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Emphasis for the second conference on the history of information science systems was on scientific and technical information systems in the period from the Second World War up through the early 1990s. These proceedings present the papers of historians of science and technology, information scientists, and scientists in other fields on a wide range of topics: informatics in chemistry; biology and medicine; information developments in multinational, industrial, and military settings; biographical studies of pioneering individuals; and the transformation of information systems and formats in the twentieth century.
Just a few years before the dawn of the digital age, Harvard psychologist Bert Kaplan set out to build the largest database of sociological information ever assembled. It was the mid-1950s, and social scientists were entranced by the human insights promised by Rorschach tests and other innovative scientific protocols. Kaplan, along with anthropologist A. I. Hallowell and a team of researchers, sought out a varied range of non-European subjects among remote and largely non-literate peoples around the globe. Recording their dreams, stories, and innermost thoughts in a vast database, Kaplan envisioned future researchers accessing the data through the cutting-edge Readex machine. Almost immediately, however, technological developments and the obsolescence of the theoretical framework rendered the project irrelevant, and eventually it was forgotten.
Copyright is under siege. From file sharing to vast library scanning projects, new technologies, actors, and attitudes toward intellectual property threaten the value of creative work. However, while digital media and the Internet have made making and sharing perfect copies of original works almost effortless, debates about protecting authors' rights are nothing new. In this sweeping account of the evolution of copyright law since the mid-nineteenth century, Monika Dommann explores how radical media changes—from sheet music and phonographs to photocopiers and networked information systems—have challenged and transformed legal and cultural concept of authors' rights. Dommann provides a critical transatlantic perspective on developments in copyright law and mechanical reproduction of words and music, charting how artists, media companies, and lawmakers in the United States and western Europe approached the complex tangle of technological innovation, intellectual property, and consumer interests. From the seemingly innocuous music box, invented around 1800, to BASF's magnetic tapes and Xerox machines, she demonstrates how copyright has been continuously destabilized by emerging technologies, requiring new legal norms to regulate commercial and private copying practices. Without minimizing digital media's radical disruption to notions of intellectual property, Dommann uncovers the deep historical roots of the conflict between copyright and media—a story that can inform present-day debates over the legal protection of authorship.