Paul Bocij and Leroy McFarlane
The advent of the internet has led to the new phenomenon of ‘cyberstalking’. This paper examines the extent of this problem. It is argued that all of the estimates commonly cited…
Abstract
The advent of the internet has led to the new phenomenon of ‘cyberstalking’. This paper examines the extent of this problem. It is argued that all of the estimates commonly cited are flawed because they rely on inaccurate or outdated information or are based on a number of unproven assumptions. Although some estimates suggest that there may be as many as 10 million victims in the United States and Canada alone, available evidence supports a far smaller estimate. It is concluded that additional research is needed to arrive at more accurate and reliable estimates.
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Paul Bocij, Helen Bocij and Leroy McFarlane
This paper presents the first academic case study of a UK cyberstalking incident that involved an individual known to have harassed at least four victims. The case study describes…
Abstract
This paper presents the first academic case study of a UK cyberstalking incident that involved an individual known to have harassed at least four victims. The case study describes how the harasser selected victims, his use of technology to gather confidential information about them and his use of multiple personalities as part of the process of harassment. The discussion section of the paper raises a broad range of issues, including whether the case represents a genuine cyberstalking incident, how technology was used to assist the harasser's activities and how the harasser attempted to avoid detection.
Artists operating under a studio model, such as Andy Warhol, have frequently been described as reducing their work to statements of authorship, indicated by the signature finally…
Abstract
Artists operating under a studio model, such as Andy Warhol, have frequently been described as reducing their work to statements of authorship, indicated by the signature finally affixed to the work. By contrast, luxury goods manufacturers decry as inauthentic and counterfeit the handbags produced during off-shift hours using the same materials and craftsmanship as the authorized goods produced hours earlier. The distinction between authentic and inauthentic often turns on nothing more than a statement of authorship. Intellectual property law purports to value such statements of authenticity, but no statement has value unless it is accepted as valid by its audience, a determination that depends on shared notions of what authenticity means as well as a common understanding of what authenticity designates.