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Series: Lettre
Fremdreferenzielles Komponieren, Sound Sampling und Urheberrecht

culture, reproduction and distribution have become less expensive and the owner- THEATRE, INTELLECTUAL PROPERTY RIGHTS, AND THE CONTROL OF AMERICAN CULTURE | 537 ship and protection of strong intellectual properties has become a profitable strate- gy. In addition, the notoriously vague and complex legal architecture that defines intellectual property has further made the cultural marketplace more contentious and complicated. As a result, the deployment of copyright law plays a significant role in dictating conditions within the cultural marketplace, as copyright

proposal24, which provides that where personal data is processed by electronic means, the user has the right to obtain a copy of their personal data in a “commonly used”, “electronic and interoperable” format. Although the concept of interoperability in general is associated at large with copyright law and perhaps appears loosely linked to data protection, its impor- tance for human rights in the digital era can be best demonstrated through the potential it holds for restoring autonomy in online communications. This last point, arguing for a user-centric internet

example, we processed word embedding for approx. 2 billion tweets, which also poses challenges to storage and computing power. Furthermore, the use of data is often restricted. Existing data protection rules and copyright laws must be considered, although many aspects of data access are unclear, both from a legal and an ethical perspective (CRAWFORD 2012). It should also be borne in mind that data collection is complicated and costly. JAMISON/GUREVYCH (2014) discusses many factors contributing to this challenge, such as training data collectors when samples are

Statistical Ye- arbook 2012; http://www.stats.gov.cn/tjsj/ndsj/2012/ indexch.htm; 15.03.2013]. ◆ NATIONAL PEOPLE’S CON- GRESS (2010): Copyright Law of the People’s Republic of China [http://english.mofcom.gov.cn/aarticle/poli- cyrelease/announcement/201004/20100406883359. html; 15.03.2013]. ◆ NI, VIVIAN (2012): China Making Improvements in Copyright Protection [http://www. china-briefing.com/news/2012/03/16/china-making- i mprove ment s -i n- copy r i g ht-prot e c t ion . ht m l ; 15.03.2013]. ◆ PERPER, TIMOTHY/CORNOG, MARTHA (2002): Eroticism for the Masses. Japanese

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Statistical Ye- arbook 2012; http://www.stats.gov.cn/tjsj/ndsj/2012/ indexch.htm; 15.03.2013]. ◆ NATIONAL PEOPLE’S CON- GRESS (2010): Copyright Law of the People’s Republic of China [http://english.mofcom.gov.cn/aarticle/poli- cyrelease/announcement/201004/20100406883359. html; 15.03.2013]. ◆ NI, VIVIAN (2012): China Making Improvements in Copyright Protection [http://www. china-briefing.com/news/2012/03/16/china-making- i mprove ment s -i n- copy r i g ht-prot e c t ion . ht m l ; 15.03.2013]. ◆ PERPER, TIMOTHY/CORNOG, MARTHA (2002): Eroticism for the Masses. Japanese

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historians use photographs as evidence, particularly the historical reception of atrocity photography. Frédéric Döhl studied Musicology, Ethnomusicolgy and Law in Berlin and wrote his doctoral thesis on the origins and development of barbershop music. He is currently a researcher at SFB 626 at the Free University Ber- lin. His current research interests include composing with referential ma- terial in contemporary art music and popular music; copyright law and 298 | POPULAR HISTORY NOW AND THEN music; Beethoven; fin de siècle chamber music and crossover artists in

Philosophical Exploration Themes in the Philosophy of Music On the Origin of the Right to Copy. Charting the Movement of Copyright Law in Eighteenth Century Britain (1695-1775) Rolling Stone Steal This Music. How Intellectual Property Law Affects Musical Creativity Listening Through the Noise: The Aesthetics of Experimental Electronic Music Modernism and Copyright Beethoven and the Construction of Genius. Musical Politics in Vienna, 1792-1803 Critical Inquiry Autorschaft. Positionen und Revisionen Drucksache 16/1058 Drucksache 16/7121 Erwerbstätigkeit in der

resources as freely as possible. Common tools for turning your map into a common resource are the licenses of Creative Commons. With the Creative Commons licenses you can easily define the precise ways in which other people can or cannot use your data or your map. In order to do so, it is enough to state that the work is pro- tected by the chosen license and to link it to the license text. Other approaches, such as Public Domain or the "Do What The Fuck You Want To Public License" try to disconnect the work as much as legally possible from the copyright law. Needs