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When are #ICEProtests ‘illegal’ in #Texas? Here’s what state and federal laws say

By Tiffani Jackson Updated June 12, 2025

Excerpt: "What are your rights to protest on public or private property? Your rights are strongest in “traditional public forums,” like parks, sidewalks and streets, according to the American Civil Liberties Union. While you generally have the freedom to express yourself on other public land, like plazas outside government buildings, it’s important that your actions don’t block access or interfere with the building’s intended function.

"On private property, the owner has the right to impose restrictions on speech. However, the government cannot limit your speech if you’re on your own property or have permission from the owner. It’s also important to remember that counter-protesters have the same rights to free expression, and police must treat both protesters and counter-protesters equally.

"Is it legal to take photos or video protests, police or government buildings? You are legally allowed to photograph anything in plain view, including government buildings and law enforcement officers, when you’re in a public area.

"On private property, however, the property owner may have their own rules about photography or video recording.

"What is an ‘illegal protest’? Protesting is a fundamental right protected by the First Amendment, but not every demonstration is automatically legal. According to the Freedom Forum, a nonpartisan foundation dedicated to preserving the First Amendment, the following actions can cross the line and turn a peaceful protest into one that could get you arrested:

- Violence or destruction of property – If a protest turns violent, involves #vandalism, or causes harm to people or property, it’s no longer protected under #FreeSpeech laws.

- Trespassing on private property – Protests are generally allowed in public spaces, like sidewalks and parks. But if demonstrators enter private property without permission, they could face trespassing charges.

- Blocking roads or public services – #Marching in the street without a permit or blocking traffic can make a protest illegal. Many cities require permits for demonstrations, especially those that could disrupt public order.

" 'It can’t be about the content of the speech, because content and viewpoint are protected by the #First =Amendment,' TCU media law professor and First Amendment expert Daxton “Chip” Stewart said. 'It has to be about something else. A protest that #BlocksTraffic, for example, or that arises to violence.' Texas laws about protesting

"According to the Texas Law Library, there are specific restrictions on where protests cannot take place.

"For example, it’s illegal to protest within 1,000 feet of a funeral service from three hours before to three hours after the event, as this could disrupt the service. Likewise, protests at #CriticalInfrastructure sites, like oil pipelines or #construction areas, are heavily regulated, with severe penalties for trespassing or disrupting these facilities.

"Additionally, blocking #highways, #sidewalks or any passageways that are accessible to the public — especially emergency routes—is prohibited, and doing so can lead to felony charges.

"#Protests that turn disorderly or disrupt lawful meetings also fall under legal restrictions. Finally, any actions that involve violence or #loud, disruptive noise are subject to criminal penalties.

"What are your rights if you protest on college campus? In 2019, Texas passed a law that made all common outdoor spaces on public university campuses 'traditional public forums.'

"This means that anyone — whether you’re a student, staff member, or just someone from the community — can express themselves, whether that’s through protests or other demonstrations, as long as it’s lawful and doesn’t seriously disrupt the university’s operations."

Read more:
star-telegram.com/news/local/f

#TexasResists #NoKingsEvents
#NonViolentProtests #ProtestLaws #Project2025 #Authoritarianism #AntiProtestLaws #TrafficInterference

“Let us disarm #communication of all #prejudice and resentment, #fanaticism and even #hatred; let us free it from #aggression,” #PopeLeo told more than 1,000 #journalists, including the #Vatican Press corps, who gathered in an auditorium in Vatican City on May 12, 2025. “We do not need #loud, forceful communication but rather communication that is capable of listening,” he added, delivering his address in #Italian. #peace #liberty #democracy #journalism #civilliberties #freedom

My PhD thesis "Linked Open Usable Data for Cultural Heritage: Perspectives on Community Practices and Semantic Interoperability" is now (finally) available in HTML format: phd.julsraemy.ch/thesis.html (not perfect I reckon)

The PDF was published in December 2024 on the University of Basel's repository: doi.org/10.5451/unibas-ep96807.

