scholarly journals The Darknet - Age of Peer Production

2014 ◽  
Author(s):  
Adrian-Constantin ROȘOAIA ◽  
Zaharia-Ioan IONESCU
Keyword(s):  
Digital Media ◽  
Technological Innovation ◽  
File Sharing ◽  
Copyright Law ◽  
Digital Culture ◽  
Peer Production ◽  
Direct Proportion ◽  
Digital Revolution ◽  
The Public ◽  
The Creation

We are in the midst of a digital revolution. In this “Age of Peer Production” armies of amateur participants demand the freedom to rip, remix and share their own digital culture. Aided by the newest iteration of file sharing networks, digital media users now have the option to retreat underground, by using secure, private, and anonymous file sharing networks, to share freely and breathe new life into digital media. These underground networks, collectively termed “The Darknet” will grow in scope, resilience and effectiveness in direct proportion to increasing digital restrictions the public finds untenable. The Darknet has been called the public’s great equalizing force in the digital millennium, because it will serve as “a counterbalancing force and bulwark to defend digital liberties” against forces lobbying for stronger copyrights and increased technological controls. This article proposes a digital use exception to existing copyright law to provide adequate compensation to authors while promoting technological innovation, and the creation and dissemination of new works. Although seemingly counterintuitive, content producers, publishers, and distributors wishing to profit from their creations must relinquish their control over digital media in order to survive the Darknet era.

scholarly journals LOCAL MEDIA IN THE CORONA CRISIS: SIGNIFICANCE AND CHALLENGES ON THE EXAMPLE OF POŽEGA 034 PORTAL

2021 ◽  
Vol 21 (1) ◽  
Author(s):  
Ante Mandarić ◽  
Goran Matijević
Keyword(s):  
Public Health ◽  
Digital Media ◽  
Crisis Communication ◽  
The State ◽  
Public Research ◽  
The Public ◽  
Number Of Patients ◽  
Local Media ◽  
The World ◽  
The Creation

The epidemic of the disease COVID-19, in Požeština in relation to China, where it originated in other parts of Croatia, appeared somewhat later, while Požega-Slavonia County in terms of total share in relation to other counties in Croatia remained relatively well , 16th place, out of a total of 20 counties, ie a smaller number of patients was recorded. In the conditions of public health danger to the health and lives of people with expressed uncertainty, citizens around the world were flooded with numerous information, about the disease, ways of prevention, treatment that at one point threatened to turn into an infodemia, as warned by the WHO. The importance of crisis communication in such conditions is of great importance, and how governments and headquarters communicate messages about the crisis to the public, which is discussed in the first parts of the paper and points out several inconsistencies and illogicalities in the actions of the state headquarters. prohibition and permission to make recommendations contrary to the epidemiologist’s recommendations. But more important than the recommendations of headquarters and governments, today are the recommendations and news transmitted by digital media, and especially the local ones that bring news and recommendations for the area where we live. Therefore, the aim of this paper was to investigate in the central part the significance of the local 034 Portal in the Corona crisis, and its monitoring of the crisis and its impact on the public. Research through several segments, it was found that the portal maintained the level of reporting on regular events and adjusted reporting on the Crown to the conditions and situation in the county, not leading to sensationalism, concern, fear, but was a carrier of preventive activities and a good ally in the fight. against the epidemic, that is, he followed the guidelines for informing the WHO and did not contribute to the creation of an infodemia.

The politics of the libre commons

First Monday ◽  
2006 ◽  
Author(s):  
David M. Berry ◽  
Giles Moss
Keyword(s):  
Open Source ◽  
Public Domain ◽  
Radical Democracy ◽  
Free Software ◽  
Peer Production ◽  
Cultural Space ◽  
The Public ◽  
Creative Commons ◽  
The World ◽  
The Creation

The project of ‘free culture’ is committed to the creation of a cultural space, rather like the ‘public domain’, seeking to complement/replace that of proprietary cultural commodities and privatized meaning. This has been given a new impetus with the birth of the Creative Commons. This organization has sought to introduce cultural producers across the world to the possibilities of sharing, co–operation and commons–based peer–production by creating a set of interwoven licenses for creators to append to their artwork, music and text. In this paper, we chart the connections between this movement and the early Free Software and Open Source movements and question whether underlying assumptions that are ignored or de–politicized are a threat to the very free culture that the project purports to save. We then move to suggest a new discursive project linked to notions of radical democracy.

