Columbias Last Flight by Langewiesche

Free Essays on What Is Philosophy Of Education

, we define our society and the society of our future by how and why we educate the young. Do we want our children to be educated for democracy or consumerism? Should children learn by rote memorization or through creative problem solving? Does school exist to teach values or skills for use in the job market? Because these decisions will affect the course of society for decades to come, the questions asked are as important as those found in any other branch. The Philosophy of Education in modern times has been heavily influenced by developments in the field of psychology - in particular, psychoanalysis and behaviorism. The former has argued that there are psychological processes affecting our ability to learn which are not entirely under our control; the latter has influenced the way we think about how things can be taught, especially topics like morals and values. Curiously, the Philosophy of Education is one of those fields where philosophy itself is both the object being studied and the tool used to study it. One of the things discussed is the role which philosophy itself can play: Should students learn about philosophy? Does philosophy create a better educated person, or is it ultimately a useless and dispensable topic... Free Essays on What Is Philosophy Of Education Free Essays on What Is Philosophy Of Education Philosophy of Education What is it? The field known as the Philosophy of Education is relatively self-explanatory - it deals with how children should be educated, what they should be educated in and what the ultimate purpose of education should be for society. This is an often neglected field of philosophy, and when it is addressed, it tends to only be in educational programs designed to train teachers - in this context, it is a part of pedagogy, which is learning how to teach. Despite this neglect, the Philosophy of Education is nevertheless of fundamental importance. How and why a society educates its children will be dispositive for the following generations and long-term political health. In other words, we define our society and the society of our future by how and why we educate the young. Do we want our children to be educated for democracy or consumerism? Should children learn by rote memorization or through creative problem solving? Does school exist to teach values or skills for use in the job market? Because these decisions will affect the course of society for decades to come, the questions asked are as important as those found in any other branch. The Philosophy of Education in modern times has been heavily influenced by developments in the field of psychology - in particular, psychoanalysis and behaviorism. The former has argued that there are psychological processes affecting our ability to learn which are not entirely under our control; the latter has influenced the way we think about how things can be taught, especially topics like morals and values. Curiously, the Philosophy of Education is one of those fields where philosophy itself is both the object being studied and the tool used to study it. One of the things discussed is the role which philosophy itself can play: Should students learn about philosophy? Does philosophy create a better educated person, or is it ultimately a useless and dispensable topic...

ECONOMIC institution and policy(British economy) Essay

ECONOMIC institution and policy(British economy) - Essay Example But the sector experienced a tragic downfall during the post-war period which continued till mid-1980s. However, the trends improved post 1983 and continued to develop till 1990 when it once again underwent a bust period (Buxton & Mananyi, 1998). Many researchers blame this erratic behavior of the supporting sector of UK to the economic policies adopted by the decision makers of the nation and thus, the present paper will attempt to outline the trends of the nation over the decades between 1970 and 2010. Contribution of UK’s Manufacturing Sector, 1970-2010 The contribution of UK’s manufacturing sector could be assessed from a few statistics aligned to the sector. The adjoining graph depicts the change in the gross value added by the manufacturing sector over the years between 1970 and 2009. The trends so depicted denote an overall heavy impact created by the manufacturing sector over the years. However, the difference is found to be rather stark from 1970 to 1980 and th en 1990. In other words, these three years depict huge differences in the gross value added figures. On the other hand, the figures corresponding to the years between 1990 and 2009 are found to be quite near to each other. The year 2000 is characterized by a peak but is followed by a slight dent at the end of 2009. Nonetheless, the figures are found to have improved by almost a multiple of 10 between 1970 and 2009. The following diagram shows the growth in industrial production of UK over the years, which is suggestive of a gradual improvisation in its position. Although the above diagram for gross value added shows a downfall from 2000 to 2009, the present one shows a positive growth occurring between 2000 and 2010. This clearly indicates that there had been a hike in industrial production between 2009 and 2010. The above graph depicts the contribution of manufacturing sector of UK in absolute terms. However, to draw a more robust comparison, the ideal method would be to form a rel ation with the GDP of the economy. Such an interpretation could help in making an assessment of the contribution of the sector to the economy. The bar-graph alongside shows the contribution of the manufacturing sector as receding over time. The decline is a consistent one over the years thus implying the gradually falling importance of the manufacturing and industrial segments of the nation. The declining importance of the manufacturing sector of UK is also prominent from its receding contribution to the employment share of the nation. The adjoining bar graph shows the trends in the share of employment rate accounted by the manufacturing sector of UK. The decline is found to be the greatest from 14980 to 1985 followed by that from 2000 to 2005. As per the latest records, the employment share of the sector to the gross economic value stands at 9.83% which is almost 20% below that in the year 1975. Given the historic importance of the manufacturing sector behind the economic developme nt and growth of UK, a decline in its popularity over the years took a toll upon the net disposable income of the economy. Net disposable income of the economy is found to be traversing through a negative phase after having reached a peak during 1980. This is an obvious indication of the increased costs of structural unemployment in the economy. Another prominent indication is that of a declining percentage change

Marketing plan Essay Example | Topics and Well Written Essays - 3000 words

Marketing plan - Essay Example The third objective is to increase customer loyalty significantly and turn at least 30 percent of its customers into repeat customer during the season. The company will use television advertisements, bill boards, and social media to market its brand to its main target market which is the young population of Hull City. The strategy of market penetration will be adopted by the company to increase its market share. The company will also use the occasion of Christmas and the tradition of gift giving in its marketing messages to the young population of Hull City. Table of Contents Table of Contents 3 Introduction 4 SWOT Analysis 4 Marketing Objectives 5 Target Markets 6 Product Offering 7 Brand Positioning 8 Marketing Strategies 9 Consumer Behavior 9 Marketing Mix for the Marketing Strategy 10 Implementation and Control 13 Budget 14 Appendix 16 Figure 2: Balance Scorecard of Chocolate Industry UK 17 Source: Trading Vision 17 Introduction The Christmas season is good for the retail industr y as it is a season where people exchange gifts. The season offer immense opportunities for businesses all over United Kingdom. Chocolate industry like other similar industries also experience significant increase in sales in the Christmas season (Holmes, 2009). Thorntons is a famous chocolate company of United Kingdom having presence all over the country (Thorntons, 2012). ... A detailed budget will also be presented in the marketing plan. In the marketing plan specific steps will be discussed that the company can use to increase its sales in the Hull City. The marketing plan will aim at increasing the sales of the company in the Christmas season. SWOT Analysis s Strengths Weaknesses Established Brand Name (See figure 2 in Appendix) Rich History Established Infrastructure in Markets Good Public Image Reduced Sales Confused Pricing Strategy Consistent Profitability issues Issues in Distribution Opportunities Threats Growing Chocolate Industry Young population of Hull City Seasons like Christmas and Easter Governmental regulation regarding food marketing and chocolate sizes Increasing competition in the industry Ethical issues reading Cocoa farmers Marketing Objectives The main marketing objective of Thorntons is to increase its sales in the Christmas season in the Hull City. As discussed above the sales of chocolate increase significantly in the Christmas s eason (Sweet Retailing, 2011) and therefore the company has a vast market in front of it. Thorntons should follow the strategy of market penetration in order to increase its sales in the Christmas season. Market penetration strategy helps the company increase its market share (Proctor, 2000). The strategy of market penetration is very appropriate for the company at this particular point because its overall sales are reducing and this strategy will help the company remedy this weakness. The company also has a rich history and well established brand name in the market and it can use it to attract more sales. The company should have three specific marketing objectives. The first objective should be to increase its sales by at least 25 percent from October to December. This is

Consulting opportunity Essay Example | Topics and Well Written Essays - 2000 words

