Education for a Digital World
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Literacy Promises
Literacy Promises The Thirty-Third Yearbook A Doubled Peer Reviewed Publication of the Association of Literacy Educators and Researchers Co-Editors Timothy Morrison Linda Martin Brigham Young University Ball State University Merry Boggs Susan Szabo Texas A&M University-Commerce Texas A&M University-Commerce Leslie Haas Editorial Assistant Texas A&M University-Commerce Copyright 2011 Association of Literacy Educators and Researchers Photocopy/reprint Permission Statement: Permission is hereby granted to professors and teaches to reprint or photocopy any article in the Yearbook for use in their classes, provided each copy of the article made shows the author and yearbook information sited in APA style. Such copies may not be sold, and further distribution is expressly prohibited. Except as authorized above, prior written permission must be obtained from the Association of Literacy Educators and Researchers to reproduce or trans- mit this work or portions thereof in any other form or by another electronic or mechanical means, including any information storage or retrieval system, unless expressly permitted by federal copyright laws. Address inquiries to the Association of Literacy Educators and Researchers (ALER), Dr. David Paige, School of Education, Bellarmine University, 2001 Newburg Road, Louisville, KY 40205 ISBN: 1-883604-17-6 Printed at Texas A&M University-Commerce Cover Design: Crystal Britton, Texas ii ALER OFFIC er S A ND Ele CT E D Boar D Member S Executive Officers 2009-2010 President: Laurie Elish-Piper, Northern Illinois University President-Elect: Mary F. Roe, Arizona State University Vice-President: John Smith, University of Texas at Arlington Past President: Mona Matthews, Georgia State University Executive Secretary: Kathleen (Kit) Mohr, University of North Texas Treasurer: David D. -
Napster: Winning the Download Race in Europe
Resolution 3.5 July/Aug 04 25/6/04 12:10 PM Page 50 business Napster: winning the download race in Europe A lot of ones and zeros have passed under the digital bridge on the information highway since November 2002, when this column reviewed fledgling legal music download services. Apple has proved there’s money to be made with iTunes music store, street-legal is no longer a novelty, major labels are no longer in the game ... but the Napster name remains. NIGEL JOPSON N RESOLUTION V1.5 Pressplay, co-owned by UK. There’s an all-you-can-download 7-day trial for Universal and Sony, received top marks for user UK residents who register at the Napster.co.uk site. Iexperience. Subscription service Pressplay launched While Apple has gone with individual song sales, with distribution partnerships from Microsoft’s MSN Roxio has stuck to the subscription model and service, Yahoo and Roxio. Roxio provided the CD skewed pricing accordingly. ‘We do regard burning technology. In November 2002, Roxio acquired subscription as the way forward for online music,’ the name and assets of the famed Napster service (which Leanne Sharman told me, ‘why pay £9.90 for 10 was in Chapter 11 protective bankruptcy) for US$5m songs when the same sum gives you unlimited access and 100,000 warrants in Roxio shares. Two months to over half a million tracks?’ earlier, Napster’s sale to Bertelsmann had been blocked Subscription services have come in for heavy — amid concerns the deal had not been done in good criticism from many informed commentators — mostly faith — this after Thomas Middlehoff had invested a multi-computer and iPod owning techno journalists like reputed US$60m of Bertelsmann’s money in Napster. -
Financing Music Labels in the Digital Era of Music: Live Concerts and Streaming Platforms
\\jciprod01\productn\H\HLS\7-1\HLS101.txt unknown Seq: 1 28-MAR-16 12:46 Financing Music Labels in the Digital Era of Music: Live Concerts and Streaming Platforms Loren Shokes* In the age of iPods, YouTube, Spotify, social media, and countless numbers of apps, anyone with a computer or smartphone readily has access to millions of hours of music. Despite the ever-increasing ease of delivering music to consumers, the recording industry has fallen victim to “the disease of free.”1 When digital music was first introduced in the late 1990s, indus- try experts and insiders postulated that it would parallel the introduction and eventual mainstream acceptance of the compact disc (CD). When CDs became publicly available in 1982,2 the music industry experienced an un- precedented boost in sales as consumers, en masse, traded in their vinyl records and cassette tapes for sleek new compact discs.3 However, the intro- duction of MP3 players and digital music files had the opposite effect and the recording industry has struggled to monetize and profit from the digital revolution.4 The birth of the file sharing website Napster5 in 1999 was the start of a sharp downhill turn for record labels and artists.6 Rather than pay * J.D. Candidate, Harvard Law School, Class of 2017. 1 See David Goldman, Music’s Lost Decade: Sales Cut in Half, CNN Money (Feb. 3, 2010), available at http://money.cnn.com/2010/02/02/news/companies/napster_ music_industry/. 2 See The Digital Era, Recording History: The History of Recording Technology, available at http://www.recording-history.org/HTML/musicbiz7.php (last visited July 28, 2015). -
In the Land of Blood and Honey What’S Fair Or Just in Love and War Crimes? Lessons for Transitional Justice* Carrie Menkel-Meadow
4 In The Land of Blood and Honey What’s Fair or Just in Love and War Crimes? Lessons for Transitional Justice* Carrie Menkel-Meadow n 1990, the University of California at Los Angeles (UCLA) held a conference on “Probing the Limits of Representation: Nazism and the IFinal Solution” during which leading international scholars of history, literature, cultural studies, philosophy, critical theory, arts, language, sociology, and psychology explored the question of whether the mass atrocities of Nazism and the Final Solution to exterminate all European Jewry could be represented in anything other than “factual” historical documentation and narrative (Friedlander 1992; White 1992; LaCapra 1996). This was some years after the first documentaries and “fictional- ized” films on the Holocaust had appeared, after Judgment at Nuremberg (Kramer 1961), but before Schindler’s List (Spielberg 1993) and after vari- ous cultural critics had said such things as “there can be no poetry after Auschwitz” (attributed to Theodor Adorno), and no morally acceptable artistic representation could be made of the Shoah (Friedlander 1992). The conference explored what were then called “limits to representation” of certain “truths,” so reprehensible, so mass and, at the same time, so spe- cific or so exceptional (the “German” problem; Maier 1988), that no genre could fully, morally, or “accurately” depict either the systematic evil or the mass pain, death, and injury that is the Holocaust. As the child of Holocaust survivors, I attended that conference as both scholar and one generation removed “victim,” having spent a lifetime listening to my family’s stories and seeing many visual images of both their own stories and the larger international one that was World War II. -
Illegal File Sharing
ILLEGAL FILE SHARING The sharing of copyright materials such as MUSIC or MOVIES either through P2P (peer-to-peer) file sharing or other means WITHOUT the permission of the copyright owner is ILLEGAL and can have very serious legal repercussions. Those found GUILTY of violating copyrights in this way have been fined ENORMOUS sums of money. Accordingly, the unauthorized distribution of copyrighted materials is PROHIBITED at Bellarmine University. The list of sites below is provided by Educause and some of the sites listed provide some or all content at no charge; they are funded by advertising or represent artists who want their material distributed for free, or for other reasons. Remember that just because content is free doesn't mean it's illegal. On the other hand, you may find websites offering to sell content which are not on the list below. Just because content is not free doesn't mean it's legal. Legal Alternatives for Downloading • ABC.com TV Shows • [adult swim] Video • Amazon MP3 Downloads • Amazon Instant Video • AOL Music • ARTISTdirect Network • AudioCandy • Audio Lunchbox • BearShare • Best Buy • BET Music • BET Shows • Blackberry World • Blip.fm • Blockbuster on Demand • Bravo TV • Buy.com • Cartoon Network Video • Zap2it • Catsmusic • CBS Video • CD Baby • Christian MP Free • CinemaNow • Clicker (formerly Modern Feed) • Comedy Central Video • Crackle • Criterion Online • The CW Video • Dimple Records • DirecTV Watch Online • Disney Videos • Dish Online • Download Fundraiser • DramaFever • The Electric Fetus • eMusic.com -
AT&T MOBILE MUSIC: Take Control of Your Music
AT&T MOBILE MUSIC: Take Control of Your Music AT&T Mobile Music is the only service that lets you bring subscription music services to your wireless phone, and it offers the largest collection of mobile music content available today from leading music retailers, such as Napster, Yahoo!® Music and eMusic. Designed to deliver “your music, your way,” AT&T Mobile Music puts you in touch with all things music directly from the handset. Available on select handsets, such as the Samsung a717 and a727, AT&T Mobile Music is the ultimate mobile music experience and provides one-click access to a complete suite of music-related content. Music Player Rip music from your CD collection, load it to your phone and select handsets, or play tracks that are accessible from digital music stores. You’ll need a data cable, memory card and stereo headset to fully rock your phone. Shop Music Show your style by downloading ringtones and Answer Tones™. Buy tracks from leading digital music stores, such as Napster, Yahoo! Music and eMusic on select handsets. Streaming Music When you need a change from your music, dozens of commercial-free channels stream the latest tunes in rock, hip-hop, jazz, Latin and other favorites. Add XM Radio or MobiRadio for $8.99 a month. Music Video With an AT&T 3G phone, you can watch your favorite music videos anytime, anywhere. The dancing, the amazing effects, the hot hits — all in the palm of your hand. MusicID “Who sings this?” “What’s this song called?” Know in a flash just by holding up your phone to the music. -
