DOCSLIB.ORG

Icstis Act Rep 2002 Covers-P7

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Icstis Act Rep 2002 Covers-P7 ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. ............................................................................................................. icstis The Independent Committee for the Supervision of Standards of Telephone Information Services ACTIVITY REPORT 2002 .......................................................................................................................................................................................................................... .......................................................................................................................................................................... ............................................................................................................................................................................................................................................... ................................................................................. ........................................................................................................................................................................................................................................................................................................ ............................................................................. ........................................................................................................................................................................................................................................................................................................ ......................................................................... .................................................................................................................................................... .................... .................................................................................................................................................... .................... .................................................................................................................................................... .................... .................................................................................................................................................... .................... .................................................................................................................................................... CSTIS, the Independent Committee for the ISupervision of Standards of Telephone Information Services, is the regulatory body for all premium rate telecommunications services. We are non-profit making and VISION, MISSION & VALUES CONTENTSThe table below shows the comprise nine remunerated part-time Chairman’s Statement 2 Committee members, supported by a full- time Secretariat. The Committee 4 Our vision We regulate services in their entirety – their Director’s Report 6 As the regulator for premium rate services, our vision is that content, promotion and overall operation – anyone can use these services with absolute confidence. 2002 – The Year In Figures 8 through our Code of Practice. We investigate The ICSTIS Helpline complaints, and have the power to fine ICSTIS And Complaints Our mission companies and bar access to services if the In pursuit of our vision, we create a Code of Practice that sets Text Message Complaints Soar 12 ABOUT US Code is breached. We can also bar the appropriate standards for the promotion, content and overall The SMS Guideline 13 individual(s) behind a company from running operation of premium rate services, taking account of any other premium rate services under any Prior Permissions 14 those who may be especially vulnerable, particularly children. company name on any telephone network Copy Advice And Guidance 15 We advise providers of premium rate services on compliance for a defined period. with our Code. If they do not comply, we promptly enforce 2002/2003 – A Quarterly Snapshot 16 its provisions to minimise any consumer harm caused. The ICSTIS Forum 20 So that we can continue to protect and inform ICSTIS Network Operators Committee 20 consumers faced with constantly changing technology, we The Communications Bill 22 regularly review our standards, consulting widely to obtain WHAT ARE PREMIUM RATE SERVICES? a cross-section of opinion. Ofcom 23 The Code of Practice 24 Our values ICSTIS Guidelines 25 In carrying out our mission, we are committed mechanisms to ensure that consistency remium rate services offer some form of Services are advertised on either . Directory Enquiry Services 26 content, product or service that is charged 090 dialling codes or, in the case of text to the following values: . co-operative engagement with the constantly P . Keeping An Eye On New Technology 26 to users’ telephone bills and are accessible by services, on four or five digit short access . staying aware of, and responsive to, the changing premium rate industry as the best ICSTIS Literature 28 phone (fixed and mobile), fax, PC or codes followed by a descriptive key word ways in which consumers, or particular sets of . means of securing its support for our work interactive TV. Typical services include TV (for example, 82828 VOTE or 62626 CHAT). consumers, may be vulnerable when using . working with legislators and other regulators to Consumer Protection In 2003 28 premium rate services and striving to ensure ensure that those who influence the operation votelines, scratchcards, technical helplines, In some instances, such as interactive Adjudicator’s Report 2002 30 phone chat, mobile ringtone and logo TV where viewers make ‘calls’ using their that they receive the necessary protection of premium rate services fully understand and Accounts – Year Ending 31/12/02 32 . independence at all times from the sector, support our work downloads, fax polls, horoscopes, sports remote controls, the premium rate number . results lines and interactive TV games. may not be shown. Premium rate charging companies or individuals that we regulate or . maintaining our understanding of relevant that fund our work technological developments so that our Services currently vary in cost from 10 pence may also be available on international . per call to £1.50 per minute, with the money dialling codes beginning ‘00’. openness, fairness, even-handedness and regulation remains targeted, proportionate paid by users for services shared between the In addition, we regulate the new impartiality when dealing with any . and allows innovation and investment telephone company carrying the service and Directory Enquiry (DQ) services – offered on individual or company involved in the . being accessible to consumers and helping the organisation providing the content. 118 numbers – that were introduced in provision of premium rate services them understand how premium rate services . consistency when making decisions and work so that they can better protect themselves Approximately 30,000 services are in December 2002 following Oftel’s decision . operation at any one time, generating to open up the DQ services market to imposing sanctions relating to non-compliance . acknowledging the important contribution estimated revenue of almost £1 billion in 2002. competition. with our Code of Practice, and having in place made by all members of the organisation. 1 .......................................................................................................................................................................................................................... .......................................................................................................................................................................................................................... .........................................................................................................................................................................................................................
