This document discusses the cultural practice of remixing and its origins. It provides an overview of remix culture in relation to Web 2.0 and discusses the debate around whether remixing is a form of creativity or piracy. The origins of remixing are traced from dub reggae in Jamaica in the 1960s to its spread through hip hop in the 1970s. Current legal threats to remixing from copyright law are also examined.
The document discusses copyright, including that it is the legal right of creative artists and publishers to control the use and reproduction of their original works. It owns the copyright unless assigned otherwise. Copyright owners have the right to reproduce, distribute, and publicly display the work. Examples of copyrightable works include software, artwork, music, websites, and poetry. The document also discusses public domain works, orphan works, fair use, the TEACH Act, and citing information sources.
Changes in this PowerPoint:
Started with a picture,, setting the stage for the topic of this presentation. Added full screen pictures related to the content and added humor and less text.
This document summarizes a book about intellectual property by James Boyle. It discusses heated battles over intellectual property, the importance of understanding intellectual property law, and how intellectual property rights create the ground rules of the information society. The book contains chapters on topics like copyright, patent, the public domain, the digital millennium copyright act, creative commons, and the need for an environmentalism movement for information.
Intellectual property refers to creations of the mind such as inventions, artistic works, and symbols used in commerce, and can be protected by copyright, which grants creators exclusive rights over the reproduction and distribution of their original works; copyright applies to digital media like websites and online content as it does to physical works; penalties for copyright infringement range from fines to imprisonment depending on the scale of the offense.
Copyright protects artistic works like music, movies, books, and paintings. It gives the creator exclusive rights over publishing and selling their work. The purpose of copyright is to credit artists and promote innovation. Downloading copyrighted content without permission is considered illegal, though laws and enforcement may vary by country. To copyright a work, it simply needs to be original and fixed in a tangible form. Copyright lasts for the life of the creator plus 50-70 years in most places.
This document discusses the cultural practice of remixing and its origins. It provides an overview of remix culture in relation to Web 2.0 and discusses the debate around whether remixing is a form of creativity or piracy. The origins of remixing are traced from dub reggae in Jamaica in the 1960s to its spread through hip hop in the 1970s. Current legal threats to remixing from copyright law are also examined.
The document discusses copyright, including that it is the legal right of creative artists and publishers to control the use and reproduction of their original works. It owns the copyright unless assigned otherwise. Copyright owners have the right to reproduce, distribute, and publicly display the work. Examples of copyrightable works include software, artwork, music, websites, and poetry. The document also discusses public domain works, orphan works, fair use, the TEACH Act, and citing information sources.
Changes in this PowerPoint:
Started with a picture,, setting the stage for the topic of this presentation. Added full screen pictures related to the content and added humor and less text.
This document summarizes a book about intellectual property by James Boyle. It discusses heated battles over intellectual property, the importance of understanding intellectual property law, and how intellectual property rights create the ground rules of the information society. The book contains chapters on topics like copyright, patent, the public domain, the digital millennium copyright act, creative commons, and the need for an environmentalism movement for information.
Intellectual property refers to creations of the mind such as inventions, artistic works, and symbols used in commerce, and can be protected by copyright, which grants creators exclusive rights over the reproduction and distribution of their original works; copyright applies to digital media like websites and online content as it does to physical works; penalties for copyright infringement range from fines to imprisonment depending on the scale of the offense.
Copyright protects artistic works like music, movies, books, and paintings. It gives the creator exclusive rights over publishing and selling their work. The purpose of copyright is to credit artists and promote innovation. Downloading copyrighted content without permission is considered illegal, though laws and enforcement may vary by country. To copyright a work, it simply needs to be original and fixed in a tangible form. Copyright lasts for the life of the creator plus 50-70 years in most places.
The music recording industry has undergone significant changes since the 1850s with the development of recording technologies. By the early 20th century, the industry was dominated by a few major companies like Edison, Columbia, and Victor. Rock music in the 1950s brought more competition. Today, the global industry is worth $40 billion annually and is controlled by just a few major corporations like Universal Music Group, Sony/BMG, Warner Music, and EMI, which control the majority of charted albums and global market share. Top earning artists of all time include Elvis Presley, The Beatles, Michael Jackson, Abba, and Queen.
A presentation by SUI GENERIS GROUP
ATTY. ALDER K. DELLORO
MR. LUDOVICO K. DELLORO
ATTY. ANTON CARLO E. ESPINO
MS. AUREN GALANG
MR. CARLO MARTIN
MS. MARIA THERESA MIJARES
MR. ALBERT ONG
REP. WILLIAM IRWIN TIENG
This document discusses remixing and intellectual property law. It introduces Larry Lessig and his positions on piracy, copyright wars, and the influence of lawyers and lobbyists on copyright law. The document examines examples of remixes and mashups, and discusses the key issues around who owns culture and intellectual property when creative works are remixed and built upon existing works. It questions whether remixing should be considered legal or illegal and discusses concepts like fair use and creative commons.
What is Web 2.0 and how important is it to the music industryJo Va
The document discusses the history and impact of Web 2.0 technologies like Napster, YouTube, Myspace, and Facebook on the music industry. It describes how Napster launched the era of digital music sharing but faced legal battles over copyright. YouTube and social media then became major platforms for distributing and promoting music. While record labels want control, artists have used blogs, videos and social networks for free promotion. The document considers how record labels can work with Web 2.0 to benefit all parties.
The document discusses the history of copyright law as it relates to technological advances in the music industry. As technology has evolved from piano rolls to MP3 files to online streaming, it has enabled easier copying and sharing of music, which recording labels have tried to prevent through establishing and updating copyright laws. However, copyright infringement has still flourished with new technologies. The recording industry has sued file sharing sites like Napster and taken legal action against individual downloaders, but has struggled to fully stop illegal music sharing online. The future of the music industry remains uncertain as copyright infringement remains widespread.
The document discusses the concept of remix and how it relates to other concepts like remediation and assemblage. It provides examples of popular remixes, such as the "Grey Album" that combined the Beatles' White Album and Jay-Z's Black Album. The document also examines issues around intellectual property, fair use, and how new technologies have historically challenged existing laws around media distribution and ownership.
