It's now time for Member Statements. The Member for Spadina, Fort York. Thank you, Mr. Speaker. I wish to speak today about some changes to the post-secondary system in our province, our colleges and universities that this government is making. They've recently announced that they're cutting $700 million in student financial aid to college and university students. And there's that, which causes great concern, but the other concern is that the government is also going to have 60% of the operating grant from the government to our colleges and university tied to metrics. So in other words, the government could withhold up to 60% of the operating funding of our colleges and universities. And the question is why would they arm themselves with such a big bat in order to control our colleges and universities? When the research clearly shows that this type of strategic mandate, or this type of funding, actually is detrimental to the quality of education that students receive. In fact, I'll quote from the Higher Education Quality Council of Ontario, which is a Crown Agency, and they say that research on outcomes-based funding, such as the government is doing, of higher education is shown little evidence that these policies are associated with improved student outcomes. So the government is arming themselves with this enormous bat, 60% of the operating funding for colleges and universities. They haven't said why they want to do this. It's actually going to be detrimental to the quality of education that students receive. And it's jeopardizes and makes long-term planning for those colleges and universities virtually impossible. So thank you, Mr. Speaker. Member Stavins, the member for Richmond Hill. Thank you, Mr. Speaker. I would like to thank the Intercultural Dialogue Institute for hosting the 2019 Public Heroes Award. It recognizes the dedication and excellence of individual members or team members of police, fire, paramedic, services in Canadian Armed Forces, RCMP, OPP, Orange, and Corrections Ontario. I was honored to be invited on the selection committee. I admit that it was not an easy selection because all of them had put themselves forward selflessly to protect us. A total of 12 awards were presented at the MPP for Richmond Hill. I'm happy to see Sergeant Robert Cassin receive one of the awards. And I also have the honor of presenting the Lifetime Achievement Award to Chief Jennifer Evans. She has served POW Regional Police since 1983 and have done a lot of different things for the organization. In 2012, she was appointed as the Chief of Peel Regional Police. Mr. Speaker, I would like to take this opportunity to thank our brave men and women in uniform for protecting us. Our government values your contribution. You have our full support. We will better equip you to keep our communities safe. Thank you. Thank you. Member Stavins, the member for Windsor-Dakumsi. Thank you, Speaker. We lost a dear friend recently down my way. Daphne Clark was a community activist and a true trailblazer for racialized women. She came to Windsor from Jamaica in 1980. She was a registered nurse who opened her first black history bookstore. As a reporter many years ago, Daphne convinced me I needed to buy and read a book on Mary Ann Shadd, who was a journalist and an abolitionist, the first woman publisher in Canada, and the first black publisher in North America. That deal cemented our friendship. Daphne founded the non-profit Windsor Women, working with immigrant women. She was a former president of the Windsor Enterprise Skills Training Group and the Essex County Black Historical Society. She was active with the West Indian Association, the Underground Railroad Monument Committee, Windsor's Multicultural Council, the Carousel of Nations, St. Alphonse's Church, the Urban Alliance, and so many other worthy organizations in our community. Daphne Clark was a strong woman who led by example. She was compassionate, had a heart of gold in her. For her many volunteer efforts, she was recognized by many times by a grateful community. In 2016, she was given one of the 100 Black Canadian Women Awards. That added to her Queen Elizabeth Diamond and Jubilee, Golden Jubilee Medals, her Governor General's Sovereign Medal for Volunteers, her Leadership Award from the Windsor District Black Coalition, the Volunteer Recognition Award from the Ministry of Citizenship and Culture, as well as many others, including in 1992 the Commemorative Medal for Volunteers as we celebrated Canada's 125th anniversary. As her dear friend and author and historian Irene Moore Davis wrote on Daphne's passing speaker, when an elder dies, a library burns. Rest in peace, Daphne Clark. You've set an example for us all. Thank you. Member statements? A member from Niagara West. Thank you very much, Speaker. I'm happy to be able to rise in the House today and tell my constituents about Bill 87 fixing the Ontario Hydro Mess Act. I am so excited because when I first ran for a member of provincial parliament from Niagara West, I docked on thousands and thousands of doors and door after door. People were pleading for relief from their soaring hydro bills. It was by far the biggest issue during my by-election November of 2016. Under the previous Liberal government, that never happened. They destroyed our electricity system through misguided ideological policies that forced families and businesses to pay far too much for hydro bills. They tried to fool the people of Ontario with the Fair Hydro Plan, which hid the true cost of the program from taxpayers. But voters saw through the Liberal government scheme, and this is why they elected our government to restore transparency to the provincial electricity system. So, Speaker, what a relief it is that we're delivering on our promise by proposing legislation that ensures everyone in Ontario will not only see the true cost of electricity on their hydro bills, but will also save $400 million in servicing costs for rate payers. After being elected, Speaker, we immediately cancelled 791 renewable energy contracts, saving the people of Ontario almost $800 million. We repealed the Green Energy Act to ensure that expensive renewable energy projects will never again be forced into unwilling communities, and it's all part of our plan to restore Ontario's energy advantage that was lost under 15 years of Liberal mismanagement. We have a long road ahead, but I can look my constituents in the eyes and say help is on the way. Thank you. The member for Nickel Belt. Thank you, Speaker. I would like to give this government a quick tip as to how they can help residents like mine in the constituents of mine in Northern Ontario. Many of the communities in Nickel Belt are very small. They're run by a local services board. If people do not pay their taxes, the land goes back to the Crown. It goes back to the government. So here you have, in the middle of Gogama, in the middle of Foliette, you have a piece of land that used to have a house on it. It has water. It has sewer. It has electricity. It's on a paved road. It has street lights, but you are not allowed to sell it. Why? Because the District's Office of Natural Resources and Forest is so understaffed that they cannot handle the selling of this land. So here you have a government who talks about being pro-business. Here you have this government who talks about cutting red tape. Well, you have a prime example. You have a lot in the middle of a local community that people want to buy because it's located just beside the gas station across the street from the LCBO. It's a perfect place to open up a new business. The land is owned by the Crown and nobody is allowed to buy it because the Crown doesn't have enough staff in the District's Office because this government froze hiring in the public sector. I have a tip for them. This is not the way to grow the North. Thank you, Speaker. Member Statements, the Member for Guelph. Mr. Speaker, it is an honour to rise today to pay tribute to a real Canadian hero, Dr. William Weingard, a World War II veteran, President of the University of Guelph, MP and Cabinet Minister, husband and father, passed away on January 31st. Everyone I know in Guelph respected, appreciated and loved Bill. As a dedicated Rotarian, Bill lived the Rotary motto of service above self. He believed deeply in our shared responsibility to each other. He was always willing to volunteer and advocate for the public good. He especially loved reading to young students and advocating for veterans. Mr. Speaker, the two of us had an opportunity to join members of the Guelph-Wellington community to pay tribute to Bill's memory a couple weeks ago at a beautiful service hosted by the University of Guelph. And it is clear that Dr. Weingard will be missed but not forgotten. He will always be loved by those he touched, especially his family, who I offer my deepest condolences. Your husband, father, grandfather, Dr. William Weingard will leave and has left a remarkable legacy and he will always be remembered in our hearts and our minds. Thank you, Mr. Speaker. Thank you very much. Member Statements, the Member for Scarborough Agent Court. Mr. Speaker, on April 24, 2019, Armenians in Ontario, Canada and around the world commemorated the 104th anniversary of the Armenian genocide that took place in the Ottoman Empire. Last Sunday I was proud to attend commemoration ceremonies with our ministers of environment, minister of tourism, culture and sports, and minister of seniors and accessibility in addition to many fellow MPPs. We stood shoulder to shoulder with Ontario's vibrant Armenian community on an issue of principle and importance not just to Armenians but also to everyone who believes in human rights and justice. The Armenian National Committee of Toronto organized the event. 