The document discusses copyright law and its history and purposes. It covers the Statute of Anne, the first copyright law from 1710, which aimed to encourage learning. It then covers developments in U.S. copyright law over time, including the Constitution giving Congress power to enact copyright law, and various Copyright Acts that expanded protections. Key concepts of fair use, public domain, and international treaties like the Berne Convention are summarized.
The document provides an overview of copyright, including its history beginning in 1710 in Britain and 1790 in America. It defines copyright and describes different types like implied and express licenses. Key aspects of copyright law are discussed, such as what is protected, limitations, fair use exemptions, public domain works, and penalties for infringement. The rules for educators using copyrighted works in teaching are also outlined.
The document discusses the basics of copyright and rights management for creative works. It explains that under US law, copyright is granted automatically when an original work is fixed in a tangible form. There are three main types of rights to consider: work made for hire where the commissioner owns the rights; fair use provisions for commentary, news reporting, or teaching; and obtaining licenses to use existing copyrighted material. It stresses getting proper assignments or releases from creators to fully own the rights and avoid future legal issues.
Copyright law began in 1710 with Britain's first statute, which was followed by the US's first law in 1790. Copyright gives the creator exclusive rights over reproduction and distribution of their work. Fair use allows limited use without permission for purposes like education or commentary. To determine fair use, one considers the work's purpose, nature, amount used, and effect on the market. Educators can use portions of copyrighted works for classroom teaching under fair use and laws like TEACH which enable distance learning. Infringement is illegal use that can incur fines, but unintentional minor violations may not be penalized as harshly as willful ones.
This document provides an overview of copyright basics, including what can be copyrighted, how long copyright lasts, fair use, and alternatives to copyright. It explains that copyright allows creators to profit from their work by preventing others from copying or altering it without permission. Works are automatically copyrighted when fixed in a tangible form. Copyright typically lasts for the life of the creator plus 70 years. Material in the public domain is not copyrighted and can be used freely. Fair use allows limited use of copyrighted works for purposes like commentary or research. Alternatives like licenses and open licenses allow some use and sharing of works while still giving credit to creators. Recent extensions of copyright terms have been controversial. [/SUMMARY]
This document provides an overview of copyright and how to apply Creative Commons licenses to works. It discusses that copyright protects original works fixed in a tangible medium and reviews the basic rights granted to copyright owners. The document outlines the duration of copyright protection and exceptions like fair use. It also explains the different Creative Commons licenses and how to search for works with Creative Commons licenses. The goal is for readers to understand copyright protection, how to seek permission or apply Creative Commons licenses to their own works.
This document discusses intellectual property and copyright laws when using online materials. It covers the relevant Spanish laws and regulations, including the Ley de Propietad Intelectual and LOPD. Creative Commons licensing is described as a way to release certain usage rights. Quoting works for educational purposes is allowed under certain conditions, such as attributing the author. Images from Wikimedia Commons and Flickr can be used if their licenses permit it and attribution is provided. Student works may also be protected by copyright law.
The document discusses tagging and social bookmarking as ways to organize and retrieve information. It notes that tagging is simple, flexible, and tags can be aggregated. A taxonomy is a formal classification system, while a folksonomy allows for bottom-up collaborative tagging by multiple users. Folksonomies allow for evolving terminology and viewpoints but can be messy. To simplify, tags should use basic lowercase terms without punctuation. There are four types of tags: descriptive, resource, ownership/source, and self-reference.
The document outlines the key components of an effective test plan, including defining goals and objectives, research questions, participant characteristics, test methods, tasks, environments, roles, and reporting. An effective test plan ensures the team understands what needs to be tested, provides guidance on running tests, and establishes a common framework for collecting and reporting results.
