User:MJBurrage/sandbox
Contents
Unicode
Dingbats
- ✀✁✂✃✄✅✆✇✈✉✊✋✌✍✎✏✐✑✒✓✔✕✗✘
- ✀✁✂︎✃✄✅︎✆✇✈︎✉︎✊︎✋︎✌︎✍︎✎✏︎✐✑✒︎✓✔︎✕✗✘
- ✙✚✛✜✝✞✟✠✡✢✣✤✥✦✧✨✩✪✫✬✭✮✯✰
- ✙✚✛✜✝︎✞✟✠✡︎✢✣✤✥✦✧✨︎✩✪✫✬✭✮✯✰
- ✱✲✳✴✵✶✷✸✹✺✻✼✽✾✿❀❁❂❃❄❅❆❇❈❉❊❋❌❍❎❏
- ✱✲✳︎✴︎✵✶✷✸✹✺✻✼✽✾✿❀❁❂❃❄︎❅❆❇︎❈❉❊❋❌︎❍❎︎❏
- ❐❑❒❓❔❕❖❗❘❙❚❛❜❝❞❟❠❡❢❣❤❥❦❧❨❩❪❫❬❭❮❯❲❳➰➿
- ❐❑❒❓︎❔︎❕︎❖❗︎❘❙❚❛❜❝❞❟❠❡❢❣︎❤︎❥❦❧❨❩❪❫❬❭❮❯❲❳➰︎➿︎
- ➘➙➚➛➜➝➞➟➠➡➢➣➤➥➦➧➨➩➪➫➬➭➮➯➱➲➳➴➵➶➷➸➹➺➻➼➽➾
- ➘➙➚➛➜︎➝➞➟➠➡︎➢➣➤➥➦➧➨➩➪➫➬➭➮➯➱➲➳➴➵➶➷➸➹➺➻➼➽➾
- ➊➋➌➍➎➏➐➑➒➓ ➀➁➂➃➄➅➆➇➈➉ (sans-serif)
Enclosed Alphanumerics
In Windows/Chrome, the size fluctuates based on surrounding text.
- ⓪①②③④⑤⑥⑦⑧⑨⑩⑪⑫⑬⑭⑮⑯⑰⑱⑲⑳㉑㉒㉓㉔㉕㉖㉗㉘㉙㉚㉛㉜㉝㉞㉟㊱㊲㊳㊴㊵㊶㊷㊸㊹㊺㊻㊼㊽㊾㊿
- ⑴⑵⑶⑷⑸⑹⑺⑻⑼⑽⑾⑿⒀⒁⒂⒃⒄⒅⒆⒇
- ⒈⒉⒊⒋⒌⒍⒎⒏⒐⒑⒒⒓⒔⒕⒖⒗⒘⒙⒚⒛
- ⒬⒲⒠⒭⒯⒴⒰⒤⒪⒫⒜⒮⒟⒡⒢⒣⒥⒦⒧⒵⒳⒞⒱⒝⒩⒨
- ⓆⓌⒺⓇⓉⓎⓊⒾⓄⓅⒶⓈⒹⒻⒼⒽⒿⓀⓁⓏⓍⒸⓋⒷⓃⓂ︎ (vs15 M)
- ⓠⓦⓔⓡⓣⓨⓤⓘⓞⓟⓐⓢⓓⓕⓖⓗⓙⓚⓛⓩⓧⓒⓥⓑⓝⓜ⊕⊖⊗⊘⊛⊜⊝
- ⓿❶❷❸❹❺❻❼❽❾❿⓫⓬⓭⓮⓯⓰⓱⓲⓳⓴
- ⓵⓶⓷⓸⓹⓺⓻⓼⓽⓾
Supplement
VS15 (variation selector 15, plain text) does not work in Windows/Chrome.