Consulting opportunity - Essay Example Laurent (Ferdows., 2004). 1.1. Outline of the opportunity Fast Fashion is a type of disruptive business process. In this process, smaller firms and lesser-known designers copy designs, fabrics, materials, colours and other distinguishing features from the products of well designers who display their styles in fashion magazines and in fashion shows. These designs are then given to small and independent firms based in China, Vietnam and other developing nations where labour is economical. These firms are equipped with modern machines that produce the items very quickly and in large volumes. Original designers such as Dolce and Gabanna may take up to 18 months or more to manufacture their designs. The fast fashion firms use mass manufacturing and distribution methods to productionise the designs in just a few weeks (Fiorito, 2009). The fast fashion sector is growing at a rapid pace and it fills the need of men and women to wear affordable designs and clothes, too look good and be presen table. In 2010, Fast Fashion sector was worth 27 billion GBP and it makes up 12% of the UK apparel market. While a large number of Chinese manufacturers and suppliers are present, a number of established brands have also become fast fashion retailers. Some of the more popular ones are Zara, Uniqlo, GAP, H&M and others. Some top fashion houses and retailers have also adopted fast fashion methods to fill their displays with affordable clothes. Some of these are New Look, Top Shop, Asda, Armani Exchange, Abercrombie & Fitch, Forever 21, Urban Outfitters, MUJI, Comme ca ism, C&A, American Appeal, Aeropostale, American Eagle Outfitters, United Colours of Benetton and Next. Other reputed brands are also using some principles of fast fashion by getting their outfits manufactured economically and quickly from China. These brands include Mark One, Burton, BHS, Evans, Dorothy Perkins, Wallis and many others. Clearly, fast fashion has caught the fancy of small fashion houses and leading design ers (WGSN, 2011). Fashion has two distinct genres and these are Haute Couture or high fashion and Mass or Fast Fashion. Haute Couture is designer clothing where designers take up limited designs of their apparel and very few items are produced. Besides being custom stitched, these items are very expensive and an evening dress for women by a designer such as Dior or Armani would cost more than 50,000 GBP. These exclusive items are also displayed in exclusive and branded fashion stores on high street in selected cities and capitals. Customers who wear such clothes include celebrities, movie stars, rich business people and socialites who move in their own limited circle of friends. The genre of fast fashion includes apparel used for office wear, leisure and eveningwear, formals, sportswear and other items. These are affordable and cost from 30 to 80 GBP per item. There are for everyday use and for middle class people, students, working professionals who want to look good but who cannot afford the high rates of Haute Couture designs. In many cases, fast fashion items are copies of the high street fashion items with some improvisations and additions (Tungate, 2005). This report will present an idea to start a fast fashion brand