This document discusses bots writing texts and their level of agency and authorship. It explores whether bots can be considered authors, writers, or composers. Examples are given of bots fixing typos, adding facts, reverting vandalism, and performing other editing tasks on Wikipedia. Statistics provided indicate that for one article, 88% of the text was bot-generated and bots performed 21 out of 35 edits, suggesting bots can be highly productive wiki editors.
The document discusses the printing and distribution methods used by Students for a Democratic Society (SDS) in the 1960s to spread their ideas and advocate for social change. Specifically, it mentions how SDS utilized offset lithography, typewriters, mimeographs, paper, ink, carbon paper, and booksellers to inexpensively print pamphlets, newspapers, flyers and other materials. It notes that for just a few hundred dollars one could print thousands of copies of a publication. The document also briefly touches on concerns about privacy that arose from leaving written records of one's thoughts and activities.
The document provides guidance on the required elements for building final reports, including a cover, abstract, table of contents, purpose of test, research questions, results/findings, discussion, recommendations, and appendices. It emphasizes that the abstract should be a brief yet comprehensive summary that allows readers to quickly understand the contents of the report, and discusses best practices for writing abstracts and executive summaries, including keeping them concise, coherent, and non-evaluative.
The document discusses developing user profiles and personas for technical communication projects. It recommends analyzing stakeholders, users, and decision-makers. User profiles should characterize users based on age, gender, skills, and other attributes. User groups with different experience levels should be defined. Requirements and classifiers help categorize participants. The number of participants depends on testing goals and resources. Both internal and external participants can provide feedback, but external users must be screened, selected, scheduled and confirmed.
The Copyright Thing Doesn't Work Here, Part 1Krista Kennedy
油
This document discusses authorship and ownership of traditional knowledge and cultural productions. It notes that while individual inspiration is recognized, control and ownership are often communal and built on contributions from past generations as well as cultural institutions. It argues that strategies for protecting traditional knowledge must acknowledge both individual and communal aspects of creation, and recognize that authorship is situated within temporal, cultural and gendered contexts of apprenticeship and collective production.
The document discusses issues around authorship, appropriation, and intellectual property rights regarding traditional Ghanaian kente and adinkra cloth. It addresses how these cloths have become regarded as both Asante and Ghanaian through long-standing practices of appropriation by states, groups, and individuals. It also discusses the multidirectional globalization process and the economic challenges less powerful groups and nations face when intellectual property becomes predominantly an economic issue that can impact livelihoods.
This document discusses copyright law and fair use principles regarding derivative works and appropriation art. It covers the purpose and nature of use, the amount of a work used, and the effect on the original work's potential market. While copyright aims to protect original works, some argue it should allow free access for creative expression. Courts have struggled to determine what constitutes parody or piracy in appropriation art that references or incorporates existing copyrighted works.
The document discusses the concepts of distributed collaboration and commons-based peer production (CBPP). It provides three key requirements for successful peer production projects: 1) being modular and divisible into independently producible components, 2) having fine-grained modules to accommodate variously sized contributions, and 3) having low-cost integration mechanisms for quality control and assembly. CBPP depends on large numbers of individuals independently contributing small creative efforts which are then integrated. Successful systems have mechanisms for peer review. The document also discusses factors that enable CBPP, such as nonrivalrous knowledge goods, and incentives and motivations for participation.
The document discusses John Perry Barlow's views on ideas, intellectual property, and the economy of ideas in the digital age. Some key points discussed include: (1) How digital technology allows ideas and intellectual property to be instantly distributed worldwide without cost; (2) The challenge this poses to protecting and monetizing creative works; (3) The idea that information wants to be free and spread; and (4) That familiarity and widespread distribution can increase, rather than decrease, the value of ideas and creative works. The document explores these issues over time from the 1990s to today.
The document discusses the role and importance of signatures and authorship in various contexts. It touches on how signatures are used in law and institutions to determine ownership and validity. It also discusses the concept of auteurism in film and how directors are often constructed and marketed as the sole authors of films for commercial purposes. The discussion further explores how experts rely on notions of authentic authors and signatures to validate works, and how this impacts judgments of authenticity. The concept of fake works and forged signatures is also examined.
