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  • What Trading Psychology And Feng Shui Have In Common

    What Trading Psychology And Feng Shui Have In Common

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    I know, a weird title and an even weirder combination of subjects. Please bear with me for a second: I have traded since 2001. On my trading journey learned one big thing, which I call the unified theory of trading success. This thing is that absolutely everything is connected.

    Let me explain:

    Traders and humans at large are so used to thinking in boxes that we overlook the biggest, simplest law of our existence that influences how we create our (trading) success. I am talking about how consciousness works.

    Consciousness permeates everything, that’s the universal law.

    This law basically means that everything you look at and experience in your trading world is experienced through your consciousness first, before you become aware of the individual boxes which your mind has set up like a filter system, so that you can make sense of all the different experiences.

    Here is the rub: Your mind processes most of its experiences subconsciously.

    The tendency to see things as separate creates a skewed view of the world. It also makes you take the wrong action, because you act on the illusion of separation as if it where real.

    Box thinking stops you from seeing what Feng Shui and trading have in common.

    Have you ever considered that consciousness sees literally everything before you give the experience a value?

    For example: You value a good trade set up as worthy of your attention, just as you would value a nice looking beach as a motivation to develop better trading habits. Yet, you know that the beach is not your reality today, because your office is dark and it’s raining, or snowing outside. That’s your reality as you see it.

    Are you getting where I am going with this?

    You have of course seen the images of traders sitting by the beach, or driving a Ferrari. The idea behind these images, usually brokers’ adverts, is to entice you to trade with them not because they are the greatest broker, but because your untrained mind is greedy. It wants the Ferrari and the beach life style NOW.

    Almost too simple isn’t it?

    If you are an experienced trader, or an experienced investor you will know how these “little” desires which run deep inside the emotional part of the brain influence your behaviour.

    Imagine how your trading mind would relax if every time it steps into your trading room, it sees a lovely, desk, and a pleasing objet d’art. Your conscious trading mind reasons that it only needs a good looking chart.

    How wrong you are:

    Whenever your trading mind sees something that is beautiful, it stimulates a feel good factor that makes you want to perform better. The brain does not “see” the object d’art, rather it sees what it associates with that objet d’art: Like wealth, success, or security, the key motivators that drive us to carry on, even when we are going through a rough patch.

    Remember: Your brain does not think in terms of now and tomorrow. Your brain only sees now in every moment.

    When you enter your office next, take a look around, but with your CONSCIOUS mind switched on. Notice what subliminal messages your office is sending to your trading brain. I think you will be surprised.

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    Source by Mercedes Oestermann Van Essen

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  • Tratado de livre comércio União Europeia-Mercosul prejudicaria os direitos dos usuários e o conjunto de bens comuns (commons)

    Hoje, a Creative Commons publicou uma análise do projeto de capítulo de propriedade intelectual do acordo de livre comércio entre a União Europeia e o Mercosul, que abarca diversos aspectos vinculados a direitos de autor e direitos conexos. Nós examinamos questões que seriam prejudiciais ao domínio público, à criatividade e ao compartilhamento, e envolvendo os direitos dos usuários na era digital.

    A União Europeia (UE) e o sub-bloco regional da América Latina, formado por Argentina, Brasil, Paraguai e Uruguai (o Mercosul) vêm negociando um tratado de livre comércio (TLC) desde o ano 2000. O TLC UE-Mercosul é amplo, abarcando o comércio de bens industriais e agrícolas, potenciais mudanças nas regras aplicáveis a pequenas e médias empresas e às compras públicas, e provisões sobre propriedade intelectual como patentes e direitos de autor e direitos conexos.  As negociações para um TLC UE-Mercosul continuam em um momento em que vários dos países afetados — incluindo Argentina, Uruguai, Paraguai e até a União Europeia — encontram-se em um processo de revisão de suas próprias leis de direitos autorais.

    Apenas alguns capítulos do projeto do TLC UE-Mercosul foram disponibilizados ao público. Em novembro de 2016, a União Europeia publicou uma proposta de capítulo sobre propriedade intelectual, que é a versão mais recente disponível publicamente. Organizações da sociedade civil e o público são geralmente excluídas de participar em — ou de até observar — as reuniões de negociação.