Effects of Copyright on the Consumption Music

Effects of Copyright on the Consumption Music The aim of this dissertation is to understand the effects of copyright on the consumption and acquisition of music online. With a focus on Feels Like Free services such as Spotify as well as illegal file sharing services, research into the copyright issues surrounding the debate present a picture of how music is being consumed at present. Building on notable works and theories of research in the area {} the dissertation supplies evidence supporting the continuing dominance of labels as right-holders in the new digital era. With one-on-one interviews with emerging artists at the forefront of digital music as well as group interviews with consumers a convergence of opinion on key points provides an insight into the effectiveness of current digital music distribution services as well as the enforcement and enforceability of current copyright laws. Introduction This dissertation focusses on the challenges of distributing digital music in an era of unprecedented web use. Access to digital media is increasingly a part of peoples every day lives and the issues surrounding access to content and the legal implications therein are the subject of much debate. It is natural that the rights holders and their representatives would assume a position protecting their legal rights and the cases of pursuance of both individual and commercial rights infringers are well documented, however some say copyright law is dated (Negroponte, 1995) and beyond the task of policing the digital frontier of music distribution. This dissertation investigates the effect of copyright on audience and artist attitudes to digital music distribution in both legal and illegal forms. Using relevant literature and established studies it addresses the benefits of the chosen research for this investigation and provides results giving evidence for the various claims and counter cla ims made on both sides of the copyright argument. In doing so it is intended that my results will give a picture of current distribution methods and their ability to deal with copyright as well as rights holders ability to enforce it in an increasingly digitised age. By gathering evidence using one-to-one interviews with two emerging artists as well as consumer interviews conducted at group level I am able to establish the artists interaction with the process of copyright and the extent to which it alters their distribution of music whilst also engaging the audience in debate about their understanding and adherence to the existing issues surround accessing digital music. The involvement of both artist and audience provides a unique opportunity to pinpoint the present effect of the existing systems of music distribution and the copyright protection available. Digital Music Copyright At the crux of the debate surrounding digital music distribution is the issue of copyright and the infringement thereof. Arguments both for and against the current system of rights ownership and management are well documented and some clear division between the opinions of those who hope to gain capital from the ownership of rights and those who wish to produce and consume digital music is revealed. The representative bodies existing to support the rights of the artist , such as the BPI (British Phonographic Industry) and the RIAA (Recording Industry Association of America) have staunch views on the use of their intellectual property and defined by the BPI, copyright in its current form can be surmised as follows: Copyright is the foundations which the music business is built. In its simplest terms, it is a form of intellectual property and, as such, gives the creator or the owner/ author of that work exclusive rights over how it is published, distributed and adapted. (BPI [online] 2009) The collective gusto of the recording industry to enforce their stance on what they see as a critical issue to the music business has led to much bad publicity and a galvanisation of some copyright infringers as a group with a serious social point to make. Kembrew McLeod (2005) agrees that infringement of copyrighted material online presents a significant problem for the monopoly held by the industry giants, even going as far as to view this as a positive consequence of file sharing and distribution. Arguing in favour of a diminished corporate monopoly, McLeod uses examples of successes for smaller independent artists, helped in part by the evolution of media distribution methods available to cut out the middle-man. With both artist and audience interviews revealing a symRobhy for McLeodÊ ¼s statements, most participants demonstrated a sophisticated understanding of the possible advantages that new distribution methods offer smaller/less established artists, who often work outsi de of the boundaries of the established music industry. Williamson Cloonan (2007) accuse the BPI of blurring its distinction between the ‘interests of British record companies which it claims to represent with a wider definition of the ‘music business . The process of recording, distributing and marketing music is one element of the music industry but its inferred connection to grassroots music of all levels seems to be the bone of contention, as is borne out in my group research. The strength of language words and aggressive tone of both the RIAA and BPI in dealing with infingers, combined with the appropriation of the wider music industry for moral grounds (Williamson Cloonan, 2003, p. 305-7) adds to a misunderstanding regarding what exactly the music industry is and how it affects users access to media. There is an obvious disparity in opinion on either side of the debate surrounding copyright law, with the nature of what copyright represents and who it protects a nd particularly how it is relevant to new digital models of distribution and consumption open to much debate. These diverging opinions are likely to have an impact on how consumers and artists understand the issues within this field, and clearly how they relate and react to them. Media Access The history and development of studying audiences and their consumption habits is by now highly sophisticated and the subject of much debate and research. Using the work of others as a guide as well as theory and research my aim is to understand how audiences are accessing digital content and if their understanding of the legality of so doing , alters how they interact with the content. Longhurst (2007) observes that the most significant contemporary change to [music consumption] is coming through downloadability (p. 205). The pervasive nature of digital consumption in todays culture is displayed throughout both artist and audience responses showing high levels of use and understanding of the medium. An RIAA commissioned report (Siwek, 2007) carried out in the United States by the Institute for Policy Innovation (IPI) suggest that online copyright infringement costs the industry $12.5 billion annually(online). It is fair to assume the the access to both legal and illegal digital musi c is affect the industry greatly but these figures are open to criticism for there bias. The research of Huang (2005) into file sharing as a means of music consumption through group interviews of college students concludes that music file sharing is now a facet of music culture from a social perspective. My studies have some support for this claim with even artists describing extensive p2p use and one actively embracing it as a means of propagation of his material. Mascheroni et al (2008) conducted a comparable ethnographic study digital television consumption. The study concludes that young viewers are capable of defining their relationship with media based on present developments in the field rather than existing paradigms and traditions, and in doing so perhaps goes some way to explain the findings of Huangs research on college students. In similar ethnographic profiling Harwood (1997) compared television viewing Robterns of different aged groups, finding that decisions are representative of perceived Ê »social identityÊ ¼. It is arguable that similar influe nces are at play in consumers interaction with digital music consumption and with the increasing convergence of digital content, user generated content, and the social influences aforementioned, copyright infringement and any repressions appear to have very marginal impact on consumption habits. Based on the highlighted works the interaction between consumers and the legal implications surrounding content access are likely to vary in line with social perception and experience led understanding of the field. The fact that the artists were so Robert about file sharing, their involvement with it and its potential for positive use, adds weight to the claim copyright regulations for digital music are past their prime and lacking in effectiveness. Unique Online Considerations Various possible explanations for the ways in which digital media access has changed consumption habits have been covered previously. Increased media access has inevitably led to increased temptation to use nodal connectivity for illegal file sharing, although if the enactment of this abuse is as widespread as the BPI and RIAA would like us to think is another matter. Borne out of this peer to peer system of file distribution new products are being brought to market that provide alternatives to illegal acquisition of content. Analysing the manner in which consumers access content and services online has led to , sophisticated modEmmang of the accessibility and demand for said content and services. AndersonÊ ¼s (2006) presents a long tail model which serves as an example of such studies. The model refers to online commercial distribution with the most popular and commercial, products at one end of the graph with the highest volume of sales. The graph extends to illustrate the alm ost limitless potential for online sales in specialist or minority markets. Fig i. Long Tail Model (Anderson, 2006) Anderson further sets forth an opinion that the broadening of potential promotion and distribution online has increasingly opened up more possibilities for for both artists and consumers. Applying the long tail theory, it is obvious that it proposes a different system of economics to the traditional retail sector. Adding to this the obvious advantages of products being available around the clock, often irrespective of regional restrictions and the idea of a new economic model is further strengthened. The ability to cover areas of minuscule interest with little additional overheads enables retailers to offer huge depth of choice as well as broadening the idea of ownership of content through streaming.. Clearly the economics of online commerce are very different to the traditional model, however the rules of engagement surrounding copyright are expected to fit both models. two is different, yet the laws of copyright remain the same. Illegal sharing of content is viewed as an infringement of rights and therefore a form of theft as attested by the RIAA. The case that eventually closed the late nineties file sharing platform Napster, as detailed first by Merriden (2001) and then Menn (2003) illustrates the ramifications and interest in the first high-profile case of file sharing. Speaking of Napster Wall states; The record companies proposed that the Napster system ripped off artists and would kill music, while they made the legal argument that Napster encouraged the infringement of copyrights they held. Napster countered by arguing that members of Napster were making fair non-commercial use of the rights already assigned with the original sale of the record that had been converted into mp3 files. (Wall 2003, p223) Continuing where the Napster litigation left off, cases between the industry and p2p networks are still widespread today, showing that the industry has moved on little in the intervening years. The Swedish prosecution and proposed imprisonment of the creators of infamous file sharing tracker The Pirate Bay (Johnson Kiss, 2009) is perhaps the highest profile case today and could be seen as the modern Napster. In an attempt to bolster the music industries grasp on digital distribution a number of new models have been brought to market., Many mobile phone operators worldwide now offer unlimited music bundles with cell contracts and the emergence of streaming services mentioned such as Last.fm and Spotify, are seen in the group interviews to have a positive influence on peoples adherence to copyright. Gerd Leonhard (with Kusek 2005 2008) is describes these services as Ê »feels like free.Ê ¼ Advertising and premium service upgrades present the creates potential for capitalisat ion of music. Spotify has been a particular success in Europe, with the BBC reporting figures that already 5% of its users have upgraded to a premium service, giving it some 320,000 users paying  £10 per month for its full offering (BBC, 2010, online). This small percentage provides and annual turnover in the region of  £38,400,000 excluding additional revenue provided by advertising, proving that Spotify is a serious force in the online distribution business without even launching fully in the United States. By looking at audience habits and interaction with both copyright and media we can see that the new media model and the traditional approach to distributing music are increasingly unable to keep up with the consumer driven demand for online services, leaving companies such as Spotify to move in and become a type of new music industry for the 21st century. The difficulty inherent to their role is that the copyright for the material they wish to distribute is often owned by o ne of their more traditional predecessors. Methodology In this chapter I offer justification for the effectiveness of my methods for the collection of audience and artist responses to their interaction with digital music copyright. I use two groups of participants; one younger (16- 25) as well as a group from an older demographic of consumers (40-65) with both groups being representative of consumers as well as two individuals representative of artists. As this study represents a small cross section of the many people who are involved in roles as both consumer and artist definitive conclusions solely gathered from my findings alone are difficult to ascertain. The value however, of conducting the comparative interview types, is the provided overview of responses, and how they interplay with the core arguments surrounding the debate. Work by Huang (2005) and Macheroni et al (2008) would suggest that younger audiences are less concerned about the implications of peer to peer sharing and thus more likely to use the distribution method. Using relative methods I build upon their work, highlighting and supporting claims by providing complimentary evidence and similar findings. HuangÊ ¼s (2005) use of groups interviews highlighted specific areas of interest with direct interaction with audience members, whilst MascheroniÊ ¼s (2008) research adopted ethnographic studies of online, as well as off line interaction in a more one to one manner. Due to the nature of copyright interaction online ethnographic study of users could be applied to researching users of file sharing services. The problem with this is the anonymity in this type of cinteraction, discussed by Watt, Lea and Spears (2002). Although there is potential for some light to be shed on how audiences share music online, it would be difficult to rationalise the reasons for this activity, providing little evidence to illuminate the reader on audience behaviour. My own studies, made use of extensive one on one interviews allowing unsigned artists a mouthpiece within the debate. The benefit of exposing the artists to the one on one interview process was expected to be a greater understanding and experience of copyright yielding technical