Keyword: Auteursrecht

Reassessing the challenge of the digital: An empirical perspective on authorship and copyright external link

Cooper, E.
1217, pp: 175-214

Abstract

This chapter explores these perceived challenges of the digital for copyright, through ideas about authorship that underpin so-called creative practices today. It does so through a qualitative empirical study that involved semistructured interviews with ‘artists’ and ‘poets’ who use digital technology. The interviews sought to uncover the extent to which the participation of many people was characteristic of the interviewees’ work and their views about ‘authorship’. For example, is authorship of any significance to interviewee ‘artists’ and ‘poets’? If so, who do they consider to be the author? In situations where many have contributed, how and why do they attribute authorship to some contributors while denying it to others? Finally, why is authorship important to the interviewees, if at all, and does this bear any relation to copyright’s proprietary author?

Auteursrecht, Intellectuele eigendom

Bibtex

Chapter{Cooper2014, title = {Reassessing the challenge of the digital: An empirical perspective on authorship and copyright}, author = {Cooper, E.}, url = {http://www.ivir.nl/publicaties/download/1467.pdf}, year = {1217}, date = {2014-12-17}, abstract = {This chapter explores these perceived challenges of the digital for copyright, through ideas about authorship that underpin so-called creative practices today. It does so through a qualitative empirical study that involved semistructured interviews with ‘artists’ and ‘poets’ who use digital technology. The interviews sought to uncover the extent to which the participation of many people was characteristic of the interviewees’ work and their views about ‘authorship’. For example, is authorship of any significance to interviewee ‘artists’ and ‘poets’? If so, who do they consider to be the author? In situations where many have contributed, how and why do they attribute authorship to some contributors while denying it to others? Finally, why is authorship important to the interviewees, if at all, and does this bear any relation to copyright’s proprietary author?}, keywords = {Auteursrecht, Intellectuele eigendom}, }

Romantic authorship in copyright law and the uses of aesthetics external link

Lavik, E.
1219, pp: 45-94

Abstract

Scholars of the arts as well as scholars of copyright law – especially in the US – have for decades struggled to kill off the ideology of Romantic authorship, though it is far from clear precisely what it consists of, or why and to whom it poses such danger. The situation brings to mind film historian Tom Gunning’s memorable observation in a different context that the persistent attacks ‘begin to take on something of the obsessive and possibly necrophilic pleasure of beating a dead horse’ (1998, p. xiii). This chapter is divided into two main parts. The first part critically examines the idea that the myth of Romantic authorship is deeply ingrained in copyright law and has propelled its expansion. The second part explores the broader but related issue of how insights from the humanities can usefully inform copyright scholarship. Taking as its starting point Roland Barthes’ famous essay ‘The Death of the Author’ it argues that it is extremely demanding to find common ground, for even though the disciplines overlap conceptually they are fundamentally at cross-purposes epistemologically. I maintain that we must first identify where the aims and practices of aesthetics and law actually converge, and deem it to be in the area of interpretation and evaluation, which is obviously one of the core competences of scholars of the arts, and also something that courts resort to at the infringement stage.

Auteursrecht, Intellectuele eigendom

Bibtex

Chapter{Lavik2014b, title = {Romantic authorship in copyright law and the uses of aesthetics}, author = {Lavik, E.}, url = {http://www.ivir.nl/publicaties/download/1463.pdf}, year = {1219}, date = {2014-12-19}, abstract = {Scholars of the arts as well as scholars of copyright law – especially in the US – have for decades struggled to kill off the ideology of Romantic authorship, though it is far from clear precisely what it consists of, or why and to whom it poses such danger. The situation brings to mind film historian Tom Gunning’s memorable observation in a different context that the persistent attacks ‘begin to take on something of the obsessive and possibly necrophilic pleasure of beating a dead horse’ (1998, p. xiii). This chapter is divided into two main parts. The first part critically examines the idea that the myth of Romantic authorship is deeply ingrained in copyright law and has propelled its expansion. The second part explores the broader but related issue of how insights from the humanities can usefully inform copyright scholarship. Taking as its starting point Roland Barthes’ famous essay ‘The Death of the Author’ it argues that it is extremely demanding to find common ground, for even though the disciplines overlap conceptually they are fundamentally at cross-purposes epistemologically. I maintain that we must first identify where the aims and practices of aesthetics and law actually converge, and deem it to be in the area of interpretation and evaluation, which is obviously one of the core competences of scholars of the arts, and also something that courts resort to at the infringement stage.}, keywords = {Auteursrecht, Intellectuele eigendom}, }