    As negociações do TLC UE-Mercosul acontecem em um contexto de ampliação da construção de políticas de direitos autorais por meio de acordos de comércio multilaterais. Existem diversas negociações em curso, incluindo o Tratado Trans-Pacífico (TPP), a Associação Econômica Regional Ampla (RCEP, na sua sigla em inglês), e a renegociação do Tratado de Livre Comércio da América do Norte (TLCAN).

    Cada um desses acordos inclui provisões que regulam a propriedade intelectual, e as recentes rodadas de negociação desses pactos comerciais mostram que, quando se põem  os direitos autorais em jogo, há uma pressão significativa para a incrementar drasticamente as possibilidades que têm os detentores de direitos de solicitar medidas de observância (enforcement) de seus direitos, junto com pressões para aumentar os prazos de duração dos direitos autorais, e exigir sanções mais severas por infrações. Ao mesmo tempo que as demandas dos titulares de direitos são completamente atendidas, pouquíssima consideração é dada aos direitos do público. As limitações e exceções para os direitos autorais são minimizadas, ou sequer estão presentes. No texto em questão, é perceptível a mão invisível (e poderosa) da União Europeia, que deseja exportar as cláusulas mais benéficas para os detentores de direitos (como maiores prazos de proteção harmonizados), mas só quer permitir o mínimo absoluto quando se tratam de limitações e exceções (admitindo apenas a cópia temporária).

    • A extensão dos prazos de proteção dos direitos autorais é desnecessária e injustificada: O texto provisório do capítulo sobre propriedade intelectual propõe estender a duração da proteção do direito de autor para aqueles países que ainda não aderiram ao prazo de 70 anos após a morte (o chamado vida + 70). Aumentar a duração da proteção do direito de autor posterga o ingresso das obras no domínio público, no qual elas podem ser utilizadas por qualquer um para qualquer propósito. Também exacerba problemas relacionados ao longo prazo de proteção, como o problema das obras órfãs.
    • Os direitos dos usuários devem ser protegidos mediante a expansão das limitações e exceções: a proteção do direito de autor e as medidas de penalização sempre devem ser reguladas reconhecendo e defendendo os direitos dos usuários no ecossistema do direito de autor e direitos conexos. Mas o capítulo de propriedade intelectual não inclui salvaguardas similares às incluídas nos mais recentes acordos comerciais e nos acordos internacionais de direito de autor que promovem e protegem o equilíbrio.
    • A remuneração obrigatória frustra as intenções de alguns licenciantes em Creative Commons: o capítulo de propriedade intelectual inclui uma cláusula que exigiria a remuneração obrigatória para os intérpretes e produtores de obras musicais. Essa provisão pode ser bem intencionada, mas interferiria com a operação de algumas licenças de Creative Commons ao requerer um pagamento mesmo quando a intenção do autor é compartilhar sua obra com o mundo de maneira gratuita.
    • Medidas de proteção tecnológica não devem limitar o exercício dos direitos dos usuários: o capítulo de propriedade intelectual inclui proibições à circunvenção de medidas tecnológicas de proteção para ter acesso a uma obra, assim como uma provisão que proibiria a criação e o compartilhamento de tecnologias que poderiam permitir a um usuário circunvencionar medidas tecnológicas de proteção. O problema é que essa provisão não leva em conta situações nas quais os usuários deveriam poder utilizar uma limitação ou exceção, mas não o podem fazer devido às proibições existentes para circunvencionar uma medida tecnológica.
    • Ordens judiciais preventivas contra infrações “iminentes” prejudicam a liberdade de expressão e a certeza jurídicas: o capítulo de propriedade intelectual introduz a ideia de que, por ordem judicial, tanto infratores quanto intermediários (o que inclui os provedores de serviços) poderiam ser obrigados a tomar providências para “prevenir qualquer infração iminente de um direito de propriedade intelectual”.
    • Negociações de acordos comerciais devem ser transparentes e envolver o público: Negociações de acordos comerciais devem ser transparentes e participativas. E não o são. A confidencialidade demonstrada na negociação do TPP e de outros tratados de livre comércio têm deixado organizações como a Creative Commons e o público em geral em extrema desvantagem, na medida em que apenas poucos atores privilegiados convidados ao círculo fechado de negociação tiveram seus interesses plenamente considerados.

