77-Page Decision
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Creative Destruction and the Music Industry
Creative Destruction and The Music Industry A Thorough approach on new technologies and their impact on the sustainability of the music market. FLAVIO SEFA SUPERVISOR Daniel Nordgård University of Agder, 2019-2020 Faculty of Fine Arts Department of Popular Music Table of Contents Introduction .................................................................................................................................................. 3 Research Question .................................................................................................................................... 4 Sub Research Question ............................................................................................................................. 4 Aim of Research ........................................................................................................................................ 4 Methodology ................................................................................................................................................. 5 Definitions ................................................................................................................................................. 7 Creative Destruction ..................................................................................................................................... 8 Creative Destruction and Disruptive innovation .................................................................................... 11 The Main Stages of The Music Industry ..................................................................................................... -
Swedish Film New Docs #3 2012
Swedish Film NEW DOCS FALL 2012 / WINTER 2013 After You The Clip Colombianos Dare Remember Days of Maremma Everyone Is Older Than I Am Fanny, Alexander & I For You Naked Give Us the Money Le manque The Man Behind the Throne Martha & Niki No Burqas Behind Bars Palme The Sarnos She Male Snails She’s Staging It Sing, Sing Louder Storm In the Andes The Stripper TPB AFK Tzvetanka The Weather War The Wild Ones Welcome to the world of Swedish docs! This year has been a real success, starting at the Sundance Film Festival where Big Boys Gone Bananas!* by Fredrik Gertten and Searching for Sugar Man by Malik Bendjelloul competed and Sugar Man got both the Audience Award and the Jury Special Prize. These two titles are now up for the Oscar nomination run. Domestically we’ve had the best year in the cinemas for Swedish docs since 1979. Titles like Palme by Kristina Lindström and Maud Nycander with an audience over 150.000, and still growing, Searching for Sugar Man, For You Naked by Sara Broos and She Male Snails by Ester Martin Bergsmark have all attracted large audiences. The film critics are also overwhelmed; of all Swedish films that premiered during 2012 so far, five docs are at the top! And more is to come, you now hold in your hands the new issue of Swedish Film with 24 new feature documentaries, ready to hit international festivals and markets such as DOK Leipzig, CPH:DOX and IDFA. Please visit our website www.sfi.se for updated information on Swedish features, documentaries and shorts. -
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. -
ISP Liability in the Field of Copyright
Internet Service Providers’ Liability in the Field of Copyright: A Review of Asia-Pacific Copyright Law WIPO International Seminar on Copyright Jointly organized by WIPO and the Ministry of Culture of Brazil 26 November 2008 A/Prof Daniel Seng Faculty of Law, National University of Singapore 1 Internet Intermediaries • Who is an Internet “service provider”? – Infrastructure intermediaries e.g. Internet Access Service Providers, proxies, DNS – Services intermediaries e.g. search engines, archives – Software developers of networks and connectivity tools e.g. FreeNet, Kazaa, Morpheus – Operators and hosting companies e.g. content hosts, exchange platforms, forums – Diverse types of intermediaries with different roles offering different services • Are intermediaries liable for: – Direct liability e.g. reproductions, communication of works on their infrastructure? – Indirect/secondary liability e.g. authorising or facilitating the infringement of their users/subscribers? 2 Developments Worldwide • Legislative Developments to Protect Internet Service Providers – WIPO Copyright and Performances and Phonograms Treaties 1996 – US Digital Millennium Copyright Act 1998 – Australian Copyright Amendment (Digital Agenda) Act 2000 – EU Information Society and E-Commerce Directives 2001 – Singapore Copyright Amendment Act 2005 – HK Copyright (Amendment) Bill (proposed, 2007) – New Zealand Copyright (New Technologies) Amendment Act 2008 – France, “Three-Strikes” Law (4 Nov 2008); cf: U.K.’s “Graduated Response” Law 3 Litigation Worldwide • Exposure of -
Antifragile White Paper Draft 3.Pages
