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Ebook Download Public Domain, the 8Th Edition Ebook, Epub
PUBLIC DOMAIN, THE 8TH EDITION PDF, EPUB, EBOOK Stephen Fishman | 9781413324020 | | | | | Public Domain, The 8th edition PDF Book Thank you! Submit a Tip All tip submissions are carefully reviewed before being published. Through this link , you will find filtered all the songs in the public domain. Plagiarism is defined as intentionally or unintentionally using the ideas, language, or work of another without acknowledgement that such material is not one's own. What does this mean? The 'Other'. Example of "Chasing Citations" when you read something and want to find the original. Pdinfo is a project that provides information, scores and music tracks in the public domain. Pay by Credit Card. Lofting, Hugh. The Adventures of Chatterer the Red Squirrel. Harold Greenlee "His 'eighth major edition' contains a critical apparatus which has never been equaled in comprehensiveness of citation of Greek mss. After some struggles, he managed to build a great source of information for people who need amazing background music for their projects and videos. Audio Software icon An illustration of a 3. By continuing to use our site, you agree to our cookie policy. They are public domain works, in the USA and in many other countries. The Princess and the Goblin. Folkscanomy : A collection of books and text derived from the efforts of volunteers to make information as widely available as possible. Navy - contains good information on knots. The part that appears in green is the part corresponding to public domain music. Public Domain Resources from. The copyright on the musical composition is given on all the elements that make up the composition, such as the music and the lyrics. -
Grounding TV's Material Heritage: Place-Based Projects That Value Or
Repositorium für die Medienwissenschaft Jennifer VanderBurgh Grounding TV’s Material Heritage: Place-based Projects That Value or Vilify Amateur Videocassette Recordings of Television 2019-10-27 https://doi.org/10.25969/mediarep/14766 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: VanderBurgh, Jennifer: Grounding TV’s Material Heritage: Place-based Projects That Value or Vilify Amateur Videocassette Recordings of Television. In: VIEW Journal of European Television History and Culture, Jg. 8 (2019-10-27), Nr. 15, S. 59–78. DOI: https://doi.org/10.25969/mediarep/14766. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.18146/2213-0969.2019.jethc165 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0 Attribution - Share Alike 4.0 License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz http://creativecommons.org/licenses/by-sa/4.0 finden Sie hier: http://creativecommons.org/licenses/by-sa/4.0 volume 8 issue 15/2019 GROUNDING TV’S MATERIAL HERITAGE PLACE-BASED PROJECTS THAT VALUE OR VILIFY AMATEUR VIDEOCASSETTE RECORDINGS OF TELEVISION Jennifer VanderBurgh Saint Mary’s University Department of English Language and Literature 923 Robie St. Halifax, Nova Scotia, B3H 3C3 Canada [email protected] Abstract: VCRs were once prized for their ability to allow amateurs to create material records of ephemeral television broadcasts. But what value do amateur video-recordings of television have at their late stage of obsolescence? This article outlines some of the discursive parameters surrounding the perceived use-value of amateur video-recordings of television, drawing on case studies of video collection projects that are divided on the question of whether amateur television video-recordings continue to have merit. -
You Are Not Welcome Among Us: Pirates and the State
International Journal of Communication 9(2015), 890–908 1932–8036/20150005 You Are Not Welcome Among Us: Pirates and the State JESSICA L. BEYER University of Washington, USA FENWICK MCKELVEY1 Concordia University, Canada In a historical review focused on digital piracy, we explore the relationship between hacker politics and the state. We distinguish between two core aspects of piracy—the challenge to property rights and the challenge to state power—and argue that digital piracy should be considered more broadly as a challenge to the authority of the state. We trace generations of peer-to-peer networking, showing that digital piracy is a key component in the development of a political platform that advocates for a set of ideals grounded in collaborative culture, nonhierarchical organization, and a reliance on the network. We assert that this politics expresses itself in a philosophy that was formed together with the development of the state-evading forms of communication that perpetuate unmanageable networks. Keywords: pirates, information politics, intellectual property, state networks Introduction Digital piracy is most frequently framed as a challenge to property rights or as theft. This framing is not incorrect, but it overemphasizes intellectual property regimes and, in doing so, underemphasizes the broader political challenge posed by digital pirates. In fact, digital pirates and broader “hacker culture” are part of a political challenge to the state, as well as a challenge to property rights regimes. This challenge is articulated in terms of contributory culture, in contrast to the commodification and enclosures of capitalist culture; as nonhierarchical, in contrast to the strict hierarchies of the modern state; and as faith in the potential of a seemingly uncontrollable communication technology that makes all of this possible, in contrast to a fear of the potential chaos that unsurveilled spaces can bring. -