This document provides an overview of U.S. copyright law, including its definition, history, and how it affects teachers and students. It outlines what works are protected under copyright, from 1923 to present. Fair use guidelines for educational purposes are described, allowing limited use of copyrighted works for nonprofit instruction. Teachers can use short excerpts of text, music, and videos under fair use. The document also cautions about obtaining permission when posting student works or copyrighted content online.
The document discusses the Brooklyn Museum's copyright project. It aims to make the museum's collection available online while respecting artist rights. The project involves classifying works, researching copyright status, obtaining non-exclusive licenses from artists, and educating staff. Over 5,500 works by 372 artists were cleared through interns contacting artists, galleries, and researching estate contacts over two years. The document provides resources for understanding copyright law and researching artist rights.
This document discusses several topics related to intellectual property and legal considerations in an online world. It addresses the history of the internet, intellectual property rights like copyrights and trademarks. It also discusses issues around integrity, libel, privacy and data security online. Specific steps are outlined to enhance privacy for internet users, such as limiting downloads and visits to untrustworthy websites. Copyright is defined as the set of exclusive rights granted to creators for original works, and the rights owners have over reproducing, adapting and publishing their works are explained.
The document provides an overview of Digital Matters Lab and discusses key concepts in digital humanities and best practices for writing online. Some of the main points covered include:
- Digital Matters Lab incorporates technology with humanities, arts, and design through research, instruction, and support.
- Digital humanities involves computational methods, cultural criticism of technology, digital pedagogy, and digital dissemination.
- When writing online, it is important to get to the main point quickly, use concise language, break up long content with headings and lists, and write in an active voice to engage readers.
- Copyright and fair use can be complex when using digital materials and attribution practices need to be followed
Copyright Provisions of the TPP proposals and the Impact on Access to Knowled...FTA Malaysia
The document summarizes key aspects of copyright provisions proposed in the Trans-Pacific Partnership Agreement (TPP) and their potential impacts. It outlines that the leaked US proposals would disrupt the traditional balance between rights holders and public access by extending copyright terms up to 120 years, prohibiting parallel imports, strengthening technological protection measures, and imposing broad anti-circumvention laws with limited exceptions. This could undermine access to information, knowledge, education and restrict creativity if adopted in the final TPP agreement.
This document provides a summary of intellectual property considerations for digital publishers in 3 sentences or less:
Digital publishers must understand copyright laws to properly protect and license their content. This includes securing initial ownership of copyrighted works, protecting brands through trademarks, and properly licensing copyrighted content for syndication or third party use. The document outlines key aspects of copyright, licensing, and other intellectual property issues and best practices for digital publishers to manage their rights and comply with relevant laws.
Slide notes - Changes in media production and distribution which have led to ...Holly Grover
This document provides an overview of the changes in media production and distribution that led to the development of Creative Commons (CC) licensing. It discusses:
1) A brief history of copyright and its purpose of incentivizing creation by allowing creators control over duplication of their works.
2) Four major technological revolutions - printing press, photography/film, radio/TV, and the internet - that made mass distribution of media possible and challenged existing copyright models.
3) How digitalization and the internet in particular allowed anyone to distribute media globally, raising issues around copyright that CC licensing was designed to address by providing options for sharing and reuse with attribution.
This document discusses two cases related to copyright: T-Series vs Guruji.com and Rogers vs Koons. In the first case, T-Series, an Indian music label, accused Guruji.com, an Indian search engine, of copyright infringement for linking to pirated music sites. Guruji.com was found to be in violation of the Digital Millennium Copyright Act and removed music search functions from its site. In the second case, photographer Art Rogers sued artist Jeff Koons for copyright infringement after Koons used Rogers' photograph without permission in one of his art installations. The court ruled in favor of Rogers, rejecting Koons' fair use defense.
This document outlines the agenda for a class discussion. It begins by recapping arguments from a previous class and providing examples of print-based artifacts that were important in the past, such as newspapers, books, and handwritten notes. Students are then asked to discuss changes in how they consume media and share information. The document prompts students to form groups and craft an argument supported by the previous class readings about changes to print culture. It concludes by assigning readings for the next class and noting they will discuss storyboarding and scheduling conferences.
Copyright Protection in Cyberspace- A Comparitive Study of the USA and IndiaDevanshi Goyal
This document provides a summary and analysis of copyright protection laws in the United States and India, with a focus on protections in cyberspace. It begins with an introduction on the problem of increasing copyright infringement online. It then defines key terms like copyright and infringement. It analyzes the landmark Viacom v. YouTube case regarding the Digital Millennium Copyright Act's safe harbor provision. The bulk of the document performs a comparative analysis of US and Indian copyright laws, examining jurisdictional issues, compliance with international treaties, and the fair use doctrine. It concludes that while US law is more developed, India is working to update its laws to address copyright in the digital era.
1) The document discusses copyright in the digital age and examines what types of online content are protected by copyright. It notes that original works fixed in a tangible form are automatically protected by copyright upon creation, including websites, blogs, videos, photos, and music.
2) The summary outlines some limitations to copyright including exceptions for ideas, facts, public domain content, and fair use of copyrighted works for purposes like news reporting or teaching. It also lists some types of content that are not protected, such as government works.
3) The document examines the TEACH Act, which establishes exceptions for certain online educational uses of copyrighted materials, and argues there are benefits to officially registering a copyright despite automatic protections. It
Heavy metal emerged in the late 1960s from genres like blues rock and psychedelic rock. It originated from bands like Black Sabbath in Birmingham, England that played heavily amplified, blues-influenced rock. In the 1980s, heavy metal became hugely popular commercially in the US and abroad, diversifying stylistically and attracting a more gender-balanced audience from various classes. However, the lyrics and imagery of many metal bands were criticized for celebrating misogyny, violence, and toxic masculinity. This led to parental advisory labels and Senate hearings over heavy metal's influence in the 1980s.
- Black popular music from the 1920s-1970s, including jazz, gospel, blues, and rhythm and blues, greatly influenced the development of rock and roll. However, black musical styles often existed separately from the mainstream pop market.
- In the 1950s, some black musical performers like Chuck Berry began to achieve mainstream success, and white musicians covering black songs also helped expose black music to broader audiences. However, questions remain about cultural appropriation within the music industry.
