The harsh light from our screens can get tiring on the eyes, but as fate would have it, we 21st century creatures simply cannot live without our devices. While it might be difficult to reduce our screen time, having a soothing wallpaper might help make things easier on the eyes, and these cute animal-themed wallpapers from Korean artist zzirong homes, who goes by @zzirongx.x on Instagram, might be just what you need.

These wallpapers come in muted tones, and show various animal characters such as a duck, mouse, and porcupine going on adventures in nature and sharing warm moments together. They come in a variety of dimensions to suit not just smartphones but also computers and tablets, and the artist has very kindly allowed fans to save them for personal usage for free. Here are 15 of our favourites:

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Each year, vast quantities of live animals and goods are being traded within and into the European Union (EU) for the benefit of over 440 million Europeans, raising the question: how can the European citizens be sure that the food reaching their plates is safe? For this reason, the European Commission has taken extensive action over the past years to ensure the safety of the agri-food chain. The establishment and operation of TRACES has been an essential component of this accomplishment.

TRACES is the European Commission's online platform for animal and plant health certification required for the importation of animals, animal products, food and feed of non-animal origin and plants into the European Union, and the intra-EU trade and EU exports of animals and certain animal products. 

Today, TRACES is an indispensable tool used in about 90 countries, with more than 113 000 users worldwide for the issuance of sanitary and phytosanitary certificates and official documents required for imports, intra EU movements and exports from the EU of animals and goods.

TRACES is the platform in which traders can issue official documents and where national authorities can monitor and ensure that trade of live animals and goods are adhering to and complies with the requirements and conditions defined by the European legislation. It is an efficient tool to ensure:

TRACES facilitates the exchange of data, information and documents between all involved trading parties and control authorities and therefore simplifies and speeds up the administrative procedures. The integrated statistical tool allows the extraction of valuable data in relation to imports into the EU, exports from the EU and intra-Union trade. For a comprehensive list about the activities that TRACES accommodate, visit the TRACES modules and features page.

The possibility to trace back and forth all the movements of animals, animal products, food and feed of non-animal origin and plants contributes to the reduction of the impact of disease outbreaks and allows for a quick response to counter certain serious risks along the agri-food chain.

The TRACES platform fosters collaboration between the competent authorities of EU countries and non-EU countries, but also between the traders themselves and their competent authorities. When a decision is taken on a consignment, the involved parties are notified and have access to the relevant documents. TRACES allows for the quick detection of fake certificates and therefore contributes to the fight against food fraud and enhances cooperation and collaboration between authorities.

TRACES continues to facilitate movements of animals and goods, and it also plays an important role in ensuring their traceability across the globe. Working along with other information systems managed by the Commission, official controls can be performed more efficiently, and the application of the Union agri-food chain legislation can be monitored. The statistical tool QlikView is replaced by QlikSense, enhancing the visualisation of TRACES data.

The Commission adopts the IMSOC Regulation to lay down the rules for the functioning of the IMSOC and its system components (TRACES, iRASFF, ADIS, EUROPHYT). Additionally, the new Official Controls Regulation has expanded the scope of TRACES to all the categories of animals and goods subject to official controls at the border control posts of the European Union. The use of TRACES to issue the Common Health Entry Document (CHED) for animals and goods entering the European Union has become mandatory since 14 December 2019.

TRACES grew significantly during the first decade by accommodating over 5 modules and linking its data with other IT systems of the Commission, such as iRASFF. In 2013, the platform expanded to the plant health domain as well. The data registered in TRACES, was made accessible to authorities by introducing the statistical tool called QlikView.

The TRACES Classic system is established with the objective of creating a single, integrated computerised veterinary system, available to all Member States, for the recording of intra-Union movements and imports of animals and certain goods.

Between 2011 and 2018, a series of disputes took place about the copyright status of selfies taken by Celebes crested macaques using equipment belonging to the British wildlife photographer David J. Slater. The disputes involved Wikimedia Commons and the blog Techdirt, which have hosted the images following their publication in newspapers in July 2011 over Slater's objections that he holds the copyright, and People for the Ethical Treatment of Animals (PETA), who have argued that the copyright should be assigned to the macaque.