104 years ago Armenians alongside Greeks, Assyrians, Caldians and Syriac were massacred, deported from their homelands, brutalized and sadly their communities decimated. One and a half million Armenians were killed during the genocide. The trauma of that horrific period remains with the Armenian community today. Sadly to this day some have continued to deny this dark period in the history of these communities, which has magnified the pain and the suffering that continues to be carried by children and grandchildren of survivors like myself. Mr. Speaker, finally I am proud to be part of the government and the caucus that understand up in solidarity with victims of genocides everywhere. Thank you. Thank you Mr. Speaker and thank you for letting me rise today. I like to send my heartfelt thanks and support for all those who come from around the province today to fight for public health care, paramedics, nurses, PSWs and many more concerned Ontarians. We are with you.  Ford promised that people of this province would never have to pay out of their pocket for health care. Yet that's exactly what he's making people do. I'm going to interrupt the member and remind him that we refer to other members by their writing name or by a ministerial title if applicable. Thank you. Even for a short day trip, we'll go to the United States. Despite the fact that the Canadian Health Act states that residents will be covered by OHIP when they leave this province, that's in the act. This PC government is removing that vital OHIP coverage for people who leave the province. This isn't a few people. This is literally thousands, including in my writing. And what was the minister of health's response? They can purchase private health insurance if they leave Ontario. Mr. Speaker, people already pay health care insurance for their taxes for this government. The PC government can pretend that people don't depend on their OHIP coverage. But they need to listen to the people on the lawn, 20,000 here today. Ontario's will not accept a Conservatives going forward with its American-style move that puts profit before people and makes it no cash, no care situation. If you are a resident and a taxpayer in this province, then you should get the health care coverage you already paid for, whether that's at home or whether it's out on your problem. Member Statements. The Member for Mrs. August Center. Thank you, Mr. Speaker. May 1st is Doctors' Day in Ontario. It is a day to recognise the significant contribution of doctors in providing safe, effective and quality care to patients and families across Ontario. I want to say thank you to all the doctors for making the health and well-being of Ontarians your life's work. Here in Ontario, we are grateful to have some of the best and most dedicated doctors in the world. As a nurse, I have many mentors and friends among my doctor colleagues. They have been instrumental in my nursing formation, often teaching me my vital nursing skills. Mr. Speaker, our government's priority continues to focus our healthcare investments where they will have the most impact on direct front-line care. We want to support the important work being done by our hard-working and dedicated doctors who provide patients with high-quality care each and every day across this province. By putting patients at the centre of what doctors do, they demonstrate each and every day what it means to deliver high-quality care. Together, we will strengthen Ontario's public health care system and centre it around the needs of patients, families and caregivers. Thank you to all doctors. Thank you. Member Statements. Mrs. Saga East Cooke-Saul. Thank you very much, Mr. Speaker. Mr. Speaker, we were all very devastated to hear yet another unprecedented act of terror that occurred in our world on Easter Sunday, this time in Colombo, Sri Lanka. I want to also mention the horrific shooting that happened this past weekend in a Senegal. It truly grieves me to hear all of these senseless attacks on innocent people. No one should ever have to fear attending any place of worship. Places of worship are to be safe. No one should feel any other way. Mr. Speaker, today I stand here in this house with my colleagues to condemn these heinous attacks and offer our sincerest sympathies to the victims and their families. Our role as MPPs is to bring communities together and promote peace. All religions and moral compasses forbid all forms of terror and extremism, including these heinous attacks that happened last week. All religions place a strong emphasis on especially protecting all places of worship, including and not limited to churches, synagogues, temples and mosques. The loss of over 250 innocent worshipers and civilians during one of the most sacred days of the year for a Christian is unimaginable. The terrorist attacks that have happened these past few months are in affront to humanity. We must all come together to create peace and unite in solidarity to show that such acts of terrorism are not welcome in our city, province, country or world. Violence and hatred is never the answer. Thank you very much Mr. Speaker. Thank you. That concludes our member's statements for this afternoon.


I'm very happy to be here. So thank you for having me. Oh, you're more than welcome. Quick introduction, Jack.  Yes, I'm from Glen Carr, just myself. No, you didn't travel too far. No, thank you very much. And you've been writing songs for how long, though? About four years now, just so. What made you go down that road?  No, not really. I only started kind of playing music about five years ago now, and I took it up just because I was in TY in secondary school, and had a bit of free time, you know, and picked it up just with my brother and a guitar, and I took lessons with Martin Orr, if you know him, so he might be listening. We heard tell of him, all right. Did you learn...? Did he teach you anything, like, or...? Oh, here. Taught me everything I know. I know, I know. And the guitar, I love them guitars, great guitars. Right, I'll tell you what we'll do. We'll go straight on this song, right, if you don't mind. And the first song, Jack, is...? Is Too Many Arms. And the background to this, Jack? Well, I'm in a long distance relationship now for the past five years, like, you know, I've taken along, so it's about that, really, just, you know. Well, listen, we're looking forward to this. She gives me too many reasons to stay and only hours I spend. Yes, I will once in a broken stage, because I don't love the simple or straight, I love it. Convices I can't find till every towel. Well, I should be dead inside, but it's important to be honest about all those wrongs, because I was once asked by gentle sweat if I love her until my... Absolutely beautiful. Thank you. Tell us, your relationship in EP? The 14th of July. And the RCC. RCC, yes. That's so nice. Do you know, I don't know if you're like me, but when you say the 14th of July, you think, ah, it's Friday week. That's Friday week, exactly, yeah. I thought myself... Are you hardly on your own gig in this one? I am, yes. I've got support from George Houston and Trump as well, just to... Oh, yeah, yeah. Bringing on the big guns. Yeah, that's a deal. I've got to make it good. George is amazing on Trump. We've been trying to get Trump up here, but we can't because... They're busy. They're busy people. But we will eventually. But that's great. That's great. Is that your first sort of headling gig? Yeah, that's my first headling gig, yeah. No pressure, right? No, no, at all. If people want tickets for that, Jack, where can they get it? You can find them at eventbrite and also on the RCC website. Just look up Jack McBurdy documentary screen and EP launch. You can also find a little bit more on Instagram as well, just at Jack McBurdy Music, just in case anybody needs to know. Go and take part in the whole lot. Are you active in that social media stuff? Do you see the importance of it? Yeah, on Instagram anyway. I was going to talk to the documentary. Tell us a bit about that. Well, I was approached by Lee Russell, if anybody out there knows him, just to shout out to Lee. But I was approached by Lee because he was doing a documentary. He wanted to do it on local music. And he approached me just about doing it. And that's kind of about me and my perspective on music. Focused on you entirely? Yeah, just me entirely. And oh, 20 minutes of it. You don't know how you did it. And what was it like? Is this a documentary for open commencing? Or are people to take advice from? Well, I suppose it's just, I kind of talk about why I do music and stuff like that. And I think it's a big part of music is what you can learn from it. When you listen to music, you can learn lessons from it and stuff. So I suppose that's what the documentary is about in a lot of ways. Excellent. So that's on Friday week. So I tell you what, that's a great lineup. And your EP launch takes place as well. And a documentary premiere. Amarik, the