On the Nature of Sport

2017 ◽  
Author(s):  
Synthia Sydnor
Keyword(s):  
Digital Media ◽  
Computer Games ◽  
Human Condition ◽  
Digital Culture ◽  
Sports Performance ◽  
Digital Revolution ◽  
The Core ◽  
Digital Era ◽  
Recent Addition ◽  
The Human Condition

This chapter argues that digital culture is a recent addition to myriad forms of expression and expressiveness that have occurred since time immemorial. Digital media then, “are tools that enable humans to continue doing what has always been at the core of the human condition: living in community, communicating, consuming, gathering, playing.” The chapter also develops a treatise on the nature of sport that takes into account both the digital era and theories of play, ritual, and culture. Cyber activities around sport, including “fantasy league play; social and individual memories of sports performance; video/computer games; the seemingly infinite growth of sport performances/stunts showcased on YouTube, tweets, and the colossal transglobal economy associated with sport,” replicate the “fun, thrills, danger, gravity play” and other affective sensations surrounding participation in sport itself. Ultimately, the digital revolution confirms the formal, symbolic ritualistic nature of sport more than it transforms.

Korean Youth Netizenship and its Discontents

2011 ◽  
Vol 141 (1) ◽  
pp. 78-86 ◽  
Author(s):  
Stephen Epstein ◽  
Sun Jung
Keyword(s):  
Human Rights ◽  
South Korea ◽  
Web 2.0 ◽  
Digital Media ◽  
Cultural Practice ◽  
Digital Culture ◽  
Cultural Expression ◽  
Digital Revolution ◽  
The Web

South Korea frequently is regarded as standing at the vanguard of the digital revolution, and its status as perhaps the world's most wired society makes it a fruitful case study for considering how digital culture may develop. South Korea's reputation rests in part on statistics that place it at the global forefront in terms of broadband penetration and internet speed – that is, its infrastructural ‘hardware’ – but it is equally in the cultural expression of Korea's engagement with digital media – its ‘software’ – that the nation evinces characteristics that call for attention. Compressed modernisation in South Korea has brought about contestation over acceptable behaviour, and several recent incidents highlight the thorny negotiation of cultural practice in the Web 2.0 era. This article focuses on two interrelated phenomena: first, the use of digital media to confront convention and foster activism; and second, an opposing desire to police violations of norms, often at the expense of invasion of privacy and human rights.

scholarly journals Reconciling Intellectual and Personal Property

2016 ◽  
Author(s):  
Aaron Perzanowski ◽  
Jason Schultz
Keyword(s):  
Intellectual Property ◽  
Digital Media ◽  
Copyright Law ◽  
The Public ◽  
Personal Property ◽  
Property System ◽  
System P ◽  
Market Inefficiency ◽  
Consumer Interests ◽  
Basic Functions

