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The Truth About Big Oil and Climate Change РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS Is the German model broken? Iran, 40 years after the revolution China’s embrace of intellectual property On the economics of species FEBRUARY 9TH–15TH 2019 Crude awakening The truth about Big Oil and climate change РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS World-Leading Cyber AI РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS Contents The Economist February 9th 2019 3 The world this week United States 6 A round-up of political 19 After the INF treaty and business news 20 Missiles and mistrust 21 Virginia and shoe polish Leaders 21 Union shenanigans 9 Energy and climate Crude awakening 22 Botox bars Elizabeth Warren’s ideas 10 Germany’s economy 23 Time to worry 24 Lexington Donald Trump and conservatism 10 Arms control Death of a nuclear pact The Americas 12 Iran’s revolution at 40 Dealing with the mullahs 25 Canada in the global jungle On the cover 13 A new boss for the World Bank 26 Jair Bolsonaro’s The oil industry is making a A qualified pass congressional win bet that could wreck the 28 Bello The Venezuelan climate: leader, page 9. Letters dinosaur ExxonMobil, a fossil-fuel On the Democratic titan, gambles on growth: 14 Republic of Congo, Asia Briefing, page 16. The Green hygiene, Brexit, chicken, New Deal pays little heed to 29 India’s Congress party King Crimson, airlines economic orthodoxy: Free 30 Avoiding military service exchange, page 67 in South Korea Briefing • Is the German model broken? 31 Turmoil in Thai politics 16 ExxonMobil An economic golden age could 31 Facial fashions in Bigger oil, amid efforts to be coming to an end: leader, Pakistan hold back climate change page 10. -
A Remix Manifesto
An Educational Guide About The Film In RiP: A remix manifesto, web activist and filmmaker Brett Gaylor explores issues of copyright in the information age, mashing up the media landscape of the 20th century and shattering the wall between users and producers. The film’s central protagonist is Girl Talk, a mash‐up musician topping the charts with his sample‐based songs. But is Girl Talk a paragon of people power or the Pied Piper of piracy? Creative Commons founder, Lawrence Lessig, Brazil’s Minister of Culture, Gilberto Gil, and pop culture critic Cory Doctorow also come along for the ride. This is a participatory media experiment from day one, in which Brett shares his raw footage at opensourcecinema.org for anyone to remix. This movie‐as‐mash‐up method allows these remixes to become an integral part of the film. With RiP: A remix manifesto, Gaylor and Girl Talk sound an urgent alarm and draw the lines of battle. Which side of the ideas war are you on? About The Guide While the film is best viewed in its entirety, the chapters have been summarized, and relevant discussion questions are provided for each. Many questions specifically relate to music or media studies but some are more general in nature. General questions may still be relevant to the arts, but cross over to social studies, law and current events. Selected resources are included at the end of the guide to help students with further research, and as references for material covered in the documentary. This guide was written and compiled by Adam Hodgins, a teacher of Music and Technology at Selwyn House School in Montreal, Quebec. -
Remix and Rebalance: Copyright and Fair Use Issues in the Digital Age and English Studies Scott A
Kennesaw State University DigitalCommons@Kennesaw State University Dissertations, Theses and Capstone Projects 4-1-2013 Remix and Rebalance: Copyright and Fair Use Issues in the Digital Age and English Studies Scott A. inS gleton Kennesaw State University, [email protected] Follow this and additional works at: http://digitalcommons.kennesaw.edu/etd Part of the Curriculum and Instruction Commons Recommended Citation Singleton, Scott A., "Remix and Rebalance: Copyright and Fair Use Issues in the Digital Age and English Studies" (2013). Dissertations, Theses and Capstone Projects. Paper 558. This Thesis is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Dissertations, Theses and Capstone Projects by an authorized administrator of DigitalCommons@Kennesaw State University. Remix and Rebalance: Copyright and Fair Use Issues in the Digital