Adapting the work external link

van Eechoud, M.
1218, pp: 145-174

Abstract

My focus in this piece is on the interplay between the legal concepts of work, copy and adaptation in light of the now ubiquitous ‘new’ forms or genres of works that online networks enabled. Can European copyright law accommodate the increased fluidity of some of these work genres? What avenues might be taken to attenuate the gap between legal and social practices? Is a more flexible system of limitations enough? Or do we need a wholesale rethink of the work concept? Might a more relaxed notion of copying and especially of adapting suffice? What would that mean for the kind of copyright infringement analysis courts engage in? My ambition is to explore potential avenues for reform, and in doing so take on board some insights from non-legal disciplines, notably genre and adaptations studies.

Auteursrecht, Intellectuele eigendom

Bibtex

Chapter{vanEechoud2014c, title = {Adapting the work}, author = {van Eechoud, M.}, url = {http://www.ivir.nl/publicaties/download/1461.pdf}, year = {1218}, date = {2014-12-18}, abstract = {My focus in this piece is on the interplay between the legal concepts of work, copy and adaptation in light of the now ubiquitous ‘new’ forms or genres of works that online networks enabled. Can European copyright law accommodate the increased fluidity of some of these work genres? What avenues might be taken to attenuate the gap between legal and social practices? Is a more flexible system of limitations enough? Or do we need a wholesale rethink of the work concept? Might a more relaxed notion of copying and especially of adapting suffice? What would that mean for the kind of copyright infringement analysis courts engage in? My ambition is to explore potential avenues for reform, and in doing so take on board some insights from non-legal disciplines, notably genre and adaptations studies.}, keywords = {Auteursrecht, Intellectuele eigendom}, }

Annotatie bij Hof van Justitie EU 3 september 2014 (Deckmyn / Vandersteen) external link

J.M. Breemen
European Human Rights Cases, num: 12, pp: 657-662., 2014

Abstract

Grote Kamer. Auteursrecht. Uitleg parodie-exceptie. Vrijheid van meningsuiting. Politieke spotprent.

Auteursrecht, Intellectuele eigendom, Parodie exceptie, Politieke spotprent, Vrijheid van meningsuiting

Bibtex

Case note{nokey, title = {Annotatie bij Hof van Justitie EU 3 september 2014 (Deckmyn / Vandersteen)}, author = {J.M. Breemen}, url = {http://www.ivir.nl/publicaties/download/1459.pdf}, year = {1218}, date = {2014-12-18}, journal = {European Human Rights Cases}, number = {12}, abstract = {Grote Kamer. Auteursrecht. Uitleg parodie-exceptie. Vrijheid van meningsuiting. Politieke spotprent.}, keywords = {Auteursrecht, Intellectuele eigendom, Parodie exceptie, Politieke spotprent, Vrijheid van meningsuiting}, }

Creativity and the sense of collective ownership in theatre and popular music external link

Gripsrud, J.
1216, pp: 215-236

Abstract

The purpose of the research presented here has been to investigate empirically how practising artists, in art forms where production is predominantly of a collective nature, feel and think about the nature of their contribution to the finished whole. More precisely, the idea is to explore to which extent those involved in the collective production of art have a sense or feeling of ownership vis-a-vis the outcome of the creative process, and what they think this might entail in terms of financial and other rewards. On this basis, I wish to raise some questions regarding the role of current copyright law in relation to actual artistic practices.

