Library and Information Science Masters Degree

<img class=”aligncenter size-full wp-image-4187″ alt=”Design Letters Original” src=”” width=”700″ />

I was reading this post from The Beat That My Heart Skipped and I couldn’t believe it. The woman interviewed in the post works in London and she has an MA in Librarianship. MA. Master of Arts.


This whole post confused me because, for the past two years, I’ve been studying to achieve my Master’s also. On May 19, 2013 I will have a Master’s of Library and Information Science with a focus in Archival Studies. Even my undergraduate degree is a Bachelor of Science in Information Studies. Science. It is common in the US to have a MLIS or MLS.

It’s odd to see that it is considered a MA and BA overseas. Perhaps the United States takes it more seriously?
<blockquote>”The MA at Brighton covers the more traditional aspects of librarianship (collection development, cataloguing and classification) alongside units which examine the changing role of the information professional in society, and issues relating to the social context of information in the digital age.” – Ruth Collingwood</blockquote>
This paragraph could technically cover some of what I studied at the <a href=”;utm_medium=shorturl&amp;utm_campign=ischool&#8221; target=”_blank”>University of Wisconsin – Milwaukee</a>. I never really looked into programs at other schools, but I know the University has to have ALA accreditation in order for the diploma to be legit.

The <a href=”; target=”_blank”>University of Sheffield has a MA of Librarianship</a> and <a href=”; target=”_blank”>this blog post</a> talks about MA Librarianship also. This is all so baffling because I’ve only heard about programs that are similar to the one I’m studying. Even on the <a href=”; target=”_blank”>ALA website</a> it recognizes the Master of Arts programs.

Mind blown.
<h5><em>photo via <a href=”;view=article&amp;id=65&amp;Itemid=64&#8243; target=”_blank”>Design Letters Original</a></em></h5>


UW-Milwaukee’s Graduate Degree Options for MLIS of SOIS

Acronyms? Got them.

The School of Information Studies (SOIS) featured a picture of mine from my Alternative Spring Break (ASB) that I featured here. It is featured on the graduate student degree options within the Master’s of Library and Information Science (MLIS) page.


A little bit about the MLIS degree

I am currently a student at the University of Wisconsin – Milwaukee in the School of Information Studies. I am pursuing my Master’s of Library and Information Science (MLIS) and I am focusing in Archival Studies. Yes, that is a mouthful to tell people. And, yes, I refer to it as “becoming a librarian” to keep the conversation short.

But the MLIS program is so much more than that. If I had a half hour to describe all my classes to everyone who inquires about my studies, I would. I cannot keep my statements short because the program encompasses so much. Since I would be over-informing my listeners (and probably boring them too).

In the July/August 2012 edition of American Libraries, the magazine of the American Library Association, an opinion article stuck out and I have finally been blessed with a short blurb about my program that I would gladly tell everyone and everyone I meet.  Now to share with my readers first!


The ABC’s of Creative Commons

I. What is Creative Commons and where does it come from?

Creative Commons is a non-profit organization founded in 2001 by a Board of Directors which includes Lawrence Lessig, a Professor at Harvard Law School. By 2009, there were an estimated 350 million (Creative Commons) licensed works. The goal of Creative Commons is to create reasonable copyright rules over the rigid base model that is currently in place. This means that Creative Commons is not an alternative to copyright, but a modification or a complement to it. If a user violates a Creative Commons license, they are violating copyright. “It provides standardized and scrutinized license texts, translation into languages and adaptations for various jurisdictions (presently over 50 adaptations are provided),” (Hagedorn, 2011, p. 130-131). This means that Creative Commons’ licenses are available in 50 different countries and are also available in various languages.

“Copyright is a state-guaranteed right given to creators of ‘literary and artistic works’ to control the reproduction, distribution, adaptation or translation of their Works,” (Hagedorn, 2011). The full copyright restrictions include all rights reserved, except when it falls under Fair Use, and the public domain is primarily no rights reserved, such as Shakespeare’s works. Creative Commons aim is “to build a layer of reasonable copyright on top of the extremes that now reign,” (Lessig, 2004, p. 282). If it takes a lifetime before a work is released into the public domain, then the current creative community loses the ability to expand and build upon these works. “’Fair Use’ is a crucial element in American copyright law—the principle that the public is entitled, without having to ask permission, to use copyright works in ways that do not unduly interfere with the copyright owner’s market for work,” (Von Lohmann, 2010, p. 9). Personal, noncommercial uses, commenting, news reporting, teaching and research all fall under the realm of Fair Use.