The document discusses intellectual property and copyright. It notes that all original creative works are automatically copyrighted upon creation. It describes what copyright gives the creator control over, including reproduction, derivatives, distribution, public performance, and digital transmission. The document outlines exceptions to copyright restrictions such as works in the public domain, fair use, Creative Commons, and GNU/Linux works. It provides guidance on determining what constitutes fair use based on factors like the purpose of the use, amount used, and commercial effects. The document also notes that modern authorship is often collaborative, distributed, and involves assembling preexisting information in new ways.
The document discusses authorship and metadata in digital contexts. It notes that anyone can be considered an author if publishing is defined narrowly, but not everyone can be a true Author. It also examines how readers interact with screen-based texts by actualizing possibilities rather than simply consuming. Additionally, it explores how user-generated metadata and data are appropriated by technology companies and treated as objective facts and unowned property separate from users' creative activities, neglecting the link between user data and user-generated content.
This document discusses the history of intellectual property issues within the field of rhetoric and composition dating back to the 1960s. It addresses how scholars have long been attentive to legal and economic factors that impact their work and classrooms. Key topics that have been discussed include notions of authorship, the impact of changing technologies, and concerns about how restrictive copyright laws and corporate interests could negatively influence teaching and scholarship. The document also examines calls to reimagine writing and authorship in a way that values collaboration over individual ownership and promotes the growth of a shared cultural commons.
This document discusses feminist perspectives on authorship and textual ownership. It references several French feminist theorists including H辿l竪ne Cixous who advocated for "l'辿criture f辿minine" or feminine writing. Cixous believed that writing is inherently feminine and connected to the maternal body. The document also discusses how authorship has been viewed as a gendered concept with myths of solitary male authorship. Andrea Lunsford addresses how a feminist approach could reframe ideas of collaborative authorship and situated authority through interconnection rather than sole ownership.
The document discusses various views on authorship, genius, and rhetoric from the 18th-19th centuries. It mentions that 18th century Scottish rhetoricians like Hugh Blair were more interested in how discourse appealed to taste and propriety rather than reasoning. The document also discusses Sharon Crowley's critique of 19th century assumptions that genius and successful composition depend on innate talents rather than teaching. Additionally, it covers views from various thinkers on invention, imagination, tradition, and the relationship between creativity and reality.
The document discusses the evolving definition of an "author" in cultural and legal contexts. It notes that historically, being an author did not signify a high-status profession, but rather distinguished cultural labor from industrial labor. To be considered an author, work needed to be in approved mediums and show the imprint of the creator's personality. Over time, mass cultural works challenged this definition as they involved new technologies and collaborative labor. The essay argues we must analyze the relationships between culture and industry, and proposes considering authorship in terms of collective and responsible cultural labor rather than isolated genius.
The document discusses basic project management techniques including defining the scope of work, creating a calendar and milestones, breaking tasks into individual assignments, identifying deliverables, making an equipment list, keeping materials in a central location, maintaining open communication, using available tools, and visualizing progress. The overall message is the importance of planning, organization, communication, and tracking progress to set yourself up for success on a project.
Young was situated within 18th century book production culture, writing in multiple genres for patronage. His works were popular, being translated into 7 languages and having multiple editions, including an illustrated edition by William Blake. Young explores the concepts of genius, originality, and imitation in his piece "Conjectures on Original Composition." He compares original works to a blooming spring arising from a barren waste, while imitations have quicker growth but fainter bloom. Imitators build on others' foundations, while originals extend the boundaries of knowledge.
The document discusses the Statute of Anne, the first copyright law, passed in 1710 in England. It established copyright protection for published works for a renewable term of 14 years for new works and 21 years for existing works. The statute aimed to encourage learning by granting authors and booksellers property rights over copies of their published books. It provided remedies against copyright infringement including forfeiture and fines. The statute also required registration and deposit of copies with certain libraries. It did not include any provisions for censorship.
This document discusses information architecture and its key principles. Information architecture involves structuring, organizing and labeling information on websites in a logical way so that users can easily find and manage content. It is both an art and a science. The document emphasizes that websites are dynamic environments that evolve over time based on user needs and behaviors, not static constructs. Effective information architecture considers the context, content, and users of a particular system to design organizational structures and navigation that meet user needs.
The document discusses Adrian Johns, a professor of history at the University of Chicago whose areas of expertise include the history of science, the history of books and media, and intellectual piracy and property from the Renaissance to the present. It also discusses how Johns' work counters another unnamed book. Several participants in a discussion discuss concepts from Johns' work, including how craft relates to piracy and authorship, what gives printed books authority, and when knowledge becomes public property.
Second Sophistic, Medieval, and Renaissance Views on AuthorshipKrista Kennedy
油
The document discusses views on authorship from various historical periods:
1) During the Second Sophistic period (roughly 100-230 AD), authorship was seen as an inventional act focused on interpreting scriptures and embellishing sermons.
2) In the Middle Ages, invention influenced rhetorical theory, theology, and logic. Three new rhetorical arts also emerged: letter writing, preaching, and poetry.
3) During the Renaissance, debates reignited about the nature, purposes and epistemologies of invention. Scholars like Thomas Wilson and Francis Bacon discussed the role of invention and whether it belonged to rhetoric or logic.
This document discusses bots writing texts and their level of agency and authorship. It explores whether bots can be considered authors, writers, or composers. Examples are given of bots fixing typos, adding facts, reverting vandalism, and performing other editing tasks on Wikipedia. Statistics provided indicate that for one article, 88% of the text was bot-generated and bots performed 21 out of 35 edits, suggesting bots can be highly productive wiki editors.
The document discusses the printing and distribution methods used by Students for a Democratic Society (SDS) in the 1960s to spread their ideas and advocate for social change. Specifically, it mentions how SDS utilized offset lithography, typewriters, mimeographs, paper, ink, carbon paper, and booksellers to inexpensively print pamphlets, newspapers, flyers and other materials. It notes that for just a few hundred dollars one could print thousands of copies of a publication. The document also briefly touches on concerns about privacy that arose from leaving written records of one's thoughts and activities.
The document provides guidance on the required elements for building final reports, including a cover, abstract, table of contents, purpose of test, research questions, results/findings, discussion, recommendations, and appendices. It emphasizes that the abstract should be a brief yet comprehensive summary that allows readers to quickly understand the contents of the report, and discusses best practices for writing abstracts and executive summaries, including keeping them concise, coherent, and non-evaluative.
The document discusses developing user profiles and personas for technical communication projects. It recommends analyzing stakeholders, users, and decision-makers. User profiles should characterize users based on age, gender, skills, and other attributes. User groups with different experience levels should be defined. Requirements and classifiers help categorize participants. The number of participants depends on testing goals and resources. Both internal and external participants can provide feedback, but external users must be screened, selected, scheduled and confirmed.
The Copyright Thing Doesn't Work Here, Part 1Krista Kennedy
油
This document discusses authorship and ownership of traditional knowledge and cultural productions. It notes that while individual inspiration is recognized, control and ownership are often communal and built on contributions from past generations as well as cultural institutions. It argues that strategies for protecting traditional knowledge must acknowledge both individual and communal aspects of creation, and recognize that authorship is situated within temporal, cultural and gendered contexts of apprenticeship and collective production.
The document discusses issues around authorship, appropriation, and intellectual property rights regarding traditional Ghanaian kente and adinkra cloth. It addresses how these cloths have become regarded as both Asante and Ghanaian through long-standing practices of appropriation by states, groups, and individuals. It also discusses the multidirectional globalization process and the economic challenges less powerful groups and nations face when intellectual property becomes predominantly an economic issue that can impact livelihoods.
This document discusses copyright law and fair use principles regarding derivative works and appropriation art. It covers the purpose and nature of use, the amount of a work used, and the effect on the original work's potential market. While copyright aims to protect original works, some argue it should allow free access for creative expression. Courts have struggled to determine what constitutes parody or piracy in appropriation art that references or incorporates existing copyrighted works.
The document discusses the concepts of distributed collaboration and commons-based peer production (CBPP). It provides three key requirements for successful peer production projects: 1) being modular and divisible into independently producible components, 2) having fine-grained modules to accommodate variously sized contributions, and 3) having low-cost integration mechanisms for quality control and assembly. CBPP depends on large numbers of individuals independently contributing small creative efforts which are then integrated. Successful systems have mechanisms for peer review. The document also discusses factors that enable CBPP, such as nonrivalrous knowledge goods, and incentives and motivations for participation.
The document discusses John Perry Barlow's views on ideas, intellectual property, and the economy of ideas in the digital age. Some key points discussed include: (1) How digital technology allows ideas and intellectual property to be instantly distributed worldwide without cost; (2) The challenge this poses to protecting and monetizing creative works; (3) The idea that information wants to be free and spread; and (4) That familiarity and widespread distribution can increase, rather than decrease, the value of ideas and creative works. The document explores these issues over time from the 1990s to today.
The document discusses the role and importance of signatures and authorship in various contexts. It touches on how signatures are used in law and institutions to determine ownership and validity. It also discusses the concept of auteurism in film and how directors are often constructed and marketed as the sole authors of films for commercial purposes. The discussion further explores how experts rely on notions of authentic authors and signatures to validate works, and how this impacts judgments of authenticity. The concept of fake works and forged signatures is also examined.
The document discusses intellectual property and copyright. It notes that all original creative works are automatically copyrighted upon creation. It describes what copyright gives the creator control over, including reproduction, derivatives, distribution, public performance, and digital transmission. The document outlines exceptions to copyright restrictions such as works in the public domain, fair use, Creative Commons, and GNU/Linux works. It provides guidance on determining what constitutes fair use based on factors like the purpose of the use, amount used, and commercial effects. The document also notes that modern authorship is often collaborative, distributed, and involves assembling preexisting information in new ways.
The document discusses authorship and metadata in digital contexts. It notes that anyone can be considered an author if publishing is defined narrowly, but not everyone can be a true Author. It also examines how readers interact with screen-based texts by actualizing possibilities rather than simply consuming. Additionally, it explores how user-generated metadata and data are appropriated by technology companies and treated as objective facts and unowned property separate from users' creative activities, neglecting the link between user data and user-generated content.
This document discusses the history of intellectual property issues within the field of rhetoric and composition dating back to the 1960s. It addresses how scholars have long been attentive to legal and economic factors that impact their work and classrooms. Key topics that have been discussed include notions of authorship, the impact of changing technologies, and concerns about how restrictive copyright laws and corporate interests could negatively influence teaching and scholarship. The document also examines calls to reimagine writing and authorship in a way that values collaboration over individual ownership and promotes the growth of a shared cultural commons.
This document discusses feminist perspectives on authorship and textual ownership. It references several French feminist theorists including H辿l竪ne Cixous who advocated for "l'辿criture f辿minine" or feminine writing. Cixous believed that writing is inherently feminine and connected to the maternal body. The document also discusses how authorship has been viewed as a gendered concept with myths of solitary male authorship. Andrea Lunsford addresses how a feminist approach could reframe ideas of collaborative authorship and situated authority through interconnection rather than sole ownership.
The document discusses various views on authorship, genius, and rhetoric from the 18th-19th centuries. It mentions that 18th century Scottish rhetoricians like Hugh Blair were more interested in how discourse appealed to taste and propriety rather than reasoning. The document also discusses Sharon Crowley's critique of 19th century assumptions that genius and successful composition depend on innate talents rather than teaching. Additionally, it covers views from various thinkers on invention, imagination, tradition, and the relationship between creativity and reality.
The document discusses the evolving definition of an "author" in cultural and legal contexts. It notes that historically, being an author did not signify a high-status profession, but rather distinguished cultural labor from industrial labor. To be considered an author, work needed to be in approved mediums and show the imprint of the creator's personality. Over time, mass cultural works challenged this definition as they involved new technologies and collaborative labor. The essay argues we must analyze the relationships between culture and industry, and proposes considering authorship in terms of collective and responsible cultural labor rather than isolated genius.
The document discusses basic project management techniques including defining the scope of work, creating a calendar and milestones, breaking tasks into individual assignments, identifying deliverables, making an equipment list, keeping materials in a central location, maintaining open communication, using available tools, and visualizing progress. The overall message is the importance of planning, organization, communication, and tracking progress to set yourself up for success on a project.
Young was situated within 18th century book production culture, writing in multiple genres for patronage. His works were popular, being translated into 7 languages and having multiple editions, including an illustrated edition by William Blake. Young explores the concepts of genius, originality, and imitation in his piece "Conjectures on Original Composition." He compares original works to a blooming spring arising from a barren waste, while imitations have quicker growth but fainter bloom. Imitators build on others' foundations, while originals extend the boundaries of knowledge.
The document discusses the Statute of Anne, the first copyright law, passed in 1710 in England. It established copyright protection for published works for a renewable term of 14 years for new works and 21 years for existing works. The statute aimed to encourage learning by granting authors and booksellers property rights over copies of their published books. It provided remedies against copyright infringement including forfeiture and fines. The statute also required registration and deposit of copies with certain libraries. It did not include any provisions for censorship.
This document discusses information architecture and its key principles. Information architecture involves structuring, organizing and labeling information on websites in a logical way so that users can easily find and manage content. It is both an art and a science. The document emphasizes that websites are dynamic environments that evolve over time based on user needs and behaviors, not static constructs. Effective information architecture considers the context, content, and users of a particular system to design organizational structures and navigation that meet user needs.
The document discusses Adrian Johns, a professor of history at the University of Chicago whose areas of expertise include the history of science, the history of books and media, and intellectual piracy and property from the Renaissance to the present. It also discusses how Johns' work counters another unnamed book. Several participants in a discussion discuss concepts from Johns' work, including how craft relates to piracy and authorship, what gives printed books authority, and when knowledge becomes public property.
Second Sophistic, Medieval, and Renaissance Views on AuthorshipKrista Kennedy
油
The document discusses views on authorship from various historical periods:
1) During the Second Sophistic period (roughly 100-230 AD), authorship was seen as an inventional act focused on interpreting scriptures and embellishing sermons.
2) In the Middle Ages, invention influenced rhetorical theory, theology, and logic. Three new rhetorical arts also emerged: letter writing, preaching, and poetry.
3) During the Renaissance, debates reignited about the nature, purposes and epistemologies of invention. Scholars like Thomas Wilson and Francis Bacon discussed the role of invention and whether it belonged to rhetoric or logic.
Intro to Wikis and More on Distance CollaborationKrista Kennedy
油
The document discusses wikis and their uses and limitations. It notes that wikis are best suited for big, collaborative projects that require letting go of the idea of individual work and embracing collaboration. However, wikis may not be well-suited for personal projects that impact one's digital identity or private matters meant for only one person. The document also presents differing views about whether technology enhances or hinders community, with one viewpoint arguing it revolutionizes community and the other concerned it may replace human interaction.
The document discusses the concept of crowdsourcing and online communities. It mentions how internet presence and online communities have become important in today's workplace. Various ideas are proposed for crowdsourced projects, such as a cancer genome project or a SyrGuide idea. The key aspects that make crowd-driven collaboration work are discussed as self-identification, self-selection, affinity, and nimble partners. Crowdsourcing is proposed as a theme to explore further this semester.
This document discusses Roman perspectives on topics like invention, authorship, interpretation, and rhetoric. It references various historical figures from different time periods in Rome like St. Bonaventure, Cicero, Pliny, and Augustine. The document also examines debates around what classifies someone as an author versus a compiler or commentator. It explores Roman traditions like handbooks and how perspectives on topics like invention and eloquence evolved over time in Rome.
The document discusses Greek views on authorship, originality, and invention. It addresses how these concepts were defined differently in ancient Greece compared to contemporary understandings. Specifically, authorship was seen as inspired by divine sources rather than originating from solitary, proprietary individuals. The document also notes the complexity of analyzing authorship concepts across different historical periods and cultures.
10. Jess:
Ive been coming back to this idea throughout the week as I
think about my own project with community work, where
populations or individuals are often not deemed authors, or at
least not Authors. And their work goes unacknowledged
because they lack the access or agency to publish and/or to be
heard so that they can even act in the capacity of an author. ...I
keep thinking about how the cultural status of an author (as it
relates to copyright laws) 鍖rst acknowledges that an author
exists. I guess Im wondering if copyright laws do/can protect
people in this situation, people who perhaps arent necessarily
typical authors wanting to protect their work but still write
and invent texts?
Thursday, March 21, 13
11. Tamara:
Who bene鍖ts from copyright law? 油
What is the purpose of publishing work/
making it public? 油
What is a work worth if the general public
cannot access it?
[And what is the purpose of protecting it?]
Thursday, March 21, 13
18. The Congress shall have Power ... To
promote the Progress of Science and
useful Arts, by securing for limited
Times to Authors and Inventors the
Exclusive Right to their respective
Writings and Discoveries.
(USC 17, Article 1, Section 8)
Thursday, March 21, 13
19. The Congress shall have Power ... To
promote the Progress of Science and
useful Arts, by securing for limited
Times to Authors and Inventors the
Exclusive Right to their respective
Writings and Discoveries.
(USC 17, Article 1, Section 8)
Thursday, March 21, 13
20. . To promote the Progress of Science
and useful Arts, by securing for limited
Times to Authors and Inventors the
Exclusive Right to their respective
Writings and Discoveries.
(USC 17, Article 1, Section 8)
Thursday, March 21, 13
23. 1909: 28/28
covered all the writings of an author
term began from publication rather than
registration
unpublished works not covered
Thursday, March 21, 13
24. 1976: life + 50
Fixation rather than registration
Ownership of unbundled rights
Termination rights
Anonymous/pseudonymous works and
works-for-hire: 75 years from publication or
100 years from creation.
Fair use
Thursday, March 21, 13
26. Fair Use
What is the character of the use?
What is the nature of the use?
How much will you use?
What are the market effects?
Thursday, March 21, 13
30. Berne Convention
Every major country except China, USSR,
and US
US entry in 1989 after 102 years of refusal
(Well come back to this.)
Thursday, March 21, 13
31. Sonny Bono Copyright
Term Extension Act, 1998
Life + 70 years
Thursday, March 21, 13
33. No circumventing digital protections
No distribution of devices designed to
circumvent digital protections
No selling of anti-security tools
No removing copyright information
Safe harbor for Internet Service Providers
Thursday, March 21, 13
34. What is copyright?
The right of the author/
creator to control.
Thursday, March 21, 13
46. Issues (Samuelson)
ease of replication
ease of transmission and multiple use
plasticity of digital media
equivalence of works in digital form
compactness of works in digital form
new search and link capacities
Thursday, March 21, 13
55. The countries to which this Convention
applies constitute a Union for the
protection of the rights of authors in their
literary and artistic works.
Thursday, March 21, 13