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| kembrew mcleod freedom of expression: Freedom of Expression® Kembrew McLeod, 2005 Publisher Description |
| kembrew mcleod freedom of expression: Freedom of Expression® Kembrew McLeod, 2007 In 1998 the author, a professional prankster, trademarked the phrase freedom of expression to show how the expression of ideas was being restricted. Now he uses intellectual property law as the focal point to show how economic concerns are seriously eroding creativity and free speech. |
| kembrew mcleod freedom of expression: Creative License Kembrew McLeod, Peter DiCola, 2011-03-14 Draws on interviews with more than 100 musicians, managers, lawyers, journalists, and scholars to critique the music industrys approach to digital sampling. |
| kembrew mcleod freedom of expression: Pranksters Kembrew McLeod, 2014 From Benjamin Franklin's newspaper hoax that faked the death of his rival to Abbie HoffmanOCOs attempt to levitate the Pentagon, pranksters, hoaxers, and con artists have caused confusion, disorder, and laughter in Western society for centuries. Profiling the most notorious mischief makers from the 1600s to the present day, a Pranksters aexplores how OC pranksOCO are part of a long tradition of speaking truth to power and social critique. Invoking such historical and contemporary figures as P.T. Barnum, Jonathan Swift, WITCH, The Yes Men, and Stephen Colbert, Kembrew McLeod shows how staged spectacles that balance the serious and humorous can spark important public conversations. In some instances, tricksters have incited social change (and unfortunate prank blowback) by manipulating various forms of media, from newspapers to YouTube. For example, in the 1960s, self-proclaimed OC professional hoaxerOCO Alan Abel lampooned AmericaOCOs hypocritical sexual mores by using conservative rhetoric to fool the news media into covering a satirical organization that advocated clothing naked animals. In the 1990s, Sub Pop Records then-receptionist Megan Jasper satirized the commodification of alternative music culture by pranking thea New York Times ainto reporting on her fake lexicon of OC grunge speak.OCO Throughout this book, McLeod shows how pranks interrupt the daily flow of approved information and news, using humor to underscore larger, pointed truths. Written in an accessible, story-driven style, a Pranksters areveals how mischief makers have left their shocking, entertaining, and educational mark on modern political and social life. |
| kembrew mcleod freedom of expression: The Downtown Pop Underground Kembrew McLeod, 2018-10-23 “McLeod’s deft and generous book tells of a constellation of avant-garde squatters, divas, and dissidents who reinvented the world.” —Jonathan Lethem, New York Times-bestselling author of Motherless Brooklyn The 1960s to early ’70s was a pivotal time for American culture, and New York City was ground zero for seismic shifts in music, theater, art, and filmmaking. The Downtown Pop Underground takes a kaleidoscopic tour of Manhattan during this era and shows how deeply interconnected all the alternative worlds and personalities were that flourished in the basement theaters, dive bars, concert halls, and dingy tenements within one square mile of each other. Author Kembrew McLeod links the artists, writers, and performers who created change, and while some of them didn’t become everyday names, others, like Patti Smith, Andy Warhol, and Debbie Harry, did become icons. Ambitious in scope and scale, the book is fueled by the actual voices of many of the key characters who broke down the entrenched divisions between high and low, gay and straight, and art and commerce—and changed the cultural landscape of not just the city but the world. “The story of underground artists of the 1960s and ’70s, an amalgam of bustling radical creativity and fearless groundbreaking work in art, music, and theater.” —Tim Robbins “Breathes new fire into a familiar history and is a must-read for anyone who wants to know how American bohemia really happened.” —Ann Powers, critic, NPR Music “Honors those who were at the forefront of a movement that transformed our understandings of sexuality and artistic freedom.” —Lily Tomlin |
| kembrew mcleod freedom of expression: Freedom for the Thought That We Hate Anthony Lewis, 2010 More than any other people on earth, we Americans are free to say and write what we think. The press can air the secrets of government, the corporate boardroom, or the bedroom with little fear of punishment or penalty. This extraordinary freedom results not from America’s culture of tolerance, but from fourteen words in the constitution: the free expression clauses of the First Amendment.InFreedom for the Thought That We Hate, two-time Pulitzer Prize-winner Anthony Lewis describes how our free-speech rights were created in five distinct areas—political speech, artistic expression, libel, commercial speech, and unusual forms of expression such as T-shirts and campaign spending. It is a story of hard choices, heroic judges, and the fascinating and eccentric defendants who forced the legal system to come face to face with one of America’s great founding ideas. |