Creative Commons was created to allow more freedoms to the public than Fair Use allows. Creative Commons, in essence, is some rights reserved. It “provides free copyright licenses to enable artists to make their creative work with the freedoms they want it to carry,” (Lessig, 2008, p. 15). The author can choose what these freedoms are when they establish their Creative Commons license.
The authors “express these freedoms in a way that subsequent users can use and rely upon without the need to hire a lawyer,” (Lessig, 2004, p. 283) in the case of copyright infringement. There are people who want to publish their works in an open manner, in a public domain, in which other people can freely use the author’s work (while giving credit) to create something new. “It does this by making it easy for people to build upon other people’s work, by making it simple for creators to express the freedom for others to take and build upon their work,” (Lessig, 2004, p. 282). If an author allows the freedom for others to use his or her video or music to create something new, then it is not illegal for the user to do so and post it online—as long as proper credit is given to the original author. If the credit is not given, then the user is violating the Creative Commons license as well as copyright law.

II. How does Creative Commons work?

There is a “three-layer” design of licenses according to the Creative Commons website. The first layer is described as “legal code” which constitutes the license and provides the formal legal language for lawyers. The second layer is described as “commons deed” which is “human readable” in that it summarizes the legal code into a reference guide primarily for people who are not lawyers—or people who cannot understand the legal jargon in the contract. The third layer is described as a “machine readable” version of the legal code in which search engines and other kinds of technologies can easily understand what is stated in the license. “Taken together, these three layers of licenses ensure that the spectrum of rights isn’t just a legal concept. It’s something that the creators of works can understand, their users can understand, and even the Web itself can understand,” (Creative Commons).

There are four types of license conditions: Attribution, Share Alike, Non-Commercial and No Derivative Works (Creative Commons). These four can be combined in numerous ways to create a license fit for each author. The author chooses to allow commercial uses of the work, modifications of the work and then decides on the jurisdiction of the license (International or a specific country). Once the user finished the form the website generates HTML code for the user to implement on their work on the Internet.

“The Creative Commons Non-Commercial (CC NC) licenses exclude re-use scenarios leading to monetary profits or other commercial advantages. It thus effectively protects copyright owners whose income depends on commercially licensing their works,” (Hagedorn, 2011, p. 141). There is a grey area around the Non-Commercial part of the license and with every update the Creative Commons plans to sort out all these grey areas. A suggested grey area would be that if an author uses the Commercial license, then a user may take that work and publish it for monetary value without profits for the original author. The author has to make their license Non-Commercial in order to avoid that, but then there is a world of bloggers that would be unable to use/share the work for non-monetary gain. There wasn’t a log about this grey area on the Creative Commons website to fully form the full disclosure of the Commercial versus the Non-Commercial licenses. There is also one more license, the CC0 or CCZero, which is a special condition for a jurisdiction that has no concept of the public domain. This license provides, as close as it can, a work that is released directly into the public domain.

III. How is Creative Commons being used?

“‘Creative Commons’ licenses can be used with text, blogs, music, audio recordings, podcasts, photographs, videos, songs, websites, and films found on the internet,” (Gordon-Murnane, 2010). Flickr is an online photo sharing community and is also a supporter of Creative Commons. A Flickr user can search through the website specifically for Creative Commons licensed works in all the conditions described above. Google is also a supporter through their main search engine, image search engine as well as their book search engine.

“The Obama Administration has used Creative Commons licenses in a variety of ways, from licensing presidential campaign photos, releasing information on transition site via a CC Attribution license, to requiring that third-party content posted on be made available via CC Attribution Only as well,” (Creative Commons). Even Nine Inch Nails has released two albums under Creative Commons licensing.

The Creative Commons licensing is also being used by higher education. Massachusetts Institute of Technology launches OpenCourseWare to provide online public access to undergraduate and graduate program materials. Rice University also offers online access to learning content and tools to help instructors create course structures through Connexions.

Mozilla is an open-source software initiative. Any content on Mozilla’s website is protected under the Creative Commons copyright license, but that allows any Internet user to take a copy of the Firefox source-code to use it freely, study or change the code and improve on the design of the overall product.