This document provides an overview of a media studies module. It outlines the module leader's contact details and office hours. It also describes the weekly schedule and content, which covers topics like news values, regulation, online news, documentaries, and reality television. Assessments include an online time-constrained test worth 40% and an assignment analyzing factual media texts. Recommended readings and resources are also listed.
The music recording industry has undergone significant changes since the 1850s with the development of recording technologies. By the early 20th century, the industry was dominated by a few major companies like Edison, Columbia, and Victor. Rock music in the 1950s brought more competition. Today, the global industry is worth $40 billion annually and is controlled by just a few major corporations like Universal Music Group, Sony/BMG, Warner Music, and EMI, which control the majority of charted albums and global market share. Top earning artists of all time include Elvis Presley, The Beatles, Michael Jackson, Abba, and Queen.
A presentation by SUI GENERIS GROUP
ATTY. ALDER K. DELLORO
MR. LUDOVICO K. DELLORO
ATTY. ANTON CARLO E. ESPINO
MS. AUREN GALANG
MR. CARLO MARTIN
MS. MARIA THERESA MIJARES
MR. ALBERT ONG
REP. WILLIAM IRWIN TIENG
This document discusses remixing and intellectual property law. It introduces Larry Lessig and his positions on piracy, copyright wars, and the influence of lawyers and lobbyists on copyright law. The document examines examples of remixes and mashups, and discusses the key issues around who owns culture and intellectual property when creative works are remixed and built upon existing works. It questions whether remixing should be considered legal or illegal and discusses concepts like fair use and creative commons.
What is Web 2.0 and how important is it to the music industryJo Va
The document discusses the history and impact of Web 2.0 technologies like Napster, YouTube, Myspace, and Facebook on the music industry. It describes how Napster launched the era of digital music sharing but faced legal battles over copyright. YouTube and social media then became major platforms for distributing and promoting music. While record labels want control, artists have used blogs, videos and social networks for free promotion. The document considers how record labels can work with Web 2.0 to benefit all parties.
The document discusses the history of copyright law as it relates to technological advances in the music industry. As technology has evolved from piano rolls to MP3 files to online streaming, it has enabled easier copying and sharing of music, which recording labels have tried to prevent through establishing and updating copyright laws. However, copyright infringement has still flourished with new technologies. The recording industry has sued file sharing sites like Napster and taken legal action against individual downloaders, but has struggled to fully stop illegal music sharing online. The future of the music industry remains uncertain as copyright infringement remains widespread.
The document discusses the concept of remix and how it relates to other concepts like remediation and assemblage. It provides examples of popular remixes, such as the "Grey Album" that combined the Beatles' White Album and Jay-Z's Black Album. The document also examines issues around intellectual property, fair use, and how new technologies have historically challenged existing laws around media distribution and ownership.
This document provides an overview of U.S. copyright law, including its definition, history, and how it affects teachers and students. It outlines what works are protected under copyright, from 1923 to present. Fair use guidelines for educational purposes are described, allowing limited use of copyrighted works for nonprofit instruction. Teachers can use short excerpts of text, music, and videos under fair use. The document also cautions about obtaining permission when posting student works or copyrighted content online.
The document discusses the Brooklyn Museum's copyright project. It aims to make the museum's collection available online while respecting artist rights. The project involves classifying works, researching copyright status, obtaining non-exclusive licenses from artists, and educating staff. Over 5,500 works by 372 artists were cleared through interns contacting artists, galleries, and researching estate contacts over two years. The document provides resources for understanding copyright law and researching artist rights.
This document discusses several topics related to intellectual property and legal considerations in an online world. It addresses the history of the internet, intellectual property rights like copyrights and trademarks. It also discusses issues around integrity, libel, privacy and data security online. Specific steps are outlined to enhance privacy for internet users, such as limiting downloads and visits to untrustworthy websites. Copyright is defined as the set of exclusive rights granted to creators for original works, and the rights owners have over reproducing, adapting and publishing their works are explained.
The document provides an overview of Digital Matters Lab and discusses key concepts in digital humanities and best practices for writing online. Some of the main points covered include:
- Digital Matters Lab incorporates technology with humanities, arts, and design through research, instruction, and support.
- Digital humanities involves computational methods, cultural criticism of technology, digital pedagogy, and digital dissemination.
- When writing online, it is important to get to the main point quickly, use concise language, break up long content with headings and lists, and write in an active voice to engage readers.
- Copyright and fair use can be complex when using digital materials and attribution practices need to be followed
Copyright Provisions of the TPP proposals and the Impact on Access to Knowled...FTA Malaysia
The document summarizes key aspects of copyright provisions proposed in the Trans-Pacific Partnership Agreement (TPP) and their potential impacts. It outlines that the leaked US proposals would disrupt the traditional balance between rights holders and public access by extending copyright terms up to 120 years, prohibiting parallel imports, strengthening technological protection measures, and imposing broad anti-circumvention laws with limited exceptions. This could undermine access to information, knowledge, education and restrict creativity if adopted in the final TPP agreement.
This document provides a summary of intellectual property considerations for digital publishers in 3 sentences or less:
Digital publishers must understand copyright laws to properly protect and license their content. This includes securing initial ownership of copyrighted works, protecting brands through trademarks, and properly licensing copyrighted content for syndication or third party use. The document outlines key aspects of copyright, licensing, and other intellectual property issues and best practices for digital publishers to manage their rights and comply with relevant laws.
Slide notes - Changes in media production and distribution which have led to ...Holly Grover
This document provides an overview of the changes in media production and distribution that led to the development of Creative Commons (CC) licensing. It discusses:
1) A brief history of copyright and its purpose of incentivizing creation by allowing creators control over duplication of their works.
2) Four major technological revolutions - printing press, photography/film, radio/TV, and the internet - that made mass distribution of media possible and challenged existing copyright models.
3) How digitalization and the internet in particular allowed anyone to distribute media globally, raising issues around copyright that CC licensing was designed to address by providing options for sharing and reuse with attribution.
