Promote Communication in Health - Social Care or Children and Young Peo

Questions: 1.1 Identify the various reasons why individuals impart. 1.2 Explain how correspondence influences connections in the work setting.2.2 Describe the components to think about while advancing successful correspondence. 3.1 Explain how individuals from various foundations may utilize and additionally decipher specialized techniques in various manners. 3.2 Identify boundaries to viable correspondence. 3.5 Explain how to get to additional help or administrations to empower people to impart successfully. 4.1 Explain the significance of the term classification. 4.2 Demonstrate approaches to keep up secrecy in everyday correspondence. 4.3 Describe the likely strain between keeping up an indiviual's classification and unveiling concems. Answers: 1.1 Identify the various reasons why individuals convey. The essential motivation behind why individuals impart to others is to live, they can't remain to themselves in solitude, an individual needs to converse with others so the person is very much aware of the things encompassing them and for this the individual needs to convey. Individuals convey to mingle others and to get by through it (Testa). Individuals convey so they can construct connections. At the point when connections are framed than networks like family, companions circle, tribe, and so on are made. Kids likewise arrange connections so they comprehend which individuals ought to be spoken with. It likewise helps in building connections in the working environment and this assists with trading information, feelings, sentiments, and so forth (Canty). Individuals impart to pass on their necessities and decisions to other people with the goal that they can achieve their errands. Is assists with speaking with kids in regards to medical problems assuming any and helps in advancing social consideration. As relationship is worked through correspondence, individuals likewise convey to keep up the progression of influence. It has been seen for the years that through appropriate correspondence an individual can impact or convince others to achieve an undertaking. Individuals additionally convey to illuminate strife (Breckman). 1.2 Explain how correspondence influences connections in the work setting. Correspondence empowers inspiration, in order to advance correspondence the specialist or the medical attendant needs to discuss well with the patients and their family. A decent correspondence between the gatherings helps in spurring the last according to activity or registration. Correspondence helps during the time spent dynamic. In a medical clinic or a social consideration setting, a specialist or a doctor aide helps the patient and its family to take any choices with respect to medicinal services issues. This aides in building great connections among this gathering which thus takes this patient back to a similar emergency clinic or care unit (Nelson). Correspondence assists with building a solid obligation of connection between the patients and the suppliers which prompts great clinical consideration from the unit. Correspondence helps in building a relationship of trust between clinical staff and patients where the staffs and the emergency clinic cooperate near offer the unrivaled consideration for the patients. Correspondence additionally helps in making a quality connection between the emergency clinic and the clinical staffs or among at least two clinical staffs. This aides in bringing out quality work as a group and furnishing patients with the best offices accessible ('Online Information and Communication Services for People with Disabilities'). 2.2 Describe the elements to think about while advancing viable correspondence. Arrangement of the message: In request to assemble a viable correspondence the configuration of the imparting message ought to be appropriate. The message ought to contain important data so the collector can comprehend and interpret the message. Channels: The arrangement of correspondence will be compelling if the direct utilized in the correspondence procedure is immaculate. Contingent upon the situation of the head in the correspondence web a message should stream upward, downwards or along the side. Medium: The method of correspondence is an indispensable point in transmitting a message viably. On the off chance that a composed correspondence is done orally and the other way around than issues may manifest in the correspondence framework. Clearness: A compelling correspondence is just conceivable if the message is liberated from uncertainty. The message ought to be clear and appropriate with the goal that beneficiary can interpret it well. Fulfillment: A message ought to be finished in nature to make a powerful correspondence. A half composed or half said message is viewed as inadequate and breaks the procedure of correspondence. 3.1 Explain how individuals from various foundations may utilize as well as decipher specialized techniques in various manners. Correspondence gets hampered when individuals with various foundations impart. This makes a boundary in the correspondence (Witte). Individuals get cognizant when they understand that the individual they are speaking with has an alternate foundation. In this sort of case individuals take the guide of non-verbal correspondence, for example, outward appearances, non-verbal communication, eye to eye connection, contact and so on. Kids impart in their manners which they think that its best; they use articulations and non-verbal communication to pass on themselves. Care unit individuals may likewise utilize signals and articulations to speak with the kid or patient (Mira et al.). Motions like moving your head all over communicating yes and gesturing your head sideways communicating no may help in deciphering a message in the correspondence framework ('Communication in Health Care Visits When Doctors and Patients Have the Same Versus Different Ethnic Backgrounds'). 3.2 Identify boundaries to successful correspondence. Enthusiastic obstructions or restrictions: Many individuals think that its difficult to account for themselves or express their feelings during a correspondence procedure. This makes a boundary between the sender and the recipient. Model A kid can't generally communicate (Could). Language contrasts: It might so happen that during a correspondence one of the gatherings to correspondence is ignorant of the language utilized by the other; this makes a deterrent in the correspondence procedure (Rodriguez). Physical Disabilities: People with physical handicaps, for example, issue in hearing or talking think that its hard to pass on their message. 3.5 Explain how to get to additional help or administrations to empower people to impart successfully. There are individuals and kids who think that its hard to convey because of inappropriate discourse so they might be given a language instruction meeting so as to decrease their concern with the goal that they can impart well ('Cost-Effective Communication Skills Training For State Hospital Employees'). A few patients or youngsters may have issue with a specific language so they ought to be given help with the language, they can be furnished with instructors so they learn and convey (Wales et al.). Interpreters can be kept in clinics and social consideration unit so the patients perspectives can be meant the clinical staff. Support administrations might be kept so the kids and patient in a specific region profit by the consideration given to them by these administration individuals. These individuals can acquire specialists to help them helping the penniless (Goldbart, Chadwick and Buell). Individuals with trouble in hearing will likewise profit by these advisors. 4.1 Explain the significance of the term classification. In laymans language secrecy implies security. It implies data ought not be sent to different gatherings without the earlier information on the gathering to contract. Private data without earlier information ought not be imparted to other people, it is illegal. In the event of youngster care unit, a childs data or the guardians data ought not be imparted to others because of unsure conditions which harvest up like abduct. A childs security is undermined if there is a break of privacy (Brann). The trusts of the guardians are broken and the connection between the guardians and the consideration unit gets hampered (Leigh and Mullens). 4.2 Demonstrate approaches to keep up privacy in everyday correspondence. No data of the patients, guardians or the youngster ought to be spilled. It ought to be remained careful. Appropriate legitimate systems ought to be remembered whether any carelessness happens while taking care of private data (Metcalf-Wilson). Private data ought not be slandered about; it hampers the secrecy (Matthews and Harel). 4.3 Describe the expected pressure between keeping up a people secrecy and unveiling concerns. There are times while keeping up privacy becomes troublesome in light of the fact that it may so happen that the data about the youngster or the patient should be revealed when some ominous conditions come up. So it is to be seen that before passing on a private information the gatherings ought to be made mindful that data must be revealed (Martin and Guillod). Legitimate authority ought to be taken. This is a lawful issue so the assent of the customer is significant. Data ought to be revealed considering the prosperity of the customers. Here and there is a dread of allegation if any information of the customer is uncovered, they may accuse the specialist organization of lawful cases and consider them liable for misusing their private data. References Brann, Maria. 'Human services Providers' Confidentiality Practices And Perceptions: Expanding A Typology Of Confidentiality Breaches In Health Care Communication'. Subjective Research Reports in Communication 8.1 (2007): 45-52. Web. Breckman, Brigid. 'Overseeing Communication In Health Care Managing Communication In Health Care'. Nursing Standard 17.6 (2002): 29-29. Web. Canty, Reviewed by James. 'Relational abilities In Health And Social Care, 2Nd Edition'. Australian Journal of Primary Health 19.1 (2013): 88. Web. 'Correspondence In Health Care Visits When Doctors And Patients Have The Same Versus Different Ethnic Backgrounds'. Chronicles of Internal Medicine 139.11 (2003): I. Web. 'Practical Communication Skills Training For

The eNotes Blog Win a Years Supply of Bacon FromeNotes!

