2008/02/04
When I was a young boy, My father took me into the city To see a marching band. He said, "Son when you grow up, will you be the saviour of the broken, The beaten and the damned?" He said "Will you defeat them, your demons, and all the non believers, the plans that they have made?" Because one day I'll leave you, A phantom to lead you in the summer, To join the black parade." When I was a young boy, My father took me into the city To see a marching band. He said, "Son when you grow up, will you be the saviour of the broken, The beaten and the damned?" Sometimes I get the feeling she's watching over me. And other times I feel like I should go. Went through it all, the rise and fall, the bodies in the streets. And when you're gone we want you all to know We'll Carry on, We'll Carry on And though you're dead and gone believe me Your memory will carry on Carry on We'll carry on And in my heart I cant contain it The anthem wont explain it. A world that sends you reeling from decimated dreams Your misery and hate will kill us all So paint it black and take it back Let's shout it loud and clear Defiant to the end we hear the call To carry on We'll carry on And though you're dead and gone believe me Your memory will carry on We'll carry on And though you're broken and defeated Your weary widow marches on And on we carry through the fears Oh oh oh Disappointed faces of your peers Oh oh ohh [Black Parade lyrics on http://www.metrolyrics.com]Take a look at me cause I could not care at all Do or die You'll never make me Cause the world will never take my heart You can try, you'll never break me We want it all, I'm gonna play this part I won't explain or say i'm sorry I'm unashamed, I'm gonna show my scar Give a cheer, for all the broken Listen here, because it's who we are I'm just a man, I'm not a hero Just a boy, who had to sing this song Just a man, I'm not a hero I Don't Care!We'll carry on We'll carry on Though you're dead and gone believe me Your memory will carry on We'll carry on And though you're broken and defeated You're weary widow marches on Do or die You'll never make me Cause the world will never take my heart You can try, you'll never break me We want it all, [We'll carry on] I'm gonna play this part Do or die [We'll carry on]You'll never make me [We'll carry on]Cause the world will never take my heart You can try, [We'll carry on]You'll never break me We want it all, [We'll carry on] I'm gonna play this part [We'll carry on]
2008/01/23
Information:
Name : Shaun Rey M. Lantaca
Age : 18 years old
Sex : Male
Birth date : 29th day of April 1989
Civil Status : It’s complicated
Occupation : Student
Permanent : P-3 Puntod, Lopez Jaena
Misamis Occidental
Philippines
7208
Contacts : +45863931 / +639182212337
Formercute@yahoo.com
Objective : Simple guy, fairskin, slightly slim, 5’6 in height, 53 lbs. funny
To be with.
Educational Attainment:
Elementary : Puntod Elementary School - 1999-2000
Lopez Jaena, Misamis Occidental
(Special Awards: Best in Penmanship, Most Punctual, BSP member)
High School : (MSU) Mindanao State University - 2004-2005
Lopez Jaeana, Misamis Occidental
(Special Awards: 9th placer out of 10 Achievers)
College : (CIT) C-LAN Institute of Technology – 2005-2006
Cor. Mabini & Capt. Catane Sts. Pob.1 Oroquieta City
Course : (2yr.Computer Programming - Unfinished)
Special skills:
: Knowledge in Office Computer such as Microsof Exel,
Microsoft Word, Microsoft PowerPoint, Lotus AMI-PRO
and AUTO-CAD.
Experiences:
: Not yet.
Name : Shaun Rey M. Lantaca
Age : 18 years old
Sex : Male
Birth date : 29th day of April 1989
Civil Status : It’s complicated
Occupation : Student
Permanent : P-3 Puntod, Lopez Jaena
Misamis Occidental
Philippines
7208
Contacts : +45863931 / +639182212337
Formercute@yahoo.com
Objective : Simple guy, fairskin, slightly slim, 5’6 in height, 53 lbs. funny
To be with.
Educational Attainment:
Elementary : Puntod Elementary School - 1999-2000
Lopez Jaena, Misamis Occidental
(Special Awards: Best in Penmanship, Most Punctual, BSP member)
High School : (MSU) Mindanao State University - 2004-2005
Lopez Jaeana, Misamis Occidental
(Special Awards: 9th placer out of 10 Achievers)
College : (CIT) C-LAN Institute of Technology – 2005-2006
Cor. Mabini & Capt. Catane Sts. Pob.1 Oroquieta City
Course : (2yr.Computer Programming - Unfinished)
Special skills:
: Knowledge in Office Computer such as Microsof Exel,
Microsoft Word, Microsoft PowerPoint, Lotus AMI-PRO
and AUTO-CAD.
Experiences:
: Not yet.
2008/01/21
2007/12/05
*COPY RIGHT ACT*
The Copyright Act- is a piece of United States copyright legislation and remains the primary basis of copyright law in the United States, as amended by several later enacted copyright provisions. The Act spells out the basic rights of copyright holders, codified the doctrine of "fair use", and converted the term of copyrights from a fixed period requiring renewal to an extended period based on the date of the creator's death. It became Public Law number 94-553 on October 19, 1976 and went into effect on January 1, 1978.
History & purpose
Before the 1976 Act, the last major revision to statutory copyright law in the United States occurred in 1909. In deliberating the Act, Congress noted that extensive technological advances had occurred since the adoption of the 1909 Act. Television, motion pictures, sound recordings, and radio were cited as examples. The Act was designed in part to address intellectual property questions raised by these new forms of communication. (see House report number 94-1476)
Aside from advances in technology, the other main impetus behind the adoption of the 1976 Act was the development of and the United States' participation in the Universal Copyright Convention (UCC) (and its anticipated participation in the Berne Convention). While the U.S. became a party to the UCC in 1955, the machinery of government was slow to update U.S. copyright law to conform to the Convention's standards. In the years following the United States' adoption of the UCC, Congress commissioned multiple studies on a general revision of copyright law, culminating in a published report in 1961. A draft of the bill was introduced in both the House and Senate in 1964, but the original version of the Act was revised multiple times between 1964 and 1976 (see House report number 94-1476). The bill was passed as S. 22 of the 94th Congress by a vote of 97-0 in the Senate on February 19, 1976. S. 22 was passed by a vote of 316-7 in the House of Representatives on September 22, 1976. The final version was adopted into law as title 17 of the United States Code on October 19, 1976 when Gerald R. Ford signed it. The law went into effect on January 1, 1978.
At the time, the law was considered to be a fair compromise between publishers' and authors' rights. Barbaro Ringer, the U.S. Register of Copyrights, called the new law "a balanced compromise that comes down on the authors' and creators' side in almost every instance."[1] The law was almost exclusively discussed in publishers' and librarians' journals, and with the exception of a half page article in Time, was not discussed in mainstream publications at all. The claimed advantage of the law's extension of the term of subsisting copyrights was that "royalties will be paid to widows and heirs for an extra 19 years for such about-to-expire copyrights as those on Sherword Anderson's Winesburg, Ohio . . . ."[1] The other intent of the extension was to protect authors' rights "for life plus 50 years—the most common term internationally and the one Twain fought for in his lifetime."[1] Further extensions of both term and scope have been desired by some, as foreshadowed by the contemporary quote made by James Fitzpatrick, a Recording Industry Association of America copyright lawyer, in response to a question about whether his workload would decrease with the passage of the bill, "It's clear, that I'll continue to be occupied."[1]
Significant portions of the Act
The 1976 Act, through its terms, preempts all previous copyright law in the United States. The preempted law includes prior federal legislation, such as the Copyright Act of 1909, but also includes all relevant common law and state copyright laws insofar as they conflict with the Act.
~Subject matter of copyright~
Under section 102 of the Act, copyright protection extends to "original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device." The Act defines "works of authorship" as any of the following:
literary works,
musical works, including any accompanying words,
dramatic works, including any accompanying music,
pantomimes and choreographic works,
pictorial, graphic, and sculptural works,
motion pictures and other audiovisual works, and
sound recordings.[2]
An eighth category, architectural works, was added in 1990.