- 🄋🄌🄀🄁🄂🄃🄄🄅🄆🄇🄈🄉🄊
- 🄠🄦🄔🄡🄣🄨🄤🄘🄞🄟🄐🄢🄓🄕🄖🄗🄙🄚🄛🄩🄧🄒🄥🄑🄝🄜
- 🅀🅆🄴🅁🅃🅈🅄🄸🄾🄿🄰🅂🄳🄵🄶🄷🄹🄺🄻🅉🅇🄲🅅🄱🄽🄼
- 🅠🅦🅔🅡🅣🅨🅤🅘🅞🅟🅐🅢🅓🅕🅖🅗🅙🅚🅛🅩🅧🅒🅥🅑🅝🅜
- 🆀🆆🅴🆁🆃🆈🆄🅸🅾︎🅿︎🅰︎🆂🅳🅵🅶🅷🅹🅺🅻🆉🆇🅲🆅🅱︎🅽🅼 (vs15 OPAB)
- 🄪🄫🄬🄭🄮🄯 🅊 🅋 🅌 🅍 🅎 🅏🅪🅫🅬🆊 🆋 🆌 🆍 🆎︎🆏︎ 🆐︎🆑︎🆒︎🆓︎🆔︎🆕︎🆖︎🆗︎🆘︎🆙︎🆚︎🆛🆜🆝🆞🆟🆠🆡🆢🆣🆤🆥🆦🆧🆨🆩🆪🆫🆬
Math
(serif)
- 𝐐𝐖𝐄𝐑𝐓𝐘𝐔𝐈𝐎𝐏•𝐀𝐒𝐃𝐅𝐆𝐇𝐉𝐊𝐋•𝐙𝐗𝐂𝐕𝐁𝐍𝐌
- 𝐪𝐰𝐞𝐫𝐭𝐲𝐮𝐢𝐨𝐩•𝐚𝐬𝐝𝐟𝐠𝐡𝐣𝐤𝐥•𝐳𝐱𝐜𝐯𝐛𝐧𝐦•𝟏𝟐𝟑𝟒𝟓𝟔𝟕𝟖𝟗𝟎
- 𝑄𝑊𝐸𝑅𝑇𝑌𝑈𝐼𝑂𝑃•𝐴𝑆𝐷𝐹𝐺𝐻𝐽𝐾𝐿•𝑍𝑋𝐶𝑉𝐵𝑁𝑀
- 𝑞𝑤𝑒𝑟𝑡𝑦𝑢𝑖𝑜𝑝•𝑎𝑠𝑑𝑓𝑔ℎ𝑗𝑘𝑙•𝑧𝑥𝑐𝑣𝑏𝑛𝑚
- 𝑸𝑾𝑬𝑹𝑻𝒀𝑼𝑰𝑶𝑷•𝑨𝑺𝑫𝑭𝑮𝑯𝑱𝑲𝑳•𝒁𝑿𝑪𝑽𝑩𝑵𝑴
- 𝒒𝒘𝒆𝒓𝒕𝒚𝒖𝒊𝒐𝒑•𝒂𝒔𝒅𝒇𝒈𝒉𝒋𝒌𝒍•𝒛𝒙𝒄𝒗𝒃𝒏𝒎
Sans(serif)
- 𝖰𝖶𝖤𝖱𝖳𝖸𝖴𝖨𝖮𝖯•𝖠𝖲𝖣𝖥𝖦𝖧𝖩𝖪𝖫•𝖹𝖷𝖢𝖵𝖡𝖭𝖬
- 𝗊𝗐𝖾𝗋𝗍𝗒𝗎𝗂𝗈𝗉•𝖺𝗌𝖽𝖿𝗀𝗁𝗃𝗄𝗅•𝗓𝗑𝖼𝗏𝖻𝗇𝗆•𝟣𝟤𝟥𝟦𝟧𝟨𝟩𝟪𝟫𝟢
- ✕✓✗❘❬❭❲❳❨❩
- 𝗤𝗪𝗘𝗥𝗧𝗬𝗨𝗜𝗢𝗣•𝗔𝗦𝗗𝗙𝗚𝗛𝗝𝗞𝗟•𝗭𝗫𝗖𝗩𝗕𝗡𝗠
- 𝗾𝘄𝗲𝗿𝘁𝘆𝘂𝗶𝗼𝗽•𝗮𝘀𝗱𝗳𝗴𝗵𝗷𝗸𝗹•𝘇𝘅𝗰𝘃𝗯𝗻𝗺•𝟭𝟮𝟯𝟰𝟱𝟲𝟳𝟴𝟵𝟬
- ✖✔✘❙❮❯❴❵❪❫❚❰❱➔❗❓💲🙴✱➕➖➗❟❛❜❝❞
- ✖︎✔︎✘︎❙︎❮︎❯︎❴︎❵︎❪︎❫︎❚︎❰︎❱︎➔︎❗︎❓︎💲︎🙴︎✱︎➕︎➖︎➗︎❟︎❛︎❜︎❝︎❞︎
- 𝘘𝘞𝘌𝘙𝘛𝘠𝘜𝘐𝘖𝘗•𝘈𝘚𝘋𝘍𝘎𝘏𝘑𝘒𝘓•𝘡𝘟𝘊𝘝𝘉𝘕𝘔
- 𝘲𝘸𝘦𝘳𝘵𝘺𝘶𝘪𝘰𝘱•𝘢𝘴𝘥𝘧𝘨𝘩𝘫𝘬𝘭•𝘻𝘹𝘤𝘷𝘣𝘯𝘮
- 𝙌𝙒𝙀𝙍𝙏𝙔𝙐𝙄𝙊𝙋•𝘼𝙎𝘿𝙁𝙂𝙃𝙅𝙆𝙇•𝙕𝙓𝘾𝙑𝘽𝙉𝙈
- 𝙦𝙬𝙚𝙧𝙩𝙮𝙪𝙞𝙤𝙥•𝙖𝙨𝙙𝙛𝙜𝙝𝙟𝙠𝙡•𝙯𝙭𝙘𝙫𝙗𝙣𝙢