Win a Years Supply of Bacon From! Without a doubt, we are quite attached to Sir Francis around here, yet nothing beats a sizzling dish brimming with the other white meat. To pay tribute to each undergrads most loved food, is parting with a year’s flexibly of bacon. That’s right. A YEAR’S SUPPLY OF BACON from BaconFreak will be conveyed to your doorstep, and well likewise toss in a 1-year premium enrollment to . has consistently helped you with your evaluations by giving incredible examination guides and a free QA gathering. Presently we need to get you out with your morning meal by parting with a year membership to BaconFreak.coms Bacon is Meat Candy Bacon of the Month club. Look at the brilliance here. Wanna win? You should simply post on your Facebook page why you need  and BaconFreak.com to assist you with making a living this school year, trying to @ label the occasion so we realize you entered! (Or on the other hand you can simply compose it on ourâ wall.) Don’t realize how to tag? Simply type a â€Å"@† in your announcement, and afterward type â€Å"bring home the bacon.† If you don’t label us, we can’t see your entrance, and the bacon can’t be sizzling in your kitchen! A case of labeling: I need @ and @bacon monstrosity to help me @bring home the bacon. For nothing, cuz I have five flat mates. Furthermore, bacon is the morning meal of champions. We’ll arbitrarily select a champ next Friday (September 17)! Good karma!

Advantages and Disadvantages of Infrared Touch Screen

Preferences and Disadvantages of Infrared Touch Screen Contact screen is an electronic visual presentation that can discover the presence and area of a touch inside the showcase territory. The term simply like direct to contacting the presentation of the gadget with a hand or finger. Contact screens can likewise fell other inactive items, for example, a pointer. Be that as it may, if the article find is vitalize, as a light pen, the term contact screen is typically not pertinent. The touch-screen has two fundamental naturally. In the first place, contact screen applies one to association straightly with what is appeared, rather than in a roundabout way with a cursor constrained by a mouse or touchpad. Second, contact screen allows one to do as such without request any middle of the road gadget that would require to be keep up in the hand. This showcase can be near PCs or to systems as a terminal. They additionally proceed as an extraordinary job in the plan of computerized handles, for example, the PDA (individual advanced colleague), satellite route gadgets, cell phone, computer games and so forth. (Word reference of Architectural and Building Technology 4 Edition, 2004) History In 1971, the primary touch sensor was abused by Doctor Sam Hurst (organizer of Elographics) at the time he was an educator at the University of Kentucky. He had given this sensor a name, Elograph, been protected by The University of Kentucky Research Foundation. Dr. Sam Hurst (left) the originator of Touch-screen. (Elotouch, 2009) The Elograph was not straightforward like present day contact screens; however it was a recognized milestone in contact screen innovation. In 1974, the first truly contact screen get a straightforward surface was abused by Sam Hurst and Elographics. In 1977, Elographics misused and protected five-wire obstruction innovation, the most well known touch-screen innovation use today. Contact screens right off the bat got some perceivability with the formation of the PC helped learning terminal, which are turned out in 1975 as a piece of the PLATO venture. Before long a while later, contact screens have gotten private in day by day life. A large portion of the organizations use contact screens for stand framework in retail and travel settings, POS framework, ATMs framework, PDAs, with a pointer is once in a while used to control the UI or to enter information. The eminence of PDAs, PDAs, convenient game support and differs kinds of data machines is control the prerequisites for, and tolera ting of touch-screens. The principal contact screen on the world, Elograph. (Elotouch, 2009) From 1979-1985, the Fairlight CMI (and Fairlight CMI IIx) was a top of the line melodic example and resynthesis workstation that endeavor light pen innovation, with the client would appropriate and control test and amalgamation information, just as feeder diverse menu inside its OS by contacting the screen with the light pen. The most recent Fairlight arrangement III models, the spot of light pen had utilized a designs tablet. The HP-150 from 1983 was the one universes soonest business contact screen PC. The touch screen didnt have a touch-screen in the exacting sense; while it had a 9 inch Sony Cathode Ray Tube (CRT) surrounded by infrared transmitters and beneficiaries, which are constrained by the situation of any non-straightforward articles on the screen. Until these days, most purchaser contact screens can just detect one purpose of contact at once, and some had the capacity to detect how hard one is contacting. This is an ideal opportunity to make changes with the commercialization of multi-contact innovation. Contact screens PC are famous utilized in cordiality, and in overwhelming industry, just as booths, for example, exhibition hall shows or room mechanization, where typical PC input gadget, for example, console and mouse don't permit a reasonable instinct, quick reaction, or exact intuitive by the client with the showcases content. Generally, the touch-screen transducer and its going with controller-based firmware have been made accessible by a wide exhibit of post-retail framework integrators, and not by show, chip, or motherboard makers. Show and chip makers worldwide have acknowledgment the inclination as to tolerating of touch-screens as a profoundly fitting UI module and have started to incorporate touch-screen include into the primary plan of their items. (Elotouch, 2009) Contact screen Technologies I have perused numerous diaries and search from the web about this point, and I found that there have assortment sorts of touch screen innovation utilizing in various zone start from 1971. The following is the kind of touch-screen innovation. Resistive Resistive touch-screen board is develop of certain layers, the most significant layers of the resistive touch-screen board which are two slim, that is metallic and electrically conductive layers separate by a thin difference. At the point when an item, similar to a finger or a light pen, check down on a point on the resistive touch-screen boards outward surface, the two metallic layers will become as an associated by then: the board will directs as a couple of voltage dividers with associated yields. This is on the grounds that an adjustment in the electrical flow, which is enlist as a touch occurrence and sent to the controller for handling. Surface acoustic wave Surface acoustic wave (SAW) innovation is utilizing ultrasonic waves to go through the touch-screen board. At the point when an item like finger or light pen contacted the board, a piece of the wave is assimilation. This change in the ultrasonic waves enrolls the circumstance of the touch occurrence and advances the data to the controller for handling. Surface acoustic wave contact screen boards can be harmed by remote components. Toxins on a superficial level will be likewise meddling with the capacity of the touch-screen. (Contact System 2009) Capacitive A capacitive touch-screen board comprise of a protector, for example, glass, spread with a straightforward conductor like ITO (indium tin oxide). As we probably am aware, human body likewise is a channel, with utilizing human body contact the outside of the screen substance in a bending of the bodys friction based electricity part, measure as a change in electric limit. Various advances might be utilized to characterize the situation of the touch. The position is use to send data to the controller for handling. (I-techcompany, 2009) Surface capacitance Surface capacitance in the fundamental innovation, just have one side of the encasing is spread with a lead power layer. A little voltage is used to the layer, affecting in an indistinguishable electricity produced via friction part. At the point when a conductor, similar to a people finger, contacts at the uncoated surface, capacitor is the development of dynamic. The touch-screen sensors controller can characterize the situation of the touch by implication from the change in the capacitance as estimated from the every niche of the board. As the surface capacitance has no moving fields, it is moderate degree tough yet has limited goals, is will in general phony semaphore from parasitism capacitive coupling, and requires modification during manufacture. In this manner, it is most every now and again utilized in essential applications, for example, stands and mechanical controls. (I-techcompany, 2009) Anticipated capacitance Anticipated Capacitive Touch (PCT) innovation is a capacitance innovation which extracts more accuracy and brisk operational, by drawing the direct power layer. A X-Y field is arrangement in the case of scratching a solitary layer to frame a turf technique for anodes, or by drawing two section, vertical layers of direct power material with equal lines or tracks to shape the matrix (contrast with the pixels field found in assortment of LCD shows). The best goals of PCT offering authorization to control without direct association, so the lead power layers can be spread with further traditionalist separator layers, and running surely under screen defenders, peradventure back climate and vandal-confirmation reflect. Legitimate to the pinnacle layer of a PCT substance reflect, PCT is a superior right measure answer to resistive touch innovation. Counted on the execution, a functioning or latent pointer can used to cover for or in upgrade to a human body, finger. This knows about POS gear that requests to the sign that grabs up. Gloved fingers can or cant be seen, counted on the execution and acquire settings. Smudginess on the conductor it can obstruct with the exhibitions. The case of the smudginess on the conductor for the most part originate from rheumy or dampness fingers cusp, particularly in high wateriness condition. Gathered residue, which adhesively on a superficial level applicable to the hydrosphere from finger cusp add itionally will be an issue. The two kinds of PCT: Self Capacitance and Mutual Capacitance. (Planarembeddred, 2010) Shared Capacitance The capacitor at each intersection of every section and each line, it is Mutual Capacitive sensors. In a 12-by-20 cluster, for instance, it would have 240 self-administered capacitors. Voltage is machine to each line or every section conductor. Bringing a human body like finger or conductive pointer adjacent to the outside of the sensor changes the nearby static area which retreat the common capacitance. The capacitance changes at each of the courageous conductor on the cross section can be gauge to precisely mensuration the sense the situation by decide the voltage in the every datum line. Shared capacitance engages multi-contact control where multi-utilize fingers, thenar or pointer can be actually follow up the aroma simultaneously. (Planarembeddred, 2010) Self Capacitance Self capacitance sensors really same like shared capacitance sensors, them two have same even and vertical lattice however the lines and segment each is work autocephaly. Self capacitance can ready to stack a human body like finger and light pen on each line or every segment electric shaft by an electrical flow meter. The points of interest for this strategy is it ready to induce a most grounded signal contrast and common capacitance, however the disservices is it cant precisely resolve more than one finger, thus in ghosting, or misplace position getting. (P

