Are the legal struggles faced by professional journalism today — such as copyright infringement and online aggregation issues — unique to our times? What are the historical precedents and origins for these challenges, and how might we pave a better path forward? Joshua Benton — Director, Nieman Journalism Lab at Harvard University — addresses the Online Media Legal Network conference Journalisms Digital Transition: Unique Legal Challenges and Opportunities on Friday, April 9, 2010 at Harvard Law School.
Similar Posts
Knowledge is power – economic power – and there’s a scramble for that power
Byadmin
Knowledge clusters” are being built in France to kick start hi-tech industries In the United States, Europe and in rising powers such as China, there is a growth-hungry drive to invest in hi-tech research and innovation. They are looking for the ingredients that, like Google, will turn a university project into a corporation. They are…
Amsterdam: Joins Global Youth Protest Movement
Byadmin
Amsterdam Decides It’s High Time To Squash Its Squatters The squatter movement has long had a foothold in the Netherlands’ canal-carved economic capital. As evidenced by a major early July raid, authorities are now looking to send its squatters packing. Squatters during a 2009 demonstration in Amsterdam, Holland AMSTERDAM — The Mobile Unit was…
Art Works Showcase…Contemporary Art Jury Winners
Byadmin
Car Waiting There is a big difference between “shock and awe” and disruptive innovation. Shock and awe is a superficial and short-lived gut response. True disruptive innovation changes the course of the way we see, think or do things. The core of all art is expression of the deep self. If, in following your deepest…
20 Ways to Circumvent Egypt`s Internet Block
Byadmin
Million Man March Needs Internet Connections
Money Never Sleeps
Byadmin
Stone’s challenge this time around was to make his protagonist, Jake Moore (Shia LaBeouf), a hotshot, 20-something banker, sympathetic in an age when fresh-out-of-school Wall Street types are vilified as bottle-service-swilling douchebags. On the face of it, the casting of LaBeouf, whose grating, agitated swagger has never seemed more appropriate than in a trading room, runs counter to that goal. But his character is redeemed by the following “good-guy” factors: