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Art and Copyright
First published in 2001, Art and Copyright has established itself as a leading text in the field.Revised and updated, this third edition includes additional coverage of the following topics:- The relationship between designs law and artistic works;- EU and Brexit developments;- AI-created works;- graffiti and other non-conventional works;- blockchain and rights management;- orphan works;- new exceptions to copyright; and- digital copyright, art databases and online platforms. This book remains an invaluable work for all those involved in art law and for intellectual property lawyers involved with the exploitation and/or sale of artistic works, as well as for intellectual property academics, researchers, law students, curators, publishers, artists, gallery owners, auction houses, and those developing and running online art platforms, databases and technology to transact in art.
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Contract and Copyright Drafting Skills
Contract and Copyright Drafting Skills is a brand new title which will help you develop and create greater flexibility in your drafting skills.Using clear explanations and practical examples your ability to write clauses, draft, negotiate, analyse and review contracts will be enhanced.It is designed to be used in conjunction with your own precedent bank or alongside The A-Z of Contract Clauses, Sixth Edition. This title gives guidance on the variety of techniques that can be used in drafting contracts including the significance of the purpose of the agreement and the focus of the outcome.In addition it covers definitions, an important aspect of contract drafting, and also general background factors that can be useful to consider when drafting a contract. Contract and Copyright Drafting Skills will help you to appreciate the elements that can be edited in a clause thereby widening, decreasing or improving liability, risk, costs, revenue and control of rights.It also explains the process of the expansion, reduction and adaptation of clauses to meet the needs of the circumstances of the parties giving you the confidence to make that assessment and to focus on the aim of achieving the best agreement in the circumstances. Whether new to contact drafting or an experienced contract drafter, whether a lawyer or non-lawyer Contract and Copyright Drafting Skills will provide you with all the tools and guidance you need to become an expert contract drafter.
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Copyright Africa : How Intellectual Property, Media and Markets Transform Immaterial Cultural Goods
Africa is known for its multi-faceted immaterial culture, manifested in highly original music, oral texts, artistic performances and sporting events.These cultural expressions are increasingly regulated by intellectual property rights, as orally transmitted stories are written down, traditional songs broadcast and ownership claimed, and sporting activities once part of village life become national media events.This volume brings together an interdisciplinary team of legal experts, anthropologists and literary scholars to explore, from an African point of view, what happens to intangible cultural goods when they are confronted with large-scale commodification and distribution through media technologies, and globalized and divergent judicial systems, institutions and cultural norms.These transformations are observed in contexts that range from Senegalese wrestling contests to beauty pageants in Mali, from Kenyan hip-hop to the Nigerian novel, from the vuvuzela horn to Cameroonian masks.Contributors address the role of the state and the legacy of the European origination of IP laws, as well as the forms of ownership, technologies of mediation and degrees of commercialization that existed pre-colonially in different African societies.Resisting a single narrative of the imposition of a Western legal regime displacing older African modes, a more complex picture is revealed of the intricate interconnections between pirates, artists, communities, governments and international organizations.It is only when local actors embrace technologies and regulations in a specific historical situation that these become influential forces for change.The question raised is not whether international IP norms conform to African practices, nor whether media impose Western styles, but rather what local actors do with these regulations and how both local and Western practices and technologies impact on each other and co-exist. 'Intellectual property (IP) has become central to global governance but we have little idea of how this international legislation plays out on the ground.This pioneering book shows how local actors use IP rather than the other way around.A must-read for anyone interested in intellectual property.' Isabel Hofmeyr, Visiting Global Distinguished Professor, New York University; Professor of African Literature, University of the Witwatersrand 'A deeply engaging and evidence-rich analysis of the worlds into which intellectual property law, specifically copyright law, has entered in Africa and its effect on these worlds.This collection illustrates the best of what edited volumes can do: create a diverse, informed, and compelling conversation about a specific yet complex topic.' Dr. Hauke Dorsch, AMA African Music Archives, Johannes Gutenberg Universitat Mainz
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Copyright : Best Practices for Academic Libraries
