Where Do Beliefs About Music Piracy Come from and How Are They Shared? an Ethnographic Study
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Sistemas Distribuidos
+ Sistemas P2P Debate Rodrigo Santamaría + 2 Introducción Los sistemas P2P tienen una historia cruzada en la que se mezcla Informática Derecho Economía Política … Filosofía? + 3 P2P y Derecho Aspectos relevantes Primera generación P2P -> Juicio a Napster (1999) Culpable de ‘colaboración ilegal en la distribución de material con derechos de copia’ ‘La copia de productos comprados legalmente es ilegal si se realiza en masa/con ánimo de lucro’ Segunda generación P2P -> Juicio a Pirate Bay (2008) Culpable de ‘colaboración legal en la distribución de material con derechos de copia’ Casos tangenciales -> Megaupload (2012) Procesos legislativos -> Ley Sinde, ACTA, SOPA, PIPA + 4 P2P y Derecho Actualidad legal Directiva europea sobre derechos de copia1 – Art 15, “impuesto por enlace”: se impone un impuesto a los enlaces a contenidos con derecho de copia2 ● Antecedentes: tasa Google en España – Art 17, “filtro de subida” o “prohibición de memes”: se obliga a los servidores de implementar filtros para detectar infracciones del derecho de copia3, 4 Licencias con libertad de copia (copyleft): – Creative Commons, GPL 3.05 1 https://en.wikipedia.org/wiki/Directive_on_Copyright_in_the_Digital_Single_Market 3 Carta abierta a Axel Voss sobre el art. 15 (inicialmente 11): http://vis.usal.es/rodrigo/documentos/sisdis/seminarios/openLetterArt11.pdf 2 Opinión de Jaime Altozano (Youtuber) https://www.youtube.com/watch?v=ilEsBgbm7Fo 3 Carta abierta de Berners Lee et al. sobre el art. 17 (inicialmente 13): http://vis.usal.es/rodrigo/documentos/sisdis/seminarios/openLetterArt13.pdf 5 Declaración de Richard Stallman sobre GPL3.0 https://www.gnu.org/licenses/rms-why-gplv3.html + 5 P2P y Derecho Preguntas ¿Debe primar el derecho de copia/propiedad intelectual o el derecho de información/expresión? ¿Qué efectos tiene sobre ambos derechos la directiva sobre copyright de la UE (esp. -
Illegal P2P File Sharing on College Campuses – What's the Solution? Antionette D
College of William & Mary Law School William & Mary Law School Scholarship Repository Student Award Winning Papers Student Publications and Awards 2008 Illegal P2P File Sharing on College Campuses – What's the Solution? Antionette D. Bishop Repository Citation Bishop, Antionette D., "Illegal P2P File Sharing on College Campuses – What's the Solution?" (2008). Student Award Winning Papers. 4. https://scholarship.law.wm.edu/awardwinning/4 Copyright c 2008 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/awardwinning Illegal P2P File Sharing on College Campuses—What’s the Solution? Antionette D. Bishop* TABLE OF CONTENTS I. THE MUSIC INDUSTRY’S RESPONSE TO ILLEGAL P2P FILE SHARING............................................................................. 517 II. COLLEGE–STUDENT RELATIONSHIP .......................................... 518 III. PUBLIC POLICY CONCERNS ........................................................ 519 A. Efficient Use of College Funds ............................................ 519 B. Academic Freedom............................................................... 520 IV. ALTERNATIVE PROPOSED SOLUTION: COLLECTIVE LICENSING .................................................................................. 521 V. CONCLUSION............................................................................... 522 Since the introduction of Napster in 1999, illegal peer-to-peer (P2P) file sharing1 has been a continuously growing problem for -
IIT Bombay X - Fdp101x Foundation Program in ICT for Education Course Journal
IIT Bombay X - FDP101x Foundation Program in ICT for Education Course Journal Prepared by S. Suneel Kumar Associate Professor, VJIT College of Engineer, Hyderabad, Telangana. Page 0 INDEX o INTRODUCTION TO FDP o WEEK-1: MOVING FROM PHYSICAL TO ONLINE CLASSROOMS o WEEK-2: WEB PRESENCE FOR TEACHERS o WEEK-3: LEARNING MANAGEMENT SYTEMS & FLIPPED CLASSROOM ACTIVITY, VISUAL PRESENTATION SKILLS o WEEK-4: CREATING YOUR OWN VIDEO RESOURCES o WEEK-5: PUTTING IT ALL TOGETHER o CONCUSION S. Suneel kumar Page 1 INTRODUCTION Teaching is a continual process to share the information to students or mentors through various processes like traditional teaching method using blackboard & chalk. As technology developed this type of traditional teaching may not reaching to brains of students. Now technical aspects of teaching required for students. For this teacher and students both should be technically skilled to teach and learn. This FDP on “Foundation program in ICT for Education” helpful for teacher to implement the Hybrid Technology in teaching. This course contents helpful in learning aspects related to basic computer applications utilization in preparation of contents, visual presentation skills, data storage and implementation through wordpress, course contents by using moodle and drupal, screen cast recording of video and creative contents preparation. This course helps in preparation of video to implementation of course for hybrid teaching process. S. Suneel kumar Page 2 1) INTRODUCTION TO FDP 1. Introduction by Prof. Deepak Phatak, the Principal Investigator of T10KT project at IIT bombay. 2. Introduction focused on reasons for technology education from conventional or tradition education as information provider to become learning facilitators. -
