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Her young aunt has a role in mediating digital media use cheap stendra 50mg mastercard mens health xmas gift guide, in fact she in charge of uploading music on her iPod Shuffle and she showed some of her favourite games on the iPad (make up apps) order stendra 50 mg on-line prostate cancer prevention trial. Overall cheap 100 mg stendra with amex prostate embolization, she seems to generic stendra 50 mg mastercard prostate cancer young man possess several digital skills, such as being able to take screenshots on the iPad, organize apps in folders, create events in the calendar app, close pop ups without hesitation, discerning pay-content from free-content within an app and looking for videos on YouTube. Technological equipment of households the interviews conducted in Italy are consistent with prior research on pre-school and primary school children indicating that children are immersed in media-rich homes since they are very young (Marsh et al. In two families (I7 and I8), older children (aged 7 and 12 respectively) also owned a smartphone. For example, in family 2, 3 and 8 a desktop computer was also available, which was mainly used by children, while the laptop was of exclusive use of parents. In one family (I8), the iPad was given by grandparents to the older boy (now 12) as a rite of passage to lower secondary school, but it is now mainly used by his younger sister aged 7. Compared to other devices, tablets are more mobile, more likely to be used anywhere in the home and to be shared among siblings. Just in one family (I9), the tablet has been domesticated as a private device of I9ob (aged 10), and has been accordingly located in his own bedroom; as a consequence, his younger twins have limited if no access to it. These were primarily used by younger siblings, or when access to other mobile devices such as tablets and smartphones is highly restricted in time (I10). Children were also surrounded by a variety of print media (books and comics) and other toys. The computer is often perceived as a serious technology reserved for work use by parents or older siblings: children are not allowed to use it, or allowed to use it only when supervised, for fear they might damage it. The following excerpt, from the interview with family 8, shows how the desktop computer is reserved for parents and the older sibling only, the latter using it both for schoolwork and games: I8ob: ?The computer is in the living room. However, the extended family represented also an important source of socialisation of children to digital media. It is especially remarkable that online technologies are a way to develop an intra-generational bond between grandparents and grandchildren: either grandparents directly provide children with new and old technologies (the iPad, their first camera) (I1 and I8), either they create complicity (grandparents resisting parental rules and providing access to technologies that are usually restricted at home). A grandfather (I5gf) recognised by both children and their mother as the technology expert of the family reported using iPad with grandchildren during his monthly visit to the family: he paid great attention in choosing apps and in teaching children how to use the device and different apps. In many cases, children reported being socialised to new devices also by older cousins (mainly responsible for showing videogames) and young uncles. For example, in family 4, despite children having a limited access to digital technologies, the boys aged 5 and 7 are socialised to mobile devices and videogames by their ten year old cousin, whose parents ?are two technological persons says I4ob. So his cousin promised to lend him his old smartphone as soon as he gets a new one, and let them play the Wii, the Nintendo and games on the tablet when they meet. Smartphones and game console top the list of the devices children would like to have, with some remarkable gender differences: boys, except those already over 7, tend to prefer game consoles: for example, Both boys in Family 4 are excited about the Wii they will soon buy after breaking their piggy bank. Smartphones are favoured by girls because ?It has everything: games, music and videos (I8yg). In general, children who have access to an iPad or a tablet include it among their favourite technological devices and praise the variety of games and apps available. Children also value possession and privacy: for example I7ob was just given a smartphone for his seventh birthday. His use of the device was limited: he played games mainly on the tablet or the computer just had one game on his phone, and was not provided with a mobile internet plan, so accessed the domestic wifi network occasionally for YouTube videos. His communicative practices were also limited to phone calls to parents as soon as he went off the school bus, to inform them he reached home (where grandparents are waiting for him), since, as he explains, ?I still need to download some stuff for texting. Despite little use, however, he value the smartphone as his favourite device ?I like it most, as it is small and portable, it is mine. Among digital activities, games and gaming apps (whether on a game console, an iPad, or smartphone) and videos (both music videos and cartoons) are the most common activities cited by children and top the list of favourite uses of digital devices but not the list of favourite leisure time activities overall, since most children still favour outdoor activities, reading, and playing with dolls or Lego. Children mention a wide range of games and gaming apps, varying from popular gaming apps such as Dragon Trailer or Pou to more gendered applications, with girls favouring dress up games, princesses tales, and other drag and drop games in a fairy tale setting, while boys prefer Clash of Clans, other action games, car races etc. By contrast, some girls favour gaming apps on tablets and smartphones, and despise game console. Some children also engage with more educational games, selected by both parents and grandparents: children are provided with games in English to help them learn the language, as in Family 5; girls also like fairy tales apps (I1, I2, and I5), either because they are already very fond of reading and role-playing games based on fairy tales, either because they are not yet able to read stories on their own. In family 1 where the mother is a biologist girls also showed researchers educational apps explaining the universe or educational games on human physiology and the human body). Playing games on a tablet is usually an individual activity: except in the case of a seven-year-old boy playing with his younger twins (I7ob: ?they drive me mad with those kittens! The bystander, though, participates into gaming by suggesting tricks or encouraging the player. Children who like photography are also enthusiastic users of photo-editing apps, such as those deforming faces. For example, I1og explains shows the researcher proudly the photos she has taken to her family members. In most households, music videos provide the soundtrack to collective dancing practices, what is usually called the ?baby dance. In family 9, instead, the two twins play together at We Dance on the Wii, but while the girls is comfortable, the boy is more reluctant, which makes him ?very funny according to his mother. For example, in family 10 Violetta is not considered appropriate for a seven-year-old girl, so she is only allowed to watch a few videos from the show on YouTube. Not only is the socialisation to digital media shaped by inter-generational relationships: digital practices are also ?co-constructed across generations (Marsh et al.

