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This book uses Viktor Frankl’s Existential Psychology (logotherapy) to explore the ways some professors use unusually personal scholarship to discover meaning in personal adversity. A psychiatrist imprisoned for three years in Nazi concentration camps, Frankl believed the search for meaning is a powerful motivator, and that its discovery can be profoundly therapeutic. Part I begins with four stories of professors finding meaning. Using the case studies as a foundation, Part II investigates issues of epistemology and ethics in unusually personal research from an existential perspective. The book offers advice for graduate students and faculty who want to live and work more meaningfully in the academy.
This book is the first publication that takes a genuinely global approach to the diverse ethical issues evoked by Information and Communication Technologies and their possible resolutions. Readers will gain a greater appreciation for the problems and possibilities of genuinely global information ethics, which are urgently needed as information and communication technologies continue their exponential growth
Winner, ICA 2009 Outstanding Book Award given by the International Communication Association. and Winner, 2009 CITASA Book Award given by the Communication and Information Technologies Section of the American Sociological AssociationWhile the public and the media have been distracted by the story of Napster, warnings about the evils of “piracy,” and lawsuits by the recording and film industries, the enforcement of copyright law in the digital world has quietly shifted from regulating copying to regulating the design of technology. Lawmakers and commercial interests are pursuing what might be called a technical fix: instead of specifying what can and cannot be done legally with a copyrighted work, this new approach calls for the strategic use of encryption technologies to build standards of copyright directly into digital devices so that some uses are possible and others rendered impossible. In Wired Shut, Tarleton Gillespie examines this shift to “technical copy protection” and its profound political, economic, and cultural implications.Gillespie reveals that the real story is not the technological controls themselves but the political, economic, and cultural arrangements being put in place to make them work. He shows that this approach to digital copyright depends on new kinds of alliances among content and technology industries, legislators, regulators, and the courts, and is changing the relationship between law and technology in the process. The film and music industries, he claims, are deploying copyright in order to funnel digital culture into increasingly commercial patterns that threaten to undermine the democratic potential of a network society.In this broad context, Gillespie examines three recent controversies over digital copyright: the failed effort to develop copy protection for portable music players with the Strategic Digital Music Initiative (SDMI); the encryption system used in DVDs, and the film industry’s legal response to the tools that challenged them; and the attempt by the FCC to mandate the “broadcast flag” copy protection system for digital television. In each, he argues that whether or not such technical constraints ever succeed, the political alignments required will profoundly shape the future of cultural expression in a digital age.
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