Load more

Recommended publications
  • Who's Who in the Shroud World
    Who’s Who in the Shroud World David Rolfe Mention the words “Silent Witness” and anybody with even the remotest interest in the Shroud will know exactly what you are talking about. The documentary by David Rolfe was the first introduction to the subject for many people in the late 1970’s, myself included, when we were taken from school to see the film at a local cinema in Leeds. The story of how the documentary came to be is fascinating, and was told to me by David in the venue office this summer at the Edinburgh Festival. But first, a quick look at his background. Rolfe received his honours diploma in Film Technique from The London International Film School. He went on to become a freelance director/producer, with credits including "Panorama", BBC1; "Gorbachov’s 5th Anniversary Event" for Newsnight; "Fight Again" for BBC2; many programmes for blue chip companies and TV commercials for Seiko Watches amongst others. Whilst with Screenpro films, he was consultant to BBC Worldwide setting up Drama Co- produc tions in Australia; BAFTA winner for Best Documentary "Silent Witness – An Investigation into the Shroud of Turin" BBC1 & 2; Producer of the main title sequences, cinema trailers, and TV commercials for Paramount Pictures London including: "The Great Gatsby", "A Dolls House", "That Funny Touch", "The Last Tycoon", "Triple Echo", "Sutjeska", "Rachel’s Man" and "Butterfly Ball". He also set up Middle -East film service for a consortium of contractors. As senior partner of the Performance Group, he established, produced and directed Performance Coaching programmes for The Woolwich, Barclays, NatWest, Motorola, Zeneca and others; He was series producer of "Wild Islands" 26 for STV, H4C and RTE; produced "Postcards from the Country" for BBC Natural History Unit; and took the feature CLONE to The Cannes Film Festival.
    [Show full text]
  • (And Holmes Related) Films and Television Programs
    Checklist of Sherlock Holmes (and Holmes related) Films and Television Programs CATEGORY Sherlock Holmes has been a popular character from the earliest days of motion pictures. Writers and producers realized Canonical story (Based on one of the original 56 s that use of a deerstalker and magnifying lens was an easily recognized indication of a detective character. This has led stories or 4 novels) to many presentations of a comedic detective with Sherlockian mannerisms or props. Many writers have also had an Pastiche (Serious storyline but not canonical) p established character in a series use Holmes’s icons (the deerstalker and lens) in order to convey the fact that they are acting like a detective. Derivative (Based on someone from the original d Added since 5-22-14 tales or a descendant) The listing has been split into subcategories to indicate the various cinema and television presentations of Holmes either Associated (Someone imitating Holmes or a a in straightforward stories or pastiches; as portrayals of someone with Holmes-like characteristics; or as parody or noncanonical character who has Holmes's comedic depictions. Almost all of the animation presentations are parodies or of characters with Holmes-like mannerisms during the episode) mannerisms and so that section has not been split into different subcategories. For further information see "Notes" at the Comedy/parody c end of the list. Not classified - Title Date Country Holmes Watson Production Co. Alternate titles and Notes Source(s) Page Movie Films - Serious Portrayals (Canonical and Pastiches) The Adventures of Sherlock Holmes 1905 * USA Gilbert M. Anderson ? --- The Vitagraph Co.
