Hírek  

Hello,We represent the Saint Joseph University of Beirut, Lebanon and we would like to kindly ask you to forbid access to both our IPs (we are sure you can find them otherwise contact us to provide them to you) to the website libgen.org.We have included you in our restricted list in the institution firewall, but students have found ways to bypass it. We hope you could make it radical from your side.Please note that many students have been severely punished for using this website. We are only asking for this, in order to spare the others.We pay yearly subscriptions to many Editors and hope to stay “legal”. We appreciate all your efforts and respect them. We hope to come to an understanding together.Thank you very much.Hoping to hear from you very soon.PS: Move this thread to where it should be if needed, we couldn’t find an appropriate thread for such a request.

Source: Students accessing LG and fair use doctrine

Science departments in Russia’s universities are facing a crisis of information following the decision last week of a Western publisher to lock them out of access to thousands of unique scientific journals and magazines because the government can no longer afford to foot the bill.

According to a spokesperson from the Russian Ministry of Education and Science, the Russian Foundation for Basic Research, one of Russia’s state agencies, which is responsible for the development of national science, is unable to pay for subscriptions for scientific journals and magazines published by Springer due to a sharp devaluation of the Russian ruble this year.

Yriy Popov, a former associate professor of the Voronezh State University of Building Technologies and a well-known Russian scientist in the field of building science and technologies, warned that, in addition to Springer, there is a threat that the Russian scientific community may lose access to the magazines of other Western scientific publishers, such as Elsevier.

Matthias Aicher, head of Springer for Russia and the Commonwealth of Independent States, has confirmed that the company closed the access to scientific publications for Russian universities and research institutes from 12 May.

According to Aicher, the Russian government failed to pay for the subscription for 2014 to the amount of €890,000 (US$1 million).

Vladimir Fortov, head of the Russian Academy of Sciences, said the current problem is very serious as scientific periodicals have so far been the main way for Russian scientists to get information regarding basic and applied sciences.

Fortov said: “Thanks to these journals, Russian scientists are aware of the latest developments and research in global science. Failure of further subscriptions means that Russian scientists will be isolated from global science.

“Springer is a very serious publishing house, and the loss of access to its journals will be a major blow for Russian science, including university science.”

He has not ruled out the possibility that this issue may be resolved after the intervention of the national government. At the same time, according to some sources close to the Russian Academy of Sciences, representatives of some leading Russian universities are considering signing a petition to the Russian Prime Minister Dmitry Medvedev asking him to help resolve the problem.

In 2014 the annual subscription for Springer publications in Russia was set at €3.2 million (US$3.6 million).

According to an official spokesperson of Springer, the company extended free subscription to Russian science several times, but eventually due to existing debts decided to close it for an indefinite period.

In the meantime, representatives of the press service of the Russian Foundation for Basic Research said that the agency could not use the same model as before the economic crisis in Russia in December 2014 to January 2015 and devaluation of the local currency.

The seriousness of the current situation is confirmed by recent statements of Alexander Hlunov, board member of the Russian Foundation for Basic Research.

He said that Springer sets prices for its journals in Euros but devaluation of the Russian currency has meant that the price in rubles has doubled.

“The Russian budget currently has no available funds for these projects. We currently cannot afford such costs but if there is an increase of scientific spending in the Russian federal budget, this decision could be revised.”

According to Yriy Popov, many Russian scientists and university professors from different areas of science have used Springer journals as guidelines in their research activities.

Source: Universities denied access to West’s science journals – University World News

Today in Science, members of the Facebook data science team released a provocative study about adult Facebook users in the US “who volunteer their ideological affiliation in their profile.” The study “quantified the extent to which individuals encounter comparatively more or less diverse” hard news “while interacting via Facebook’s algorithmically ranked News Feed.”*

Source: multicast » Blog Archive » The Facebook “It’s Not Our Fault” Study

The Man Who Broke the Music Business

The dawn of online piracy.

By Stephen Witt

via The Man Who Broke the Music Business – The New Yorker.