    Para ler nosso documento de análise completo, clique aqui.

    The post Tratado de livre comércio União Europeia-Mercosul prejudicaria os direitos dos usuários e o conjunto de bens comuns (commons) appeared first on Creative Commons.

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  • El tratado de libre comercio Unión Europea-Mercosur dañará los comunes y los derechos de los usuarios

    Hoy Creative Commons publicó un análisis del borrador del capítulo de propiedad intelectual del acuerdo de libre comercio entre la Unión Europea y el Mercosur, que abarca varios aspectos vinculados al derecho de autor. Examinamos cuestiones que irían en detrimento del dominio público y serían perjudiciales para la creatividad, el intercambio y para los derechos de los usuarios en la era digital.

    La Unión Europea (UE) y el sub bloque regional de América Latina conformado por Argentina, Brasil, Paraguay y Uruguay (el Mercosur) han estado negociando un tratado de libre comercio (TLC) desde el año 2000. El TLC UE-Mercosur es expansivo y abarca el comercio en bienes industriales y agrícolas, cambios potenciales en las reglas aplicables a pequeñas y medianas empresas así como a las compras públicas y a las provisiones sobre propiedad intelectual tales como las patentes y el derecho de autor. Las negociaciones para un TLC UE-Mercosur continúan en un momento en que varios de los países afectados -incluidos Argentina, Uruguay, Paraguay e incluso la Unión Europea- se encuentran en un proceso de revisión de sus propias leyes de derecho de autor.

    Solo algunos capítulos de los borradores del TLC UE-Mercosur están disponibles para la revisión pública. En noviembre de 2016 la Unión Europea liberó un borrador del capítulo sobre propiedad intelectual, que es la versión más reciente disponible públicamente. Las organizaciones de la sociedad civil y el público son típicamente excluidas de participar en —o incluso observar — las reuniones de negociación.

    Las negociaciones del TLC UE-Mercosur tienen lugar en un entorno donde un nivel creciente de políticas de derecho de autor están siendo creadas a través de acuerdos de comercio multilaterales. Hay varias negociaciones en marcha, incluyendo el Tratado Trans-Pacífico (TPP), y la renegociación del Tratado de Libre Comercio de América del Norte (TLCAN).

    Cada uno de estos acuerdos incluyen cláusulas que regulan la propiedad intelectual, y las recientes rondas de negociaciones de estos pactos comerciales muestran que cuando se pone el derecho de autor sobre la mesa, hay una presión significativa para incrementar drásticamente las posibilidades que tienen los titulares de derechos de solicitar medidas de persecución y ejecución forzada de sus derechos, junto con presiones para aumentar los plazos de duración del derecho de autor y exigir sanciones más severas por infracción. Mientras que las demandas de los titulares de derechos son completamente atendidas, hay muy poca consideración para los derechos del público. Se minimizan las limitaciones y excepciones al derecho de autor o directamente no se contemplan. En el texto vemos la mano invisible (y poderosa) de la Unión Europea, que desea exportar las cláusulas más beneficiosas para los titulares de derechos (tales como plazos de protección más largos y armonizados), pero solo quiere permitir lo mínimo posible cuando se trata de limitaciones y excepciones (admitiendo únicamente la copia temporal).