premiere is on as well. And there's support, of course, from George Huston and Trump, an amazing open common group. And many songs with you in the EP3. Three just now. And they're all obviously your own. I all originally was, yeah. Have you many songs written? I think I have about 30 on the bus stage. So I do, I have quite a bit. I have a lot of free time in my hand. So that's what I started doing. Are you a full-time musician? Technically, yes. Yes, right. Okay. And you're between shifts, as I say. Yeah, right. Okay, so the songwriting process, how does that work for you? A lot of the times I will find ideas for lyrics and stuff. You know, just sweet things. I read your stuff or terms of phrase that I like. And I'll write them down. We know book and then kind of come up with chords and melodies afterwards. Who, what kind of artist inspired you? Well, I always name one, but nobody knows him. His name's Shaky Graves. He's an American fellow from Texas. What do you call him? Shaky Graves. Shaky Graves? Yeah, that's a bit of an obvious. As a G or A V? Yeah, as in Grave. Graves, yeah. I must put his name down here and google him. Does he got it? Who's he like or what? He's just somebody I've found online through YouTube. But he's like a blues musician primarily and kind of branched out. But and then Hosea is another big one for me, obviously. Hosea. Yeah, I can get that a wee bit in that forest song or a bit of a Hosea influence in there. Absolutely brilliant, Jack. Proud of you, lad. Says Martin, or? Good man, Martin. Good man, Martin. Thanks. I must check Shaky Graves out now. That's what I love doing that. You know, people come in sometimes to say you might not hear this. Well, I'll make a point down of googling it or finding something about him, you know. So the document is big. Are you giggling, Jack? This will be the start of it. Isn't it the RCC just, you know? Okay. I've been doing wee bits and dairy here and there, but nothing big yet. That's okay. Well, sure, we're looking forward to big stuff happening. We'd love to get another song from you, Jack. Is that for song on the, is that feature on the EP? It's not, actually. I'm playing use a few ones that aren't on the EP just for the listeners. Absolutely brilliant. Right. And this next one, Jack? This next one is only one I'll ever write. That's the name of it. That's the name of it? That's the name of it. The only one I ever. Oh, it's really catchy. You know, you'll remember it easily. No, that's good. I'm looking forward to this. Well, you're ready. That'd be beautiful. I just like it. Very proud of you, Jack. Sounds class. Ed Sheeran, better watch out. That's from Brandon. Nor was I on to this. And he says, tell him I wanted to perform in my Up Common Voodoo Charity Country Sunday and Eight of Donegal Rip Crisis on Sunday, the 16th of July. Very good. I'm more than happy to. There you go. Martin, that's that sort of.  And the songs that you're writing, do you have a, do you know, is there for a pattern that you choose to write about or are you prepared to write about anything? Or is there just a set kind of a way? Well, I don't so much choose it, but they often come out sound a bit sad all the time. I'm not going to lie. But I tend to kind of try and write about as many different things as possible, really. I'm someone who overthinks a lot of things. You know, a lot of stuff comes from that.  Or you studied? I did, yeah. And the tech and dairy? Yes, in the North Oceans regional.  How long was the course? Are you still involved in it? No, just when I stopped there this year, just that was. How long was it? Two-year course, just H&D. It was best thing I ever did for myself. Is that right? On what sense, like, in what way? Well, a large part of it was my songwriting and how much it kind of changed and developed whenever I was there.  So, a songwriting as a production on Sloughly Gardening, or is it? Yeah, well, I did the performance course. So, yeah, getting used to being on a stage and stuff. Well, and they teach you this. They do, yeah, they teach you. So, you learn about music theory and stuff like that. And then you learn a bit about business and stuff like that. Oh, you cover the whole thing? Yeah. Excellent. And then stage performance, do they teach you? Yeah, stage performance. Yeah, you'd be surprised the amount that you can take from it, you know, in terms of dealing with nerves and stuff like that and kind of how to cope in certain situations, you know, if things don't go the way that you want them to, and stuff like that. Right. It's not brilliant, but, you know, when you think about that, there's an awareness need out there for that and support for young people. I think it'd be an amazing course to do, not for me, but for any up-and-coming performer or maybe somebody who wanted to go down that road. You would definitely recommend it. Oh, I'd definitely recommend it. If you, if listeners right there are interested in doing music, I'd definitely recommend the North Russ music line of Mayford. Brilliant, that's fantastic. That's great. And of course, there's so many people we meet and they're doing these courses. So, well done to everyone involved in that. But once again, Jack is launching his CD and his documentary. It's not too often we can say that about someone, but he sent it on Friday week, the 14th of July, on the RCC here in Latter-Canada. They know it. Great venue as well. And he will be supported there by George Houston and the Screaming, the Screaming, not the Screaming, Trump is going to say Screaming orphans. And Jim McGlund said, Jack McBirdie, amazing town, looking forward to the EP. So there you go. He was signing these and all, Jack. Yeah, I'll have to be on that. The way up in eBay that night. But no, it's great. Your songwriting is excellent. It really, really is. And your style, I love your style. You've got a good style, which is nice, you know. You're available on all the platforms, all the social media.  I have, we once just have the documentary and stuff. We sneak shakes. So if anybody wants to go take a wee look, you can get a wee look at what it looks and sounds like. There's not very many people can say as I'm launching my CD. And I'm also, there's a documentary for it with me. Excellent. Well done indeed. How did you find that documentary experience? It was fun. I was lucky the fellow's doing it with his great crack. But it was odd, you know, kind of having to give your two cents about everything and having a camera on you and stuff. It'd be worth having a look. Is it going to be uploaded anywhere after? It is. It'll be up on YouTube afterwards as well. Awesome. Oh, so you put a link through your own social media and stuff too, will you? I will do that. Great. Well, I'm looking forward to that, am I? And as I say, gigs, this is the one you're performing out here. Now you've got Martin Horsley as well. I've got Martin too. Have you performed anywhere else? It'd be great. Not at the minute, no. But you're open for the family. I look forward to it. Check out Jack McBrady and all social media platforms. And we'll see that. What's the summer holding for you? You just... Just work. Ah, you're working on it as well. I'll be working away. Just that's all. Good stuff. Well, listen, a pleasure spinners.  Your deliveries. I love your style, lovely style about you, which is excellent. We would love to get a third song if you don't mind. Yeah, I'll give you one more, sure. All right. And this next one is? It's called Better. Bear. Better? Better. Big apart. You'll have to give me a reset. I'm going to make sure... Just chin away. This is Jack McBrady. And as I say, check out on his social media event break too for tickets for the CDEP launch and his documentary launch. And you can get them, as I say, on event break or on the RCC website. So, Jack, whenever you're ready. Does it make a difference? It's your choice and I just promise it's worth it. Brady, thanks very much for coming up. Thank you very much for having me. You definitely have a great sound and I love your stage. So congratulations on that. And the best of luck with this CD launch. Once again, keep seeing CD launch with your EP release and text list, as I said earlier, on the 14th of July, which is Friday week in the RCC. And it'll also be screened in a documentary. And he has done regarding how his perspective on music, etc. So it was supported by George Houston and Trump. Tickets are available through Eventbrite and the RCC itself. Jack, best of luck. Thank you very much. Thank you very much, Jack.


The Covid-19 pandemic had a significant impact on the Ukrainian population, resulting in a large increase in deaths from all causes. This was particularly evident in the three major peaks of excess mortality in December 2020, April 2021, and November 2021. These peaks coincided with the lab-confirmed Covid-19 mortality, suggesting that the virus played a role in these deaths. Additionally, the excess mortality rates for pneumonia and circulatory system diseases were high throughout the pandemic, indicating that these two causes contributed significantly to the overall excess mortality. Furthermore, the seasonal variation in mortality due to infectious and parasitic diseases decreased during the pandemic, while alcohol-related mortality decreased substantially. This article was authored by Alexander Shishkin, Pema Lua, Chen Yang, and others.