This document discusses two cases related to copyright: T-Series vs Guruji.com and Rogers vs Koons. In the first case, T-Series, an Indian music label, accused Guruji.com, an Indian search engine, of copyright infringement for linking to pirated music sites. Guruji.com was found to be in violation of the Digital Millennium Copyright Act and removed music search functions from its site. In the second case, photographer Art Rogers sued artist Jeff Koons for copyright infringement after Koons used Rogers' photograph without permission in one of his art installations. The court ruled in favor of Rogers, rejecting Koons' fair use defense.
This document outlines the agenda for a class discussion. It begins by recapping arguments from a previous class and providing examples of print-based artifacts that were important in the past, such as newspapers, books, and handwritten notes. Students are then asked to discuss changes in how they consume media and share information. The document prompts students to form groups and craft an argument supported by the previous class readings about changes to print culture. It concludes by assigning readings for the next class and noting they will discuss storyboarding and scheduling conferences.
Copyright Protection in Cyberspace- A Comparitive Study of the USA and IndiaDevanshi Goyal
This document provides a summary and analysis of copyright protection laws in the United States and India, with a focus on protections in cyberspace. It begins with an introduction on the problem of increasing copyright infringement online. It then defines key terms like copyright and infringement. It analyzes the landmark Viacom v. YouTube case regarding the Digital Millennium Copyright Act's safe harbor provision. The bulk of the document performs a comparative analysis of US and Indian copyright laws, examining jurisdictional issues, compliance with international treaties, and the fair use doctrine. It concludes that while US law is more developed, India is working to update its laws to address copyright in the digital era.
1) The document discusses copyright in the digital age and examines what types of online content are protected by copyright. It notes that original works fixed in a tangible form are automatically protected by copyright upon creation, including websites, blogs, videos, photos, and music.
2) The summary outlines some limitations to copyright including exceptions for ideas, facts, public domain content, and fair use of copyrighted works for purposes like news reporting or teaching. It also lists some types of content that are not protected, such as government works.
3) The document examines the TEACH Act, which establishes exceptions for certain online educational uses of copyrighted materials, and argues there are benefits to officially registering a copyright despite automatic protections. It
Heavy metal emerged in the late 1960s from genres like blues rock and psychedelic rock. It originated from bands like Black Sabbath in Birmingham, England that played heavily amplified, blues-influenced rock. In the 1980s, heavy metal became hugely popular commercially in the US and abroad, diversifying stylistically and attracting a more gender-balanced audience from various classes. However, the lyrics and imagery of many metal bands were criticized for celebrating misogyny, violence, and toxic masculinity. This led to parental advisory labels and Senate hearings over heavy metal's influence in the 1980s.
- Black popular music from the 1920s-1970s, including jazz, gospel, blues, and rhythm and blues, greatly influenced the development of rock and roll. However, black musical styles often existed separately from the mainstream pop market.
- In the 1950s, some black musical performers like Chuck Berry began to achieve mainstream success, and white musicians covering black songs also helped expose black music to broader audiences. However, questions remain about cultural appropriation within the music industry.
This document provides an overview of a media studies module. It outlines the module leader's contact details and office hours. It also describes the weekly schedule and content, which covers topics like news values, regulation, online news, documentaries, and reality television. Assessments include an online time-constrained test worth 40% and an assignment analyzing factual media texts. Recommended readings and resources are also listed.
Med332 post punk or rip it up and start againRob Jewitt
1. The document discusses the diverse and experimental nature of post-punk music between 1976-1983, which gave rise to genres like goth, new wave, synthpop and indie.
2. Post-punk is considered a "messy" conceptual category that resisted clear definition, as bands experimented musically and politically. This included feminist bands that critiqued gender roles and politics.
3. The proliferation of independent record labels and specialist shops in this era helped democratize the music industry and distribute post-punk genres in opposition to major labels. This laid the foundations for future "indie" music.
This document discusses the origins and development of progressive rock music between the 1960s-1970s. It notes that progressive rock emerged from psychedelic rock in the late 1960s, drawing influence from classical music forms. Bands like Yes, Genesis, ELP, and Pink Floyd adopted multi-movement suites and other classical compositional techniques. Progressive rock sought to achieve both commercial popularity and artistic status on par with classical music. It became a major genre by the early 1970s, characterized by extended instrumental sections, eclectic styles, and multimedia live performances. However, progressive rock declined in popularity by the late 1970s.
Black British music originated from Jamaican ska music that was brought over by immigrants in the late 1950s. Ska fused American blues, do-wop and African styles and was popular among Jamaican youth subcultures. This music spread to British cities with large West Indian populations in the 1960s. By the 1970s, reggae emerged and addressed the experiences of institutional racism faced by second-generation black British youth. Fusions of punk and reggae in the mid-1970s helped transform the genre and appeal to working-class white British audiences facing similar issues. Labels like Two Tone in the late 1970s promoted indigenous multi-ethnic bands like The Specials and The Beat, exploring anti-racism
Mac281 big data & journalism lecture 2014Rob Jewitt
This document discusses the emergence of data journalism and how journalists are using large datasets and data analysis tools to uncover stories and insights. It provides an overview of the history of database journalism and computer-assisted reporting dating back to the 1950s. It also highlights more recent examples where journalists have used mapping, data visualization, and interactive tools to explore and explain different datasets. The document suggests data-driven journalism will be an important growth area for the profession in the future.
Whistleblowing and radical transparency on the internet have a long history but changing contexts. While the internet allows bypassing journalists, whistleblowers themselves have become the story through smear campaigns. Maintaining anonymity while revealing information is challenging as governments and corporations work to reassert control over information flows online through market dominance and security policies.
Disco emerged in the late 1960s and grew rapidly popular through the 1970s, with over 15,000 discos opening across the US. Disco nights brought together diverse groups on the dance floor to dance freely to percussive music. However, disco faced a backlash from social conservatives and was further damaged by its association with marginalized groups like the gay community as the AIDS crisis unfolded. While commercially successful, disco's inclusive culture challenged social norms and it was eventually replaced by new musical styles.
This module provides an introduction to the study of digital media cultures and the internet. Students will learn about the history and development of technologies like personal computers, video games, and mobile devices. They will examine how these technologies have impacted issues such as interactivity, participation, and digital media phenomena. The module will involve lectures, seminars, and tutorials. Students will complete two case studies and a final essay to assess their understanding of key concepts and critical issues related to digital media.
