Animal Testing Essay -- Science Argumentative Persuasive Essays

Animal Testing Over one million people have benefited from information gathered in animal testing and research. In the past, animal testing has been a touchy subject for people to talk about. Until recently, scientists did not treat animals with the utmost respect and even used such methods as vivisection, or basically operating on a live animal without any form of anesthetic, as a means of testing on animals. It is obvious why people would be against animal testing in the past, but now technology and new laws have brought us into a new era in which animal testing can be much more humane when it is used. There are currently computer programs that serve as an alternative method to animal testing. I propose that animal testing should be used when an alternative method is not available and as long as the strict regulations, laws, and rules around animal testing are upheld because millions of lives have been saved thanks to animal research. In today?s age in time, animals are treated with respect as opposed to the past, where animals were improperly caged, not given anesthetics for any given operation, and even left for dead after testing on them. Those days are long over and we have stepped into a new age where animals are given a suitable place to live, they are given anesthetics when operated on, and a veterinarian is on call twenty-four hours a day in case of an emergency. One company that uses animal tests, Huntingdon, states, ?It is our job to ensure that these tests are performed to strict scientific criteria, provide reliable results that can be reproduced, and with leading standards of animal care and welfare? (?Animal Welfare?). Huntingdon has a great standard in the way that they carry out their experiment... ... had never preformed an organ transplant on another living creature if he/she was operating on me. That is the same as sending an army out to battle whose only practice was playing a first-person-shooter on a video game system. If not for animal testing, there would have been no safe way to perform millions of the standard operations carried out today. If we use animal testing only when an alternative method is not available and when the laws, regulations, and rules around animal testing are upheld, we can reach new levels of medical technology. Works Cited Huntingdon Life Sciences: Working for a better future: Animal Welfare. 31 March 2003. . Huntingdon Life Sciences: Working for a better future: Myth. 31 March 2003. . Animal Testing Essay -- Science Argumentative Persuasive Essays Animal Testing Over one million people have benefited from information gathered in animal testing and research. In the past, animal testing has been a touchy subject for people to talk about. Until recently, scientists did not treat animals with the utmost respect and even used such methods as vivisection, or basically operating on a live animal without any form of anesthetic, as a means of testing on animals. It is obvious why people would be against animal testing in the past, but now technology and new laws have brought us into a new era in which animal testing can be much more humane when it is used. There are currently computer programs that serve as an alternative method to animal testing. I propose that animal testing should be used when an alternative method is not available and as long as the strict regulations, laws, and rules around animal testing are upheld because millions of lives have been saved thanks to animal research. In today?s age in time, animals are treated with respect as opposed to the past, where animals were improperly caged, not given anesthetics for any given operation, and even left for dead after testing on them. Those days are long over and we have stepped into a new age where animals are given a suitable place to live, they are given anesthetics when operated on, and a veterinarian is on call twenty-four hours a day in case of an emergency. One company that uses animal tests, Huntingdon, states, ?It is our job to ensure that these tests are performed to strict scientific criteria, provide reliable results that can be reproduced, and with leading standards of animal care and welfare? (?Animal Welfare?). Huntingdon has a great standard in the way that they carry out their experiment... ... had never preformed an organ transplant on another living creature if he/she was operating on me. That is the same as sending an army out to battle whose only practice was playing a first-person-shooter on a video game system. If not for animal testing, there would have been no safe way to perform millions of the standard operations carried out today. If we use animal testing only when an alternative method is not available and when the laws, regulations, and rules around animal testing are upheld, we can reach new levels of medical technology. Works Cited Huntingdon Life Sciences: Working for a better future: Animal Welfare. 31 March 2003. . Huntingdon Life Sciences: Working for a better future: Myth. 31 March 2003. .