The wording of section 102 is significant mainly because it effectuated a major change in the mode of United States copyright protection. Under the last major statutory revision to U.S. copyright law, the Copyright Act of 1909, federal statutory copyright protection attached to original works only when those works were 1) published and 2) had a notice of copyright affixed. State copyright law governed protection for unpublished works before the adoption of the 1976 Act, but published works, whether containing a notice of copyright or not, were governed exclusively by federal law. If no notice of copyright was affixed to a work and the work was, in fact, "published" in a legal sense, the 1909 Act provided no copyright protection and the work became part of the public domain. Under the 1976 Act, however, section 102 says that copyright protection extends to original works that are fixed in a tangible medium of expression. Thus, the 1976 Act broadened the scope of federal statutory copyright protection from "published" works to works that are "fixed." The Act does not require that a copyright notice appear on a work for the work to be covered by copyright protection, rather, the Act requires only that the work be "original" and "fixed."
~Exclusive rights~
Section 106 granted five exclusive rights to copyright holders:
the right to reproduce (copy),
the right to create derivative works of the original work,
the right to sell, lease, or rent copies of the work to the public,
the right to perform the work publicly (if the work is a literary, musical, dramatic, choreographic, pantomime, motion picture, or other audiovisual work), and
the right to display the work publicly (if the work is a literary, musical, dramatic, choreographic, pantomime, pictorial, graphic, sculptural, motion picture, or other audiovisual work).[3]
The Act was amended in 1995 to include a sixth exclusive right—the right to perform a sound recording by means of digital audio.
~Fair use~
Additionally, the fair use defense to copyright infringement was codified for the first time in section 107 of the 1976 Act. Fair use was not a novel proposition in 1976, however, as federal courts had been using a common law form of the doctrine since the 1840s (an English version of fair use appeared much earlier). The Act codified this common law doctrine with little modification. Under section 107, the fair use of a copyrighted work is not copyright infringement, even if such use technically violates section 106. While fair use explicitly applies to use of copyrighted work for criticism, news reporting, teaching, scholarship, or research purposes, the defense is not limited to these areas. The Act gives four factors to be considered to determine whether a particular use is a fair use:
the purpose and character of the use (commercial or educational, transformative or reproductive);
the nature of the copyrighted work (fictional or factual, the degree of creativity);
the amount and substantiality of the portion of the original work used; and
the effect of the use upon the market (or potential market) for the original work.[4]
The Act was later amended to extend the fair use defense to unpublished works.
~Term of protection~
Previous copyright law set the duration of copyright protection at twenty-eight years with a possibility of a twenty-eight year extension, for a total maximum term of fifty-six years. The 1976 Act, however, substantially increased the term of protection. Section 302 of the Act extended protection to "a term consisting of the life of the author and 50 years after the author's death."[5] In addition, the Act created a static seventy-five year term (dated from the date of publication) for anonymous works, pseudonymous works, and works made for hire. In 1998 the Sonny Bono Copyright Term Extension Act extended copyright protection to the duration of the author's life plus seventy years for general copyrights and to ninety-five years for works made for hire.
~Transfer of copyright~
Section 204 of the Act governs the transfer of ownership of copyrights. The section requires a copyright holder to sign a written instrument of conveyance that expressly transfers ownership of the copyright to the intended recipient for a transfer to be effective.[6] Prior case law on this issue was conflicting, with some cases espousing a rule similar to section 204 and others reaching a quite different conclusion. A 1942 New York case, for example, held the opposite—the court said that while a copyright in a work is distinct from a property right in the work, the copyright must be expressly withheld by the author if the work is sold or it will automatically transfer with the property right in the work. While the 1976 Act retains the property right/copyright distinction (in section 202), section 204 eliminates the inconsistent common law by assuming that the copyright is withheld by the author unless it is expressly transferred.
~Registration & deposit~
According to section 408 of the Act, registration of a work with the Copyright Office is not a prerequisite for copyright protection.[7] The Act does, however, allow for registration, and gives the Copyright Office the power to promulgate the necessary forms. Aside from Copyright Office paperwork, the Act requires only that one copy, or two copies if the work has been published, be deposited with the Office to accomplish registration. Though registration is not required for copyright protection to attach to a work, section 411 of the Act does require registration before a copyright infringement action by the creator of the work can proceed.[8] Even if registration is denied, however, an infringement action can continue if the creator of the work joins the Copyright Office as a defendant, requiring the court to determine the copyrightability of the work before addressing the issue of infringement.