| kembrew mcleod freedom of expression: Owning Culture Kembrew McLeod, 2001 Owning Culture demonstrates how intellectual property law has expanded to allow for private ownership of a remarkable array of things, from the patenting of human genes linked to breast cancer to the trademarking of the phrases «home style» and «freedom of ownership.» This book examines diverse areas of contemporary life affected by intellectual property law, including sampling practices in hip-hop music, the appropriation of Third World indigenous knowledge about the medical uses of plants, the effects of seed patenting on farming, and the impact of copyright law on folk music-making. By placing under scrutiny the individualistic, Western conception of the «author» that grounds intellectual property law, Kembrew McLeod shows how borrowing practices have been - and continue to be - central to cultural production. Additionally, this book highlights how intellectual property law facilitates the privatization of culture and the transfer of power into the hands of wealthy individuals and corporations. Clearly written, thoughtful, and thought provoking, Owning Culture provides an innovative approach to the study of culture and law. |
| kembrew mcleod freedom of expression: Culture Jamming Marilyn DeLaure, Moritz Fink, 2017-02-28 A collaboration of political activism and participatory culture seeking to upend consumer capitalism, including interviews with The Yes Men, The Guerrilla Girls, among others. Coined in the 1980s, “culture jamming” refers to an array of tactics deployed by activists to critique, subvert, and otherwise “jam” the workings of consumer culture. Ranging from media hoaxes and advertising parodies to flash mobs and street art, these actions seek to interrupt the flow of dominant, capitalistic messages that permeate our daily lives. Employed by Occupy Wall Street protesters and the Russian feminist punk band Pussy Riot alike, culture jamming scrambles the signal, injects the unexpected, and spurs audiences to think critically and challenge the status quo. The essays, interviews, and creative work assembled in this unique volume explore the shifting contours of culture jamming by plumbing its history, mapping its transformations, testing its force, and assessing its efficacy. Revealing how culture jamming is at once playful and politically transgressive, this accessible collection explores the degree to which culture jamming has fulfilled its revolutionary aims. Featuring original essays from prominent media scholars discussing Banksy and Shepard Fairey, foundational texts such as Mark Dery’s culture jamming manifesto, and artwork by and interviews with noteworthy culture jammers including the Guerrilla Girls, The Yes Men, and Reverend Billy, Culture Jamming makes a crucial contribution to our understanding of creative resistance and participatory culture. |
| kembrew mcleod freedom of expression: Music and Cyberliberties Patrick Burkart, 2012-01-01 Musicians and music fans are at the forefront of cyberliberties activism, a movement that has tried to correct the imbalances that imperil the communal and ritualistic sharing and distribution of music. In Music and Cyberliberties, Patrick Burkart tracks the migration of music advocacy and anti-major label activism since the court defeat of Napster and the ascendancy of the so-called Celestial Jukebox model of music e-commerce, which sells licensed access to music. Music and Cyberliberties identifies the groups—alternative and radical media activists, culture jammers, hackers, netlabels, and critical legal scholars—who are pushing back against the copyright grab by major labels for the rights and privileges that were once enjoyed by artists and fans. Burkart reflects on the emergence of peer-to-peer networking as a cause célèbre that helped spark the movement, and also lays out the next stages of development for the Celestial Jukebox that would quash it. By placing the musical activist groups into the larger context of technology and new social movement theory, Music and Cyberliberties offers an exciting new way of understanding the technological and social changes we confront daily. |
