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kevin johnson

Digital identity - Wikipedia, the free encyclopedia - 0 views

  • Digital identity is the data that uniquely describes a person or a thing and contains information about the subject's relationships.[1] The social identity that an internet user establishes through digital identities in cyberspace is referred to as online identity. A critical problem in cyberspace is knowing with whom one is interacting. Currently there are no ways to precisely determine the identity of a person in digital space. Even though there are attributes associated to a person's digital identity, these attributes or even identities can be changed, masked or dumped and new ones created. Despite the fact that there are many authentication systems and digital identifiers that try to address these problems, there is still a need for a unified and verified identification system.[2][not in citation given] Thus, there are issues of privacy and security related to digital identity. Contents  [hide]  1 Related terms 1.1 Subject and entity 1.2 Attributes, preferences and traits 2 Technical aspects 2.1 Trust, authentication and authorisation 2.1.1 Authentication 2.1.2 Authorisation 2.2 Digital identifiers 2.3 Digital Object Architecture 2.4 Handle System 2.5 Extensible Resource Identifiers 2.6 Policy aspects of digital identity 2.7 Taxonomies of identity 2.8 Networked identity 3 Security issues and privacy 3.1 Anonymous/pseudonymous attribute systems 4 Legal issues 5 Business aspects 6 See also 7 References 8 External links
kevin johnson

Digital native - Wikipedia, the free encyclopedia - 0 views

  • A digital native is a person who was born during or after the general introduction of digital technologies and through interacting with digital technology from an early age, has a greater comfort level using it. Alternatively, this term can describe people born during or after the 2000s, as the Digital Age began at that time; but in most cases, the term focuses on people who grew up with the technology that became prevalent in the latter part of the 20th century and continues to evolve today.[citation needed] Other discourse identifies a digital native as a person who understands the value of digital technology and uses this to seek out opportunities for implementing it. This term has been used in several different contexts, such as education (Bennett, Maton & Kervin 2008), higher education (Jones & Shao 2011) and in association with the term New Millennium Learners (OECD 2008). The opposite of digital native is digital immigrant, an individual who was born before the existence of digital technology and adopted it to some extent later in life. Contents  [hide]  1 Origins 2 Conflicts between generations 3 Discourse 4 See also 5 References 6 Notes 7 Further reading 8 External links
kevin johnson

EBSCOhost - 0 views

  • ): http://search.ebscohost.com.oclc.fullsail.edu:81/login.aspx?direct=true&db=ufh&AN=16303836&site=ehost-liveEnd of citation-->
kevin johnson

NME - 0 views

  • Address: NME magazine and NME.COM are located at: NME, 8th Floor, Blue Fin Building, LONDON, SE1 0SU Please send anything for the NME letters page to the address above or letters@nme.com Work Experience: To apply for work experience at NME or NME.COM, please apply via email to karen.walter@timeinc.com with the following information: A brief informal description about yourself, your ambitions, interests, musical tastes etc. An up to date CV A list of preferable dates for your placement Please ensure the total filesize of email attachments is less than 1MB, larger files will be rejected by our email filter. Please note: Due to the large amount of applications we receive, it takes between 6-8 weeks for a reply – especially during the festival season! NB. There are no age requirements, but work experience placements on NME and NME.COM are open to students only. To subscribe to NME: Subscribe to the print or digital edition. For back issues of NME magazine please email backissues@johndentonservices.com or visit www.mags-uk.com/ipc NME Editorial (Call 020 3148 + ext) Editor Mike Williams Editor's PA Karen Walter (ext 6864)   karen.walter@timeinc.com Art Director Mark Neil (ext 6885)   mark.neil@timeinc.com Editor, NME.COM Greg Cochrane (ext 6892)   greg.cochrane@timeinc.com Deputy Editor Eve Barlow (ext 6854)   eve.barlow@timeinc.com
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    NME
kevin johnson

So-Called Sample Troll Sues Jay Z, Alleging "Run This Town" Infringes Copyright | JOLT ... - 0 views

  • The company alleges that samples of “Hook & Sling” appear dozens of times in “Run This Town,” which was released in Jay Z’s albums “The Blue Print 3” and “The Hits Collection Volume One.” Id.
  • TufAmerica filed a complaint accusing rap artist Jay Z of infringing the company’s copyright in the song “Hook & Sling Part 1.” According to the complaint, filed in the United States District Court for the Southern District of New York, Jay Z allegedly used a portion, or “sample,” of “Hook and Sling Part 1” in his hit song “Run This Town” without proper authorization from TufAmerica. Complaint, TufAmerica, Inc. v. WB Music Corp., No. 13-07874 (S.D.N.Y. Nov. 5, 2013), at
  • The lawsuit names Warner Bros. Music and Jay Z’s label, Roc-A-Fella Records, as co-defendants. TufAmerica has filed a number of similar lawsuits against artists such as the Beastie Boys and Kanye West for sampling songs from catalogs that the company had purchased, Rolling Stone reports.
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  • The company alleges that samples of “Hook & Sling” appear dozens of times in “Run This Town,” which was released in Jay Z’s albums “The Blue Print 3” and “The Hits Collection Volume One.” Id.
  • TufAmerica seeks an injunction prohibiting the further distribution of both the recording and music video for the song, restitution of profits gained from its sale, and punitive damages. Complaint at 8.
  • Courts have repeatedly found in favor of copyright owners in cases in which portions of songs have been used without proper authorization. Matthew Yglesias has discussed the rise of sampling litigation in Slate. After the success of sampling in the 1980s, copyright owners won a series of successful lawsuits in the early 1990s, notably Grand Upright Music Ltd v. Warner Bros. Records Inc., 780 F. Supp. 182 (S.D.N.Y. 1991), in which the Southern District of New York granted an injunction against Warner Bros., prohibiting the use of a track that included an unauthorized sample of a song by rapper Biz Markie. In 2005, the Sixth Circuit ruled that sampling constituted copyright infringement in a case involving a two-second guitar chord sample. Brideport Music, Inc. v. Dimension Films, 410 F.3d 792 (6th Cir. 2005).
  • The New York Times criticized TufAmerica in a 2012 article, comparing the company’s practice of buying catalogs of music in order to sue companies that sample the songs to the behavior of “patent trolls” – firms that buy patents solely to profit from suing potential infringers. The Times writer, Eduardo Porter, suggested that aggressive litigation by entities like TufAmerica might stymie innovations in music as well as in technology. In a recent piece in the The Atlantic, Erik Nielson also discussed the impact of such lawsuits on the hip-hop industry, claiming that licensing fees, and the fear of litigation, could make sampling prohibitively expensive for most artists.
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