Suchergebnisse

In the domain of health, not only are the raw effects of economic, social, and medical inequalities continually devastating, but novel processes of reconfiguring illness experience, subjectivity, and control are also underway. Human relationships to medical technology are increasingly constituted outside the clinical encounter. In this article we explore how the domestic encroachment of medical commodities affects social bonds in both affluent and resource-poor contexts, as well as how these commodities become interwoven in the very fabric of symptoms and identities. Symptoms are more than contingent matters; they are, at times, a necessary condition for the afflicted to articulate a new relationship to the world and to others. In exploring how people conceptualize technological self-care, we are specifically concerned with disciplinary modes of evidence-making and ask the following: what are the possibilities and limitations of theoretical frameworks (such as structural violence, biopower, social suffering, and psychoanalysis) through which these conceptions are being analyzed in contemporary anthropological scholarship? What can the unique capacities of ethnography add to the task of capturing the active embroilment of reason, life, and ethics as human conditions are shaped and lost? The intellectual survival of anthropological theory, we argue, might well be connected to people's own resilience and bodily struggles for realities to come.

The Directive on Copyright in the Digital Single Market has been a subject of heated and highly polarised debate, and an object of intense lobbying from the outset. It grasped the attention of a multitude of stakeholders, including tech companies, publishers, platforms, creators and SMEs, and urged thousands of people to go out on the streets in a sign of protest against what they believed was the "end of the internet as we know it". The debate was often emotional, and involved such terms as "meme ban", "censorship", "upload filters", "link tax", or a puzzling "value gap". However, amongst those emotive catchphrases lies a foundational discussion on the purposes of copyright law, and how its relationship with artists, technology, media, news, culture and citizenship unfolded. In this presentation, we investigate how discourse developed during the negotiation phase of the Directive, focusing on the most controversial provisions: draft Articles 11 (press publishers' right) and 13 (platform liability). Focusing on the period between publication of the proposal by the Commission in September 2016, and the adoption of the Directive by Parliament and Council in March/April 2019, we juxtapose these changes with an analysis of (1) parliamentary debates, (2) press releases by the Commission, Parliament and Council, and (3) 80 stakeholder submissions that sought to shape the evolving legislation. Through discourse analysis, we uncover four topoi that appear to dominate the debate: (a) Technocratic (responding to tech development by updating the copyright framework), (b) Value gap (the redistribution of revenues to benefit creators and producers), (c) Internet freedoms (freedom of expression and user interests), and (d) European (the promotion and protection of European culture and identity). Finally, we show that changes in the Directive's text can be associated with the appearance and evolution of the discourse. We show that changes in the draft legislation can be associated with the appearance and evolution of the four topoi in the debates, but that changes in the proposed legal language tend to be obfuscatory, rather than addressing the issues. Controversial language such as "content identification" (associated with filtering) was removed and safeguards were offered, but many of these changes remained meaningless (in law) or open to different implementations.

The Directive on Copyright in the Digital Single Market has been a subject of heated and highly polarised debate, and an object of intense lobbying from the outset. It grasped the attention of a multitude of stakeholders, including tech companies, publishers, platforms, creators and SMEs, and urged thousands of people to go out on the streets in a sign of protest against what they believed was the "end of the internet as we know it". The debate was often emotional, and involved such terms as "meme ban", "censorship", "upload filters", "link tax", or a puzzling "value gap". However, amongst those emotive catchphrases lies a foundational discussion on the purposes of copyright law, and how its relationship with artists, technology, media, news, culture and citizenship unfolded. In this presentation, we investigate how discourse developed during the negotiation phase of the Directive, focusing on the most controversial provisions: draft Articles 11 (press publishers' right) and 13 (platform liability). Focusing on the period between publication of the proposal by the Commission in September 2016, and the adoption of the Directive by Parliament and Council in March/April 2019, we juxtapose these changes with an analysis of (1) parliamentary debates, (2) press releases by the Commission, Parliament and Council, and (3) 80 stakeholder submissions that sought to shape the evolving legislation. Through discourse analysis, we uncover four topoi that appear to dominate the debate: (a) Technocratic (responding to tech development by updating the copyright framework), (b) Value gap (the redistribution of revenues to benefit creators and producers), (c) Internet freedoms (freedom of expression and user interests), and (d) European (the promotion and protection of European culture and identity). Finally, we show that changes in the Directive's text can be associated with the appearance and evolution of the discourse. We show that changes in the draft legislation can be associated with the appearance and evolution of the four ...