Algorithms and Economic Justice: a Taxonomy of Harms and a Path Forward for the Federal Trade Commission
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Purposeful Polysemy in Marketing Communication: Ethical Implications and Policy Challenges
Purposeful Polysemy in Marketing Communication: Ethical Implications and Policy Challenges by Rumaila Abbas A Thesis presented to The University of Guelph In partial fulfillment of requirements for the degree of Doctor of Philosophy in Management Guelph, Ontario, Canada ©Rumaila Abbas, December, 2018 ABSTRACT PURPOSEFUL POLYSEMY IN MARKETING COMMUNICATION: ETHICAL IMPLICATIONS AND POLICY CHALLENGES Rumaila Abbas Advisor(s): University of Guelph, 2018 Dr. Timothy Dewhirst Past research has identified purposeful polysemy (i.e., multiple meanings in interpretation) as a strategy that enables various marketing goals to be achieved. However, an area that extant literature has largely been silent about is when polysemy can be strategically used to overcome legal boundaries. This research examines purposeful polysemy, as a practice used in varying product sectors (i.e., food, beverage, and tobacco), and explores the consumer, ethical, and policy implications that emerge from its use. This research explores whether marketers, through using verbal and visual devices, can imply multiple meanings, where one meaning pertains to a brand message (e.g., inferring a health-oriented attribute) that is navigating within a stringent regulatory environment, while additional meanings can be used as a legal and ethical defense if undergoing scrutiny for the claim being made. This thesis is organized into three separate manuscripts that have the overarching goal of examining purposeful polysemy and its potential to circumvent the spirit of policy. The first manuscript sets up a conceptual framework and uses a well established image (i.e., a heart symbol) as a demonstration of polysemy. Using a semiological and rhetorical approach, this manuscript further delves into the ethics of using such a marketing tool. -
Mr. Mahmoud Mohamed Ali 4 El Tayaran St., Nasr City, Cairo Tel: (20-2) 401-2692/21/22/23/24 Fax: (20-2) 401-6681
1 of 143 U.S. Department of State FY 2001 Country Commercial Guide: Egypt The Country Commercial Guide for Egypt was prepared by U.S. Embassy Cairo released by the Bureau of Economic and Business in July 2000 for Fiscal Year 2001. International Copyright, U.S. & Foreign Commercial Service and the U.S. Department of State, 2000. All rights reserved outside the United States. TABLE OF CONTENTS CHAPTER I. EXECUTIVE SUMMARY 5 CHAPTER II. ECONOMIC TRENDS AND OUTLOOK 8 -Major Trends and Outlook -Principal Growth Sectors -Key Economic Trends and Issues -Economic Cooperation -Nature of Political Relationship with the U.S. -Major Political Issues Affecting Business Climate CHAPTER III. MARKETING U.S. PRODUCTS & SERVICES 17 -Distribution and Sales Channels -Use of Agents and Distributors - Finding a Partner -Franchising -Direct Marketing -Foreign Sales Corporation (FSC) -Joint Ventures/Licensing -Organization Structure and Management in Egypt -Steps to Establishing an Office -Selling Factors/Techniques -Advertising and Trade Promotion (and Selected Media List) -Pricing Products -Sales Service/Customer Support 2 of 143 -Selling to the Government -Tenders Law -Defense Trade -Protecting your Product from IPR Infringement (see Chapter VII) -Financing U.S. Agricultural Sales -Selling Through USAID Program CHAPTER IV. LEADING SECTORS FOR U.S. EXPORTS & INVESTMENT 41 -Best Prospects For Non-Agricultural Goods And Services -Best Prospects for Agricultural Products -Significant Investment Opportunities CHAPTER V. TRADE REGULATIONS, CUSTOMS, AND STANDARDS 55 -Trade Barriers (Including Tariff And Non-Tariff Barriers) and Tariff Rates -Import Taxes -Representative Listing of Commercial Legislation In Egypt -Customs Regulations -Import Licenses Requirements -Temporary Goods Entry Requirements -Special Import/Export Requirements And Certifications -Ministerial Decree 619 of 1998 - Certificate of Origin -Labeling Requirements -Prohibited Imports -Export Controls -Standards -Free Trade Zones/Warehouses -Membership in Free Trade Arrangements -Customs Contact Information CHAPTER VI. -
Cesarean Delivery on Maternal Request Part 2