data on the subject. This was then coupled with group based research. With guidance from Bertrand and Hughes (2005, p81), the group interviews, were expected to benefit from inter-participant discussion allowing some involved to make up in shortfalls of technical knowledge. As a well established means of audience research, group interviews can help garner natural responses from participants. It must always be considered however that these discussions do not take place in unmonitored environments and so must be viewed as having the potential to be polluted by the participants knowledge that what is being said is also being recorded. A particularly pertinent issue given the legal climate surrounding the issues covered. The legal aspect of my research may encourage participants to shy away from full, Robert answers, however the focus group environment should also foster greater candour and less inherently solicited responses than that of one on one interviews for instance (Boubour 2007) although the combination of the two means of study should have a balancing effect on the results. Research Findings Here I present the findings of my primary research investigating the interplay between copyright issues and digital music consumption. The material put forward here is the product of the two group interviews and two individual interviews with consumers and artists respectively. The discussions centred around the same key themes including the participants access to and use of digital music as well as attitudes and understanding of the related legal issues. Of particular importance for my study are responses they may have relevance towards legal the constraints and considerations surrounding the notion of digital music access. Providing the the structural basis of this chapter my aim is to discover any visible Robterns between the responses of the two types of interviewee. Consumption Listening Habits: The primary question for the interviews is one of use and involvement in digital music. It is essential to establish the extent, if any, to which the interview subjects interact with digital music content, irrespective of its origin. The following section examines participant music consumption routines and in particular, digital music consumption habits. Based on their replies, I address the stereotype that older audiences are less willing and able to undertake interaction with new delivery methods whilst isolating comparisons between the groups in other forms of music consumption. On broaching the subject of use of digital music with the older group, it was clear that most participants were involved and responsive to the means of content distribution. Many of the group cited the iPhone or iPod as an influence on their ease of access and enjoyment of digital music, proving Apple have a huge say in how this market is set to develop. either using mp3 players or their mobile phone to co nsume digital music. When the group was asked if they had access to a digital music player the response was as follows, Howard: Of course IÊ ¼ve had mp3 phones for a good 5 years now and players for a bit longer. Dominic: Yeah me too I would say, not the players but the phones, I use an iPhone for everything now. Howard: I still use my player for jogging though, I dont like to be bothered by phone calls but I still want my music with me. Most made some use of access to digital music on a regular basis. This helps to dispel the myth of a generation gap regarding digital media use as alluded to in the work of Mascheroni et al (2008). Although this establishes a commonality in usage of devices we are yet to establish meaningful connections between access and consumption habits. In the older group. The concept of digital music consumption representing the mainstay of their listening habits produced varied responses. For the older group the response was as follows: Dominic: For the car or the house I spose real music, sorry I should say CDs and stuff I spose, real music is normally what I go for. Robert: Yeah the same really. This is similar to the attitudes of both artists interviewed. Biometrix: Yeah its really all about vinyl for me but that normally means I have to rip the vinyl if I want to listen to it on my phone or anything like that Gecko: I collect all sorts of CDs and records, when we go on tour I normally come back with a pile of discs Ive either bought or been given. With the artists and the older audience still actively engaged in the acquisition and collation of music it is clear that there is still a space for tangible products within the music industry. Such observations are notably absent when dealing with the younger of the group studies. In this group there was evidence of a fractured landscape of media access with no commonly held method of consuming music. Youtube, Spotify and Soundcloud provide a number of feels like free options for home use along with the ubiquitous iPod/Phone, however the access to music was overwhelmingly digital amongst this group. It can be said that both groups access digital content in a number of ways, with the younger group being more selective and more aware of different delivery methods, perhaps indicated by the greater disparity in the services and methods of consumption they chose. Within this younger group, extensive different ways of acquiring digital music were referenced, including demonstrable evidence of LeonhardÊ ¼s (2008) Ê »feels like freeÊ ¼ streaming services such as Spotify and Last.fm. The following extract is taken from the opening stages of the younger focus group; MarT: Spotify, mainly. Youtube too, but there is much less music on there now and when you find something you like it gets deleted after a while for copyright stuff. Spotify have made it so easy and if they have pretty much everything so you can just go there, and if you canÊ ¼t find it aint on Spotify there might be a live version or something on Youtube but the quality is always ropey. The only bad thing about Spotify is that you get ads but its still free and its much safer than downloading audio files. Steve: Everything is so joined up on Spotify, like suggested artists and playlists and stuff, I spose its similar on Youtube, you can spend hours exploring. Claire: And you dont have to buy anything or give your card details over. Similarly both artists are avid users of Spotify amongst other streaming services: Gecko: I know the money is peanuts for getting played on there but it makes you accessible to so many people, some of them dont have enough money to pay for your album or your mp3 or whatever but the fact that they can still access it is important to grow as an artist. Its like playing a gig and barely making the petrol money to get home. We all do it but some of us are a bit more relaxed about the good it does for us. Biometrix: I use Spotify all the time, really its stopped me stealing a lot of music really. Its so much easier than actually downloading something so normally I just do that because I cant be bothered finding what I want and then waiting on it to arrive on my computer. Clearly Spotify offers an innovative model that can fit into both of MyÃ… ¡kaÊ ¼s (2009) subscription service model categories. A monthly fee can be paid to allow listeners to enjoy uninterrupted music without advertising and also allow access to feature rich content such as mobile streaming and offline listening, as well as Leonhards (2009) Ê »feels like freeÊ ¼ model that is funded by advertising. Of the myriad methods of media access identified, use of Web 2.0 music consumption models such as Spotify demonstrates a fall in favour of traditional peer to peer networks, contrary to the testaments of the recording industry (Siwek, 2007.) This goes some way to enforce the claims of Leonhard (2009) that these new, lawful access streams provide an attractive alternative to illegal downloading and also allay industry concerns about copyright protection. The interview subjects also cited the simplicity of these new methods in allowing them to locate music without the extensi ve searching that is commonplace with peer to peer access to media. Engagement with File Sharing: In this section, we assess the subjects involvement with the file sharing. I present rationalisation of the participants use or otherwise of file sharing networks and investigate their understandings and interactions with the legal ramifications of such actions. As the conversation developed, unexpectedly within the older group, many of the participants had used peer to peer services in the past, whilst perhaps their usage was limited, responses seemed mixed. Shaun: IÊ ¼ve used Megaupload in the past Yeah. Subscribed to that. We didnt download without our subscription, but now lapsed, I dont about the kids but yeah, Megaupload. I used to et a lot of other stuff there like films and ebooks so it was great. We can see that the participants have an understanding of file sharing as a concept, if not perhaps the finer points of nodal networking. There is an inference that by purchasing a subscription the subject considers themselves to have bought their downloads. This is however false and the subscription simply provides faster download speeds. The artists had a more sophisticated understanding of how rights related to downloading and sharing content, however it is notable that this greater insight did little to dissuade them from partaking in file sharing. Biometrix: Yeah I do download stuff, not as much as I used to but if theres something I cant find on Spotify or Soundcloud or that stuff then I will just go on a torrent site but I feel bad about it, I reckon, well I reckon because I think about what it would be like if the musicians were like me, just starting out or something. The guilt mechanism in this response shows a belief that the RIAA/BPI position is correct and that the copyright issues surrounding this kind of media access is universally illegal. This shows some support for the industry having a direct influence over peoples online interactions despite their diminished market share. One of the artists in particular also uses p2p sharing to promote and distribute their own material. Biometrix: I try to make a couple of free songs every month and put them on soundcloud for people to download. Its pretty much a thanks to all the people on Facebook, Soundcloud and Youtube who like my music and keep my profile hits high. I know theyre on the torrent sites but I dont mind, they were free anyway. This positive use of filesharing allows the artist greater exposure with virtual nil as an overhead, undercutting the top-heavy music industry and presenting the egalitarian model favoured by McLeod (2005). Responses to Legal Issues Industry Implications; This section aims to build on the responses in the previous section by filling out the subjects understanding of the legal issues involved with file sharing. Particularly noticeable in these answers is the difference between the artist and audience categories. As mentioned earlier there have been many examples of litigations against providers of p2p services, such as the media-circus trial of Ê »The Pirate BayÊ ¼ founders. Whilst the audience groups had little knowledge of such cases the artists seemed far better versed in what was going on within the industry to shape the distribution of music. Biometrix: Yeah, IÊ ¼ve know a lot about it actually The pirate bay have been found guilty of copyright abuse and theyre appealing their jail term now I think. Its a pretty big deal, all of the big film companies have been after them. The site is still going though, so it doesnt seem to have done much good does it? Gecko: Pirate bay is huge. Its not just pirating things, they do all sorts, politics and freedom of speech stuff and all of that. I think it was started by activists but I dont know whos involved nowadays. As soon as something gets taken off it seems to come straight back up. Loads of people use it. Infringement and theft are put forwards by McLeod as tactics to enforce the monopoly of the recording industry. Of the subjects opinions on the significance file sharing has for the music industry, the various subjects displayed an array of responses. The following extracts are taken from the older subjects; Dominic: Small bands dont have a bean basically. Those are the people you are robbing off, not the execs or anything. Emma: They must be getting paid somehow, the music is still out there. Robert: But the money doesnt go to the band. This passage underlines the fact that members in this group believe that the majority of income for musicians, particularly less prolific artists, is provided by their record sales. This understanding of the revenue streams available to music industries also demonstrates a finely tuned understanding of what the Ê »music industryÊ ¼ entails. Williamson and CloonanÊ ¼s (2007) arguments against the wide spread use of the term, based on my findings, suggest older generations are indeed more inclined to understand the term equating to the recording industry. The actions of the recording industries and the responses from audiences can be seen as an example of Michel de CerteauÊ ¼s idea of Ê »strategies and tacticsÊ ¼ (1984). The strategies of the power structures within the relationship, in this case, the industries retention of traditional retail models and the discourse that it equates to the music industry (BPI, 2009), in contrast to the tactics of audiences. This investigation finds between age demographics the response tactics identifiable and noticably different. The older group creates their own space through a sceptical approach to recording industry practices, methods of media access and opinion demonstrate stronger ties with the recording industry discourse crime and punishment. The both the artists and younger group members seemed much more separated from these established means of operation, shown in their symRobhy for file sharing, anti-corporate comments and reluctance to trust established regulations regardin g copyright infringement. Based on the findings outlined above, the suggestion is that audiences are highly aware that there are legal implications surrounding the sharing of files, but their opinions and responses to the validity of these implications are generationally split. The evidence provided by the younger demographic of both audience and artists provides support for the views of McLeod (2005) whereas the older group demonstrated a much more accepting response for the necessity of copyright legislation as a protection against theft. Applying music retail and commerce theories presented by Anderson (2006) and Dubber (2007), most of the participants appeared to be informed of the changes online distribution was experiencing, although there was rejection of the industrys reluctance to develop progressive content access agreements along with them. The divergence of opinion in the application of rights enforcement between the two groups adds weight to the arguments presented by Garofalo (2003), acting to s et the balance between the two sides of the rights argument, preventing the financial exploitation of free music, whilst also managing a free channel of access to consumers. Conclusion It can be established from the results of my investigation that audience and artist opinions are divided on the justifications for rights protection and the enforcement thereof in relation to digital music access. Whilst there is clear evidence of a move towards digital media consumption, there is a distinct generational gap in the manner in which different age groups access music digitally. Older generations seem to fall into line with traditional models of product capitalisation, purchasing physical formats and viewing transgression of copyright online as theft. Younger subjects more immersed in digital media and having grown up during the internet gold rush have a far less strict attitude to the acquisit