Piracy as an Antifragile System tech WP 01/2015 July 2015 Executive Summary Attacks on the piracy economy have thus far been unsuccessful. The piracy community has not only shown resilience to these attacks, but has also become more sophisticated and resilient as a result of them. Systems that show this characteristic response to ex- ternal stressors are defined as antifragile. Traditional centralized attacks are not only ineffective against such systems, but are counter-productive. These systems are not impervious to attacks, however. Decentralized attacks that warp the connections between nodes destroy the system from within. Some system-based attacks on piracy have been attempted, but lacked the technology required to be effec- tive. A new technology, CustosTech, built on the Bitcoin blockchain, attacks the system by turning pirates against each other. The technology enables and incentivizes anyone in the world to anonymously act as an informant, disclosing the identity of the first in- fringer – the pirate uploader. This internal decentralized attack breaks the incentive structures governing the uploader-downloader relationship, and thus provides a sus- tainable deterrent to piracy. Table of Contents Introduction to Antifragility 1 Features of Antifragile Systems 1 Piracy as an Antifragile System 2 Sophisticated Pirates 3 Popcorn Time 5 Attacking 5 Antifragile Systems 5 Attacking Piracy 5 Current Approaches 6 New Tools 6 How it Works 7 Conclusion 7 White paper 01/2015 Introduction to Antifragility Antifragility refers to a system that becomes bet- ter, or stronger, in response to shocks or attacks. Nassim Taleb developed the term1 to explain sys- tems that were not only resilient, but also thrived under stress. -
Stream-Ripping: Its Role in the UK Music Piracy Landscape Three Years On
Stream-ripping: Its role in the UK music piracy landscape three years on September 2020 PRS for Music Foreword Stream-ripping: its role in the UK music piracy landscape three years on builds on research we published with the Intellectual Property Office three years ago. The initial research, Stream-ripping: How it works and its role in the UK music piracy landscape, came at a time when little work had been done to understand the size of problem posed by stream-ripping. The previous report allowed us to map the landscape of online music piracy and to gain insight into the functioning and the business model of stream-ripping services. We found evidence to support our assumption that stream-ripping was on course to become the dominant mode of online infringement. This second wave of research shows that our expectation is now the reality: stream-ripping services account for more than 80% of the top 50 music specific piracy sites. We can see that the services are becoming more sophisticated, offering better quality downloads, evolving their revenue streams, and becoming more adept at operating beneath the radar, with many using the popular content delivery network Cloudflare to obfuscate the location of their servers. But what we can also see is that concerted efforts by the industry do work: a reduction of more than 50% of BitTorrent sites can be attributed to increased geo-blocking and enforcement efforts over the past three years. Since this research was conducted, the world has changed beyond what anyone could have imagined. Amidst the massive societal changes, the almost global lockdown caused by the COVID-19 pandemic has also accelerated the acculturation of digital services. -
UK Blocking-2015-12-07-Brd
THE EFFECT OF PIRACY WEBSITE BLOCKING ON CONSUMER BEHAVIOR Brett Danaher‡ [email protected] Michael D. Smith† [email protected] Rahul Telang† [email protected] This Version: November 2015 Acknowledgements: This research was conducted as part of Carnegie Mellon University’s Initiative for Digital Entertainment Analytics (IDEA), which receives unrestricted (gift) funding from the Motion Picture Association of America. Danaher acknowledges support from an NBER Economics of Digitization research grant. This research was conducted independently without any oversight or editorial control. The authors presented this paper at the December 2014 Workshop on Information Systems and Economics and to seminar participants at the University of Arizona’s Eller School of Management and thank participants for their helpful feedback. All findings and errors are entirely our own. ‡ Department of Economics, Wellesley College, Wellesley, MA, 02481 † School of Information Systems and Management, Heinz College, Carnegie Mellon University, Pitts- burgh, PA, 15213. THE EFFECT OF PIRACY WEBSITE BLOCKING ON CONSUMER BEHAVIOR ABSTRACT Understanding the relationship between copyright policy and consumer behavior is an in- creasingly important topic for participants in digital media markets. In this paper we seek to study how consumer behavior changes when Internet Service Providers are required to block access to major piracy websites. We do this in the context of two court-ordered events affecting consumers in the UK: The blocking order directed at The Pirate Bay in May 2012, and blocking orders directed at 19 major piracy sites in October and November 2013. Our results show that blocking The Pirate Bay only caused a small reduction in total pira- cy — instead, consumers seemed to turn to other piracy sites or Virtual Private Networks that allowed them to circumvent the block. -