IV. Why is it important?

A Creative Commons license is important because it encourages sharing. A person interested in a work under a Creative Commons licenses doesn’t have to track down the author and ask for permission to use the work. This allows for quick and easy sharing methods because it cuts out the time factor – the time it takes to track down the author and the time it takes for an author to grant or deny the permission being sought. Without Creative Commons, “cultural media of the 20th century is largely off limits, locked away from the public domain”, (Gordon-Murnane, 2010). Creative Commons offers the view of some rights shared (instead of all or none) and gives new meaning to the creative public domain. Users are now able “to share, remix, mash up, collaborate, adapt, and create something new and different”, (Gordon-Murnane, 2010).

Creative Commons is important because it protects the users who use an author’s works from copyright infringement as long as they are abiding by the author’s terms. Before Creative Commons licenses, there was no easy way for an author to share their works freely and there “was no place for members of the public to go to find new works that they were free to reuse and remix without paying fees,” (Kleinman, 2008, p. 594-595). Now Internet users can use Google to find Creative Commons licensed content as well as Flickr for searching through images and many other sources for video and music.


Creative Commons. (n.d.) Retrieved from

Gordon-Murnane, L. (2010). CREATIVE COMMONS: Copyright Tools for the 21st Century. Online, 34(1), 18-21.

Hagedorn, G., Mietchen, D., Morris, R. A., Agosti, D., Penev, L., Berendsohn, W. G., & Hobern, D. (2011). Creative Commons licenses and the non-commercial condition: Implications for the re-use of biodiversity information. Zookeys, 150127-149. doi:10.3897/zookeys.150.2189

Kleinman, M. (2008). The beauty of “Some Rights Reserved”. College & Research Libraries News, 69(10), 594-597.

Lessig, L. (2004). Free culture: The nature and future of creativity. New York, NY: Penguin Press.

Lessig, L. (2008). Remix: Making art and commerce thrive in the hybrid economy. New York, NY: Penguin Press.

Von Lohmann, F. (2010). Unintended consequences: Twelve years under the dmca. Electronic Frontier Foundation.

The Good, the Bad and the SOPA

While reviewing the evolution of copyright and intellectual property, one can view how most laws on copyright have been heavily influenced by big publishing companies.  The current big publishing companies pushing for a new bill to be passed called the Stop Online Piracy Act are the Recording Industry Association of America and the Motion Picture Association of America.  While the premise of the bill is to shut down foreign rogue websites hosting copyright infringing materials owned by the Recording Industry Association of America and the Motion Picture Association of America, the bill is too broad in definition and there could be innocent bystanders that get caught in their line of fire.  This paper will discuss the topic of intellectual property in the digital age and how the creativity of intellectual property is being censored and threatened by the Stop Online Piracy Act (SOPA).

Intellectual property could be defined as ideas.  Patents, trademarks, trade secrets and copyrights are all included within the category of intellectual property.  Trade secrets are ‘inventions, plans or other valuable information,” trademarks “serve to identify the source of goods and services,” of a company and “a patent is a government issued document that describes a new and useful invention,” (Anawalt, 2011, p. 4-6).  Intellectual property is much more than “an issue of law, ethics, politics, or economics…; it is also an issue of culture.  Shifts in cultural models affect the way we think about ownership, sharing, stealing, consumerism, ethics, and responsibility,” (Sano-Franchini, 2010, p. 202).  The Internet has changed how culture shares information entirely.

So what is copyright?  “Copyright battles reflect the mutually exclusive desires to maintain authority and control, and the necessity to relax control to facilitate circulation,” (Halbert, 1999, p. 1).  Copyright is about control.  The author maintains control over their own work while they are in the creating process.  Plagiarists and pirates are the ones who are waiting to steal ideas from authors before their work is published.  Pirates will sell or make available illegal copies and they have no respect for author’s rights.

Copyright has been an issue since the 18th Century in England.  It is important to note that “copyright and authorship go hand in hand,” (Halbert, 1999, p. 2).  Copyright was created and enforced for so many years to protect the work(s) of an author.  With the invention of the printing press in “1476,” (Halbert, 1999, p. 2), works were easier to reproduce than the method of handwriting a copy.  Printing new copies also reduced the number of errors that occurred with handwriting.  In England, with the Copyright Act of 1709, all “printed matter was controlled via the Licensing Act, which allowed authorities to prohibit publication of anything dangerous,” (Halbert, 1999, p. 4).  These “dangerous” items could then be censored since it was the “Stationer’s Company right to copy rather than the author’s right to own,” (Halbert, 1999, p.4).  Even when copyrights first emerged into society, authors didn’t necessarily own their work(s).  The Stationer’ Company was a publishing house in which authors sold their books to – the key word here being sold.  Authors were ultimately giving up their rights to have the book published.  The Stationer’ Company owned the copyrights and “books written by individuals who had died hundreds of years ago were still bought and sold,” (Halbert, 1999, p. 5).  There were no limitations on what they could copyright and for how long.