Prufrock in Progress

Prufrock in Progress In A Love Song of J. Alfred Prufrock by T. S. Eliot, the main character, J. Alfred Prufrock battles with his identification in the world. T. S. Eliot comprises this character with traits that any human being can relate to, like fear and desire, while ironically depicting the character as a monster. This dueling monster lives within Prufrock. His desire to be accepted is bogged down by his unworthy self-esteem because of his lack of human relationships. Prufrock is a relatable character at best, but his self-image ruins his potential of connecting with other people.Some scholars believe that Prufrock is yearning for a long lost lover throughout his love song, but most evidence shows that he is in confliction with himself. Sistani writes Internal Anxieties and Conflicts in The LOVE SONG of J. ALFRED PRUFROCK and states that Prufrock is searching for a female lover in his expression of A Love Song. Sistani believes that J. Alfred is experiencing internal conflict ab out a love source and the need of comfort through a relationship with another woman. This interpretation poses irony continuously established throughout the poem because Prufrock does not even love himself.Sistani explains this insecurity by analyzing, â€Å"The article concludes that the male character’s anxieties and conflicts are all the results of a past unsatisfactory mothering situation during his childhood,† (Sistani 478). This accusation is made from empty evidence that he desires a woman’s affection simply because he did not ever have it. This shows that J. Alfred Prufrock is in a habitual pattern of looking for love in all the wrong places. This interpretation by Sistani suggests that J. Alfred is speaking out in the desire for a loving partner.Sadly, Prufrock’s relationship with his mother was disappointing and unfulfilling, therefore; he longs for someone to fill this place. Unfortunately, his lack of love and acceptance for himself disables h im from relating and loving or even accepting others. Prufrock speaks of attending a party in which none of the women are good enough for him. He talks of their skirts hitting the floor and is infatuated by the women, but then ironically changes his viewpoint stating, And I have known the eyes already, known them all- The eyes that fix you in a ormulated phase, And when I am formulated, Sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin? (Gwynn 623). Prufrock is explaining how women prevent him from being his true self. How the presence of them makes him feel like an insect being pinned on the wall; examined and preserved for humans to review and criticize. He deems the question of how to begin the expression of self when all women seem to want is a fixed idea of what a man should be, and that is not what J.Alfred is. Sistani evaluates â€Å"As a dependent character with not good enough mothering, Prufrock, like a child, is always willing to att ach to an external loved object to achieve support and gratification. This need for attachment, to relate to the desired object is constant in Prufrock,† (Sistani 481). The poem in itself is a projection of how Prufrock views himself in comparison to how the reader or another person would view him. He projects only what he wants to be known, and leaves the rest as mystery.He purposefully reveals only what he is comfortable revealing, which will never lead to a sustainable relationship. Sistani concludes in her article, â€Å"Prufrock, with unresolved internal conflicts and anxieties still dreams of the women to attach to in order to fulfill the need for security and comfort,† (Sistani 481). This analysis believes that Prufrock himself feels he will not be able to fully express himself or be accepted without a female partner to lovingly accept him first. Unfortunately and ironically, the cycle persists because J.Alfred Prufrock does not ever have the epiphany that his en tire misery is derived from his lack of confidence and love for himself, not from a lack of an external object or person. On the other hand, Human Voices in Silent Seas: A Reading on Eliot’s Love Song by Videnov uses a psychoanalytic approach to interpret the poem sang by J. Alfred Prufrock. She expands on his internal conflict of worthiness. Throughout the poem, Prufrock battles with the public and private sides of himself, and whether his thoughts and feelings are worthy of expression.Videnov explains this contrast in character by stating, â€Å"Through jarring and easy transitions, Eliot contrasts the privacy of observation, insight, and dream with the social functioning of man, his appraisal by others, and his appraisal of himself as reflected in â€Å"the eyes† (55), thoughts, and words of others. † (Videnov, Valentin A. , 126). Videnov also analyzes the internal and external influences on J. Alfred Prufrock’s psyche. The internal conflict that J. Al fred Prufrock exhibits throughout his love song is evident in his lack of self-confidence that leads to a feeling of disconnection with the human population.On one hand, Prufrock expresses the desire to cultivate a relationship with the external world, or a lover; yet on the other hand, he lets his insecurities define him and refuses to let himself engage in relationships with other people. Videnov explains this by describing Prufrock’s quest, â€Å"a quest for belonging, the examination of which could yield the message of the poem and the ultimately optimistic idea of love, as the title suggests, lurking behind the apparently tragic finale,† (Videnov, Valentin A. , 126).This statement establishes the irony in the desire to fulfill a journey of love, yet the inevitable misery Prufrock lives. The psychoanalytical dynamic of the ego and the true self is brought through in Prufrock’s