Bryce Dallas Howard Salutes
INSIDE THIS ISSUE Horoscopes ........................................................... 2 Now Streaming ...................................................... 2 Puzzles ................................................................... 4 TV Schedules ......................................................... 5 Remembering The timelessness “One Day At A Time” Top 10 ................................................................... 6 6 Carrie Fisher 6 of Star Wars 7 gets animated Home Video .......................................................... 7 June 13 - June 19, 2020 Bryce Dallas Howard salutes ‘Dads’ – They’re not who you think they are BY GEORGE DICKIE with a thick owner’s manual but his newborn child “The interview with my grandfather was something Ask 100 different men what it means to be a father could have none. that I did in 2013,” she says, “... and that was kind and you’ll likely get 100 different answers. Which is The tone is humorous and a lot of it comes from of an afterthought as well where it was like, ‘Oh something Bryce Dallas Howard found when making the comics, who Howard felt were the ideal people to my gosh, I interviewed Grandad. I wonder if there’s anything in there.’ And so I went back and rewatched a documentary that begins streaming in honor of describe the paternal condition. his tapes and found that story.” Father’s Day on Apple TV+. “Stand-up comedians, they are prepared,” she says with a laugh. “They’re looking at their lives through What comes through is there is no one definition of In “Dads,” an -
Download Press Kit
DISTRIBUTION: Nancy Gerstman & Emily Russo / Zeitgeist Films [email protected] • [email protected] 212-274-1989 PRESS: Susan Norget Film Promotion [email protected] 212-431-0090 2019 • 87 min • USA • HD Color Video + Mixed Archival Formats • 1.78 A ZEITGEIST FILMS release in association with KINO LORBER RECORDER Short Synopsis A Communist radical who became fabulously wealthy later in life, Marion Stokes secretly recorded American television 24 hours a day for 30 years from 1975 until her death in 2012. For Marion, taping was a form of activism to seek the truth and she believed that a comprehensive archive of the media would one day be invaluable. Her visionary and maddening project nearly tore her family apart, but now her 70,000 VHS tapes are being digitized for future generations. Long Synopsis Marion Stokes was secretly recording American television twenty-four hours a day for thirty years. It started in 1979 with the Iranian Hostage Crisis at the dawn of the twenty-four hour news cycle. It ended on December 14, 2012 while the Sandy Hook massacre played on television as Marion passed away. In between, Marion recorded on 70,000 VHS tapes, capturing revolutions, lies, wars, triumphs, catastrophes, bloopers, talk shows, and commercials that tell us who we were, and show how television shaped the world of today. Before the era of “fake news,” Marion was fighting to protect the truth by archiving everything that was said and shown on television. The public didn’t know it, but the networks were disposing their archives for decades into the trashcan of history. -
Recorder: the Marion Stokes Project Education Screening
Recorder: The Marion Stokes Project Education Screening Dear Teachers, Welcome to the Milwaukee Film Education Screenings! We are delighted to have you and thankful that so many Milwaukee-area teachers are interested in incorporating film into the classroom! So that we may continue providing these opportunities, we do require that your class complete at least one activity in conjunction with the screening of Recorder: The Marion Stokes Project, directed by Matt Wolf. Your cooperation ensures that we are able to continue applying for funding to bring in these films and offer them to you (and literally thousands of students) at such a low cost. This packet includes several suggestions of activities and discussion questions that fulfill a variety of Common Core Standards. Let us know if you need a different file format! Feel free to adapt and modify the activities for your own classroom. Students could also simply journal, blog, or write about their experience. You can send evidence of the work you did to integrate the film into your classroom electronically or by mail. This could include: links to online content, Google Drive folders, scanned material, photocopied or original student work concerning the film/film-going experience or even your own anecdotal, narrative accounts. We should receive this evidence of your integration of the film into your classroom by December 31, 2019. All of what you send us will help us write and fulfill the grants that allow us to bring these films to you and your students at such a low cost. We may also post some of the best work on our website (with students’ first names and school only) later in the semester (if you would prefer we not share your students’ work publicly, please let us know). -
