The other group of island nations will arrive by flight next Thursday, next Monday and Friday and will spend 14 days in managed isolation before traveling to various parts of the country to start work.
Samoa has had no reported cases of Covid since late last year and the country has not experienced community transmission of the virus.
At Samoa’s Faleolo International Airport yesterday there was a scene of joy as family and friends of those heading to New Zealand gathered to say goodbye to loved ones.
Those who take part in the RSE scheme can easily be spotted – with everyone in the group wearing Aloha shirts with island motifs in red and white.
This arrival will be good news for many farmers and farmers who have experienced a shortage of workers – and hence rotting fruit or produce – in recent months due to Covid-19 travel restrictions.
However, there are some conditions for this season – one of which is that only workers with at least one season of experience here are eligible to come.
Immigration NZ has supported officials from individual Pacific nations on the actions everyone needs to take this season; including providing a list of items to pack and what to expect in two weeks they will be isolated.
For employers, only those with an Agreement to Recruit classification can employ RSE workers from abroad.
The employer must make several “additional commitments”, as set forth by the Immigration officer.
That includes paying staff $ 22.10 per hour, providing pastoral care and ensuring workers will be employed for the full period of their visa.
The NZ High Commission in Samoa pays tribute to the nation’s close ties and ties with New Zealand; said: “We are in the same waka.”
“The RSE scheme allows for much needed income and skills flows between New Zealand and our Pacific neighbors,” said the statement posted online.
“We are very pleased the workers can return for the 2021 season.”
New Zealand artist CF Goldie’s Sleep ’tis a Gentle Thing’ was stolen along with many other unique works of art and antiques. Photo / NZ Police
A major seller of Goldie’s paintings in the country said a piece depicting a late Māori rangatira reportedly stolen today would be worth more than a million dollars.
The Waikato police are looking for information regarding the robbery, including a painting titled Sleep ’tis a Gentle Thing, by Ngāti Maru and chief Ngāti Paoa Hori Pokai, by New Zealand artist Charles Frederick Goldie.
Police believe it occurred in the Hamilton East area between 27 December 2020 and 3 January 2021.
Other artwork and antiques were stolen, including Koch & Bergfeld’s tableware.
Goldie’s most expensive piece, A Noble Relic of a Noble Race, from chief Ngāti Manawa Wharekauri Tahuna, sold for $ 1,337,687 at an International Arts Center auction in Auckland in 2016.
Director Richard Thomson said he sold another version of the stolen painting in 2008 for a record price of $ 454,000.
“So that’s a million dollars plus artwork that’s on the market today. I’ve sold dozens of Goldies, and it’s a really good example of his work, it has all the advantages.
“I’m quite annoyed [the burglary]. This is a very important national treasure. The owner is the keeper, but the country owns it, really. “
The stolen painting was most likely done between 1933 and 1938, when Goldie was in his sixties.
While Goldie’s previous work tends to fetch the highest price, Thomson says the 2016 record was set in 1941.
Despite his high ratings, Thomson said he thought it would be “worthless” in the hands of the thief.
“There is absolutely no market for it now in the wrong hands. It’s a stupid thing to do and all they’ll get is bad karma.
“My advice is to come back as quickly and safely as possible.”
Webb auction house art chief Charles Ninow said another version of the painting was sold, at a different auction house, in 2012 for $ 280,000.
He believes in today’s market it will be worth “easily over $ 500,000”.
“I remember selling it at a higher than average price, but the market has since been wild for Goldie. His art is just one of those things whose value goes up every year.”
Ninow said he thought it would be rated a little lower than the previous work because of Goldie’s age at the time.
“When he was younger in his career he was in a better mental state, and did this very detailed painting. As they get older they become a little more poetic, looser, and that can affect grades.”
Having such a painting stolen would be of great concern not only to the owner, but also to Māori, who regarded the depiction of tūpuna, the ancestor, as “embodying vairua, soul, nurturer”.
“So, stealing it and not knowing it exists is a huge loss for Aotearoa, for our culture and our nation.”
Ninow said the thieves likely knew what they were doing.
“His works were instantly recognizable, he was very famous, like Colin McCahon. Everyone knows them, and very much sought after. If you’ve seen him in person, it’s very different to you.”
But Ninow believes that it is “impossible” to sell underground.
“The New Zealand art market is bigger than most people think, but it’s still small, and unlikely to be sold through traditional channels. Once it is known that a work has dubious origins, no one will touch it.
“With the stolen works, we often never know what happened to them. They move through these underground channels and we never see them again, but I really hope that doesn’t happen and we can see them again.”
The police asked members of the public for information or possible sightings of the stolen items.
“This is definitely a very special legacy and we want to return it to its owner as quickly as possible,” said Constable Ben Monk of Hamilton’s Tactical Crime Unit.
“If you have information, please call the police on 105 and excerpt file 210103/2961.
“Alternatively, you can call Crime Stoppers on 0800 555 111.”
(MENAFN – Swissinfo) Half of all hotel and restaurant businesses in Switzerland will go bankrupt by the end of March if they do not receive direct financial compensation for the effects of the coronavirus restrictions, warned the sector’s umbrella organization.
This content is published January 10, 2021 – 15:23 January 10, 2021 – 15:23 swissinfo.ch/jc
Based on a survey of more than 4,000 members, GastroSuisse said 98% of its members need support, and that ‘with every wave of coronavirus comes a wave of repeats’.
“In November and December, there was a second wave of redundancy in the hotel and catering industry,” he said in a statement. press release external link on Sunday. Nearly 60% of businesses that laid off staff during that year would have to do so again by the end of 2020, according to GastroSuisse. “So, it is up to the federal government to prevent a nationwide catastrophe and a third wave of job losses in the hotel and restaurant sector.”