    • La extensión de los plazos de protección del derecho de autor es innecesaria e injustificada: el capítulo borrador sobre propiedad intelectual propone extender la duración del plazo de protección para aquellos países que todavía no adhieren al plazo de +70 post-mortem. Incrementar la duración de la protección del derecho de autor demora el ingreso de las obras al dominio público, donde pueden ser utilizadas por cualquiera para cualquier propósito. También exacerba problemas relacionados al largo plazo de protección, como el problema de las obras huérfanas.
    • Los derechos de los usuarios deben ser protegidos mediante la expansión de las limitaciones y las excepciones: la protección del derecho de autor y las medidas de penalización siempre deben regularse reconociendo y defendiendo los derechos de los usuarios en el ecosistema del derecho de autor. Pero el capítulo de propiedad intelectual no incluye salvaguardas similares a las incluidas en los últimos acuerdos comerciales y en los acuerdos internacionales de derecho de autor que promueven y protegen el balance en el derecho de autor.
    • La remuneración obligatoria frustra las intenciones de algunos usuarios de Creative Commons: el capítulo de propiedad intelectual incluye una cláusula que requeriría la remuneración obligatoria para los intérpretes y productores de obras musicales. Esa cláusula puede ser bien intencionada, pero interferiría con la operación de algunas licencias de Creative Commons al requerir un pago incluso cuando la intención del autor es compartir su obra con el mundo de manera gratuita.
    • Las medidas tecnológicas de protección no deben limitar el ejercicio de los derechos de los usuarios: el capítulo de propiedad intelectual incluye prohibiciones para aquellos que eludan medidas tecnológicas de protección para obtener acceso a una obra, así como una cláusula que prohibiría la creación y el intercambio de tecnologías que podrían permitir a un usuario eludir medidas tecnológicas de protección. El problema es que esta cláusula no tiene en cuenta situaciones donde los usuarios deberían poder utilizar una limitación o excepción, pero no pueden debido a las prohibiciones existentes para evadir una medida tecnológica.
    • Las órdenes judiciales preventivas contra infracciones “inminentes” dañan la libertad de expresión y la certeza jurídica: el capítulo de propiedad intelectual introduce la idea de que una orden judicial podría ser impuesta tanto a los infractores potenciales como a los intermediarios (incluyendo a los proveedores de servicios de Internet) por infracción “inminente” a los derechos de autor que aún no han ocurrido.
    • Las negociaciones de los acuerdos comerciales deben ser transparentes e involucrar al público: las negociaciones de acuerdos comerciales necesitan ser transparentes y participativas. No lo son. El secretismo demostrado en la negociación del TPP y otros TLC dejaron a las organizaciones de la sociedad civil como Creative Commons y al público en general en una desventaja extrema, ya que solo unos pocos sectores privilegiados invitados al círculo cerrado de las negociaciones tuvieron sus intereses plenamente considerados.

    Pueden leer nuestro documento de análisis completo aquí.

    The post El tratado de libre comercio Unión Europea-Mercosur dañará los comunes y los derechos de los usuarios appeared first on Creative Commons.

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  • EU-Mercosur Trade Agreement Would Harm User Rights and the Commons

    Today Creative Commons published a policy analysis covering several copyright-related issues presented in the draft intellectual property chapter of EU-Mercosur free trade agreement. We examine issues that would be detrimental to the public domain, creativity and sharing, and user rights in the digital age. [The policy paper is also available in Spanish and Portuguese.] 

    The European Union (EU) and the Latin American sub-regional bloc consisting of Argentina, Brazil, Paraguay, and Uruguay (Mercosur) have been negotiating a free trade agreement (FTA) since 2000. The EU-Mercosur FTA is expansive, addressing trade in industrial and agricultural goods, potential changes to rules governing small- and medium-sized businesses as well as government procurement, and intellectual property provisions such as copyrights and patents. The EU-Mercosur FTA negotiations continue during a time when several of the affected countries—including Argentina, Uruguay, Paraguay and even the EU—are involved in a review of their own copyright rules.

    Only a few chapters of the draft EU-Mercosur FTA have been made available for public inspection. In November 2016 the EU released a draft of the chapter dealing with intellectual property, which is the most recent publicly available version. Civil society organisations and the public are typically excluded from participating in—or even observing—the negotiation meetings.

    The EU-Mercosur FTA negotiations take place in an environment where an increasing level of copyright policy is being constructed through multilateral trade agreements. There are several current negotiations underway, including the Trans-Pacific Partnership (TPP) and the renegotiation of the North American Free Trade Agreement (NAFTA).