Age and English Studies By Scott A. Singleton A capstone project submitted in partial fulfillment of the Requirements for the degree of Master of Arts in Professional Writing in The Department of English In the College of Humanities and Social Sciences of Kennesaw State University Kennesaw, Georgia 2013 3 Table of Contents Introduction 4 Chapter 1: Writing in the Twenty‐First Century 10 Chapter 2: Creativity 19 Chapter 3: Remix 24 Chapter 4: Plagiarism 28 Chapter 5: Fair Use 35 Chapter 6: The Original Purpose of Copyright 44 Chapter 7: Creative Commons 51 Conclusion 53 Appendix A: Three Mini‐Lessons 56 Appendix B: Three Small Assignments 61 Works Cited for Appendices A and B 67 Additional Resources 68 Works Cited 69 Curriculum Vitae 73 4 Introduction “Never in our history have fewer had a legal right to control more of the development of our culture than now.” – Lawrence Lessig, Free Culture This thesis addresses both the need and specific ways to increase conversations on copyright law, fair use, and intellectual property in the composition classroom. -
Ids-3309-Fall2016-Syllabus.Pdf
Do not copy without the express written consent of the author. IDS 3309 Foundations of Global Learning in the Humanities Fall 2016 • M 3:00-5:30 p.m. PC 310 What we expect What you should expect What and how you’ll learn Why it’s important How we’ll all know you succeeded Do not copy without the express written consent of the author. IDS 3309: How We Know What We Know Fall, 2016 Monday, 3:00 p.m. - 5:30 p.m. WUC 100 Course Description World, national and local events of the past two decades have triggered the most extreme and traumatic transformation of information technology and communication since Johann Gutenberg successfully linked moveable type with early-automated press technology. The viral spread of digitized information demands education and awareness to enable you to locate, evaluate, and effectively use information. How We Know What We Know is a course that merges the skills of global information literacy with the critical perspective required to ascertain and measure the authenticity and credibility of what you consume in your academic and casual research and writing. The course will provide you an understanding of the diverse and complex nature of information, bringing order to and maximizing the value of the information glut and chaos, while limiting its potential harm. Course Overview The course is designed for students in all disciplines to experience the effects of information on their lives and the local, national and global communities. It explains how information gets made and why it gets made the way it does. -
Videos in Motion
Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/211 Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/2011 2 TABLE OF CONTENTS P. 5 INTRODUCTION. Videos in motion P. 16 CHAPTER I. Defining the field of enquiry: History, concepts and questions P. 40 SECTION I. Beyond the video boom: Informal circulation, crisis of production and processes of transnationalization in the southern Nigerian video industry P. 45 CHAPTER II. Regulating mobility, reshaping accessibility: The production crisis and the piracy scapegoat. P. 67 CHAPTER III. From Nollywood to Nollyworld: Paths of formalization of the video industry’s economy and the emergence of a new wave in Nigerian cinema P. 87 SECTION II. The “Nollywoodization” of the Nigerian video industry: Discursive constructions, processes of commoditization and the industry’s transformations. P. 93 CHAPTER IV. When the Nigerian video industry became “Nollywood”: Naming and branding in the videos’ discursive mobility. -
The Conference Brochure
The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda. -
3¢EH 6Hy9 PERFORMANCE, DANCE & MUSIC