When the Statute of Queen Anne was enacted in 1709 it “reduced the copyright term to 14 years, with a possible renewal for another 14 available to the author,” (Halbert, 1999, p. 5).  The Statute was not intended as a copyright protection act, but as a trade – regulation act.  These rights became effective to everyone and any work they create, while warding off any monopolies from the publishers like the Stationer’s Company.

Then, with the cases of Millar v. Taylor and Donaldson v. Beckett in 1769 and 1774, respectively, “succeeded in fixing the idea of copyright as an author’s right,” (Halbert, 1999, p. 6).  Millar bought “the rights to James Thompson’s poem ‘The Seasons,” (Lessig, 2005, p. 91) and Taylor printed copies without permission, resulting in being sued by Millar over common law and rights given by the Statute of Queen Anne – Millar won.  Then “Millar died soon after his victory…his estate sold Thomson’s poems to a syndicate of printers that included Thomas Beckett,” (Lessig, 2005, p.92).  Soon after Donaldson “released an unauthorized edition,” (Lessig, 2005, p.92) of Thompson’s poems and Beckett took him to court because he had the copyrights which he bought in Millar’s estate.  Even though the poems were out of a protection of copyright and would’ve passed into the public domain there wasn’t a concept of that until the Donaldson v. Beckett case emerged in 1774.  “After 1774, the public domain was born.  For the first time in Anglo-American history, the legal control over creative works expired and the greatest works in English history—including those of Shakespeare, Bacon, Milton, Johnson, and Bunyan—were free of legal restraint,” (Lessig, 2005, p.93).  The public domain was born because, after a twenty-eight year period, there was agreement that the ideas created should be common knowledge.

Fast forward to 1790, in America, when the first federal Copyright Act passed on May 31 – this act protected “printed work from piracy and protected maps, books, and charts for a 14-year term,” (Halbert, 1999, p. 13).  This Act also allowed for a 14-year renewal for living authors which greatly resembled the Statute of Queen Anne.  Since then, copyright was “extended eleven times in the past fifty years,” (Lessig, 2002) or more commonly known as the Mickey Mouse Protection Act.  Every time Mickey Mouse was about to fall into the public domain, the length of years that a copyright is subject to was extended.  First Brian Leubitz declared that “the Framers of the Constitution believed copyright to be a protection of individual property rights, not corporate rights,” (2003, p. 430).  The copyrights over Mickey Mouse should be in the hands of Walt Disney alone, not the corporate rights of the Disney Corporation.

Then, in 2010, Evan Brown said that a “creative person will put forth the effort to construct a work and make it available to society through publication in return for the law’s promise to give that person a type of monopoly over the work,” (p. 836).  A person (Walt Disney) should have the monopoly over his creations, not the corporation that he worked for.  There is no reason that Mickey Mouse shouldn’t be in the public domain.  After 1774, England was “free in the sense that the culture and its growth would no longer be controlled by a small group of publishers,” (Lessig, 2005, p. 94).  Lessig’s theory in Free Culture:  How Big Media Uses Technology, according to Stuart Weinstein, is that “the internet and intellectual property law are being used by powerful media forces as a tool for suppressing creativity in the pursuit of pure economic benefit,” (2005, p. 364).  Looking at the Disney Corporation, yes, this is true.  Disney’s characters have yet to fall into the public domain and “no one can do to the Disney Corporation like Walt Disney did to the Brothers Grimm,” (Lessig, 2002).  Walt Disney remixed most of his stories and characters from the Brothers Grimm – their works were already in the public domain – but if anyone tries to parody anything that Walt Disney has created, there are stopped by the law.  The Disney Corporation’s current patents and copyrights exclude all future competition.  The Disney Corporation is a monopoly on creativity.

Now enter into the digital age were “ours is less and less a free society,” (Lessig, 2002).  The society Lessig is referring to is the advancements of technology that has fostered a creativity haven.  The Internet is “the greatest outpouring of creative activity in a short span of time that the world has ever seen,” (Thierer, 2002, p. 115) because the rate of growth of the creative society online is exponential compared to the physical creative societal growth.  The laws can’t catch up to the pace of the continually expanding realm of the digital age.