Guarding Against Abuse: the Costs of Excessively Long Copyright Terms
GUARDING AGAINST ABUSE: THE COSTS OF EXCESSIVELY LONG COPYRIGHT TERMS By Derek Khanna* I. INTRODUCTION Copyrights are intended to encourage creative works through the mechanism of a statutorily created1 limited property right, which some prominent think tanks and congressional organizations have referred to as a form of govern- ment regulation.2 Under both economic3 and legal analysis,4 they are recog- * Derek Khanna is a fellow with X-Lab and a technology policy consultant. As a policy consultant he has never worked for any organizations that lobby or with personal stakes in copyright terms, and neither has Derek ever lobbied Congress. He was previously a Yale Law School Information Society Project Fellow. He was featured in Forbes’ 2014 list of top 30 under 30 for law in policy and selected as a top 200 global leader of tomorrow for spear- heading the successful national campaign on cell phone unlocking which led to the enact- ment of copyright reform legislation to legalize phone unlocking. He has spoken at the Con- servative Political Action Conference, South by Southwest, the International Consumer Electronics Show and at several colleges across the country as a paid speaker with the Fed- eralist Society. He also serves as a columnist or contributor to National Review, The Atlan- tic and Forbes. He was previously a professional staff member for the House Republican Study Committee, where he authored the widely read House Republican Study Committee report “Three Myths about Copyright Law.” 1 See Edward C. Walterscheld, Defining the Patent and Copyright Term: Term Limits and the Intellectual Property Clause, 7 J. -
EDUCATION NEWS TOOLS YOU CAN USE: Assign Students to Watch
June 2020 EDUCATION NEWS WXXI’s Learn At Home initiative offers a wide range of resources and supports available to P-12 students, educators, parents and caregivers, including include on-air broadcast content each weekday. Available at: wxxi.org/education TOOLS YOU CAN USE: ONLINE TOOLS FOR REMOTE LEARNING: Assign students to watch programs Go to: wxxi.org/education Extended learning questions and learning links provided You will find the following: with weekly schedules NEW: Teacher Virtual Training Sessions NEW TV Schedules for a Summer Boost: PBS LearningMedia: P-12 content by grade and subject Social Studies Guide 1. WXXI-TV 21.1/Cable 11/1221 Mon-Fri 6am-6pm ELA Guide Programs grouped for: preK-3, 4th-8th and 9th-12th Math Guide WXXI-TV Weekly Schedules and Discussion Questions Science Guide and More... Program Specific Extended Learning Guides Peg+Cat 2. WXXI World TV21.2/Cable 1275 Mon-Fri.12pm-5pm Cat in the Hat for 6th-12th grade World Weekly Schedules and WildKratts Discussion Questions Cyberchase SciGirls Xavier Riddle & the Secret Museum Molly of Denali 3. WXXI Kids 24/7 TV 21.4/cable 1277 & 1278 grade PBS KIDS programming for preK-5th 7 days a week. Connected content on schedules Schedules & Discussion Question Cards | More PBS Extended Learning Links to broadcast programs on KIDS Cards | Family Movie Nights WXXI-TV and World 1 Learning Simulations Mission U.S. http://mission-us.org Developed for use in middle &high school thesimulations engage students in the study of transformational moments in U.S. history. Each mission consists of an interactive simulation and a set of curriculum materials that are aligned to national standards and feature document-based activities. -
Digital Humanities and Future Archives
Digital Humanities and Future Archives SAMPO VIIRI REPORTS The Finnish Institute is a London-based private trust. Our mission is to identify emerging issues relevant to contemporary society and to act as catalyst for positive social change through partnerships. We work with artists, researchers, experts and policy makers in the United Kingdom, Finland and the Republic of Ireland to promote strong networks in the fields of culture and society. We encourage new and unexpected collaborations and support artistic interventions, research, the creative industries, foresight and social innovation in new, socially central areas. The Reports of the Finnish Institute in Unit 1, 3 York Way N1C 4AE London London is a series of publications, which United Kingdom publishes research, studies and results of T +44(0)20 3764 5090 collaborative projects carried out by the www.finnish-institute.org.uk institute. The reports provide evidence Digital Humanities and Future Archives and ideas for policy-makers and civic by the Finnish Institute in London is society organisations dealing with licensed under a Creative Commons contemporary social and cultural Attribution-ShareAlike 3.0 Unported License challenges. August 2014 Table of Contents Preface Executive Summary 1 Introduction 1 1.1 Objectives 1 1.2 Methods 3 1.3 Defining Digital Humanities 4 2 The Researcher's Perspective 8 2.1 Access to Historical Resources and Public Interest 8 2.2 New Tools and Methods 14 2.3 Sharing and Preserving 19 2.4 Narrowing Gaps and Building Bridges 20 2.5 Measuring the Impacts -
