Censorship and the digital razor essay

Notes Acknowledgments The ideas for this book come from the theoretical and practical work I have been doing for the last ten years. None of that work has been done alone. As a result, the list of people to whom I am indebted makes Oscar night acknowledgments look haiku-terse by comparison.

Censorship and the digital razor essay

They were characteristic of the earliest non-blackletter typefaces in European printing, and typefaces with serifs are still used.

People writing for the page rather than the screen tend to choose serif typefaces, based on the belief that the serifs help the eye follow the text more easily. To ease identification, serif types are usually broken up into subtypes based on their features. Terminology and the precise number of categories varies, but in general we have: The types of the European Renaissancespanning from the late s to the late s.

Generally split into two phases: Humanist, Jensonian or Venetian Old-Style: The earliest printed serif fonts, making a break with the earlier Blackletter tradition e. More-or-less codified by the work of Nicolas Jenson c.

The crossbar of the lowercase "e" sits at an angle, and the whole thing feels more "written" than "designed". Italic type doesn't exist yet. Named after printers Aldo Manuzio and the later Claude Garamont, both of whom established models that numerous others followed.

First used by the Aldine Press in printing a book by Pietro Bembo about a trip up Mount Aetna aroundit features a lowercase "e" with a horizontal bar and overall more regular proportions and details.

Line contrast is low-to-moderate. The French old-styles in the manner of Garamont and his contemporaries continue this theme, gradually becoming more formalized and distinct from writing.

Italic type exists also first printed by the Aldine Pressbut at the time is completely independent of the upright roman style. The major contribution in French old-styles is the use of slanted capitals to flow with the italic lowercase; previously, only upright roman capitals were used apart from swash calligraphic initials, which were usually written in after printing.

In general, the stroke angle goes from diagonal to upright or nearly upright, under the influence of the handwriting of the period using the pointed pen. There is greater contrast from thick to thin, and a greater influence of geometry. Because the term is so vague, it's often broken down into several subgroups: The types of the Enlightenment, characterized by the work coming out of the Low Countries during the 17th and early 18th century, particularly Amsterdam and Antwerp.

The overall style is similar to the 16th-century French models, but is more condensed and has a darker overall impression, influenced by the blackletter styles still prevalent there.

These types were brought to England by Dr. John Fell in the early 18th century, influencing the subsequent work of William Caslon. Italic type is starting to be used in combination with the roman, but only tentatively.

Contrast is much more pronounced than before, and italic types more closely resemble their roman counterparts, being more readily intermixed. Technical improvements in ink and punchcutting allow much sharper corners and thinner strokes on type, and in combination with smooth, bright white "wove" paper, there was a belief among critics that reading them for long stretches would cause blindness.

Others were more enthusiastic; Benjamin Franklin actually wrote to Baskerville, praising his work. Scotch Roman or Scotch Modern: Types originating in Scotland at the end of the 18th century, influenced in equal measure by the Neoclassical faces from England and the Didones from France and Italy.

Once the types made it to the U. There's some debate as to whether they should be considered as Transitional or Modern types, however, as Scotch has an overall Didone structure, yet it also has bracketed serifs sloping smoothly into the body of the letter rather than meeting at a corner and lower contrast, which it has in common with the late Transitional faces.

Modern, Didone or Romantic: The quintessential types for fashion magazines, epitomized by the work of Giambattista Bodoni in Italy, the Didot family in France, and to a somewhat lesser extent Justus Erich Walbaum in what is now Germany.- Censorship of the Internet The censorship of the Internet is a big argument today in the world of computer technology.

The government is trying to control something that is to many people an extension of the First Amendment Right, Freedom of Speech.

Censorship and the digital razor essay

Writers and Editors, linking writers and editors to resources (including each other), markets, clients, and fans; maintained by Pat McNees, writer, personal and organizational historian, journalist, editor.

In Zombie, Lucio Fulci turned a tropical island into a desolate wasteland of the walking benjaminpohle.com The Beyond, he transformed Louisiana into a nightmarish doorway to the benjaminpohle.comr, none of Fulci's elegiac, haunting visions can compare to what he inflicts on the landscape in New York Ripper (Lo squartatore di New York), his most controversial film.

Digital Censorship in China Case Study. Assignment. Task: Submit to complete this assignment. Read the digital censorship in China case study in SNHU IT Custom VitalSource Text, and write a short paper that answers the following questions from the textbook: 1. (a) Assume that you work as the senior vice president for international markets for Google.

As a follow-up to Tuesday’s post about the majority-minority public schools in Oslo, the following brief account reports the latest statistics on the cultural enrichment of schools in Austria.

Censorship and the digital razor essay

Vienna is the most fully enriched location, and seems to be in roughly the same situation as Oslo. Many thanks to Hermes for the translation from benjaminpohle.com This book, that combines wit with learning, will delight all who love Shakespeare and commentary on Shakespeare. — Theodore Dalrymple, author of Life at the Bottom and Farewell Fear.

Professor Gontar has provided us with a fresh, energetic, searching and sometimes acerbic look at Shakespeare, and, especially, some of his modern critics.

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