character. T. S. Eliot repeatedly uses the pronouns, â€Å"you and I,† to d escribe this relationship of the ego and true self that Prufrock experiences. In the interpretation of Human Voices in Silent Seas: A Reading on Eliot’s Love Song, Videnov declares that these two entities are both representative of J. Alfred Prufrock himself. â€Å"You† represents the public face of Alfred J.Prufrock, the ego; and â€Å"I† represents the true self, the self that wants to be expressed but is prevented by Prufrock’s fear and insecurity. The opposing characters within Prufrock are further extended through the symbols of afternoon and evening. The imagery of afternoon is a representation of the light, the desire to express, and the need for connection. The evening represents a darkness, or comfort in the habitual pattern of the introverted mind and it’s self-destructive thoughts. Prufrock expresses his mental state when he says, ‘the evening sleeps so peacefully. † (Gwynn 624) In saying this, Prufrock is confirming within h imself his comfort in the thought pattern of darkness. This leads him to question, â€Å"Would it have been worthwhile? † (Gwynn 625), referring to the desired human connection he wants deep down. He truly believes that expression of the self and what he, as an individual has to say and share, are not going to be accepted by others. Because of his fear of expression, the singer sings a song of love, but predominately and more ironically, a song of sadness. He has continued his pattern of introversion to such an extreme that he suffers from continual loneliness and disassociation.He proves this dissociation when he ends the poem with an insight of his fantasy world of mermaids where he retreats, when he is lonely. He looks upon the beautiful creatures in awe of their unifying world; yet won’t even allow himself to be happy in his fantasy. He states this saying, â€Å"I do not think that they will sing to me,† (Gwynn 625). This prevents him from dreaming himself t o a healthy and loving relationship with himself, or anyone else. The lines â€Å"let us go† (Gwynn 622) used repeatedly are incredibly significant in this poem. Us† being the internal representation of the two conflicting sides that exist within Prufrock, as he yearns for release of this horrible cycle. What J. Alfred Prufrock does not understand is that every individual goes through this experience of questioning self worth. The underlying ironic theme of this poem is the relation of the reader to Prufrock himself. This is a cry of the main character to emerge from the inner seclusion that he feels – a bonding of the afternoon and evening, the light and dark, inner and outer; a battle for the merging of duality to become a union.In â€Å"an overwhelming question† in The Love Song of J. Alfred Prufrock by Xue, the main question that J. Alfred Prufrock is consistently in conflict with is whether or not to reveal his true self. Prufrock’s dueling cha racter is established through the language of the poem. The internal conflict of Prufrock is addressed through repetitive language. â€Å"Prufrock is trying to express some deeper philosophical insight or disillusionment with society, but fears rejection. † (Xue 79). This fear causes his misery. Prufrock’s character is dominated by his uncertainty.The repetition of the lines, â€Å"there will be time,† (Gwynn 622) pose irony in the poem. Prufrock is hopeful that he will be able to truly open up to the world in time, yet currently; he is perpetuating his cycle of loneliness by assuming that these desires will naturally unfold without regarded effort. Xue states this in saying, â€Å"The phrase ‘There will be time,’ repeated five times between lines 23 and 36, represents his hesitation and delay, in order to conceal his inner anxiety to the world,† (Xue 80).Essentially, Prufrock is only happy when he is alone with his thoughts because there are no external influences to judge him, yet this is also his cause of misery. Irony is also addressed in the â€Å"you and I† (Gwynn 621) characterization of Prufrock. Xue states the psychoanalytical interpretation of these pronouns, â€Å"In the poem, Prufrock is divided in two selves. One is persuading Prufrock to ask the ‘overwhelming question’, while the other is trying to prevent it,† (Xue 82). Prufrock’s soul really desires is the opposite of what it endures. At the root of his inability to express is his insecurity.Prufrock asks, â€Å"Do I dare Disturb the Universe? † (Gywnn 623) which is direct evidence that Prufrock has serious lack of self-confidence. J. Alfred directly articulates his anxiety about interaction by describing his unappealing physical attributes. He quivers in the thought, â€Å"With a bald spot in the middle of my hair- ‘They will say: ‘How his hair is growing thin! ’† (Gwynn 623). This state ment is directly in connection with Prufrock’s physical insecurity, as well as his emotional insecurity because of his self-image. He uses this as an excuse for his anti-social behavior.He manifests this negative expression of self by bolding stating that if he were to share with another he would, â€Å"Die with a dying fall,† (Gywnn 623). This self-conscious attitude and fear of being mocked for this truth is the entire reason for J. Alfred Prufrock’s cyclical misery. He does not love himself; therefore, he cannot find or receive or the love of another. If he never learns to share his truth, he will never understand the beauty of human connection. The reality of how much Prufrock shares about himself is shown in the line, â€Å"To prepare to meet the faces that you meet; to murder to create,† (Gwynn 622).The real self or â€Å"I†, as Videnov described in Human Voices in Silent Seas, is lost or â€Å"murdered† in society to â€Å"createâ₠¬  a false self or alter ego that functions in