The Copyright Act- is a piece of United States copyright legislation and remains the primary basis of copyright law in the United States, as amended by several later enacted copyright provisions. The Act spells out the basic rights of copyright holders, codified the doctrine of "fair use", and converted the term of copyrights from a fixed period requiring renewal to an extended period based on the date of the creator's death. It became Public Law number 94-553 on October 19, 1976 and went into effect on January 1, 1978.
History & purpose
Before the 1976 Act, the last major revision to statutory copyright law in the United States occurred in 1909. In deliberating the Act, Congress noted that extensive technological advances had occurred since the adoption of the 1909 Act. Television, motion pictures, sound recordings, and radio were cited as examples. The Act was designed in part to address intellectual property questions raised by these new forms of communication. (see House report number 94-1476)
Aside from advances in technology, the other main impetus behind the adoption of the 1976 Act was the development of and the United States' participation in the Universal Copyright Convention (UCC) (and its anticipated participation in the Berne Convention). While the U.S. became a party to the UCC in 1955, the machinery of government was slow to update U.S. copyright law to conform to the Convention's standards. In the years following the United States' adoption of the UCC, Congress commissioned multiple studies on a general revision of copyright law, culminating in a published report in 1961. A draft of the bill was introduced in both the House and Senate in 1964, but the original version of the Act was revised multiple times between 1964 and 1976 (see House report number 94-1476). The bill was passed as S. 22 of the 94th Congress by a vote of 97-0 in the Senate on February 19, 1976. S. 22 was passed by a vote of 316-7 in the House of Representatives on September 22, 1976. The final version was adopted into law as title 17 of the United States Code on October 19, 1976 when Gerald R. Ford signed it. The law went into effect on January 1, 1978.
At the time, the law was considered to be a fair compromise between publishers' and authors' rights. Barbaro Ringer, the U.S. Register of Copyrights, called the new law "a balanced compromise that comes down on the authors' and creators' side in almost every instance."[1] The law was almost exclusively discussed in publishers' and librarians' journals, and with the exception of a half page article in Time, was not discussed in mainstream publications at all. The claimed advantage of the law's extension of the term of subsisting copyrights was that "royalties will be paid to widows and heirs for an extra 19 years for such about-to-expire copyrights as those on Sherword Anderson's Winesburg, Ohio . . . ."[1] The other intent of the extension was to protect authors' rights "for life plus 50 years—the most common term internationally and the one Twain fought for in his lifetime."[1] Further extensions of both term and scope have been desired by some, as foreshadowed by the contemporary quote made by James Fitzpatrick, a Recording Industry Association of America copyright lawyer, in response to a question about whether his workload would decrease with the passage of the bill, "It's clear, that I'll continue to be occupied."[1]
Significant portions of the Act
The 1976 Act, through its terms, preempts all previous copyright law in the United States. The preempted law includes prior federal legislation, such as the Copyright Act of 1909, but also includes all relevant common law and state copyright laws insofar as they conflict with the Act.
~Subject matter of copyright~
Under section 102 of the Act, copyright protection extends to "original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device." The Act defines "works of authorship" as any of the following:
literary works,
musical works, including any accompanying words,
dramatic works, including any accompanying music,
pantomimes and choreographic works,
pictorial, graphic, and sculptural works,
motion pictures and other audiovisual works, and
sound recordings.[2]
An eighth category, architectural works, was added in 1990.
The wording of section 102 is significant mainly because it effectuated a major change in the mode of United States copyright protection. Under the last major statutory revision to U.S. copyright law, the Copyright Act of 1909, federal statutory copyright protection attached to original works only when those works were 1) published and 2) had a notice of copyright affixed. State copyright law governed protection for unpublished works before the adoption of the 1976 Act, but published works, whether containing a notice of copyright or not, were governed exclusively by federal law. If no notice of copyright was affixed to a work and the work was, in fact, "published" in a legal sense, the 1909 Act provided no copyright protection and the work became part of the public domain. Under the 1976 Act, however, section 102 says that copyright protection extends to original works that are fixed in a tangible medium of expression. Thus, the 1976 Act broadened the scope of federal statutory copyright protection from "published" works to works that are "fixed." The Act does not require that a copyright notice appear on a work for the work to be covered by copyright protection, rather, the Act requires only that the work be "original" and "fixed."
