Twitter Tightens EU Political Ad Rules Ahead of Election

Twitter said Tuesday it is tightening up rules for European Union political ads ahead of bloc-wide elections this spring, following similar moves by fellow tech giants Facebook and Google.

The social media company said it is extending restrictions already in place for federal elections in the United States.

Under the new rules, which will also apply in Australia and India, political advertisers will need to be certified.

It’s also taking steps to increase transparency. Ads, in the form of “promoted tweets,” from the past seven days will be stored in a publicly accessible database showing how much was spent, how many times it was seen and the demographics of the people who saw it.

Facebook and Google have put in similar systems ahead of the EU vote in May, as the U.S. tech companies respond to criticism they didn’t do enough to prevent misuse of their platforms by malicious actors trying to sway previous elections around the world.

“This is part of our overall goal to protect the health of the public conversation on our service and to provide meaningful context around all political entities who use our advertising products,” the company said in a blog post .

Hundreds of millions of people are set to vote for more than 700 European Union parliamentary lawmakers.

Political advertisers can start applying now for certification under Twitter’s stricter ad rules, which take effect March 11, by providing more information such as photo ID or a company identification number.

Twitter defines political ads as those bought by a party or candidate or that advocate for or against a candidate or party.

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Twitter Tightens EU Political Ad Rules Ahead of Election

Twitter said Tuesday it is tightening up rules for European Union political ads ahead of bloc-wide elections this spring, following similar moves by fellow tech giants Facebook and Google.

The social media company said it is extending restrictions already in place for federal elections in the United States.

Under the new rules, which will also apply in Australia and India, political advertisers will need to be certified.

It’s also taking steps to increase transparency. Ads, in the form of “promoted tweets,” from the past seven days will be stored in a publicly accessible database showing how much was spent, how many times it was seen and the demographics of the people who saw it.

Facebook and Google have put in similar systems ahead of the EU vote in May, as the U.S. tech companies respond to criticism they didn’t do enough to prevent misuse of their platforms by malicious actors trying to sway previous elections around the world.

“This is part of our overall goal to protect the health of the public conversation on our service and to provide meaningful context around all political entities who use our advertising products,” the company said in a blog post .

Hundreds of millions of people are set to vote for more than 700 European Union parliamentary lawmakers.

Political advertisers can start applying now for certification under Twitter’s stricter ad rules, which take effect March 11, by providing more information such as photo ID or a company identification number.

Twitter defines political ads as those bought by a party or candidate or that advocate for or against a candidate or party.

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Artists Create Contemporary Take on Ancient Art Form

Levitating objects and plastic boxes may not seem to have anything to do with landscape painting, but they are the contemporary take on an ancient Chinese art style called “shan shui hua” or mountain water painting.

Dating back more than 1,000 years, this style of landscape painting, which uses brush and ink, has evolved over time. The art form is evolving once again in an exhibit called “Lightscapes: Re-envisioning the Shanshuihua” at the Chinese American Museum in Los Angeles.

The goal of Nick Dong and Chi-Tsung Wu, the two artists in the exhibit, is to connect the new, digital generation to this traditional type of art and to capture its essence in a new way through modern technology. 

The exhibit forces the viewer to slow down and experience a different world. That’s one of the objectives of the ancient masters of Chinese shan shui paintings.

Escape from reality

“Actually, it was for all these artists to create a world which they want to hide, avoid, escape from reality. So, they create a mountain (and) imagine they could live there,” said Dong, an artist born in Taiwan who now lives in Northern California.

Trained in both Chinese and Western art styles, Dong and Wu use experimental materials and light in the various art pieces in the exhibit. 

In a contemporary approach to what’s real and what is not, one installation involves a slowly moving light directed at clear plastic boxes attached to a wall.

“If we see this through the light, through the different perspective, we could see there’s another world behind that,” Wu said about his installation called Crystal City.

That other world Wu referenced are shadows that look more real and solid than the actual plastic boxes. Wu said the art installation is symbolic of the modern digital age.

“We spend most of our time in our daily life, no matter to work or to our social life or our entertainment, all on this cyberspace,” he said.

That space is an escape for many people similar to the landscape paintings.

Philosophy and the spiritual

To capture the philosophical elements of the landscape painting, magnets are used to levitate objects to show that there is a force between everything in nature.