Swot Analysis of SubwayEvaluating Marketing Strategies

Question: Examine about theIntroduction to Marketingfor Subway. Answer: Presentation: This specific investigation has given an inside and out review with respect to the significance of showcasing plan for propelling another business in an alternate topographical limit like Canberra. According to the case situation, it has been seen that Brad wishes to dispatch a sandwich shop named Zodiac Sandwich in Canberra after having five years involvement with Subway. Previously, propelling a food community in Canberra Brad needs to make a compelling circumstance examination for making an arranged and sorted out promoting plan. This specific examination has centered to feature the ecological investigation, contenders investigation just as clients investigation before opening the sandwich store in Canberra. Industry Overview: It has been seen that Australia has earned $2 billion for cheap food items from the year 2011 to 2014. Canberra being the capital of Australia is all around populated region. Consequently, food and refreshment industry will be exceptionally perceived in the core of Canberra. That is one of the best reasons of picking Canberra as the chose nearby for Brad for propelling a sandwich shop. Chaffey, Smith and Smith (2012) opined that this food and refreshment is one of the most thriving businesses of current time. An enormous number of representatives are firmly related in giving clients administrations. In this manner, Brad while propelling another business chose to chosen food industry. Sandwich is a lot of famous cheap food that the vast majority of the individuals like to have it at the hour of breakfast. Canberra is comprised with huge number of business associations where in excess of 50 percent representatives like to pick bread as their morning meal before going into the workplace (Garrigos-Simon et al. 2012). Thus, the choice of opening a sandwich shop at the core of Canberra came into the brain of Brad. Factors on Uncontrollable Environment: Because of the absolute most basic factors the whole procedure of business has genuine been affected. Political, affordable, social, innovative, natural and legitimate elements are one of the most noticeable elements. Political: The world of politics of Canberra is agreeable to propelling food places. The administration has actualized a standard of expulsion levy assurance. Thus, the individuals when all is said in done don't show their hesitance for buying nourishments from food focus (Hollensen, 2015). What's more, after the usage of wellbeing and maturing guideline, the individuals feel made sure about while buying nourishments from close by shop. Prudent: Canberra is financially evolved zone. In this way, individuals don't need to battle for buying nourishments. Moreover, sandwich is out an out a minimal effort item. Thusly, Zodiac Sandwich would have the option to target both premium clients just as minimal effort clients by propelling this sandwich place. Social: Canberra is comprised with individuals of various culture and conviction. Sandwich is the food that is most loved for individuals when all is said in done. Accordingly, Zodiac Sandwich would get an extension to have a gigantic objective market for this specific industry. Mechanical: Canberra is out an out cutting edge in innovation. The occupants of Canberra are a lot of acclimated with the headway of innovation (Kotler et al. 2015). Hence, Brad would have the option to utilize the ubiquity of online networking for advancing items and administrations. Also, the creation administrators would have the option to utilize cutting edge innovation while delivering the items with the goal that the work cost can be decreased. Ecological and Legal: The earth of Australia is reasonable for processing this sort of cheap food like sandwiches. Moreover, every business association of Australia likes to keep up a portion of the major legitimate factors, for example, wellbeing and security act, right to data act, hostile to segregation act thus many. Thus, individuals don't need to confront monstrous challenges to utilize items and administrations (Wilson Gilligan, 2012). Simultaneously, representatives feel made sure about while working inside the association. Contenders Analysis: Before investigating the contenders, Zodiac Sandwich needed to recognize the name of contenders existing at the core of Canberra from food industry (Thackeray, Neiger Keller, 2012). While assessing the contenders showcase investigation, it has been seen that in excess of 100 stores of sandwich are arranged at the close by area of Zodiac Sandwich. In the wake of recognizing the quantity of contenders, for example, Beef and Barley, Binnys Kathitto, Wokitup, Snack Shack, McDolands and a lot more Brad has come to realize that around 50% of the sandwich shop arranged at Canberra plans to follow brand esteem methodology (McDonald, 2013). Thus their objective gathering of broadly restricted. In any case, so as to support in the present market alongside those 100 stores Brads Zodiac Sandwich chooses to utilize ease methodology. Subsequently, individuals of normal salary can manage the cost of the item without any problem. Consequently, the quantity of target bunch for Brads sandwich shop wou ld be high. Clients Analysis: Before examining the clients, a successful STP investigation is profoundly significant so as to know the geographic, segment and psychographic target client division alongside the situating of items. According to the geographic division, Brad chose to open the food place in the core of Canberra so the area can be reasonable for different clients. Individuals from 20 to 50 age gathering of individuals are the objective gathering (Srensen, 2012). The vast majority of the representatives working in different associations show their enthusiasm of having sandwich as their morning meal. The items have been chosen to be made so that individuals from different societies and foundations show their enthusiasm for buying nourishments from Zodiac Sandwich. Likewise, Brad will in general select the clients of normal salary level with the goal that individuals from different societies and strict foundations can show their enthusiasm for buying items and administrations (Terpstra, Foley Sarathy, 20 12). SWOT Analysis: Before leading a showcasing plan an inner ecological is profoundly significant so as to know the quality, shortcoming, openings and dangers of Zodiac Sandwich for propelling the business in Canberra. Quality Request of food and drink industry in Canberra Request of sandwich particularly as the morning meal for individuals as a rule, be it an understudy or a hierarchical representative Business to client selling process with no help of merchants Shortcoming Lacking capital of Brad for growing the business Little framework as Brad has fired the wings up The shop is arranged in the midst of 100 inexpensive food stores in Canberra Openings To extend the business procedure all over Australia by giving quality item to the clients To increase authoritative picture and notoriety by keeping up a viable client care connection at the work environment Dangers Contenders advertise technique is one of the significant dangers for Brad. As Zodiac Sandwich is only a new company, the association needs in some cases for picking up clients unwavering quality The prominence of other food communities arranged in Canberra has become a significant danger to make an equivalent market interest for Zodiac Sandwich. Table 1: SWOT examination (Source: Westwood, 2013) End: This specific investigation has given a profound knowledge in regards to the significance of a powerful showcasing plan before beginning a business. Brad before opening a sandwich shop at the core of Canberra might want to direct a showcasing plan dependent on which the business master would comprehend the present market request. So as to assess the market, Zodiac Sandwich has kept up compelling contenders examination, clients investigation, SWOT investigation and PESTEL examination. So as to isolate the objective marker STP investigation has likewise been led for Zodiac Sandwich. By investigating the market division, Brad has come to realize that individuals from 20 to 50 age gathering of normal salary level would need to be focus so as to make an interest in market of Canberra in the midst of 100 cheap food places. Reference List: Chaffey, D., Smith, P. R., Smith, P. R. (2012).eMarketing eXcellence: Planning and improving your advanced advertising. Routledge. Garrigos-Simon, F. J., Lapiedra Alcam, R., Barber Ribera, T. (2012). Informal organizations and Web 3.0: their effect on the administration and promoting of organizations.Management Decision,50(10), 1880-1890. Hollensen, S. (2015).Marketing administration: A relationship approach. Pearson Education. Kotler, P., Burton, S., Deans, K., Brown, L., Armstrong, G. (2015).Marketing. Pearson Higher Education AU. McDonald, M. H. (2013). Ten obstructions to promoting planning.Journal of Product Brand Management. Srensen, H. E. (2012).Business Development: a market-arranged viewpoint. John Wiley Sons Ltd. Terpstra, V., Foley, J., Sarathy, R. (2012).International advertising. Naper Press. Thackeray, R., Neiger, B. L., Keller, H. (2012). Incorporating Social Media and Social Marketing A Four-Step Process.Health advancement practice,13(2), 165-168. Westwood, J. (2013).How to compose an advertising plan. Kogan Page Publishers. Wilson, R. M., Gilligan, C. (2012).Strategic advertising the board. Routledge.