CONTRACT CONFLICT Guy A
COPYRIGHT © 2017 VIRGINIA LAW REVIEW ASSOCIATION COPYRIGHT SURVIVES: RETHINKING THE COPYRIGHT- CONTRACT CONFLICT Guy A. Rub* Twenty-one years ago, copyright died. More accurately, it was killed. In 1996, in ProCD v. Zeidenberg, Judge Easterbrook, writing for the Seventh Circuit, held that a contract that restricted the use of factual information was not preempted by the Copyright Act and therefore enforceable. The reaction among copyright scholars was swift and passionate. In dozens of articles and books, spreading over two decades, scholars cautioned that if the ProCD approach is broadly adopted, the results would be dire. Through contracts, the rights of copyright owners would run amok, expand, and in doing so they would invade, shrink, and possibly destroy the public domain. Contracts, we were repeatedly warned throughout the years, would kill copyright law. This Article challenges this scholarly consensus by studying the court opinions that have dealt with the copyright-contract conflict over the past four decades. This examination reveals surprising facts: notwithstanding the scholars’ warnings, ProCD’s approach won the day and was embraced by most federal circuit courts. The doomsday scenarios scholars warned against, however, did not materialize. The * Associate Professor, The Ohio State University Michael E. Moritz College of Law. I would like to thank Professors Clark Asay, Ian Ayres, Jonathan Baker, Scott Baker, Omri Ben-Shahar, Robert Brauneis, Wendy Gordon, David Hoffman, Robert Merges, Mark McKenna, Alan Michaels, Michael -
ICN 2020 Virtual Annual Conference Day
KnowledgeVision | ICN 2020 Day One Sept 14 CYNTHIA: Welcome to ICN 2020. We are delighted that you are joining us this week for the ICN Annual Conference. Today through Wednesday, we'll see two plenary discussions and related working group videos each day. On Thursday, we have special programming on ICN work related to NGAs, younger agencies, and economists. Each day you'll find the link to these session posted on the conference web page, just like you did today. If you have questions, suggestions, or just want to let us know that you're tuning in, you can email us at [email protected] and [email protected]. Follow ICN on Twitter. This week using the special hashtag ICN2020. And now it is my great pleasure to turn it over to [INAUDIBLE] president and ICN chair Andreas Mundt. ANDREAS Thanks a lot, Cynthia. Well, welcome to the 2020 ICN Annual Conference, a MUNDT: meeting of members of the ICN of our non-governmental advisors and many other people this time, because we take a chance and have more attendees than ever probably. We have four conference days ahead of us. We're going to have a host showcase. There will be working group plenaries. There will be special sessions for younger agencies for our non-governmental advisors for economists, and there will be a follow up program after the conference that will be organized by the working groups. There will be weekly events. Well, this is our first virtual conference. A virtual organization like the ICN and a virtual conference sounds easy, but in fact, it was hard to do that, to set up the program adjusted to the virtual world. -
Cashier Du Cinema
PROFILES CASHIER DU CINEMA After supermarkets, private equity, and politics, Ron Burkle makes a move on Hollywood. BY CONNIE BRUCK nside the towering iron gates of Green don’t want to think you’re in L.A., you’re Around that time, Burkle was seen at an Acres, a Beverly Hills estate built in not really in L.A.” L.A. night club, with “two drop-dead- theI nineteen-twenties by the silent-film Burkle turned Green Acres into the gorgeous girls, maybe twenty years old, actor Harold Lloyd, a narrow road climbs city’s premier political showcase. Shortly one on either arm,” a person who was at through eight acres of lawns and gardens after buying the estate, he hosted a fund- the club said. “It was such a statement: to a mansion modelled on the Villa Pal- raiser for Senator Dianne Feinstein, I can do whatever I want.” The New mieri, the Florentine palazzo where Boc- whose campaign he served as a finance York Post ran items about Burkle carous- caccio set the “Decameron.” One after- chair. The next year, he met Bill Clinton, ing with young models on his plane, noon in mid-June, the courtyard held a who was running for President, and the which had customized sleeping quarters. dozen gleaming sports cars—Lambor- two found a ready kinship. Although (Burkle, working with an F.B.I. sting, se- ghinis, Teslas, Ferraris, McLarens—ar- Burkle was a registered Republican until cretly videotaped the Post columnist ranged in a circular design, like giant steel 2004, by the mid-nineties he had be- Jared Paul Stern asking him for money petals. -
Beyond Napster, Beyond the United States: the Technological and International Legal Barriers to On-Line Copyright Enforcement
