This paper investigates the drivers and inhibitors of Internet privacy concern. Applying the Multidimensional Development Theory to the online environment, we identify the important factors under four dimensions—i.e., environmental, individual, information management, and interaction management. We tested our model using data from an online survey of 2417 individuals in Hong Kong. The results show that the factors under all four dimensions are significant in the formation of Internet privacy concern. Specifically, familiarity with government legislation, Internet knowledge, benefit of information (...) disclosure, privacy protection, and social presence reduce Internet privacy concern, while individuals’ previous privacy invasion experience, risk avoidance personality, and sensitivity of information requested by websites increase Internet privacy concern. We conducted an analysis of unobserved heterogeneity to confirm the significance of these factors. A follow-up moderation analysis shows that the individual factors moderate the effects of the information management factor and the interaction management factors. The findings provide an integrated understanding of the formation of Internet privacy concern. (shrink)
continent. 2.1 (2012): 2–5 To begin with, as we understand from a remote place like Seoul, there have been two different conceptions of materiality in the Western experimental ?lm history: materiality of cinema and of ?lm. The former has been represented by the practitioners of the so-called the “Expanded Cinema” and the latter by the tradition of the “Hand-made” ?lm. Whereas for the Expanded Cinema, the materiality or the “medium-speci?city” includes not only the ?lm material but also the entire condition (...) and environment in which the cinematic experience is situated (i.e.: screen, projector, audience and theatre); for the Hand-made ?lm, it is the whole ?lmic process prior to the screening in front of the audience (i.e.: hand-processing and optical-printing). The two practices share in the materialist turn that opens up the radical possibilities of aesthetic (and even political) interventions into a process previously considered seamless and transparent. What can be called to attention through the materialist turn includes the aesthetic-institutional process in the projection-spectator relation and the (non-) representational process in ?lm-making. Moreover, these interventions bring their own temporalities back to those processes, and this returning emancipates the temporalities from their subordination to the cinema-as-commodity. Hangjun Lee is a ?lm-based artist whose practice is concerned with Hand-made Film and Experimental Cinema. Given these interests, Lee questions the linkage between materiality and temporality. This was his preoccupation around 2006, the time at which he started to collaborate with Chulki Hong, the noise improviser. The improvisational nature of their audio-visual performances opened means of detouring from the conventional editing techniques. Their collaboration also afforded critical investigations into the performativity of the practices in both the darkroom and the screening room, as well as in the private recording/practicing studio, and public performance spaces for the improvising musician. In fact, it was a kind of common interest shared by both us from the outset. In our collaboration, we avoid sacri?cing/concealing/minimizing one form of performativity (the performative nature and temporality of compositional process) for the sake of the other (i.e. those in improvisational and executional process). In the ?eld of experimental music and sound, this kind of approach has been comprehensively called “cracking” or “hacking”. The concepts are ?nely formulated in the coinage of “Cracked Everyday Electronics” (by Voice Crack) or more generally “Handmade Electronic Music” (by Nicolas Collins). 1 And this was a pure but perhaps necessary coincidence. the original title of the work of our collaboration and, retrospectively, of the set of our working principles at the same time, “The Cracked Share” was named by Lee after Georges Bataille’s masterwork, The Accursed Share , with the substitution of the adjective with “Cracked” as a synonym for ‘reticulated’ in the photographic image. We think the ascetic and subtractive aesthetic turn of the contemporary non-idiomatic improvised (and even somewhat non-improvised) music 2 pushed us further towards more radical dissociation with the empty temporality of commodi?ed audio-visual experience. It can be called the aesthetics of “without,” and exemplars include Yoshihide Otomo’s Turntable Without Records , Sachiko M’s Sampler without Samples . There are also other radical experiments even with the (non-)improvised music without noise and sounds that neatly meet the rules and idioms of the existing/established experimental music. For us, this thread among the experimental music currents weighs in its emphasis on subtractive and dissociational power unique to improvisational action. Surely, the tradition of the Cracked and Handmade improvised music teaches us the crucial lesson that “[m]edia and mediation are never transparent” and that “[m]ediation actively transforms data from one form to another and is never passive.” 