Critical Analysis of War Photographer by Carol Ann Duffy :: English Literature

Basic Analysis of War Photographer via Carol Ann Duffy In his darkroom he is at last alone with spools of enduring set out in requested lines. The main light is red and delicately sparkles, as if this were a congregation and he a cleric getting ready to articulate a Mass. Belfast. Beirut. Phnom Penh. All tissue is grass. He has work to do. Arrangements slop in plate underneath his hands which didn't tremble at that point despite the fact that appear to now. Country England. Home once more to customary torment which straightforward climate can disperse, to fields which don't detonate underneath the feet of running kids in a bad dream heat. Something is going on. A more peculiar's highlights faintly begin to turn before his eyes, a half-shaped phantom. He recalls the cries of this present man's significant other, how he looked for endorsement without words to do what somebody must what's more, how the blood recolored into outside residue. A hundred desolations clearly From which his supervisor will choose five or six for Sunday's enhancement. The peruser's eyeballs prick with tears between the shower and pre-lunch lagers. From the plane he gazes aloofness where he procures his living and they couldn't care less. Ditty Ann Duffy was conceived in Glasgow in 1955. She experienced childhood in Staffordshire and went to college in Liverpool. Having gone through a few time in London as an independent essayist, she currently lives in Manchester. She has won numerous prizes and a few honors for her verse. Her sonnets, she says, 'originate from my ordinary experience, my past/memory and my creative mind. Individuals and characters are captivating to me'. A considerable lot of her sonnets depend on evident encounters and genuine individuals. During the 1970s Song Ann Duffy was amicable with Don McCullin, a celebrated picture taker whose photos of war were broadly distributed and regarded. Her sonnet, War Photographer, (from Standing Female Nude, 1985), is based on discussions she had with him. The sonnet chips away at an individual level - it depends on the bona fide experience of a war picture taker - and on an a lot more extensive level, saying something about the perspectives and mentalities inside our general public concerning things that happen a lot further away. Individuals are happy to remove themselves from the brutal real factors of war while keeping themselves educated regarding, and cursorily thoughtful to these reality circumstances. The structure of this sonnet underpins this division in that there are two differentiating universes: the universe of combat areas (Belfast. Beirut. Phnom Penh.) and the more settled universe of Provincial England. The war picture taker is the man who goes between these two universes. The safe universe of England is connoted by the prosaism of a common Sunday: The shower and pre-lunch brews while the repulsiveness of war is communicated through

10 Humorous Audiobooks by Women Funny Ladies Being Funny

10 Humorous Audiobooks by Women Funny Ladies Being Funny Its been a day. I spent the hours from 9:00 to 5:00 being screamed at by baby boomers   (#notallboomers) who still use AOL exclusively and wonder why Im not literally Google. In my brief respite from that, I check into Twitter only to regret doing so immediately. My brain reels as I read the words fake news for the 3 bazillionth time and the fact that I even know the term tender age shelters leaves me with a crushing sense of despair. Its mid-July. Although right wing, science-denying pundits tell me that climate change doesnt exist, I find it odd that it went from frozen tundra in June to sweltering July-appropriate temperatures in the span of three days. My body, now unaccustomed to what summer heat feels like, pours itself into my sweltering car as I sigh out my knowledge of   unarmed men of color being shot by the very people tasked with protecting them and melanin-deficient people calling the cops on children trying to have a childhood. I need a release. And that release is funny-ass audiobooks by funny-ass ladies. I need that reminder that humor can be found in dire situations and that women have, the world over, adjusted to their experienced injustices by laughing in the face of their oppressors. For centuries we took to laughing with each other at your ridiculousness over fences, while you thought we were exchanging recipes for some vile casserole featuring the much-lauded cream of mushroom soup. If you need an escape from the 7th circle of hell (were not yet at number nine, stay tuned) in which we currently live, even if its only for a 30 minute commute, here are a handful of hilarious-yet-honest books by some of the funniest and smartest women ever gifted to us by the heavens. And these selections get extra bonus points for being narrated by these funny ladies, only adding to this small blessing. SO CLOSE TO BEING THE SH*T, YALL DONT EVEN KNOW BY RETTA In  So Close to Being the Sh*t, Yall Dont Even Know,  Parks and Recreation  star Retta takes us on her not-so-meteoric rise from roaches to riches (well, rich enough that she can buy $15,000 designer handbags yet scared enough to know shes always a heartbeat away from ramen with American cheese). SELF-INFLICTED WOUNDS: HEARTWARMING TALES OF EPIC HUMILIATION BY AISHA TYLER Here, Aisha Tyler, comedian, actress, cohost of CBSs  The Talk,  star of  Archer,  and creator of the top-ranked podcast  Girl on Guy,  serves up a spectacular collection of her own self-inflicted wounds. From almost setting herself on fire, to vomiting on a boy she liked, to getting drunk and sleeping through the SATs, to going into crushing debt to pay for college and then throwing away her degree to become a comedian, Aishas life has been a series of spectacularly epic fails. And shes got the scars to prove it. Literally. YOU CANT TOUCH MY HAIR: AND OTHER THINGS I STILL HAVE TO EXPLAIN BY PHOEBE ROBINSON Being a black woman in America means contending with old prejudices and fresh absurdities every day. Comedian Phoebe Robinson has experienced her fair share over the years: Shes been unceremoniously relegated to the role of the black friend, as if she is somehow the authority on all things racial; shes been questioned about her love of U2 and Billy Joel (isnt that…white people music?); shes been called uppity for having an opinion in the workplace; shes been followed around stores by security guards; and yes, people do ask her whether they can touch her hair all. The. Time. Now shes ready to take these topics to audioâ€"and shes going to make you laugh as shes doing it. ONE DAY WELL ALL BE DEAD AND NONE OF THIS WILL MATTER BY SCAACHI KOUL In  One Day Well All Be Dead and None of This Will Matter, Scaachi Koul deploys her razor-sharp humor to share all the fears, outrages, and mortifying moments of her life. She learned from an early age what made her miserable, and for Scaachi anything can be cause for despair, whether its a shopping trip gone awry, enduring awkward conversations with her bikini waxer, overcoming her fear of flying while vacationing halfway around the world, dealing with Internet trolls, or navigating the fears and anxieties of her parents. IM JUDGING YOU: THE DO-BETTER MANUAL BY LUVVIE AJAYI With over 500,000 readers a month at her enormously popular blog, AwesomelyLuvvie.com, Luvvie Ajayi is a go-to source for smart takes on pop culture.  Im Judging You  is her debut book of humorous essays that dissects our cultural obsessions and calls out bad behavior in our increasingly digital, connected lives. It passes on lessons and side-eyes on life, social media, culture, and fame, from addressing those terrible friends we all have, to serious discussions of race and media representation, to what to do about your fool cousin sharing casket pictures from Grandmas wake on Facebook. FUNNY IN FARSI: A MEMOIR OF GROWING UP IRANIAN IN AMERICA BY FIROOZEH DUMAS In a series of deftly drawn scenes  Funny in Farsi  chronicles the American journey of Dumas wonderfully engaging family: her engineer father, a sweetly quixotic dreamer who first sought riches on  Bowling for Dollars  and in Las Vegas; her elegant mother, who never fully mastered English (nor cared to); her uncle, who combated the effects of American fast food with an army of miraculous American weight-loss gadgets; and Firoozeh herself, who as a girl changed her name to Julie, and who encountered a second wave of culture shock when she met and married a Frenchman, becoming part of a one-couple melting pot. WHY NOT ME? BY MINDY KALING In  Why Not Me?  