society. Another line stating this ego-oriented society and repeating the symbol of darkness reads, â€Å"the evening spread out against the sky,† (Gwynn 622) which refers to the apparent darkness of all humans all hidden under the masks of ego. Yet, if J. Alfred Prufrock understands this is a battle of every individual, he would be able to relate. In conclusion, it is J. Alfred Prufrock’s choice to live in misery.If he were open to see himself as a mirror image of others he would realize that every individual has insecurities of their own. Therefore, I agree with scholars Videnov and Xue in the psychoanalytical approach to J. Alfred Prufrock battling with his own ego versus the exploration and expression of his true self. If he deemed himself worthy of external expression then he would finally be able to share in love with himself and in turn, the rest of humanity. Works Cited Gwynn, R. S. Literature: A Pocket Anthology. 5th. New York: Pearson Education, Inc. , 2012. 21-625. Print. Videnov, Valentin A. â€Å"Human Voices In Silent Seas: A Reading Of Eliot's Love Song. † Explicator 67. 2 (2009): 126-130. Academic Search Complete. Web. 10 Nov. 2012. Sistani, Roohollah Reesi. â€Å"Internal Anxieties And Conflicts In â€Å"The LOVE SONG Of J. ALFRED PRUFROCK. † European Journal Of Social Science 17. 4 (2010): 478-489. Academic Search Complete. Web. 27 Nov. 2012. Xue, Haiqin. â€Å"On â€Å"An Overwhelming Question'† In The Love Song Of J. Alfred Prufrock. † Canadian Social Science 5. 2 (2009): 79-82. Academic Search Complete. Web. 10 Nov. 2012.

Idea Essay Example Pdf - Free Essay Example

Sample details Pages: 8 Words: 2331 Downloads: 2 Date added: 2017/06/26 Category Uncategorized Essay Type Compare and contrast essay Did you like this example? Critically assess the blurring of the boundaries between the expression of an idea in a material form (which is protected by copyright) and an idea itself (which is not). In your response, you will need to examine the impact of the digital environment on copyright and initiatives like open access and Creative Commons. Discuss whether protecting original works is becoming obsolete, considering the effect of a copyright-free world on individual creators, producers and distributors. Be explicit about how you respond to and extend the examples presented in the topics podcast and town meeting. Copyright can be defined as the ownership of the expression of ideas, not the ideas themselves (Bourne 2008). The issue of copyright is perhaps facing its greatest challenge. The line between the expression of ideas in a material form (which is protected by copyright) and an idea itself (which is not) is being increasingly blurred due to the increasing prevalence a nd penetration of digital technologies in the national (Australian) and international (global) communication environment. With the proliferation of copyright violations as digital technologies offer file sharing capacities, the development of author favouring initiatives approximating to Open Access and Creative Commons eroding the corporate power of copyright corporations, the existence of legally protected copyright protections a creator craves, corporations pursue and governments protect, is under serious threat. Traditionally the free market economy has envisioned a hierarchy from producer to consumer in the development and dissemination of cultural information. Conventionally, the mode of production had envisioned a role for creator, manufacturer, distributor and consumer. This was a centralised system. Copyright pervaded and that which was protected by copyright was difficult if not impossible to illegally obtain without paying the royalties to the creator or copyr ight holder. Yochai Benkler believes there has been a decentralisation of the process due to the onset of the digital revolution, particularly with Internet technologies, while technology simultaneously sustains the centralisation of cultural information. I will suggest that we call the combination of these two trends the radical decentralization of intelligence in our communications network and the centrality of information, knowledge, culture, and ideas to advanced economic activity the networked information economy (Benkler 2003, p.1252). The strength of Benklers argument is that its a fresh idea that argues somewhat from a political economy perspective, the production process. The production process has been decentralised due to digital technologies and therefore individuals who previously held no part can create their own ideas by either mimicking, disseminating, copying, plagiarising without consequence. This networked information economy (or decentralisation o f production) has led to a blurring of the lines between the expression of ideas in a material form (which is protected by copyright) and an idea itself (which is not) due to the increasing mobility and creativity individuals can utilise as a result of the onset of digital technologies. Benkler believes ubiquitously available cheap processors have radically reduced the necessary capital input costs. What can be done now with a desktop computer would once have required a professional studio (Benkler 2003, p.1254). According to Benkler, a primary contributor to cultural production is pre-existing information, a publicly accessible good while others include human creativity and the physical capital necessary to generate, fix, and communicate transmissible units of information and culture like a recording studio or a television network (Benkler 2003, p.1254). The Internet and digital technologies have to an extent decimated the dominance of the capital generators, those owne rs and proprietors of copyright such as the television networks and publishers, and allowed consumers to edit pre-existing