Script
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- 𝓆𝓌ℯ𝓇𝓉𝓎𝓊𝒾ℴ𝓅•𝒶𝓈𝒹𝒻ℊ𝒽𝒿𝓀𝓁•𝓏𝓍𝒸𝓋𝒷𝓃𝓂
- 𝓠𝓦𝓔𝓡𝓣𝓨𝓤𝓘𝓞𝓟•𝓐𝓢𝓓𝓕𝓖𝓗𝓙𝓚𝓛•𝓩𝓧𝓒𝓥𝓑𝓝𝓜
- 𝓺𝔀𝓮𝓻𝓽𝔂𝓾𝓲𝓸𝓹•𝓪𝓼𝓭𝓯𝓰𝓱𝓳𝓴𝓵•𝔃𝔁𝓬𝓿𝓫𝓷𝓶
Fraktur
- 𝔔𝔚𝔈ℜ𝔗𝔜𝔘ℑ𝔒𝔓•𝔄𝔖𝔇𝔉𝔊ℌ𝔍𝔎𝔏•ℨ𝔛ℭ𝔙𝔅𝔑𝔐
- 𝔮𝔴𝔢𝔯𝔱𝔶𝔲𝔦𝔬𝔭•𝔞𝔰𝔡𝔣𝔤𝔥𝔧𝔨𝔩•𝔷𝔵𝔠𝔳𝔟𝔫𝔪
- 𝕼𝖂𝕰𝕽𝕿𝖄𝖀𝕴𝕺𝕻•𝕬𝕾𝕯𝕱𝕲𝕳𝕵𝕶𝕷•𝖅𝖃𝕮𝖁𝕭𝕹𝕸
- 𝖖𝖜𝖊𝖗𝖙𝖞𝖚𝖎𝖔𝖕•𝖆𝖘𝖉𝖋𝖌𝖍𝖏𝖐𝖑•𝖟𝖝𝖈𝖛𝖇𝖓𝖒
Monospace
- 𝚀𝚆𝙴𝚁𝚃𝚈𝚄𝙸𝙾𝙿•𝙰𝚂𝙳𝙵𝙶𝙷𝙹𝙺𝙻•𝚉𝚇𝙲𝚅𝙱𝙽𝙼
- 𝚚𝚠𝚎𝚛𝚝𝚢𝚞𝚒𝚘𝚙•𝚊𝚜𝚍𝚏𝚐𝚑𝚓𝚔𝚕•𝚣𝚡𝚌𝚟𝚋𝚗𝚖•𝟷𝟸𝟹𝟺𝟻𝟼𝟽𝟾𝟿𝟶
Double-struck
- ℚ𝕎𝔼ℝ𝕋𝕐𝕌𝕀𝕆ℙ•𝔸𝕊𝔻𝔽𝔾ℍ𝕁𝕂𝕃•ℤ𝕏ℂ𝕍𝔹ℕ𝕄
- 𝕢𝕨𝕖𝕣𝕥𝕪𝕦𝕚𝕠𝕡•𝕒𝕤𝕕𝕗𝕘𝕙𝕛𝕜𝕝•𝕫𝕩𝕔𝕧𝕓𝕟𝕞•𝟙𝟚𝟛𝟜𝟝𝟞𝟟𝟠𝟡𝟘
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- ｑｗｅｒｔｙｕｉｏｐ［］＼•ａｓｄｆｇｈｊｋｌ；＇•ｚｘｃｖｂｎｍ，．／•｀１２３４５６７８９０－＝•￠￡￢
CNS Small Forms
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Subscript/superscript
- .q...ₑᵣₜ.ᵤᵢₒₚ•ₐₛ...ₕⱼₖₗ•.ₓ.ᵥ.ₙₘ.•₁₂₃₄₅₆₇₈₉₀₍₊₋₌₎⸼.₁⸝₂
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How does copyright work in space?