Effects of Copyright on the Consumption Music Effects of Copyright on the Consumption Music The aim of this dissertation is to understand the effects of copyright on the consumption and acquisition of music online. With a focus on Feels Like Free services such as Spotify as well as illegal file sharing services, research into the copyright issues surrounding the debate present a picture of how music is being consumed at present. Building on notable works and theories of research in the area {} the dissertation supplies evidence supporting the continuing dominance of labels as right-holders in the new digital era. With one-on-one interviews with emerging artists at the forefront of digital music as well as group interviews with consumers a convergence of opinion on key points provides an insight into the effectiveness of current digital music distribution services as well as the enforcement and enforceability of current copyright laws. Introduction This dissertation focusses on the challenges of distributing digital music in an era of unprecedented web use. Access to digital media is increasingly a part of peoples every day lives and the issues surrounding access to content and the legal implications therein are the subject of much debate. It is natural that the rights holders and their representatives would assume a position protecting their legal rights and the cases of pursuance of both individual and commercial rights infringers are well documented, however some say copyright law is dated (Negroponte, 1995) and beyond the task of policing the digital frontier of music distribution. This dissertation investigates the effect of copyright on audience and artist attitudes to digital music distribution in both legal and illegal forms. Using relevant literature and established studies it addresses the benefits of the chosen research for this investigation and provides results giving evidence for the various claims and counter cla ims made on both sides of the copyright argument. In doing so it is intended that my results will give a picture of current distribution methods and their ability to deal with copyright as well as rights holders ability to enforce it in an increasingly digitised age. By gathering evidence using one-to-one interviews with two emerging artists as well as consumer interviews conducted at group level I am able to establish the artists interaction with the process of copyright and the extent to which it alters their distribution of music whilst also engaging the audience in debate about their understanding and adherence to the existing issues surround accessing digital music. The involvement of both artist and audience provides a unique opportunity to pinpoint the present effect of the existing systems of music distribution and the copyright protection available. Digital Music Copyright At the crux of the debate surrounding digital music distribution is the issue of copyright and the infringement thereof. Arguments both for and against the current system of rights ownership and management are well documented and some clear division between the opinions of those who hope to gain capital from the ownership of rights and those who wish to produce and consume digital music is revealed. The representative bodies existing to support the rights of the artist , such as the BPI (British Phonographic Industry) and the RIAA (Recording Industry Association of America) have staunch views on the use of their intellectual property and defined by the BPI, copyright in its current form can be surmised as follows: Copyright is the foundations which the music business is built. In its simplest terms, it is a form of intellectual property and, as such, gives the creator or the owner/ author of that work exclusive rights over how it is published, distributed and adapted. (BPI [online] 2009) The collective gusto of the recording industry to enforce their stance on what they see as a critical issue to the music business has led to much bad publicity and a galvanisation of some copyright infringers as a group with a serious social point to make. Kembrew McLeod (2005) agrees that infringement of copyrighted material online presents a significant problem for the monopoly held by the industry giants, even going as far as to view this as a positive consequence of file sharing and distribution. Arguing in favour of a diminished corporate monopoly, McLeod uses examples of successes for smaller independent artists, helped in part by the evolution of media distribution methods available to cut out the middle-man. With both artist and audience interviews revealing a symRobhy for McLeodÊ ¼s statements, most participants demonstrated a sophisticated understanding of the possible advantages that new distribution methods offer smaller/less established artists, who often work outsi de of the boundaries of the established music industry. Williamson Cloonan (2007) accuse the BPI of blurring its distinction between the ‘interests of British record companies which it claims to represent with a wider definition of the ‘music business . The process of recording, distributing and marketing music is one element of the music industry but its inferred connection to grassroots music of all levels seems to be the bone of contention, as is borne out in my group research. The strength of language words and aggressive tone of both the RIAA and BPI in dealing with infingers, combined with the appropriation of the wider music industry for moral grounds (Williamson Cloonan, 2003, p. 305-7) adds to a misunderstanding regarding what exactly the music industry is and how it affects users access to media. There is an obvious disparity in opinion on either side of the debate surrounding copyright law, with the nature of what copyright represents and who it protects a nd particularly how it is relevant to new digital models of distribution and consumption open to much debate. These diverging opinions are likely to have an impact on how consumers and artists understand the issues within this field, and clearly how they relate and react to them. Media Access The history and development of studying audiences and their consumption habits is by now highly sophisticated and the subject of much debate and research. Using the work of others as a guide as well as theory and research my aim is to understand how audiences are accessing digital content and if their understanding of the legality of so doing , alters how they interact with the content. Longhurst (2007) observes that the most significant contemporary change to [music consumption] is coming through downloadability (p. 205). The pervasive nature of digital consumption in todays culture is displayed throughout both artist and audience responses showing high levels of use and understanding of the medium. An RIAA commissioned report (Siwek, 2007) carried out in the United States by the Institute for Policy Innovation (IPI) suggest that online copyright infringement costs the industry $12.5 billion annually(online). It is fair to assume the the access to both legal and illegal digital musi c is affect the industry greatly but these figures are open to criticism for there bias. The research of Huang (2005) into file sharing as a means of music consumption through group interviews of college students concludes that music file sharing is now a facet of music culture from a social perspective. My studies have some support for this claim with even artists describing extensive p2p use and one actively embracing it as a means of propagation of his material. Mascheroni et al (2008) conducted a comparable ethnographic study digital television consumption. The study concludes that young viewers are capable of defining their relationship with media based on present developments in the field rather than existing paradigms and traditions, and in doing so perhaps goes some way to explain the findings of Huangs research on college students. In similar ethnographic profiling Harwood (1997) compared television viewing Robterns of different aged groups, finding that decisions are representative of perceived Ê »social identityÊ ¼. It is arguable that similar influe nces are at play in consumers interaction with digital music consumption and with the increasing convergence of digital content, user generated content, and the social influences aforementioned, copyright infringement and any repressions appear to have very marginal impact on consumption habits. Based on the highlighted works the interaction between consumers and the legal implications surrounding content access are likely to vary in line with social perception and experience led understanding of the field. The fact that the artists were so Robert about file sharing, their involvement with it and its potential for positive use, adds weight to the claim copyright regulations for digital music are past their prime and lacking in effectiveness. Unique Online Considerations Various possible explanations for the ways in which digital media access has changed consumption habits have been covered previously. Increased media access has inevitably led to increased temptation to use nodal connectivity for illegal file sharing, although if the enactment of this abuse is as widespread as the BPI and RIAA would like us to think is another matter. Borne out of this peer to peer system of file distribution new products are being brought to market that provide alternatives to illegal acquisition of content. Analysing the manner in which consumers access content and services online has led to , sophisticated modEmmang of the accessibility and demand for said content and services. AndersonÊ ¼s (2006) presents a long tail model which serves as an example of such studies. The model refers to online commercial distribution with the most popular and commercial, products at one end of the graph with the highest volume of sales. The graph extends to illustrate the alm ost limitless potential for online sales in specialist or minority markets. Fig i. Long Tail Model (Anderson, 2006) Anderson further sets forth an opinion that the broadening of potential promotion and distribution online has increasingly opened up more possibilities for for both artists and consumers. Applying the long tail theory, it is obvious that it proposes a different system of economics to the traditional retail sector. Adding to this the obvious advantages of products being available around the clock, often irrespective of regional restrictions and the idea of a new economic model is further strengthened. The ability to cover areas of minuscule interest with little additional overheads enables retailers to offer huge depth of choice as well as broadening the idea of ownership of content through streaming.. Clearly the economics of online commerce are very different to the traditional model, however the rules of engagement surrounding copyright are expected to fit both models. two is different, yet the laws of copyright remain the same. Illegal sharing of content is viewed as an infringement of rights and therefore a form of theft as attested by the RIAA. The case that eventually closed the late nineties file sharing platform Napster, as detailed first by Merriden (2001) and then Menn (2003) illustrates the ramifications and interest in the first high-profile case of file sharing. Speaking of Napster Wall states; The record companies proposed that the Napster system ripped off artists and would kill music, while they made the legal argument that Napster encouraged the infringement of copyrights they held. Napster countered by arguing that members of Napster were making fair non-commercial use of the rights already assigned with the original sale of the record that had been converted into mp3 files. (Wall 2003, p223) Continuing where the Napster litigation left off, cases between the industry and p2p networks are still widespread today, showing that the industry has moved on little in the intervening years. The Swedish prosecution and proposed imprisonment of the creators of infamous file sharing tracker The Pirate Bay (Johnson Kiss, 2009) is perhaps the highest profile case today and could be seen as the modern Napster. In an attempt to bolster the music industries grasp on digital distribution a number of new models have been brought to market., Many mobile phone operators worldwide now offer unlimited music bundles with cell contracts and the emergence of streaming services mentioned such as Last.fm and Spotify, are seen in the group interviews to have a positive influence on peoples adherence to copyright. Gerd Leonhard (with Kusek 2005 2008) is describes these services as Ê »feels like free.Ê ¼ Advertising and premium service upgrades present the creates potential for capitalisat ion of music. Spotify has been a particular success in Europe, with the BBC reporting figures that already 5% of its users have upgraded to a premium service, giving it some 320,000 users paying  £10 per month for its full offering (BBC, 2010, online). This small percentage provides and annual turnover in the region of  £38,400,000 excluding additional revenue provided by advertising, proving that Spotify is a serious force in the online distribution business without even launching fully in the United States. By looking at audience habits and interaction with both copyright and media we can see that the new media model and the traditional approach to distributing music are increasingly unable to keep up with the consumer driven demand for online services, leaving companies such as Spotify to move in and become a type of new music industry for the 21st century. The difficulty inherent to their role is that the copyright for the material they wish to distribute is often owned by o ne of their more traditional predecessors. Methodology In this chapter I offer justification for the effectiveness of my methods for the collection of audience and artist responses to their interaction with digital music copyright. I use two groups of participants; one younger (16- 25) as well as a group from an older demographic of consumers (40-65) with both groups being representative of consumers as well as two individuals representative of artists. As this study represents a small cross section of the many people who are involved in roles as both consumer and artist definitive conclusions solely gathered from my findings alone are difficult to ascertain. The value however, of conducting the comparative interview types, is the provided overview of responses, and how they interplay with the core arguments surrounding the debate. Work by Huang (2005) and Macheroni et al (2008) would suggest that younger audiences are less concerned about the implications of peer to peer sharing and thus more likely to use the distribution method. Using relative methods I build upon their work, highlighting and supporting claims by providing complimentary evidence and similar findings. HuangÊ ¼s (2005) use of groups interviews highlighted specific areas of interest with direct interaction with audience members, whilst MascheroniÊ ¼s (2008) research adopted ethnographic studies of online, as well as off line interaction in a more one to one manner. Due to the nature of copyright interaction online ethnographic study of users could be applied to researching users of file sharing services. The problem with this is the anonymity in this type of cinteraction, discussed by Watt, Lea and Spears (2002). Although there is potential for some light to be shed on how audiences share music online, it would be difficult to rationalise the reasons for this activity, providing little evidence to illuminate the reader on audience behaviour. My own studies, made use of extensive one on one interviews allowing unsigned artists a mouthpiece within the debate. The benefit of exposing the artists to the one on one interview process was expected to be a greater understanding and experience of copyright yielding technical