    [Show full text]
  • Free PDF of the Book
    Children and violence Report of the Gulbenkian Foundation Commission The UK branch of the Calouste Gulbenkian Foundation has taken the UN Convention on the Rights of the Child, ‘protecting the dignity, equality and human rights’ of children, as a broad framework within which to initiate and support specific projects of benefit to children and young people. Particular attention is given to strategic national and regional proposals which reflect the values contained in the Convention. Published by Calouste Gulbenkian Foundation London 1995 Distribution by Turnaround Distribution Ltd, 27 Horsell Road, London N5 1XL. 0171 609 7836 © 1995 Calouste Gulbenkian Foundation Published by Calouste Gulbenkian Foundation 98 Portland Place, London W1N 4ET. Telephone 0171 636 5313 Designed by Susan Clarke for Expression Printers Ltd Cover design by Chris Hyde Printed by Expression Printers Ltd, London N5 1JT ISBN 0–903319–75–6 British Library Cataloguing-in-Publication data A catalogue record for this book is available from the British Library. Contents Introduction page 1 The Commission’s aims and working definitions 4 Acknowledgements 5 The Commission: members’ biographies 6 Executive summary 10 Priority recommendations 18 Section 1 Why children become violent 29 Introduction 31 Genetic factors 38 Biological factors 41 Gender 41 Conditions affecting brain function 42 Environmental or acquired biological factors 44 Brain Injury 44 Nutrition 45 Influence of the family and parenting 46 Family structure and break-up 47 Parenting styles 48 Monitoring/supervision
    [Show full text]
  • Sherlock Holmes Films
    Checklist of Sherlock Holmes (and Holmes related) Films and Television Programs CATEGORY Sherlock Holmes has been a popular character from the earliest days of motion pictures. Writers and producers realized Canonical story (Based on one of the original 56 s that use of a deerstalker and magnifying lens was an easily recognized indication of a detective character. This has led to stories or 4 novels) many presentations of a comedic detective with Sherlockian mannerisms or props. Many writers have also had an Pastiche (Serious storyline but not canonical) p established character in a series use Holmes’s icons (the deerstalker and lens) in order to convey the fact that they are acting like a detective. Derivative (Based on someone from the original d Added since 1-25-2016 tales or a descendant) The listing has been split into subcategories to indicate the various cinema and television presentations of Holmes either Associated (Someone imitating Holmes or a a in straightforward stories or pastiches; as portrayals of someone with Holmes-like characteristics; or as parody or noncanonical character who has Holmes's comedic depictions. Almost all of the animation presentations are parodies or of characters with Holmes-like mannerisms during the episode) mannerisms and so that section has not been split into different subcategories. For further information see "Notes" at the Comedy/parody c end of the list. Not classified - Title Date Country Holmes Watson Production Co. Alternate titles and Notes Source(s) Page Movie Films - Serious Portrayals (Canonical and Pastiches) The Adventures of Sherlock Holmes 1905 * USA Gilbert M. Anderson ? --- The Vitagraph Co.