NYLS Law Review Vols. 22-63 (1976-2019) Volume 46 Issue 1 Judge Jon. O. Newman: A Symposium Celebrating his Thirty Years on the Federal Article 10 Bench January 2003 BEYOND NAPSTER, BEYOND THE UNITED STATES: THE TECHNOLOGICAL AND INTERNATIONAL LEGAL BARRIERS TO ON-LINE COPYRIGHT ENFORCEMENT Jeffrey L. Dodes Follow this and additional works at: https://digitalcommons.nyls.edu/nyls_law_review Part of the Communications Law Commons, Intellectual Property Law Commons, Internet Law Commons, Law and Society Commons, Legal History Commons, Litigation Commons, and the Rule of Law Commons Recommended Citation Jeffrey L. Dodes, BEYOND NAPSTER, BEYOND THE UNITED STATES: THE TECHNOLOGICAL AND INTERNATIONAL LEGAL BARRIERS TO ON-LINE COPYRIGHT ENFORCEMENT, 46 N.Y.L. SCH. L. REV. (2002-2003). This Note is brought to you for free and open access by DigitalCommons@NYLS. It has been accepted for inclusion in NYLS Law Review by an authorized editor of DigitalCommons@NYLS. \\server05\productn\N\NLR\46-1-2\NLR102.txt unknown Seq: 1 11-FEB-03 13:48 BEYOND NAPSTER, BEYOND THE UNITED STATES: THE TECHNOLOGICAL AND INTERNATIONAL LEGAL BARRIERS TO ON-LINE COPYRIGHT ENFORCEMENT I. INTRODUCTION Courts in the United States and throughout the world are faced with great challenges in adjudicating legal conflicts created by the rapid development of digital technologies. The proliferation of new technologies that allow for fast, reliable and widespread transmission of digital files has recently created a swell of litigation and media cover- age throughout the world. Copyright -
Praise for the Official Ubuntu Book
Praise for The Official Ubuntu Book “The Official Ubuntu Book is a great way to get you started with Ubuntu, giving you enough information to be productive without overloading you.” —John Stevenson, DZone Book Reviewer “OUB is one of the best books I’ve seen for beginners.” —Bill Blinn, TechByter Worldwide “This book is the perfect companion for users new to Linux and Ubuntu. It covers the basics in a concise and well-organized manner. General use is covered separately from troubleshooting and error-handling, making the book well-suited both for the beginner as well as the user that needs extended help.” —Thomas Petrucha, Austria Ubuntu User Group “I have recommended this book to several users who I instruct regularly on the use of Ubuntu. All of them have been satisfied with their purchase and have even been able to use it to help them in their journey along the way.” —Chris Crisafulli, Ubuntu LoCo Council, Florida Local Community Team “This text demystifies a very powerful Linux operating system . in just a few weeks of having it, I’ve used it as a quick reference a half dozen times, which saved me the time I would have spent scouring the Ubuntu forums online.” —Darren Frey, Member, Houston Local User Group This page intentionally left blank The Official Ubuntu Book Sixth Edition This page intentionally left blank The Official Ubuntu Book Sixth Edition Benjamin Mako Hill Matthew Helmke Amber Graner Corey Burger With Jonathan Jesse, Kyle Rankin, and Jono Bacon Upper Saddle River, NJ • Boston • Indianapolis • San Francisco New York • Toronto • Montreal • London • Munich • Paris • Madrid Capetown • Sydney • Tokyo • Singapore • Mexico City Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. -
The Open Source Way 2.0
THE OPEN SOURCE WAY 2.0 Contributors Version 2.0, 2020-12-16: This release contains opinions Table of Contents Presenting the Open Source Way . 2 The Shape of Things (I.e., Assumptions We Are Making) . 2 Structure of This Guide. 4 A Community of Practice Always Rebuilding Itself . 5 Getting Started. 6 Community 101: Understanding, Joining, or Forming a New Community . 6 New Project Checklist . 14 Creating an Open Source Product Strategy . 16 Attracting Users . 19 Communication Norms in Open Source Software Projects . 20 To Build Diverse Open Source Communities, Make Them Inclusive First . 36 Guiding Participants . 48 Why Do People Participate in Open Source Communities?. 48 Growing Contributors . 52 From Users to Contributors. 52 What Is a Contribution? . 58 Essentials of Building a Community . 59 Onboarding . 66 Creating a Culture of Mentorship . 71 Project and Community Governance . 78 Community Roles . 97 Community Manager Self-Care . 103 Measuring Success . 122 Defining Healthy Communities . 123 Understanding Community Metrics . 136 Announcing Software Releases . 144 Contributors . 148 Chapters writers. 148 Project teams. 149 This guidebook is available in HTML single page and PDF. Bugs (mistakes, comments, etc.) with this release may be filed as an issue in our repo on GitHub. You are also welcome to bring it as a discussion to our forum/mailing list. 1 Presenting the Open Source Way An English idiom says, "There is a method to my madness."[1] Most of the time, the things we do make absolutely no sense to outside observers. Out of context, they look like sheer madness. But for those inside that messiness—inside that whirlwind of activity—there’s a certain regularity, a certain predictability, and a certain motive.