How to Be Invisble, Revised Edition
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What Is Peer-To-Peer File Transfer? Bandwidth It Can Use
sharing, with no cap on the amount of commonly used to trade copyrighted music What is Peer-to-Peer file transfer? bandwidth it can use. Thus, a single NSF PC and software. connected to NSF’s LAN with a standard The Recording Industry Association of A peer-to-peer, or “P2P,” file transfer 100Mbps network card could, with KaZaA’s America tracks users of this software and has service allows the user to share computer files default settings, conceivably saturate NSF’s begun initiating lawsuits against individuals through the Internet. Examples of P2P T3 (45Mbps) internet connection. who use P2P systems to steal copyrighted services include KaZaA, Grokster, Gnutella, The KaZaA software assesses the quality of material or to provide copyrighted software to Morpheus, and BearShare. the PC’s internet connection and designates others to download freely. These services are set up to allow users to computers with high-speed connections as search for and download files to their “Supernodes,” meaning that they provide a How does use of these services computers, and to enable users to make files hub between various users, a source of available for others to download from their information about files available on other create security issues at NSF? computers. users’ PCs. This uses much more of the When configuring these services, it is computer’s resources, including bandwidth possible to designate as “shared” not only the and processing capability. How do these services function? one folder KaZaA sets up by default, but also The free version of KaZaA is supported by the entire contents of the user’s computer as Peer to peer file transfer services are highly advertising, which appears on the user well as any NSF network drives to which the decentralized, creating a network of linked interface of the program and also causes pop- user has access, to be searchable and users. -
Bad Is Stronger Than Good
Review of General Psychology Copyright 2001 by the Educational Publishing Foundation 2001. Vol. 5. No. 4. 323-370 1089-2680/O1/S5.O0 DOI: 10.1037//1089-2680.5.4.323 Bad Is Stronger Than Good Roy F. Baumeister and Ellen Bratslavsky Catrin Finkenauer Case Western Reserve University Free University of Amsterdam Kathleen D. Vohs Case Western Reserve University The greater power of bad events over good ones is found in everyday events, major life events (e.g., trauma), close relationship outcomes, social network patterns, interper- sonal interactions, and learning processes. Bad emotions, bad parents, and bad feedback have more impact than good ones, and bad information is processed more thoroughly than good. The self is more motivated to avoid bad self-definitions than to pursue good ones. Bad impressions and bad stereotypes are quicker to form and more resistant to disconfirmation than good ones. Various explanations such as diagnosticity and sa- lience help explain some findings, but the greater power of bad events is still found when such variables are controlled. Hardly any exceptions (indicating greater power of good) can be found. Taken together, these findings suggest that bad is stronger than good, as a general principle across a broad range of psychological phenomena. Centuries of literary efforts and religious pothesis that bad is stronger than good (see also thought have depicted human life in terms of a Rozin & Royzman, in press). That is, events struggle between good and bad forces. At the that are negatively valenced (e.g., losing metaphysical level, evil gods or devils are the money, being abandoned by friends, and receiv- opponents of the divine forces of creation and ing criticism) will have a greater impact on the harmony. -
The Effects of Digital Music Distribution" (2012)
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon. -
Echoes of Memory Volume 9
Echoes of Memory Volume 9 CONTENTS JACQUELINE MENDELS BIRN MICHEL MARGOSIS The Violins of Hope ...................................................2 In Transit, Spain ........................................................ 28 RUTH COHEN HARRY MARKOWICZ Life Is Good ....................................................................3 A Letter to the Late Mademoiselle Jeanne ..... 34 Sunday Lunch at Charlotte’s House ................... 36 GIDEON FRIEDER True Faith........................................................................5 ALFRED MÜNZER Days of Remembrance in Rymanow ..................40 ALBERT GARIH Reunion in Ebensee ................................................. 43 Flory ..................................................................................8 My Mother ..................................................................... 9 HALINA YASHAROFF PEABODY Lying ..............................................................................46 PETER GOROG A Gravestone for Those Who Have None .........12 ALFRED TRAUM A Three-Year-Old Saves His Mother ..................14 The S.S. Zion ...............................................................49 The Death Certificate That Saved Vienna, Chanukah 1938 ...........................................52 Our Lives ..................................................................................... 16 SUSAN WARSINGER JULIE KEEFER Bringing the Lessons Home ................................. 54 Did He Know I Was Jewish? ...................................18 Feeling Good ...............................................................55 -
Piratez Are Just Disgruntled Consumers Reach Global Theaters That They Overlap the Domestic USA Blu-Ray Release
Moviegoers - or perhaps more accurately, lovers of cinema - are frustrated. Their frustrations begin with the discrepancies in film release strategies and timing. For example, audiences that saw Quentin Tarantino’s1 2 Django Unchained in the United States enjoyed its opening on Christmas day 2012; however, in Europe and other markets, viewers could not pay to see the movie until after the 17th of January 2013. Three weeks may not seem like a lot, but some movies can take months to reach an international audience. Some take so long to Piratez Are Just Disgruntled Consumers reach global theaters that they overlap the domestic USA Blu-Ray release. This delay can seem like an eternity for ultiscreen is at the top of the entertainment a desperate fan. This frustrated enthusiasm, combined industry’s agenda for delivering digital video. This with a lack of timely availability, leads to the feeling of M is discussed in the context of four main screens: being treated as a second class citizen - and may lead TVs, PCs, tablets and mobile phones. The premise being the over-anxious fan to engage in piracy. that multiscreen enables portability, usability and flexibility for consumers. But, there is a fifth screen which There has been some evolution in this practice, with is often overlooked – the cornerstone of the certain films being released simultaneously to a domestic and global audience. For example, Avatar3 was released entertainment industry - cinema. This digital video th th ecosystem is not complete without including cinema, and in theaters on the 10 and 17 of December in most it certainly should be part of the multiscreen discussion. -