Med332 the birth of the rock and roll consumerRob Jewitt
This document discusses the emergence of rock and roll music and the birth of the popular music consumer in the 1950s. Broad demographic changes following World War 2, including the baby boom and rising incomes for youth, helped create a new youth market. This coincided with investment from capitalist enterprises in black musical genres like blues and R&B. New technologies like the 45 RPM record also helped spread rock and roll music to youth consumers and undermine the dominance of major record labels.
This document discusses the evolution of photography from its origins in the 19th century to the current digital age. It outlines four stages of photographic development: 1) 19th century pioneers like Niépce, Daguerre and Talbot, 2) 1900-1930 with Kodak and the rise of snapshots, 3) 1930-1990 involving professionalization and technique, and 4) the digital era beginning in 1990 characterized by ubiquitous cameras and networked sharing. The author argues that photography has become a collaborative process of production and consumption, with everyone now able to participate through camera phones and online sharing, though some note this has turned people into "image-junkies" constantly needing their reality confirmed.
Med312 Journalistic sources in the networked era: protecting and framingRob Jewitt
1. The document discusses principles of protecting confidential sources for journalists, including that sources must never be identified while alive.
2. Courts are very reluctant to require disclosure of sources, only doing so in exceptional cases where public or individual interests are at stake.
3. Views of whistleblowers have shifted over time in some media, from mostly positive coverage to some recent backlash against them in some outlets.
Mac201 2014 week 1 lecture 1 intro to moduleRob Jewitt
This document outlines the content and structure of a media studies module. It provides details on the module leader, weekly schedule, assessments, and recommended readings. Over the course of 12 weeks, students will examine topics like news values, media regulation, public opinion, online and global media, documentaries, reality TV, and gender representation. Assessment includes a timed test worth 40% and an analysis of a factual media text worth 60%. The module aims to develop students' understanding of how mainstream media shapes public understanding and its relationship with audiences, politics, and society.
This document discusses the rise of native advertising, a new form of online advertising that aims to blend seamlessly with a publisher's editorial content. It notes that while native ads aim to be less disruptive than traditional display ads, they risk compromising publishers' independence and breaking consumer trust if the sponsored nature is not clear. The document also raises questions about whether native ads can work alongside traditional content in a transparent way or if the practice inevitably poses challenges to separating advertising from editorial.
The document discusses the history and evolution of hacking from the 1940s to present day. It covers the origins of hacking at MIT, the "Golden Age of Hacking" from 1980-1990 which saw the rise of bulletin board systems and publications like Phrack, and the shift to viewing hacking as criminal as the media portrayed it as a "moral panic" and police raids increased. It also mentions the rise of hacktivism and how hackers today are involved in online protests and political causes.
This module examines popular music cultures through several lenses. Students will critically analyze the relationships between musical, cultural, social, economic and technological factors in popular music history. Various theories of popular culture will be developed and applied to the production, consumption and enjoyment of popular music, and how these have related to socio-political changes in society. Specific musical genres and performers will then be examined using these conceptual and theoretical frameworks. Students will complete two case studies and a final essay to demonstrate their understanding.
Med332 roots, rocks, reggae the politics of bob marleyRob Jewitt
This document provides an overview of the politics and influence of reggae musician Bob Marley. It discusses how reggae music emerged from earlier Jamaican genres like ska and rocksteady and was influenced by Rastafarianism. Reggae served as a form of protest music addressing issues like inequality, racism, and colonialism. Bob Marley helped bring reggae to a global audience and used his music to spread messages of empowerment and pan-African unity. His lyrics frequently referenced Marcus Garvey and Haile Selassie and promoted Rastafarian ideals of repatriation to Africa.
This document discusses several questions related to wartime journalism and the challenges journalists face in covering conflicts. It notes that over 1,000 journalists have been killed since 1992 while reporting on wars, with many murders going unpunished. Embedded journalism is questioned as it puts reporters under military oversight, though it also provides access. The lines between fact and propaganda can be blurred in conflicts, and the demands of the news cycle may impact public understanding. Overall, the document examines the complexities of reporting on wars and balancing truth-telling with safety.
Med332 electronic music production and creativityRob Jewitt
This document provides an overview of electronic music production, covering technology, technique, and talent. It discusses the history of electronic music technologies from the Fairlight CMI sampler in the 1970s to modern digital audio workstations. The document also examines issues around sampling, copyright, and creativity in electronic music production.
The document discusses how young people today are immersed in a culture of remixing and mashing up existing media in creative ways. It provides examples of remix culture across various domains like music, fashion, and online content. It also discusses the history of remixing and how new technologies have challenged old concepts of copyright and ownership, enabling today's youth to easily manipulate, create and share user-generated content.
The document discusses copyright laws regarding music piracy. It is illegal to copy and distribute copyrighted music without permission, but legal to make copies for personal use. While music industry groups claim piracy has reduced music sales, some studies have found pirates may actually help promote artists and increase sales. The effects of online music sharing on the industry remain unclear and debated.
The document discusses the transition from analog to digital music distribution brought about by the invention of the compact disc in the 1980s. This shift to digital distribution enabled the rise of file sharing through peer-to-peer networks in the 1990s, most notably with Napster. While file sharing had negative impacts on the music industry's revenues, it also created new opportunities for artists. The present digital music economy is debated, as artists and advocates argue they are not benefiting fairly from current models like streaming services, digital stores, and file lockers. The future of compensation for artists remains an ongoing discussion.
The music industry has faced significant challenges over the past two decades due to the rise of file sharing and digital piracy. Major record labels like EMI have struggled financially, laying off employees and seeing profits decline. Two key factors have disrupted the traditional business model - the growth of peer-to-peer file sharing networks in the 2000s that made music files widely available for free, and the digitization and broadband proliferation that enabled easy transfer of music online. While the industry has tried prosecuting pirates and implementing digital rights management, it has had limited success combating these forces of change.
The document discusses copyright laws regarding music piracy. It is illegal to copy and distribute copyrighted music without permission, but legal to make copies for personal use. While music labels argue piracy hurts sales, some studies have found pirates are more likely to purchase music and attend concerts, exposing more people to new artists. Overall, there are reasonable arguments on both sides of the piracy debate.
