Getting Vinyl in Kenyan Basements to Collectors Globally

I’m going to take you through a project that I start­ed back home in Kenya that aims to col­lect vinyl that peo­ple just have chill­ing around at home. Basically we used to have the only press­ing plant in East Africa between 1976 and 1990, and we used to press about a hun­dred and thir­ty thou­sand LPs every year. But right now there are lots of peo­ple who have those, but they’re not doing any­thing with them. 

Traditional Knowledge and Copyright: the Implications for Digitising Pacific Island Cultural Heritage Collections

So what would this mean for those with an inter­est in dig­i­ti­za­tion? Despite being a new legal frame­work, the pro­pos­al may lead to some famil­iar prob­lems for cul­tur­al her­itage insti­tu­tions. Many of you are aware of the prob­lem of orphan works in copy­right. This is where the own­er of a pro­tect­ed work is uniden­ti­fi­able or uncon­tactable, and because they can’t be found it fol­lows that they can’t grant per­mis­sion to oth­ers to copy their work.

Re-calling the Modem World: The Dial-Up History Of Social Media

Where did the Internet come from? And in order to answer that ques­tion, you would have to have a pret­ty clear idea of what you mean when you say the Internet.” I sus­pect that if we were to poll every­body in the room, we would have a vari­ety of dif­fer­ent, some­times con­tra­dic­to­ry, some­times incom­pat­i­ble, some­times over­lap­ping, def­i­n­i­tions of the Internet.”

Publishing and Preserving Bots

We want to con­tex­tu­al­ize the bots for the audi­ence of the ELC3, peo­ple who study and are inter­est­ed in elec­tron­ic lit­er­a­ture. To frame bots as a kind of elec­tron­ic lit­er­a­ture. To link to the live bot on Twitter. But we also want to offer mate­ri­als so those bots can be stud­ied. We want to pre­serve it for future gen­er­a­tions. So what does this mean, exactly?