data on the subject. This was then coupled with group based research. With guidance from Bertrand and Hughes (2005, p81), the group interviews, were expected to benefit from inter-participant discussion allowing some involved to make up in shortfalls of technical knowledge. As a well established means of audience research, group interviews can help garner natural responses from participants. It must always be considered however that these discussions do not take place in unmonitored environments and so must be viewed as having the potential to be polluted by the participants knowledge that what is being said is also being recorded. A particularly pertinent issue given the legal climate surrounding the issues covered. The legal aspect of my research may encourage participants to shy away from full, Robert answers, however the focus group environment should also foster greater candour and less inherently solicited responses than that of one on one interviews for instance (Boubour 2007) although the combination of the two means of study should have a balancing effect on the results. Research Findings Here I present the findings of my primary research investigating the interplay between copyright issues and digital music consumption. The material put forward here is the product of the two group interviews and two individual interviews with consumers and artists respectively. The discussions centred around the same key themes including the participants access to and use of digital music as well as attitudes and understanding of the related legal issues. Of particular importance for my study are responses they may have relevance towards legal the constraints and considerations surrounding the notion of digital music access. Providing the the structural basis of this chapter my aim is to discover any visible Robterns between the responses of the two types of interviewee. Consumption Listening Habits: The primary question for the interviews is one of use and involvement in digital music. It is essential to establish the extent, if any, to which the interview subjects interact with digital music content, irrespective of its origin. The following section examines participant music consumption routines and in particular, digital music consumption habits. Based on their replies, I address the stereotype that older audiences are less willing and able to undertake interaction with new delivery methods whilst isolating comparisons between the groups in other forms of music consumption. On broaching the subject of use of digital music with the older group, it was clear that most participants were involved and responsive to the means of content distribution. Many of the group cited the iPhone or iPod as an influence on their ease of access and enjoyment of digital music, proving Apple have a huge say in how this market is set to develop. either using mp3 players or their mobile phone to co nsume digital music. When the group was asked if they had access to a digital music player the response was as follows, Howard: Of course IÊ ¼ve had mp3 phones for a good 5 years now and players for a bit longer. Dominic: Yeah me too I would say, not the players but the phones, I use an iPhone for everything now. Howard: I still use my player for jogging though, I dont like to be bothered by phone calls but I still want my music with me. Most made some use of access to digital music on a regular basis. This helps to dispel the myth of a generation gap regarding digital media use as alluded to in the work of Mascheroni et al (2008). Although this establishes a commonality in usage of devices we are yet to establish meaningful connections between access and consumption habits. In the older group. The concept of digital music consumption representing the mainstay of their listening habits produced varied responses. For the older group the response was as follows: Dominic: For the car or the house I spose real music, sorry I should say CDs and stuff I spose, real music is normally what I go for. Robert: Yeah the same really. This is similar to the attitudes of both artists interviewed. Biometrix: Yeah its really all about vinyl for me but that normally means I have to rip the vinyl if I want to listen to it on my phone or anything like that Gecko: I collect all sorts of CDs and records, when we go on tour I normally come back with a pile of discs Ive either bought or been given. With the artists and the older audience still actively engaged in the acquisition and collation of music it is clear that there is still a space for tangible products within the music industry. Such observations are notably absent when dealing with the younger of the group studies. In this group there was evidence of a fractured landscape of media access with no commonly held method of consuming music. Youtube, Spotify and Soundcloud provide a number of feels like free options for home use along with the ubiquitous iPod/Phone, however the access to music was overwhelmingly digital amongst this group. It can be said that both groups access digital content in a number of ways, with the younger group being more selective and more aware of different delivery methods, perhaps indicated by the greater disparity in the services and methods of consumption they chose. Within this younger group, extensive different ways of acquiring digital music were referenced, including demonstrable evidence of LeonhardÊ ¼s (2008) Ê »feels like freeÊ ¼ streaming services such as Spotify and Last.fm. The following extract is taken from the opening stages of the younger focus group; MarT: Spotify, mainly. Youtube too, but there is much less music on there now and when you find something you like it gets deleted after a while for copyright stuff. Spotify have made it so easy and if they have pretty much everything so you can just go there, and if you canÊ ¼t find it aint on Spotify there might be a live version or something on Youtube but the quality is always ropey. The only bad thing about Spotify is that you get ads but its still free and its much safer than downloading audio files. Steve: Everything is so joined up on Spotify, like suggested artists and playlists and stuff, I spose its similar on Youtube, you can spend hours exploring. Claire: And you dont have to buy anything or give your card details over. Similarly both artists are avid users of Spotify amongst other streaming services: Gecko: I know the money is peanuts for getting played on there but it makes you accessible to so many people, some of them dont have enough money to pay for your album or your mp3 or whatever but the fact that they can still access it is important to grow as an artist. Its like playing a gig and barely making the petrol money to get home. We all do it but some of us are a bit more relaxed about the good it does for us. Biometrix: I use Spotify all the time, really its stopped me stealing a lot of music really. Its so much easier than actually downloading something so normally I just do that because I cant be bothered finding what I want and then waiting on it to arrive on my computer. Clearly Spotify offers an innovative model that can fit into both of MyÃ… ¡kaÊ ¼s (2009) subscription service model categories. A monthly fee can be paid to allow listeners to enjoy uninterrupted music without advertising and also allow access to feature rich content such as mobile streaming and offline listening, as well as Leonhards (2009) Ê »feels like freeÊ ¼ model that is funded by advertising. Of the myriad methods of media access identified, use of Web 2.0 music consumption models such as Spotify demonstrates a fall in favour of traditional peer to peer networks, contrary to the testaments of the recording industry (Siwek, 2007.) This goes some way to enforce the claims of Leonhard (2009) that these new, lawful access streams provide an attractive alternative to illegal downloading and also allay industry concerns about copyright protection. The interview subjects also cited the simplicity of these new methods in allowing them to locate music without the extensi ve searching that is commonplace with peer to peer access to media. Engagement with File Sharing: In this section, we assess the subjects involvement with the file sharing. I present rationalisation of the participants use or otherwise of file sharing networks and investigate their understandings and interactions with the legal ramifications of such actions. As the conversation developed, unexpectedly within the older group, many of the participants had used peer to peer services in the past, whilst perhaps their usage was limited, responses seemed mixed. Shaun: IÊ ¼ve used Megaupload in the past Yeah. Subscribed to that. We didnt download without our subscription, but now lapsed, I dont about the kids but yeah, Megaupload. I used to et a lot of other stuff there like films and ebooks so it was great. We can see that the participants have an understanding of file sharing as a concept, if not perhaps the finer points of nodal networking. There is an inference that by purchasing a subscription the subject considers themselves to have bought their downloads. This is however false and the subscription simply provides faster download speeds. The artists had a more sophisticated understanding of how rights related to downloading and sharing content, however it is notable that this greater insight did little to dissuade them from partaking in file sharing. Biometrix: Yeah I do download stuff, not as much as I used to but if theres something I cant find on Spotify or Soundcloud or that stuff then I will just go on a torrent site but I feel bad about it, I reckon, well I reckon because I think about what it would be like if the musicians were like me, just starting out or something. The guilt mechanism in this response shows a belief that the RIAA/BPI position is correct and that the copyright issues surrounding this kind of media access is universally illegal. This shows some support for the industry having a direct influence over peoples online interactions despite their diminished market share. One of the artists in particular also uses p2p sharing to promote and distribute their own material. Biometrix: I try to make a couple of free songs every month and put them on soundcloud for people to download. Its pretty much a thanks to all the people on Facebook, Soundcloud and Youtube who like my music and keep my profile hits high. I know theyre on the torrent sites but I dont mind, they were free anyway. This positive use of filesharing allows the artist greater exposure with virtual nil as an overhead, undercutting the top-heavy music industry and presenting the egalitarian model favoured by McLeod (2005). Responses to Legal Issues Industry Implications; This section aims to build on the responses in the previous section by filling out the subjects understanding of the legal issues involved with file sharing. Particularly noticeable in these answers is the difference between the artist and audience categories. As mentioned earlier there have been many examples of litigations against providers of p2p services, such as the media-circus trial of Ê »The Pirate BayÊ ¼ founders. Whilst the audience groups had little knowledge of such cases the artists seemed far better versed in what was going on within the industry to shape the distribution of music. Biometrix: Yeah, IÊ ¼ve know a lot about it actually The pirate bay have been found guilty of copyright abuse and theyre appealing their jail term now I think. Its a pretty big deal, all of the big film companies have been after them. The site is still going though, so it doesnt seem to have done much good does it? Gecko: Pirate bay is huge. Its not just pirating things, they do all sorts, politics and freedom of speech stuff and all of that. I think it was started by activists but I dont know whos involved nowadays. As soon as something gets taken off it seems to come straight back up. Loads of people use it. Infringement and theft are put forwards by McLeod as tactics to enforce the monopoly of the recording industry. Of the subjects opinions on the significance file sharing has for the music industry, the various subjects displayed an array of responses. The following extracts are taken from the older subjects; Dominic: Small bands dont have a bean basically. Those are the people you are robbing off, not the execs or anything. Emma: They must be getting paid somehow, the music is still out there. Robert: But the money doesnt go to the band. This passage underlines the fact that members in this group believe that the majority of income for musicians, particularly less prolific artists, is provided by their record sales. This understanding of the revenue streams available to music industries also demonstrates a finely tuned understanding of what the Ê »music industryÊ ¼ entails. Williamson and CloonanÊ ¼s (2007) arguments against the wide spread use of the term, based on my findings, suggest older generations are indeed more inclined to understand the term equating to the recording industry. The actions of the recording industries and the responses from audiences can be seen as an example of Michel de CerteauÊ ¼s idea of Ê »strategies and tacticsÊ ¼ (1984). The strategies of the power structures within the relationship, in this case, the industries retention of traditional retail models and the discourse that it equates to the music industry (BPI, 2009), in contrast to the tactics of audiences. This investigation finds between age demographics the response tactics identifiable and noticably different. The older group creates their own space through a sceptical approach to recording industry practices, methods of media access and opinion demonstrate stronger ties with the recording industry discourse crime and punishment. The both the artists and younger group members seemed much more separated from these established means of operation, shown in their symRobhy for file sharing, anti-corporate comments and reluctance to trust established regulations regardin g copyright infringement. Based on the findings outlined above, the suggestion is that audiences are highly aware that there are legal implications surrounding the sharing of files, but their opinions and responses to the validity of these implications are generationally split. The evidence provided by the younger demographic of both audience and artists provides support for the views of McLeod (2005) whereas the older group demonstrated a much more accepting response for the necessity of copyright legislation as a protection against theft. Applying music retail and commerce theories presented by Anderson (2006) and Dubber (2007), most of the participants appeared to be informed of the changes online distribution was experiencing, although there was rejection of the industrys reluctance to develop progressive content access agreements along with them. The divergence of opinion in the application of rights enforcement between the two groups adds weight to the arguments presented by Garofalo (2003), acting to s et the balance between the two sides of the rights argument, preventing the financial exploitation of free music, whilst also managing a free channel of access to consumers. Conclusion It can be established from the results of my investigation that audience and artist opinions are divided on the justifications for rights protection and the enforcement thereof in relation to digital music access. Whilst there is clear evidence of a move towards digital media consumption, there is a distinct generational gap in the manner in which different age groups access music digitally. Older generations seem to fall into line with traditional models of product capitalisation, purchasing physical formats and viewing transgression of copyright online as theft. Younger subjects more immersed in digital media and having grown up during the internet gold rush have a far less strict attitude to the acquisit