Copyright law sets up an inevitable tension between the intellectual property of creators and the personal property of consumers — in other words, between copyrights and copies. For the better part of the last century, copyright law successfully mediated this tension through the principle of exhaustion — the notion that once a rights holder transfers a copy of a work to a new owner, its rights against that owner are diminished.Rather than an idiosyncratic carveout or exception, exhaustion is an inherent part of copyright law’s balance between the rights of creators and the rights of the public. Nonetheless, many rights holders and some courts see exhaustion as nothing more than a loophole or market inefficiency that allows consumers to make unauthorized uses of intellectual property rightly controlled by the copyright owner. Two developments threaten to curtail exhaustion and consumer interests. First, content owners have endeavored to eliminate the personal property interests of consumers, redefining the notion of ownership by characterizing their transactions with consumers as licenses. Second, the tangible copy is rapidly disappearing as copyright markets shift from the distribution of physical products to exchanges of networked information.In short, the equilibrium between personal and intellectual property that exhaustion enabled depends on doctrinal assumptions about the copyright marketplace that are quickly becoming outdated. By examining the basic functions of copy ownership, this Article will attempt to construct a notion of consumer property rights in digital media that acknowledges the shift away from tangible artifacts while preserving exhaustion’s central role in the intellectual property system.

Copyright and the music business

Popular Music ◽  
1988 ◽  
Vol 7 (1) ◽  
pp. 57-75 ◽  
Author(s):  
Simon Frith
Keyword(s):  
Historical Perspective ◽  
Music Industry ◽  
Copyright Law ◽  
Music Business ◽  
The Public ◽  
The Creation ◽  
The Law

For the music industry the age of manufacture is now over. Companies (and company profits) are no longer organised around making things but depend on the creation of rights. In the industry's own jargon, each piece of music represents ‘a basket of rights’; the company task is to exploit as many of these rights as possible, not just those realised when it is sold in recorded form to the public, but also those realised when it is broadcast on radio or television, used on a film, commercial or video soundtrack, and so on. Musical rights (copyrights, performing rights) are the basic pop commodity and to understand the music business in the 1980s we have to understand how these rights work. In this article, then, I begin and end with record companies' uses of copyright law and ideology to defend themselves against current technological and political threats to income, but I also want to ask questions about how the law itself defines music and determines the possibilities of musical ‘exploitation’. And this means putting contemporary arguments (for and against the blank tape levy, for example) in historical perspective.

The elementary forms of digital culture. Knowledge, connections and sociality

2020 ◽  
pp. 316-328
Author(s):  
Vincenzo Susca
Keyword(s):  
Public Opinion ◽  
Daily Life ◽  
Digital Culture ◽  
Social Boundaries ◽  
Public Spheres ◽  
The Public ◽  
Nation States ◽  
The Senses ◽  
Point Of Intersection ◽  
Dark Web

Contemporary communicative platforms welcome and accelerate a socio-anthropological mutation in which public opinion (Habermas, 1995) based on rational individuals and alphabetic culture gives way to a public emotion whose emotion, empathy and sociality are the bases, where it is no longer the reason that directs the senses but the senses that begin to think. The public spheres that are elaborated in this way can only be disjunctive (Appadurai, 2001), since they are motivated by the desire to transgress the identity, political and social boundaries where they have been elevated and restricted. The more the daily life, in its local intension and its global extension, rests on itself and frees itself from projections or infatuations towards transcendent and distant orders, the more the modern territory is shaken by the forces that cross it and pierce it. non-stop. The widespread disobedience characterizing a significant part of the cultural events that take place in cyberspace - dark web, web porn, copyright infringement, trolls, even irreverent ... - reveals the anomic nature of the societal subjectivity that emerges from the point of intersection between technology and naked life. Behind each of these offenses is the affirmation of the obsolescence of the principles on which much of the modern nation-states and their rights have been based. Each situation in which a tribe, cloud, group or network blends in a state of ecstasy or communion around shared communications, symbols and imaginations, all that surrounds it, in material, social or ideological terms, fades away. in the air, being isolated by the power of a bubble that in itself generates culture, rooting, identification: transpolitic to inhabit

‘Langen Katresnan’ Video Animasi dengan Tema Ramayana Episode Penculikan Shinta

2014 ◽  
Author(s):  
Ika Yulianti
Keyword(s):  
Performing Arts ◽  
New Work ◽  
Two Dimensional ◽  
The Public ◽  
The Creation