Newsmax reports that according to according to KRC Research about 64 percent of Americans familiar with Snowden hold a negative opinion of him. However 56 percent of Americans between the ages of 18 and 34 have a positive opinion of Snowden which contrasts sharply with older age cohorts. Among those aged 35-44, some 34 percent have positive attitudes toward him. For the 45-54 age cohort, the figure is 28 percent, and it drops to 26 percent among Americans over age 55, U.S. News reported. Americans overall say by plurality that Snowden has done "more to hurt" U.S. national security (43 percent) than help it (20 percent). A similar breakdown was seen with views on whether Snowden helped or hurt efforts to combat terrorism, though the numbers flip on whether his actions will lead to greater privacy protections. "The broad support for Edward Snowden among Millennials around the world should be a message to democratic countries that change is coming," says Anthony D. Romero, executive director of the American Civil Liberties Union. "They are a generation of digital natives who don’t want government agencies tracking them online or collecting data about their phone calls." Opinions of millennials are particularly significant in light of January 2015 findings by the U.S. Census Bureau that they are projected to surpass the baby-boom generation as the United States’ largest living generation this yea

via Except For Millennials, Most Americans Dislike Snowden – Slashdot.

Then there are the quieter exclusives; already-released music that appears on one service but not another because of the vagaries of record-label licensing. I had considered switching to Tidal permanently after signing up last week, because the interface is nearly identical to Spotify (what’s missing are social-listening capabilities and a desktop app, though it’s possible both features are on their way), and because I like many of the artists who co-own the platform. But I keep running into gaps in its library; Grimes’s excellent 2012 album Visions, for example, and the well-reviewed new release from Jlin, are on Spotify but not Tidal. So what am I supposed to do? Pay for two services? Make up the important gaps by buying albums on iTunes, even though it’s not clear which gaps will be permanent? These aren’t the most pressing problems in the world, but they are, at least, more pronounced inconveniences than the ones streaming consumers have faced in the past few years.

When the new Beats arrives, this state of affairs may get more hectic. In an interview with Billboard, Jay Z made clear that Jimmy Iovine, the legendary record executive who now works with Apple, had been competing with Tidal for celebrity-musician endorsements. This might explain why big names like Taylor Swift and Drake didn’t join their friends Nicki Minaj and Madonna at last week’s press conference; it’s possible they’re aligned with Beats instead. Apple’s huge market reach and deep pockets also means that record companies have another party to negotiate distribution rights with, which gives labels power to ask for more favorable deals. It seems likely that this will lead to the various services’ catalogues becoming patchier, perhaps fluctuating over time à la Netflix’s Friends-one-month-then-gone-the-next offerings. (Probably not as dramatically, though; it’s in labels’ interest, generally, to have their music as widely available as possible.)

via With Tidal, Beyonce and Rihanna Prove That the Golden Age of Streaming Is Over — The Atlantic.

anonymity

notes from Paula Marie Helm’s talk on “On the Relationship between Addiction, Autonomy and Anonymity”.

Anonymity can help to regain formal autonomy.

1 – works as a crutch to overcome fear
2 – serves as a protection for the collective, it safeguards common values so they will not be corrupted by ego-driven individuals
3 – a performative practice that shapes personalities. anon is an educational and therapeutic instrument, as it teaches people to distance themselves form vain, pride and ego-centrism, and helps them to be more social and less selfish.

Traditional television watching is declining faster than ever as streaming services become a mainstream feature in American homes, according to new research by Nielsen.

Adults watched an average of four hours and 51 minutes of live TV each day in the fourth quarter of 2014, down 13 minutes from the same quarter of 2013, according to Nielsen’s fourth-quarter 2014 Total Audience Report. Viewing was down six minutes between the fourth quarter of 2013 and 2012. And between 2012 and 2011, viewing time actually increased for live TV.

At the same time, more homes turned to online video, with 40 percent of U.S. homes subscribing to a streaming service such as Netflix, Amazon Instant Video or Hulu compared with 36 percent in the fourth quarter of 2013, according to Nielsen. Netflix is by far the most popular streaming service, in 36 percent of all U.S. homes, and Amazon Instant Video is in 13 percent of homes.

The trends have rattled the entertainment industry, with broadcast and cable networks scrambling to take on new competitors on the Web. Cable networks have seen steep ratings declines, which got much worse in the last six months of 2014. Cable ratings among adults fell 9 percent in 2014, three times the rate of decline over 2013, according to Michael Nathanson, an analyst at Moffett Nathanson research.