PUBLIC CITIZEN HEALTH RESEARCH GROUP SIDNEY M. WOLFE, M.D., EDITOR September 2006 N VOL. 22, NO.9 The Changing Dynamics of C-Sections in the United States: Cesarean Delivery on Maternal Request Part 2 Last month in Health Letter, we over time, the focus was on cesareans usually constrained by physician prac- described recent trends in cesarean on maternal request. Over the course tices and preferences, and the informa- sections in the United States. Here, we of two days, however, it became tion women receive. The National summarize the major findings of an evident that the data are spotty, many Center for Health Statistics uses the NIH conference on the topic. This arti- studies are not amenable to compar- term “cesarean with no medical indica- cle is the second in a two-part series. isons, and there are no easy algorithms tion,” thereby focusing on the apparent or decision trees to provide reliable lack of a health rationale rather than on ast March, the National Institute guidance to patients and physicians. the women’s choice; others use “no of Child Health and Human Although The Washington Post’s report medical risk cesarean” for the same LDevelopment (NICHD) and the reason. But the acronym CDMR on the conference was headlined “NIH Office of Medical Applications of panel finds no extra risk in cesarean (cesarean delivery on maternal Research convened a panel of experts section,” the discussions reflected a request) has already entered the and held a State-of-the-Science more complicated reality. medical literature, and the conference’s Conference on “Cesarean Delivery on The idea of “maternal request” is title and the ensuing report may give Maternal Request” to look into the actually misleading. -
Portland State University Commencement 2020 Program
2020 Portland State University Commencement Sunday, June 14, 2020 Share the excitement of Commencement #2020PDXGRAD GET THE APP Download the PSU Mobile app to get instant access to commencement social feeds. my.pdx.edu TAKE A SELFIE We’re proud of you—fearless innovators, artists, leaders, thinkers and change makers. Share your fearless selfie—you did it! #PortlandState LINK UP Stay in touch with fellow grads. linkedin.com/company/portland-state-university RELIVE THE DAY Go to the PSU homepage after the ceremony for photos and video. pdx.edu 2 CONGRATULATIONS TO THE PSU CLASS OF 2020 Dear Members of the PSU Class of 2020, Commencement is the result of your hard work and dedication and the contributions of the family members, friends, mentors, and educators who supported you on your journey. Please take a moment to thank them. Members of the Class of 2020, you join a network of nearly 179,000 proud PSU alumni. I encourage you to take everything you have learned at PSU to improve the lives of others. I look forward to the day that your success stories will inspire future graduating classes. As you celebrate, please know how proud we are of you, your academic achievements, and your commitment to contributing to others. We hope you will stay in touch as members of our PSU family. Go Viks! Stephen Percy Interim President TABLE OF CONTENTS Portland State University .....................................................................2 School of Social Work ........................................................................ 78 History ...............................................................................................2 -
Producers of Popular Science Web Videos – Between New Professionalism and Old Gender Issues
Producers of Popular Science Web Videos – Between New Professionalism and Old Gender Issues Jesús Muñoz Morcillo1*, Klemens Czurda*, Andrea Geipel**, Caroline Y. Robertson-von Trotha* ABSTRACT: This article provides an overview of the web video production context related to science communication, based on a quantitative analysis of 190 YouTube videos. The authors explore the main characteristics and ongoing strategies of producers, focusing on three topics: professionalism, producer’s gender and age profile, and community building. In the discussion, the authors compare the quantitative results with recently published qualitative research on producers of popular science web videos. This complementary approach gives further evidence on the main characteristics of most popular science communicators on YouTube, it shows a new type of professionalism that surpasses the hitherto existing distinction between User Generated Content (UGC) and Professional Generated Content (PGC), raises gender issues, and questions the participatory culture of science