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. -
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. -
1 1 UNIVERSIDAD DE LOS ANDES FACULTAD DE CIENCIAS SOCIALES DEPARTAMENTO DE ANTROPOLOGÍA INTERFAZ HACK Lo Hacker Como Interfaz Y
1 UNIVERSIDAD DE LOS ANDES FACULTAD DE CIENCIAS SOCIALES DEPARTAMENTO DE ANTROPOLOGÍA INTERFAZ HACK Lo hacker como Interfaz y la Propiedad Intelectual como Fricción Trabajo de grado para optar por el título de Doctor en Antropología Por Rodulfo Armando Castiblanco Carrasco Código: 201123275 Director Doctor Pablo Jaramillo Salazar. Bogotá 26 de agosto de 2016 1 2 Para Amelia, la niña de las pestañas exorbitantes. 2 3 TABLA DE CONTENIDO INDICE DE ILUSTRACIONES ................................................................................................. 5 LISTADO DE ORGANIZACIONES .......................................................................................... 7 AGRADECIMIENTOS ................................................................................................................ 8 INTRODUCCIÓN. INTERFAZHACK .................................................................................... 10 CAPÍTULO 1. HACKING ......................................................................................................... 22 1.1 EXPERTICIAS ................................................................................................................... 23 1.1.1 La Esencia del Hacking: Buscar Caminos de Acceso ................................................. 26 1.1.2 Entre el disfrute y lo colectivo ..................................................................................... 38 1.2 AGENCIA POLÍTICA ........................................................................................................ 43 1.2.1 -
Selected Filmography of Digital Culture and New Media Art
Dejan Grba SELECTED FILMOGRAPHY OF DIGITAL CULTURE AND NEW MEDIA ART This filmography comprises feature films, documentaries, TV shows, series and reports about digital culture and new media art. The selected feature films reflect the informatization of society, economy and politics in various ways, primarily on the conceptual and narrative plan. Feature films that directly thematize the digital paradigm can be found in the Film Lists section. Each entry is referenced with basic filmographic data: director’s name, title and production year, and production details are available online at IMDB, FilmWeb, FindAnyFilm, Metacritic etc. The coloured titles are links. Feature films Fritz Lang, Metropolis, 1926. Fritz Lang, M, 1931. William Cameron Menzies, Things to Come, 1936. Fritz Lang, The Thousand Eyes of Dr. Mabuse, 1960. Sidney Lumet, Fail-Safe, 1964. James B. Harris, The Bedford Incident, 1965. Jean-Luc Godard, Alphaville, 1965. Joseph Sargent, Colossus: The Forbin Project, 1970. Henri Verneuil, Le serpent, 1973. Alan J. Pakula, The Parallax View, 1974. Francis Ford Coppola, The Conversation, 1974. Sidney Pollack, The Three Days of Condor, 1975. George P. Cosmatos, The Cassandra Crossing, 1976. Sidney Lumet, Network, 1976. Robert Aldrich, Twilight's Last Gleaming, 1977. Michael Crichton, Coma, 1978. Brian De Palma, Blow Out, 1981. Steven Lisberger, Tron, 1982. Godfrey Reggio, Koyaanisqatsi, 1983. John Badham, WarGames, 1983. Roger Donaldson, No Way Out, 1987. F. Gary Gray, The Negotiator, 1988. John McTiernan, Die Hard, 1988. Phil Alden Robinson, Sneakers, 1992. Andrew Davis, The Fugitive, 1993. David Fincher, The Game, 1997. David Cronenberg, eXistenZ, 1999. Frank Oz, The Score, 2001. Tony Scott, Spy Game, 2001. -
GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms
ACCESS TO KNOWLEDGE RESEARCH GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms edited by Pranesh Prakash Nagla Rizk Carlos Affonso Souza GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms edited by Pranesh Pra ash Nag!a Ri" Car!os Affonso So$"a ACCESS %O KNO'LE(GE RESEARCH SERIES COPYRIGHT PAGE © 2015 Information Society Project, Yale Law School; Access to Knowle !e for "e#elo$ment %entre, American Uni#ersity, %airo; an Instituto de Technolo!ia & Socie a e do Rio+ (his wor, is $'-lishe s'-ject to a %reati#e %ommons Attri-'tion./on%ommercial 0%%.1Y./%2 3+0 In. ternational P'-lic Licence+ %o$yri!ht in each cha$ter of this -oo, -elon!s to its res$ecti#e a'thor0s2+ Yo' are enco'ra!e to re$ro 'ce, share, an a a$t this wor,, in whole or in part, incl' in! in the form of creat . in! translations, as lon! as yo' attri-'te the wor, an the a$$ro$riate a'thor0s2, or, if for the whole -oo,, the e itors+ Te4t of the licence is a#aila-le at <https677creati#ecommons+or!7licenses7-y.nc73+07le!alco e8+ 9or $ermission to $'-lish commercial #ersions of s'ch cha$ter on a stan .alone -asis, $lease contact the a'thor, or the Information Society Project at Yale Law School for assistance in contactin! the a'thor+ 9ront co#er ima!e6 :"oc'ments sei;e from the U+S+ <m-assy in (ehran=, a $'-lic omain wor, create by em$loyees of the Central Intelli!ence A!ency / em-assy of the &nite States of America in Tehran, de$ict. -