| kembrew mcleod freedom of expression: Steal This Music Joanna Teresa Demers, 2010-01-25 Is music property? Under what circumstances can music be stolen? Such questions lie at the heart of Joanna Demers’s timely look at how overzealous intellectual property (IP) litigation both stifles and stimulates musical creativity. A musicologist, industry consultant, and musician, Demers dissects works that have brought IP issues into the mainstream culture, such as DJ Danger Mouse’s “Grey Album” and Mike Batt’s homage-gone-wrong to John Cage’s silent composition “4’33.” Demers also discusses such artists as Ice Cube, DJ Spooky, and John Oswald, whose creativity is sparked by their defiant circumvention of licensing and copyright issues. Demers is concerned about the fate of transformative appropriation—the creative process by which artists and composers borrow from, and respond to, other musical works. In the United States, only two elements of music are eligible for copyright protection: the master recording and the composition (lyrics and melody) itself. Harmony, rhythm, timbre, and other qualities that make a piece distinctive are virtually unregulated. This two-tiered system had long facilitated transformative appropriation while prohibiting blatant forms of theft. The advent of digital file sharing and the specter of global piracy changed everything, says Demers. Now, record labels and publishers are broadening the scope of IP “infringement” to include allusive borrowing in all forms: sampling, celebrity impersonation—even Girl Scout campfire sing-alongs. Paying exorbitant licensing fees or risking even harsher penalties for unauthorized borrowing have become the only options for some musicians. Others, however, creatively sidestep not only the law but also the very infrastructure of the music industry. Moving easily between techno and classical, between corporate boardrooms and basement recording studios, Demers gives us new ways to look at the tension between IP law, musical meaning and appropriation, and artistic freedom. |
| kembrew mcleod freedom of expression: Digital Music Wars Patrick Burkart, Tom McCourt, 2006 With the rising popularity of online music, the nature of the music industry and the role of the Internet are rapidly changing. Rather than buying records, tapes, or CDs--in other words, full-length collections of music--music shoppers can, as they have in earlier decades, purchase just one song at a time. It's akin to putting a coin into a diner jukebox--except the jukebox is in the sky, or, more accurately, out in cyberspace. But has increasing copyright protection gone too far in keeping the music from the masses? Digital Music Wars explores these transformations and the far-reaching implications of downloading music in an in-depth and insightful way. Focusing on recent legal, corporate, and technological developments, the authors show how the online music industry will establish the model for digital distribution, cultural access, and consumer privacy. Music lovers and savvy online shoppers will want to read this book, as will students and researchers interested in new media and the future of online culture. |
| kembrew mcleod freedom of expression: Ripped Greg Kot, 2009-05-19 A national radio host and critically acclaimed music journalist shows how the Internet revolutionized the music industry--and turned big record labels on their ear. b&w photographs. |
| kembrew mcleod freedom of expression: The Cultural Life of Intellectual Properties Rosemary J. Coombe, 1998-10-13 DIVAn ethnography of inellectual property, discussing the uses made of items of inellectual property by various cultural groups -- for purposes of identity, solidaritiy, resistance and so forth. /div |
| kembrew mcleod freedom of expression: Net.wars Wendy Grossman, 1998 Wendy M. Grossman, a journalist who has covered the Internet since 1992 for major publications including Wired, the Daily Telegraph, and New Scientist, assesses the battles that will define its future. From the Church of Scientology raids on Net users to the attempts to overthrow the Communications Decency Act and the restrictions on the export of strong encryption, net.wars explains the issues and the background behind the headlines. Among the issues covered are Net scams, class divisions on the Net, privacy issues, the Communications Decency Act, women online, pornography, hackers and the computer underground, Net criminals and sociopaths, and more. |
| kembrew mcleod freedom of expression: Reclaiming Fair Use Patricia Aufderheide, Peter Jaszi, 2011-07-15 In the increasingly complex and combative arena of copyright in the digital age, record companies sue college students over peer-to-peer music sharing, YouTube removes home movies because of a song playing in the background, and filmmakers are denied a distribution deal when some permissions “i” proves undottable. Patricia Aufderheide and Peter Jaszi chart a clear path through the confusion by urging a robust embrace of a principle long-embedded in copyright law, but too often poorly understood—fair use. By challenging the widely held notion that current copyright law has become unworkable and obsolete in the era of digital technologies, Reclaiming Fair Use promises to reshape the debate in both scholarly circles and the creative community. This indispensable guide distills the authors’ years of experience advising documentary filmmakers, English teachers, performing arts scholars, and other creative professionals into no-nonsense advice and practical examples for content producers. Reclaiming Fair Use begins by surveying the landscape of contemporary copyright law—and the dampening effect it can have on creativity—before laying out how the fair-use principle can be employed to avoid copyright violation. Finally, Aufderheide and Jaszi summarize their work with artists and professional groups to develop best practice documents for fair use and discuss fair use in an international context. Appendixes address common myths about fair use and provide a template for creating the reader’s own best practices. Reclaiming Fair Use will be essential reading for anyone concerned with the law, creativity, and the ever-broadening realm of new media. |