“It’s hard to ignore our belief that technology is disrupting viewer consumption of linear network programming,” Nathanson wrote in a recent research note.

In response, companies such as HBO, NBC and CBS are launching their own streaming services. The moves could unleash a fast demise of the cable and satellite industries that have fed TV networks with licensing fees.

Television is still king, with viewers of all ages getting the vast majority of their video entertainment and news from live programs and using time-shifted services such as DVRs. But even older viewers — the stalwarts of traditional TV — are spending less time watching live TV and programs saved on DVRs.

Between 2012 and 2014, viewers ages 50 through 64 watched one hour and 12 minutes less of traditional TV each week; they increased viewing of videos over the Internet by 22 minutes. Viewers ages 35 through 49 watched two hours and five minutes less of traditional TV each week and increased viewing of online videos by 35 minutes.

via Americans are moving faster than ever away from traditional TV – The Washington Post.

Welcome to Kindle Worlds, a place for you to publish fan fiction inspired by popular books, shows, movies, comics, music, and games. With Kindle Worlds, you can write new stories based on featured Worlds, engage an audience of readers, and earn royalties. Amazon Publishing has secured licenses from Warner Bros. Television Group’s Alloy Entertainment for Gossip Girl, Pretty Little Liars, and The Vampire Diaries; Valiant Entertainment for Archer & Armstrong, Bloodshot, Harbinger, Shadowman, and X-O Manowar; Hugh Howey’s Silo Saga; Barry Eisler’s John Rain novels; Blake Crouch’s Wayward Pines series; and The Foreworld Saga by Neal Stephenson, Greg Bear, Mark Teppo, Eric Bear, Joseph Brassey, Nicole Galland, and Cooper Moo. Licenses for more Worlds are on the way.

via What Is Kindle Worlds?.

New record company figures out of France suggest that artists receive just 68 cents from every €9.99 monthly music streaming subscription – as major labels keep hold of 73% of payouts from the likes of Spotify.

French recorded music trade body SNEP, whose members include Universal Music, Sony Music and Warner Music,  ran a recent study with Ernst & Young to discover where money paid by a subscriber to the likes of Spotify or Deezer ultimately ends up.

As you can see below, in terms of the turnover that these platforms generate, the major labels (‘producteurs’) take home the lion’s share, pulling in an average of €4.56-per-subscriber every month after tax.

In terms of the total subscription payment, that’s a 46% share of the spoils.

However, further analysis from MBW gives a more interesting split: who takes home what from the revenues paid out by streaming companies to music rights-holders.

If SNEP’s figures are correct, €6.24 of every €9.99 subscription is paid to music rights-holders – that’s what’s left after tax and the digital platforms’ fee.

That would means the labels keep 73% of payouts from Spotify/Deezer etc.

They’re followed by writers/publishers with a 16% share, and then artists – mostly paid by their labels – who get 11%.

Screen shot 2015-02-03 at 16.24.46

Here’s how that €9.99 turnover payout share looks when you divide it up by percentage – both in terms of total revenue, and the recipients of the €6.24 payout by Spotify/Deezer etc.

Majors1 Majors2

How can the majors justify taking home such a huge chunk? Well, SNEP and E&Y’s research doesn’t stop there: they also estimate how much each party brings home in net pre-tax profit.

That means scoping how much major labels, publishers and digital platforms spend on costs – including marketing, making and/or distributing the music in the first place.

Here things get debatable: the net income of labels and digital platforms is, in SNEP/E&Y’s eyes, estimated at just 5% of total revenue.

That, in itself, will be a highly contested figure; many managers would argue that a 95% margin of cost doesn’t ring true on digital platforms devoid of packaging, breakages and returns.

Applying the 5% profit margin to SNEP’s figures changes the percentages of ‘take home’ money quite dramatically, as you can see below.

SNEP and E&Y calculate that labels earn €0.26 net profit for each subscription, while digital platforms earn just €0.10 per €9.99.

These tiny profit margins – if at all accurate – go some way to explaining why even the biggest streaming services find turning a profit no easy task.

It’s also the exact reason why managers want more streaming cash for their artists… and why major labels say they can’t pay it.

Profit streaming

 

Major labels keep 73% of Spotify premium payouts – report – Music Business Worldwide.

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