Another art piece in the exhibit is a take on one’s relationship with the universe. To view Dong’s representation of heaven, one has to step into a room filled with mirrors from ceiling to floor. There is a stool in the middle of the room.

“We’re all searching. We’re all longing for growth, become better and, ultimately, good enough to go to heaven. So, in my mind, heaven is a place of selfless, so eventually once you’ve entered the installation, at first you’ll see a lot of your reflection. But once you sit down, you trigger the mechanism of the room. The mirror actually starts to reflect, and you yourself will disappear within the space. You vanish. All you have is this empty, wide-open space. For me, it’s the ultimate evolution,” Dong explained.

The art pieces in the exhibit are ways the artists hope the modern-day viewer will be able to experience what the ancient artists of the landscape paintings were trying to achieve. 

“They (ancient scholars) were able to say, ‘We’re seeking a spiritual outlet. We’re seeking a way to refine the spirit and refine the soul.’ This work, today, it’s hard to have that experience with the traditional artwork because they’re such a contained device. You see them in a museum under glass, and they’re hard to approach,” said Justin Hoover curator of the Chinese American Museum, Los Angeles.

Contemporary artists hope their use of lighting and experimental materials will make an ancient art form more tangible and real in the 21st century.

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Artists Create Contemporary Take on Ancient Art Form

Levitating objects and plastic boxes may not seem to have anything to do with landscape painting, but they are the contemporary take on an ancient Chinese art style called “shan shui hua” or mountain water painting.

Dating back more than 1,000 years, this style of landscape painting, which uses brush and ink, has evolved over time. The art form is evolving once again in an exhibit called “Lightscapes: Re-envisioning the Shanshuihua” at the Chinese American Museum in Los Angeles.

The goal of Nick Dong and Chi-Tsung Wu, the two artists in the exhibit, is to connect the new, digital generation to this traditional type of art and to capture its essence in a new way through modern technology. 

The exhibit forces the viewer to slow down and experience a different world. That’s one of the objectives of the ancient masters of Chinese shan shui paintings.

Escape from reality

“Actually, it was for all these artists to create a world which they want to hide, avoid, escape from reality. So, they create a mountain (and) imagine they could live there,” said Dong, an artist born in Taiwan who now lives in Northern California.

Trained in both Chinese and Western art styles, Dong and Wu use experimental materials and light in the various art pieces in the exhibit. 

In a contemporary approach to what’s real and what is not, one installation involves a slowly moving light directed at clear plastic boxes attached to a wall.

“If we see this through the light, through the different perspective, we could see there’s another world behind that,” Wu said about his installation called Crystal City.

That other world Wu referenced are shadows that look more real and solid than the actual plastic boxes. Wu said the art installation is symbolic of the modern digital age.

“We spend most of our time in our daily life, no matter to work or to our social life or our entertainment, all on this cyberspace,” he said.

That space is an escape for many people similar to the landscape paintings.

Philosophy and the spiritual

To capture the philosophical elements of the landscape painting, magnets are used to levitate objects to show that there is a force between everything in nature.

Another art piece in the exhibit is a take on one’s relationship with the universe. To view Dong’s representation of heaven, one has to step into a room filled with mirrors from ceiling to floor. There is a stool in the middle of the room.

“We’re all searching. We’re all longing for growth, become better and, ultimately, good enough to go to heaven. So, in my mind, heaven is a place of selfless, so eventually once you’ve entered the installation, at first you’ll see a lot of your reflection. But once you sit down, you trigger the mechanism of the room. The mirror actually starts to reflect, and you yourself will disappear within the space. You vanish. All you have is this empty, wide-open space. For me, it’s the ultimate evolution,” Dong explained.

The art pieces in the exhibit are ways the artists hope the modern-day viewer will be able to experience what the ancient artists of the landscape paintings were trying to achieve. 

“They (ancient scholars) were able to say, ‘We’re seeking a spiritual outlet. We’re seeking a way to refine the spirit and refine the soul.’ This work, today, it’s hard to have that experience with the traditional artwork because they’re such a contained device. You see them in a museum under glass, and they’re hard to approach,” said Justin Hoover curator of the Chinese American Museum, Los Angeles.

Contemporary artists hope their use of lighting and experimental materials will make an ancient art form more tangible and real in the 21st century.