Slater has argued that he has a valid copyright claim because he engineered the situation that resulted in the pictures by travelling to Indonesia, befriending a group of wild macaques, and setting up his camera equipment in such a way that a selfie might come about. The Wikimedia Foundation's 2014 refusal to remove the pictures from its Wikimedia Commons image library was based on the understanding that copyright is held by the creator, that a non-human creator (not being a legal person) cannot hold copyright, and that the images are thus in the public domain.

Slater stated in August 2014 that, as a result of the pictures being available on Wikipedia, he had lost at least 10,000 (equivalent to 14,143 in 2023) in income and his business as a wildlife photographer was being harmed.[1] In December 2014, the United States Copyright Office stated that works created by a non-human, such as a photograph taken by a monkey, are not copyrightable.[2] A number of legal experts in the US and UK have argued that Slater's role in the photographic process may have been sufficient to establish a valid copyright claim, though this decision would have to be made by a court.[3][4][5]

In a separate dispute, PETA tried to use the monkey selfies to establish a legal precedent that animals should be declared copyright holders. Slater had published a book containing the photographs through the self-publishing company Blurb, Inc. In September 2015, PETA filed a lawsuit against Slater and Blurb, requesting that the copyright be assigned to the macaque and that PETA be appointed to administer proceeds from the photos for the endangered species' benefit.[6] In dismissing PETA's case, a federal district court ruled that a monkey cannot own copyright under US law.[7] PETA appealed. In September 2017, PETA and Slater agreed to a settlement in which Slater would donate a portion of future revenues on the photographs to wildlife organizations. However, the court of appeals declined to dismiss the appeal and declined to vacate the lower court judgment.[8] In April 2018, the appeals court ruled that animals cannot legally hold copyrights and expressed concern that PETA's motivations had been to promote their own interests rather than to protect the legal rights of the monkeys.[9]

Since 2008, British nature photographer David Slater had traveled to Indonesia to take photographs of the critically endangered Celebes crested macaques. In 2011 he licensed several images to the Caters News Agency who released them, along with a written promotional press release with quotes from Slater, for publication in the British media.[10][11] On 4 July 2011 several publications, including The Telegraph and The Guardian, picked up the story and published the pictures along with articles that quoted Slater as describing the photographs as self-portraits taken by the monkeys, such as "Monkey steals camera to snap himself" (The Telegraph),[12] and "a camera on a tripod" triggered by the monkeys (The Guardian).[13] The articles also contained Slater quotes such as "He must have taken hundreds of pictures by the time I got my camera back." The following day, Amateur Photographer reported that Slater gave them further explanation as to how the photographs were created, downplaying the way newspaper articles had described them; Slater said reports that a monkey ran off with his camera and "began taking self-portraits" were incorrect and that the portrait was shot when his camera had been mounted on a tripod, with the primates playing around with a remote cable release as he fended off other monkeys.[14]

Slater gave further description on his website and in other media accounts, saying he and a guide followed the monkeys for three days, gaining their trust on the second day.[15] According to Slater, in his attempts to get photographs of the monkeys, he found that they were fascinated with the camera and the camera gear and kept playing with it, but they also kept trying to run off with the camera. Slater further stated in a 7 August 2014 Amateur Photographer follow-up article that "I wanted a close-up image but I couldn't do it. They were too nervous, so I had to get them [the monkeys] to come to the camera without me being there and get them to play with the release, which they did". He added: "They were looking at the reflection in the lens, which they found amusing".[16] In an attempt to get a portrait of the monkeys' faces, Slater said he set the camera on a tripod with a large wide-angle lens attached, and set the camera's settings to optimize the chances of getting a facial close up, using predictive autofocus, motor drive, and a flashgun. Slater further stated that he set the camera's remote shutter trigger next to the camera and, while he held onto the tripod, the monkeys spent 30 minutes looking into the lens and playing with the camera gear, triggering the remote multiple times and capturing many photographs. The session ended when the "dominant male at times became over excited and eventually gave me a whack with his hand as he bounced off my back".[15] Slater also said in a 28 July 2017 Vice magazine interview that some news outlets were misreporting how he obtained the selfie, but he went along with it because it was "a bit of fun and some good publicity for the conservation cause".[17] 152ee80cbc

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