3 We couldn’t agree to this statement more. However, without the removal and withdrawal power of improvisation that poses and keeps both subjects (performer and audience) and objects (projector and instrument) in “inferiority,” 4 generalized cracking and hacking practices—or simply “glitch”—in music and visuals would be either sublimated into the mystical and ritualistic forms of “Film Alchemy” and “Noise Music” (to which both of us still strongly feel a belonging but also, more or less, ambivalent sentiments), or else assimilated into the logic of the commodi?ed audio-visual communication. Today in music, this principle of improvisational performativity should be formulated as the dis-organization of sound against the associational de?nition of (electronic) music and it needs to be translated into audio-visual experiences. In other words, cracking practices of free improvisation need not be limited in artistic creativity, in a darkroom, in a studio, or on the stage; the principle of the dis-organization of sound should be the principle of dis-organization (or cracked organization) of audio-visual performance space itself. NOTES 1) Norbert Möslang, “How Does a Bicycle Light Sound?: Cracked Everyday Electronics,” Leonardo Music Journal 14 (2004): 83; Nicolas Collins, Handmade Electronic Music: The Art of Hardware Hacking (New York: Rutledge, 2006). 2) We refer this not to the historical style or genre but rather the idea and practice that ?free improvisation? stands for. On the distinction between idiomatic and non-idiomatic improvisation, see Derek Bailey, Improvisation: Its Nature and Practice in Music (Cambridge, MA: Da Capo, 1993). On radically politico-histrorical interpretations of free improvisation and noise music from various present viewpoints, see Noise and Capitalism , (eds.) Mattin & Anthony Iles (Arteleku Audiolab, 2009). 3) Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge: MIT Press, 2009), p. 29. 4) I borrow the term from my long-time collaborator, Choi Joonyong. See Ryu Hankil, Hong Chulki & Choi Joonyong, Inferior Sounds (Balloon and Needle, CD, 2011). (shrink)
How can low-income, non-English-speaking parents become advocates, leaders, and role models in their children’s schools? _A Cord of Three Strands_ offers a close study of the Logan Square Neighborhood Association, a grassroots organization on the northwest side of Chicago, whose work on parent engagement has drawn national attention. The author identifies three elements—induction, integration, and investment—that together capture the dynamic and developmental nature of successful parent engagement. Writing with both optimism and urgency, author Soo Hong offers richly detailed portraits (...) of parents’ experiences and addresses the complex and sometime conflicting relationships among school, family, and community. (shrink)
The Corsair affair has been called the "most renowned controversy in Danish literary history." At the center is Søren Kierkegaard, whose pseudonymous Stages on Life's Way occasioned a frivolous and dishonorable review by Peder Ludvig Møller. Møller was associated with The Corsair, a publication notorious for gossip and caricature. The editor was Meïr Goldschmidt, an acquaintance of Kierkegaard's and an admirer of his early work. Kierkegaard struck back at not only Møller and Goldschmidt but at the paper as a whole. (...) The present volume contains all of the documents relevant to this dispute, plus a historical introduction that recapitulates the sequence of events surrounding the controversy. Parts I and II contain articles both signed by and attributed to Kierkegaard in response to the affair. A supplement includes writings pertaining to the Corsair affair by Goldschmidt and Møller, as well as unpublished pieces by Kierkegaard from his journals and papers. Although the immediate occasion was literary, for Kierkegaard the issues as well as the consequences were ethical, social, philosophical, and religious. Howard Hong argues that the most important consequence was wholly unexpected and unintended: the second phase of Kierkegaard's authorship. (shrink)
This book explores the essence of sandplay therapy. Drawing on Grace Hong’s extensive work in the field the book discusses this unique, creative and nonverbal approach to therapy. The book focuses on her experiences in practice, research and teaching from both the US and Taiwan.
We link the corporate governance literature in financial economics to the agency cost perspective of corporate social responsibility to derive theoretical predictions about the relationship between corporate governance and the existence of executive compensation incentives for CSR. We test our predictions using novel executive compensation contract data, and find that firms with more shareholder-friendly corporate governance are more likely to provide compensation to executives linked to firm social performance outcomes. Also, providing executives with direct incentives for CSR is an effective (...) tool to increase firm social performance. The findings provide evidence identifying corporate governance as a determinant of managerial incentives for social performance, and suggest that CSR activities are more likely to be beneficial to shareholders, as opposed to an agency cost. (shrink)
In this article, we explore the relationship between corporate social responsibility (CSR) and earnings management (EM). Our CSR index, using KLD data, incorporates information from the following issue areas: the community, corporate governance, diversity, the product, employee relations, the environment, and human rights. Results show that more socially responsible firms have higher quality accruals and less activity-based EM, both of which impact financial reporting quality.
The ease with which genotyping technologies generate tremendous amounts of data on research participants has been well chronicled, a feat that continues to become both faster and cheaper to perform. In parallel to these advances come additional ethical considerations and debates, one of which centers on providing individual research results and incidental findings back to research participants taking part in genetic research efforts. In 2006 the Industry Pharmacogenomics Working Group offered some ‘Points-to-Consider’ on this topic within the context of the (...) drug development process from those who are affiliated to pharmaceutical companies. Today many of these points remain applicable to the discussion but will be expanded upon in this updated viewpoint from the I-PWG. The exploratory nature of pharmacogenomic work in the pharmaceutical industry is discussed to provide context for why these results typically are not best suited for return. Operational challenges unique to this industry which cause barriers to returning this information are also explained. (shrink)
In the digital age, many corporations communicate with their publics via online channels. Among many channels, a corporation’s official Web site is often used for informing publics of its performance and other corporate-related information and for shaping a positive corporate image. This study quantitatively analyzed corporate Web sites, particularly the “About us” Web pages of Fortune 500 corporations based on symbolic convergence theory, which describes the formation of symbolic reality and the shared meaning of that symbolic reality among the public. (...) A content analysis revealed that economic corporate management was the dominant rhetorical vision, and the fantasy, in the context of SCT, of being a superior company was emphasized by the 500 examined corporations. Such symbolic reality was constructed using corresponding structural tools of Web content, such as dramatis personae, plot line, and scene. In addition, the rhetorical vision and fantasy themes created by the Web sites turned out to be contingent on business classifications. Companies that pursued other types of fantasy themes and rhetorical visions were also identified. Some suggestions for corporate communicators are provided based on the results of this analysis. (shrink)
In much of modern scholarship, the notion of datong 大通 in Zhuangzi’s famous zuowang 坐忘 passage is often interpreted as either Dao or a mental/spiritual state of an ideal person, a person who has obtained Dao. In either case, however, the association between datong and such interpretation lacks detailed justification resulting from an insufficiently understood relation between datong and its immediately preceding statements. Different from the more common readings, I propose a cognitive approach based on an image schema related to (...) non-obstruction. In order to demonstrate the philosophical importance of this schema, I will first briefly point out the problems of previous scholarship regarding the zuowang passage. Second, I will introduce the image schema related to non-obstruction based on a number of examples taken from the Zhuangzi. Finally, I will apply this methodology and introduce a cognitive experience-based interpretation of the zuowang passage. (shrink)
In the 1880s, there had existed a series of controversies between the proponents of open and closed transformers. James Swinburne reopened it in 1889 when he designed a new type of open ‘Hedgehog’ transformer, and argued that it had the highest all-day efficiency. Three years later, John Ambrose Fleming showed that the Hedgehog was not the best but rather close to the worst. The bitter controversy between Swinburne and Fleming ended quickly, as Fleming made the unstable AC power measurement stable (...) by creating agreement concerning the calibration of AC instruments with the help of Kelvin's authority. Instruments, measurement, and calibration were intimately bound up with hegemonic issues in late-Victorian electrical engineering. (shrink)
This paper aims to reconstruct the history of the first transatlantic wireless telegraphy on the basis of J. A. Fleming's unpublished notebooks and other manuscript sources. It will be shown that the progress of the experiment, in which power engineering was first combined with wireless telegraphy, was neither smooth nor automatic, and various kinds of difficulties or ‘resistances’ that Fleming and Marconi encountered during the course of the experiments in the laboratory and in the field at Poldhu will be emphasized. (...) This paper also aims to compare two different ‘styles’ of engineering. Fleming, whose educational background included Cambridge experimental physics, based his approach upon scientific engineering—that is, laboratory experiments, precise measurement, and mathematical considerations, whereas Marconi's work derived from an older style of doing technology—that is, field experiments, handicraft work, and an intuitive understanding of technological effects. These two different styles clashed in the experiment, and it will be shown that this tension became apparent when credit for a project's success was being assigned. (shrink)
Kripke's argument for the rigid designation of natural kind terms is fallacious because he does not distinguish natural kinds from second-order functional properties; by clarifying the concepts of natural kind and functional property, we can show that natural kind terms do designate their referents rigidly, but that functional property terms are not rigid designators. My discussions of functional property will also help dispel the worry about the alleged cases of contingent identity with regard to theoretical statements in science. There is (...) no contingent identity even in the form of second-order logic: Property identity is also a necessary identity. The principle of necessary identity rules relentlessly. (shrink)