The recording industry has struggled with the rise of digital technology and illegal downloading. Piracy caused music sales to decline sharply in the late 1990s. In response, the recording industry sued people for illegally downloading music and concert performances became more important for artists' income. By the 2010s, digital sales and streaming services grew enough to offset continuing declines in CD sales. However, the industry still works to protect its content from piracy through litigation and encouraging legal digital options.
The document discusses the history and future of the music industry. It covers the evolution of music from pre-historic instruments to modern digital formats like MP3s and the impact of technology like the CD, MP3 players, and internet downloading. The document also examines the debate around digital music piracy and arguments from both sides of the issue. It suggests the music industry needs to embrace new technology to adapt to changes in how consumers obtain and listen to music.
Here are some key entertainment and sports law journals that may contain articles relevant to music law:
- Cardozo Arts & Entertainment Law Journal (Benjamin N. Cardozo School of Law)
- Columbia Journal of Law and the Arts
- Communications and Entertainment Law Journal (UC Hastings)
- Entertainment and Sports Law Review (University of Miami School of Law)
- Fordham Intellectual Property, Media & Entertainment Law Journal
- Loyola of Los Angeles Entertainment Law Review
- Marquette Sports Law Journal
- South Texas College of Law Review
These journals would be searchable on legal databases like Westlaw or LexisNexis and may contain articles on topics like music copyrights, licensing, sampling, recording
The document summarizes the history of the music industry from 1900 to 2001 and the rise of digital distribution through Napster. It discusses how Napster allowed users to share files but was banned in 2001 for violating intellectual property rights. While Napster's userbase declined, other peer-to-peer networks emerged. The document outlines potential strategies for music companies in response to this shift, including developing their own online music services or taking legal action against peer-to-peer software. It concludes that music companies will see significant erosion of legal sales and should test consumer reaction to subscription services while continuing lawsuits against P2P networks.
Med332 Digital disruption in the music industryRob Jewitt
Digital technology disrupted the music industry in three main ways:
1. The introduction of digital formats like the CD and file sharing services like Napster made music easier to copy and share, reducing sales of physical formats and enabling rampant piracy.
2. As streaming services like Spotify grew, they shifted listening habits away from paid music downloads towards ad-supported or subscription streaming models, reducing revenues for labels and artists.
3. Younger audiences became less willing to pay for individual songs or albums as there were many free alternatives, devaluing music and making it harder for artists to earn a living from their work alone.
The document discusses remixing and intellectual property law. It defines remixing as taking cultural artifacts like images, video, audio, or text and mixing them together to create something new. This raises legal issues about whose intellectual property is being used. Lawrence Lessig is discussed as believing artists rather than lawyers should determine who owns culture. He advocates fitting laws to new technologies rather than forcing technologies to conform to existing laws. Examples are given of past technologies like radios that were initially seen as "pirating" but became regulated. The document questions what can legally be remixed and discusses the "Grey Album" mashup of The Beatles and Jay-Z albums.
1) Technology has transformed the music industry by making it easier for artists to produce and distribute their music digitally. DJ Michna has been able to build a career through licensing his music for TV shows and ads, which would not have been possible without digital tools and databases.
2) Streaming services now store vast amounts of music using solid state drives instead of hard drives for their speed and reliability in accessing and delivering music to users. This enables fast searches of large databases.
3) As technology continues to evolve, it will provide musicians with better tools for recording and new avenues for earning a living from their work through digital distribution.
1. The document discusses the early discourse around file sharing which fell into two camps: those who saw it as threatening artists' livelihoods, and those who viewed it in a celebratory way for fans.
2. It then examines reasons people give for file sharing, including resentment of high music prices, a desire for exclusivity and community, and reactions against the mainstream music industry.
3. The document also looks at technological protections used by the music industry and arguments that file sharers don't see themselves as criminals but are transforming the relationship between producers and consumers.
Today Is Opposite Day: Music in the Network AgeAram Sinnreich
Aram Sinnreich first presented this as a keynote at the 2008 Halifax Pop Music Explosion conference. Most recently, it was presented on 12/6/10 at NYU's Computers & Society Speaker Series. The video can be found at http://www.youtube.com/watch?v=9Plm1ulrp2s
Similar to Mac351 from dub to disco electronic music production and creativity (16)
Radiohead released their album "In Rainbows" digitally in 2007 with an optional price, allowing fans to pay what they wanted, including nothing. This unconventional release strategy received significant media attention and cut through the noise in a way that a traditional marketing campaign could not. As music sales decline, artists must get creative with digital marketing to maximize exposure. Lorde has found success selling as many albums as Miley Cyrus without relying on hype or provocative antics, proving high-quality music can stand on its own.
This document discusses issues around fake news, post-truth politics, and the changing media landscape. It explores how social media and online platforms have disrupted traditional journalism and allowed false or misleading information to spread more easily. Specifically, it examines how algorithms prioritize engaging content over facts, creating "filter bubbles" that influence users. This undermines the media's role in facilitating an informed public sphere.
Mac114 week 12 effecetive social media campaignsRob Jewitt
This document discusses effective social media campaigns and provides tips for running successful campaigns. It notes that 4 in 5 businesses have dedicated social media teams and advertise on social media. Some effective campaigns highlighted include those by Emirates Airlines, Casey Neistat for Comedy Central, Tasty recipes, and Donald Trump's #MAGA campaign. It provides 5 rules for social media campaigns, such as establishing clear goals and choosing the right platforms. Measurement tools for social mentions are also listed. The document closes by discussing potential futures of social media, including platforms controlling content distribution and the risk of fake news spreading.
Mac114 week 11 fomo the fear of missing outRob Jewitt
1. The document discusses the concept of "FOMO" or "fear of missing out" and its relationship to social media usage and psychological well-being.
2. A study found that FOMO correlates with general discontent and disproportionately affects young people, especially males.
3. The document proposes ways to harness FOMO for marketing purposes, such as through exclusivity, word-of-mouth promotions, flash sales, random acts of kindness, and live streaming events.