Auteursrecht, Intellectuele eigendom

Bibtex

Chapter{Gripsrud2014, title = {Creativity and the sense of collective ownership in theatre and popular music}, author = {Gripsrud, J.}, url = {http://www.ivir.nl/publicaties/download/1458.pdf}, year = {1216}, date = {2014-12-16}, abstract = {The purpose of the research presented here has been to investigate empirically how practising artists, in art forms where production is predominantly of a collective nature, feel and think about the nature of their contribution to the finished whole. More precisely, the idea is to explore to which extent those involved in the collective production of art have a sense or feeling of ownership vis-a-vis the outcome of the creative process, and what they think this might entail in terms of financial and other rewards. On this basis, I wish to raise some questions regarding the role of current copyright law in relation to actual artistic practices.}, keywords = {Auteursrecht, Intellectuele eigendom}, }

Discontinuities between legal conceptions of authorship and social practices: What, if anything, is to be done? external link

L. Bently & L. Biron
1216, pp: 237-276

Abstract

Authorship is central to the operation of copyright as a regulatory tool, but copyright law’s conception of ‘authorship’ appears to be ‘out of sync’ with a wide range of social practices: either copyright makes authors-in-law out of social ‘non-authors’, or vice versa. After offering three examples (scientific credit, conceptual art and literary editing)1 this contribution considers why these differences have emerged and whether these discontinuities should be thought of as a matter of concern. It appraises a number of academic proposals as to what might be done about these discontinuities, and offers its own suggestion, namely, the deployment of a more open-textured concept of authorship, one that is able to respond flexibly to varied contexts, social understandings and practices, but limited in application to matters of attribution.

Auteursrecht, Intellectuele eigendom

Bibtex

Chapter{Bently2014, title = {Discontinuities between legal conceptions of authorship and social practices: What, if anything, is to be done?}, author = {L. Bently and L. Biron}, url = {http://www.ivir.nl/publicaties/download/1457.pdf}, year = {1216}, date = {2014-12-16}, abstract = {Authorship is central to the operation of copyright as a regulatory tool, but copyright law’s conception of ‘authorship’ appears to be ‘out of sync’ with a wide range of social practices: either copyright makes authors-in-law out of social ‘non-authors’, or vice versa. After offering three examples (scientific credit, conceptual art and literary editing)1 this contribution considers why these differences have emerged and whether these discontinuities should be thought of as a matter of concern. It appraises a number of academic proposals as to what might be done about these discontinuities, and offers its own suggestion, namely, the deployment of a more open-textured concept of authorship, one that is able to respond flexibly to varied contexts, social understandings and practices, but limited in application to matters of attribution.}, keywords = {Auteursrecht, Intellectuele eigendom}, }

Annotatie bij Hof van Justitie EU 3 april 2014 (Hi Hotel / Spoering) external link

van Eechoud, M.
AMI, num: 4, pp: 117-120., 2014

Abstract

Internationale bevoegdheid rechter bij grensoverschrijdende inbreuk auteursrecht. EEX-Verordening (EG) nr. 44/2001. Bepaling van plaats waar schadebrengende feit zich heeft voorgedaan. Plaats van intreden beweerde schade.

Auteursrecht, EEX-Verordening nr. 44/2001, grensoverschrijdende inbreuk, Intellectuele eigendom, plaats van intreden schade

Bibtex

Case note{nokey, title = {Annotatie bij Hof van Justitie EU 3 april 2014 (Hi Hotel / Spoering)}, author = {van Eechoud, M.}, url = {http://www.ivir.nl/publicaties/download/1436.pdf}, year = {1113}, date = {2014-11-13}, journal = {AMI}, number = {4}, abstract = {Internationale bevoegdheid rechter bij grensoverschrijdende inbreuk auteursrecht. EEX-Verordening (EG) nr. 44/2001. Bepaling van plaats waar schadebrengende feit zich heeft voorgedaan. Plaats van intreden beweerde schade.}, keywords = {Auteursrecht, EEX-Verordening nr. 44/2001, grensoverschrijdende inbreuk, Intellectuele eigendom, plaats van intreden schade}, }

Annotatie bij Vzr. Rb. Den Haag 24 februari 2014 (SDC Verifier / Femto Engineering) external link

van Eechoud, M.
AMI, num: 5, pp: 169-173., 2014

Abstract

Vordering wapperverbod. Software door auteurs in meerdere landen gemaakt. Internationaal privaatrecht. Conflictregel. Vraag aan wie auteursrechten toekomen beheerst door recht van elk land waarvoor bescherming wordt ingeroepen (lex protectionis).

