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The relationships that people have with other animals
are important in determining how they will behave to animals.
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The Continuum encyclopedia of animal ... - Google Boeken - 0 views
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Animal symbolism works in two directions, anthropomorphism-projecting human qualities upon animals-and zoomorphism-imagining humans as ani- mals
Children, 'insects' and play in Japan - 0 views
Relationhips towards animals in Japan - 0 views
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We found that the relationships depend on the familiarity with individuals and species in general, and the perceived functions and roles of the animals. When asked what are the most familiar kinds of animals, overall 41% said dogs, 23% cats, 13% cows, 6% birds, 5% pigs, 4% chickens, 3% fish, 2% tortoise, with 2% other mammals and 1% beetles.
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They viewed the question in terms of the species, but pet owners interpreted it more as individuals.
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Japanese perceptions of wildlife - 0 views
Knock it off: Global treaty against media piracy won't work in Asia - 0 views
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That partnership between content provider and consumer is exactly what's missing in the Western world's debate over intellectual property, where movie studios and record labels talk about their customers as potential criminals. In Asia, media companies have a much closer and more interactive relationship with fans, treating them as partners in evangelizing their products -- even when that means blurring the lines of copyright restrictions. Kai-Ming Cha, manga editor of Publishers Weekly, notes that Japan's media industry has "developed a detente" with fans. She points to the example of doujinshi -- amateur "homage" publications that depict popular anime and manga characters in original, sometimes pornographic storylines. "They realize these unauthorized spinoffs help to build the fandom, and ultimately drive sales of the original," she says.
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"That partnership between content provider and consumer is exactly what's missing in the Western world's debate over intellectual property, where movie studios and record labels talk about their customers as potential criminals. In Asia, media companies have a much closer and more interactive relationship with fans, treating them as partners in evangelizing their products -- even when that means blurring the lines of copyright restrictions. Kai-Ming Cha, manga editor of Publishers Weekly, notes that Japan's media industry has "developed a detente" with fans. She points to the example of doujinshi -- amateur "homage" publications that depict popular anime and manga characters in original, sometimes pornographic storylines. "They realize these unauthorized spinoffs help to build the fandom, and ultimately drive sales of the original," she says. "
Calendar Boy Manga Based on National Holidays Released - 0 views
Comics Go to the Ivy League - 0 views
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KG: Spiegelman said the same thing about Maus, actually, about three years ago when these sections in bookstores were starting to gear up and gain ground. And he said, they want to shelve Maus in the graphic novel section, but it’s not a novel. It’s nonfiction. But now a lot of the stuff in the graphic novel section is nonfiction. And that’s because they are treating it like a genre when it’s a medium.
Online Literacy Is a Lesser Kind - ChronicleReview.com - 0 views
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So let's restrain the digitizing of all liberal-arts classrooms. More than that, given the tidal wave of technology in young people's lives, let's frame a number of classrooms and courses as slow-reading (and slow-writing) spaces.
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The shape and tempo of online texts differ so much from academic texts that e-learning initiatives in college classrooms can't bridge them.
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er federal technology subsidies (the E-Rate program) had granted 30 percent more schools in the state Internet access, they determined that "the additional investment
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Don't agree with a lot of points here, like the title itself, but some interesting observations. Author asserts that "the shape and tempo of online texts differ so much from academic texts that e-learning initiatives in college classrooms can't bridge them". To the problem of students being unable to process long, in-depth 'traditional' texts, author offers the following solution: "let's restrain the digitizing of all liberal-arts classrooms. More than that, given the tidal wave of technology in young people's lives, let's frame a number of classrooms and courses as slow-reading (and slow-writing) spaces." I doubt it's even possible to create slow-reading 'islands' when the whole of students' lives takes place in a fast-reading environment, as the author confirms. Would it not be more effective/doable to adapt academic materials and the way we handle them, so that they can be better processed in 'fast-reading' manner?
Why poor countries lead the world in piracy | Technology | guardian.co.uk - 0 views
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Media Piracy's core thesis is simple: people in the poor world don't pay for software, games, music and movies because these goods cost too much. Whereas a DVD here might cost you an hour's wage, the same DVD in a poor country could cost a day's work, or a week's, or even more
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But that's not what the media companies say they believe. In their official narrative – bolstered by a long line of studies with undocumented methodologies and assumptions – is that poor countries simply lack a "culture of copyright" that can be reinforced through education and enforcement.
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Karganis and co have much to say on this score. They document the way that the airwaves and newspapers in poor countries are dominated by the official, Hollywood view of piracy, presented uncritically and at length. The message is even integrated into the school curriculum through official teaching units produced by American entertainment conglomerates and given to teachers to be delivered verbatim to their students.On the enforcement side, entertainment companies often secure a kind of rough, streamlined justice that allows them to race to the head of the justice line, pushing past criminal and civil cases of much larger magnitude. They get their own police forces tasked to them, and their own special high-grade punishments that treat offences against them as inherently graver than offences against local firms and people.
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Rebecca Tushnet's 43(B)log: Is copying theft? - 0 views
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Jonathan M. Barnett, What’s So Bad About Stealing? The paper skips straight to the proposition that any kind of unauthorized copying (including copying of ideas and expression, but also and of more present interest mechanical reproduction) is theft, then concludes that “Some positive level of tolerated theft is an essential component of any transaction structure that maximizes the social wealth generated by creative production.” I don’t quite understand how you can call copying theft without first establishing that the copied thing is owned.
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What really struck me here about the language of theft (second-comer side), rather than the more apparently neutral language of property (first-comer side), was the ways in which it highlights that intellectual property isn’t about theft.
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This paper is also another datum for my theory that copyright restrictionists like to talk about “readers” and maximalists like “users.” Or anyway, they like to use that name for them.
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