copyrighted material, or create their own, to the detriment of copyright holders. This leaves individual human beings closer to the economic centre of our information production system than they have been for over a century and a half (Benkler 2003, p.1254). The failing of Benklers argument is that it views digital technologies as offering endless opportunities for individual production. While this may be true, usually the product produced is usually distributed for free and those who attempt to make economic gain are wiped out by the competition that produce free and higher quality software and programs. The impact of the digital environment has led to the proliferation of copyright violations and use of materials by consumers in their own productions and ideas without regard for the intended royalties. This has been seen no better than in the rising prevalence of file sharing software on the Internet, its popularity, dominance, and targeting by corporations for law suits. The most radically new and unfamiliar element in this category is commons-based peer production of information, knowledge, and culture, whose most visible instance has been free software (Benkler 2003, p.1254). An example of these peer network systems Benkler speaks of includes file sharing systems such as Limewire, BitTorent, eMule and Gnutella. Based on peer-to-peer technology (Fattah 2002; Oram 2001), so-called filesharing systems offer the possibility to exchange any sort of digital data for free and without restriction (Quiring 2008, p.435). Considerable losses in revenues have resulted in the film, gaming and particularly communications industries due to the illegal copying and sharing of their products. According to the communications industry, it misses out on considerable revenues each year due to the illegal exchange of communications data (Quiring, von Walter Atterer 2008, p.435). Similarly there has been propagation in the amount of quality free programmes on the Internet that supplant those supplied by corporations and have no copyright protections of their own. The networked information economy opens for radically decentralized collaborative production peer production† a process by which many individuals, whose actions are coordinated neither by managers nor by price signals, contribute to a joint effort that effectively produces a unit of information or culture (Benkler 2003, p.1254). Free software has become the quintessential instance of peer production in the past few years. Over 85 percent of emails are routed using the sendmail software that was produced and updated in this way (Benkler 2003, p.1254). Over 60% of Australians use msn, yahoo, Google or other free E-mail providers as their primary E-Mail account and the development of free virus scanning software such as AVG, free communicati ons composing and artistic programs have gradually eroded communications corporations copyright power and grip on the consumer market. However here, within these filesharing and producing communities the lines between the expression of ideas in a material form and an idea itself are more deeply blurred as the providers of free programmes and those who illegally copy and distribute software, programmes and cultural files (such as communications), known as warez have developed their own codes of production and consumption. An academic of Southern California University, D. Thomas alludes to this in his article Innovation, Piracy and the Ethos of New Media identifies three key fundamentals in the warez ethos (Thomas 2002, p.87). Firstly, keeping information free and open in the face of corporate control, an act which they see as embodying the spirit of the Internet; communications or game lovers right to redistribute goods they have purchased providing they do not profit finan cially. Secondly the sense of an entitlement to digital content, as after buying a computer and internet access they see the content as already paid for (Thomas 2002, p.87). It can therefore be seen that the digital environment erodes copyright protection and the benefits copyright brings to its owners and distributors. Due to the erosion of copyright protections, debate has arisen as to whether the erosion of copyright is desirable. According to Spinello, while they are evermore protected by government legislation, property rights are often dismissed or disparaged in academic circles. Post-modern critics, for example, find it hard, to accept that creative works have a single author, so the assignment of a property right loses intelligibility (Spinello 2003, p.2). It has therefore been argued by many academics, including Lessig that innovation and creativity depend upon free, uncontrolled resources and more precisely, according to Lessig the Internet forms an innovation c ommons,† that is, a space where innovation and creative expression can flourish (Spinello 2003, p.3). In an effort to protect themselves from the increasing breaches of copyright brought about by these kind of principles and digital technologies that facilitate these breaches of copyright, copyright owners have lobbied governments to extend copyright protection to lifetime plus seventy years and are attempting to override exceptions granted to institutions such as universities and parliaments along with removing the copyright ownership from creators to themselves. This has facilitated the rise of movements against this trend known as Open Access and Creative Commons in order to protect creators and consumers. Open Access and Creative Commons are two organisations that espouse opposing, yet fundamentally similar goals to deal with the blurring of the boundaries between the expression of ideas in a material form and ideas themselves. On the one hand Creative Commons argues for the protection