~Exclusive rights~
Section 106 granted five exclusive rights to copyright holders:
the right to reproduce (copy),
the right to create derivative works of the original work,
the right to sell, lease, or rent copies of the work to the public,
the right to perform the work publicly (if the work is a literary, musical, dramatic, choreographic, pantomime, motion picture, or other audiovisual work), and
the right to display the work publicly (if the work is a literary, musical, dramatic, choreographic, pantomime, pictorial, graphic, sculptural, motion picture, or other audiovisual work).[3]
The Act was amended in 1995 to include a sixth exclusive right—the right to perform a sound recording by means of digital audio.
~Fair use~
Additionally, the fair use defense to copyright infringement was codified for the first time in section 107 of the 1976 Act. Fair use was not a novel proposition in 1976, however, as federal courts had been using a common law form of the doctrine since the 1840s (an English version of fair use appeared much earlier). The Act codified this common law doctrine with little modification. Under section 107, the fair use of a copyrighted work is not copyright infringement, even if such use technically violates section 106. While fair use explicitly applies to use of copyrighted work for criticism, news reporting, teaching, scholarship, or research purposes, the defense is not limited to these areas. The Act gives four factors to be considered to determine whether a particular use is a fair use:
the purpose and character of the use (commercial or educational, transformative or reproductive);
the nature of the copyrighted work (fictional or factual, the degree of creativity);
the amount and substantiality of the portion of the original work used; and
the effect of the use upon the market (or potential market) for the original work.[4]
The Act was later amended to extend the fair use defense to unpublished works.
~Term of protection~
Previous copyright law set the duration of copyright protection at twenty-eight years with a possibility of a twenty-eight year extension, for a total maximum term of fifty-six years. The 1976 Act, however, substantially increased the term of protection. Section 302 of the Act extended protection to "a term consisting of the life of the author and 50 years after the author's death."[5] In addition, the Act created a static seventy-five year term (dated from the date of publication) for anonymous works, pseudonymous works, and works made for hire. In 1998 the Sonny Bono Copyright Term Extension Act extended copyright protection to the duration of the author's life plus seventy years for general copyrights and to ninety-five years for works made for hire.
~Transfer of copyright~
Section 204 of the Act governs the transfer of ownership of copyrights. The section requires a copyright holder to sign a written instrument of conveyance that expressly transfers ownership of the copyright to the intended recipient for a transfer to be effective.[6] Prior case law on this issue was conflicting, with some cases espousing a rule similar to section 204 and others reaching a quite different conclusion. A 1942 New York case, for example, held the opposite—the court said that while a copyright in a work is distinct from a property right in the work, the copyright must be expressly withheld by the author if the work is sold or it will automatically transfer with the property right in the work. While the 1976 Act retains the property right/copyright distinction (in section 202), section 204 eliminates the inconsistent common law by assuming that the copyright is withheld by the author unless it is expressly transferred.
~Registration & deposit~
According to section 408 of the Act, registration of a work with the Copyright Office is not a prerequisite for copyright protection.[7] The Act does, however, allow for registration, and gives the Copyright Office the power to promulgate the necessary forms. Aside from Copyright Office paperwork, the Act requires only that one copy, or two copies if the work has been published, be deposited with the Office to accomplish registration. Though registration is not required for copyright protection to attach to a work, section 411 of the Act does require registration before a copyright infringement action by the creator of the work can proceed.[8] Even if registration is denied, however, an infringement action can continue if the creator of the work joins the Copyright Office as a defendant, requiring the court to determine the copyrightability of the work before addressing the issue of infringement.
what is DMCA?
~Short for the Digital Millennium Copyright Act, an act of Congress that was signed into law on October 28th, 1998, by President Clinton. DMCA's purpose is to update U.S. copyright laws for the digital age.
Briefly, the DMCA stipulates the following conditions:
1. It is a crime to circumvent anti-piracy measures that are built into commercial software.
2. It is a crime to manufacture, sell or distribute code-cracking devices that illegally copy software. However, it is not a crime to crack copyright protection devices in order to conduct encryption research, assess product interoperability or test the security of computer systems.
3. Under certain circumstances, nonprofit libraries, archives and education institutions are exempt from the anti-circumvention provisions.