communicators on YouTube. Keywords: Producers of Popular Science Web Videos, Commodification of Science, Gender in Science Communication, Community Building, Professionalism on YouTube Introduction Not very long ago YouTube was introduced as a platform for sharing videos without commodity logic. However, shortly after Google acquired YouTube in 2006, the free exchange of videos gradually shifted to an attention economy ruled by manifold and omnipresent advertising (cf. Jenkins, 2009: 120). YouTube has meanwhile become part of our everyday experience, of our “being in the world” (Merleau Ponty) with all our senses, as an active and constitutive dimension of our understanding of life, knowledge, and communication. However, because of the increasing exploitation of private data, some critical voices have arisen arguing against the production and distribution of free content and warning of the negative consequences for content quality and privacy (e.g., Keen, 2007; Welzer, 2016). -
Commonly Used Drugs
Commonly Used Drugs Many drugs can alter a person’s thinking and judgment, and can lead to health risks, including addiction, drugged driving, infectious disease, and adverse effects on pregnancy. Information on commonly used drugs with the potential for misuse or addiction can be found here. For information about treatment options for substance use disorders, see NIDA’s Treatment pages. For drug use trends, see our Trends and Statistics page. For the most up-to-date slang terms, please see Slang Terms and Code Words: A Reference for Law Enforcement Personnel (DEA, PDF, 1MB). The following drugs are included in this resource: ➢ Alcohol ➢ Methamphetamine ➢ Ayahuasca ➢ Over-the-Counter Medicines--Dextromethorphan ➢ Central Nervous System Depressants (DXM) ➢ Cocaine ➢ Over-the-Counter Medicines--Loperamide ➢ DMT ➢ PCP ➢ GHB ➢ Prescription Opioids ➢ Hallucinogens ➢ Prescription Stimulants ➢ Heroin ➢ Psilocybin ➢ Inhalants ➢ Rohypnol® (Flunitrazepam) ➢ Ketamine ➢ Salvia ➢ Khat ➢ Steroids (Anabolic) ➢ Kratom ➢ Synthetic Cannabinoids ➢ LSD ➢ Synthetic Cathinones ("Bath Salts") ➢ Marijuana (Cannabis) ➢ Tobacco/Nicotine ➢ MDMA (Ecstasy/Molly) ➢ Mescaline (Peyote) **Drugs are classified into five distinct categories or schedules “depending upon the drug’s acceptable medical use and the drug’s abuse or dependency potential.” More information and the most up-to-date scheduling information can be found on the Drug Enforcement Administration’s website. June 2020 Alcohol People drink to socialize, celebrate, and relax. Alcohol often has a strong effect on people—and throughout history, people have struggled to understand and manage alcohol’s power. Why does alcohol cause people to act and feel differently? How much is too much? Why do some people become addicted while others do not? The National Institute on Alcohol Abuse and Alcoholism is researching the answers to these and many other questions about alcohol. -
Narrativa Fílmica E Internet Desconstrução Fílmica E Interatividade
Escola das Artes da Universidade Católica Portuguesa Mestrado em Som e Imagem Narrativa Fílmica e Internet Desconstrução Fílmica e Interatividade Cinema e Audiovisual 2014/2015 Nuno Miguel Rodrigues Meneses Professor Orientador: Carlos Sena Caires Setembro de 2015 Narrativa Fílmica e Internet – Desconstrução Fílmica e Interatividade Dedicatória Aos meus pais que sempre me apoiaram e me deram todas as ferramentas para ser feliz. À minha irmã que desde que nasceu me critica e me faz ser melhor. A todos os meus amigos que me obrigaram a escrever em vez de ver filmes e jogar computador. I Narrativa Fílmica e Internet – Desconstrução Fílmica e Interatividade Agradecimentos O agradecimento maior vai para a minha família, que sempre me apoiou em todos os aspetos. Aperceber-se que se tem um filho que quer ser artista não deve ser fácil, mas eles fizeram-no como se o fosse. À minha família devo tudo. Desde às despesas que causei às emoções que sentimos. Um muito obrigado a todos, em especial à mãe, pai e irmã. Não posso também deixar de agradecer ao professor Carlos Sena Caires que me conduziu na investigação e me fez perceber que a melhor maneira de começar é fazer. Agradeço ainda a todos os outros que estiveram direta ou indiretamente envolvidos nesta dissertação, ou que contribuíram para o seu sucesso. II Narrativa Fílmica e Internet – Desconstrução Fílmica e Interatividade Resumo Nos últimos anos o Cinema tem sofrido inúmeras alterações e evoluções. Quer através do seu desenvolvimento tecnológico, quer através da perceção e interpretação do público das histórias contadas. A tecnologia evolui, assim como a sensibilidade e compreensão artística das plateias. -