tragoed Metamorphosis of the Tragedy in Oedipus Rex, Hamlet, and Desir

Metamorphosis of the Tragedy in Oedipus Rex, Hamlet, and Desire Under the Elms Tragedy is considered by many to be the greatest of the genres. Often something goes wrong and exposes something great. Characters generally have more depth as evidenced by Hamlet. Tragedy shows up in the great periods of history: Classical Greece, Renaissance, and the early 20th century. It is a far more complex genre than comedy or romance. It teaches people to think since the storylines never have a simple answer or resolution. We see this in Desire Under the Elms. Family relationships and inheritances are complicated and even when Abbie kills the baby, Eben decides to join her in her guilty plea when he is clearly not a participant in the murder. Unlike comedy, there is less spectacle onstage. Iokaste hangs herself offstage, King Hamlet's murder is only reenacted but not seen directly, and the audience doesn't see Abbie murder her baby. This forces or allows the audience members to use their imaginations to envision these crucial scenes, adding a layer of complexity t o the play. Hamlet we are reminded of fate by the line, "There's a divinity that shapes our ends." Then in Desire, Cabot consistently looked to God for direction. These situations don't allow us to remain passive and simply be entertained when we view tragedy. We must grapple with the tough issues of life. Â   Plot is considered significant in tragedy for many reasons. . Plot examines the limits of human greatness. It is the most examined area in the study of literature probably because it is unique to humans. It can be both edifying for an audience and, at the same time, allow for a catharsis. Plot allows characters to play out their fate. Freud believe... ...e less class conscious, the need for high status of one man disappears. In Desire the hero(es) were farmers. Â   Another way that tragedy has evolved is through more comedy being added to the tragedy. Oedipus has no real comic scenes. Hamlet had a few, but Desire had evidence of comedy sprinkled throughout by way of the brothers, the dance, food and drink, and animal references. Tragedy also had evolved to the point of having more romance. Again romance was missing from Oedipus, we saw a bit more in Hamlet between Claudius and Gertrude and Hamlet and Ophelia. But then in the modern tragedy romance is at the center of the play, albeit an uncomfortable, complicated romance. Some example in the play Desire include: the sexual advances, the kiss and walk away together, the reuniting at the end, stage directions that describe the physical appearance. Â  