| kembrew mcleod freedom of expression: Food, Inc. Peter Pringle, 2010-05-11 For most people, the global war over genetically modified foods is a distant and confusing one. The battles are conducted in the mystifying language of genetics. A handful of corporate life science giants, such as Monsanto, are pitted against a worldwide network of anticorporate ecowarriors like Greenpeace. And yet the possible benefits of biotech agriculture to our food supply are too vital to be left to either partisan. The companies claim to be leading a new agricultural revolution that will save the world with crops modified to survive frost, drought, pests, and plague. The greens warn that playing God with plant genes is dangerous. It could create new allergies, upset ecosystems, destroy biodiversity, and produce uncontrollable mutations. Worst of all, the antibiotech forces say, a single food conglomerate could end up telling us what to eat. In Food, Inc., acclaimed journalist Peter Pringle shows how both sides in this overheated conflict have made false promises, engaged in propaganda science, and indulged in fear-mongering. In this urgent dispatch, he suggests that a fertile partnership between consumers, corporations, scientists, and farmers could still allow the biotech harvest to reach its full potential in helping to overcome the problem of world hunger, providing nutritious food and keeping the environment healthy. |
| kembrew mcleod freedom of expression: The Best American Short Stories 2018 Roxane Gay, Heidi Pitlor, 2018-10-02 Best-selling, award-winning, pop culture powerhouse Roxane Gay guest edits this year’s Best American Short Stories, the premier annual showcase for the country’s finest short fiction. “I am looking for the artful way any given story is conveyed,” writes Roxane Gay in her introduction to The Best American Short Stories 2018, “but I also love when a story has a powerful message, when a story teaches me something about the world.” The artful, profound, and sometimes funny stories Gay chose for the collection transport readers from a fraught family reunion to an immigration detention center, from a psychiatric hospital to a coed class sleepover in a natural history museum. We meet a rebellious summer camper, a Twitter addict, and an Appalachian preacher—all characters and circumstances that show us what we “need to know about the lives of others.” |
| kembrew mcleod freedom of expression: Cultural Critique and Abstraction Elisabeth W. Joyce, 1998 This study of Marianne Moore and the visual arts focuses on how art productions serve to break down and re-create cultural practice, proving that culture is a mutable organism, reluctant to change, but not impervious to it. In doing so, author Elisabeth W. Joyce shows that, even though Moore may have restricted herself to the quiet, provincial life of Brooklyn, her poetry attests to her resistance to the constrictions imposed by the predominating bourgeoisie. This study presents the bifurcation between modernism and the avant-garde where, while the modernists retreated from engagement in society, the avant-gardistes remained focused on political and social issues in order to critique stifling cultural phenomena so that art could effect cultural changes. In taking this stance, instead of viewing Moore's poetry as typically and provincially American, Joyce places her in the international and radical art movements of the early twentieth century. |
| kembrew mcleod freedom of expression: The Late Age of Print Ted Striphas, 2009-04-08 Ted Striphas argues that, although the production and propagation of books have undoubtedly entered a new phase, printed works are still very much a part of our everyday lives. With examples from trade journals, news media, films, advertisements, and a host of other commercial and scholarly materials, Striphas tells a story of modern publishing that proves, even in a rapidly digitizing world, books are anything but dead. From the rise of retail superstores to Oprah's phenomenal reach, Striphas tracks the methods through which the book industry has adapted (or has failed to adapt) to rapid changes in twentieth-century print culture. Barnes & Noble, Borders, and Amazon.com have established new routes of traffic in and around books, and pop sensations like Harry Potter and the Oprah Book Club have inspired the kind of brand loyalty that could only make advertisers swoon. At the same time, advances in digital technology have presented the book industry with extraordinary threats and unique opportunities. Striphas's provocative analysis offers a counternarrative to those who either triumphantly declare the end of printed books or deeply mourn their passing. With wit and brilliant insight, he isolates the invisible processes through which books have come to mediate our social interactions and influence our habits of consumption, integrating themselves into our routines and intellects like never before. |