Auteursrecht, conflictregel, Intellectuele eigendom, internationaal privaatrecht, lex protectionis, Software, wapperverbod

Bibtex

Case note{nokey, title = {Annotatie bij Vzr. Rb. Den Haag 24 februari 2014 (SDC Verifier / Femto Engineering)}, author = {van Eechoud, M.}, url = {http://www.ivir.nl/publicaties/download/1435.pdf}, year = {1113}, date = {2014-11-13}, journal = {AMI}, number = {5}, abstract = {Vordering wapperverbod. Software door auteurs in meerdere landen gemaakt. Internationaal privaatrecht. Conflictregel. Vraag aan wie auteursrechten toekomen beheerst door recht van elk land waarvoor bescherming wordt ingeroepen (lex protectionis).}, keywords = {Auteursrecht, conflictregel, Intellectuele eigendom, internationaal privaatrecht, lex protectionis, Software, wapperverbod}, }

Annotatie bij Hof Amsterdam 20 mei 2014 (Telegraaf / NPO) external link

Kabel, J.
AMI, num: 5, pp: 164-168., 2014

Abstract

De juridische status van omroepprogrammagegevens is voorwerp van een al van voor de Tweede Wereldoorlog daterende strijd tussen publieke omroepen en nieuwsmedia. Kunnen die omroepen het nieuwsmedia verbieden om de omroepgegevens volledig en op wekelijkse basis af te drukken? De uitspraak van het Europese Hof van Justitie in Football Dataco maakt het niet langer mogelijk dat de omroepen een beroep deden op de zogenaamde geschriftenbescherming. In de hier geannoteerde zaak ontzegt het Amsterdamse Hof de omroeporganisaties een beroep op hun auteursrecht. Zelfs als, aldus het Hof, het in elkaar zetten van omroepprogramma's een creatief proces zou zijn, beschermd door het auteursrecht, dan nog zou de weergave van dat proces in een lijst van programmagegevens niet zijn beschermd. De annotator is het niet eens met die redenering. Wanneer het maken van programma's auteursrechtelijk beschermd is, kan de maker immers de weergave daarvan verbieden op grond van zijn verveelvoudigingssrecht. De juiste vraag zou zijn geweest of er wel een auteursrechtelijke prestatie aanwezig is bij het maken van omroepprogramma's. Gegeven de hedendaagse strakke wettelijke inkadering van die programma's lijkt er weinig ruimte voor de auteursrechtelijk vereiste creativiteit.

Auteursrecht, Intellectuele eigendom

Bibtex

Case note{nokey, title = {Annotatie bij Hof Amsterdam 20 mei 2014 (Telegraaf / NPO)}, author = {Kabel, J.}, url = {http://www.ivir.nl/publicaties/download/1426.pdf}, year = {1024}, date = {2014-10-24}, journal = {AMI}, number = {5}, abstract = {De juridische status van omroepprogrammagegevens is voorwerp van een al van voor de Tweede Wereldoorlog daterende strijd tussen publieke omroepen en nieuwsmedia. Kunnen die omroepen het nieuwsmedia verbieden om de omroepgegevens volledig en op wekelijkse basis af te drukken? De uitspraak van het Europese Hof van Justitie in Football Dataco maakt het niet langer mogelijk dat de omroepen een beroep deden op de zogenaamde geschriftenbescherming. In de hier geannoteerde zaak ontzegt het Amsterdamse Hof de omroeporganisaties een beroep op hun auteursrecht. Zelfs als, aldus het Hof, het in elkaar zetten van omroepprogramma's een creatief proces zou zijn, beschermd door het auteursrecht, dan nog zou de weergave van dat proces in een lijst van programmagegevens niet zijn beschermd. De annotator is het niet eens met die redenering. Wanneer het maken van programma's auteursrechtelijk beschermd is, kan de maker immers de weergave daarvan verbieden op grond van zijn verveelvoudigingssrecht. De juiste vraag zou zijn geweest of er wel een auteursrechtelijke prestatie aanwezig is bij het maken van omroepprogramma's. Gegeven de hedendaagse strakke wettelijke inkadering van die programma's lijkt er weinig ruimte voor de auteursrechtelijk vereiste creativiteit.}, keywords = {Auteursrecht, Intellectuele eigendom}, }