A AForum Forum on on Cultural Cultural Practices Practices g¤AckD' jc31cµ'31cµ'99IwhEIwhE g¦¦~hD'Q ¤D g¦FcdD' g¦´' The Lebanese Association for Plastic Arts '¢D#' c4#' Ashkal Alwan g¤.'/ c4#' HOME WORKS 5 g¦AckD' jc31c·' 9 IwhE A FORUM ON CULTURAL PRACTICES g¦&'/#' 6Hy9 j'HwF j'z6c¼ 61cE Exhibitions, Lectures, Panels, ¤Jw¦ ÌA#' ¥¦3¤E sz}E B1 Performance, Dance, Theatre, Music, j'1¤~E Film, Video, Publications 1cJ#' – c{¤F jHÍ( Beirut, April 21 – May 1, 2010 j'HwD'H j'z6cq·' D gE$¤E gJ1¤D' g,ÉD' Simultaneous translation will be available for g¦}FyD'H g¦(yD'H gJ{¦F%³' jcDc( all lectures and panel discussions in English, Arabic and French. cFc»K ¦nD g-¤hE )¤9wD' Attendance is open to all and free of charge. f¤E ¦n}hD' Registration required. www.ashkalalwan.org www.ashkalalwan.org £¤3¢EH }B1 6Hy9 PERFORMANCE, DANCE & MUSIC ....... 5 j'HwF PANELS .............................................. 13 j'y6cº LECTURES ...........................................17 ÎFcA j'y6cº ARTIST TALKS .....................................25 g¤A J1c|E ARTIST PROJECTS ...............................29 ¢Jw¤H ÊA#' FILM & VIDEO ..................................... 31 61cE EXHIBITIONS ...................................... 37 )HwFH 9 g41H WORKSHOP & COLLOQUIUM ............. 47 j'1¢|E PUBLICATIONS ...................................49 lq( Hy|E RESEARCH PROJECT ........................... 51 g¤*'0 Í3 BIOGRAPHIES .....................................53 £¤3¢EH }B1 6Hy9 PERFORMANCE, DANCE & MUSIC /yE Solo cDc: J'12%' Israel Galvàn g¦B/ B'1 6y9 Dance Performance; 45’; 2008 w¦3 c: J'12%' I¤h}E ² cFcAK #' ¡*Ç.#' Ð- g¦q·' ¤EÌD' g9c, ² w-#' §BwJ ¸ No one in the local flamenco community believed me when I told them that an artist Q Q Q of the caliber of Israel Galvàn would be performing for free, June 17 on the Audubon §h(%'H cF#' c¦E#' 'yJ{- ² Ц¦*ÌD' ЦCÏE#ÌD Z3'y*Q ¤dJ/H#'[ sz}E ¥9 c¦Fc»K cK 6y9 Terrace of the Hispanic Society of America. -
The Code and Politics of Drupal and the Pirate Bay
THE CODE AND POLITICS OF DRUPAL AND THE PIRATE BAY: ALTERNATIVE HORIZONS OF WEB2.0 by Fenwick McKelvey Bachelor of Arts, Halifax, Nova Scotia, 2004 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Masters of Arts in the Joint Programme of Communication and Culture, a Partnership of Ryerson University and York University. Toronto, Ontario, Canada, 2008 © Fenwick McKelvey 2008 Author's Declaration I hereby declare that I am the sole author of this thesis or dissertation. I authorize Ryerson University to lend this thesis or dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis or dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. ii Abstract The Code and Politics of Drupal and the Pirate Bay: Alternative Horizons of Web2.0 By Fenwick McKelvey Master of Arts, 2008 Joint Programme of Communication and Culture, a Partnership of Ryerson University and York University. Code politics investigates the implications of digital code to contemporary politics. Recent developments on the web, known as web2.0, have attracted the attention of the field. The thesis contributes to the literature by developing a theoretical approach to web2.0 platforms as social structures and by contributing two cases of web2.0 structurations: Drupal, a content management platform, and The Pirate Bay, a file sharing website and political movement. Adapting the work of Ernesto Laclau and Chantal Mouffe on articulation theory, the thesis studies the code and politics of the two cases. -
PAUL TURANO [email protected]
PAUL TURANO [email protected], www.paulturano.com Education: M.F.A. MASSACHUSETTS COLLEGE OF ART, 1995 Filmmaking. Studied with Dan Eisenberg, Ericka Beckman, Mark Lapore, Saul Levine B.A. HAMPSHIRE COLLEGE, 1991 Film and Video Production, Critical Studies. Studied with Abraham Ravett, Joan Braderman, Abigail Child, Susan Douglas Academic Work Experience: ASSOCIATE PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2018 – PRESENT Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ASSISTANT PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2012 – SPRING 2018 Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ARTIST-IN-RESIDENCE, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: FALL 2007 – SPRING 2012 Teaching courses in intermediate sync sound narrative filmmaking, introductory 16mm filmmaking, and graduate level film and video production, MFA thesis chair and reader. VISITING FACULTY, ANNENBERG COMMUNICATIONS CENTER PINE MANOR COLLEGE: SPRING 2007 Course in digital movie making. ADJUNCT FACULTY IN COMPUTER ANIMATION ART INSTITUTE OF BOSTON: FALL 2004 Courses in digital animation with Flash, AfterEffects, and Final Cut Pro for individual projects. FULL TIME VISITING FILM FACULTY SCHOOL OF THE MUSEUM OF FINE ARTS: FALL 2000 – FALL 2005 Courses in advanced sync sound, intermediate 16mm film production and digital post-production, optical printing, Super 8 filmmaking, critical screening seminars; graduate MFA thesis and undergraduate advising; Acting Area Coordinator and Representative. FILM STUDIO MANAGER MASSACHUSETTS COLLEGE OF ART: SUMMER 1996 – SUMMER 2000 Roles included maintaining and teaching all aspects of film, animation, video, and computer equipment; organizing department screenings and visiting artists; managing student workers. -