    Each of these agreements include provisions regulating intellectual property, and the recent negotiation of these trade pacts shows that when copyright is put on the table, there’s a significant push to drastically increase enforcement measures for rights holders, lengthen copyright terms, and demand harsh infringement penalties. While the demands of rights holders are fully addressed, there’s little consideration given to the rights of the public. Limitations and exceptions to copyright are downplayed, or not present at all. In the text we see the invisible (and powerful) hand of the EU, which wishes to export the intellectual property provisions most beneficial to rightsholders (such as harmonized longer terms), but only wants to permit the absolute minimum when it comes to limitations and exceptions (such as only temporary copying).

    • Copyright term extension is unnecessary and unwarranted: The draft IP chapter proposes to extend the duration of copyright protection for those countries that do not already adhere to the life + 70 year term. Increasing the duration of copyright protection delays works from entering the public domain, where they may be used by anyone for any purpose. It also exacerbates related challenges, such as the orphan works problem. 
    • User rights must be protected by expanding limitations and exceptions: Copyright protection and enforcement measures should always be tempered by recognizing and upholding the rights of users in the copyright ecosystem. But the IPR chapter doesn’t include similar safeguards introduced in the latest trade agreements and international copyright agreements that promote and protect balance in copyright agreements.
    • Mandatory remuneration frustrates the intentions of some Creative Commons licensors: The IPR chapter includes a provision that would require remuneration for performers and producers of musical works. The provision may be well-intended, but would interfere with the operation of some Creative Commons licenses by requiring a payment even when the intention of the author is to share her creative work with the world for free.
    • Technical protection measures must not limit the exercise of user rights: The IPR chapter includes prohibitions to circumventing technological protection measures to gain access to a work, as well as  a provision that would prohibit the creation and sharing of technologies that could enable a user to circumvent technological protection measures. The problem is that it doesn’t take into account situations where users should be able to leverage a limitation or exception, but cannot due to prohibitions on circumventing a technological measure.
    • Precautionary injunctions against “imminent” infringements harms freedom of expression and the rule of law: The IPR chapter introduces the idea that an injunction could be levied against both potential infringers and intermediaries (including ISPs) for “imminent” copyright infringements that have not yet occurred.
    • Trade agreement negotiations must be transparent and involve the public: Trade agreement negotiations need to be transparent and participatory. They are not. The secrecy demonstrated in the negotiation of the TPP and other FTAs left civil society organizations like Creative Commons and the broader public at an extreme disadvantage, as only a privileged few stakeholders invited into the closed negotiation circle had their interests fully considered.

    Read our extended policy paper here. The text is also available in Spanish and Portuguese.

    The post EU-Mercosur Trade Agreement Would Harm User Rights and the Commons appeared first on Creative Commons.

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  • Money

    Money is any item or verifiable record that is generally accepted as payment for goods and services and repayment of debts in a particular country or socio-economic context. The main functions of money are distinguished as: a medium of exchange; a unit of account; a store of value; and, occasionally in the past, a standard of deferred payment. Any item or verifiable record that fulfills these functions can be considered money.

    Money is historically an emergent market phenomenon establishing a commodity money, but nearly all contemporary money systems are based on fiat money. Fiat money, like any check or note of debt, is without intrinsic use value as a physical commodity. It derives its value by being declared by a government to be legal tender; that is, it must be accepted as a form of payment within the boundaries of the country, for "all debts, public and private". Such laws in practice cause fiat money to acquire the value of any of the goods and services that it may be traded for within the nation that issues it.

    The money supply of a country consists of currency (banknotes and coins) and usually includes bank money (the balance held in checking accounts and savings accounts). Bank money, which consists only of records (mostly computerized in modern banking), forms by far the largest part of broad money in developed countries.

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  • Intellectual property of Fashion

    Within the fashion industry, intellectual property is not enforced as it is within the film industry and music industry. Robert Glariston, an intellectual property expert mentioned in a fashion seminar held in LA that "Copyright law regarding clothing is a current hot-button issue in the industry. We often have to draw the line between designers being inspired by a design and those outright stealing it in different places." To take inspiration from others' designs contributes to the fashion industry's ability to establish clothing trends. For the past few years, WGSN has been a dominant source of fashion news and forecasts in encouraging fashion brands worldwide to be inspired by one another. Enticing consumers to buy clothing by establishing new trends is, some have argued, a key component of the industry's success. Intellectual property rules that interfere with this process of trend-making would, in this view, be counter-productive. On the other hand, it is often argued that the blatant theft of new ideas, unique designs, and design details by larger companies is what often contributes to the failure of many smaller or independent design companies.