| kembrew mcleod freedom of expression: The Public Domain James Boyle, Erika Garcia, 2017-11-25 In this insightful book you will discover the range wars of the new information age, which is today's battles dealing with intellectual property. Intellectual property rights marks the ground rules for information in today's society, including today's policies that are unbalanced and unspupported by any evidence. The public domain is vital to innovation as well as culture in the realm of material that is protected by property rights. |
| kembrew mcleod freedom of expression: Coding Freedom E. Gabriella Coleman, 2013 Who are computer hackers? What is free software? And what does the emergence of a community dedicated to the production of free and open source software--and to hacking as a technical, aesthetic, and moral project--reveal about the values of contemporary liberalism? Exploring the rise and political significance of the free and open source software (F/OSS) movement in the United States and Europe, Coding Freedom details the ethics behind hackers' devotion to F/OSS, the social codes that guide its production, and the political struggles through which hackers question the scope and direction of copyright and patent law. In telling the story of the F/OSS movement, the book unfolds a broader narrative involving computing, the politics of access, and intellectual property. E. Gabriella Coleman tracks the ways in which hackers collaborate and examines passionate manifestos, hacker humor, free software project governance, and festive hacker conferences. Looking at the ways that hackers sustain their productive freedom, Coleman shows that these activists, driven by a commitment to their work, reformulate key ideals including free speech, transparency, and meritocracy, and refuse restrictive intellectual protections. Coleman demonstrates how hacking, so often marginalized or misunderstood, sheds light on the continuing relevance of liberalism in online collaboration. |
| kembrew mcleod freedom of expression: Keywords for American Cultural Studies Bruce Burgett, Glenn Hendler, 2007-10 A collection of sixty-four essays in which scholars from various fields examine terms and concepts used in cultural and American studies. |
| kembrew mcleod freedom of expression: Parodies of Ownership Richard L. Schur, 2011-02-10 An intriguing interdisciplinary examination of hip hop aesthetics |
| kembrew mcleod freedom of expression: Regulating Content on Social Media Corinne Tan, 2018-03-26 How are users influenced by social media platforms when they generate content, and does this influence affect users’ compliance with copyright laws? These are pressing questions in today’s internet age, and Regulating Content on Social Media answers them by analysing how the behaviours of social media users are regulated from a copyright perspective. Corinne Tan, an internet governance specialist, compares copyright laws on selected social media platforms, namely Facebook, Pinterest, YouTube, Twitter and Wikipedia, with other regulatory factors such as the terms of service and the technological features of each platform. This comparison enables her to explore how each platform affects the role copyright laws play in securing compliance from their users. Through a case study detailing the content generative activities undertaken by a hypothetical user named Jane Doe, as well as drawing from empirical studies, the book argues that – in spite of copyright’s purported regulation of certain behaviours – users are 'nudged' by the social media platforms themselves to behave in ways that may be inconsistent with copyright laws. Praise for Regulating Content on Social Media 'This book makes an important contribution to the field of social media and copyright. It tackles the real issue of how social media is designed to encourage users to engage in generative practices, in a sense effectively “seducing” users into practices that involve misuse or infringement of copyright, whilst simultaneously normalising such practices.’ Melissa de Zwart, Dean of Law, Adelaide Law School, Australia This timely and accessible book examines the regulation of content generative activities across five popular social media platforms – Facebook, Pinterest, YouTube, Twitter and Wikipedia. Its in-depth, critical and comparative analysis of the platforms' growing efforts to align terms of service and technological features with copyright law should be of great interest to anyone studying the interplay of law and new media. Peter K. Yu, Director of the Center for Law and Intellectual Property, Texas A&M University |