of creators through the benefits of minimal copyright protections known as moral rights by issuing their own legally recognised copyright licenses. The moral rights extend the rights of creators to the basic entitlements of attribution and integrity that have adopted in the developed world, including Europe and Australia (excluding USA). While attribution is the right of the creator to have his work recognised by attribution, integrity is the right of the creator not to have his work falsely portrayed or misused. Creative Commons aims to promote better identification, negotiation and reutilization of content for the purposes of creativity and innovation. It aims to make copyright content more active† by ensuring that content can be reutilized with a minimum of transactional effort (Fitzgerald Oi 2004, p.1). Alternately, Open Access seeks to minimize copyright in its entirety. Open Access† means access to the full text of a scientific publication on the internet, with no other limitations than possibly a requirement to register, for statistical or other purposes (Bjà ¶rk, Roos, Lauri 2008, p.1). The purpose of this initiative is to accredit creators with their copyright and offer access to materials at minimum or no cost so as not to stifle creativity due to excessive copyright protections under the law. However one must consider the implications of the erosion of copyright as discussed above and whether protecting old works is becoming obsolete. Some scholars and economists believe that copyright is crucial to the development of society and its advancement due to the protections of copyright and their benefits owners of copyright aspire to. A particular point raised in the town meeting was the relevance of copyright if individuals can merely download audio, visual and software files from file sharing programs on the Internet for no-charge. However a report commissioned by the Australian government in 1998 raised the interesting point that copyright is crucial to the capitalist system of innovation and development. These industries form a significant and, to date, growing part of the Australian economy in 1992-93, the net contribution of copyright based industries to the total economy was an estimated $11 billion in constant prices, or 2.9% of the total GDP and the report concluded Copyright is the glue in the various transactions between creators and investors the legal mechanism which ensures that the value of creative effort or investment is not undermined and devalued by others taking a free ride on that effort or investment (McDonald 1999, p.2). It can be affirmed then, that a system of copyright, limited even, is desirable, if not to protect creators, then to at least achieve a balance between the rights of creators and copyright producers and distributors for revenue and moral accreditation, while allowing access to the public for consumption. A system of lim ited intellectual property protection is justified both as an inducement for future creative activity and as a reward for the intellectual labor associated with that socially valuable activity (Spinello 2003, p.2). It has been argued by many academics that the complete erosion of copyright protections may dislodge the profitability of many industries such as the gaming, communications and film, to the detriment of future production as creators see no purpose in creation without economic gain (McDonald 1999; Lee 2005). For example Illegal file sharing on the internet leads to considerable financial losses for artists and copyright owners as well as producers and sellers of communications (Quiring, von Walter Atterer 2008, p.434). It can therefore be strongly stated that while at times, when applied without distinction, copyright can be an encumbrance if argued from n Open Access perspective. However one must consider copyright as the glue that McDonald describes it as whe n considering the incentive effect copyright has in relation to the development and dissemination of cultural information (McDonald 1999, p.2). In conclusion it can be seen that the blurring of the boundaries between the expression of ideas in a material form (which is protected by copyright) and an idea itself (which is not) has led to the development of what Benkler has named the networked information economy (Benkler 2003, p.1245). The networked information economy makes it possible for nonmarket and decentralized models of production to increase their presence alongside the more traditional models, causing some displacement, but increasing the diversity of ways of organizing production rather than replacing one with the other (Benkler 2003, p.1247). This has led to the decentralisation of the process of cultural production files (mp3s, film, communications, etc) and is what has ultimately led to the blurring between ideas in material form and ideas themselves as seen with the development of filesharing and peer-to-peer production networks against the backdrop of the digital environment. This has gradually led to the erosion of copyright and the strengthening of legislation in reponse, in turn leading to the development of movements such as Creative Commons and Open Access. The ensuing debate over whether copyright is desirable to retain in the digital environment has led me to conclude that while copyright can act as encumbrance to creativity and learning, by removing its protection the incentive it generates for innovation and cultural production, have necessitated the need for a balance of the two. References: Thomas, D. (2002) Innovation, Piracy and the Ethos of New Media, pp. 82-91 in D. Harries (ed.) The New Media Book. London: British Film Institute. Don’t waste time! Our writers will create an original "Idea Essay Example Pdf" essay for you Create order