A. (2007). Bro. Manolito "Lito" Mayo a Future National Artist - Thomasian Triskelion - The Proud. The Brave. Tau Gamma Phi - Triskelions Grand Fraternity. [online] Thomasian Triskelion - The Proud. The Brave. Tau Gamma Phi - Triskelions Grand Fraternity. Available at: https://web.archive.org/web/20140715015826/http://www.thomasiantriskelion.org/2007/09/15/bro-manolito-lito-mayo-a-future-national-artist/ [Accessed 1 Jul. 2014]. Fraternity. [online] Available at: https://web.archive.org/web/20140715015826/http://www.thomasiantriskelion.org/2007/09/15/bro-manolito-lito-mayo-a-future-national-artist/ [Accessed 25 April. 2014].
 * Pacete, A.

Folk rock pioneer Heber Bartolome mounts benefit art show for fellow artist In-text: (Maghirang, 2014) Bibliography: Maghirang, T. (2014). Folk rock pioneer Heber Bartolome mounts benefit art show for fellow artist. [online] Yahoo Celebrity Philippines. Available at: https://ph.celebrity.yahoo.com/news/folk-rock-pioneer-heber-bartolome-mounts-benefit-art-show-for-fellow-artist-051703536.html [Accessed 1 July. 2014].
 * Maghirang, T.

About Gonzalo Gallery In-text: (Gonzalo Gallery, 2012) Bibliography: Gonzalo Gallery, (2012). About Gonzalo Gallery. [online] Available at: https://web.archive.org/web/20160315095708/https://philippineartsale.wordpress.com/about/ [Accessed 4 May. 2014].
 * Gonzalo Gallery

Abet '75 Newly Ordained Deacon - Thomasian Triskelion - The Proud. The Brave. Tau Gamma Phi - Triskelions Grand Fraternity In-text: (De Leon, 2008) Bibliography: De Leon, R. (2008). Abet '75 Newly Ordained Deacon - Thomasian Triskelion - The Proud. The Brave. Tau Gamma Phi - Triskelions Grand Fraternity. [online] Thomasian Triskelion - The Proud. The Brave. Tau Gamma Phi - Triskelions Grand Fraternity. Available at: https://web.archive.org/web/20140714190340/http://www.thomasiantriskelion.org/2008/06/05/abet-75-newly-ordained-deacon/ [Accessed 11 December. 2013].
 * De Leon, R.

Heritageartcenter.com Deo Viloria ~ Heritage Art Center In-text: (Heritageartcenter.com, 2014) Bibliography: Heritageartcenter.com, (2014). Deo Viloria ~ Heritage Art Center. [online] Available at: http://www.heritageartcenter.com/2011/01/deo-viloria.html [Accessed 18 February. 2014].
 * Deo Viloria ~ Heritage Art Center

Showbiz Tidbits: Abstract Painter, Wholesome Actor In-text: (Gatdula, 2000) Bibliography: Gatdula, L. (2000). Showbiz Tidbits: Abstract Painter, Wholesome Actor. Philippine Daily Inquirer, p.33.
 * Gatdula, L. S.

BF Gallery-Studio Renov / BautistaFam Reunion-Sept '12 In-text: (Bautista, 2013) Bibliography: Bautista, G. (2013). BF Gallery-Studio Renov / BautistaFam Reunion-Sept '12. [online] Glenn's CyberArtPages. Available at: http://glenlorndav.wordpress.com/2013/09/08/glenlorndave-bf-homes-gallery-studio-renovation-sept-2012/ [Accessed 1 Jul. 2014].
 * Bautista, G. A.