4. The copyright infringement liability of ISPs that simply transmit information over the Internet is limited. However, ISPs must remove material from users' Web sites that appears to constitute copyright infringement.
5. The liability for copyright infringement by faculty members and graduate students of nonprofit institutions of higher education is limited when the institutions serve as ISPs and under certain circumstances.
6. Webcasters must pay licensing fees to record companies.
7. The Register of Copyrights must submit to Congress recommendations regarding how to promote distance education through digital technologies while "maintaining an appropriate balance between the rights of copyright owners and the needs of users."
~Short for the Digital Millennium Copyright Act, an act of Congress that was signed into law on October 28th, 1998, by President Clinton. DMCA's purpose is to update U.S. copyright laws for the digital age.
Briefly, the DMCA stipulates the following conditions:
1. It is a crime to circumvent anti-piracy measures that are built into commercial software.
2. It is a crime to manufacture, sell or distribute code-cracking devices that illegally copy software. However, it is not a crime to crack copyright protection devices in order to conduct encryption research, assess product interoperability or test the security of computer systems.
3. Under certain circumstances, nonprofit libraries, archives and education institutions are exempt from the anti-circumvention provisions.
4. The copyright infringement liability of ISPs that simply transmit information over the Internet is limited. However, ISPs must remove material from users' Web sites that appears to constitute copyright infringement.
5. The liability for copyright infringement by faculty members and graduate students of nonprofit institutions of higher education is limited when the institutions serve as ISPs and under certain circumstances.
6. Webcasters must pay licensing fees to record companies.
7. The Register of Copyrights must submit to Congress recommendations regarding how to promote distance education through digital technologies while "maintaining an appropriate balance between the rights of copyright owners and the needs of users."
2007/11/14
Disadvantages of C2C
Advantages of C2C
•Paypal set up directly for this reason
•
•Broader market
•
•Eliminates intermediary
•
•Constantly changing, updating
•
•Always there so that consumers can use it whenever they want
•
•Broader market
•
•Eliminates intermediary
•
•Constantly changing, updating
•
•Always there so that consumers can use it whenever they want
Examples of C2C
•My.Dal (Dalhousie University Classifieds)
•eBay
•Craigslist
•Tiger Books
•Amazon.com
•My.Yahoo Auction
•Mightybids.com
•ubuysell.ca
•clickbuysell.com
•gbuysell.com
•eb2bs.com
•ubuysell.co.uk
•eBay
•Craigslist
•Tiger Books
•Amazon.com
•My.Yahoo Auction
•Mightybids.com
•ubuysell.ca
•clickbuysell.com
•gbuysell.com
•eb2bs.com
•ubuysell.co.uk
Consumer-to-Consumer
- involves the electronically-facilitated transactions between consumers through some third party. A common example is the online auction, in which a consumer posts an item for sale and other consumers bid to purchase it; the third party generally charges a flat fee or commission. The sites are only intermediaries, just there to match consumers. They do not have to check quality of the products being offered.
•B2C e-commerce went through some tough times, particularly after the technology-heavy Nasdaq crumbled in 2000. In the ensuing dotcom carnage, hundreds of e-commerce sites shut their virtual doors and some experts predicted years of struggle for online retail ventures. Since then, however, shoppers have continued to flock to the web in increasing numbers. In fact, North American consumers love e-commerce so much that despite growing fears about identity theft, they spent $172 billion shopping online in 2005, up from $38.8 billion in 2000. And the future looks rosy for e-commerce. By 2010, consumers are expected to spend $329 billion each year online, according to Forrester Research. What’s more, the percentage of U.S. households shopping online is expected to grow from 39 percent this year to 48 percent in 2010.
•For a long time, however, companies have had a hard time making their websites dynamic and engaging enough for consumers to want to spend time on the site and actually spend their money there. That’s getting easier as more and more Americans are connecting to the Internet via broadband. With more customers using broadband, companies can take greater advantage of newer, flashier technologies that were not possible with dialup connections.
•For a long time, however, companies have had a hard time making their websites dynamic and engaging enough for consumers to want to spend time on the site and actually spend their money there. That’s getting easier as more and more Americans are connecting to the Internet via broadband. With more customers using broadband, companies can take greater advantage of newer, flashier technologies that were not possible with dialup connections.
