A Treasure Hunter's Guide to Dōjinshi « Contemporary Japanese Literature - 0 views
Designing Incentives for Crowdsourcing Workers | The CrowdFlower Blog - 0 views
Feminism For Real: Deconstructing the Academic Industrial Complex of Feminism | Raciali... - 1 views
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.
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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Repackaging fan culture: The regifting economy of ancillary content models | Scott | Tr... - 1 views
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n particular, recent work on online gift economies has acknowledged the inability to engage with gift economies and commodity culture as disparate systems, as commodity culture begins selectively appropriating the gift economy's ethos for its own economic gain.
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My concern, as fans and acafans continue to vigorously debate the importance or continued viability of fandom's gift economy and focus on flagrant instances of the industry's attempt to co-opt fandom, is that the subtler attempts to replicate fannish gift economies aren't being met with an equivalent volume of discussion or scrutiny.
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There are a number of important reasons why fandom (and those who study it) continue to construct gift and commercial models as discrete economic spheres. This strategic definition of fandom as a gift economy serves as a defensive front to impede encroaching industrial factions. H
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20/30 Vision: Scenarios for the Humanities in 2030 | Digital Scholarship in the Humanities - 0 views
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