| kembrew mcleod freedom of expression: Knowledge Graphs Mayank Kejriwal, Craig A. Knoblock, Pedro Szekely, 2021-03-30 A rigorous and comprehensive textbook covering the major approaches to knowledge graphs, an active and interdisciplinary area within artificial intelligence. The field of knowledge graphs, which allows us to model, process, and derive insights from complex real-world data, has emerged as an active and interdisciplinary area of artificial intelligence over the last decade, drawing on such fields as natural language processing, data mining, and the semantic web. Current projects involve predicting cyberattacks, recommending products, and even gleaning insights from thousands of papers on COVID-19. This textbook offers rigorous and comprehensive coverage of the field. It focuses systematically on the major approaches, both those that have stood the test of time and the latest deep learning methods. |
| kembrew mcleod freedom of expression: Ethics for the Information Age Michael Jay Quinn, 2005 Ethics for the Information Age offers students a timely, balanced, and impartial treatment of computer ethics. By including an introduction to ethical theories and material on the history of computing, the text addresses all the topics of the Social and Professional Issues in the 2001 Model Curricula for Computing developed by the ACM and IEEE Computer Society. By introducing ethical theories early and using them throughout the book to evaluate moral problems related to information technology, the book helps students develop the ability to reach conclusions and defend them in front of an audience. Every issue is studied from the point of view of multiple ethical theories in order to provide a balanced analysis of relevant issues. Earlier chapters focus on issues concerned with the individual computer user including email, spam, intellectual property, open source movement, and free speech and Web censorship. Later chapters focus on issues with greater impact on society as a whole such as privacy, computer and network security, and computer error. The final chapter discusses professionalism and the Software Engineering Code of Ethics. It invites students to contemplate the ethical dimensions of decisions computer professionals must frequently make. |
| kembrew mcleod freedom of expression: Manga in America Casey Brienza, 2016-01-28 Japanese manga comic books have attracted a devoted global following. In the popular press manga is said to have “invaded” and “conquered” the United States, and its success is held up as a quintessential example of the globalization of popular culture challenging American hegemony in the twenty-first century. In Manga in America - the first ever book-length study of the history, structure, and practices of the American manga publishing industry - Casey Brienza explodes this assumption. Drawing on extensive field research and interviews with industry insiders about licensing deals, processes of translation, adaptation, and marketing, new digital publishing and distribution models, and more, Brienza shows that the transnational production of culture is an active, labor-intensive, and oft-contested process of “domestication.” Ultimately, Manga in America argues that the domestication of manga reinforces the very same imbalances of national power that might otherwise seem to have been transformed by it and that the success of Japanese manga in the United States actually serves to make manga everywhere more American. |
| kembrew mcleod freedom of expression: The Routledge Companion to Remix Studies Eduardo Navas, Owen Gallagher, xtine burrough, 2014-11-27 The Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic international movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media. The act of recombining pre-existing material brings up pressing questions of authenticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aesthetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom. |
| kembrew mcleod freedom of expression: Digital Media Law Ashley Packard, 2012-06-25 Covering the latest legal updates and rulings, the second edition of Digital Media Law presents a comprehensive introduction to all the critical issues surrounding media law. Provides a solid foundation in media law Illustrates how digitization and globalization are constantly shifting the legal landscape Utilizes current and relevant examples to illustrate key concepts Revised section on legal research covers how and where to find the law Updated with new rulings relating to corporate political speech, student speech, indecency and Net neutrality, restrictions on libel tourism, cases filed against U.S. information providers, WikiLeaks and shield laws, file sharing, privacy issues, sexting, cyber-stalking, and many others |
| kembrew mcleod freedom of expression: Freedom of Commercial Expression Roger A. Shiner, 2003 This work examines critically the case for freedom of commercial expression. Roger Shiner argues that the institutional history of such protection is one of ad hoc, not logical, development. |