It should therefore cheap stendra 100mg amex prostate health foods, Disney and Universal claimed cheap stendra 50 mg line mens health juice recipes, be partially liable for that infringement purchase stendra 100 mg mastercard androgen insensitivity syndrome hormone therapy. Sony did decide to discount stendra 50mg on-line androgen hormone in animals design its machine to make it very simple to record television shows. It could have built the machine to block or inhibit any direct copying from a television broadcast. Or possibly, it could have built the machine to copy only if there were a special "copy me" signal on the line. It was clear that there were many television shows that did not grant anyone permission to copy. Indeed, if anyone had asked, no doubt the majority of shows would not have authorized copying. And in the face of this obvious preference, Sony could have designed its system to minimize the opportunity for copyright infringement. It did not, and for that, Disney and Universal wanted to hold it responsible for the architecture it chose. In the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in its jurisdiction-leading Judge Alex Kozinski, who sits on that court, refers to it as the "Hollywood Circuit"-held that Sony would be liable for the copyright infringement made possible by its machines. And in its reversal, the Court clearly articulated its understanding of when and whether courts should intervene in such disputes. As the Court wrote, "Sound policy, as well as history, supports our consistent deference to Congress when major technological innovations alter the market for copyrighted materials. Congress has the constitutional authority and the institutional ability to accommodate fully the varieties of competing interests that are inevitably implicated by such new technology. But as with the plea of recording artists about radio broadcasts, Congress ignored the request. Congress was convinced that American film got enough, this "taking" notwithstanding. In /none/ of these cases did either the courts or Congress eliminate all free riding. In /none/ of these cases did the courts or Congress insist that the law should assure that the copyright holder get all the value that his copyright created. When you think across these examples, and the other examples that make up the first four chapters of this section, this balance makes sense. Should tools that enable others to capture and spread images as a way to cultivate or criticize our culture be better regulated? Is it really right that building a search engine should expose you to $15 million in damages? We could answer yes to each of these questions, but our tradition has answered no. In our tradition, as the Supreme Court has stated, copyright "has never accorded the copyright owner complete control over all possible uses of his work. And this balancing has historically been done /after/ a technology has matured, or settled into the mix of technologies that facilitate the distribution of content. But neither should the law become a tool to entrench one particular way in which artists (or more accurately, distributors) get paid. As I describe in some detail in the last chapter of this book, we should be securing income to artists while we allow the market to secure the most efficient way to promote and distribute content. These changes should be designed to balance the protection of the law against the strong public interest that innovation continue. This is especially true when a new technology enables a vastly superior mode of distribution. P2p technologies can be ideally efficient in moving content across a widely diverse network. Yet these "potential public benefits," as John Schwartz writes in /The New York Times/, "could be delayed in the P2P fight. Do you have to wait before calling file:///C|/Users/hamblebe/Desktop/Free%20Culture%20simplified%208000%20version. Markets reckon the supply and demand that partially determine the price she can get. But in ordinary language, to call a copyright a "property" right is a bit misleading, for the property of copyright is an odd kind of property. I understand what I am taking when I take the picnic table you put in your backyard. But what am I taking when I take the good /idea/ you had to put a picnic table in the backyard-by, for example, going to Sears, buying a table, and putting it in my backyard? The point instead is that in the ordinary case-indeed, in practically every case except for a narrow range of exceptions-ideas released to the world are free. Instead, as Thomas Jefferson said (and as is especially true when I copy the way someone else dresses), "He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me. But how, and to what extent, and in what form-the details, in other words-matter. To get a good sense of how this practice of turning the intangible into property emerged, we need to place this "property" in its proper context. I offer four stories to help put the idea of "copyright material is property" in context. After these stories, the significance of this true statement-"copyright material is property"-will be a bit more clear, and its implications will be revealed as quite different from the implications that the copyright warriors would have us draw. He would continue to write plays through 1613, and the plays that he wrote have continued to define Anglo-American culture ever since.

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