GastroSuisse correctly said in October that 100,000 jobs were at risk. “In recent months, the situation has worsened again mainly due to the incomprehensible government decision to close the restaurant.”
Legal Disclaimer: MENAFN provides information “as is” without warranty of any kind. We are not responsible or liable for the accuracy, content, images, videos, licenses, completeness, legality or reliability of the information contained in this article. If you have a complaint or copyright issue related to this article, please contact the provider above.
Graphics used by Sir Ian Taylor Animation Research’s company during a pre-Christmas racing broadcast.
Sir Russell Coutts’ sailing interests have warned that if the graphics used by Sir Ian Taylor’s Animation Research for the pre-Christmas races were used in broadcasting the 36th America’s Cup, the High Court alleges copyright infringement would be filed.
The warning shots fired by two companies led by Coutts – Oracle Racing and F50 League LLC traded as SailGP – had consequences for how the upcoming Prada Cup and America’s Cup were broadcast.
A legal notice alleging copyright infringement during a pre-Christmas race over the graphics used in what is known as the LiveLine system of the augmented reality broadcast was sent to Animation Research Limited (ARL) and two other parties on December 23.
Taylor – most recently knighted for his work including pioneering the development of the world’s leading real-time 3D visualization for major sports broadcasts starting with Virtual Eyes for the America’s Cup – said he was “deeply disappointed” that his New Zealand counterparts served his company in a way violates copyright notices that could “seriously impact coverage of the upcoming Prada Cup and the Copa America itself”.
In response to the Herald’s question, Sir Russell Coutts said, “We are only trying to protect IP [intellectual property] which we’ve invested millions of dollars in developing over the last decade.
“We prefer not to be forced to protect our rights through legal process, but like all copyrighted material, it must be licensed for use by commercial entities.
“We have asked that the current Copa America organizers avoid breaches by revising their charts, or paying a license fee accordingly.”
Taylor claims the two Coutts-led companies claim copyrights based on the ARL image created in 1992 and which has been used at every Copa America since then – including in 1995 when Coutts famously created the “Cup of America, Cup of New Zealand”.
“We have submitted the chart for events where he also raced against New Zealand, starting with him winning the Cup from New Zealand with Alinghi (Switzerland) in 2003 and then winning it from Alinghi for BMW Oracle (USA) in 2010,” said Taylor.
Oracle Racing and SailGP believe that the intellectual property associated with Animation Research’s graphics has been transferred to event organizers at previous America’s Cup regattas.
Oracle Racing and SailGP are at the center of rival high-tech screen series, spearheaded by billionaire Oracle founder Larry Ellison and Coutts, the most successful helmsman in America’s Cup history.
Their goal is to use the LiveLine graphics – whose copyright they claim – during the series.
Taylor confirmed to the Herald that he wrote to Coutts on December 7 last year detailing Animation Research technology that had been contracted to provide broadcasting of the 36th America’s Cup.
Taylor said he approached Coutts late last year offering to share the new technology ARL had developed. He said he didn’t hear back until shortly before the first pre-Christmas regatta began, during which Coutts advised he had some concerns about ARL’s plans, but didn’t share what those concerns were.
“Next we heard from him was an official letter arriving on December 23, just as we closed for Christmas, with a January 5 deadline for our response. It would be fair to say that made our plans a bit of a mess.”
Earlier, the record contender began talks with Coutts, asking about securing a license to use the LiveLine system in an upcoming American Cup series.
It was finally rejected by the challenger.
The Coutts-led company said that if Animation Research wants to continue using what it claims is a copied image, they are willing to discuss the appropriate license terms.
Taylor admits the LiveLine chart is a significant step forward.
Taylor claims what Coutts creates is based entirely on the universally acclaimed 3D ARL Virtual Eye graphic display as ultimately making sense for cruising.
“We were really surprised because it was one step forward in telling the story of the Copa America.”
Taylor said for the 36th America’s Cup, ARL is adapting its own package of augmented reality graphics that it uses in other sports, including golf and cricket, to bring the technology to screen as well.
“Technology has advanced significantly since 2017 in Bermuda.”
Taylor said the outcome of the action under threat was that ARL would now put forward the ideas they plan to launch around the Copa America defense and apply them to the Prada Cup, which takes place this weekend in Auckland.
“That means having to bring some of the team off their vacation but there is no way we want this Kiwi show in Waitematā to be compromised in any way,” said Taylor.
“My real hope is that we can forget about this and do something together that will benefit this sport that Russell has contributed so much to.”
Taylor and two others sent a lengthy response to Oracle Racing and SailGP on Friday evening after the original January 5 deadline was extended, but at this stage the matter has not been resolved.
What the Sir Russell Coutts company claims LiveLine is an augmented reality system in the scope of racing, which involves the use of a field graphic overlaid on live footage of racing action on water, complemented by real-time data obtained from multiple sources including onboard sensors. The system is protected by a US patent and the company led by Coutts has claimed copyright on a related graphics package that has the key elements: Off-track borders; ability to display written material within borders; a ladder or frame and a number placed under the parallel line to reflect the boat’s direction and distance to the next mark.
Sir Ian Taylor’s response The company led by Coutts claims copyright to the three elements we use in our Virtual Eye graphics pack. The first is a closed border, basically a playing field governed by the rules, the second is a grid of parallel lines showing where the boats are connected to each other and the buoy markers, and finally the sponsor’s name is lying on the water.
We’ve been doing most of this since 1992 and have done it at every Copa America since then. Due to this threat we had to take our staff on a day off to implement a new package to be used for the Games. [the America’s Cup defence], but now we will introduce it for the Prada Cup so that the fans are not harmed by this action.