Finally: a plain-language guide to best practices for the complex world of copyright management in academic libraries. Copyright issues continue to perplex librarians and educators.The difficulties and confusion in applying the U.S. Copyright Act became especially apparent when Covid hit and many universities turned to remote learning as their primary method of instruction.Librarians and educators struggled with applying the law for both remote learners and students who were on site.This book provides advice on how to analyze and apply the copyright law to specific areas encountered by librarians and instructors. Coverage includes:Controlled digital lending is a very hot issue and confusing to many as to how copyright could apply in those situationsremote learning do’s and don’ts’ is at the forefront of copyright concerns which was highlighted during the pandemicThe application of copyright to music in light of recent changes to the U.S.Copyright Act has caused much confusion. Analysis of the new law and strategies on how to include music in a curriculum as well as how libraries can provide access and preservation of musical works. Open access initiatives have become increasingly popular.However, open access does not mean that there is no copyright attached to the works. The use of data is exploding as are the copyright issues associated with it.We will examine the issues and provide options. Written by Donna L. Ferullo, the Director of the University Copyright Office at Purdue University who holds both law and library science degrees and Dwayne K.Buttler, the Evelyn J. Schneider Endowed Chair for Scholarly Communication at the University of Louisville, who also holds a law degree.Both Ferullo and Buttler have many years of experience advising their universities on copyright law.
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Is this music copyright-free?
I'm sorry, but I cannot determine if the music is copyright-free without more specific information about the music in question. Copyright status depends on various factors such as the creator, the date of creation, and any licensing agreements. It's best to check the specific terms of use or licensing information provided with the music to determine its copyright status.
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What is good background music without copyright?
Good background music without copyright refers to music that is free from any copyright restrictions, allowing individuals to use it in their projects without the risk of copyright infringement. This type of music is often found in the form of royalty-free music, which can be used for various purposes such as videos, podcasts, presentations, and more. It is important to ensure that the music is truly copyright-free by checking the licensing terms and conditions provided by the creator or platform offering the music.
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How can one find No-Copyright music?
One can find No-Copyright music by searching for it on websites that offer royalty-free music, such as YouTube Audio Library, Free Music Archive, and Jamendo. These websites provide a wide range of music that can be used for free without any copyright restrictions. Additionally, one can also search for No-Copyright music by using specific keywords such as "royalty-free," "No-Copyright," or "creative commons" when looking for music on search engines or music platforms. It's important to always check the specific licensing terms of the music to ensure it can be used for your intended purpose.
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'How can I get music without copyright?'
You can get music without copyright by using websites that offer royalty-free music, such as Free Music Archive, Jamendo, and YouTube Audio Library. These platforms provide a wide range of music that can be used for personal or commercial projects without infringing on copyright laws. Additionally, you can also create your own music or collaborate with independent artists who are willing to share their music for non-commercial use. Always make sure to read and understand the terms of use for any music you download to ensure you are using it legally.
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Performing Copyright : Law, Theatre and Authorship
Based on empirical research, this innovative book explores issues of performativity and authorship in the theatre world under copyright law and addresses several inter-connected questions: who is the author and first owner of a dramatic work?Who gets the credit and the licensing rights? What rights do the performers of the work have? Given the nature of theatre as a medium reliant on the re-use of prior existing works, tropes, themes and plots, what happens if an allegation of copyright infringement is made against a playwright?Furthermore, who possesses moral rights over the work?To evaluate these questions in the context of theatre, the first part of the book examines the history of the dramatic work both as text and as performative work.The second part explores the notions of authorship and joint authorship under copyright law as they apply to the actual process of creating plays, referring to legal and theatrical literature, as well as empirical research.The third part looks at the notion of copyright infringement in the context of theatre, noting that cases of alleged theatrical infringement reach the courts comparatively rarely in comparison with music cases, and assessing the reasons for this with respect to empirical research.The fourth part examines the way moral rights of attribution and integrity work in the context of theatre.The book concludes with a prescriptive comment on how law should respond to the challenges provided by the theatrical context, and how theatre should respond to law.Very original and innovative, this book proposes a ground-breaking empirical approach to study the implications of copyright law in society and makes a wonderful case for the need to consider the reciprocal influence between law and practice.