Uncle Hugo's Science Fiction Bookstore Uncle Edgar's Mystery Bookstore 2864 Chicago Avenue, Minneapolis, MN 55407
Uncle Hugo's Science Fiction Bookstore Uncle Edgar's Mystery Bookstore 2864 Chicago Avenue, Minneapolis, MN 55407 Newsletter #99 September-November 2012 Hours: M-F 10 am to 8 pm Sat. 10 am to 6 pm Sun. Noon to 5 pm Uncle Hugo's 612-824-6347 Uncle Edgar's 612-824-9984 Fax 612-827-6394 E-mail: [email protected] Website: www.UncleHugo.com Used Book Sale Every year our supply (oversupply) of used books gets larger. We're having a used book sale to try to reduce our supply. All used books will be 20% off, whether you have a discount card or not. The sale includes used paperbacks, used hardcovers, used magazines, used gaming books, and bagged books. Because we have so many used audiobooks, we will be selling all used audiobooks at $5.00 each, whether cassette or CD. The sale runs from Friday, September 7, through Sunday, September 16. That gives you two weekends to take advantage of the sale. This sale will be for customers shopping in the store–it does not apply to mail orders. If you're thinking about bringing in lots of used books to sell to us during the sale, expect a longer than normal wait. Author Events (at Uncle Edgar's) Monday, August 27, 5-6pm: William Kent Krueger - Trickster's Point Author Events (at Uncle Hugo's) Tuesday, September 18, 5-6pm: Larry Correia - Monster Hunter Legion Saturday, November 3, 1-2pm: Lois McMaster Bujold - Captain Vorpatril's Alliance Holiday Schedule Monday, September 3: Closed Thursday, November 22: Closed How's Business? By Don Blyly Around August 1 a customer on the way out of the store thanked me for managing to keep the store open in spite of all the problems. -
Pirate Philosophy Leonardo Roger F
Pirate Philosophy Leonardo Roger F. Malina, Executive Editor Sean Cubitt, Editor-in-Chief Closer: Performance, Technologies, Phenomenology , Susan Kozel, 2007 Video: The Reflexive Medium , Yvonne Spielmann, 2007 Software Studies: A Lexicon , Matthew Fuller, 2008 Tactical Biopolitics: Art, Activism, and Technoscience , edited by Beatriz da Costa and Kavita Philip, 2008 White Heat and Cold Logic: British Computer Art 1960–1980 , edited by Paul Brown, Charlie Gere, Nicholas Lambert, and Catherine Mason, 2008 Rethinking Curating: Art after New Media , Beryl Graham and Sarah Cook, 2010 Green Light: Toward an Art of Evolution , George Gessert, 2010 Enfoldment and Infinity: An Islamic Genealogy of New Media Art , Laura U. Marks, 2010 Synthetics: Aspects of Art & Technology in Australia, 1956–1975 , Stephen Jones, 2011 Hybrid Cultures: Japanese Media Arts in Dialogue with the West , Yvonne Spielmann, 2012 Walking and Mapping: Artists as Cartographers , Karen O’Rourke, 2013 The Fourth Dimension and Non-Euclidean Geometry in Modern Art, revised edition , Linda Dalrymple Henderson, 2013 Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles , Erkki Huhtamo, 2013 Relive: Media Art Histories , edited by Sean Cubitt and Paul Thomas, 2013 Re-collection: Art, New Media, and Social Memory , Richard Rinehart and Jon Ippolito, 2014 Biopolitical Screens: Image, Power, and the Neoliberal Brain , Pasi Väliaho, 2014 The Practice of Light: A Genealogy of Visual Technologies from Prints to Pixels , Sean Cubitt, 2014 The Tone of Our Times: Sound, Sense, Economy, and Ecology , Frances Dyson, 2014 The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema , Gloria Sutton, 2014 Hanan al-Cinema: Affections for the Moving Image , Laura U. -
Copyright, Creative Commons and Artistic Integrity
Edith Cowan University Research Online Theses : Honours Theses 2010 Copyright, creative commons and artistic integrity Yagan M. Kiely Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Intellectual Property Law Commons, and the Other Music Commons Recommended Citation Kiely, Y. M. (2010). Copyright, creative commons and artistic integrity. https://ro.ecu.edu.au/theses_hons/ 1332 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1332 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.