Copyright (Law)

"Περιγραφή
Το παρόν σύγγραμμα εξετάζει το φαινόμενο των Νέων Μέσων και της δημοσιογραφίας των πολιτών ταυτόχρονα από τη σκοπιά της ηθικής, της επικοινωνίας, αλλά και του δικαίου της επικοινωνίας. Απευθύνεται σε όλους όσοι ασχολούνται σε επίπεδο θεωρίας ή πράξης με τα Νέα Μέσα και το Δίκαιο της Επικοινωνίας και, δεδομένου ότι η γλώσσα γραφής του είναι απλή και κατανοητή, μπορεί να αποτελέσει σημαντικό βοήθημα όχι μόνο για τους νομικούς, αλλά και για κάθε πολίτη-χρήστη των Νέων Μέσων.
Εξετάζονται ειδικότερα:
• Η επικοινωνιακή διάσταση των Νέων Μέσων, τα χαρακτηριστικά τους, οι θεωρίες που διέπουν τη λειτουργία τους, το κίνημα της δημοσιογραφίας των πολιτών στα Νέα Μέσα και οι αξίες του,
• ζητήματα σχετικά με την εφαρμογή της ελευθερίας της έκφρασης και του Τύπου στα Νέα Μέσα, τον περιορισμό των ελευθεριών, την ευθύνη που επισύρει η παραβίασή τους, σε συνάρτηση και με τη δυνατότητα για ανώνυμη έκφραση που παρέχουν τα Μέσα αυτά,
• ζητήματα ιδιωτικού διεθνούς δικαίου στα Νέα Μέσα,
• ζητήματα πνευματικής ιδιοκτησίας στα Νέα Μέσα, σε συνάφεια με τις αλλαγές που συντελούνται στο πεδίο της οικονομικής ανάπτυξης και εκδηλώνονται με την παγκόσμια κρίση,
• σκέψεις για τη ρύθμιση του κυβερνοχώρου.
"

The book draws a picture of possible new spaces for copyright. It expands on whether modern copyright law should be more flexible as to whether new or unconventional forms of expression - including graffiti, tattoos, land art, conceptual art and bio art, engineered DNA, sport movements, jokes, magic tricks, dj-sets, 3D printing, works generated by artificial intelligence, perfume making, typefaces, illegal and immoral works - deserve protection. The contributors offer authoritative, coherent and well-argued essays focusing on whether copyright can subsist in these unconventional subject matters.
Copyright law constantly evolves to keep up with societal changes and technological advances. Contemporary forms of creativity can threaten the comfortable conceptions of copyright law as creative people continually find new ways of expressing themselves. In this context, Non-Conventional Copyright identifies possible new spaces for copyright protection.
With current copyright law in mind, the contributions explore if the law should be more flexible as to whether new or unconventional forms of expression – including graffiti, tattoos, land art, conceptual art and bio art, engineered DNA, sport movements, jokes, magic tricks, DJ sets, 3D printing, works generated by artificial intelligence, perfume making, typefaces, or illegal and immoral works – deserve protection. Vitally, the contributors suggest that it may be time to challenge some of the basic tenets of copyright laws by embracing more flexible ways to identify protectable works and interpret the current requirements for protection. Additionally, some contributors cast doubts about whether copyright is the right instrument to address and regulate these forms of expression.
Contemporary in topic, this thought-provoking book will be essential reading for intellectual property law scholars, practitioners and policymakers. Creative people and those involved in the creative industries will also find this book an engaging read.

Theories about the music industry’s financial collapse abound. The digital download and the corresponding ease of piracy are common scapegoats. The ephemeral nature of music also enters into the discourse about an audience’s willingness to pay. However, phenomena such as crowdfunding and the vinyl revival complicate any narrative that suggests music is inherently less valuable to audiences than other popular media. This proposed research will conduct an inquiry into the historical factors that led to a privileging of image-based over audio-based work in American intellectual property law, particularly in the development of musical and photographic copyright in the nineteenth century.
This research aims to historicize the development of divergent policies in American copyright law toward audio-based and image-based work. The infamous White-Smith v. Apollo (1908) decision that ruled manufactures of player piano rolls did not have to pay royalties to composers is often framed as a historical footnote because it was superseded by compulsory licensing in the 1909 Reform Act. However, the logic that led to such a decision is deserving of further scrutiny as it potentially bears evidence of a prejudice against audio-based work. Case in point, a comparative analysis of the language used in the Burrow-Giles Lithographic Co. v. Sarony (1884) decision reveals a sharp difference in the Supreme Court’s estimation of photographic “authorship” when compared to that assigned to the composer of music. Moreover, this privileging of image-based over audio-based work in legal language may itself have historical influences, as a comparison of the interpretation and use of copyright by two prominent nineteenth century content creators, composer Stephen Foster and photographer Mathew Brady, demonstrates.

This study was commissioned by the UK Intellectual Property Office (IPO) to provide an evidence-based view on whether the criminal sanctions for copyright infringement available under the Copyright, Designs and Patents Act 1988 (CDPA 1988) are proportionate and utilised.

The study focus is on the difference in the sanctions available for copyright infringement that apply to online criminal activity – often referred to as ‘piracy’ - compared with those relating to physical goods.

The research gathers quantitative data from 2006-13, qualitative views and evidence from stakeholders.

Abstrak Ciptaan yang dibuat atau diciptakan oleh pencipta merupakan hasil karya kreativitasnya yang terjadi karena intelektual dari si pencipta. Hak cipta umumnya dimiliki oleh orang yang membuat ciptaan tersebut, namun ada beberapa pengecualian yaitu diantaranya ciptaan yang dibuat berdasarkan pesanan atau hubungan kerja. Pada umumnya pemberi kerja akan memiliki hak kekayaan intelektual yang dibuat oleh karyawannya selama masa kerja mereka. Karyawan yang menciptakan karya tanpa ada hubungannya dengan perusahaan dimana dia bekerja, maka kepemilikan hak cipta atas ciptaan tersebut ada pada si karyawaan. Konflik akan muncul jika lahirnya suatu ciptaan tanpa ada ketentuan yang jelas mengenai siapa pencipta dari karya tersebut. Tulisan ini bertujuan untuk mengungkapkan problematik kepemilikan hak cipta dimana ciptaan dibuat atas dasar pesanan atau hubungan kerja. Tulisan ini berdasarkan Penelitian yang dilakukan dengan metode pendekatan yuridis empiris. Spesifikasi yang dipergunakan dalam penelitian ini adalah deskriptif analitis. Lokasi penelitian ini adalah di Kota Semarang. Data penelitian dikumpul dengan cara wawancara, dokumentasi dan observasi langsung di lapangan. Pelaku usaha produk Batik di Kota Semarang selain memperjualkan produk batik buatan sendiri juga menjual produk berdasarkan pesanan dari sebuah perusahaan atau isntansi. Pesanan ini tidak hanya berupa kain tetapi dapat pula sampai berupa kain yang sudah dijahitkan menjadi sebuah pakaian jadi. Motif yang digunakan dapat bervariasi, umumnya atas permintaan dari pihak pemesan itu sendiri. Kegiatan sederhana ini menjadi tantangan bagi pelaku usaha maupun pihak pemesan. Manakala terjadi konflik penentuan siapa pemegang hak cipta atas motif tersebut. Jika perjanjian yang dilakukan antara pelaku usaha dengan pihak pemesan sudah membicarakan hal tersebut, hal ini akan lebih mudah untuk menentukan siapa pemilik hak cipta tersebut, namun jika perjanjian tidak menjelaskan siapa pemegang hak ciptanya maka akan terbuka konflik kepemilikan hak cipta atas motif produk batik pesanan tersebut.

The purpose of this Abstract is to find out the copyright issue on the matter of digital content. As
in India the digital content has been studied by the students, researchers, as it facilitated
knowledge of the discovery, retrieval, and creation of new Data in every field to every person.
Increased access to the Website has also led to the mass publication of digital content through
individuals in the form of eBooks, blog posts, and even facebook posts. Due to increase in access
of digital content, people start doing misuse of such facility and violating the right of the author,
maker or producer. The nature of the copyright law is to provide the legal frame work for the protection of an any ‘artistic’, ‘literary’ or ‘musical work’ of writer. Copyright is important not
only to the individuals and industries which depend upon it for their livelihood but it also
impinges one way or another on the daily life of member of public or businesses. But under the
world of Intellectual Property Right, the Copyright in India only have been discussed, it needs a
proper mechanism for its better effect. This Article is useful for the creator of digital content like
library manager, administrators, authors, publishers, etc. to understand the copyright issues in
regard of their digital content.

Leif Kramp untersucht erstmals umfassend die Gedächtnisrelevanz des Massenmediums Fernsehen sowie den archivischen und musealen Umgang mit der Fernsehgeschichte. Anknüpfend an die interdisziplinären Zweige der Gedächtnisforschung analysiert der erste Band die Bedeutung des Fernsehens seit Beginn des regelmäßigen Programmbetriebs in Deutschland und Nordamerika unter gedächtnistheoretischer Perspektive. Damit legt dieser Band den Grund für eine differenzierte Bewertung des Fernsehens als Medium des Erinnerns und Vergessens. Auf Basis einer breiten empirischen Erhebung bei zahlreichen Institutionen in Deutschland, Kanada und den USA befasst sich der zweite Band mit dem Status Quo und den Perspektiven der Verwaltung und Nutzung von Überlieferungen aus der Fernsehgeschichte. Kramp analysiert die maßgeblichen Problemstellungen, mit denen sich Museen und Archive konfrontiert sehen: von Fragen der Auswahl, Bewahrung und Zugänglichkeit von Fernsehüberlieferungen bis hin zu ihrer Präsentation und dem Medienwandel, und diskutiert Strategien für die Arbeit von Fernsehmuseen im digitalen Medienzeitalter.