The document provides advice for students completing an assessment essay for a media studies module. It recommends that students spend approximately 136 hours on research-related activities like reading, watching media examples, and independent research by the end of week 8, leaving enough time to write and edit the essay. The assessment task requires students to analyze 1-2 key concepts from the module by applying them to a specific media format as an example. Some key concepts discussed include news values, ideology, and the public sphere. Students are advised to start planning their essay early and use sample essays as a guide for the expected level of analysis and demonstration of understanding.
Mac114 social video & personality brandingRob Jewitt
The document discusses personal branding and the rise of social media personalities. It notes that the most popular YouTube channels are dominated by comedic and entertainment content from individual creators who have built large followings. These YouTubers have established personal brands and achieved a form of celebrity status through cultivating their image and personality online. However, their fame relies on continual endorsement from subscribers who help shape their persona through comments and feedback. While social media lowers barriers to fame, it also makes YouTube celebrities' status precarious since it depends on maintaining community support.
Mac114 The business of blogging and blogging for businessRob Jewitt
This document discusses the business of blogging. It notes that while many blogs started as amateur online diaries, blogging has evolved into a new form of editorial content with loyal readerships. The document provides advice for monetizing a blog, including self-hosting to maintain control, creating useful content to attract an audience, networking to spread your expertise, developing your brand, and exploring multiple income streams such as ebooks, speaking, or selling merchandise related to your niche topic. It emphasizes allowing monetization to happen organically based on your audience's interests.
The document discusses the decline of blogs over time. It notes that the number of blogs peaked around 2005-2009 and then declined by 41% between 2006-2008. It argues that the rise of social media platforms like Twitter, Facebook, and Instagram have made blogs less popular as people now share information in real-time streams rather than dedicated blog pages. However, some argue that blogs have not disappeared but evolved into a more mature part of the publishing ecosystem, with casual bloggers leaving and more committed writers staying.
Mac114 week 2 lecture social media and journalismRob Jewitt
This document discusses the changing role of journalists and news organizations in the digital age. It explores how social media platforms like Twitter have become important tools for reporting and disseminating news. Journalists now have to balance speed and accuracy when using platforms like Twitter to engage with audiences and break stories. The rise of social media also means that audiences expect more immediacy and personality from journalists online.
This document provides an overview of the Media Studies 1 module. It introduces the module leader and their contact details. It then outlines the weekly topics that will be covered in the module's lectures and seminars over 12 weeks. These include discussions of news values, regulation of the media, debates around public opinion, and representations in factual media. It also provides details on the two assessments for the module - a timed online test worth 40% and a longer critical analysis assignment worth 60%.
This document provides information about the MAC114 - Introduction to social media module. It outlines:
- The module contact and learning outcomes which include skills and knowledge in social media.
- The teaching and learning structure which consists of lectures, workshops, and self-directed study totaling 192 hours.
- The module timetable, format, and running order which includes weekly lectures and workshops on social media topics.
- The assessment requirements which are a blog, critical evaluation, and essay.
Mac201 television constructing the publicRob Jewitt
This document discusses the role of media in shaping public opinion and functioning as a public sphere. It examines debates around the responsibilities of broadcasters to stakeholders versus audiences. The ideal role of news media is seen as disseminating accurate, politically relevant information to contribute to an informed civic society. However, contemporary media are argued to have become "re-feudalized" due to ownership, advertising, and spin. The document analyzes BBC and ITV news coverage of public opinion and finds they construct audiences as apathetic. It also discusses whether shows like Question Time truly represent public spheres or serve ratings.
Women have faced marginalization and invisibility in histories of popular music. They have often been viewed primarily as singers and restricted from instrumental roles. To achieve success, women sometimes had to masquerade as masculine or temporarily assume expert positions normally held by men. Girl groups in particular were seen as transitory and meant to keep femininity in a subordinate role rather than allow women to achieve long-term fame or fortune. However, some artists have challenged gender stereotypes and pushed back against the notion that women cannot have their own musical ideas or be true collaborators.
This document discusses definitions of "indie" music and culture. It explores how indie has been defined as a type of musical production affiliated with small independent record labels that utilize independent distribution methods. The document also outlines how indie labels pioneered a DIY approach to production and distribution in the late 1970s and 1980s in the UK, forming cooperative networks like The Cartel to promote artistic freedom and counter commercial interests.
Med211 gamergate: actually, its about ethics in games journalismRob Jewitt
This document discusses the Gamergate controversy and participatory culture in gaming. It summarizes key aspects of Gamergate including criticism of Anita Sarkeesian and Zoe Quinn, the role of Eron Gjoni's blog post and criticisms of journalists like Nathan Grayson. It also references the #notyourshield hashtag and Tim Shafer's comments about Gamergate at the 2015 Game Developer's Choice Awards.
Networked journalism and the Arab Spring
1) Networked journalism refers to professionals and amateurs collaborating across traditional boundaries and platforms to report on events. It recognizes journalism as a process rather than just a product.
2) During the 2009 Iranian election protests, social media like Twitter played a key role in sharing information and organizing demonstrations when mainstream media faced censorship. However, social media also spread misinformation and exposed users to government monitoring.
3) The 2010-2011 Arab Spring uprisings saw social media and networked journalism help coordinate and spread information about protests in Tunisia and Egypt that ultimately led to the ousting of authoritarian leaders, despite some governments attempting to shut down internet access. While social media contributed to
The document discusses the rise of big data and its applications and limitations. It notes that while big data allows unprecedented tracking of digital behaviors, incorrect assumptions can lead to big errors. Proper theory and statistical modeling are still important to make sense of large datasets and signals amidst noise. Overall, big data offers new insights but also risks if not approached carefully.
This document discusses impartiality regulation in news media. It provides background on trust in various professions according to a 2012 survey. It then discusses concepts of objectivity and impartiality in news reporting. Several examples from Canada and the UK are presented where prominent news organizations and journalists were accused of bias or lack of impartiality. The document examines regulatory bodies like OFCOM and guidance on impartiality. It notes challenges to achieving true objectivity or impartiality and debates around balancing views. In conclusion, it questions if objectivity is possible and if impartiality is necessary, and whether balance may be a compromise.