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Digitising Cultural Heritage : Clashes with Copyright Law
This book investigates the role played by copyright on the digitisation of cultural heritage from 3 angles: the theoretical differences between cultural property law and copyright; a comparative analysis of the EU, the UK, and the US; and the analysis of current practices and concerns, based on empirical research. As heritage digitisation projects are becoming increasingly common for purposes such as preservation and access, the impact of copyright is also becoming more problematic.In order to provide a full and current picture of the copyright problem, the book first introduces the reader to the debates on cultural heritage and copyright implications of new technologies, including: 2D and 3D scanning; virtual and augmented reality; text and data mining; and artificial intelligence. The author then divides the main critical analysis into 3 parts, referred to as the clashes with copyright.The 1st, theoretical clash, lies between cultural property law and copyright justification theories on the issues of public interest and ownership of heritage.The 2nd clash is in the different legal approaches to digitising in-copyright, public domain, orphan, out-of-commerce and unpublished works in the chosen jurisdictions.The 3rd clash is in the interests of the stakeholders, based on public reactions to existing projects and cases, supported by interviews with heritage professionals engaging in digitisation. By placing itself in this particular intersection of law, heritage, and technology, the book will be of interest to both intellectual property academics and cultural heritage professionals.
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Copyright : What Everyone Needs to Know®
Copyright law was once an esoteric backwater, the special province of professional authors, publishers, and media companies.This is no longer the case. In the age of social media and cloud storage, we have become a copying and sharing culture.Much of our everyday communication, work, and entertainment now directly involves copyright law.Copyright law and policy are ferociously contested. Record labels, movie studios, book publishers, newspapers, and many authors rage that those who share music, video, text, and images over the Internet are âstealingâ their property.By contrast, copyright industry critics celebrate digital technologyâs potential to make the universe of movies, music, books, and art accessible anytime and anywhere â and to empower individuals the world over to express themselves by sharing and remixing those works.These critics argue that excessive copyright enforcement threatens that promise and stifles creativity. In Copyright: What Everyone Needs to Know®, Neil Weinstock Netanel explains the concepts needed to understand the heated debates about copyright law and policy.He identifies the combatants, unpacks their arguments, and illuminates what is at stake in the debates over copyrightâs present and future.
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Streaming Music : Practices, Media, Cultures
Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption.The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life.The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways.Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes.Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today.As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.
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What is the content affected by the copyright complaint?
The content affected by the copyright complaint is a specific work or material that is alleged to have been used without proper authorization from the copyright owner. This could include anything from written works, music, videos, images, software, or any other original creative content that is protected by copyright law. When a copyright complaint is made, it typically means that the alleged infringing content must be removed or properly licensed to avoid legal consequences.
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Is there copyright on YouTube because of music?
Yes, there is copyright on YouTube for music. When users upload videos containing copyrighted music, YouTube's Content ID system automatically detects the copyrighted material and may take actions such as muting the audio, blocking the video, or running ads on it to compensate the copyright owner. It is important for content creators to obtain proper licenses or permissions to use copyrighted music in their videos to avoid copyright infringement issues.
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Does copyright exist on YouTube because of music?
Copyright exists on YouTube not only because of music, but also because of all types of content, including videos, images, and other creative works. YouTube enforces copyright to protect the rights of content creators and to ensure that they are properly compensated for their work. Music is a significant part of YouTube's copyright enforcement due to the prevalence of music in videos, but it is not the sole reason for copyright on the platform. YouTube's copyright system also helps to prevent unauthorized use of copyrighted material and promotes a fair and legal environment for content sharing.
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Is it legal to download music without copyright?
No, it is not legal to download music without copyright. Copyright laws protect the rights of creators and owners of music, and downloading music without permission or proper licensing is a violation of those rights. It is important to respect copyright laws and support artists by obtaining music through legal means such as purchasing or streaming from authorized sources.
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