An Exploration of Social Practices and Ad Hoc Labeling Standards in Online Movie Piracy
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Tietzmann, Roberto; Gross Furini, Liana Article Sharing without laws: an exploration of social practices and ad hoc labeling standards in online movie piracy Internet Policy Review Provided in Cooperation with: Alexander von Humboldt Institute for Internet and Society (HIIG), Berlin Suggested Citation: Tietzmann, Roberto; Gross Furini, Liana (2016) : Sharing without laws: an exploration of social practices and ad hoc labeling standards in online movie piracy, Internet Policy Review, ISSN 2197-6775, Alexander von Humboldt Institute for Internet and Society, Berlin, Vol. 5, Iss. 2, pp. 1-15, http://dx.doi.org/10.14763/2016.2.416 This Version is available at: http://hdl.handle.net/10419/214015 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. -
¿Derecho De Autor O Propiedad Intelectual? Nuevas Posibilidades En Internet
III Jornadas de Investigación en Edición, Cultura y Comunicación 2015 | FILO:UBA ¿Derecho de autor o propiedad intelectual? Nuevas posibilidades en internet Félix Wuhl / Universidad de Buenos Aires › Introducción Los cambios en la tecnología de las telecomunicaciones y el acceso a la información han transformado las lógicas de consumo y producción de las distintas formas de contenido. Especialmente, han afectado la forma en la que la información circula: la gran mayoría ya no necesita de un soporte material que deba ser entregado de mano en mano, sino que basta con el acceso a un dispositivo con internet. Este marco trae aparejadas nuevas formas de concebir la creación en tanto acto, objeto, responsables, público, etcétera. Los viejos modelos (de negocios y legales, entre otros) han quedado obsoletos o intentan aplicar los conceptos de la era analógica a las particularidades digitales sin demasiado éxito. Las novedades surgen de a poco, generalmente a través de la fórmula de ensayo y error, ya que la administración de derechos analógicos en entorno digital en un mundo cada vez más pequeño y globalizado prueba ser particularmente difícil. Consideramos que en este momento sería provechoso plantear una discusión que podría servir de trasfondo conceptual para el desarrollo de nuevas políticas de derechos de autor, políticas que deben ser, necesariamente, gestadas en el marco de internet. Esta discusión consiste en cómo se perciben (o cómo se deberían percibir) las creaciones, las obras: si deben ser vistas iguales a una propiedad material (propiedad intelectual) o como un derecho sobre un objeto inmaterial (derecho de autor). No es el objetivo de este trabajo saldar el problema; ambas posturas tienen su mérito. -
Piracy Landscape Study
Piracy Landscape Study: Analysis of Existing and Emerging Research Relevant to Intellectual Property Rights (IPR) Enforcement of Commercial-Scale Piracy Prepared for the U.S. Patent and Trademark Office Solicitation Number: 1333BJ19Q00142004 Brett Danaher Michael D. Smith Rahul Telang Chapman University Carnegie Mellon University Carnegie Mellon University This Version: March 20, 2020 Table of Contents Executive Summary ...................................................................................................................... 3 1. The Piracy Ecosystem........................................................................................................... 4 1.1 Piracy of Physical Goods................................................................................................ 6 1.1.1 Manufacturing......................................................................................................... 7 1.1.2 Discovery ................................................................................................................ 7 1.1.3 Distribution ............................................................................................................. 8 1.1.4 Communication, Payment Processing and Fulfillment ......................................... 11 1.2 Piracy of Digital Goods ................................................................................................ 11 1.2.1 Sources.................................................................................................................. 12 1.2.2 -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways.