1,720,995 research outputs found
Regulatory capitalism, decentered enforcement, and its legal consequences for digital expression : the use of copyright law to restrict freedom of speech online
No full textThis chapter discusses the use of copyright law to restrict freedom of speech online
Protecting music, not markets : the conflict between copyright collecting societies and single market aims
No full textThis chapter provides an overview of the current case law relating to the activities of collecting societies, music licensing organisations which purport to protect the interests of creators. However, collecting societies act in ways which are detrimental to the further integration of the market for intellectual property goods, in particular raising concerns under competition and free movement regimes. With proposed reform at the EU level faltering, we should ask whether collecting societies fulfil an essential service to musicians, or whether the extension of national monopolies to the online environment should be carefully scrutinised
Emulation is the most sincere form of flattery : retro videogames, rom distribution and copyright
Full text linkThe Internet has made it possible for amateur game creators to collaborate on projects irrespective of geographical location. The success of projects such as Minecraft, and even CounterStrike, demonstrates that ‘indie’ developers can create entertainment products just as popular and successful as mainstream developers with huge budgets. However, many individuals instead are more interested in the old than the new – reliving past experiences through the playing of old videogames that are no longer commercially sold. Through the creation of emulators, and the ripping of ROM images (data that allows for the playing of an emulated videogame, such as Super Mario Bros. on the Super Nintendo), games with nostalgic value can be easily distributed, played and replayed. In addition, this allows for the preservation of legacy content that may otherwise be consigned to the ‘dustbin of history’. However, irrespective of the effort and ingenuity that goes into the creation of emulation software, and the effort involved in ripping ROM data to make old games playable, are these pursuits entirely legal? The purpose of this paper is to consider the compatibility of such projects with pre-existing norms of intellectual property law, comparing and contrasting the approaches of US and EU IP regimes in their handling of emulators and ROMS. The paper will analyse the issue under pre-existing legislation and with regard to relevant case law, seeking to draw conclusions on whether the existing regimes in copyright law are compatible and satisfactorily balance the right of videogame publishers to seek fair remuneration for their work with the desire by enthusiasts to preserve and relive a form of creative culture
Networked governance and the regulation of expression on the internet : the blurring of the role of public and private actors as content regulators
No full textThis chapter discusses the blurring of the role of public and private actors as content regulators with regards to regulation of expression on the internet
'SABAM v scarlet: Evidence of an emerging backlash against corporate copyright lobbies in Europe?
No full textThe symbols, signs, and traces of copyright and related intellectual property laws that appear on everyday texts, objects, and artifacts have multiplied exponentially over the past 15 years. Digital spaces have revolutionized access to content and transformed the ways in which content is porous and malleable. In this volume, contributors focus on copyright as it relates to culture. The editors argue that what «counts» as property must be understood as shifting terrain deeply influenced by historical, economic, cultural, religious, and digital perspectives.\ud
Key themes addressed include issues of how:\ud
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• Culture is framed, defined, and/or identified in conversations about intellectual property;\ud
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• The humanities and other related disciplines are implicated in intellectual property issues;\ud
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• The humanities will continue to rub up against copyright (e.g., issues of authorship, authorial agency, ownership of texts);\ud
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• Different cultures and bodies of literature approach intellectual property, and how competing dynasties and marginalized voices exist beyond the dominant U.S. copyright paradigm.\ud
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Offering a transnational and interdisciplinary perspective, Cultures of Copyright offers readers – scholars, researchers, practitioners, theorists, and others – key considerations to contemplate in terms of how we understand copyright’s past and how we chart its futures
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
The Digital Economy Act 2010 - a cause for celebration, or a cause for concern
No full textOutside of legislation pertaining to security and counter-terrorism in the United Kingdom, such as the Terrorism Act 20001 and the Regulation of Investigatory Powers Act 2000,2 one of the more controversial Parliamentary Acts passed during the term of the Labour Government is that of the Digital Economy Act of 2010.3 Indeed, few Acts have caused as much controversy and outrage, particularly amongst internet-based communities and activist groups. Organisations such as the Open Rights Group, which states its goal as being the preservation and promotion of rights and civil liberties in the digital age, have denounced the Act as undemocratic. One such example comes in an article written by the Open Rights Group shortly after the Digital Economy Bill (a draft of the passed legislation) was announced, emotively titled “Digital Economy Bill: Dangerous and Draconian Just Got Dictatorial”.4 The article described the proposed legislation as being arbitrary, disproportional and a threat to online rights. Another writer stated that:
“The British government has brought down its long-awaited Digital Economy Bill, and it's perfectly useless and terrible. It consists almost entirely of penalties for people who do things which upset the entertainment industry.”5
The same author wrote of the passed Act that it was an attack on privacy, on democracy and on transparency.6 In contrast, during the drafting and development of the Bill, representatives from the entertainment industry wrote of the Bill in glowing terms: “the Act's measures to reduce illegal downloading will spur on investment in new music and innovation in legal business models”,7 stated the head of the British Phonographic Industry (BPI).
Yet why is this newly passed Act so divisive? Why is there little consensus on the aims and effects of the Act, even in the Parliament which assented to the Bill passing into law? In order to better understand these difficulties, it is necessary not only to look at the content of the Act, but also its development and the manner in which it was enacted. This article shall consider in depth the copyright infringement related sections of the Act, and their origins, in order to determine the effectiveness and legitimacy of this controversial piece of legislation
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