In this Essay, I sketch out some First Amendment and Due Process issues that arise from recent efforts by the World Intellectual Property Organization (“WIPO”) to revise U.S. copyright law. My focus will be on the WIPO Treaty on Audiovisual Performances (the “AV Treaty” for short). The AV Treaty expands upon other efforts to make it unlawful to reproduce or use nonliteral material having substantial value to another author; display or perform fragmentary content having substantial value to a record company or movie studio; or make a movie or YouTube video by transforming, recasting, or adapting information having substantial value to a corporation. Under WIPO's leadership, U.S. copyright law is moving to transfer more of the social value associated with copyrighted work to the copyright owner, and away from subsequent authors and consumers.

The Essay describes WIPO and its role in expanding copyright-like rights via the AV Treaty and statutes such as the Digital Millennium Copyright Act (“DMCA”). It analyzes key provisions of the AV Treaty for whether they change U.S. law, or merely globalize its existing rules. Article 5 of it states that independently of any economic rights, and even after the transfer of them, a performer has a right as to his or her fixed, live performances, to object to any distortion, mutilation or other modification of his performances that would be prejudicial to his reputation, taking due account of the nature of audiovisual fixations. Article 6 seems to grant a broad new right to restrict the “communication” of unfixed performances not already broadcast, to which right some exceptions “may” be granted, but do not have to be granted. Article 12 contemplates additional royalties to be paid to performers; irrespective of existing contracts relating to performances embodied in movies, songs, television shows, or video games. Article 15 of the AV Treaty could provide legal reinforcement to efforts to utilize digital rights management and technological protection measures so as to restrict the fair use of performances. Article 16 of the AV Treaty requires parties to provide civil remedies against those who negligently facilitate the availability or distribution of a performance, knowing or having reason to know that the credits or terms of use have been omitted.

The Essay describes the threat posed to the First Amendment by the AV Treaty’s proposed changes to U.S. law. The AV Treaty alters the traditional contours of copyright in the United States by introducing moral rights, and outlawing the making available of performances even without distributing them. The Essay analyzes these First Amendment threats using the rubric provided by Eldred v. Ashcroft. It also outlines the Due Process concerns that arise from the AV Treaty’s vague language and arbitrary distinctions. The statutory damages that may be available under U.S. law if ordinary copyright remedies are extended to performance rights will threaten the Excessive Fines Clause of the Eighth Amendment, as well as Due Process. Moreover, the Essay points out that the Trans-Pacific Partnership Agreement may multiply all of the censorial provisions of the AV Treaty, by stating that criminal copyright infringement shall include instances of related rights infringements that have no direct or indirect motivation of financial gain. The AV Treaty may also interact with proposals such as the Stop Online Piracy Act, which would make it easier for corporations or executive agencies to seize web sites that do not themselves infringe copyrights, but that might facilitate acts of infringement.

World Intellectual Property Organization, WIPO, audiovisual, performances, treaty, WCT, WPPT, phonograms, fixation, unfixed, authorship, copyright, fair use, First Amendment, Due Process, YouTube, Facebook, Pinterest, Twitter, eBay, Amazon.com, Google, Yahoo!, Flava, SOPA, moral rights

The creation of any given work of art by an Artificial Intelligence system has always been a source of debate. Generative AI systems and the artwork they produce raise critical questions bordering on authorship, licensing, and reproductive rights amongst others stemming from general policy concerns to the individual interest of artist involved in the creation of the work . AI generated artworks also raises some controversial issues by potentially encroaching on the intellectual property rights of others. This position is valid if for example, a creative work is based on machine learning, a technique that allows an AI to learn for itself from data it was provided. If the input on which a creation is based—the data—is made by someone else , shouldn’t he then be the owner of whatever work is created from it? And even if work is produced by an AI independently, can it really be classed as original? Traditionally, copyright laws from a cross-jurisdictional standpoint have always been based on a human creator who creatively, originally and independently creates a work of art from the profundity of his/her imaginations in such a way that reflects his/her personality, ideas and belief systems . In order to reconcile this divergence, this short paper seeks to critically examine the legal issues involved in the copyrightability of AI art using a multijurisdictional approach, citing unique challenges the situation creates and suggest possible areas of legal reform in order to deal with this eventuality that is fast becoming pervasive in our world today.

As recent events prove, the creation and use of works in outer space give rise to practical issues of copyright law. This article examines whether Earthly copyright law applies to matters that take place in outer space and, if so, which law. First, the principles of space law are compared
with those of copyright law established for matters on Earth. Secondly we examine whether the principles of space law affect and limit the scope of copyright law. Next, we address if and how international copyright law determines a national copyright law which governs the
creation of works as well as copyright infringements in outer space. We then show that matters in outer space may challenge the application of the lex loci protectionis as well as the principle of territoriality in copyright law.