Okay, let's get started. Welcome everyone. By show of hands, I'm curious how many of you are using AI tools? Is there anybody not using AI tools? Well, great. Well, AI is taking over the world, I think. So my name is Joanna Lee. I am a staff member of the Linux Foundation and Cloud Native Computing Foundation. I'm the Vice President of Strategic Programs and Legal. I am an attorney in addition to being part of the management team. And my happy place is really at the intersection of technology and innovation, business and economics and law and policy. So prior to joining the Linux Foundation and CNCF, I practiced law for about two decades, representing technology startups and some more mature companies as well and venture capital firms. So I see most of the people in this room are not lawyers, so I thought it would be helpful to provide some AI copyright basics so you have context for understanding the practical advice that's going to come later in the presentation. So what is copyright? Copyright is a set of exclusive rights that a copyright owner has in a creative work. And a creative work could include software. And those exclusive rights, there's a set of exclusive rights and some of those rights include the right to copy and reproduce, distribute, perform and publicly display. There's also the exclusive right to modify or create derivative works of a copyrighted work. And a copyright owner can authorize others to exercise these rights also in the form of a license. In the context of open source, it's usually an open source license like GPL or Apache or MIT or BSD. And for a work to be copyrightable, there has to be some minimal spark of creativity. So a pure mathematical formula, for example, would not be copyrightable. However, if there was a creative way of expressing that mathematical formula, maybe singing it or expressing that mathematical formula through a poem or some innovative unique way of expressing it in code, for example, that the unique aspects of that expression might qualify for copyright protection. Content generated by a non-human, whether it be a monkey or a machine, does not qualify for copyright protection. So that was very important. However, if content consists of some portions that are generated by a human and some portions that are generated by a machine, the portions that are generated by a human are copyrightable. So if you took code that was generated by an AI and you added to it, rearranged it, modified it, et cetera, your contributions to the end result would be copyrightable. So although AI can't author copyrightable content, so it can't be the owner of copyrightable content, it can infringe others' copyrights. So this is where some of the legal risk is. AI models usually train on, they train on pre-existing data. And sometimes that pre-existing data could include code that is owned, code or other content, whether it be images, artwork, literary works, films, et cetera, maybe owned by third parties. And if you give an AI a prompt and it gives you output, if that output reproduces and copies some of the material that it was trained on, without permission, that could result in infringement of third-party rights. There is some pending litigation over AI output. There's pending co-pilot litigation and then there's litigation, a lawsuit that Getty Images brought against stability AI. And I'm not going to go into the details of those lawsuits. I'm really going to focus on what are the risks and how do we manage them, because these are very, very manageable risks. There is some uncertainty in the law around how copyright exceptions apply to artificial intelligence. Certainly if third-party works are being reproduced without permission, that would create legal challenges and copyright issues. But if pre-existing works are just used to train an AI model and they're not actually being copied in the output, and that's without permission, there is some uncertainty whether a doctrine under U.S. law called fair use would apply and allow that even without a license. There is a copyright, there's a text and data mining exception under EU law that is maybe the closest analog to what we have is fair use. And there are some uncertainties around how that would apply to AI as well. So as has been alluded to, there are some legal risks and challenges. The copyright concerns that have already been discussed, there's also a concern around license compatibility. So let's say an AI model trains on all the publicly available code in GitHub, and that includes a mixture of permissively licensed and copy left license code. The code in a GPL repository, if that's reproduced in its output, shouldn't be then contributed to a repository that has an MIT or BSD or a patch or other permissive license because there's a license incompatibility there. Some AI tools do provide you with information about third-party materials that it's copied and reproduced in its output, but a vast majority of tools today do not currently provide that information. So if you're a user of the output, how would you even know whether it is being reproduced with permission, who the copyright owner is, and what license applies, right? So there's a license compliance challenge created when there's a lack of notice and attribution. This also makes it very difficult to produce S-bombs or software bills of materials. And S-bombs are required in some regulated industries and usually when you are selling to government. And S-bombs are not... It's not just a licensing compliance document. S-bombs are also used to track security vulnerabilities. And so this is also a challenge. Again, if you're using a tool that does not provide the requisite notice and attribution as to third-party copyrighted works. With some AI tools, there's also an inconsistency between the contractual terms that apply to that tool and its output and the open-source definition and then also the terms of all open-source licenses. Give you an example, chat GPT. These are some of the contractual terms and chat GPT terms. You may not use the services to develop foundation models or other large-scale models with open AI. Another restriction is that published content created in part using open AI may not be related to political campaigns, adult content, spam, hateful content, content that incites violence, or other uses that may cause social harm. And you might be thinking, well, I'm not using the output of chat GPT to do any of these things, so I'm good, right? It's not quite that simple. Any restriction on the use of software disqualifies in terms of how it can be used, disqualifies it as open-source under the open-source definition. The OSI maintains the open-source definition and provides a license can't restrict anybody from making use of the program in a specific field of endeavor. And there are other requirements for code to qualify as open-source, including that it doesn't discriminate against users, et cetera. And if it doesn't qualify as open-source, it's also, by its nature, incompatible with all open-source licenses. So it's both a violation of chat GPT. It could be a violation of the chat GPT terms and conditions, and it certainly creates an incompatibility issue if you take the output of chat GPT and then you contribute it to an open-source project. Now, that's not true of many other popular AI tools. For example, co-pilot doesn't include these types of... terms and conditions don't include these types of clauses. There are also questions about how does this really work with the developer certificate of origin that a vast majority of open-source projects require. So when you make a contribution, you're required to certify that one of these statements here is true. So I'm going to summarize a couple of the paragraphs here. One is that the contribution was created in whole or in part by the contributor. Well, if you took the AI output and you made modifications to it and you combined it with your own work, then, yeah, you create it at least in part. Maybe not in whole, but you create it in part. So you're good. The alternative is if you just take the output and you're not actually adding your own creative content to it and it's based upon a previous work, then you need to have permission to submit that work. And again, if it's a tool that tells you... it tells you the information to confirm that you have permission from third parties whose content is included in the output, that's great. But if you don't, there's really no way of verifying that your contribution qualifies under paragraph B here. There's also questions around consistency with the Apache CLA, which is used by many open-source projects. So the Apache CLA has a couple of provisions that are very similar to the DCO paragraphs on the prior slide. Basically, you're representing that the contribution is your own original work, or if it's not your original creation, you have the necessary rights from the third parties whose work it is to contribute it under the terms of the applicable license. Additionally, the laws and regulations around AI are rapidly evolving and changing. Last month, ChatGPT was banned in Italy for several weeks after a breach led to people being shown excerpts of other users' conversations and financial transactions. The ban was lifted after OpenAI agreed to enforce rules protecting minors and users' personal data. There is also proposed legislation in the EU called the Artificial Intelligence Act that would subject both AI providers and AI users and distributors and others in that supply chain to certain restrictions and compliance obligations. And this is a proposed act that has not been passed into law, but it's something that we're watching very closely because it could have a dramatic impact on innovation in AI. Open source AI and not open source. What's troubling about the most recent draft is that it could not just impose compliance obligations around, for example, data governance, risk management, accuracy, liability for errors, etc. Not just on the companies that are hosting the models, deploying them, selling them commercially. It could also impose liability and compliance obligations on the people who wrote the code. That's very, very troubling in the context of open source development. And if this law passes in its current form, this could very much hamper open source AI and probably consolidate AI market power in organizations that have the funds and resources to develop robust compliance programs because the compliance obligations under this