An alternative to the copyright laws set by the U.S. government is Creative Commons which is a non-profit organization started by Lawrence Lessig in 2001.  The goal of Creative Commons is to create reasonable copyright rules over the rigid base model that is currently in place.  It “provides free copyright licenses to enable artists to make their creative work with the freedoms they want it to carry,” (Lessig, 2008, p. 15).  Basically, Creative Commons is for people who want to publish their works in an open manner.  These authors want people to build upon their ideas to create something new.  These people have a name:  “remixers – those people who borrow the works of others and rearrange them to suit themselves,” (Egenes, 2010, p. 1).  YouTube is a great place for remixers to post their work in the digital age.

The Digital Millennium Copyright Act (DMCA), which went into effect in 1998, allowed “copyright law to deal with the new technologies,” (Bielefield, 2007, p.31).  The DMCA is there to protect copyrighted materials by banning any program that can digitally create copies.  The most important clause within the DMCA is the safe harbor clause.  This clause protects an Internet Service Provider (ISP) from liability as long as they comply with the law.  For example, if a YouTube user posts copyright infringing material and the copyright holder sues YouTube for hosting the infringing material, then, under safe harbor, YouTube can contact the user to remove the infringing material or remove it themselves and avoid the lawsuit.  Under the DMCA, ISP’s are protected when their users are posting copyrighted content as long as they remove the infringing material when asked.  With YouTube’s policy “all that is required is that users be put on notice that repeat infringements will lead to termination of access from all services,” (Breen, 2007, p. 16), but, if the account is terminated, there is nothing to stop the user from setting up a new account.  This addresses a real problem with the Internet – extensive anonymity – but that could be a whole other research paper and cannot be covered in this page length.

“The law regulates ‘reproductions’ or ‘copies’.  But every time you use a creative work in a digital context, the technology is making a copy,” (Lessig, 2008, p.98).  How is remixing legal?  This is where fair use comes into play.  The principle of fair use is “that the public is entitled, without having to ask permission, to use copyrighted works in ways that do not unduly interfere with the copyright owner’s market for a work,” (Von Lohmann, 2010, p. 9).  Fair use includes personal uses such as recording a movie or television show on your VCR or DVR.  Quoting an author in a paper also falls under fair use.  These remixers are on the edge of fair use which sometimes results into legal battles over their remixed creations even though the new product is not an exact copy.

When a user makes an exact copy of an author’s work and distributes them freely to friends or sells the copies for monetary value, then those do not exercise fair use, but “no one would suggest that copyright holders do not have every right to protect their interests in their works against unauthorized and illegal copying and distribution,” (Lipton, 2005, p. 280).  The people who sell or make available illegal copies of author’s works are known as pirates.  Pirates, in short, stop the original authors from their right to a monetary gain from their creations.  The U.S. government believes that “piracy and counterfeiting online damage our economy,” (Library of Congress, 2010, p. 269).  Yes, movie counterfeiting affects the Motion Picture Association of America’s monetary gain.  Yes, the piracy of music affects the Recording Industry Association of America (RIAA)’s monetary gain.  Adam Thierer thinks that the DMCA is there “to give these media megaliths even more powerful tools for consolidation,” (2002, p. 37) – the ‘megaliths’ referring to the “five largest institutions [that] now control most of the world’s entertainment and much of its scientific and technical intellectual property,” (2002, p. 37).  This means that the entertainment is a monopoly across the world and these ever changing laws for creative property and intellectual property and only sought being changed because it would benefit these said companies, including the RIAA, MPAA and the Disney Corporation.

The pirates in the 18th century “were guilty of printing books,” (Halbert, 1999, p. 6), but are now hosting a library of music on their personal computers for other people, worldwide, to freely download this music via a peer to peer (P2P) filesharing network.  “Napster, which was the first popular peer-to-peer filesharing program that allowed vast numbers of users to easily share copyrighted music, videos, and computer programs, caused a subconscious shift in peoples’ understandings of copyright, usage, and ownership:  it was no longer clear what was considered ‘appropriate’ use of intellectual property and copyright-protected works,” (Sano-Franchini, 2010, p. 204).  While Napster was a clear violation of copyrights from the RIAA, the remixers are not.  Remixers are only sampling music tracks and therefore are not pirates.