Looking At, Through, and with Youtube Paul A
Santa Clara University Scholar Commons Communication College of Arts & Sciences 2014 Looking at, through, and with YouTube Paul A. Soukup Santa Clara University, [email protected] Follow this and additional works at: https://scholarcommons.scu.edu/comm Part of the Communication Commons Recommended Citation Soukup, Paul A. (2014). Looking at, through, and with YouTube. Communication Research Trends, 33(3), 3-34. CRT allows the authors to retain copyright. This Article is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion in Communication by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Looking at, with, and through YouTube™ Paul A. Soukup, S.J. [email protected] 1. Looking at YouTube Begun in 2004, YouTube rapidly grew as a digi- history and a simple explanation of how the platform tal video site achieving 98.8 million viewers in the works.) YouTube was not the first attempt to manage United States watching 5.3 billion videos by early 2009 online video. One of the first, shareyourworld.com (Jarboe, 2009, p. xxii). Within a year of its founding, begin 1997, but failed, probably due to immature tech- Google purchased the platform. Succeeding far beyond nology (Woog, 2009, pp. 9–10). In 2000 Singingfish what and where other video sharing sites had attempt- appeared as a public site acquired by Thompson ed, YouTube soon held a dominant position as a Web Multimedia. Further acquired by AOL in 2003, it even- 2.0 anchor (Jarboe, 2009, pp. -
Cigarette Marketing and Smoking Culture in 1930S Canada Daniel J
Document generated on 10/01/2021 12:41 a.m. Journal of the Canadian Historical Association Revue de la Société historique du Canada Cigarette Marketing and Smoking Culture in 1930s Canada Daniel J. Robinson Volume 25, Number 1, 2014 Article abstract This paper examines political-economic, cultural, and marketing changes URI: https://id.erudit.org/iderudit/1032799ar during the 1930s that solidified the domestic tobacco industry and cigarette DOI: https://doi.org/10.7202/1032799ar smoking as a socially normative practice. During this decade, farm production of cigarette tobacco grew exponentially in southern Ontario, as did cigarette See table of contents manufacturing operations, mostly in Montréal. Cigarette marketing and advertising were prolific, as evidenced by the bevy of premium promotions, gift rebates, sports sponsorships, and athlete and celebrity testimonial Publisher(s) advertising. Women, for the first time, were routinely targeted by cigarette advertising, and their entry into the ranks of “legitimate” smokers proved a The Canadian Historical Association / La Société historique du Canada watershed for tobacco manufacturers. Two specific developments further boosted the long-term viability of the cigarette industry. First, Canada’s ISSN dominant tobacco firm, Imperial Tobacco, spent heavily on public relations advertising to overcome public criticism of its cut-throat merchandising 0847-4478 (print) practices. Second, menthol and filtered cigarettes first appeared in the 1930s, 1712-6274 (digital) ads for which reassured smokers worried about sore throats and persistent coughs. Long before the tobacco industry’s massive public relations response Explore this journal in the 1950s to the “cancer scare” (which included the heavy promotion of filtered brands as “safer” cigarettes), Imperial Tobacco, among others, was versed in issue-management public relations and forms of cigarette “health Cite this article marketing.” Robinson, D. -
Think Gaming Content Is Niche? Think Again