| kembrew mcleod freedom of expression: Yes Rasta , 2000 Essay by Perry Henzell A look into the secluded world of Rastafarians, a culture and religion closed to outsiders. With these bold portraits and landscapes, Cariou indelibly captures the strict, separatist, jungle-dwelling, fruit-of-the-land lifestyle, popularised by reggae legends Bob Marley and Peter Tosh. The book's release follows that of a collaborative reggae CD. With 105 tritone photos. '...the photos will stun you with the beauty of their locations and the poise and tranquillity of their subjects' - Newsday |
| kembrew mcleod freedom of expression: Beyond the First Amendment Samuel P. Nelson, 2005-07 Americans often believe that the First Amendment and free speech are synonymous and that all restrictions on speech can be addressed by the legal framework of the First Amendment. Political theorist Samuel P. Nelson argues that the current legal framework for free speech actually undermines attempts to resolve many of these issues and that the law of the First Amendment has supplanted the vital politics of free speech. To cut through the confusion, Nelson takes a step back from the First Amendment framework to understand the social nature of speech, moving toward a more pluralistsic and value-based understanding. He examines three philosophies commonly used to justify speech protection—libertarianism, expressivism, and egalitarianism—and finds none of them sufficiently responsive in today's contemporary political landscape. Advocating an approach grounded in value pluralism—which describes a wider variety of free speech claims than the First Amendment allows—Nelson pushes the debate beyond constitutional and legal questions. |
| kembrew mcleod freedom of expression: How to Rap Paul Edwards, 2009-12 A complete guide to the art and craft of the MC, anyone who's serious about becoming a rapper should read this first.--Hip Hop Connection magazine A clever breakdown of the art form of hip-hop rhymes ... It's about time someone actually recognized this powerful music for its artistic integrity. -Speech, Arrested Development Examining the dynamics of hip-hop from every region and in every form-mainstream and underground, current and classic-this compelling how-to discusses everything from content and flow to rhythm and delivery. Compiled from the most extensive research on rapping to date, this first-of-its-kind guide delivers countless candid and exclusive insights from more than 100 of the most critically acclaimed artists in hip-hop-including Clipse, Cypress Hill, Nelly, Public Enemy, Remy Ma, Schoolly D, A Tribe Called Quest, and will.i.am-revealing the stories behind their art and preserving the genre's history through the words of the legends themselves. Beginners and pros alike will benefit from the wealth of rapping lore and insight in this remarkable collection.-- |
| kembrew mcleod freedom of expression: Code Director Edmond J Safra Center for Ethics and Roy L Furman Professorship of Law Lawrence Lessig, Lawrence Lessig, 2016-08-31 There's a common belief that cyberspace cannot be regulated-that it is, in its very essence, immune from the government's (or anyone else's) control.Code argues that this belief is wrong. It is not in the nature of cyberspace to be unregulable; cyberspace has no nature. It only has code-the software and hardware that make cyberspace what it is. That code can create a place of freedom-as the original architecture of the Net did-or a place of exquisitely oppressive control.If we miss this point, then we will miss how cyberspace is changing. Under the influence of commerce, cyberpsace is becoming a highly regulable space, where our behavior is much more tightly controlled than in real space.But that's not inevitable either. We can-we must-choose what kind of cyberspace we want and what freedoms we will guarantee. These choices are all about architecture: about what kind of code will govern cyberspace, and who will control it. In this realm, code is the most significant form of law, and it is up to lawyers, policymakers, and especially citizens to decide what values that code embodies. |
| kembrew mcleod freedom of expression: The Ecstasy of Influence Jonathan Lethem, 2012-10-02 National Book Critics Circle Award Finalist A New York Times Notable Book A Best Book of the Year —Austin American-Statesman Includes a new, previously uncollected piece: My Internet In The Ecstasy of Influence, the incomparable Jonathan Lethem has compiled a career-spanning collection of occasional pieces—essays, memoir, liner notes, fiction, and criticism—which also doubles as a novelist’s manifesto, self-portrait, and confession. The result is an insightful, charming, and entertaining grab bag that covers everything from great novels to old films to graffiti to cyberculture. |