Ramayana story has been widely known in Indonesian society since centuries ago. This story has been disseminated from generation to generation. The story is familiar to the public in the form of this kakawin often staged in the form of performing arts, dramatari, puppet performances, as well as in the form of puppet or sculpture. Ramayana story has a lot of episodes, but in the creation of this animated video work taking Shinta kidnapping episode. This animated video works explored the form of characters and stories, as well as collaborate with dance, heater and musical arts. Kidnapping of Shinta’s story became the basis of the principal narrative in the creation of animated video with the theme of Ramayana episode kidnapping Shinta ‘Langen Katresnan’ which then developed in accordance with the ideas and concepts. It also supports the creation of new work that promotes originality of the work. This animated video works using two-dimensional techniques. This is actually a reference to that puppet animation that was first recognized by earlier ancestors.Keywords: puppet, Ramayana, animation

Education with Digital Culture: Shifting the Paradigms of Prospective Knowledge by Mediatization

MedienJournal ◽  
2020 ◽  
Vol 44 (1) ◽  
pp. 5-17
Author(s):  
Gudrun Marci-Boehncke ◽  
Matthias Rath
Keyword(s):  
Digital Media ◽  
Paradigm Shift ◽  
School Education ◽  
Media Education ◽  
Digital Culture ◽  
Educational Institutions ◽  
Selection Mechanism ◽  
Competency Frameworks

This article presents the paradigm shift, especially in school education, under the conditions of current mediatization, whereby we understand education initially as a communicative system that is dedicated to the acquisition of new and future relevant knowledge in lifelong processes of appropriation. To this end, educational institutions demand an educational language that screens out those who cannot serve that linguistic register. Arguing with regard to Rawls and Nussbaum, we present this selection mechanism under the conditions of current mediatization as both ideologically outdated and practically reducible and refer to current models of professionalization of teachers and international competency frameworks for digital media education.

Makna Alif dalam Puisi Zikir D. Zawawi Imron dan Sajak Alif Ahmadun Yosi Herfanda

2020 ◽  
Vol 2 (1) ◽  
pp. 52
Author(s):  
Sholeha Rosalia ◽  
Yosi Wulandari
Keyword(s):  
Comparative Study ◽  
Comparative Method ◽  
The Self ◽  
Sociology Of Literature ◽  
Self Reflection ◽  
The Public ◽  
The Creation

Alif means the first, saying the Supreme Life and is Sturdy and has the element of fire and Alif is formed from Ulfah (closeness) ta'lif (formation). With this letter Allah mementa'lif (unite) His creation with the foundation of monotheism and ma'rifah belief in appreciation of faith and monotheism. Therefore, Alif opens certain meanings and definitions of shapes and colors that are in other letters. Then be Alif as "Kiswah" (clothes) for different messages. That is a will. "IQRO" is a revelation that was first passed down to the Prophet Muhammad. Saw. Read it, which starts with the letter Alif and ends with the letter Alif. The creation of a poem is influenced by the environment and the self-reflection of a poet where according to the poet's origin, in comparing in particular Alif's poetry from the two poets. The object of this research is the poetry of Zikir by D. Zawawi Imron and Sajak Alif by Ahmadun Yosi Herfanda. This study uses a comparative method and sociology of literature. Through a comparative study of literature between the poetry of Zikir D. Zawawi Imron and Sajak Alif Ahmadun Yosi Herfanda, it is hoped that the public can know the meaning of Alif according to the poet's view. With this research, the Indonesian people can accept different views on the meaning of Alif in accordance with their respective understanding without having to look for what is right and wrong. The purpose in Alif is like a life, in the form of letters like a body, a tree that is cut to the root, from the heart is split to the seeds, then from the seeds are split so that nothing is the essence of life. So, it is clear that Alif is the most important and Supreme letter. Talking about the meaning of Alif as the first letter revealed on earth. After the letter Alif was revealed, 28 other Hijaiyah letters were born. The letter Alif is made the beginning of His book and the opening letter. Other letters are from Alif and appear on him.

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