930 resultados para copyright in the digital age


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This study provides an ex-post evaluation of the EU copyright framework as provided by EU Directive 29/2001 on Copyright in the Information Society (InfoSoc Directive) and related legislation, focusing on four key criteria: effectiveness, efficiency, coherence and relevance. The evaluation finds that the EU copyright framework scores poorly on all four accounts. Of the four main goals pursued by the InfoSoc, only the alignment with international legislation can be said to have been fully achieved. The wider framework on copyright still generates costs by inhibiting content production, distribution and creation and generating productive, allocative and dynamic inefficiencies. Several problems also remain in terms of both internal and external coherence. Finally, espite its overall importance and relevance as a domain of legislation in the fields of content and media, the EU copyright framework is outdated in light of technological developments. Policy options to reform the current framework are provided in the CEPS companion study on the functioning and efficiency of the Digital Single Market in the field of copyright (CEPS Special Report No. 121/November 2015).

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The consumption of academic journals has radically changed over the past decade, explains the author. While there has been an exponential rise in published scholarship, spiralling costs for commercial journals have caused cutbacks in subscriptions to academic journals by institutional libraries and raised calls for free online access to unpublished work that scholars have produced. The rise of the Internet has facilitated a concomitant growth in online scholarship. What, asks the author, are the promises on online scholarship?

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The Library of Birmingham (LoB) is a £193million project designed to provide a new space for lifelong learning and knowledge growth, a physical and virtual portal for Birmingham's citizens to the wider world. In cooperation with a range of private, public, and third-sector bodies, as well as individual citizens, the library, due to open in June 2013, will articulate a continuing process of organic growth and emergence. Key delivery themes focus on: arts and creativity, citizenship and community, enterprise and innovation, learning and skills and the new media ecology. A landmark design in the heart of the cultural district of the city, the LoB aims to stimulate sustainable economic growth, urban regeneration and social inclusion by offering a wide range of new digital learning services, real and virtual community spaces, and new opportunities for interpreting and exploiting internationally significant collections of documentary archives, photography, moving image, and rare printed books. Additionally, the LoB will offer physical space for creative, cultural, enterprise, and knowledge development. This paper outlines the cultural and educational thinking that informs the project and the challenges experienced in developing innovative service redesign.

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Concerns arising out of technology often being used as an add-on to self-directed learning practices in the workplace and factors affecting such learning were investigated through a literature analysis. What is needed is an exploration of new possibilities of computational media on how self-directed learners think, create and learn.

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Older adults can bring decades of knowledge and expertise to the mentoring table. We explore where older adults serve as mentors and the educational benefits they derive from mentoring, in light of prejudices ascribed through ageism. As mentors, older adults can remain engaged and continue to find meaning beyond retirement.

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The increasing similarity between the economic policies of center-left and center-right political parties has effectively diminished the legitimacy of governments in relationship to their citizenry in Western Europe and the U.S. Capitalist democracies during the period of managed capitalism gained legitimacy by the appearance of the separation of capitalist ownership rights in the marketplace from the political institutions that govern capitalism. During this period, Social Democratic parties in Western Europe, and to a lesser extent the Democratic Party in the U.S., paid some amount of attention to labor unions and mass constituents in formulating their policy agendas. The era of neoliberalism (late 1970s to the present) has broken any such appearances, with the dominant political parties, regardless of party label, moving rightward to embrace many of the same economic policy agendas.

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This article presents a methodological proposition to map the diversity of the audiovisual industry in the digital scenario by portraying the most important interactions between those who create, produce, distribute and disseminate audiovisual productions on line, paying special attention to powerful intermediaries and to small and medium independent agents. Taking as a point of departure a flexible understanding of social network analysis, the aim is to understand the structure of the audiovisual industry on the internet so that, taking into consideration a given sector, agents, their relations and the networks they give place to – as well as the structural conditions under which they operate – are studied. The aim is to answer questions such as: what is mapping, what is of interesting to map, how can it be done and what advantages and disadvantages the results will present.

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This article presents results of two research projects that explored the coverage of the Student Movement 2011 carried out by two chains of newspaper of Chile: El Mercurio S.A.P and Diarios Mi Voz, in three regions of the country. These press chains correspond to paper and digital press, respectively. In this research, we analyze information and photographs allowed to establish changes in journalistic practices as well as similarities in the ways of representing the student movement.

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The advent of the World Network(Net) Internet and the use of the technology in the digital environment raised new challenges to the author's copyright. These worries were considered in the last international agreements, so that the warning is not true of those who postulate that the Internet is a " territory of nobody ", where the works are unprotected completely. To educate on the topic of the protection of the author's copyright and to provide with resources the instances(authorities) in charge of the observance of these rights looks like an ineluctable task.

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The exorbitant privilege literature analyzes the positive differential returns on net foreign assets enjoyed by the United States in the last quarter of the twentieth century as the issuer of the global reserve currency. In the first age of international financial integration (1870-1914), the global reserve currency of the period was the British pound sterling. Whether the United Kingdom enjoyed a similar privilege is analyzed with a new dataset, encompassing microdata on railroad and government financial securities. The use of microdata avoids the flaws that have plagued the US studies, particularly the use of incompatible aggregate variables. New measures of Britain’s net external position provide estimates on capital gains and dividend yields. As the issuer of the global reserve currency, Britain received average revenues of 13.4% of GDP from its international investment position. The country satisfied the necessary condition for the existence of an exorbitant privilege. Nonetheless, Britain’s case is slightly different from the American one. British external assets received higher returns than were paid on external liabilities for each class, but British invested mostly in securities with low profile of risk. The low return on its net external position meant that, for most of the time, Britain would not receive positive revenues from the rest of the world if it were a net debtor country, but this pattern changed after 1900. The finding supports the claim that, at least partially, exorbitant privilege is a general characteristic of the issuer of the global reserve currency and not unique to the late twentieth century US.

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Much scholarship laments a decline in civic participation and community social capital in a changing media world. But the concept of “civicness” remains important to functioning societies across the globe. This research borrows from the cultural turn in studies of media, communication and citizenship to examine civic as culture, anchored in the practices and symbolic milieu of everyday life. As its theoretical entry point, this research paper positions civic as virtue. Drawing on scholars from Aristotle to Pierre Bourdieu, civic virtue may be understood as a perceived moral obligation to serve the common good, especially the interests of a “community” in which individuals and/or groups are connected. In particular, the research extends Bourdieu's ideas to consider news media as a powerful institution alongside the state that may claim monopoly over the manipulation of civic virtue under certain social conditions. Civic virtue offers much in discussions about media power in the digital age and its relationship to the future viability and legitimacy of news media. The research draws on exemplars from a study into digitally mediated civic participation in a rural/regional Australian context to position certain local media as “keepers” and “conferrers” of civic virtue in the social settings they serve.

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Research is often characterised as the search for new ideas and understanding. The language of this view privileges the cognitive and intellectual aspects of discovery. However, in the research process theoretical claims are usually evaluated in practice and, indeed, the observations and experiences of practical circumstances often lead to new research questions. This feedback loop between speculation and experimentation is fundamental to research in many disciplines, and is also appropriate for research in the creative arts. In this chapter we will examine how our creative desire for artistic expressivity results in interplay between actions and ideas that direct the development of techniques and approaches for our audio/visual live-coding activities.