Kaling shares her ongoing journey to find contentment and excitement in her adult life, whether its falling in love at work, seeking new friendships in lonely places, attempting to be the first person in history to lose weight without any behavior modification whatsoever, or, most important, believing that you have a place in Hollywood when youre constantly reminded that no one looks like you. WELL, THAT ESCALATED QUICKLY: MEMOIRS AND MISTAKES OF AN ACCIDENTAL ACTIVIST BY FRANCHESCA RAMSEY Well, That Escalated Quickly  includes Ramseys advice on dealing with Internet trolls and low-key racists, confessions about being a former Online hater herself, and her personal hits and misses in activist debates with everyone from bigoted Facebook friends and misguided relatives to mainstream celebrities and YouTube influencers. With sharp humor and her trademark candor, Ramsey lets listeners know we can have tough conversations that move the dialogue forward, rather than backward, if we just approach them in the right way. WE ARE NEVER MEETING IN REAL LIFE. : ESSAYS BY SAMANTHA IRBY With  We Are Never Meeting in Real Life., bitches gotta eat blogger and comedian Samantha Irby turns the serio-comic essay into an art form. Whether talking about how her difficult childhood has led to a problem in making adult budgets, explaining why she should be the new Bacheloretteâ€"shes 35-ish, but could easily pass for 60-somethingâ€"detailing a disastrous pilgrimage-slash-romantic-vacation to Nashville to scatter her estranged fathers ashes, sharing awkward sexual encounters, or dispensing advice on how to navigate friendships with former drinking buddies who are now suburban momsâ€"hang in there for the Costco lootâ€"shes as deft at poking fun at the ghosts of her past self as she is at capturing powerful emotional truths. THE LAST BLACK UNICORN BY TIFFANY HADDISH Tiffany cant avoid being funny: Its just who she is. But  The Last Black Unicorn  is so much more than a side-splittingly hilarious collection of essaysâ€"its a memoir of the struggles of one woman who came from nothing and nowhere. A woman who was able to achieve her dreams by reveling in her pain and awkwardness, showing the world who she really is, and inspiring others through the power of laughter. What humorous audiobooks by women have you enjoyed lately? Sign up for Audiobooks to receive the latest from the audiobooks world. Thank you for signing up! Keep an eye on your inbox.

Effects Of Copyright On The Consumption Music - Free Essay Example

The aim of this dissertation is to understand the effects of copyright on the consumption and acquisition of music online. With a focus on Feels Like Free services such as Spotify as well as illegal file sharing services, research into the copyright issues surrounding the debate present a picture of how music is being consumed at present. Building on notable works and theories of research in the area {} the dissertation supplies evidence supporting the continuing dominance of labels as right-holders in the new digital era. With one-on-one interviews with emerging artists at the forefront of digital music as well as group interviews with consumers a convergence of opinion on key points provides an insight into the effectiveness of current digital music distribution services as well as the enforcement and enforceability of current copyright laws. Contents Introduction 5 Digital Media Copyright 6 Media Access 8 Unique Online Considerations10 Methodological Considerations 13 Research Findings 15 Consumption Listening Habits 16 Engagement with File Sharing 20 Responses to Legal Issues Industry Implications 22 Conclusion 25 Bibliography 28 Appendices 31 i. List of Subjects 31 ii. Focus Group 1 Transcription 31 iii. Focus Group 2 Transcription 36 iv. Artist interview à ¢Ã¢â€š ¬Ã¢â‚¬Å" Gecko 61 v. Artist interview à ¢Ã¢â€š ¬Ã¢â‚¬Å" Biometrix 62 Figures i. AndersonÊ ¼s (2006) Long Tail Model 11 Introduction This dissertation focusses on the challenges of distributing digital music in an era of unprecedented web use. Access to digital media is increasingly a part of peoples every day lives and the issues surrounding access to content and the legal implications therein are the subject of much debate. It is natural that the rights holders and their representatives would assume a position protecting their legal rights and the cases of pursuance of both individual and commercial rights infringers are well documented, however some say copyright law is dated (Negroponte, 1995) and beyond the task of policing the digital frontier of music distribution. This dissertation investigates the effect of copyright on audience and artist attitudes to digital music distribution in both legal and illegal forms. Using relevant literature and established studies it addresses the benefits of the chosen research for this investigation and provides results giving evidence for the various claims and counter cla ims made on both sides of the copyright argument. In doing so it is intended that my results will give a picture of current distribution methods and their ability to deal with copyright as well as rights holders ability to enforce it in an increasingly digitised age. By gathering evidence using one-to-one interviews with two emerging artists as well as consumer interviews conducted at group level I am able to establish the artists interaction with the process of copyright and the extent to which it alters their distribution of music whilst also engaging the audience in debate about their understanding and adherence to the existing issues surround accessing digital music. The involvement of both artist and audience provides a unique opportunity to pinpoint the present effect of the existing systems of music distribution and the copyright protection available. Digital Music Copyright At the crux of the debate surrounding digital music distribution is the issue of copyright and the infringement thereof. Arguments both for and against the current system of rights ownership and management are well documented and some clear division between the opinions of those who hope to gain capital from the ownership of rights and those who wish to produce and consume digital music is revealed. The representative bodies existing to support the rights of the artist , such as the BPI (British Phonographic Industry) and the RIAA (Recording Industry Association of America) have staunch views on the use of their intellectual property and defined by the BPI, copyright in its current form can be surmised as follows: Copyright is the foundations which the music business is built. In its simplest terms, it is a form of intellectual property and, as such, gives the creator or the owner/ author of that work exclusive rights over how it is published, distributed and adapted. (BPI [online] 2009) The collective gusto of the recording industry to enforce their stance on what they see as a critical issue to the music business has led to much bad publicity and a galvanisation of some copyright infringers as a group with a serious social point to make. Kembrew McLeod (2005) agrees that infringement of copyrighted material online presents a significant problem for the monopoly held by the industry giants, even going as far as to view this as a positive consequence of file sharing and distribution. Arguing in favour of a diminished corporate monopoly, McLeod uses examples of successes for smaller independent artists, helped in part by the evolution of media distribution methods available to cut out the middle-man. With both artist and audience interviews revealing a symRobhy for McLeodÊ ¼s statements, most participants demonstrated a sophisticated understanding of the possible advantages that new distribution methods offer smaller/less established artists, who often work outsi de of the boundaries of the established music industry. Williamson Cloonan (2007) accuse the BPI of blurring its distinction between the à ¢Ã¢â€š ¬Ã‹Å"interests of British record companies which it claims to represent with a wider definition of the à ¢Ã¢â€š ¬Ã‹Å"music business . The process of recording, distributing and marketing music is one element of the music industry but its inferred connection to grassroots music of all levels seems to be the bone of contention, as is borne out in my group research. The strength of language words and aggressive tone of both the RIAA and BPI in dealing with infingers, combined with the appropriation of the wider music industry for moral grounds (Williamson Cloonan, 2003, p. 305-7) adds to a misunderstanding regarding what exactly the music industry is and how it affects users access to media. There is an obvious disparity in opinion on either side of the debate surrounding copyright law, with the nature of what copyright represents and w ho it protects and particularly how it is relevant to new digital models of distribution and consumption open to much debate. These diverging opinions are likely to have an impact on how consumers and artists understand the issues within this field, and clearly how they relate and react to them. Media Access The history and development of studying audiences and their consumption habits is by now highly sophisticated and the subject of much debate and research. Using the work of others as a guide as well as theory and research my aim is to understand how audiences are accessing digital content and if their understanding of the legality of so doing , alters how they interact with the content. Longhurst (2007) observes that the most significant contemporary change to [music consumption] is coming through downloadability (p. 205). The pervasive nature of digital consumption in todays culture is displayed throughout both artist and audience responses showing high levels of use and understanding of the medium. An RIAA commissioned report (Siwek, 2007) carried out in the United States by the Institute for Policy Innovation (IPI) suggest that online copyright infringement costs the industry $12.5 billion annually(online). It is fair to assume the the access to both legal and illegal digital musi c is affect the industry greatly but these figures are open to criticism for there bias. The research of