    Since fakes are distinguishable by their poorer quality, there is still a demand for luxury goods, and as only a trademark or logo can be copyrighted, many fashion brands make this one of the most visible aspects of the garment or accessory. In handbags, especially, the designer's brand may be woven into the fabric (or the lining fabric) from which the bag is made, making the brand an intrinsic element of the bag.

    In 2005, the World Intellectual Property Organization (WIPO) held a conference calling for stricter intellectual property enforcement within the fashion industry to better protect small and medium businesses and promote competitiveness within the textile and clothing industries.

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  • Antique

    Antique

    An antique (Latin: antiquus; "old", "ancient") is an old collectable item. It is collected or desirable because of its age, beauty, rarity, condition, utility, personal emotional connection, and/or other unique features. It is an object that represents a previous era or time period in human society.

    It is common practice to define "antique" as applying to objects at least 100 years old.

    Antiques are usually objects that show some degree of craftsmanship—or a certain attention to design, such as a desk or an early automobile. They are bought at antique shops, estate sales, auction houses, online auctions, and other venues, or estate inherited. Antique dealers often belong to national trade associations, many of which belong to CINOA, a confederation of art and antique associations across 21 countries that represents 5,000 dealers.

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  • Budget

    What is a Budget?

    A budget is a quantitative expression of a plan for a defined period of time. It may include planned sales volumes and revenues, resource quantities, costs and expenses, assets, liabilities and cash flows. It expresses strategic plans of business units, organizations, activities or events in measurable terms.

    Etymology of Budget

    A budget (derived from old French word bougette, purse) is a quantified financial plan for a forthcoming accounting period.

    A budget is an important concept in microeconomics, which uses a budget line to illustrate the trade-offs between two or more goods. In other terms, a budget is an organizational plan stated in monetary terms.

    Purpose of Budget

    Budget helps to aid the planning of actual operations by forcing managers to consider how the conditions might change and what steps should be taken now and by encouraging managers to consider problems before they arise. It also helps co-ordinate the activities of the organization by compelling managers to examine relationships between their own operation and those of other departments. Other essentials of budget include:

        To control resources
        To communicate plans to various responsibility center managers.
        To motivate managers to strive to achieve budget goals.
        To evaluate the performance of managers
        To provide visibility into the company's performance
        For accountability

    In summary, the purpose of budgeting is tools:

        Tools provide a forecast of revenues and expenditures, that is, construct a model of how a business might perform financially if certain strategies, events and plans are carried out.
        Tools enable the actual financial operation of the business to be measured against the forecast.
        Lastly, tools establish the cost constraint for a project, program, or operation.

     

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  • Fairs, Expositions, Shopping Entertainment

    Fairs, Expositions, Shopping Entertainment

    Fairs and exhibitions have existed since ancient and medieval times, displaying wealth, innovations and objects for trade and offering specific entertainments as well as being places of entertainment in themselves. Whether in a medieval market or a small shop, "shopping always offered forms of exhilaration that took one away from the everyday". However, in the modern world, "merchandising has become entertainment: spinning signs, flashing signs, thumping music … video screens, interactive computer kiosks, day care .. cafés".

    By the 19th century, "expos" which encourage arts, manufactures and commerce had become truly international and were not only hugely popular but were having an enormous impact on international ideas. For example, the 1878 Paris Exposition facilitated international cooperation about ideas, innovations and standards. From London 1851 to Paris 1900, "in excess of 200 million visitors had entered the turnstiles in London, Paris, Vienna, Philadelphia, Chicago and a myriad of smaller shows around the world." Since World War II "well over 500 million visits have been recorded through world expo turnstiles". As a form of spectacle and entertainment, expositions influenced "everything from architecture, to patterns of globalisation, to fundamental matters of human identity" and in the process established the close relationship between "fairs, the rise of department stores and art museums", the modern world of mass consumption and the entertainment industry.

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