The principle of Access to Knowledge (A2K) has become a common reference point for a diverse set of agendas that all hope to realize technological and human potential by making knowledge more accessible. This book is a history of international copyright focused on principles of A2K and their proponents. Whilst debate and discussion so far has covered the perspectives of major western countries, the author's fresh approach to the topic considers emerging countries and NGOs, who have fought for the principles of A2K that are now fundamental to the system. Written in a clear and accessible style, the book connects copyright history to current problems, issues and events.

El siguiente artículo hace un acercamiento al fenómeno de la industria
publicitaria gráfica popular, concretamente en la ciudad de Bogotá, Colombia, a la cual recurren pequeñas y medianas empresas locales para el desarrollo de sus marcas nacientes. En el ejercicio de dicho fenómeno, se recurre constantemente a la imitación de marcas y tendencias publicitarias, práctica con la cual se desconocen los marcos legales pertinentes, con resultados negativos para las nuevas marcas nacientes. A partir de dos casos específicos, se reflexiona sobre las consecuencias que trae la imitación de marcas y tendencias sin acatar la reglamentación existente; también se reflexiona sobre la necesidad de profesionalizar dicho ejercicio, dado su crecimiento e influencia en el ejercicio publicitario de la ciudad.
Palabras clave: publicidad, marca, branding, derechos de autor, cultura popular, comunicación corporativa.

With the support of the Republic of Turkey Ministry of Culture and Tourism, this event was carried out within the scope of the project titled “The Research on Performing Artists in Turkey and the Effects of the WIPO Beijing Treaty on the Turkish Intellectual Property System” as developed BIROY Turkish Actors’ Collecting Society Executive Board Treasurer and Beykent University Fine Arts Faculty Stage and Performing Arts Management Department Research Assistant Emre Yetim on behalf of BİROY, with the cooperation of Beykent University Faculty of Fine Arts and Faculty of Law, and the participation of World Intellectual Property Organization WIPO, International Actors Federation FIA and General Directorate of Copyrights, with the aim of examining and scrutinizing the WIPO Beijing Treaty on Audiovisual Performances, a multilateral international treaty under the title of "Intellectual Rights of Performers and the Importance of the Beijing Treaty", and was held online on January 29, 2021, open to the participation of all spectators. We would like to thank the valuable speakers, panelists and participants ho made this event happen with their participation.

This engaging and accessible study looks at the origins, evolution, purpose, and limitations of intellectual property. Detailing how intellectual property affects industry, politics, cultural expression, and medical research, Aram Sinnreich takes a multidisciplinary approach to uncover what’s behind the current debates and what the future holds for copyrights, patents, and trademarks.

Based on the notion that intellectual property law is not merely a property right but also a mechanism of cultural and economic regulation with significant consequences for democratic institutions, global businesses, arts, and the sciences, Sinnreich draws on media studies, communications, law, economics, and cultural studies as he provides a blueprint for understanding intellectual property rights and underlines the important and pervasive role that they play in everyone’s lives.

Publication Date (Yale Press): May, 2019.
Available for pre-order on Amazon: http://bit.ly/sinnIP

Հեղինակային իրավունքը, բացի հեղինակների իրավունքները պաշտպանելուց պիտի նաև ապահովի հասարակական շահերը։ Այս նպատակով հեղինակային իրավունքի շրջանակներում նախատեսվում են որոշ նորմեր, որոնք ընդունված է անվանել հեղինակային իրավունքի սահմանափակումներ կամ ազատ օգտագործում: Դրանք այն գործիքներն են, որոնք հնարավորություն են տալիս անձանց օգտագործել ստեղծագործությունները` առանց հեղինակային իրավունքի ավելորդ խախտումների։ Հեղինակային իրավունքի սահմանափակումներ նախատեսված են նաև Հայաստանի Հանրապետության օրենսդրությամբ։ Դրանով պայմանավորված անհրաժեշտ է ուսումնասիրել և հասկանալ ազատ օգտագործման սահմանները Հայաստանի Հանրապետության հեղինակային իրավունքի շրջանակներում։
Միաժամանակ հիմք ընդունելով ազատ օգտագործման վերաբերյալ միջազգային փորձը, անհրաժեշտ է հասկանալ դրա զարգացման հեռանկարները Հայաստանի Հանրապետությունում, հնարավոր խնդիրները, որոնք կարող են առաջանալ ազատ օգտագործման թերի կարգավորման արդյունքում։
Ազատ օգտագործման վերաբերյալ արդյունավետ կարգավորումներ նախատեսելը ինքնին կնպաստի հեղինակային իրավունքի և դրանով կարգավորվող հասարակական հարաբերությունների կայացմանն ու զարգացմանը Հայաստանի Հանրապետությունում։

Актуальні проблеми інтелектуального, інформаційного, ІТ та Інтернет права: матеріали П’ятої міжнародної науково – практичної конференції (Львів, 28 травня 2021 р.). – Львів: Юрид. ф–т Львів. нац. ун–ту ім. І. Франка, 2021. – 224 с.
У матеріалах Збірника представлені результати науково – практичних досліджень науковців провідних вищих навчальних закладів України та практичних працівників з основних проблем права інтелектуальної
власності, інформаційного ІТ та Інтернет права.
Видання адресоване науковим співробітникам, викладачам юридичних факультетів та вищих юридичних навчальних закладів, аспірантам, здобувачам, студентам, а також працівникам суду, патентним повіреним, адвокатам, іншим практикуючим юристам та усім небайдужим до осягнення нових знань у сфері інтелектуального, інформаційного, ІТ та Інтернет права.

