International Commons At The Digital Age

Recent developments in the field of archaeology are not only progressing archaeological fieldwork but also changing the way we practise and present archaeology today. As these digital technologies are being used more and more every day on excavations or in museums, this also means that we must change the way we approach teaching and communicating archaeology as a discipline. The communication of archaeology is an often neglected but ever more important part of the profession. Instead of traditional lectures and museum displays, we can interact with the past in various ways. Students of archaeology today need to learn and understand these technologies, but can on the other hand also profit from them in creative ways of teaching and learning. The same holds true for visitors to a museum. This volume presents the outcome of a two-day international symposium on digital methods in teaching and learning in archaeology held at the University of Cologne in October 2018 addressing exactly this topic. Specialists from around the world share their views on the newest developments in the field of archaeology and the way we teach these with the help of archaeogaming, augmented and virtual reality, 3D reconstruction and many more. Thirteen chapters cover different approaches to teaching and learning archaeology in universities and museums and offer insights into modern-day ways to communicate the past in a digital age.

Digital technologies have fundamentally altered the nature and function of media in our society. This book critically examines digital innovations and their positive and negative implications.

This will be the first book to attempt to take a 'holistic' approach to security in the Commons (outer space, the atmosphere, the oceans, cyberspace, etc) in that it examines in detail each domain of the commons, identifying and assessing the current and future threats to free international access to the domain.

This book explains strategies, techniques, legal issues and the relationships between digital resistance activities, information warfare actions, liberation technology and human rights. It studies the concept of authority in the digital era and focuses in particular on the actions of so-called digital dissidents. Moving from the difference between hacking and computer crimes, the book explains concepts of hacktivism, the information war between states, a new form of politics (such as open data movements, radical transparency, crowd sourcing and “Twitter Revolutions”), and the hacking of political systems and of state technologies. The book focuses on the protection of human rights in countries with oppressive regimes.

Since the turn of the century, the impact of digital technologies on the promotion, production and distribution of music in the Philippines has both enabled and necessitated an increase in independent musical practices. In the first in-depth investigation into the independent music scene in the Philippines, Monika E. Schoop exposes and portrays the as yet unexplored restructurings of the Philippine music industries, showing that digital technologies have played an ambivalent role in these developments. While they have given rise to new levels of piracy, they have also offered unprecedented opportunities for artists. The near collapse of the transnational recording industry in the Philippines stands in stark contrast to a thriving independent music scene in the county's national capital region, Metro Manila, which cuts across musical genres and whose members successfully adjust to a rapidly evolving industry scenario. Independent practices have been facilitated by increased access to broadband Internet, the popularity of social media platforms and home recording technology. At the same time, changing music industry structures often leave artists with no other option but to operate independently. Based on extensive fieldwork online and offline, the book explores the diverse and innovative music production, distribution, promotion and financing strategies that have become constitutive of the independent music scene in twenty-first-century Manila.