Creative Commons for Education Sharing and Using Resources: the Basics
Creative Commons for Education Sharing and Using Resources: The Basics Clipart Presentation Icon, Open Clipart.org, by ousia, used under Creative Commons Zero 1.0 License (links open in new windows). Creative Commons for Education, Sharing and Using Resources: The Basics by Daniel Stewart (DrStew82) Is licensed under CC BY 4.0. I. Introduction A. Situations B. What is the Creative Commons? C. Understanding the Creative Commons Licenses II. Finding Resources Licensed under Creative Commons. Outline of A. Platforms hosting Creative Commons licensed works. Instruction B. Finding resources. B. Attributing the sources. III. Public Domain resources IV. Become a Contributor Introduction: Situations slide 1 • Have you ever: -had difficulty finding images or other resources like videos or sound files to use in your class without fear of copyright infringement? -wanted to share your own photos, drawings, or other resources for educational use? Clipart Emoticons: Question Face courtesy nicubunu, Open Clipart.org, used under Creative Commons Zero 1.0 License (links open in new windows). Introduction: Creative Commons slide 1 • If either of these situations apply to you, you should learn about the Creative Commons! • What are the Creative Commons? • According to the Creative Commons website: Creative Commons is a nonprofit organization dedicated to building a globally-accessible public commons of knowledge and culture. We make it easier for people to share their creative and academic work, as well as to access and build upon the work of others. By -
2020 Local Content and Service Report to the Community “Thank You All at NMPBS
2020 Local Content and Service Report to The Community “Thank you all at NMPBS. Your programs New Mexico PBS (NMPBS) serves the people of keep me curious, New Mexico by providing engaging local and engaged, and give meaning to this national content, in-depth news and public journey. I am glad affairs, digital media, education and outreach I can support you.” services, lifelong learning, an interactive –Therese L., Albuquerque website, and a celebration of arts and culture. LOCAL VALUE • Extensive local productions and community engagement activities (often virtual) that “Your programming meets the fine standard I have addressed important issues in the state such as come to always expect. Particularly now, when my state and local government affairs and analysis, travels are limited, you bring the world to me. My environmental issues, Hispanic arts and cultural LOCAL life would be diminished without you.” history, economic development, education —Daniel D., Santa Fe coverage, Native American issues and more. VALUE New Mexico PBS provides New Mexicans with • NMPBS continues to provide entertaining, the information they need to make informed educational and enlightening programming decisions; we convene community dialogue and through our five digital channels. Of particular engage audiences to share their stories. interest are channel 5.2, NMPBS Kids 24/7, We help students and teachers thrive in 21st which enables New Mexico children to watch century classrooms and take people of all ages or stream their favorite PBS Kids shows during on journeys and exploration – exposing them to primetime and other after-school hours when new people, places and ideas. family viewing is high, and channel 5.3, First Nations Experience, America’s first and only We are leaders in using emerging technologies public television network devoted to Native to bring the benefits of the digital world and American and World indigenous programming inspire community engagement. -
COMMUNIA Final Report
Deliverable D.1.11 COMMUNIA Final Report ECP‐2006‐PSI‐610001 COMMUNIA http://COMMUNIA‐project.eu/ Final Report Deliverable number/name Deliverable D1.11: Final Report Dissemination level Public Delivery date March 31, 2011 Status FINAL VERSION TO REVIEWERS Main Author Giancarlo F. Frosio This document incorporates the results of several months of discussions among COMMUNIA members. The main author and the project coordinator wish to thank everyone who contributed, and particularly Lucie Guibault, Paul Keller, Séverine Dusollier and Patrick Peiffer whose comments and analyzes have greatly enhanced this text. eContentplus This project is funded under the eContentplus prograMMe,1 a Multiannual CoMMunity prograMMe to Make digital content in Europe More accessible, usable and exploitable. 1 O.J. L 79 (March 24, 2005), at 1. 1 Deliverable D.1.11 COMMUNIA Final Report 2 Deliverable D.1.11 COMMUNIA Final Report CONTENTS CONTENTS ............................................................................................................................................................ 3 COMMUNIA FINAL REPORT .................................................................................................................................. 7 WHAT IS THE PUBLIC DOMAIN? ........................................................................................................................... 7 THE VALUE OF THE PUBLIC DOMAIN FOR EUROPE ................................................................................................. 11 PUBLIC DOMAIN CHALLENGES