    [Show full text]
  • By Allan Sutherland Chronology of Disability Arts by Allan Sutherland 1977 - April 2017 an Ongoing Project
    Chronology of Disability Arts 1977 - 2017 by Allan Sutherland Chronology of Disability Arts by Allan Sutherland 1977 - April 2017 An ongoing project Sources: Allan Sutherland’s personal archives Disability Arts in London magazine (DAIL) Disability Arts magazine (DAM) Shape Arts Disability Arts Online Commissioned by NDACA Timeline cover design and text formating by Liam Hevey, NDACA Producer 1976 1984 • SHAPE founded. • Fair Play ‘campaign for disabled people in the arts’ founded. 1977 • Strathcona Theatre Company, ‘Now and Then’. • Basic Theatre Company founded by Ray Harrison • Graeae Theatre Company, ‘Cocktail Cabaret’. Graham. Devised by the company. Directed by Caroline Noh. • Graeae Theatre Company, ‘Practically Perfect’. 1980 Theatre in Education show. Written by Ashley Grey. • Graeae (Theatre group of Disabled People) Directed by Geoff Armstrong. founded by Nabil Shaban and Richard Tomlinson. • ‘Choices’. Central TV Programme about the First production: ‘Sideshow’, devised by Richard Theatre In Education work of Graeae Theatre Tomlinson and the company. Company. • British Council of Organisations of Disabled People founded. 1985 • GLC funds 7 month pioneer project for ‘No 1981 Kidding’, a ‘project using puppets to increase • International Year of Disabled People. awareness of disability in Junior Schools’. Company • ‘Carry On Cripple’ season of feature films about of four performers with and without disabilities. disability at National Film Theatre, programmed by • Ellen Wilkie, ‘Pithy Poems’ published. Allan Sutherland and Steve Dwoskin. • Strathcona Theatre Company, ‘Tonight at Eight’ • Artsline founded. 25th October • Path Productions founded, ‘then the only • Samena Rama speaks on Disability and company to integrate the able-bodied, physically Photography as part of Black Arts Forum weekend and mentally disabled performers’.
    [Show full text]
  • Devils and Angels
    Devils and Angels The Ideological Construction of Poverty Stories on RTE Television Eoin Devereux BA MA (NUI) Thesis presented for the award of PhD. Supervisor: Professor Farrel Corcoran, School of Communications, Dublin City University, Glasnevin, Dublin 9. Submitted April 1996. Declaration I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of the degree of PhD, is entirely my own work and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my own work. Date: 1 / ^ ^ L ii Thesis Abstract This thesis investigates how Radio Telelis Eireann (RTE) constructs television stories about poverty. Using a combination of critical content analysis and an ethnography of the production context of television programmes, the study examines poverty stories on factual, fictional and fund-raising television. The study begins with an account of how existing social science discourse has considered the phenomenon of poverty in the Republic of Ireland. It proceeds to examine the limited amount of debate about media coverage of poverty. The case for a largely qualitative methodological approach is then outlined. The main part of the study is an analysis of how poverty stories are constructed on RTE’s Six-One News, Tuesday File, Glenroe and the People in Need Telethon. Each of these four chapters consider the respective programmes in terms of their history, production context, the content of their poverty coverage, as well as a consideration of the ideology of that coverage.
    [Show full text]
  • Disability & New Artistic Models
    Disability & New Artistic Models A Study Room Guide on Live Art and Disability Compiled & written by Aaron Williamson 2010 LADA Study Room Guides As part of the continuous development of the Study Room we regularly commission artists and thinkers to write personal Study Room Guides on specific themes. The idea is to help navigate Study Room users through the resource, enable them to experience the materials in a new way and highlight materials that they may not have otherwise come across. All Study Room Guides are available to view in our Study Room, or can be viewed and/or downloaded directly from their Study Room catalogue entry. Please note that materials in the Study Room are continually being acquired and updated. For details of related titles acquired since the publication of this Guide search the online Study Room catalogue with relevant keywords and use the advance search function to further search by category and date. Image credit: Bobby Baker, Kitchen Show, 2012 Disability And New Artistic Models A Study Room Guide to Live Art and Disability By Aaron Williamson July 2010 In May 2010 the Live Art Development Agency commissioned artist Aaron Williamson to research and write a Study Room Guide on Live Art and Disability drawing on the many publications and films the Agency houses that represent and engage with this issue, whilst also recommending new titles for the Agency to acquire. The Guide reflects the ways in which the practices of artists who work with Live Art have engaged with, represented, and problematicised issues of disability in innovative and radical ways, and the ways in which Live Art has been, and continues to be, a potent platform for artists to explore notions of physicality, identity and representation.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Kay-Williams, S.M. (2001). Ten years of challenge : the impact of the external environment on charity fundraising and marketing 1989-1999. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8226/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Ten years of challenge: The impact of the external environment on charity fundraising and marketing 1989-1999. by Susan Margaret Kay-Williams PhD City University Centre for Voluntary and Nonprofit Management (VOLPROF) City University Business School February 2001 1 Ten years of challenge: The impact of the external environment on charity fundraising and marketing 1989-1999. Contents Abstract 12 1. Research genesis and history 13 1.1 Introduction 13 1.2 Structure of the work 14 1.3 The aims of the1994 study 15 1.4 Indicators 17 1.5 Aims of the study - 1999 18 1.6 ' Definitions 19 1.6.1 Naming the sector 19 1.6.2 Registered charity 22 1.6.3 Fundraising 23 1.6.4 Voluntary income 24 1.6.5 Marketing 25 1.7 Summary 26 2.
