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Contents contributed and discussions participated by Nele Noppe

Nele Noppe

Amazon.com: Gender And Power in the Japanese Visual Field (9780756781545): Joshua S. Mo... - 0 views

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    Gender And Power in the Japanese Visual Field
Nele Noppe

Rebecca Tushnet's 43(B)log: Is copying theft? - 0 views

  • 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.
  • 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.
  • 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.
Nele Noppe

Why poor countries lead the world in piracy | Technology | guardian.co.uk - 0 views

  • 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
  • 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.
  • 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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  • But by asking taxpayers – here in the rich world and also in the poor world – to foot the bill for trade sanctions, enforcement, new civil and criminal penalties, even global treaties like ACTA, the entertainment industry can still get a profit out of the poorest people in the world by externalising the costs and reaping whatever sliver of legit market they can drag out of the poor world by brute force.
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