Take YouTube, for example, “in its infancy, legally posted content was predominately comprised of user-created content,” (Breen, 2007, p. 153).  YouTube is a newer technology and could not flourish as it has without being protected by the safe harbor clause of the DMCA.  Now, there are videos on YouTube that remix clips of various sources: user-generated content, television shows and movies as well as images.  Television, movie clips and stills (or pictures from movies) are where the MPAA gets involved with remixers.  These remixes may also include music clips which involve the RIAA.  The record labels that are a part of the RIAA own the distribution and ownership of the music and the remixers posting on YouTube are threatening their power.  “Because of the massive amounts of financial and political capital backing major record labels, record labels can influence politicians and government agencies (and therefore copyright laws) to their benefit; however, this approach is negligent of the target customer’s changing cultural needs,” (Sano-Franchini, 2010, p. 205).  Changing cultural needs – society’s views are changing because of the Internet and the way society can share quickly and easily in minimal time with minimal effort.

The digital age is “about intellectual and artistic creations within a communal culture, (Egenes, 2010, p. 2) and this is what Sano-Franchini was referring to about the changing cultural needs.  YouTube is a communal culture because users create profiles, can interact with other users, and can build upon other ideas or content.  Any social media is a communal culture.  Even open-source software like Mozilla, for example, is a communal culture.  Mozilla’s most popular products include a web browser, Firefox, and an email client, Thunderbird.  Mozilla is a global community working together to make the Internet better.  They “believe that the Internet should be open, public and accessible to everyone without any restrictions,” (Mozilla).  Any content on Mozilla’s website is protected under the Creative Commons copyright license, but that allows any Internet user to take a copy of the Firefox source-code to use it freely, study or change the code and improve on the design of the overall product.  Therefore “copying does not destroy cultural value; it is a cultural value,” (Scafidi, 2005, p. 118).  The changing cultural needs is that our creative society views remixing and interpretations as a cultural value along with sharing their creations (or remixes) freely with other internet users.

Corporations that are part of the RIAA and the MPAA, who rely heavily on copyright protection, believe the Stop Online Piracy Act to be piracy protection.  While companies like Facebook, Tumblr, and Flickr, who rely on user-generated content, argue that the bill would bring about censorship to the Internet.  U.S. law gives “legal protection to creative expression in order to induce creative activity…giving creators an incentive to produce works of authorship by promising them an opportunity to profit from their labors via a property right,” (Thierer, 2002, p. 114).  So what exactly is the SOPA doing?

The SOPA gives the U.S. government and copyright holders the authority to seek court orders against websites that traffic in pirated property and infringing materials.  The owner of the website would be notified of their infringing materials and that a court order is being sought out against them.  “Between June 30, 2010, and February 14, 2011, [U.S. Immigration and Customs Enforcement] seized 112 domain names associated with Internet piracy…however, the sites remain online and accessible through their Internet protocol addresses,” (Library of Congress, 2011, p. 258).  Only domain names that were created in the United States are subject to the U.S. government’s current power to seize.  The SOPA states that a network provider can be ordered by the government to “protect access by its subscribers located within the United States,” (H.R. 3261, 2011).  This means that the U.S. government would have the right to block a domain address of a website that hosts infringing materials.  The ISP, according to section 102 of SOPA, only has five days to remove the infringing materials from the website otherwise the website is flat out blocked from access.  The SOPA will override the DMCA’s safe harbor clause and essentially destroy the Internet as society currently knows it.  SOPA is stopping the incentive to create.

If the SOPA bill is passed  “any site that contains user-generated content, such as Flickr, Etsy or Tumblr, could be found liable for copyright infringement and be forced to shut down until the offending content has been removed,” (Basulto, 2011).  This is in direct violation of free speech.  “Some commentators are concerned that the broad definition of an Internet site dedicated to infringing activity could encompass speech protected by the First Amendment,” (Library of Congress, 2011, p. 260).  There is no reason why a user on Flickr shouldn’t be able to upload pictures from a recent vacation to the website.  If the Flickr domain is removed from the Internet because of users that post infringing materials, then the users posting the infringing materials should be punished, not the domain name of Flickr becoming blocked.

In the long run, with U.S. government interventions, this bill could lead to the censorship of the Internet, even though it’s main focus is to get rid of the pirate sites that are “a drain on entertainment companies whose high-priced products bounce around the Internet for next to nothing, generating revenue for criminals (often based overseas) who sell counterfeit versions online,” (Jerome, 2011).  These are websites like which hosts a library of copyrighted materials available to be illegally downloaded.  It is understandable that pirate websites such as this are the main target in the SOPA bill, but other websites, such as YouTube, would be an innocent bystander.  “Congress should not create roadblocks to technological innovation, the tradition engine of the modern American economy,” (Leubitz, 2003, p. 424) especially when the Internet is one of the fastest growing job opportunities.  There would be less entrepreneurs investing in and creating Internet startup companies.