Business-to-Consumer
•While the term e-commerce refers to all online transactions, B2C stands for "business-to-consumer" and applies to any business or organization that sells its products or services to consumers over the Internet for its own use. When most people think of B2C e-commerce, they think of Amazon.com, the online bookseller that launched its site in 1995 and quickly took on the nation's major retailers. In addition to online retailers, B2C has grown to include services such as online banking, travel services, online auctions, health information and real estate sites. Peer-to-peer sites such as Craigslist also fall under the B2C category.
•In short, although online commerce still represents less than six percent of all retail sales, its growth and future prospects show that it has finally become as established and mainstream as a trip to the local mall.
•
•In short, although online commerce still represents less than six percent of all retail sales, its growth and future prospects show that it has finally become as established and mainstream as a trip to the local mall.
•
Many B2B sites may seem to fall into more than one of these groups. Models for B2B sites are still evolving. Another type of B2B enterprise is software for building B2B Web sites, including site building tools and templates, database, and methodologies as well as transaction software.
B2B is e-commerce between businesses. An earlier and much more limited kind of online B2B prior to the Internet was Electronic Data Interchange (EDI), which is still widely used.
B2B is e-commerce between businesses. An earlier and much more limited kind of online B2B prior to the Internet was Electronic Data Interchange (EDI), which is still widely used.
•Specialized or vertical industry portals which provide a "subWeb" of information, product listings, discussion groups, and other features. These vertical portal sites have a broader purpose than the procurement sites (although they may also support buying and selling).
•Brokering sites that act as an intermediary between someone wanting a product or service and potential providers. Equipment leasing is an example.
•Information sites (sometimes known as infomediary), which provide information about a particular industry for its companies and their employees. These include specialized search sites and trade and industry standards organization sites.
•Brokering sites that act as an intermediary between someone wanting a product or service and potential providers. Equipment leasing is an example.
•Information sites (sometimes known as infomediary), which provide information about a particular industry for its companies and their employees. These include specialized search sites and trade and industry standards organization sites.
B2B Web sites can be sorted into:
•
•Company Web sites, since the target audience for many company Web sites is other companies and their employees. Company sites can be thought of as round-the-clock mini-trade exhibits. Sometimes a company Web site serves as the entrance to an exclusive extranet available only to customers or registered site users. Some company Web sites sell directly from the site, effectively
e-tailing to other businesses
•Product supply and procurement exchanges, where a company purchasing agent can shop for supplies from vendors, request proposals, and, in some cases, bid to make a purchase at a desired price. Sometimes referred to as e-procurement sites, some serve a range of industries and others focus on a niche market.
•Company Web sites, since the target audience for many company Web sites is other companies and their employees. Company sites can be thought of as round-the-clock mini-trade exhibits. Sometimes a company Web site serves as the entrance to an exclusive extranet available only to customers or registered site users. Some company Web sites sell directly from the site, effectively
e-tailing to other businesses
•Product supply and procurement exchanges, where a company purchasing agent can shop for supplies from vendors, request proposals, and, in some cases, bid to make a purchase at a desired price. Sometimes referred to as e-procurement sites, some serve a range of industries and others focus on a niche market.
what is business-to-business?
On the Internet, B2B (business-to-business), also known as e-biz, is the exchange of products, services, or information between businesses rather than between businesses and consumers. Although early interest centered on the growth of retailing on the Internet (sometimes called e-tailing), forecasts are that B2B revenue will far exceed business-to-consumers (B2C) revenue in the near future. According to studies published in early 2000, the money volume of B2B exceeds that of e-tailing by 10 to 1. Over the next five years, B2B is expected to have a compound annual growth of 41%. The Gartner Group estimates B2B revenue worldwide to be $7.29 trillion dollars by 2004. In early 2000, the volume of investment in B2B by venture capitalists was reported to be accelerating sharply although profitable B2B sites were not yet easy to find.
E-commerce
•Electronic Commerce is the buying and selling of goods and services on the Internet, especially the World Wide Web. In practice, this term and a newer term, e-business, are often used interchangeably. For online retail selling, the term e-tailing is sometimes used.
2007/11/07
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