A expansão do acesso aos sites de redes sociais digitais ensejou a representação das relações sociais na internet, bem como tornou sites como o YouTube espaços férteis para disputas jurídicas no tocante ao exercício de direitos. Nesse cenário, a arquitetura da internet e as próprias políticas e ferramentas do YouTube emergem como concorrentes diretos do Direito na regulação da sociedade. Conclui-se que a regulação de direitos na esfera digital demanda de seus agentes a compreensão da própria codificação da Internet, da necessidade de colaboração com sites e demais agentes digitais e a percepção de que o Direito se constitui como uma das várias vias possíveis de atuação e regulação na rede.

La controversia tra la casa editrice Il Saggiatore e il trust statunitense costituito dallo scrittore J.D. Salinger, decisa a favore del secondo dalla pronuncia in commento (Trib. Milano, sez. impr., 29 agosto 2018, n. 8768), è emblematica dell’incertezza che accompagna il funzionamento dei meccanismi di coordinamento delle discipline nazionali riguardanti la durata del copyright. E restituisce l’immagine di un pubblico dominio frammentato a livello globale che comporta un “tragico” sottoutilizzo di risorse potenzialmente inesauribili quali la cultura e la conoscenza.

In a December 1975 profile for Rolling Stone, reporter Art Harris sketched the intriguing relationship between Capricorn Records CEO Phil Walden and then presidential candidate Jimmy Carter. While a rock impresario and a God-fearing politician may seem strange bed fellows, theirs was more than just a lobbying and fund-raising affiliation. In fact, their symbiotic relationship was something that each viewed as mutually beneficial to their respective business and political goals. Copyright reform and anti-piracy legislation were a part of this relationship, but to reduce it to a mere quid pro quo is too simplistic, as this research shows. What began as a regionally focused fight against rampant music piracy in the Southern United States eventually grew into a precedent-setting symbiosis among celebrity culture and presidential politics. In fact, Walden and Carter’s relationship provides an illuminating case study of the “showbiz politics” that arose in the aftermath of Vietnam and Watergate and continues to reverberate today.

In June and October 2014 a number of amendments to the Copyright, Designs and Patents Act 1988 came into effect, introducing new copyright exceptions and amending several existing exceptions. Whilst following recent judicial review the private copying exception has been quashed, many of the remaining new exceptions significantly alter the relationship between copyright exceptions and contract, making contractual terms unenforceable where those terms restrict users from taking advantage of an exception.

This paper explores the rationale for the UK amendments and considers whether the changes, as implemented, prevent rightsholders from contracting out of exceptions and whether they increase the clarity of the copyright system.

Based on a comprehensive survey among creators and performers in media, arts and entertainment in the Netherlands, this study summarizes these artists attitudes  vis-a-vis relevance of authors and performing rights (copyrights) in the digital age. Most creators and performers perceive digitisation as a threat to their future economic position, although in some cases it is seen as an opportunity. The contribution shows interesting effects of age, creative discipline, business model and sectoral developments, putting for instance many older translators versus some young rock musicians and video artists.

In this work, my LLM thesis submitted at the University of Lisbon - Law Faculty, I tried to summarize the mains issues and to offer some alternatives concerning to the relation between the peer-to-peer file-sharing and the authors' rights, within the national, European and Internacional scope.

O artigo examina as funções que, do ponto de vista do interesse público, justificam a existência do direito de autor e como a sua função social encontra-se regulamentada nos principais tratados internacionais e na legislação brasileira sobre a matéria