@IIIF
#LinkedData #LOUD #CulturalHeritage #DigitalHumanities #IIIF #LinkedArt #GLAM

phd.julsraemy.chLinked Open Usable Data for Cultural Heritage: Perspectives on Community Practices and Semantic InteroperabilityDigital technologies have fundamentally transformed how Cultural Heritage (CH) collections are accessed and engaged with. Linked Open Usable Data (LOUD) specifications, including the International Image Interoperability Framework (IIIF) Presentation API 3.0, Linked Art, and the Web Annotation Data Model (WADM), have emerged as web standards to facilitate the description and dissemination of these valuable resources. Despite the widespread adoption of IIIF, implementing LOUD specifications, particularly in combination, remains challenging. This is especially evident in the development and assessment of infrastructures, or sites of assemblage, that support these standards. This research is guided by two perspectives: community practices and semantic interoperability. The first perspective assesses how organizations, individuals, and apparatuses engage with and contribute to the consensus-making processes surrounding LOUD. By examining these practices, the social fabrics of the LOUD ecosystem can be better understood. The second perspective focuses on making data meaningful to machines in a standardized, interoperable manner that promotes the exchange of well-formed information. This research is grounded in the SNSF-funded project, *Participatory Knowledge Practices in Analogue and Digital Image Archives* (PIA) (2021–2025), which aims to develop a citizen science platform for three photographic collections from the Cultural Anthropology Switzerland (CAS) archives. Actor-Network Theory (ANT) forms the theoretical foundation, aiming to describe the collaborative structures of the LOUD ecosystem and emphasize the role of non-human actors. Beyond its implementation within the PIA project, this research includes an analysis of the social dynamics within the IIIF and Linked Art communities and an investigation of Yale's Collections Discovery platform, LUX. The research identifies socio-technical requirements for developing specifications aligned with LOUD principles. It also examines how the implementation of LOUD standards in PIA highlights their potential benefits and limitations in facilitating data reuse and broader participation. Additionally, it explores Yale University's large-scale deployment of LOUD standards, emphasizing the importance of ensuring consistency between Linked Art and IIIF resources within the LUX platform for the CH domain. The core methodology of this thesis is an actor- and practice-centered inquiry, focusing on a detailed examination of specific cosmologies within LOUD-driven communities, PIA, and LUX. This micro-perspective approach provides rich empirical evidence to unravel the intricate web of cultural processes and constellations in these contexts. Key empirical findings indicate that LOUD enhances the discoverability and integration of data in CH, requiring community-driven consensus on model interoperability. However, significant challenges include engaging marginalized groups, sustaining long-term participation, and balancing technological and social factors. Strategic use of technology and the capture of digital materiality are critical, but LOUD also poses challenges related to resource investment, data consistency, and the broader implementation of complex patterns. LOUD should lead efforts to improve the accessibility and usability of CH data. The community-driven methodologies of IIIF and Linked Art inherently foster collaboration and transparency, making these standards essential tools in evolving data management practices. Even for institutions and projects that do not adopt these specifications, the socio-technical practices of LOUD offer vital insights into effective digital stewardship and strategies for community engagement.

In coming episode on SDF I still need to fix my tilde shit. Looks like total system failure on my part give me another week or two and we will blow speakers on the fediverse! Problem is time 😉

Join us tonight for a new episode of Organized Chaos where we play some crazy shit!

01:00 UTC anonradio.net

Today marks a major milestone for cultural heritage: Linked Art 1.0 is officially released! 🎉

linked.art/about/1.0/

This specification (data model and API) provides museums, libraries, and archives with a standardised way to share and connect their collections data, built on standards.

Proud to see major institutions already adopting Linked Art (Yale, Rijksmuseum, Getty, National Gallery of Art) which makes cultural heritage data more discoverable, accessible, and connected.

#LinkedArt #GLAM #CulturalHeritage #Museums #DigitalHumanities #SemanticWeb #KnowledgeGraphs #LinkedData #LOUD

@azaroth42

linked.artLinked Art 1.0 Released - Linked ArtLinked Open Usable Data for Cultural Heritage