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Artists Emulate Ancient Art With Modern Technology

Dating back more than 1000 years ago, the style of Chinese landscape painting that uses brush and ink has evolved over time. This traditional art form is evolving once again in an exhibit called “Lightscapes: Re-envisioning the Shanshuihua.” It is on display at the Chinese American Museum in Los Angeles. The goal: to connect the new, digital generation to this type of art and capture its essence in a new way. VOA’s Elizabeth Lee has the details

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Artists Emulate Ancient Art With Modern Technology

Dating back more than 1000 years ago, the style of Chinese landscape painting that uses brush and ink has evolved over time. This traditional art form is evolving once again in an exhibit called “Lightscapes: Re-envisioning the Shanshuihua.” It is on display at the Chinese American Museum in Los Angeles. The goal: to connect the new, digital generation to this type of art and capture its essence in a new way. VOA’s Elizabeth Lee has the details

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Cheap and Green: Pyongyang Upgrades Its Mass Transit System

Pyongyang is upgrading its overcrowded mass transit system with brand new subway cars, trams and buses in a campaign meant to show leader Kim Jong Un is raising the country’s standard of living. 

 The long-overdue improvements, while still modest, are a welcome change for the North Korean capital’s roughly 3 million residents, who have few options to get to work or school each day. 

First came new, high-tech subway cars and electric trolleybuses — each announced by the media with photos of Kim personally conducting the final inspection tours. Now, officials say three new electric trams are running daily routes across Pyongyang. 

Transport officials say the capacity of the new trams is about 300, sitting and standing. Passengers must buy tickets in shops beforehand and put them in a ticket box when they get on. The flat fare is a dirt cheap 5 won (US$ .0006) for any tram, trolleybus, subway or regular bus ride on the public transport system. The Pyongyang Metro has a ticket-card system and the Public Transportation Bureau is considering introducing something similar on the roads as well. 

Private cars are rare

Privately owned cars are scarce in Pyongyang. Taxis are increasingly common but costly for most people. Factory or official-use vehicles are an alternative, when available, as are bicycles. Motorized bikes imported from China are popular, while scooters and motorcycles are rare.

The subway, with elaborate stations inspired by those in Soviet Moscow and dug deep enough to survive a nuclear attack, runs at three- to five-minute intervals, depending on the hour. Officials say it transports about 400,000 passengers on weekdays. But its two lines, with 17 stations, operate only on the western side of the Taedong River, which runs through the center of the city.

“The subway is very important transportation for our people,” subway guide Kim Yong Ryon said in a recent interview with The AP. “There are plans to build train stations on the east side of the river, but nothing has started yet.”

The lack of passenger cars on Pyongyang’s roads has benefits. Traffic jams are uncommon and, compared to Beijing or Seoul, the city has refreshingly clean, crisp air. Electric trams, which run on rails, and electric trolleybuses, which have wheels, are relatively green transport options. 

Crowded and slow

But mass transit in Pyongyang can be slow and uncomfortable. 

The tram system, in particular, is among the most crowded in the world. 

Swarms of commuters cramming into trams are a common sight during the morning rush hour, which is from about 6:00 to 8:30. Getting across town can take about an hour.

Pyongyang’s tram system has four lines. In typical North Korean fashion, one is devoted to taking passengers to and from the mausoleum where the bodies of national founder Kim Il Sung and his son, Kim Jong Il, lie in state.

The city’s red-and-white trams look familiar to many eastern Europeans. In 2008, the North bought 20 used trams made by the Tatra company, which produced hundreds of them when Prague was still the capital of socialist Czechoslovakia.

North Korea squeezes every last inch out of its fleet. 

Red stars are awarded for every 50,000 kilometers (31,000 miles) driven without an accident, and it’s not unusual to see trams with long lines of red stars stenciled across their sides. One seen in operation in Pyongyang last month had 12 — that’s 600,000 kilometers (372,800 miles), or the equivalent of about 15 trips around the Earth’s circumference.

The numbers work

Impossible as that might seem, the math works.

Ri Jae Hong, a representative of the Capital Public Transportation Bureau, told an AP television news crew the main tram route, from Pyongyang Station in the central part of town to the Mangyongdae district, is 21 kilometers from end to end. He said a tram might do the full route there and back on average six times a day. 

By that reckoning, it would take just over 198 days of actual driving to win that first red star. 

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