Huang (2005) into file sharing as a means of music consumption through group interviews of college students concludes that music file sharing is now a facet of music culture from a social perspective. My studies have some support for this claim with even artists describing extensive p2p use and one actively embracing it as a means of propagation of his material. Mascheroni et al (2008) conducted a comparable ethnographic study digital television consumption. The study concludes that young viewers are capable of defining their relationship with media based on present developments in the field rather than existing paradigms and traditions, and in doing so perhaps goes some way to explain the findings of Huangs research on college students. In similar ethnographic profiling Harwood (1997) compared television viewing Robterns of different aged groups, finding that decisions are representative of perceived Ê »social identityÊ ¼. It is arguable that similar influe nces are at play in consumers interaction with digital music consumption and with the increasing convergence of digital content, user generated content, and the social influences aforementioned, copyright infringement and any repressions appear to have very marginal impact on consumption habits. Based on the highlighted works the interaction between consumers and the legal implications surrounding content access are likely to vary in line with social perception and experience led understanding of the field. The fact that the artists were so Robert about file sharing, their involvement with it and its potential for positive use, adds weight to the claim copyright regulations for digital music are past their prime and lacking in effectiveness. Unique Online Considerations Various possible explanations for the ways in which digital media access has changed consumption habits have been covered previously. Increased media access has inevitably led to increased temptation to use nodal connectivity for illegal file sharing, although if the enactment of this abuse is as widespread as the BPI and RIAA would like us to think is another matter. Borne out of this peer to peer system of file distribution new products are being brought to market that provide alternatives to illegal acquisition of content. Analysing the manner in which consumers access content and services online has led to , sophisticated modEmmang of the accessibility and demand for said content and services. AndersonÊ ¼s (2006) presents a long tail model which serves as an example of such studies. The model refers to online commercial distribution with the most popular and commercial, products at one end of the graph with the highest volume of sales. The graph extends to illustrate the alm ost limitless potential for online sales in specialist or minority markets. Fig i. Long Tail Model (Anderson, 2006) Anderson further sets forth an opinion that the broadening of potential promotion and distribution online has increasingly opened up more possibilities for for both artists and consumers. Applying the long tail theory, it is obvious that it proposes a different system of economics to the traditional retail sector. Adding to this the obvious advantages of products being available around the clock, often irrespective of regional restrictions and the idea of a new economic model is further strengthened. The ability to cover areas of minuscule interest with little additional overheads enables retailers to offer huge depth of choice as well as broadening the idea of ownership of content through streaming.. Clearly the economics of online commerce are very different to the traditional model, however the rules of engagement surrounding copyright are expected to fit both models. two is different, yet the laws of copyright remain the same. Illegal sharing of content is viewed as an infringement of rights and therefore a form of theft as attested by the RIAA. The case that eventually closed the late nineties file sharing platform Napster, as detailed first by Merriden (2001) and then Menn (2003) illustrates the ramifications and interest in the first high-profile case of file sharing. Speaking of Napster Wall states; The record companies proposed that the Napster system ripped off artists and would kill music, while they made the legal argument that Napster encouraged the infringement of copyrights they held. Napster countered by arguing that members of Napster were making fair non-commercial use of the rights already assigned with the original sale of the record that had been converted into mp3 files. (Wall 2003, p223) Continuing where the Napster litigation left off, cases between the industry and p2p networks are still widespread today, showing that the industry has moved on little in the intervening years. The Swedish prosecution and proposed imprisonment of the creators of infamous file sharing tracker The Pirate Bay (Johnson Kiss, 2009) is perhaps the highest profile case today and could be seen as the modern Napster. In an attempt to bolster the music industries grasp on digital distribution a number of new models have been brought to market., Many mobile phone operators worldwide now offer unlimited music bundles with cell contracts and the emergence of streaming services mentioned such as Last.fm and Spotify, are seen in the group interviews to have a positive influence on peoples adherence to copyright. Gerd Leonhard (with Kusek 2005 2008) is describes these services as Ê »feels like free.Ê ¼ Advertising and premium service upgrades present the creates potential for capitalisat ion of music. Spotify has been a particular success in Europe, with the BBC reporting figures that already 5% of its users have upgraded to a premium service, giving it some 320,000 users paying  £10 per month for its full offering (BBC, 2010, online). This small percentage provides and annual turnover in the region of  £38,400,000 excluding additional revenue provided by advertising, proving that Spotify is a serious force in the online distribution business without even launching fully in the United States. By looking at audience habits and interaction with both copyright and media we can see that the new media model and the traditional approach to distributing music are increasingly unable to keep up with the consumer driven demand for online services, leaving companies such as Spotify to move in and become a type of new music industry for the 21st century. The difficulty inherent to their role is that the copyright for the material they wish to distribute is often owned by one of their more traditional predecessors. Methodology In this chapter I offer justification for the effectiveness of my methods for the collection of audience and artist responses to their interaction with digital music copyright. I use two groups of participants; one younger (16- 25) as well as a group from an older demographic of consumers (40-65) with both groups being representative of consumers as well as two individuals representative of artists. As this study represents a small cross section of the many people who are involved in roles as both consumer and artist definitive conclusions solely gathered from my findings alone are difficult to ascertain. The value however, of conducting the comparative interview types, is the provided overview of responses, and how they interplay with the core arguments surrounding the debate. Work by Huang (2005) and Macheroni et al (2008) would suggest that younger audiences are less concerned about the implications of peer to peer sharing and thus more likely to use the distribution method. Using relative methods I build upon their work, highlighting and supporting claims by providing complimentary evidence and similar findings. HuangÊ ¼s (2005) use of groups interviews highlighted specific areas of interest with direct interaction with audience members, whilst MascheroniÊ ¼s (2008) research adopted ethnographic studies of online, as well as off line interaction in a more one to one manner. Due to the nature of copyright interaction online ethnographic study of users could be applied to researching users of file sharing services. The problem with this is the anonymity in this type of cinteraction, discussed by Watt, Lea and Spears (2002). Although there is potential for some light to be shed on how audiences share music online, it would be difficult to rationalise the reasons for this activity, providing little evidence to illuminate the reader on audience behaviour. My own studies, made use of extensive one on one interviews allowing unsigned artists a mouthpiece within the debate. The benefit of exposing the artists to the one on one interview process was expected to be a greater understanding and experience of copyright yielding technical data on the subject. This was then coupled with group based research. With guidance from Bertrand and Hughes (2005, p81), the group interviews, were expected to benefit from inter-participant discussion allowing some involved to make up in shortfalls of technical knowledge. As a well established means of audience research, group interviews can help garner natural responses from participants. It must always be considered however that these discussions do not take place in unmonitored environments and so must be viewed as having the potential to be polluted by the participants knowledge that what is being said is also being recorded. A particularly