This document outlines a session on news objectivity, impartiality, and balance. It discusses the concept of the "fourth estate" and the power of the media. It examines definitions of objectivity, impartiality, and balance in news reporting. It also explores criticisms of objectivity and how news values, sources, and routines can undermine objectivity. The document notes challenges around achieving impartiality and providing a "fair say" to diverse voices.
This document provides an overview and synopsis of content for a media studies module. It outlines the module leader's contact information and office hours. It describes the module's focus on how mainstream media shapes public understanding of social issues and how different media organizations compete for audiences. Key topics will include news, documentaries, regulation and the relationship between media and society. Assessments will include an in-class test and an analysis of a factual media text. A schedule outlines weekly topics such as objectivity, public opinion, data journalism and representations of gender and class.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
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The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
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9. “The
ability
to
remix
media,
hack
products,
or
otherwise
tamper
with
consumer
culture
is
their
birthright,
and
they
won't
let
outmoded
intellectual
property
laws
stand
in
their
way”
-‐
Tapsco>
&
Williams,
2008:
52
25. ‘In
1979,
the
use
of
Page
C
and
Music
Composi3on
Language
(MCL)
meant
that
not
only
was
the
Fairlight
a
synthesizer
and
sampler,
it
also
incorporated
musical
composi3on
abili3es.
By
1982,
a
real-‐3me
programmable
sequencer
was
added.
In
1983,
the
Musical
Instrument
Digital
Interface
(MIDI)
and
Society
for
Mo3on
Picture
and
TV
Engineers
3me
code
(SMPTE)
were
supported’
-‐
Brabazon,
2012:
101-‐2
29. Deadmau5
on
DJing
“It
takes
two
days
to
learn,
as
long
as
you
can
count
to
four”
“People
are
[…]
smartening
up
about
who
does
what
–
but
there’s
s3ll
bu>on-‐pushers
gemng
paid
half
a
million.”
-‐
Rolling
Stone,
2012
32. ‘All
any
prime
minister
had
to
do
to
gauge
the
winds
was
to
listen
closely
to
the
week’s
45
rpm
single
releases;
they
were
like
poli3cal
polls
set
to
melody
and
riddim’
-‐
Jeff
Chang,
2005:
31
Arthur
‘Duke’ Reid:
“King
of
Sound
&
Blues”
1956,
1957
and
1958
32
33. 1962
–
Jamaican
independence
1964
–
Reid
built
recording
studio
1967
–
The
Paragons
Rudolph
‘Ruddy’
Redwood
&
Byron
Smith
35. Part
3:
the
‘edit’
1972
–
Botel
club,
Fire
Island,
New
York
36.
Law
of
the
Land
starts
with
clapping
and
[Gibbons]
used
to
extend
that
sec3on
in
real
3me
but
there
were
a
few
fuck-‐ups,
so
I
said,
‘Why
don’t
we
record
the
song
over
and
over
again,
just
the
beginning
of
it,
and
then
splice
the
magne3c
tape
together?’...
Then
we
pressed
it
to
acetate.
-‐
Lawrence,
2008:
288
37. Part
4:
the
‘break’
1967
–
Clive
Campbell
(AKA
DJ
Kool
Herc)
arrives
in
the
Bronx
from
Jamaica
38. “We
might
an3cipate
a
new
music
based
on
reworking
MP3
recordings
pulled
from
the
Internet
.
.
.
.
In
this
respect,
the
Internet
is
more
than
just
a
means
of
distribu3on,
it
becomes
a
raison
d’être
for
a
culture
based
on
audio
data”
–
Riddell,
2001,
p.341
cited
in
Shiga,
2007:
94
43. The
Prodigy
–
‘Smack
My
Bitch
Up’
–
The
Fat
Of
The
Land
(1997)
44.
45.
46.
47. "In
the
old
days,
samples
were
$2,500
or
$1,500.
…
I
paid
$2,000
for
a
Gladys
Knight
sample
for
'Can
It
Be
All
So
Simple'
off
Enter
the
Wu-‐Tang
(36
Chambers).
That
was
a
big
intro,
and
the
hook
was
repe33ous.
Something
like
that
nowadays
would
cost
$10,000."
48.
49. • “mass
culture
provides
the
building
blocks
for
the
stuff
we
create”
– Lessig
in
Lasica,
2005
50. Industry
response
•
•
•
•
lobbying
for
legisla3ve
changes
court
ac3ons
educa3on
and
propaganda
campaigns
technological
means
• For
more
info
see
Allen
(2008)
and
Lessig
(2004,
2008)
51. Expansion
of
U.S.
copyright
law
(assuming
authors
create
their
works
35
years
prior
to
their
death)
52. Piracy
used
to
be
about
folks
who
made
and
sold
large
numbers
of
counterfeit
copies.
Today,
the
term
“piracy”
seems
to
describe
any
unlicensed
ac0vity,
especially
if
the
person
engaging
in
it
is
a
male
teenager.
The
content
industry
calls
some
things
that
are
unques3onably
legal
“piracy”’.
-‐
Litman,
2000:
7-‐8
58. If you were sued every time you accidentally violated copyright
law in a single day how much would you owe?
59. Conclusion
• Less
than
2%
of
works
have
any
con3nuing
commercial
value
(Lessig,
2004)
• CTEA
=
Mickey
Mouse
act?
• ‘Rent-‐seeking’?
• S3fling
crea3vity?
60.
•
•
‘Sound
desk’
-‐
Rob
Jewi>
‘The
Beatles
Part
2
8-‐track’
-‐
Paul
Riismandel
•
‘mixtape
from
a
friend
in
college’
–
jessamyn
west
•
•
•
•
•
‘BASF
DAT
Digital
Audio
Tape’
–
windthoek
‘IMGP6827_minidisc’
–
Rae
Allen
‘Moog
Li>le
Pha>y
Tribute
Edi3on’
–
Leo
Jun
‘Radium
49
M-‐Audio
Keyboard
–
5’
–
Dave
Sag
‘roland
tb-‐303
bass
line’
–
dr.
mo>e
‘Sample
this’
–
John
Athayde
•
•
‘Analog
music
playing
device’
–
Robert
Frieberger
‘laws
for
atoms’
–
Will
Lion
•
60