act are pretty extensive. There are some other risks, but there are not really risks that open source projects and developers need to worry about. There are concerns around trade secret, loss, loss of privacy, intentional manipulation of AI models, etc. But these are risks that may apply in other contexts, but not so much open source development. So I'm not going to talk about those at length here. These risks could impact adoption if these risks aren't managed well, and they are very manageable and they'll talk about what that looks like later. But there are companies who might be hesitant to adopt and utilize open source software packages if they include code that's generated using certain types of AI tools or if they don't have good licensing and AI hygiene. Even if project maintainers and hosting foundations are willing to live with a certain amount of risk, if the adopters are not comfortable with those risks, that could chill adoption, which would impact the health viability of open source projects, of course. Whether companies are willing to take on certain risks or willing to consume open source that was generated in part using AI is probably going to mirror what their internal policies are around use of AI by their own developers. And those range. For example, there are some companies today that just completely prohibit the use of AI internally. Those tend to be in very conservative or highly regulated industries or they sell products that are really mission critical and I think eventually they will allow use of AI but they're waiting for the technologies to mature so there's a higher degree of reliability, accuracy, security, et cetera. There are some companies that permit use of AI for selected uses in context, but not others. For example, there are some companies that will allow their employees to use it for debugging but place restrictions around use of generative AI for developing new features. There are some companies that will allow generative AI to develop code that is consumed internally but not for code that's incorporated into products that are distributed outside the company. Some companies will generally allow use of AI tools for developing code but they require that the code go through some type of internal copyright review process before it can be incorporated into a product. And just recently I learned of a company who is authorizing use of generative AI but only by developers that have certain credentials. So these are developers both that have a certain level of experience so the company deems them to be trustworthy in reviewing the output of the AI and being able to spot errors and make judgment calls about whether it's suitable for its tended use and in addition they go through training on how to use these tools responsibly. And there are other policies that companies have developed to manage other types of risks but those aren't so applicable in the context of open source development so I won't go into those here. So how can open source projects and developers navigate these risks? These risks are manageable and the tools are rapidly evolving to help manage these risks which is great. I do want us all just to keep in mind that these are not brand new risks. Open source projects today don't currently police the origin of where code comes from, right? Today there is a risk that a contributor is going to copy code off of Stack Overflow without permission or take code from a GPL repository and contribute it to a permissively licensed repository and create licensing compatibility issues so that risk does exist. Anything that AI can do, well maybe not everything but anything problematic from a compliance perspective that AI can do, a human being can do as well and often do do either sometimes just out of innocent mistake. However, generative AI does present this risk at a much bigger scale and in a systematized manner so we're no longer talking about just isolated incidents of somebody copying code that they shouldn't have copy and then contributing it to an open source project. This is systemic and for that reason at the Linux Foundation projects we've been evaluating what it might look like to explore potential policies or at least guidance for how open source communities can go about managing these risks. Bullet points that are not circled are the ones that we are not actively considering but just to lay them out all on the table the most cautious approach would be to say you can't use generative AI to develop a code that you contribute to open source projects. That seems overly restrictive of course and not realistic. Another option would be by use case, allow for some context like debugging but don't except for other uses in context but that's very difficult to regulate police, monitor, et cetera and it just requires so many judgment calls not really, I don't think a pragmatic type of policy. Another option is to decide on a tool by tool basis so for example allowing, having an allow list for AI tools that meet certain requirements meaning that they don't have any terms and conditions that would be inconsistent with the open source definition and they provide enough information for you to confirm for you to comply with any of the upstream licenses or they have features that allow you to suppress reproduction of incompatibly licensed code in the output. The status quo really would be just trust the developer and as we do today let developers figure this out and how to navigate these risks. I think that the direction that the projects within Lynx Foundation that are looking at this are leaning is really trusting developers as we do today some guidance because this is a complex rapidly evolving area and it's not intuitive it's not easy to figure out particularly if you don't have a law degree. So this is an early proposal for what the guidance might look like. This is going to probably go through many iterations it's going to be discussed within legal committees and the projects that have legal committees we're getting feedback from member companies we're also engaging in conversations with other large open source foundations around what this might look like so this is a very very early draft but basically letting contributors know that yes you can use generative AI but please do so responsibly. Please confirm that the terms and conditions that apply to the AI tools output that they're not incompatible with either the open source definition or the license for the project that you are contributing to and there are some other conditions that would need to be met I mean really if there is any third party content that is reproduced in the AI output that you're contributing make sure you have permission from those third parties under an appropriate license and you're complying with those license terms. A couple of other scenarios might be that there is no third party copyrighted material in that output or that the output is not copyrightable subject matter and would not be even if it was produced by a human for example there was just zero creativity in that output then copyright wouldn't even apply to it and we wouldn't have to be concerned about these licensing and copyright type of risks. As I said the tools are evolving to make determination that the output is compliant much easier for example AWS Code Whisper recently added a feature that provides notice and attribution and the GitCub co-pilot has announced that this is a new feature I don't know if it's been rolled out yet but if it hasn't it's any day now some additional guidance that is under consideration but there's still not any consensus around this for any of the projects that are looking at this would be perhaps providing a pre approved list of AI tools that meet those requirements on the slide before. Projects might in the future also ask developers to include notice and attribution to the AI tool itself for example in addition to if you copy code from an open source project and you modify it and then you contribute to another project you're supposed to maintain the license headers and copyright notices from the third party code that you copied. Perhaps there should also be another disclosure that this contribution was generated in part or in whole building generative AI and listing which tool. That is something that might be coming around the corner but that is not a requirement today. Some of the other questions that the open source legal community is thinking about are should non-code contributions be treated differently because they have slightly different risks for example images, graphics and artwork these are almost always going to qualify for some type of copyright protection because they are inherently creative whereas some code may have that minimum spark of creativity needed to be protectable to copyright and some might not. Documentation blogs I think this is a very low risk area because it's very easy to change or remove documentation or a blog post if you find out that you accidentally infringed somebody else's copyright whereas code has dependencies and it is sometimes quite challenging to modify code if you find out that there is a compliance issue. Again that's not a new risk this happens today. Some of our larger projects we do go through scanning and when those scan results show that a piece of code got in there that it's under an invadable license there is a process that we have to go through for figuring out what to do with that and whether we extract it, modify it, go to the copyright holders and ask them for permission under a different set of license terms etc. And similar questions around should standards and specifications be subject to a different set of rules or guidelines. So the ongoing efforts within the European Commission we are working on draft guidance document and additionally so earlier I mentioned the European Union Artificial Intelligence Act and how if it is enacted into law in its current form could be very problematic for innovation in AI and open source and also among startups. So we are planning to help the European Commission expressing our concerns helping them understand how this act in its current form would undermine innovation and we will be inviting other open source software organizations to co-sign this letter and if any of you are interested in contributing to either of these efforts please come talk to me we welcome input, we welcome collaboration and with any type of proposed policy I think the more people that regulators hear from