Private Copying and Downloading from Unlawful Sources external link

Quintais, J.
IIC - International Review of Intellectual Property and Competition Law, vol. 46, num: 1, pp: 66-92, 2014

Abstract

Private copying is one of the most contested areas of EU copyright law. This paper surveys that nebulous area and examines the issue of copies made from unlawful sources in light of the ECJ’s ACI Adam decision. After describing the legal background of copyright levies and the facts of the litigation, the paper scrutinizes the Advocate General’s Opinion and the Court’s decision. The latter is analyzed against the history of copyright levies, the ECJ’s extensive case-law on the private copying limitation and Member States’ regulation of unlawful sources. This paper further reflects on the decision’s implications for end-users, rights holders, collective management organizations and manufacturers/importers of levied goods. It concludes that, from a legal and economic standpoint, the decision not only fails to be properly justified, but its consequences will likely diverge from those anticipated by the Court. Most worrisome is the Court’s stance on the three-step test, which it views as a restrictive, rather than enabling, clause. In its interpretation of the test, the decision fails to strike the necessary balance between competing rights and interests. This is due to multiple factors: overreliance on the principle of strict interpretation; failure to consider the fundamental right of privacy; lack of justification of the normative and empirical elements of the test’s second condition; and a disregard for the remuneration element in connection with the test’s third condition. To the contrary, it is argued that a flexible construction of the three-step test is more suited to the Infosoc Directive’s balancing aims.

ACI ADAM, alternative compensation systems, Auteursrecht, collective rights management, content flat-rate, Copyright, exceptions and limitations, Information Influx Conference, Infosoc Directive, Intellectuele eigendom, IViR, levies, private copy

Bibtex

Article{nokey, title = {Private Copying and Downloading from Unlawful Sources}, author = {Quintais, J.}, url = {http://link.springer.com/article/10.1007/s40319-014-0295-7}, doi = {https://doi.org/10.1007/s40319-014-0295-7}, year = {2014}, date = {2014-10-29}, journal = {IIC - International Review of Intellectual Property and Competition Law}, volume = {46}, number = {1}, pages = {66-92}, abstract = {Private copying is one of the most contested areas of EU copyright law. This paper surveys that nebulous area and examines the issue of copies made from unlawful sources in light of the ECJ’s ACI Adam decision. After describing the legal background of copyright levies and the facts of the litigation, the paper scrutinizes the Advocate General’s Opinion and the Court’s decision. The latter is analyzed against the history of copyright levies, the ECJ’s extensive case-law on the private copying limitation and Member States’ regulation of unlawful sources. This paper further reflects on the decision’s implications for end-users, rights holders, collective management organizations and manufacturers/importers of levied goods. It concludes that, from a legal and economic standpoint, the decision not only fails to be properly justified, but its consequences will likely diverge from those anticipated by the Court. Most worrisome is the Court’s stance on the three-step test, which it views as a restrictive, rather than enabling, clause. In its interpretation of the test, the decision fails to strike the necessary balance between competing rights and interests. This is due to multiple factors: overreliance on the principle of strict interpretation; failure to consider the fundamental right of privacy; lack of justification of the normative and empirical elements of the test’s second condition; and a disregard for the remuneration element in connection with the test’s third condition. To the contrary, it is argued that a flexible construction of the three-step test is more suited to the Infosoc Directive’s balancing aims.}, keywords = {ACI ADAM, alternative compensation systems, Auteursrecht, collective rights management, content flat-rate, Copyright, exceptions and limitations, Information Influx Conference, Infosoc Directive, Intellectuele eigendom, IViR, levies, private copy}, }