| kembrew mcleod freedom of expression: Regulating Style Kedron Thomas, 2016-10-11 Fashion knockoffs are everywhere. Even in the out-of-the-way markets of highland Guatemala, fake branded clothes offer a cheap, stylish alternative for people who cannot afford high-priced originals. Fashion companies have taken notice, ensuring that international trade agreements include stronger intellectual property protections to prevent brand “piracy.” In Regulating Style, Kedron Thomas approaches the fashion industry from the perspective of indigenous Maya people who make and sell knockoffs, asking why they copy and wear popular brands, how they interact with legal frameworks and state institutions that criminalize their livelihood, and what is really at stake for fashion companies in the global regulation of style. |
| kembrew mcleod freedom of expression: Not in Front of the Children Marjorie Heins, 2002 An exploration of the history of indecency laws and other restrictions aimed at protecting youth ranges from Plato's argument for censorship to modern battles over sex education in the schools and violence in the media. |
| kembrew mcleod freedom of expression: Early Work 1970 To 1979 Patti Smith, 1994 A collection of Smith's early poems and prose, which is both meditative and explosive, and evokes the desire to break boundaries in the pre-punk era. |
| kembrew mcleod freedom of expression: Tactical Entanglements Martin Zeilinger, 2021-06-18 How do artistic experiments with artificial intelligence problematize human-centered notions of creative agency, authorship, and ownership? Offering a wide-ranging discussion of contemporary digital art practices, philosophical and technical considerations of AI, posthumanist thought, and emerging issues of intellectual property and the commons, this book is firmly positioned against the anthropomorphic spectacle of creative AI. It proposes instead the concept of the posthumanist agential assemblage, and invites readers to consider what new types of creative practice, what reconfigurations of the author function, and what critical interventions become possible when AI art provokes tactical entanglements between aesthetics, law, and capital. |
| kembrew mcleod freedom of expression: Freedom of Speech in the United States Thomas L. Tedford, 1985 This historical development of freedom of speech from Athens, through Rome, to England and the United States presents comprehensive, up-to-date treatment secure upon a historical First Amendment base that also covers defamation and privacy, obscenity, commercial speech, prior restraint, free press/fair trial, copyright and broadcasting as well as questions of media access. |
Konami - Wikipedia
In 2015 Konami Digital Entertainment CEO Hideki Hayakawa announced that, with few exceptions, Konami would stop making console games and instead focus on the mobile …
Is Konami no longer making games? - Games Learning Society
May 12, 2025 · The answer is a resounding no. While Konami shifted its focus significantly towards mobile gaming and other ventures for a period, particularly after controversial …
Konami just had its best-ever year, thanks to games you've never …
May 13, 2022 · Despite the perception among some that Konami doesn't make games anymore and is basically a pachinko business, the financial results show that the opposite is the case.
Why did Konami stop making Console Games? : r/konami - Reddit
Feb 3, 2021 · They're making an absolute killing with their mobile games, casinos, and health fitness spas. Meanwhile, the costs of AAA game development continue to rise higher and …
Konami's Return to Games Continues with New Studio Opening
Apr 3, 2023 · Konami's plans to return to releasing big and proper games took another step forward today as the firm has announced its relocated to a new studio in Osaka. Under the …
Does Konami make video games anymore? - SplicedOnline
Nov 11, 2024 · Although Konami’s console gaming division is no longer a major focus, the company’s gaming division is still active. In 2020, Konami announced the release of Metal …
No, Konami Hasn't Shut Down Its Gaming Division - IGN
Jan 25, 2021 · Konami has provided more clarity on the future of its gaming division after announcing that it will dissolve its Production Divisions. Per a company spokesperson, the …
Konami Is Dissolving And Restructuring Its Gaming Divisions
Jan 26, 2021 · In an interesting move, Konami Digital Entertainment is dissolving and restructuring its gaming divisions at the start of February. However, this does not mean Konami is shutting …
Konami confirms that it’s still in the business of making video games
Jan 26, 2021 · Rumours began circulating this week that Konami, the famed developer behind many successful gambling machines and occasional publisher of video games, was getting …
With a new studio, Konami may be ready to make games again
Apr 6, 2023 · Now, however, Konami's back into games. It's opened up a new, triple-A, "creators-first" (we'll see) game studio in Osaka, soon to be followed up by an R&D center in Tokyo, and …
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