    [Show full text]
  • (Finland). Dept. of Education. IS
    DOCUMENT RESUME ED 338 560 SP 033 237 AUTHOR Kansanen, Pertti, Ed. TITLE Discussions on Some Educational Issues III. Research Report 94. INSTITUTION Helsinki Univ. (Finland). Dept. of Education. REPORT NO ISBN-951-45-5748-4; ISSN-0359-4203 PUB DATE 91 NOTE 167p. PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS *Academic Achievement; *Bilingual Education; Classroom Techniqu 3; Decision Making Skills; Discipline; *Educational Change; Educational Radio; Educational Television; Elementary Secondary Elucation; Foreign Countries; Higher Education; Multilingualism; *Programing (Broadcast); *Self Esteem; *Teacher Education; Theory Practice Relationship IDENTIFIERS *Finland ABSTRACT This publication consists of eight articles in which contributors discuss the following educational issues:(1) "Prospects for Schooling" (Friedrich W. Busch); (2) "Broadcasting, Education and Active Citizenship" (Brian Groombridge); (3) "On the Role of Mother-tongue Education in Multilingual Societies" (Wilfried Hartmann); (4) "Theory, Practice and Teacher Educa,:ion" (Paul H. Hirst); (5) "Pedagogical Thinking: The Basic Problem of Teacher Education" (Pertti Kansanen);(6) "Self-Esteem and School-Achievement Revisited" (Patrik Scheinin);(7) "An Ethnographic Approach in Research on Teaching" (Li.ja Syrjalainen); and (8) "Phenomenological Study of Concentration versus Disruption in Class" (Rupert Vierlinger). (LL) *********************************************************************** Reproductions supplied by EARS are the best that can be made from tiv.: original document. *********************************************************************** U S DEPARTMENT OF EDUCATION (lI Oti ai.o..a. $40f,0,1.. r DOCAIIONAL RI 501.11.4(1S iNt 011MAHON CI. NT f R (ERIC) Th.% Ilot urntinl haS *42,` .00,0Clig ttd ion. pposon 01 (11011ZalliVn 11.4,W,haiigPs havv OPP,- ',Wt. to .1piovf 't.1),Oduc1on- twalay - P,,15 ot,,ww Op.^.OnS %MVO n M.& dtx.