W polskiej doktrynie prawa autorskiego przez wiele lat dość powszechnie (choć niejednomyślnie) przyjmowano, iż dla legalności korzystania z rozpowszechnionego utworu w ramach dozwolonego użytku prywatnego nie ma znaczenia legalność kopii źródłowej. Przekonanie to zweryfikowane zostało w ubiegłym roku przez Trybunał Sprawiedliwości Unii Europejskiej w wyroku w sprawie C-435/12 ACI Adam BV i in. p-ko Stichting de Thuiskopie i in. Zgodnie z tym orzeczeniem prawo Unii Europejskiej stoi (…) na przeszkodzie obowiązywaniu uregulowania krajowego (…), które nie rozróżnia sytuacji, w której źródło służące za podstawę sporządzenia kopii na użytek prywatny jest legalne, od sytuacji, w której źródło to jest nielegalne.
W związku z obowiązującą państwa członkowskie Unii Europejskiej dyrektywą prounijnej wykładni prawa krajowego wydaje się, że obecne w dyskursie prawnoautorskim przekonanie o „legalności ściągania” uznać należy za zdezaktualizowane. Co więcej, wątpliwości można mieć również co do skutków korzystania z utworów za pomocą dotychczas uznawanych za całkowicie „bezpieczne” metod jak np. streaming.
Orzeczenie to stanowi wyzwanie dla ustawodawcy w kontekście dwóch kontrowersyjnych regulacji polskiego prawa autorskiego, tj. art. 79 ust. 1 pkt 3) lit. b) przewidującego zryczałtowane odszkodowanie stanowiące dwukrotność stosownego wynagrodzenia w przypadku niezawinionego naruszenia autorskich praw majątkowych oraz uznanego w ostatnich dniach przez TK za zgodny z Konstytucją art. 115 ust. 3 pr. aut. przewidującego odpowiedzialność karną za „naruszenie praw autorskich w inny sposób, w celu osiągnięcia korzyści majątkowej”. Te dwie regulacje w powiązaniu z nowym, węższym rozumieniem art. 23 pr. aut. mogą całkowicie zburzyć spokój użytkowników Internetu.
Paradoksalnie, wyrok wydaje się jednak niekorzystny nie tylko dla użytkowników, ale również dla uprawnionych, którzy zostali pozbawieni prawa do „godziwej rekompensaty” za korzystanie w ramach dozwolonego użytku z nielegalnych kopii źródłowych ich utworów.
W referacie postaram się ocenić uzasadnienie wyroku w sprawie ACI Adam, przedstawić jego skutki dla sytuacji prawnej dwóch kategorii podmiotów: uprawnionych i użytkowników oraz sformułować postulaty de lege ferenda dotyczące niekomercyjnego korzystania z utworów w sferze prywatnej.

У матеріалах Збірника представлені результати науково – практичних досліджень науковців провідних вищих навчальних закладів України та практичних працівників з основних проблем права інтелектуальної
власності, інформаційного ІТ та Інтернет права.

Die Digitalisierung schafft neue Spielregeln für den Wettbewerb und sie verändert die betriebliche Umgebung un-unterbrochen. Es stellt sich die Frage, wie die Unternehmen in ihrem Angebot und Geschäftsmodell darauf reagieren können. Agilität ist heutzutage das Schlüsselwort und das aktuelle Thema der Unternehmensführung.
Agile Softwareentwicklung ist ein Sammelbegriff für eine Reihe von Methoden und Praktiken, die auf Werten und Prinzipien des Manifests Agiler Softwareentwicklung  basieren. Die Kernidee besteht darin, die Prozesse möglichst einfach und somit beweglich (=agil) zu halten. Komplexe Softwareentwicklungen werden heutzutage fast  immer agil durchgeführt, was für die Vertragsgestaltung eine Herausforderung ist. Die allgemeingültigen Konzepte stoßen bei bestimmten IT-Verträgen an ihre Grenzen. Dieser Beitrag, der sich näher mit dem Bereich des IT-Vertragsrechts befasst, untersucht agile Methoden aus der rechtlichen Perspektive. Der Fokus liegt auf der Frage des anwendbaren Vertragstyps in der Vertragsgestaltung, der mangelhaften Erfüllung des  Vertrags, der Vergütung und den urheberrechtlichen Aspekten der agilen Softwareentwicklung.

Information Technology Act 2000, doesn't make reference to any word about Intellectual Property assurance while breach of Intellectual Property Rights (IPR) is one of the most challenging region on the internet. Just as Copyright and Domain names violations do happen on the web yet Copy Right Act 1957 and Trade Mark Act 1999 are quiet on that which explicitly manages the issue. Along these lines, we have no authorization apparatus to guarantee the insurance of space names on net. The time has arrived, where we should underwrite exceptional enactment for the insurance of Intellectual Property Rights on the internet. This paper is an attempt to depict Intellectual Property Rights in accord to cyber space. Some key questions which are answered in this paper are -
1) How are IPR (Intellectual Property Rights) connected with cyber space ?
2) What kind of IPR (Intellectual Property Rights) are available in cyber space ?
3) Are there any loopholes in the legal system regulating IPR (Intellectual Property Rights) in cyber space ?
This paper is a twofold scenario which initially describes Intellectual Property Rights and cyber security, cyber space. At the end, this paper provides some suggestions in order to improvise the current legislative regime regulating IPR in cyber space.

Copyright encourages creativity, it provides authors and artists of all types and in all countries with a means of transacting in their works, a means by which they can earn their livelihood, and as such has an important role to play in encouraging all forms of creative endeavor and by encouraging creative endeavor copyright helps to maintain cultural diversity. This paper gives insight of overall status of Intellectual Property in Nepal, particularly focused on Copyright legislation of Nepal. Adjusting legal system of copyright is vigorously in need in the twenty-first century. A close and critical reading of the text reveals several instances of lapses and defects, which exist, to a great extent, simply because copyright has never been applied previously in Nepal. Any interference with their exclusive rights could impact harshly on deserving authors in both developed and developing countries. So, paper further deals with the rights of the authors. Lastly this article in brief explores the commonalities and differences between Nepal and India Copyright Law in particular, focuses on the latitude offered under each system for parodies of copyrighted world. Along with this, paper analyze and find lacuna of Copyright Act of Nepal with recommendation.