Keeping the Drinking Age at 21

Listening to the news on television, hearing other students talk about it, is it really true, or are they going to lower the drinking age to 18? This is not just a rumor but nowhere have they actually lowered the age. The debate has been talked about for the last few years. The nation has always tried different things to solve the irresponsible drinking problems. In order to try and prevent this problem America has tried a national prohibition in the 1920’s and state prohibitions in the 1850’s. Many believe that rising the drinking age has saved lives of many young adults. There has been evidence that the drinking age of 21 has decreased the amount of tragic car accidents related to alcohol between young adults. Since 1987 the decrease of drinking and driving problems have gone down. If they did lower the drinking age to 18 or 19 the more health related problems the young adults would deal with once they get older. On the other hand the current law of the minimum drinking age at 21 leads to problems behind the scenes. The amount of students at colleges under the age 21 are more likely to be binge drinkers, which means they have more than five drinks in a row. This can be very dangerous to the body. Many also argue that if a person is old enough to fight for the country they should be old enough to have a beer. Also if a people are expected to be able responsible and live on their own at eighteen they should be able to be responsible enough to drink on their own. There are many pros and cons to lowering the drinking age, but the most important reason not to lower the drinking age is to protect the lives of young adults. A survey found that out of 1,881 surveyed college students 88 percent of males and 86 percent of females said they were drinkers (Gonzalez 2). Many adults have noticed the problem of underage drinking and want to fix the problem. If the states were to lower the drinking age we would be putting many lives at risk. Many studies have shown that the minimum drinking age of 21 has saved many lives when it turns to drinking and driving. In the article College-age Drinking Problems states â€Å"the age limit at 21 has saved 16,500 lives in traffic crashes alone since 1975† (Hingson 1). Traffic crashes are one of the leading causes of deaths in America for people under the age 25. 10,431 people between ages 15 and 24 died in 1996 from fatal traffic crashes and 45% of them were related to alcohol (1). By leaving the drinking age to 21 it will continue to save many lives from traffic crashes. The amount of alcohol related accidents doubles if a person has a . 02 percent increase in blood alcohol level. For people under 21 drinking and driving increases the risk of being involved in a fetal traffic crash with each alcoholic dri nk they have. As Hingson says â€Å" For young drivers, drinking is like throwing gasoline on a fire† (1). It is illegal for anyone under 21 to drive with blood alcohol level more than . 0 percent. With this law alcohol related traffic deaths has dropped 57 percent from 5380 in 1982 to 2315 in 1996 with people ages 15 to 20 (2). Lowering the legal limit for the amount allowed of blood alcohol content (BAC) for drivers will continue to save lives. The lowering of BAC has shown a 5 to 8 percent decrease in alcohol related traffic crashes (Wagenaar 6). Drivers under 21 who are intoxicated are more likely to get involved in traffic crashes, because they have less experience on the road. Communities have noticed the problem with underage drinking and driving and started The Saving Lives Project, which was designed to reduce alcohol impaired driving and related problems (Holder 2). This project uses media and education to get the word out about the risk of drinking. The communities that are apart of this project have shown a 40 percent reduction in alcohol related fatal crashes (Holder 2). The project has been shown that older teens ages sixteen to nineteen are now less likely to drink and drive after learning about the risks in alcohol related classes. Colleges that have set a week to focus on education and prevention of alcohol have shown a five-fold increase (Gonzalez 4). Not only does alcohol affect a person once they drink a beverage but it also affects them in their future. If people start drinking at a younger age the more problems they will encounter in their future. Over the life of many people it has been proven that most people drink the most in their late teens and early twenties (Chen 1). Drinking in young adults is turning to be a serious concern with public health. By exceeding the daily drinking limit is about four or more drinks in a single day, and college teens shown that hey binge drink. Binge drinking is when a person consumes more than five drinks in one setting (Hingson 1). People who binge drinks are more likely to do things they regret, fall back in schoolwork and become hurt or injured. Alcohol can cause risky behaviors and immediate and long-term problems with health. Becoming stricter on under age drinkin g laws can prevent this. If the cops gave more MIP’s out to parties with underage drinking teens would be less likely to drink. Even though many would agree to keep the drinking age at 21, many would also have many reasons why to lower the drinking age to 18. One main argument is if a person is old enough to fight for the country, vote or live on their own they should be old enough to drink (Johnson 1). If a man and women is old enough to go to war and put their life at risk they should be able to drink on their own. People would argue if they are old enough to vote for the person who runs the country, then what’s the difference in choosing the responsibility of drinking. Colleges have also debated the fact of lowering the drinking age. College president McCardell say’s â€Å"it does not reduce drinking. It simply puts young adults at greater risks. (2) Many agree with McCardell and say that the drinking age of 21 does not prevent college students from drinking. It just causes them to drink under ground. If young adults do drink under ground they are more likely to binge drink and put their life at risk. â€Å"85 percent of 20 year old Americans reported that they have used alcohol, and two out of five said they have binge drank† (2). Johnson believes that if they lowering the drinking age young adults would learn to drink responsibly and stop binge drinking. Even though they are great arguments, raising the drink to 21 has proof with statistics that it has saved lives of many each year. It is more important to save the lives of people than it is to let them drink. Educating young adults about the risks of drinking can also prevent binge drinking. If the community worked together to have alcohol awareness days more people would be aware of the problem of underage drinking. The more people know about the problem the more people will work together to stop the problem. It can also stop underage drinking by creating more laws towards the people who sell to minors. If more people got in trouble for selling to minors the less people would sell to minors. The communities who have taken the step up in stopping underage drinking problems have noticed a huge change in the amount of deaths related to alcohol. By keeping the age at 21, it will continually save lives of accidents related to alcohol. If there was not a problem with the drinking age at 21 they would have never raised the age to 21, the law was set in place for a reason and it has been shown that it is a good law. As a parent many are worried about their children and want to make sure they will not ruin their life with alcohol related problems.

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Diversity in our society essays

Diversity in our society essays Diversity in society essential for our World: In human life diversity have always existed. Difference among people, race, culture and society is essential on the survival of our world. Its true how the world will be if every individual are similar? How the world will survive with only one race with all the same wants and needs. Differences are what make us special. Different way of thought and thinking process is natural and important. Its what put action and life in our society. This essay will show how society is reflectedin America, A Modest Proposal, Is History a Guide to the Future? and The one Who Walk Away from Omelas. We will see how those works are different and similar at the same time. We will see that we can make some liasons between those work. In the poems America its easy to figure out that the society reflected is the American one. Its the American dream. In the poem an American act has an narrator and is talking about how is country is now. How he hides is self and how he lies to himself. They think and want to look like they are the best. If you take a deep look behind her mask and look at it by the inside you realize that the country is full of problems. America is full of problems and filled with lies. Its a dream for other and a nightmare for some. Also the author want to say that there is two class of peoples. (Rich and the poor) If your rich its like a dream but if your not you live in a nation were you disgusted of it. In America the society is a society of perfection and power. What we do is good and better than the other. Its a kind of self-interst When we talk about self-interest we can include the short fiction story. The ones who walk away from Omelas and A modest Proposal. Both are example of society of self Interest. In theOnes wh ...

Climate Change and Its Impact on Health Essay Example | Topics and Well Written Essays - 3500 words

Climate Change and Its Impact on Health - Essay Example Solar radiation powers the climate system. Here we are trying to explain the factors, which are affecting our climate change, and how the human activities are affecting the climate mostly in negative way. Further we will try to understand how the global warming the most visible aspect of climate change affects our whole climate system including humans worldwide. Finally we will discuss the ill effects of these climatic changes on human health as a whole. Apart from environmental perspective we would discuss this phenomenon on the basis of social and economical development and how we can manage these changes effectively and equitably. Key-words: Global warming, Current Situation Analysis (CSA), Qualitative Research Methodology (QRM), Focus Group Discussions, In Depth Interviews, Key Informant Interview, questionnaire, Free Listing, Green House Gases, Emissions. Introduction: There can be no clearer illustration of the need for human beings to act globally than the issues raised by the impact of human activity on our atmosphere. That we all share the same planet came to our attention in a particularly pressing way in the 1970's when scientists discovered that the use of chlorofluorocarbons (CFC's) threatens the ozone layer shielding the surface of our planet from the full force of the Sun 's ultraviolet radiation. Damage to that protective shield would cause cancer rates to rise sharply and could have other effects, for example, on the growth of algae. Getting rid of CFC's has turned out to be just the curtain raiser; the main event is climate change, or global warming. Climate change is a very different matter. The scientific evidence that human activities are changing the climate of our planet has been studied by a working group of the Intergovernmental Panel On Climate Change (IPCC), an international scientific body intended to provide p olicymakers with an authoritative view of climate change and its causes. The Third IPCC report (2001) finds that our planet has shown clear signs of warming over the past century. The 1990's were the hottest decade, and 1998 the hottest year, recorded year the 140 years for which meteorological records have been kept. In fact, nine of the hottest years during this period have occurred since 1990, and temperatures are now rising at three times the rate of early 1900's ("This year was the 2nd Hottest, confirming a Trend, UN says", New York times, 19 December 2001,). Sea levels have risen by between 10 to 20 centimeters over the past century. Since 1960's snow and ice cover has decreased by about 10% Ad Mountain glaciers are in retreat everywhere except near the poles. Now due to climate change, lots of poor nations and their populations will face drastic situations. In 1991, a cyclone hit the coast of Bangladesh, coinciding with high tides that left 10 million people hopeless and kill ed 1, 39,000. Most of these people were living on mudflats in the deltas. As many as 70 million people could be affected in Bangladesh, and a similar number in china.

Research Paper - Sexual Assault - Part One Essay

Research Paper - Sexual Assault - Part One - Essay Example Sexual assault, which is a general term encompassing rape, sexual battery and sexual harassment, is the forcible, non-consensual subjection of a person into an unwanted sexual activity by the use of physical or emotional violence. It can be physical, verbal or visual (e.g voyeurism). Sexual assault statutes vary from state to state but basically it is based on the precept that no one has the right or the privilege to coerce sexual contact and that a person has the right to determine who may touch hiss/her body and â€Å"when and under what circumstances†. Moreover, â€Å"each person has the right not only to decide whether to engage in sexual contact with another, but also to control the circumstances and character of that contact† (Brody et al 2000, p.426). The act of sexual assault is consummated when the assailant has intended to perform forcible nonconsensual sexual contact but fails to actually complete the act (Lindemann & Kadue 1999, p. 373). Herein, a demarcation line is drawn between rape and sexual assault because on the basis of this definition, sexual assault is tantamount to attempted rape and sexual battery. One author kept one step ahead by suggesting that sexual assault has been institutionalized since time immemorial and that the culprit is patriarchy, which propagates male gender domination favoring man’s power to exploit without legal restraint women and children â€Å"whose consent is mainly taken for granted unless actively withheld and whose communications are consistently devalued or misinterpreted because of patriarchal values and assumptions† (Pickard et al 2002, p.542). Many state laws are also one in affirming that to convict the sexual assailant, it must be proven beyond reasonable doubt that â€Å"there was sexual penetration and that it was accomplished without the affirmative and freely-given permission of the alleged victim† (Brody 2000,