    [Show full text]
  • This Guide Is Available in Large Print on Request
    Disability And New Artistic Models A Study Room Guide to Live Art and Disability By Aaron Williamson July 2010 In May 2010 the Live Art Development Agency commissioned artist Aaron Williamson to research and write a Study Room Guide on Live Art and Disability drawing on the many publications and films the Agency houses that represent and engage with this issue, whilst also recommending new titles for the Agency to acquire. The Guide reflects the ways in which the practices of artists who work with Live Art have engaged with, represented, and problematicised issues of disability in innovative and radical ways, and the ways in which Live Art has been, and continues to be, a potent platform for artists to explore notions of physicality, identity and representation. This Guide is available in large print on request. About Aaron Williamson: My work as an artist is inspired by my experience of becoming deaf and by a politicised, yet humorous sensibility towards disability. Mostly, I devise unique performances and videos that are created on- site immediately prior to their public presentation. These consider the situation I encounter and represent, in part, my response to it. A constant theme is to challenge and subvert the traditional/ romantic valorisation of social ‘outsiderness’ and thus my performances and videos portray myself in the guise of sham-shamans, pretend- primitives, hoax-hermits, fake feral children, charlatan saints and dubious monsters. With these figures I explore and devise humorous or absurd actions that reference and pay homage to the ‘classic’ period of performance art in the 1960s and 70s.
    [Show full text]
  • Review and Accounts 2018/2019
    Life NATIONAL Review and Accounts 2018/2019 National Life Stories Chair’s Foreword When many people think about history, they think about of innovative interviewing programmes funded almost entirely books and documents, castles or stately homes. In fact history from sponsorship, charitable and individual donations and is all around us, in our own families and communities, in the voluntary effort. living memories and experiences of older people. Everyone has a story to tell about their life which is unique to them. Whilst Each collection comprises recorded in-depth interviews of a some people have been involved in momentous historical high standard, plus content summaries and transcripts to assist events, regardless of age or importance we all have interesting users. Access is provided via the Sound and Moving Image life stories to share. Unfortunately, because memories die Catalogue at sami.bl.uk and a growing number of interviews when people do, if we don’t record what people tell us, that are made available for remote web use through British Library history can be lost forever. Sounds at sounds.bl.uk. Each individual life story interview is several hours long, covering family background, childhood, National Life Stories was established in 1987 and its mission education, work, leisure and later life. is: ‘To record the first-hand experiences of as wide a cross section of society as possible, to preserve the recordings, to Alongside the British Library’s other oral history holdings, make them publicly available and encourage their use’. As an which stretch back to the beginning of the twentieth century, independent charitable trust within the Oral History Section of NLS’s recordings form a unique and invaluable record of the British Library, NLS’s key focus and expertise has been oral people’s lives in Britain today.
    [Show full text]
  • Chapter 1 – “You'll Never Know What You'll
    Contents Introduction Page 3 Acknowledgements Page 8 Chapter 1: “You’ll Never Know What You’ll See!” Page 9 Chapter 2: “Swing Your Pants!” Page 22 Chapter 3 – Strong Sustainable Saturdays Page 41 Chapter 4 – “Have You Ever Stroked A Weasel?” Page 56 Chapter 5 – A One Horse Battle Page 78 Sub-Chapter – What’s That Tune? Page 91 Chapter 6 – “You Know Where It’s At!” Page 97 Chapter 7 – “You Asked For It!” Page 125 Chapter 8 – DaD Vs MoM Page 147 Chapter 9 – The Beginning Of The End Of The Shows Page 180 Chapter 10 – “It’s Not Like The Old Days!” Page 207 2 Introduction Imagine the scenario. A visual cornucopia of entertainment, pop music, phone-ins with big name guests and viewers questions that know no boundaries, cartoons, games, the occasional adventure stunt, and comedy all taking place within one show. The viewer on the other hand is relaxed, possibly still in their pyjamas with a bowl of cereal on hand, knowing that amongst the fast paced antics, they’re in safe hands of up-for-a-laugh presenters, with a one-to-one relationship that’s crucial within a thriving atmosphere of this kind. All those conventions when blended together are associated with only one genre of television; the live Saturday morning magazine show. For over 30 years, both the BBC and ITV spent that one day of the week breaking the rules of conventional television, and that fact that it was primarily aimed at children meant that if anything went wrong, no one cared.
    [Show full text]