School of Social Sciences and Law

Keeping the artworks safe is way more difficult than creating the masterpieces especially when you have to send your work to somewhere else. Suppose, you’ve spend months on a project for an upcoming exhibition to display your work and hoping to get positive response. The artworks, which you intend to submit, has been completed and you’re all ready to dispatch them but you’ve made few packing mistakes unintentionally. The days pass and just before 2 to 3 days of the main event, you get saddening news that your artwork was received in broken condition and cannot be displayed that year. Being one of the best moving companies in Dubai, we’ve outlined few terrible packing mistakes that most artists make and repent later on. So keep reading and see if you’re packing your artworks right or there’s any unseen problem that may destroy your hardwork.
USING CHEAP PACKING MATERIAL
When you have to choose between two different items having different price tags, you’d definitely go for the cheapest one because who doesn’t like to save money right? But using cheap packing material is not a wise decision to make because if you go with this approach, you’re simply taking a big risk. The risk in terms of reliability and the guarantee of a safe transition from your address to the destination and that you wouldn’t want to happen with you when you’re planning to exhibit your masterpieces right? A wise approach is to consult with the moving supervisor about the packing procedure and material when looking for the best moving companies in Dubai. These guys know about different packing materials and their quality and they can guide you in right direction with respect to selecting the packing material for your artworks.
TAKING WRONG MEASUREMENT
When packing up the paintings and other artworks, majority of people fail to take right measurement that results in dissatisfaction later on. Imagine yourself packing up one of your best artworks and taking measurements for cutting the wrapping paper. You took measurements, started to cut the wrapping paper and packing box but as you try to put in the canvas, you encounter with a very irritating problem i.e. short box andwrapping paper than your artwork’s actual length. You need to keep the whole volume of your artwork in account and try to cut the paper and boxes at least half inch extra than the actual size. Remember that you can always fill the gaps later on but cutting exact size might not work in your favor. That’s the trick majority of moving companies in Dubai use and you should give it a try.
NOT LABELING YOUR ARTWORK
Art galleries see different types of art forms coming their way either for display or for participation purposes. One terrible mistake that artists make is to not labeling the packed artwork in accurate manner. Suppose, if your artwork is made with delicate material that mightruin with few hard touches during the transition then you need to state that before dispatching your work. Moving companies in Dubai find these labels very useful to handle each order safely so never miss to label your artwork.
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This study examined the use of nonhuman primate “actors”
(PAs) in promotional trailers for wide-release, English-language CARArated
films released between 1990 and 2013. A comprehensive list of films
featuring PAs was constructed using internet databases and snowball
sampling. Changes in the frequency of their use over time were examined.
Trailers for each of the films on the list were screened for inclusion of PA
footage. Those including PAs were content-analyzed for a list of items including
taxa/taxon used; presence or absence of bared-teeth display
(BTD, often an expression of fear or submission in nonhuman primates);
and presence of clothing, human companion, anthropogenic environment,
and/or “human” actions. No statistically significant increase or decrease in
the frequency of PA use was detected over the time period examined, although
comparison to an earlier study that included pre-1990 films suggests
that the use of orangutans (Pongo spp.) has diminished in frequency.
The present study found that the most commonly used taxa between
1990and 2013 were chimpanzees (Pan spp.), capuchins (Cebus and
Sapajus spp.), and Cercopithecines (Macaca and Papio spp.). PAs were
shown “grinning” (displaying BTDs) for 19% of the time they were onscreen;
they were clothed 50% of the time; performing “human” actions
58% of the time; alongside human companions 87% of the time and/or in
anthropogenic environments 87% of the time. Apart from concern that the
practice compromises the welfare of individual primates, there is some indication
that the use of PAs may be indirectly harmful as well; results of
several recent studies suggest that their presentation in certain contexts
fosters false public understanding about the conservation status of primates
and their suitability as human companions or pets. The low but
steady frequency with which PAs were used and presented in various anthropocentric
contexts suggests that, throughout the time period studied,
the film industry remained either uninformed or unconcerned about the
potential harmful effects that their choices could have on animal welfare
and conservation.

A look at the interpretation of direct participation in hostilities in the context of cyber-warfare. Especially focused on the Tallinn Manual and the differences between the Tallinn Manual and the ICRC's Interpretive Guidance on direct participation in hostilities

If one looks at the proposed definition of direct participation in hostilities, it seems clear
that in general the mental element cannot be seen as being influential. Only in certain exceptional
circumstances do these mental elements play a role. This article will review the ICRCs Interpretive
Guidance and the Tallinn Manual with regards to the belligerent nexus and the possible presumption
against direct participation. It will do so in light of the peculiarities that exist in the case of
cyberwarfare, with special focus on the issue of unaware participants. Because there is a far larger
possibility of unaware participants, mainly due to the common use of botnets, and the regular
arguments against such a presumption are not completely relevant in this situation I therefore
propose that there should be a presumption against direct participation of a civilian in accordance
with the ICRCs Interpretive Guidance and contrary to the criticisms of certain scholars.

This paper aims to consider the current legal issues surrounding the regulation of electronic money. It is argued that electronic money is not a new form of money but a debt instrument that facilitates the circulation of bank money. When compared to the US regulatory framework, the European system is criticised on the grounds that regulation is too strict on issuers, too vague in its definitions and while the European regime may have succeeded in creating bearer confidence, it still lacks adequate bearer protection.

Apart from that Hart clearly asserts that there is a core of morality in every legal system via his survival principle, Hart’s theory also interacts closely with naturalism and social-contractarianism in relation to the explanation of the application and interpretation of his Rule of Recognition. At the heart of this relationship with other theories is his positivist idea for the severance of the concepts of law, coercion and morality. The comments that these ideas are not an entirely positivist depiction of the law and its practice are inter-linked in the same overall argument: whenever there is a human element in legal practice, there will always be a flyover to discuss the possibility of a fusion of positivism and other theories . In light of this accusation, what is crucial is how the rule of recognition illustrates the idea that Hart’s useful depiction of the law in general does not depart from its positivist cluster. As Finnis points out, while it is true that the moral content of law is contingent upon the nature of human existence, and would change as the latter changes, that does not equate to deriving morals out of facts. Nevertheless, a work as complex and advanced as Hart’s is bound to inevitably produce tot jurisprudentes quot leges.

The current law for detention of an alleged criminal without charge in the United Kingdom varies according to the offence which the person is suspected of having committed. For most offences, the maximum period for lawful detention is 96 hours. However, the law is different when it comes to suspected terrorists: the maximum time allowed is 28 days. There have been many arguments against this so-called "injustice", but so far it hasn't been overruled, there have only been proposals to extend this period. I believe that there are cases where a person should be detained for longer than seven days, especially when danger is imposed on national security, and I would like to hereby argue in favour of not only keeping the law as it is, but also of the possible extention of the time allowed for the detention period when it comes to suspected terrorists.