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. -
JULIAN ASSANGE: When Google Met Wikileaks
JULIAN ASSANGE JULIAN +OR Books Email Images Behind Google’s image as the over-friendly giant of global tech when.google.met.wikileaks.org Nobody wants to acknowledge that Google has grown big and bad. But it has. Schmidt’s tenure as CEO saw Google integrate with the shadiest of US power structures as it expanded into a geographically invasive megacorporation... Google is watching you when.google.met.wikileaks.org As Google enlarges its industrial surveillance cone to cover the majority of the world’s / WikiLeaks population... Google was accepting NSA money to the tune of... WHEN GOOGLE MET WIKILEAKS GOOGLE WHEN When Google Met WikiLeaks Google spends more on Washington lobbying than leading military contractors when.google.met.wikileaks.org WikiLeaks Search I’m Feeling Evil Google entered the lobbying rankings above military aerospace giant Lockheed Martin, with a total of $18.2 million spent in 2012. Boeing and Northrop Grumman also came below the tech… Transcript of secret meeting between Julian Assange and Google’s Eric Schmidt... wikileaks.org/Transcript-Meeting-Assange-Schmidt.html Assange: We wouldn’t mind a leak from Google, which would be, I think, probably all the Patriot Act requests... Schmidt: Which would be [whispers] illegal... Assange: Tell your general counsel to argue... Eric Schmidt and the State Department-Google nexus when.google.met.wikileaks.org It was at this point that I realized that Eric Schmidt might not have been an emissary of Google alone... the delegation was one part Google, three parts US foreign-policy establishment... We called the State Department front desk and told them that Julian Assange wanted to have a conversation with Hillary Clinton... -
Transcript Sidney Lumet
TRANSCRIPT A PINEWOOD DIALOGUE WITH SIDNEY LUMET Sidney Lumet’s critically acclaimed 2007 film Before the Devil Knows You’re Dead, a dark family comedy and crime drama, was the latest triumph in a remarkable career as a film director that began 50 years earlier with 12 Angry Men and includes such classics as Serpico, Dog Day Afternoon, and Network. This tribute evening included remarks by the three stars of Before the Devil Knows Your Dead, Ethan Hawke, Marissa Tomei, and Philip Seymour Hoffman, and a lively conversation with Lumet about his many collaborations with great actors and his approach to filmmaking. A Pinewood Dialogue with Sidney Lumet shooting, “I feel that there’s another film crew on moderated by Chief Curator David Schwartz the other side of town with the same script and a (October 25, 2007): different cast, and we’re trying to beat them.” (Laughter) “You know, trying to wrap the movie DAVID SCHWARTZ: (Applause) Thank you, and ahead of them. It’s like a race.” I remember welcome, everybody. Sidney Lumet, as I think all saying that “you know if this movie works, then of you know, has received a number of salutes I’m going to have to rethink my whole idea of and awards over the years that could be process, because I can not imagine that this will considered lifetime achievement awards—which work!” (Laughter) I’ve never seen such a might sometimes imply that they’re at the end of deliberate—I’m going to steal your words, Phil, their career. But that’s certainly far from the case, but—a focus of energy, and use of energy. -
David Mamet in Conversation
David Mamet in Conversation David Mamet in Conversation Leslie Kane, Editor Ann Arbor Copyright © by the University of Michigan 2001 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ∞ Printed on acid-free paper 2004 2003 2002 2001 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data David Mamet in conversation / Leslie Kane, editor. p. cm. — (Theater—theory/text/performance) Includes bibliographical references and index. ISBN 0-472-09764-4 (cloth : alk. paper) — ISBN 0-472-06764-8 (pbk. : alk. paper) 1. Mamet, David—Interviews. 2. Dramatists, American—20th century—Interviews. 3. Playwriting. I. Kane, Leslie, 1945– II. Series. PS3563.A4345 Z657 2001 812'.54—dc21 [B] 2001027531 Contents Chronology ix Introduction 1 David Mamet: Remember That Name 9 Ross Wetzsteon Solace of a Playwright’s Ideals 16 Mark Zweigler Buffalo on Broadway 22 Henry Hewes, David Mamet, John Simon, and Joe Beruh A Man of Few Words Moves On to Sentences 27 Ernest Leogrande I Just Kept Writing 31 Steven Dzielak The Postman’s Words 39 Dan Yakir Something Out of Nothing 46 Matthew C. Roudané A Matter of Perception 54 Hank Nuwer Celebrating the Capacity for Self-Knowledge 60 Henry I. Schvey Comics