pertinent issue given the legal climate surrounding the issues covered. The legal aspect of my research may encourage participants to shy away from full, Robert answers, however the focus group environment should also foster greater candour and less inherently solicited responses than that of one on one interviews for instance (Boubour 2007) although the combination of the two means of study should have a balancing effect on the results. Research Findings Here I present the findings of my primary research investigating the interplay between copyright issues and digital music consumption. The material put forward here is the product of the two group interviews and two individual interviews with consumers and artists respectively. The discussions centred around the same key themes including the participants access to and use of digital music as well as attitudes and understanding of the related legal issues. Of particular importance for my study are responses they may have relevance towards legal the constraints and considerations surrounding the notion of digital music access. Providing the the structural basis of this chapter my aim is to discover any visible Robterns between the responses of the two types of interviewee. Consumption Listening Habits: The primary question for the interviews is one of use and involvement in digital music. It is essential to establish the extent, if any, to which the interview subjects interact with digital music content, irrespective of its origin. The following section examines participant music consumption routines and in particular, digital music consumption habits. Based on their replies, I address the stereotype that older audiences are less willing and able to undertake interaction with new delivery methods whilst isolating comparisons between the groups in other forms of music consumption. On broaching the subject of use of digital music with the older group, it was clear that most participants were involved and responsive to the means of content distribution. Many of the group cited the iPhone or iPod as an influence on their ease of access and enjoyment of digital music, proving Apple have a huge say in how this market is set to develop. either using mp3 players or their mobile phone to co nsume digital music. When the group was asked if they had access to a digital music player the response was as follows, Howard: Of course IÊ ¼ve had mp3 phones for a good 5 years now and players for a bit longer. Dominic: Yeah me too I would say, not the players but the phones, I use an iPhone for everything now. Howard: I still use my player for jogging though, I dont like to be bothered by phone calls but I still want my music with me. Most made some use of access to digital music on a regular basis. This helps to dispel the myth of a generation gap regarding digital media use as alluded to in the work of Mascheroni et al (2008). Although this establishes a commonality in usage of devices we are yet to establish meaningful connections between access and consumption habits. In the older group. The concept of digital music consumption representing the mainstay of their listening habits produced varied responses. For the older group the response was as follows: Dominic: For the car or the house I spose real music, sorry I should say CDs and stuff I spose, real music is normally what I go for. Robert: Yeah the same really. This is similar to the attitudes of both artists interviewed. Biometrix: Yeah its really all about vinyl for me but that normally means I have to rip the vinyl if I want to listen to it on my phone or anything like that Gecko: I collect all sorts of CDs and records, when we go on tour I normally come back with a pile of discs Ive either bought or been given. With the artists and the older audience still actively engaged in the acquisition and collation of music it is clear that there is still a space for tangible products within the music industry. Such observations are notably absent when dealing with the younger of the group studies. In this group there was evidence of a fractured landscape of media access with no commonly held method of consuming music. Youtube, Spotify and Soundcloud provide a number of feels like free options for home use along with the ubiquitous iPod/Phone, however the access to music was overwhelmingly digital amongst this group. It can be said that both groups access digital content in a number of ways, with the younger group being more selective and more aware of different delivery methods, perhaps indicated by the greater disparity in the services and methods of consumption they chose. Within this younger group, extensive different ways of acquiring digital music were referenced, including demonstrable evidence of LeonhardÊ ¼s (2008) Ê »feels like freeÊ ¼ streaming services such as Spotify and Last.fm. The following extract is taken from the opening stages of the younger focus group; MarT: Spotify, mainly. Youtube too, but there is much less music on there now and when you find something you like it gets deleted after a while for copyright stuff. Spotify have made it so easy and if they have pretty much everything so you can just go there, and if you canÊ ¼t find it aint on Spotify there might be a live version or something on Youtube but the quality is always ropey. The only bad thing about Spotify is that you get ads but its still free and its much safer than downloading audio files. Steve: Everything is so joined up on Spotify, like suggested artists and playlists and stuff, I spose its similar on Youtube, you can spend hours exploring. Claire: And you dont have to buy anything or give your card details over. Similarly both artists are avid users of Spotify amongst other streaming services: Gecko: I know the money is peanuts for getting played on there but it makes you accessible to so many people, some of them dont have enough money to pay for your album or your mp3 or whatever but the fact that they can still access it is important to grow as an artist. Its like playing a gig and barely making the petrol money to get home. We all do it but some of us are a bit more relaxed about the good it does for us. Biometrix: I use Spotify all the time, really its stopped me stealing a lot of music really. Its so much easier than actually downloading something so normally I just do that because I cant be bothered finding what I want and then waiting on it to arrive on my computer. Clearly Spotify offers an innovative model that can fit into both of MyÃ…Â ¡kaÊ ¼s (2009) subscription service model categories. A monthly fee can be paid to allow listeners to enjoy uninterrupted music without advertising and also allow access to feature rich content such as mobile streaming and offline listening, as well as Leonhards (2009) Ê »feels like freeÊ ¼ model that is funded by advertising. Of the myriad methods of media access identified, use of Web 2.0 music consumption models such as Spotify demonstrates a fall in favour of traditional peer to peer networks, contrary to the testaments of the recording industry (Siwek, 2007.) This goes some way to enforce the claims of Leonhard (2009) that these new, lawful access streams provide an attractive alternative to illegal downloading and also allay industry concerns about copyright protection. The interview subjects also cited the simplicity of these new methods in allowing them to locate music without the ex tensive searching that is commonplace with peer to peer access to media. Engagement with File Sharing: In this section, we assess the subjects involvement with the file sharing. I present rationalisation of the participants use or otherwise of file sharing networks and investigate their understandings and interactions with the legal ramifications of such actions. As the conversation developed, unexpectedly within the older group, many of the participants had used peer to peer services in the past, whilst perhaps their usage was limited, responses seemed mixed. Shaun: IÊ ¼ve used Megaupload in the past Yeah. Subscribed to that. We didnt download without our subscription, but now lapsed, I dont about the kids but yeah, Megaupload. I used to et a lot of other stuff there like films and ebooks so it was great. We can see that the participants have an understanding of file sharing as a concept, if not perhaps the finer points of nodal networking. There is an inference that by purchasing a subscription the subject considers themselves to have bought their downloads. This is however false and the subscription simply provides faster download speeds. The artists had a more sophisticated understanding of how rights related to downloading and sharing content, however it is notable that this greater insight did little to dissuade them from partaking in file sharing. Biometrix: Yeah I do download stuff, not as much as I used to but if theres something I cant find on Spotify or Soundcloud or that stuff then I will just go on a torrent site but I feel bad about it, I reckon, well I reckon because I think about what it would be like if the musicians were like me, just starting out or something. The guilt mechanism in this response shows a belief that the RIAA/BPI position is correct and that the copyright issues surrounding this kind of media access is universally illegal. This shows some support for the industry having a direct influence over peoples online interactions despite their diminished market