The bill, if passed, risks “destroying what makes the Internet so special and attractive to innovators and investors alike,” (Basulto, 2011).  There are nine companies who formally rejected this bill on November 15, 2011.  These companies are AOL, eBay, Facebook, Google, LinkedIn, Mozilla, Twitter, Yahoo, and Zynga.  They stated that “if Internet consumption and expenditure were a sector, its contribution to GDP would be greater than energy, agriculture, communication, mining, or utilities,” (AOL, 2011).  All of these companies would not have been possible without the creation of the Internet.  These companies believe that the SOPA will curb innovation and job creation.  Websites, like YouTube, with user-based content could eventually be shut down because of infringing material, but YouTube couldn’t exist without the protection of the DMCA in the first place.  Entrepreneurs may have to spend more money of lawyers and legal fees that they could on hiring new employees and expanding new businesses.  This would be a setback to the current economy.

SOPA would also allow the government’s reach to “extend to search engines, which would be required to remove those websites from its search results,” (Sheridan, 2011).  This is also known as censorship. In 2003, China’s Ministry of Public Security began “The Golden Shield Project,” which was an attempt to put controls over Internet use in place and prevent the sharing of information that could threaten national security, disclose state secrets, or damage the government’s reputation.  This is censorship.  “Eric Schmidt, executive chairman of Google, compared the domain name seizure approach to China’s attempts to stifle free speech,” (Library of Congress, 2011, p. 260).  Here is what happened with Google in China in January 2010:

“Google discovered that Gmail accounts of several Chinese activists had been hacked.  Detecting an attack too sophisticated to be the work of an average web user, Google suspected it to be the work of the Chinese government, publishing an article on its blog.  The U.S. company had previously agreed to censor its search results on China.  However, upon this discovery of piracy, Google decided to uphold its motto ‘Don’t be evil,’ and announced the closure of its Chinese site.  The site was closed in March of 2010, and people wishing to visit Google in China were redirected to a Hong Kong version of the search engine which is uncensored.  The government was capable of blocking the redirection at any time.  Four months later, Google managed to renew its authorization to operate in China by delaying the redirect with a page requesting a click to access  However, authorities can still reverse their decision and numerous Google services, like YouTube and Blogger, continue to be prohibited,”

(Synthesio, 2011, p. 4)

There wouldn’t be acceptance if something like that happened in the United States – there would be immediate backlash from citizens.  It would be one thing if the U.S. government would request certain search term results to be blocked under the SOPA, but blocking the entire website of Google would be extending their reach too far.  Currently, the Stop Online Piracy Act will be going back into the House of Representatives for revisions on December 15, 2011 (Sheridan, 2011).  If enacted as is, SOPA’s blacklists will start to make the United States resemble countries like China with massive government efforts to censor the Internet.  The U.S. government shouldn’t have the power to block website redirection at any time.  If the bill passes through the House of Representatives, only President Obama will have the authority to stop it.


Anawalt, H. C. (2011). Idea rights: A guide to intellectual property. Durham, NC: Carolina Academic Press.

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Freud Relations within Harry Potter

The id is the portion that seeks to get our basic needs met. It acts on the pleasure principle in which it avoids unpleasant outcomes.

Ron Weasley’s choices are based on the basic principles of life. He seeks to meet his needs of food, sleep, and laziness. He seeks instant gratification and would be a representation of the cartoon devil hovering above Harry’s shoulder. Ron is never afraid to be terrified because he generally feels that way in those hectic situations the trio gets themselves into. He isn’t one to take charge and naturally succumbs to his feelings. It’s only fit that Ron is a ginger due to his characteristic hotheadedness.

The Superego is the moral part of us and develops due to the moral and ethical restraints placed on us by our caregivers. Many equate the superego with the conscience as it dictates our belief of right and wrong.

Hermione Granger is rational, conscientious, and parental in every decision she makes. She would be a representation of the cartoon angel hovering over Harry’s other shoulder to guide him in the morally correct direction. She is constantly bickering with Ron, the id, because of his lack of intelligence and motivation for morals.

The ego works to please the id while taking into account the reality of the situation. The ego understands the impact of being selfish.