more different types of stakeholders the more impactful the messaging is so I also encourage you if you are a part of other organizations or your companies have an interest in this I encourage you also to have a voice in this conversation. And this is going to continue to evolve it is a rapidly evolving area. There is going to be changes both in the law and also in the technology itself and the tooling my hope is that very soon a majority of the tooling is going to be developed in such a way and have features that help take the effort out a lot of the effort out and friction around the compliance so that this is not something that developers have to give so much mind share to. So there will be changes and tolerance for risk and ambiguity among adopters and companies for sure. In some ways this reminds me a little bit of the early days of open source when late 90s and early 2000s when there were companies that banned the use by their employees of open source code and I understand that because there is a lot of fear and uncertainty and doubt but when you do that your employees are going to use open source anyway and so I think the better approach is to help educate your employees and in this case help educate members of our community about don't avoid use of AI just learn how to do so in a way that is responsible and help contribute to the evolution of these tools so that we can be able to work together and do something itself. So are there any questions? Yes. Oh, patent summer meaning. So patent summer meaning is going to practice where a patent holder sits and waits for there to be broad applications in which AI models that train on prompts could be theoretically manipulated in order to facilitate a patent summer meaning conspiracy but that's not really a concern that open source communities really need to be thinking about. Yes. This litigation that's pending could be like the API I think could take another 10 years before the courts actually resolve it and then probably resolve it on a very minor subset of issues that are really helpful to the rest of the ecosystem. So the U.S. Congress talked about this. Are there any fields pending there? Yeah, there is definitely talk about this. I'm not following it quite as closely as there is talk about it but there's not like it's not mature enough that thought it worth providing analysis at this point. But what's frightening about one of the other things that's frightening about this EU AI act is that if it is adopted other countries and jurisdictions are going to look at this as a model. Yes. So, as early as June 2024 but what's your opinion how do you think EU commission is going to take your inputs because if it weren't for COVID I think that would have been a loss similar to GDP I already know. And I am from EU. I don't know my crystal ball and this is not very clear but but I will say that one of the things that keeps me up at night is the lack of open source sophistication I would say in the European commission. It's interesting you have some divisions of European commission that are publishing studies that they're talking about the tremendous economic benefit of open source and you've got other parts of the commission that seem to not really appreciate the impact of their legislation open source and for example the resilience act has some troubling provisions around cyber security and who the liability and compliance obligation are arrest with and so I'm concerned that there's a trend of not really understanding open source innovation at all. Thank you. Awesome talk, first of all definitely want to be a part of that legislation or that letter formation and helping provide another voice. One thing I wanted to understand is I'm actually confused about this piece of legislation being something that is a threat to the open source community originally I thought it was something that was positive because there was a room for malicious intent repurposing of AI generated content that are trained on flawed models or to then do harm to broader society so having some sort of legislation and having on a global standpoint you already have having been a lead in GDPR in other areas it seemed like it was the right thing to do I didn't realize that there was open source implications that could potentially limit the freedom that open source provides but is there a way to strike a balance because I actually did look at the legislation just an overview and I did say that they broke it down into levels of risk and mitigation and more people are asking for it because they're going to be the new model to be inclusive of normal usage and rather than maybe getting it is there a way that we can say hey this is great but could we also include use cases for open source that don't limit the freedom that traditionally we have and you even have studies that are documented on this that are showing the value of it so how could we strike a balance between yes setting your global standard letting them know that we need to create an FDA for a algorithms but at the same time it shouldn't be at the expense of limiting creativity and freedom yeah so I agree with the general sentiment that some regulation could be a very beneficial right in terms of regulating security, risk, ethics etc, privacy all the different types of challenges and opportunities that AI presents the issue with the most recent proposed draft legislation though is that the way the question is who is ultimately responsible for the compliance and who has liability if something goes wrong so in my opinion it should be the person who's you know furthest out in terms of actually providing AI as a commercial service right because they understand like how the AI is being deployed in action they understand what use cases etc right they have they actually have and they have ability they have ability to implement the governance that's required it shouldn't be the open source community member who wrote a piece of code who has no control over is it going to be used downstream in a high risk application or a low risk application who is not going to necessarily who as an individual should not be expected to have liability or compliance obligations around the security the documentation etc so it's not that I think the actual the aim of the regulations is bad it's just it's who it imposes liability on needs to be rethought yeah I think if you think about proprietary software and services the developers the company is behind them right in an open source community it's different so yeah they're not thinking about how open source software is created in the way that the proposed legislation is the most recent draft is currently structured yes I think we have time just for one more question so let's say that we are using generative AI in our code because it sounds like everybody is talking about what tools does the Linux foundation recommend that we use since this guidance is not in place yet what tools are most akin to or compliant with the aims of the guidance so we can go there as quickly as possible I'm not in a position to by the Linux foundation I'm not sure that we'll ever actually recommend tools probably the far this will go is helping publish information about what tools have certain types of features like notice and attribution and anything I tell you today is going to be out of date I guarantee like three weeks from now a few months ago when I first started speaking about this issue and helping provide it analysis I was advocating for please evolve the tools to provide notice and attribution and I kept getting pushback and like well it's harder to do that than you think and then like a month later AWS code whisper announces that they have this feature so anything I told you today would be probably out of date in a couple of months so the tooling is going to evolve and I just hope that either through market pressure or norms and expectations in AI or regulation that eventually all the tools that are being used to develop code that might be incorporated into open source project are going to include that compliance built in all right thank you all .


And just, and his queen who was his pleasure in the royal sovereigns would have been complete, except for one thing, there was no heir to the throne. Queen sought the coolness of the palace gardens, eyes took in the beauty of the old temple buildings, and her lips smiled, but in her heart there was little joy. For there would be no one to inspire her people to create and to build for the future generations to come. She knew that although her husband the king did not say it, in order not to hurt her feelings, his mind and heart yearned for a son who could inherit the throne. And the queen, for tender love of her Lord, longed to give him a son, a son as kind as just as her royal husband. But alas, neither wishes nor love sufficed to beget for her Lord an heir, and gloom hovered over the kingdom like a depressing cloud. Oh, she prayed that God takewardly seeming to be happy, deeply hiding her sadness and despair. The blaze of green light fell, astonishing the queen and her mother, Pinsarkea, the supreme God of the Tava Timsa. From his heavenly abode, he had looked earthward and taken pity on the sorrows of their majesties. He decided to perpetuate their dynasty. Upon the queen, he showered fragrant blossoms. From the celestial flowers, the queen conceived and in due time would give birth to a son. This son, she would name Praya Ketmalaia, confided that she had conceived from the flowers. In the same time, a goddess was condemned by Indra for stealing six flowers from a painter. For six years must she live on earth as the wife of this mortal. Prosperate yourself to me, said the goddess, for I was sent by Indra to be your wife from this union of goddess and artist. So great was his genius for building and sculpture that Indra placed him under the tutorship of the builder gods. On his knees, Praya Piznakar awaited his lord. Praya Ketmalaia was on the eve of his coronation. Praya Ketmalaia too had visited the abodes of the gods. He had taken a fancy to their dwellings and had ordered Praya Piznakar to build their replicas in his realm. Praya Piznakar had obeyed, exhibited his handiwork, the earthly counterparts of the temples of the gods. As the legend was how anchor was built. Glorious of all days, the coronation of Praya Ketmalaia, the sacred sword, symbol of his absolute power, and wished Praya Ketmalaia, son. Along Praya Ketmalaia, Jayavarman II, he was the first