Implementation of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions in the Digital Age: Challenges, Priority Actions and Recommendations

Report presented to the Intergovernmental Committee of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions Seventh Ordinary Session, Paris, December 10-­‐13, 2013

How I Learned to Stop Worrying and Love the Bits: Archival Motivation in the Digital Age

Why do people become archivists? Historically (and anecdotally) it was a deep love of musty, old records that drew people to the profession. While there have been many other motivating forces that inspired would-be archivists, it is most often that one hears of people seeking jobs in archives for love of “the stuff,” as evidenced in Kate Thiemer’s blog post, Honest tips for wannabe archivists (2012). As a result of the continually advancing presence of digitized and born digital archival collections, the physical nature of archival “stuff” is changing. While there remains the physical imprint of digital information on floppy disks, CDs, DVDs, hard drives, and old computers; the aspects of these physical artifacts might not evoke the same visceral pull to the profession as musty, raspy, paper-based documents. In light of this shift in physical presentation of information, we are faced with the question: how does love of archival “stuff” translate to work in digital archives? What is and/or will be the pull to become a digital archivist? To answer these questions, we will perform a survey-based study where we will invite archivists who work with both traditional and digital archival material to answer questions related to the aspects of their work that inspired or motivated them to join the profession. What motivates people to become archivists? What aspects of digital archives do or can potentially motivate people to seek out a career as an archivist? What, if any, motivational factors for becoming a traditional archivist are the same as those for becoming a digital archivist? What, if any, motivational factors for becoming a traditional archivist are different from those for becoming a digital archivist? By answering these questions, we hope to expand the archival discussion on what it means to be an archivist in the digital age. What compelling intrinsic, evidential, or informational values are present in digital archival content that will draw professionals to the field? Are there other values inherent in digital content that are currently unexplored? In our poster, we will present our discussion of the topic, our survey design, and results we have at the time of the Institute. Thiemer, K. (2012). Honest tips for wannabe archivists. Archivesnext blog. Retrieved from http://www.archivesnext.com/?p=2849

Fundamental Rights of workers in the Digital Age: A methodological approach from a case study. WP C.S.D.L.E. "Massimo D'Antona" .INT - 89/2011

The relationship between employer and worker is not only obligatory but above all, as Sinzheimer said, a ‘relationship of power’. In the Digital Age this statement is confirmed by the massive introduction of ICT in most of the companies that increase, in practice, employer’s supervisory powers. This is a worrying issue for two reasons: on one hand, ICT emerge as a new way to weaken the effectiveness of fundamental rights and the right to dignity of workers; and, on the other hand, Spanish legal system does not offer appropriate solutions to ensure that efficacy. Moreover, in a scenario characterized by a hybridization of legal systems models –in which traditional hard law methods are combined with soft law and self regulation instruments–, the role of our case law has become very important in this issue. Nevertheless, despite the increase of judicialization undergone, solutions offered by Courts are so different that do not give enough legal certainty. Facing this situation, I suggest a methodological approach –using Alchourron and Bulygin’s normative systems theory and Alexy’s fundamental rights theory– which can open new spaces of decision to legal operators in order to solve properly these problems. This proposal can allow setting a policy that guarantees fundamental rights of workers, deepening their human freedom in companies from the Esping-Andersen’s de-commodification perspective. With this purpose, I examine electronic communications in the company as a case study.

Privacy and surveillance in the digital age: a comparative study of the Brazilian and German legal frameworks

This briefing is an input to the discussions that will take place in the session “Privacy under mass surveillance: a multi-stakeholder international challenge” to be held on November 9th in João Pessoa, Brazil, during the “Day Zero” of the Internet Governance Forum. This document is one of the outputs of the first phase of the project “Privacy in the digital age: fostering the implementation of the bilateral German-Brazilian strategy in response to massive data collection”, jointly developed by the Center for Technology and Society of the Rio de Janeiro Law School of the Getulio Vargas Foundation and the German Institute for International and Security Affairs (SWP), with the support of FGV. The project Privacy in the Digital Age seeks to identify legal, political, technical, and economic incentives for the implementation of resolution 168/67 on Privacy in the Digital Age, proposed by Germany and Brazil, and approved by the United Nations General Assembly and to identify other potential areas of collaboration between Germany and Brazil in the field of Internet Governance.

Narrative pace control practices in the digital age:how do people consume television (tv) series?

Digital devices are profoundly changing the way individuals consume media entertainment, and in particular television (TV). Our research contributes to prior work on narrative processing by advancing a more comprehensive theorization of narrative pace when control is in the hands of story receivers as opposed to storytellers. Using the empirical context of TV series viewing we draw on in-depth interviews to uncover 1) consumer narrative pace control practices such as multi-episode viewing sometimes colloquially called “binge-watching” or replaying specific scenes, and 2) the factors that drive the adoption of such practices, including the countervailing forces of narrative satiation and need for closure, as well as curiosity and enjoyment of mystery.