Co-rapporteur avec Joëlle Farchy et Caroline Rainette, La place et le rôle économique des droits d’auteur et des droits voisins dans la filière cinématographique, DEPS du Ministère de la culture, 2006, 240 pages, https://fr2.slideshare.net/SebastienPoulain/la-place-et-le-rle-conomique-des-droits-dauteur-et-des-droits-voisins-dans-la-filire-cinmatographique

The master thesis presents the “work” as a subject of the Polish copyright law. It is built of four parts: (1) the author sketches history of evolution of copyright law. In the next step (2) he gives an outline of legal prerequisite which work, as a product of intellect should have to find it as “work” in copyright law meaning. Thirdly, (3) the author makes a distinction of “work” depending on their genetic feature, such as e.g. number of authors. Finally, (4) in a legal-comparative part the author shows understanding of “work” as the subjects of other legal systems of copyright such as: international law including EU law; U.S. copyright law and German law. A closer inspection allows to draw conclusion, that the Polish concept of copyright law is unique mainly because of its legal definition of “work”. Generally, the scope of the Polish copyright law is equate with those accepted in other legal systems which had been analyzed. As a result, this aspect of the comparison shows that it is possible to change within the Polish concept of the “work” so as to do it more accurate and harmonized.

The spring 2021 issue of the journal "Miranda", contains, in the section "Reviews" (edited by Candice Lemaire and Isabelle Keller-Privat), my review of two fascinating Alan Moore-focused books by Pádraig Ó Méalóid: "Poisoned Chalice: The Extremely Long and Incredibly Complex Story of Marvelman (and Miracleman)" (devoted to the inextricable legal battles that have prevented the continuation of Alan Moore, Neil Gaiman et al.'s comic book series "Miracleman" for almost three decades, and "Mud and Starlight. The Alan Moore Interviews, 2008-2016", which is, as its subtitle suggests, a collection of the many interviews with Alan Moore carried out by Ó Méalóid over the years.

The article is, like the rest of the issue, available online at the following address: https://journals.openedition.org/miranda/38271

Here is one of the addresses where you can get Poisoned Chalice: https://www.lulu.com/shop/padraig-o-mealoid/poisoned-chalice-the-extremely-long-and-incredibly-complex-story-of-marvelman-and-miracleman/paperback/product-23858084.html?page=1&pageSize=4


Here is one of the addresses where you can get Mud and Starlight: https://www.lulu.com/en/us/shop/p%C3%A1draig-%C3%B3-m%C3%A9al%C3%B3id-and-alan-moore/mud-and-starlight-interviews-with-alan-moore-2008-2016/paperback/product-6744gq.html?page=1&pageSize=4

Scholarship on the development of copyright in eighteenth-century England, after the Act of Anne (1710), has suggested that aesthetic debates about originality, in the sense of novelty or creativity, had an effect on contemporaneous legal thinkers' ideas about originality as a prerequisite for copyright protection. But when eighteenth-century commentators such as Blackstone and Hargrave spoke of originality for purposes of copyright, they were referring to a prohibition against reprinting books, not a demand for novelty. Recognizing that full-scale copies were prohibited, while partial copies were permitted, is crucial for an understanding of eighteenth-century literary culture, which had room for abridgements, unauthorized sequels, highly imitative parodies, and anthologies that reprinted some poems and excerpted others. The public domain was not understood as the residue of material that was not eligible for copyright protection; rather, all work was presumptively available for use by other writers unless it fell within the narrow bounds of copyright protection.

The chapter begins by showing that arguments in favor of a public domain were implicit in the efforts by Locke and others to eliminate the Licensing Act in the 1690s. The second section discusses the eighteenth-century debate over copyright, emphasizing the limited scope of legal protection and the correspondingly wide reach of the public domain. This section focuses on the case law concerning the permissibility of abridgements, the legal writings of Blackstone and Hargrave, and the aesthetic writings of Richard Hurd and Samuel Johnson. As these sources reveal, literary critics were willing to defend imitative writing, and legal thinkers found little to criticize and much to praise in practices such as abridgement. The third section discusses the kinds of imitations that were allowed to flourish under this legal regime, and shows that imitative practice was crucial for the development of the modern novel in the 1740s. Finally, a short section at the end looks at why writers sometimes call for a strong originality requirement that demands more than Feist (in the U.S.) or C.C.H. (in Canada).

In this paper, I use some metaphors (perfect storm, pirates, zombies and cor-sairs) to present some arguments against the strengthening of copyright in the market of e-books. In particular, I will argue that the strengthening of exclusive rights, through law, user licenses and technological protection, is one of factors that distorts competition and hampers innovation. A strong copyright fosters a market dominated by few big actors. Moreover, in this scenario the role of traditional publishers and public libraries is marginalized. On the contrary, a more flexible copyright based on open licenses and focused on the attribution right incentives competition and promotes pluralism in business models. In other words, we need to rethink the copyright law in order to foster competition and innovation in the market of e-books.