Harry Potter seeks to find some way to balance out the theoretical angel and devil in the pursuit to make good choices. Harry doesn’t always find himself similar to Hermione’s quest for moral dignity and he doesn’t give into his emotions as much as Ron while also be considerably more reasonable. Viewing him as the “better” of the two halves would be an insult because Harry wouldn’t be able to defeat the Dark Lord without their constant nagging, intuition and friendship.

These three characters, also known as a power trio, thrive off of each other. Separate, they wouldn’t accomplish much in the way of their destiny within the novels. They wouldn’t survive without each other and there wouldn’t be much of a story to tell if these characters weren’t designed the way J.K. Rowling made them out to be. Together they create a balance of light and knowledge which helps one other in the dire situations they encounter during their seven years of wizardry.

An Evening with Max Brooks

On Monday October 12, 2009 I went to see Max Brooks speak about his book The Zombie Survival Guide. He made it clear to the audience that Z-Day is coming. You don’t when and you don’t know where. And when it comes, he will be ready. He wrote this book to inform everyone how to be prepared based on various zombie movies throughout the ages.

Z-day is the zombie apocalypse. As all the movies have predicted, it will come in one way or another. Brooks wants his manual to help the citizens of the world realize that Z-Day is NOT a video game. You can’t rely on others, you have to be smart. Running from zombies is going to get you dehydrated. So drink water. Get your Vitamin C. And don’t start looking for those health packs because you won’t find them in real life.

I have always been a fan of zombie movies. In the Resident Evil movies, the people of the hive were first infected in the hive by the T-virus. The zombie outbreak could have been stopped with a mere vaccine. In Shaun of the Dead the main character, Shaun, walks “zombie-like” amongst the zombies to blend in. According to Brooks, this is a false tactic. The zombies will know you’re not one of them and they will crave your flesh.

Zombies aren’t slow like they are portrayed in some movies. If they smell fresh flesh they are going to run to it. Zombies are fast. If you must travel in a group, which can either be good or bad, get your group together before Z-Day strikes. You can have your best friends but make sure they are worth your while. For example: If your best friend is a trained hunter, having him in your group might be good for his gun skills. But if your best friend is fat, then he might slow you down. Just be careful who you pick because they are going to be with you when everyone else has crossed over.

When in doubt, know your way out. You can’t travel to the first place you think of because, chances are, that everyone else has thought of that too. You don’t want to travel to cold places if you don’t know how to survive there. If you think you can last a day in a big city, you’re wrong. Vehicles are a horrible idea if you don’t have the skills of a mechanic. Once it breaks down, or you’re out of gas, you’re shit out of luck wherever you land.

Now I’d like to take the skills I’ve learned from Max Brooks and apply them to the new movie Zombie Land. Of course the movie had its own survival rules. These are good tips if you’ve caught yourself in a zombie of a pickle.

#1 Cardio: Be fast, or be eaten. Plausible. Zombies are fast.
#2 Guns: Always shoot twice. Plausible. Don’t be stupid just to save ammunition.
#31 Check the backseat. Plausible. You never know where they’re going to be.

Now I will look at the movie unbelievable occurrences in the movie. These four people, the only people still alive in Z-Land, found a Hummer. They expect their audience to believe that they can drive that gas-guzzler from Texas to California without stopping for gas. When they reach California they find Bill Murray alive and living in his house. Murray is pretending to be a zombie because he believes he could fit in and go unnoticed. FALSE. Pretending to be a zombie got himself killed by one of the main characters.
Another unbelievable thing is that in Murray’s house all the electricity works. The dialogue suggests that zombies have been amongst them for quite some time. The only year they mention is how 1997 was a good year for their youthful memories. I don’t remember that year at my age, at least not off the top of my head (if they are depicted as being in their early twenties). So assuming from this scene the viewer can infer that Z-Day struck within the last decade. I don’t believe the electricity would work anymore.

In conclusion, after learning about the information Mel Brooks was so kindly preaching to UWM about, I don’t think I will survive Z-Day. Not only am I slow but I do not think quickly on my feet. I would be the friend in the group to make the wrong decision. I would be the cause of their demise. If my zombie group had the choice to pick me, I wouldn’t be picked. So I have to find the skill that will keep me alive when the apocalypse strikes and keep living my life as if it were to happen tomorrow.

Grade achieved 9.9/10
Feedback Date: Oct 22, 2009 12:58 PM
Professor Feedback:
Katie, smoothly written and funny. Well done. A.