share. One of the artists in particular also uses p2p sharing to promote and distribute their own material. Biometrix: I try to make a couple of free songs every month and put them on soundcloud for people to download. Its pretty much a thanks to all the people on Facebook, Soundcloud and Youtube who like my music and keep my profile hits high. I know theyre on the torrent sites but I dont mind, they were free anyway. This positive use of filesharing allows the artist greater exposure with virtual nil as an overhead, undercutting the top-heavy music industry and presenting the egalitarian model favoured by McLeod (2005). Responses to Legal Issues Industry Implications; This section aims to build on the responses in the previous section by filling out the subjects understanding of the legal issues involved with file sharing. Particularly noticeable in these answers is the difference between the artist and audience categories. As mentioned earlier there have been many examples of litigations against providers of p2p services, such as the media-circus trial of Ê »The Pirate BayÊ ¼ founders. Whilst the audience groups had little knowledge of such cases the artists seemed far better versed in what was going on within the industry to shape the distribution of music. Biometrix: Yeah, IÊ ¼ve know a lot about it actually The pirate bay have been found guilty of copyright abuse and theyre appealing their jail term now I think. Its a pretty big deal, all of the big film companies have been after them. The site is still going though, so it doesnt seem to have done much good does it? Gecko: Pirate bay is huge. Its not just pirating things, they do all sorts, politics and freedom of speech stuff and all of that. I think it was started by activists but I dont know whos involved nowadays. As soon as something gets taken off it seems to come straight back up. Loads of people use it. Infringement and theft are put forwards by McLeod as tactics to enforce the monopoly of the recording industry. Of the subjects opinions on the significance file sharing has for the music industry, the various subjects displayed an array of responses. The following extracts are taken from the older subjects; Dominic: Small bands dont have a bean basically. Those are the people you are robbing off, not the execs or anything. Emma: They must be getting paid somehow, the music is still out there. Robert: But the money doesnt go to the band. This passage underlines the fact that members in this group believe that the majority of income for musicians, particularly less prolific artists, is provided by their record sales. This understanding of the revenue streams available to music industries also demonstrates a finely tuned understanding of what the Ê »music industryÊ ¼ entails. Williamson and CloonanÊ ¼s (2007) arguments against the wide spread use of the term, based on my findings, suggest older generations are indeed more inclined to understand the term equating to the recording industry. The actions of the recording industries and the responses from audiences can be seen as an example of Michel de CerteauÊ ¼s idea of Ê »strategies and tacticsÊ ¼ (1984). The strategies of the power structures within the relationship, in this case, the industries retention of traditional retail models and the discourse that it equates to the music industry (BPI, 2009), in contrast to the tactics of audiences. This investigation finds between age demographics the response tactics identifiable and noticably different. The older group creates their own space through a sceptical approach to recording industry practices, methods of media access and opinion demonstrate stronger ties with the recording industry discourse crime and punishment. The both the artists and younger group members seemed much more separated from these established means of operation, shown in their symRobhy for file sharing, anti-corporate comments and reluctance to trust established regulations regardin g copyright infringement. Based on the findings outlined above, the suggestion is that audiences are highly aware that there are legal implications surrounding the sharing of files, but their opinions and responses to the validity of these implications are generationally split. The evidence provided by the younger demographic of both audience and artists provides support for the views of McLeod (2005) whereas the older group demonstrated a much more accepting response for the necessity of copyright legislation as a protection against theft. Applying music retail and commerce theories presented by Anderson (2006) and Dubber (2007), most of the participants appeared to be informed of the changes online distribution was experiencing, although there was rejection of the industrys reluctance to develop progressive content access agreements along with them. The divergence of opinion in the application of rights enforcement between the two groups adds weight to the arguments presented by Garofalo (2003), acting to s et the balance between the two sides of the rights argument, preventing the financial exploitation of free music, whilst also managing a free channel of access to consumers. Conclusion It can be established from the results of my investigation that audience and artist opinions are divided on the justifications for rights protection and the enforcement thereof in relation to digital music access. Whilst there is clear evidence of a move towards digital media consumption, there is a distinct generational gap in the manner in which different age groups access music digitally. Older generations seem to fall into line with traditional models of product capitalisation, purchasing physical formats and viewing transgression of copyright online as theft. Younger subjects more immersed in digital media and having grown up during the internet gold rush have a far less strict attitude to the acquisition of digital music. They may understand that they are acting in opposition to the wants of the recording industry, however they seem to show a contempt for the industrys methods and motivations. Their attitudes towards free services such as Spotify and Last.FM do however, indicat e that they are easily capable of adapting and developing their outlook on delivery so it is arguable that they are also quite capable of reordering their views on the ownership and distribution of digital music. Organisations such as the Open Rights Group or ORG, are publicly recoiling against the new laws in the Digital Economy Bill, arguing that a disconnection of peoples internet connection as a deterrent for infringement of copyright is a Ê »disproportionate response to alleged copyright infringement and will breach citizens fundamental human rights, including their freedoms of expression and association. (2010) Online infringement is the result of the absence of legitimate markets and licensing regimes.The legal market has failed to satisfy the desire of music fans to use new technological possibilities to access music as easily as possible. Illicit use of peer-to-peer technologies has filled the gap. (Open Rights Group, 2010) Such a reaction to these new measures, along with the results put forward by this investigation, support the argument that the audiences and artists are increasingly disengaged with the current copyright system, perhaps leading some to opt out by downloading illegally. Further to this it appears that an overhaul of rights for digital media is imperative, and the new bills attempting to address this issue all fail to address these needs. Many of the theories discussed throughout this dissertation point towards an argument that the recording industry at large has flunked its opportunity to to adapt to the new means of content distribution successfully (as can be seen through revenue loss) or even adequately (more clearly illustrated with audience and artist dissatisfaction) paving the way for the audience to find their own solutions to these problems. As time moves on and the younger audiences and artists become the old guard of tomorrow the gap between industry and audience will only increase, unless copyright is suitably adjusted to perform the necessary balancing act between the two (Fisher, 2001 Garofalo, 2003). The use of copyright presently seems structured around the need to protect the means and methods of the recording industry itself, arguably responsible for the division and cause for debate in the first place. The increasingly aggressive tactics proposed in new legislation on both sides of the Atlantic can only furthermore enhance the widening of this gap. It is almost impossible to predict the future based on the past, widespread use of services such as Spotify may perhaps produce noticeable changes in audiences access to and demand for digital music whilst also reducing the use of file sharing in the near future. This study shines a light on many areas for further investigation, particularly in the way different gen erations are taught to use new models of media consumption and how different devices alter the interplay between copyright and consumer. A wider more comprehensive study of a bigger artist quota would also strengthen and challenge many of the presented arguments. Whilst no one can tell exactly where copyright, audiences, artists and the industry will find themselves after this turbulent period of invention and reinvention, progress will, and must occur.