 * “Lipa’s Old Gentry.” LIPA CITY TOURISM AND MUSEUM COUNCIL, 27 Nov. 2017, lipatourism.wordpress.com/culture/lipasoldgentry/. Available at: https://web.archive.org/web/20190415091825/https://lipatourism.wordpress.com/culture/lipasoldgentry/ [Accessed 27 Dec. 2017]


 * Torrecampo, Rex. “Finding Ferdinand: the Search for the Irish Ancestor of the Mayo Clan of Lipa.” Life So Mundane in Batangas, 1 May 2016, www.lifesomundane.net/2016/05/mayo.html. Available at: http://lifesomundane.net/2016/05/mayo.html/ [Accessed 27 Dec. 2017]


 * De la Paz, Christiane L. “Lito Mayo's Alternate Reality : Philippine Art, Culture and Antiquities.” Artes de las Filipinas, 30 Dec. 2017, www.artesdelasfilipinas.com/archives/206/lito-mayo-s-alternate-reality. Available at: http://www.artesdelasfilipinas.com/archives/206/lito-mayo-s-alternate-reality [Accessed 29 Dec. 2017]

Filipino Generals of the Revolution - Rank Grading sort

 * data-sort-value="1" = President, Commander-in-Chief
 * data-sort-value="2" = Lieutenant General
 * data-sort-value="3" = Major General
 * data-sort-value="4" = Division General
 * data-sort-value="5" = Brigadier General
 * data-sort-value="6"= General, Chief of Medicine and Health
 * data-sort-value="7"= General, Religious Auxiliary
 * data-sort-value="8" = Commanding General-Philippine Republic (unspecified grade)
 * data-sort-value="9" = Commanding General-Katipunan General
 * data-sort-value="10" = Guerrilla General, post-capture of President Emilio Aguinaldo
 * data-sort-value="11" = Insurgent General, post-Brigandage Act
 * data-sort-value="12" =  Colorum General-Religious and Agrarian insurrection
 * data-sort-value="13" =   Field guerrilla Commander (Katipunan)
 * data-sort-value="14" =   Field guerrilla Commander (post-capture of President Emilio Aguinaldo)

Footnotes-shortcuts
Lazaro Toledo Balerio Guibarra Pedro Lindo

Colonel Jose Hernandez

Research Websites
FELIX CUENCA https://www.facebook.com/LopezBalayan/photos/felix-cuenca-together-with-his-family-taken-at-bacoor-cavite-ca1899the-filipino-/10151228082517702/

Sorting Cells
Sometimes the value of a cell is not correctly parsed or one wants to sort the row in a special way. (e.g. a cell containing 'John Doe' should actually be sorted as 'Doe' and not as 'John'). This can be easily achieved by setting the  attribute. It is especially handy to sort military ranks in rank-seniority order.

Wiki markup

This gives:

See also mw:Help:Sorting.

If you have a list where all the entries start with quotes ("), and you want to set a sort key for one of the entries, then you will need to use the HTML name or number for quotes at the beginning of that sort key. See here too. Lists of song titles for example sometimes have each song title in quotes. So to sort by a particular word in a song title use one of these:

Public Domain Information
COMMON COPY RIGHTS LAW BY TERRITORY

https://commons.wikimedia.org/wiki/Commons:Copyright_rules_by_territory

https://en.wikipedia.org/wiki/List_of_countries%27_copyright_lengths

https://en.wikipedia.org/wiki/Wikipedia:Public_domain_resources

https://commons.wikimedia.org/wiki/Commons:Copyright_rules_by_territory/Philippines

https://en.wikipedia.org/wiki/Copyright_law_of_the_Philippines

https://commons.wikimedia.org/wiki/Template:PD-PhilippinesGov

https://commons.wikimedia.org/wiki/Template:PD-Polish

https://commons.wikimedia.org/wiki/Template:PD-RO-photo

Photographic

https://commons.wikimedia.org/wiki/Commons:Copyright_rules_by_territory/Finland

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Public Domain Templates
People's Television Network https://en.wikipedia.org/wiki/People%27s_Television_Network

Source material: One frame of image (1 to 2 seconds) from audiovisual work (Title: Duration of:)


 * (1) Documentary authored and broadcast more than 20 years ago by Government and State-owned Broadcast Network Television
 * (2) Works of the government of the Philippines exempted from copyright as stated by Republic Act No. 8293.


 * (3) The derived and transformative (audiovisual to visual-still image) work with a portion of the copyrighted work has no potential or commercial value.
 * (4) The quality of the derivative and transformative work is lower than the original source.
 * (5) Derivative work is also "transformative"- from "motion" and audiovisual media to "still" image media.