devaraja or god-king of Cambodia. The first powerful Khmer sovereign to unite all of Cambodia under one rule ordered the celestial dancers, the Apsaras, to reveal the secrets of their dancing to the Cambodians since the death of Jayavarman II. Magnificent temples built after his reign by a long succession of Khmer builder kings, there now remains which reveal the architectural genius, the grandeur, the glory of the vanished Khmer empire. Even now, in their decay, the monuments stand, unsurpassed in their artistry and architecture, the proud legacy of the present day Khmeres, the wonder and admiration of the modern world. The Apsaras still smile their enigmatic smiles as they dance on the lotus blossoms on the cracking walls of Angkor. They depict postures and gestures that their earthly counterparts in Cambodia have miraculously preserved, despite the passage of centuries. From the sovereign down to the common people, the descendants of the ancient Khmeres treasure their traditions. The dancers are a part of these traditions. Thus at the royal palace in Phnom Penh, under the personal supervision of Her Majesty the Queen, royal dancers continue to perform. The dances are still taught, just as they were long ago. Ballet corps start their training at an early age. The chief ballet mistresses have signed the parts to be played by each student. It may be that of a king, a queen, prince, princess, divinity, giant, ogres, or any of the characters of the Indian classic, the Ramayana, or of the Cambodian legends. Whatever the role, the chief ballet mistresses base their choices on the physical type of the student. The basic postures and gestures are painstakingly taught the little novices. In time, the ballet mistresses would teach them the various dance movements, then entire parts. But years will have passed. The little apprentices will have grown into mature girls, before they fully acquire the ability to move through the complicated postures and gestures gracefully without effort. A gesture that is easy to understand but which requires much practice to execute with grace is the Anjali salutation. It signifies adoration, homage, worship, respect. In its simpler form, it is the gesture of greeting used by the Khmeres in everyday life. Grace and extraordinary flexibility of the joints are requisites for a royal dancer. To acquire them, the students regularly exercise for suppleness. The natural suppleness of youth comes to the aid of the students in these complicated, difficult exercises. The themes for the dances were derived from the Indian epic, the Ramayana. In the Ramayana, Sita, the wife of Prince Rama, was abducted by the giant, Ravana. Hanuman, the monkey god, and his army of monkeys, aided Prince Rama to rescue the beautiful Sita. For the future roles of Hanuman and the members of his mischievous horde, male dancers are trained early in life. Except for a few male dancers who play the animal and comic roles, all the characters, whether male or female, are assumed by female dancers. Notwithstanding the charming legend about its celestial origin, the Cambodian dance had its beginning in the ceremonial dances of India. In the course of time, the Khmeres imprinted upon them the marks of their own culture, their personality, and artistic taste. Making the dances, the postures, and gestures the unique creation of their genius, to the teachers are retired dancers. But young women still dancing in the Royal Ballet Corps help out also with the training of tomorrow's artists, interpretive roles to play in Cambodian dancing. However, all the major expressions are left to the skill and expense, is spared in the preparation of the dancers' costumes, threads of gold and silver abound. The unbelievable attention to details displayed by the ancient sculptors in the decorative sculptures of Angkor is evident in the fanciful designs and adornments of these colorful costumes. Born twin to the dance, the masks, or the art of making them, have outlived the thousand years. They will last as long as the ballet endures, for they are essential to the royal dance. Making the masks is one of the traditional arts taught at the École de Beaux-Arts. It is there where the masks of the royal dancers are made. Although the female roles do not use them, most of the male roles require masks to represent the characters depicted. The most expensive item of the dancers' costume, the makat, or crown, is usually made of gold. Sadness, entreaty, appeasement, love, and on through the whole gamut of human emotions, all these can be expressed by the gestures in Cambodian dancing. Sometimes the gestures are easy to understand. At times they require careful thought and study. But easy or hard, the gestures are done with the exquisite poetry and grace born of years of rigid discipline and ceaseless practice.  Each gesture and posture are practiced rigorously, severely, exactly. Not even a full-fledged dancer is permitted to introduce her own innovations or deviate even a mite from the fixed, age-old patterns handed down by the Apsaras. Like custodians of a priceless heirloom, and the Cambodian dance is a priceless heirloom, the teachers watch sharply, quick to rectify. Even after they have attained full stature as royal dancers, the members of the royal ballet corps, like all true artists, keep regular rehearsals. Waving canes in lieu of the jeweled swords they use in actual performances, two dancers practice the epic encounter between Prince Rama and the many-headed giant Ravana. In the end, goodness triumphs over evil. The hero of the Ramayana vanquished the giant who had abducted his beautiful wife Sita. In a real performance with glittering, colorful costumes, and the fearsome mask of Ravana, the combat becomes a fantastic duel in a fairytale world. The royal dancers performed in the half-clad fashion of the legendary Apsaras. His majesty, King Ong Dong Harirak Arayamea, who reigned from 1841 to 1860, commanded full costumes for the dancers. In themselves, the jewelry and costumes are worth a fortune. Gold, silver, diamonds, and other precious stones ornament the costumes of brocade, Ramayana or silk of each principal character. The dancers are also made and repaired at the Aikul de Bozar. These, again, like the pastures and gestures and the masks, are a part of the tradition of the dance. Each piece of jewelry is a replica and design of the ornaments worn by the stone Apsaras of Angkor, a projected performance slightly. There is always a rehearsal where the ballet mistresses make certain that all the gestures and movements are executed correctly. A charming number enacts the legend of the hermit who forgot his vows. Four kinari, mythical creatures, half woman and half bird, flew down from the clouds to pick some flowers in the forest. Two monstrous spiders attacked the sisters. His forest dwelled a hermit, faithful in his practice and adherence to the sacred precepts. He had withdrawn from the noisy world in order to give himself up to deep meditations, undisturbed, when who should see him at the kinari? The ravelin creature complained to the hermit about the spiders.  The ascetic replied, no, no, he could not do that. His way of life for bad killing any living creatures, however evil. The sisters refused to be discouraged. They put their pretty heads together to plot. The kinnari gone, the hermit returned to his old place in the forest. Once more was he engaged in profound meditation. When behold, there came the kinnari again. But this time, bringing their youngest sister, Rathvadai, a charming creature, more mischievous than her older sisters. Humbly, the kinnari begged his forgiveness for disturbing his holy meditations.  As proof that they held no resentment against him, they were giving him their youngest and prettiest sister to serve him. Let's go. A last, poor, guileless hermit, the fluttering wings of love beat dizzyingly against his face. Blinding his eyes, confusing his mind, chasing all austere thoughts therefrom, forgotten were all his somber meditations, forgotten the sacred precepts. Like all lovers since time eternal, the hermit sought to please his love. He gallantly promised to slay the spiders. His search led him to one of the creatures. He had killed a living creature and he was proud of his deed. The skinning canary gave him praise. Having no more use for him, the young grateful canary tried to fly away with their youngest sister, but the hermit was too quick. The hermit thought rat fadai would remain his forever, but the deceitful creature slipped away when he wasn't looking. The old man was left with the spider he had slain, and the bitter realization that the canary had made a fool of him. With magic powder and prayer, he tried to bring back the spider to life in vain. He of his sin now broke full force upon him, poor hermit. Men wiser than he in the ways of the world had been beguiled before by a pretty face, but this, in his inexperience, he could not know. All he knew was that he had betrayed the sacred precepts, the long years of prayers, of self-denial, of following the holy path. Throughout his life, he must bear the crushing burden of his broken vows, chanchaya, or rehearsal hall, craftsmen repair or make musical instruments for the royal palace orchestra. In ancient times, earthly apsaras swayed to the accompaniment of cymbals, zithers, and the deep-bass drum, or saccourt tom. The saccourt tom survived time and choice, but the cymbal and zither gradually disappeared from the orchestral ensemble. In their place, other instruments, mostly of Javanese origin, make their appearance. Cambodian music is an oral tradition handed down from teacher to pupil. The musical instruments, wrote a Chinese ambassador to the ancient Khmer court, render a clamorous music that charms the spirit. In the Cambodian royal dance, the musicians play to the dancers, keeping time to their movements, unlike in the Western dance, where the dancers follow the beat of the music. The traditional ceremony of the salutation to the teachers, the spirits, and the masks is to student dancers, but graduation exercises are to students of conventional schools. The ritual is started by Her Majesty, Queen Kosemak Nerirot, when she lights the ceremonial candle. Part of the ceremony is the presentation of novices to the Queen. This is symbolic of the continuation of the ballet. As apprentices join the ranks of the accomplished performers, their place is taken by others. In the days of the Devaraja, or God-Kings, parents offer their