The Hindi film ‘3 Idiots’ which released in 2009 has achieved that dubious distinction of having attracted the attention of legal academia because of the public war of words between the film’s makers on the one hand, and the novelist from whose novel the movie derives considerable inspiration on the other. The genesis of the dispute was in the novelist, Chetan Bhagat’s contention that the Production House, namely Vidhu Vinod Chopra Productions, had adapted the content of his novel to an extent far greater, and in a manner far more direct, than what he had been led to believe by way of the Agreement arrived at between them. Another allegation directed against the Production House was concerning the inadequacy of credits acknowledged to the Author by way of the said Agreement. The paper addresses the above issues under two distinct heads, namely the contractual liabilities and those pertaining to the intellectual property rights. It tries to suggest some remedial steps which could be taken by novelists in similar situations in addition to steps which could be taken by the State to give better protection to such vulnerable parties in the future.

This article provides an assessment of the interplay between copyright, contract freedom and antitrust law in the current digital platform economy, as it was settled by the European legal strategy for a (fair) digital single market. It primarily focuses on the Digital Single Market (DSM) Directive and the Digital Markets Act (DMA) Proposal, evaluating if competition law instruments represent exceptional or structural remedies to correct the current failures of contract freedom and copyright enforcement within the delicate balance between authors, editors and online platforms.

This article focuses on Mathew Brady’s attempts to use copyright to protect his photographs. For a time, Brady received so much credit in the press that his name became synonymous with all photographs of the Civil War. This prominence in the photography trade and in the public imagination makes Brady’s use of copyright an ideal case for considering the relationship between photography and authorship. The research of this study cites relevant archival sources, including copyright registration practices, copyright notices on printed photographs, and the case of Brady & Gibson v. Bellew (1865), to demonstrate deliberate attempts by Brady to protect his work from infringement, secure economic compensation, and link his name legally with the images he believed would have enduring value. While copyright ultimately failed to protect Brady’s long-term financial interests, part of his attribution strategy established him as a photographic “author” and ensured that his name would remain linked with his photographs.

Intellectual Property gives rights to creators of intellectual or artistic work. The rights are worthless unless they can be enforced properly. Since the basic idea of Intellectual Property law is to monetize the rights, it is important that the owner of the rights get the monetary benefits. The rights owner can take the enforcement or he can use a third party, a specialized entity called Collective Society which would do that job for the owner.
Intellectual Property Act of Sri Lanka included provisions for establishing Collective Societies and for their administration. There are few Collective Societies operational to this day. However, their effectiveness in fulfilling their objectives is highly debated. The Act also causes ambiguity to their operation and the regulation under IP Act further confuses their role. One of the biggest handicaps seems to be the vagueness of the relationship between the owner of copyrights, Collective Society and the user of the copyrights. This vaguely defined relationship would cause confusion in the parties and hinder their effective operation and collaboration. So in essence, even though the Act has passed more than one and half decades ago, regulations being implemented for the payment for use of copyrights and establishing several Collective Societies their practical effectiveness is limited if not non-existent.
In addressing this deficiency, this report tries to look to comparative jurisdictions in India and the European Union, especially the case law in India where the functionality and limitations of a Collective Society are illustrated. Certain recommendations are also made ranging from changes in the Intellectual Property legislation to raising awareness in the business community and general public on the rights of artists. Arming Collective Societies to deal with the changes in technology and using it to their advantage is also explored as a crucial progressive step.
A Qualitative research method is adopted in this paper. Scholarly articles written by academics in collective management of Intellectual Property rights are analyzed. The research will also conduct a comparative study of Intellectual Property legislation; policies, regulation, and case law adopted by Sri Lanka and other jurisdictions.

Web Scraping-Verfahren sind ein attraktives Mittel, um
soziale Netzwerke zu Forschungszwecken auszuwerten.
Dies gilt besonders seit Facebook die Nutzung seiner Entwicklerschnittstelle infolge des Cambridge Analytica-
Skandals eingeschränkt hat. Aus rechtlicher Perspektive
wirft Web Scraping komplexe Probleme auf. Hierbei spielen
vertragsrechtliche, urheberrechtliche und datenschutzrechtliche
Aspekte zusammen.

The digitalization of copyrighted works including text, music and video has dramatically increased the efficiency of unauthorized copying. Providing legal protection against the copyright infringement has been an issue nowadays. Although there are consistencies among nations' intellectual property laws, each jurisdiction has separate and distinct laws and regulations about copyright. Overprotection of copyright could threaten democratic traditions and impact on social justice principles by unreasonably restricting access to information and knowledge. If copyright protection is too strong, competition, innovation and creativity is restricted. A balance between the interests of copyright owners in receiving fair reward for their efforts and the interests of copyright users in receiving reasonable access to copyright materials should be maintained. The paper discusses and compares different solutions and approaches to the issue of reducing the digital copyright infringement without restricting the innovation and creativity.