THINK GAMING CONTENT IS NICHE? THINK AGAIN WRITTEN BY Gautam Ramdurai THE RUNDOWN PUBLISHED December 2014 Gaming has woven its way into all areas of pop culture—sports, music, television, and more. Its appeal goes far beyond teenage boys (women are now the largest video game–playing demographic!). So it’s no surprise that gaming content has taken off on YouTube. Why? As one gaming creator put it, “You don’t have to play soccer to enjoy it on TV.” From an advertiser’s perspective, gaming content is a rare breed—one that delivers engagement and reach. Even if your brand isn’t part of the gaming industry, you can get in on the action. Gautam Ramdurai, Insights Lead, Pop Culture & Gaming at Google, explains how. Take a broad look at pop culture, and you’ll see that “gaming” is tightly woven into its fabric. It’s everywhere—in music, television, movies, sports, and even your favorite cooking shows. And as gaming content takes off on YouTube, gaming is becoming not only something people do but also something they watch. A generation (18–34-year-old millennials) has grown up on gaming. For them, having a gaming console was as ordinary as having a TV. They can probably still recall blowing into game cartridges and wondering if it made a difference. And if they grew up on gaming, they came of age in the YouTube era. Many now consider it the best platform to explore their passions. (Platforms surveyed include AOL, ComedyCentral.com, ESPN.com, Facebook, Hulu, Instagram, MTV.com, Tumblr, Vimeo, and YouTube.) This convergence has resulted in an abundance of gaming content, and brands interested in connecting with this interested and engaged audience should take note. -
Youtube Brandcast [2012-Present]
goodsense.nyc CREATIVE & PRODUCTION SERVICES makes good sense. We love to create and execute events. We're all about big ideas, and creative collaboration. We create events that tell stories, market brands, position new products, and resonate with target audiences. GOOD SENSE & COMPANY is a creative and production agency that designs and manages live events for some We’re a full-service agency that provides whatever kind of service our of the biggest corporate and nonprofit entities in the clients need, from simple AV for a single event to a full-scale, world. multi-million dollar production. From the start, we've been tasked with large-scale, visionary projects, and we refined our craft, working on high-stakes, high-profile events: award shows, A-list concerts and GOOD SENSE & COMPANY is founded on the multi-venue festivals. complementary partnership of Jared Siegel and Joshua Cicerone. The company model is based on their own We love design that has meaning and purpose. We approach each archetypal dynamic: diplomat and agitator, dreamer and project as an exploration into the goals and aesthetics of the technician. For over a decade they have produced live company, brand, or product in need. We love new technology and events together, leading a team of talented individuals bring it in when and where it makes sense within a design. Our core that love to put on a good show. philosophy is focused on making our clients look good. We take one-off projects but where we truly thrive is in our long-term relationships. Regardless of project scope, we support all our clients with the same level of creativity, attention, and thought. -
User's Guide for the Indonesia Family Life Survey, Wave 4
User's Guide for the Indonesia Family Life Survey, Wave 4 AND ANNA MARIE WATTIE We recommend the following citations for the IFLS data: For papers using IFLS1 (1993): Frankenberg, E. and L. Karoly. "The 1993 Indonesian Family Life Survey: Overview and Field Report." November, 1995. RAND. DRU-1195/1-NICHD/AID For papers using IFLS2 (1997): Frankenberg, E. and D. Thomas. ―The Indonesia Family Life Survey (IFLS): Study Design and Results from Waves 1 and 2‖. March, 2000. DRU-2238/1-NIA/NICHD. For papers using IFLS3 (2000): Strauss, J., K. Beegle, B. Sikoki, A. Dwiyanto, Y. Herawati and F. Witoelar. ―The Third Wave of the Indonesia Family Life Survey (IFLS3): Overview and Field Report‖. March 2004. WR-144/1- NIA/NICHD. For papers using IFLS4 (2007): Strauss, J., F. Witoelar, B. Sikoki and AM Wattie. ―The Fourth Wave of the Indonesia Family Life Survey (IFLS4): Overview and Field Report‖. March 2009. WR-675/1-NIA/NICHD. ii Preface This document describes some issues related to use of the fourth wave of the Indonesia Family Life Survey (IFLS4), alone and together with earlier waves of IFLS: IFLS1, 2 and 3. It is the second of six volumes documenting IFLS4. The first volume describes the basic survey design and implementation. The Indonesia Family Life Survey is a continuing longitudinal socioeconomic and health survey. It is based on a sample of households representing about 83% of the Indonesian population living in 13 of the nation’s 26 provinces in 1993. The survey collects data on individual respondents, their families, their households, the communities in which they live, and the health and education facilities they use.