Introduction: business communication in the digital age – fresh perspectives

Digital Business Discourse offers a distinctively language- and discourse-centered approach to digitally mediated business and professional communication, providing a timely and comprehensive assessment of the current digital communication practices of today's organisations and workplaces. It is the first dedicated publication to address how computer-mediated communication technologies affect institutional discourse practices, bringing together scholarship from a range of disciplinary backgrounds, including organisational and management studies, rhetorical and communication studies, communication training and discourse analysis. Covering a wide spectrum of communication technologies, such as email, instant messaging, message boards, Twitter, corporate blogs and consumer reviews, the chapters gather research drawing on empirical data from real professional contexts. In this way, the book contributes to both academic scholarship and business communication training, enabling researchers, trainers and practitioners to deepen their understanding of the impact of new communication technologies on professional and corporate communication practices.

Playful laboratories: the significance of games for knowledge production in the digital age

Presented at DiGRA 2015 Diversity of Play, Leuphana University, Lüneburg, Germany, on the 15th of May 2015.

Back to the future: Warlpiri encounters with drawings, country and others in the digital age

Since the early 1900s, Warlpiri people living in the central desert region of Australia have experienced an intense process of adaption to the changing circumstances of postcolonial life. From the earliest days, their encounters with kardiya, non-Aboriginal people, have been mediated by diverse visual technologies that have, over time, become integral to the ways Warlpiri orient themselves to each other and their wider world. In this paper I trace the key elements of the complex visual environment that has emerged from this history of mediation. The central part of the paper considers events around the repatriation to Warlpiri communities in 2011 of a collection of drawings made in the 1950s by their forebears.In responses to a medium that once was new but now is old, several points of interest emerge, among them a clear sense of a hierarchy of value Warlpiri apply to modes of visual communication. In the context of the return of the drawings, the significance Warlpiri ascribe to other visual media comes to the fore. I consider some of the ways visual forms are deployed in support of public projections of cultural identity on the one hand and everyday modes of expression and address on the other. The paper’s central argument is that contemporary Warlpiri attitudes to images – whether they be drawn, painted or broadcast – reveal the complex postcolonial workings of mimetic desire.

English in the digital age: making english digital

Despite the emphasis in the press and elsewhere on the print-based nature of English curriculum, opportunities to develop digital English, with attention to web-based and multimodal forms of text, literacy, location, and activity, are present in the draft national (Australian) curriculum for English, alongside more traditional forms. This paper examines the place of digital and multimodal texts and literacies within the draft paper for the Australian English curriculum, and the possibilities offered by a national curriculum, for exploring and imagining an English for the Digital Age.

Preservation challenges in the digital age

The digital preservation field is evolving rapidly. Focal areas are changing and best practices are still under debate. Preservation efforts must address not just preservation of the technologies of the past, but also those of the future. The rapidly increasing volume of data requiring preservation makes other digital preservation challenges inherently larger and more complex. The shorter lifespan of digital materials also makes the need for timely and effective preservation action more urgent. This article describes what the author sees as the current major challenges in digital preservation, and covers a range of technical, administrative, legal and logistical aspects.

Imaging identity: media, memory and portraiture in the digital age

Imaging Identity presents potent reflections on the human condition through the prism of portraiture. Taking digital imaging technologies and the dynamic and precarious dimensions of contemporary identity as critical reference points, these essays consider why portraits continue to have such galvanising appeal and perform fundamental work across so many social settings. This multidisciplinary enquiry brings together artists, art historians, art theorists and anthropologists working with a variety of media. Authors look beyond conventional ideas of the portrait to the wider cultural contexts, governmental practices and intimate experiences that shape relationships between persons and pictures. Their shared purpose centres on a commitment to understanding the power of images to draw people into their worlds. Imaging Identity tracks a fundamental symbiosis — to grapple with the workings of images is to understand something vital of what it is to be human.

Copyright in the EU Digital Single Market. Report of the CEPS Digital Forum. June 2013

The scope and enforcement of copyright in the digital environment have been among the most complex and controversial subjects tackled by lawmakers all over the world for the last decade. Due to the ubiquitous use of digital technology, modern regulation of copyright inherently touches on numerous areas of law and social and economic policy, including communications privacy and Internet governance. Modernising the EU’s copyright framework is considered a key step towards achieving the goal of an EU Digital Single Market in the context of the ‘Digital Agenda for Europe’, an initiative launched by the European Commission in May 2010. How can the EU make copyright fit for purpose in the Internet age? What are the most suitable and realistic policy options to achieve the objective of a Digital Single Market in the creative content sectors? To give comprehensive answers to these questions, the CEPS Digital Forum formed a Task Force on Copyright in the EU Digital Single Market to foster a multi-stakeholder dialogue on the major challenges for copyright law in the online content sector today. Drawing on the discussions and input gathered by the Task Force, this report contains the conclusions and policy recommendations organised around three main themes: licensing rules and practices in the online music and film sectors, the definition and implementation of copyright exceptions in the digital environment and the present and future of online copyright enforcement in Europe.