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– for works published or commissioned by a Brazilian government (federal, state, or municipal) prior to 1983, or the text of a treaty, convention, law, decree, regulation, judicial decision, or other official enactment.

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Fair Use Determination Rational Statement

Fair Use Determination Rational Statement in the Republic of the Philippines

The Intellectual Property Code of the Philippines Republic Act No. 10372

Fair Use Copyright Law-Philippines (Amendments to RA No.8293)


 * (1)The derived and transformative (audiovisual to visual-still image) work with a portion of the copyrighted work has no potential or commercial value.
 * (2) The quality of the derivative and transformative work is lower than the original source.
 * (3) The purposes for the derivative and transformative work are for educational instruction and social commentary only.

The submitted work is allowable as it follows the provision in the amendment below.

“SEC. 184. Limitations on Copyright. – x x x

“(1) The reproduction or distribution of published articles or materials in a specialized format exclusively for the use of the blind, visually- and reading-impaired persons: Provided, That such copies and distribution shall be made on a nonprofit basis and shall indicate the copyright owner and the date of the original publication.”

Fair Use Determination Rational Statement in the US

17 U.S. Code § 101.Definitions:

Source material: One frame of image (1 to 2 seconds) from audiovisual work (Title: Duration of:)

“Audiovisual works” are works that consist of a series of related images which are intrinsically intended to be shown by the use of machines, or devices such as projectors, viewers, or electronic equipment, together with accompanying sounds, if any, regardless of the nature of the material objects, such as films or tapes, in which the works are embodied.

Rational for Derivative Work under the Fair Use of Copyrighted Materials Fair Use Determination Rational Statement

17 U.S. Code § 101.Definitions:

“Audiovisual works” are works that consist of a series of related images which are intrinsically intended to be shown by the use of machines, or devices such as projectors, viewers, or electronic equipment, together with accompanying sounds, if any, regardless of the nature of the material objects, such as films or tapes, in which the works are embodied.

Copyright Law of the United States and Related Laws Contained in Tıtle 17 of the United States Code, December 2016 Chapter 1, Section 107-Limitations on exclusive rights: Fair use4

Questionnaire Checklist for evaluating "Fair Use" of copyrighted materials in the US

Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include—

(1)the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;

The portion of copyrighted work that will be part of a derived work will be used for non-commercial, educational purpose only.

(2)the nature of the copyrighted work;

The portion of copyrighted work that will be part of a derived work is a single frame (approximately 1 to 2 seconds) of image taken from a audiovisual work (Title: Duration of:)

(3)the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and

Minimal portion was taken from the whole body of the audiovisual work.

(4)the effect of the use upon the potential market for or value of the copyrighted work.

'''The derived and transformative (audiovisual to visual-still image) work with a portion of the copyrighted work has no potential or commercial value. The quality will be lower than the original source. The purposes for the work are for: educational instruction and social commentary only.'''

The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors. (Pub. L. 94–553, title I, § 101, Oct. 19, 1976, 90 Stat. 2546; Pub. L. 101–650, title VI, § 607, Dec. 1, 1990, 104 Stat. 5132; Pub. L. 102–492, Oct. 24, 1992, 106 Stat. 3145.)

Maria De Sousa
Maria de Sousa: A life of discovery

https://noticias.up.pt/morreu-maria-de-sousa-a-mulher-que-pos-portugal-no-mapa-da-imunologia/

University of Porto

Code of Copyright and Related Rights (as amended up to Law No. 114/91 of September 3, 1991)

CHAPTER II Unrestricted Use Scope Article 75. The following uses of a work without the consent of the author shall be lawful:

(d) partial or total reproduction by photography or by an analogous process of a work that has previously been made available to the public, provided that such reproduction is carried out by a public library, a noncommercial documentation center or a scientific institution, and that such reproduction and the corresponding number of copies are not for public use and are limited to the requirements of such institutions’ activities; (e) partial reproduction by the processes referred to in the preceding subparagraph, by educational establishments, provided that such reproduction and the number of copies made are for use exclusively for educational purposes in such establishments and that their use is not profit-making;