most beautiful daughters to the palace as a symbol of loyalty and devotion. Accepted, the girls received, as advanced pay, from two to four silver bars. Less colorful, but more in keeping with today's world, the dancers now receive a monthly salary. In sacred water, symbolically ties Her Majesty to the future of the graduating students, for whom she wishes prosperity, happiness, and long life. To the golden image of the patron of dancing, to all that contribute to the ballet, the graduates make offerings of flowers and food served on gold and silver trays, to the teachers, to the master of ceremonies, to the spirits of the masks and headdresses, to the musicians and the spirits of their instruments, especially the sample drums, the favorite instrument of the spirits of music. For the invocations, tapers and incense sticks are lighted. The master of ceremonies recites the invocations to the spirit of dancing, making known to it the new group of graduating dancers. To signify acceptance of the new dancers, masks and headdresses are made ready to receive those who will use them in the future. In the pupil of Shiva, ask for a memento of the God. He was given a goal-important steps of the life of a Cambodian. Passed three times around to the left, it marks the dancer's new status. Then her majesty showers pop trice on her dancers. With each handful of pop trice, go the gracious wishes of the queen. Learn rapidly, dance perfectly, live peacefully. To the Khmer people, pop trice signifies happiness, peace, and prosperity. The essence of religion are woven into the royal and into the daily lives of the Cambodian people. Be they queen or subject, dancer or teacher, Cambodians are devout and they know the teaching of the Lord Buddha. Nothing in this world is permanent, everything is transitory. Themselves testament to the passage of time, these teachers once were dancers of the Royal Ballet Corps. Their dancing time has passed, but they still are valued by the court Their minds and bodies remember the movements of the dance and can pass them on to those who will succeed them as they learned from those whose golden anklets had graced the palace floors before them. Hand guiding hand, foot following foot. So has been transmitted the dance of the Cambodian Royal Palace from generation to generation. There is no written manual. Teacher transmits tradition to pupil. One of the wonders of the Cambodian dance is that it has retained its purity down through the thousand years. To the spirits of the past kings of Cambodia, to their majesties, Andong, Norodom, Sisawat, Monibong, Suramarit, and others long before, a plea is made by a queen concerned for the well-being of her people. Her plea is made in the form of a ceremony called Bung Sung. Because she asks for peace for her nation and her people, this ceremony must be perfect. The ritual food offerings of the finest are served on solid gold plates. The tapers and incense sticks must burn cleanly. There can be no flaw, for this is offered for the protection of the Cambodian people. Ballet dancers, who are an integral part of the royal court, receive food offerings, which they in turn will present to the spirits of former kings. Her princess joins the ranks of the dancers, in a ballet arranged especially by Her Majesty the Queen for this Bung Sung. Performed by Her Royal Highness, Princess Bopatevi, the dance is to further the pleasure of the spirits of the former kings while they enjoy the food offerings. In its perfection of posture, its adherence to classic forms, and its deliberate pace, this ancient dance offers to the royal ancestors of the princess the utmost in reverence. This is the Cambodian ballet at its height of perfection, polished and perfected over a unique contribution to the world's culture. When it was introduced in Paris for the first time in 1908, Auguste Rodin, arbiter of the arts in Europe at the time, wrote, The Cambodians have shown us all that antiquity can contain. Their classics are as great as ours. It is impossible to see human nature brought to a higher state of perfection. We have only the Cambodians and the Greeks. They have found postures which we had not dreamed of, movements which were unknown to us even in ancient times. Since then the royal ballet has won the acclaim of audiences the world over, has gained a renown surpassed only by the masterpieces at Angkor. This fame and the enduring freshness of the royal dance, which lies behind the acclaim, are due to the care lavished on the ballet by the Cambodian royal family itself. Forming an intimate part of palace life, it has participated in by young princes and princesses who grow up steep in its discipline and lore. And in the country of its birth, the dance has influenced far beyond the palace walls. The grace it has perfected and perpetuated, the gestures it has preserved and refined, are reflected in the greetings, the popular dance, the purity of movement of the Cambodian in his everyday life. Remains a cultural legacy only of the salutation to the teachers, the spirits and the masks, is to student dancers, but graduation exercises are to students of conventional schools. The ritual is started by Her Majesty, Queen Kosimak Niriut, when she lights the ceremonial candle. It's a presentation of novices to the queen. This is symbolic of the continuation of the ballet. As apprentices join the ranks of the accomplished performers, their place is taken by others. In the days of the Devaraja, or guard kings, parents offer their most beautiful daughters to the palace as a symbol of loyalty and devotion. Accepted, the girls receive as advanced pay from two to four silver bars. Less colorful, but more in keeping with today's world, the dancers now receive a monthly salary. Potically ties Her Majesty to the future of the graduating students for whom she wishes prosperity, happiness and long life. That contribute to the ballet, the graduates make offerings of flowers and food served on gold and silver trays. To the teachers, to the master of ceremonies, to the spirits of the masks and headdresses, to the musicians and the spirits of their instruments, especially sample drums, favorite instrument of the spirits of music. For the invocations, tapers and incense sticks are lighted. From the master of ceremonies, recites the invocations to the spirit of dancing, making known to it the new group of graduating dancers. To signify acceptance of the new dancers, masks and headdresses are made ready to receive those who will use them in the future. From a mentor of the guard, he was given a golden steps of the life of a Cambodian. Passed three times around to the left, it marks the dancer's new status to see showers pop rice on her dancers. With each handful of pop rice go the gracious wishes of the queen. Learn rapidly, dance perfectly, live peacefully. Khmer people, pop rice signifies happiness, peace and prosperity. The essence of religion are woven into the royal dance, as they are woven into the daily lives of the Cambodian people. Be they queen or subject, dancer or teacher, Cambodians are devout and they know the teaching of the Lord Buddha. Nothing in this world is permanent. Everything is transitory. Themselves testament to the passage of time, these teachers once were dancers of the royal ballet corps. Their dancing time has passed, but they still are valued by the court for their minds and bodies remember the movements of the dance and can pass them on to those who will succeed them as they learn from those whose golden anklets had graced the palace floors before them. Hand guiding hand, foot following foot. So has been transmitted the dance of the Cambodian royal palace from generation to generation. There is no written manual. Teacher transmits tradition to pupil. One of the wonders of the Cambodian dance is that it has retained its purity down through the thousand years. To the spirits of the past kings of Cambodia, to their majesties, Andung, Nohradam, Sisouat, Monibong, Suramarit, and others long before, a plea is made by a queen concerned for the well-being of her people. Her plea is made in the form of a ceremony called Bung Sung because she asks for peace for her nation and her people. This ceremony must be perfect. The ritual food offerings of the finest are served on solid gold plates. The tapers and incense sticks must burn cleanly. There can be no flaw, for this is offered for the protection of the Cambodian people. The royal court has received food offerings, which they in turn will present to the spirits of former kings, the ranks of the dancers, and a ballet arranged especially by Her Majesty the Queen for this Bung Sung. The royal court has received food offerings, which they in turn will present to the spirits of former kings, the ranks of the dancers, and by Her Majesty the Queen for this Bung Sung. Performed by Her Royal Highness, Princess Bopatevi, the dance is to further the pleasure of the spirits of the former kings while they enjoy the food offerings. In its perfection of posture, its adherence to classic forms, and its deliberate taste, this ancient dance offers to the royal ancestors of the princess the utmost in reverence. This is the Cambodian ballet that its height have pronged forgotten, polished and perfected over a millennium. It is a unique contribution to the world's culture. When it was introduced in Paris for the first time in 1908, Auguste Rodin, arbiter of the arts in Europe at the time, wrote, The Cambodians have shown us all that antiquity can contain. Their classics are as great as ours. It is impossible to see human nature brought to a higher state of perfection. We have only the Cambodians and the Greeks. They have found postures which we had not dreamed of, movements which were unknown to us even in ancient times. Since then, the royal ballet has won the acclaim of audiences the world over, has gained a renown surpassed only by the masterpieces at Angkor, enduring freshness of the royal dance, which lies behind the acclaim, are due to the care lavished on the ballet by the Cambodian royal family itself. Forming an intimate part of palace life, it is participated in by young princes and princesses who grow up steep in its discipline and lore. And in the country of its birth, the dance has influenced far beyond the palace walls. The grace it has perfected and perpetuated, the gestures it has preserved and refined, are reflected in the greetings, the popular dance, the purity of movement of the Cambodian and its everyday life.