A performance of a song in space has much scope for potential intellectual-property violations. —The Economist explains (2013-05-23) by G.F. | Seattle
CHRIS HADFIELD has captured the world’s heart, judging by the 14m YouTube views of his free-fall rendition of David Bowie’s “Space Oddity”, recorded on the International Space Station (ISS). The Canadian astronaut’s clear voice and capable guitar-playing were complemented by his facility in moving around in the microgravity of low-earth orbit. But when the man fell to Earth in a neat and safe descent a few days ago, after a five-month stay in orbit, should he have been greeted by copyright police? Commander Hadfield was only 250 miles (400 km) up, so he was still subject to terrestrial intellectual-property regimes, which would have applied even if he had flown the “100,000 miles” mentioned in the song’s lyrics, or millions of kilometres to Mars. His five-minute video had the potential to create a tangled web of intellectual-property issues. How does copyright work in space?
The song “Space Oddity” is under copyright protection in most countries, and the rights to it belong to Mr Bowie. But compulsory-licensing rights in many nations mean that any composition that has been released to the public (free or commercially) as an audio recording may be recorded again and sold by others for a statutorily defined fee, although it must be substantively the same music and lyrics as the original. But with the ISS circling the globe, which jurisdiction was Commander Hadfield in when he recorded the song and video? Moreover, compulsory-licensing rights for covers of existing songs do not include permission for broadcast or video distribution. Commander Hadfield’s song was loaded onto YouTube, which delivers video on demand to users in many countries around the world. The first time the video was streamed in each country constituted publication in that country, and with it the potential for copyright infringement under local laws. Commander Hadfield could have made matters even more complicated by broadcasting live as he sang to an assembled audience of fellow astronauts for an onboard public performance while floating from segment to segment of the ISS.
That is because the space station consists of multiple modules and other pieces (called “elements”) under the registration of the United States, the European Space Agency (ESA) consortium, Russia and Japan. The agreement governing the ISS makes it clear (in Article 5) that the applicable laws, including those governing IP rights, depend on which part of it an astronaut is in. This is most relevant when astronauts conduct science or write accounts of their work, whether for public or private parties, although equally true during their off hours. The audio and video seem to have been recorded in the Destiny module, owned by America’s space agency, NASA, the Cupola, which previously owned by the ESA (and would thus have been governed by European law) but was transferred to NASA in 2005, and the Japanese Experiment Module, developed by Japan’s aerospace agency, JAXA. The video was transmitted to Canada (probably through ground stations around the globe), where Mr Bowie’s former bandmate Emm Gryner added a piano accompaniment and others edited and produced the final product. But recording a private performance does not violate any laws; a violation only occurs if the material is publicly distributed. Had the song been broadcast from space, Mr Bowie’s lawyers would have been entitled to seek redress in Canadian, American and Japanese courts, in addition to any objections they might have raised based on YouTube views elsewhere. If Commander Hadfield’s employer, the Canadian Space Agency, had been deemed to authorise the recording, transmission and distribution of the song while he was on the clock, Commander Hadfield might be off the hook for damages. But he would also, under Canadian copyright and employment rules, retain ownership in the work unless he had specifically assigned it to the CSA.
In this particular case the matter is straightforward because Commander Hadfield had obtained permission to record and distribute the song, and production and distribution was entirely terrestrial. Commander Hadfield and his son Evan spent several months hammering out details with Mr Bowie’s representatives, and with NASA, Russia’s space agency ROSCOSMOS and the CSA. The copyright issue may seem trivial, but the emergence of privately funded rocket launches, space tourism and space exploration hold the potential for more substantive disputes. If an astronaut were to travel to the Moon, an asteroid or Mars on a privately funded spacecraft, the situation would become knottier still, because the United Nations Outer Space Treaty of 1967 applies to countries, not companies or private individuals. J.A.L. Sterling, a London-based expert on international copyright law, anticipated all this in a 2008 paper, “Space Copyright Law: the new dimension”, in which he lists dozens more potentially problematic scenarios that could arise, some seemingly risible at first. He asks what would have happened if, on a moon landing broadcast live by NASA across the world, two astronauts were overcome by emotion and burst into song—one covered by copyright. NASA might still be engaged in litigation 40 years later. More prosaically and immediately plausibly, Sterling considers space travellers who put copyrighted material from Earth on a server reachable from space, or engage in rights-violating “public performances” for crewmates. If the first person to walk on Mars decides to launch into “A Whole New World”, the rights will need to have been cleared with Disney first.
Update: Commander Hadfield responds via Twitter.
- Good article in @TheEconomist. I’m very glad we were methodical and legal with David Bowie’s creation. —Chris Hadfield @Cmdr_Hadfield · May 24, 2013
Corrections: This piece initially stated that the Cupola was owned by the ESA. In fact, its ownership was transferred to NASA in 2005. This was corrected on May 23rd. A reference to the Japanese Experiment Module, where some of the video was filmed, was added on May 25th.
