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Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
Helen szeto etec 531 intellectual property rights
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Helen szeto etec 531 intellectual property rights

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  • In this media production on Intellectual Property Rights, I will be answering 3 questions. What are Intellectual Property Rights? What form do they take? And finally I’ll be describing the ways in which intellectual property rights inspire and inhibit innovation.
  • What are intellectual property rights?
  • Intellectual Property Rights are creations of the mind, items of information or knowledge. They are unlimited copies of this type of information at different locations around the world. Intellectual Property Rights do not necessarily have a physical container. Copyrights limit the duration that someone has ownership over the intellectual property.
  • What form do Intellectual Property Rights take?
  • literary & artistic works
  • symbols, names, images & designs used in commerce
  • Intellectual Property divided into 2 categories: industrial property and copyright
  • Intellectual Property rights are divided into 2 categories: industrial property and copyright.
  • Transcript

    • 1. Intellectual Property RightsBy Helen Szeto ETEC 531 June 2009
    • 2. What are Intellectual Property Rights (IPRs)?
    • 3. Intellectual Property Rights are…• creations of the mind• items of information or knowledge• unlimited # of copies at different locations anywhere in the world• limited duration by copyrights
    • 4. What form do IntellectualProperty Rights (IPRs) take?
    • 5. literary & artistic works
    • 6. symbols, names, images &designs used in commerce
    • 7. Intellectual Property divided into 2 categories : Industrial Property
    • 8. Inventions (patents) eª and a QuickTim decompressor TIFF (Unc QuickTimeª and a om essed) (Uncompr see this picture. are needed pressed) decompres to see this so a Tor F and pres s IF needed to picture. r meª com e. are i r TIFF ckT ) de ictu (U Qu Qui ressed this p are n ncomp ickTime p se e om eede resse ª and Unceded to d to d F(TIF are ne see ) decoma this pictupressor re.
    • 9. trademarks
    • 10. industrial designs QuickTimeª and a TIFF (Uncompressed) decompressor are needed to see this picture.
    • 11. geographic indications of source
    • 12. Intellectual Property divided into 2 categories: Copyright
    • 13. Literary Works• Literary works: – novels – poems & plays – films, musical works
    • 14. • Artistic works: – drawings – paintings – photographs & sculptures – architectural designs
    • 15. COPYRIGHT• Attempted to accommodate cyberspace by merely calling it a conveyance (another format for content of expression)
    • 16. John Perry Barlow• Protection is something entirely different. How can we protect it?
    • 17. Treaties• Paris Convention for Protection of Industrial Property in 1883• One of 1st IP treaties (patents)• Paris, France March 20, 1883• Belgium, Brazil, France, Guatemala, Italy, the Netherlands, Portugal, El Salvador, Serbia, Spain and Switzerland.• 173 members, Aug 2008
    • 18. Treaties• Berne Convention in 1886• International agreement governing copyright• Berne, Switzerland• 164 members, Sept 2008
    • 19. Digital Content• Ease in altering or forgery• Ease in rearrangement, construction, recycling• Preventive measures too late• Can’t contain digital data same as analog
    • 20. Lawrence Lessig• Copyright always @ war with technology• New technology has made copying easier
    • 21. Postmodern Aesthetic• Encourages electicism & multiplicity over any dominant or ‘original’ style• Accepted practice to appropriate other artists’ works• Originality no longer possible• Artist = processor of info or manipulator of found material
    • 22. Postmodern Aesthetic• Digital technology = appropriation devices• Scanner• Sampler• Digital data bank plundered
    • 23. Postmodern Aesthetic• 1980s – New approach to creativity & intellectual property
    • 24. Andrew Goodwin• Sample & Hold• Sample-based music culture
    • 25. Walter Benjamin• Distribution of artwork through a network• ‘aura’ of original given way to culture of copying & hands on approach• Collapse of distance
    • 26. • New era• New criteria of creativity – DJs & musicians assessed not on originality but on skill & judgment in assembling collages of found materials
    • 27. Public Enemy
    • 28. De La Soul
    • 29. Problem• New concept of authorship• Law of copyright• Suing musicians & DJs
    • 30. Solution• Share of royalties (fee)• MACOS --> no legal ramifications• D.I.Y. ---> DJ Spooky ---> Robin Mackay (quotes)
    • 31. John Perry Barlow• Info is experienced not possessed• Fluidity of info = copyright law outmoded
    • 32. Shareware & open source software• Collectivist notion VS.• Commitment to intellectual property as commodity• ‘collective intelligence’ by Pierre Levy
    • 33. Sean Cubist• Sharing of info, sharing of creative process as major social benefit
    • 34. IP Law• Engaged with new media technologies• Threat to copyright
    • 35. Walter Benjamin & Timothy Druckery• ‘optical unconscious’• ‘collective vision’• Digital media as form of collage raise issues to do with narrative as culture given
    • 36. Les Manovich• Cultural ‘transcoding’ – Computers & culture constantly change one another – Speeding up of process
    • 37. Gregory Ulmer• New aesthetics theorist• gone is Aristotle’s neat, beginning, middle & end• Always in network, in between• Gone are formulas• Choreography --> transitory method• Instead of reading theories, we reinvent instead
    • 38. • Artists & students become producers as well as consumers of theory• Draw on past & reinvent future• Money as reservoir for creative information
    • 39. Describe the ways in which IPRs inspireand inhibit innovation.
    • 40. Inspire• Jefferson designing copyright system – Assuring widespread distribution of thought, not profit – Libraries buy books, rewarding authors • Ideas become available to public
    • 41. Inspire• U.S. Congress given power to ‘promote’ progress of science…• 1st copyright act (1790) invented to encourage open circulation of knowledge• Provide incentive for artists, scientists & writers to create original works
    • 42. Inspire• Info ownership = monopoly for publishers• 1793 1st US patent law• Copyrights & patents in theory; legal protection of IP
    • 43. Inspire• Open source software & Linux – Open knowledge response to software monopolies – No fear of patent infringements – Give users absolute freedom – General Public License GPL
    • 44. Inspire• Protect stealing from others• Safeguard for consumers• Incentives to creativity• Market creation
    • 45. Inhibit• Commercialization of IP throughout 19th century undermine original intent• IPR = monopolisitic control, trade secrecy rather than open promotion of science & tech marked corporate practice
    • 46. Inhibit• Property can be infinitely reproduced & instantaneously distributed w/out cost/knowledge/possession• HOW DO YOU PROTECT IT?
    • 47. Inhibit• Law protected physical expression• While technology may undo law, technology offers methods for restoring creative rights• Info wants to be free, to change, unconstrained, no final cut
    • 48. Inhibit• Copyright makes no accommodations whatever for expressions• Patents --> unrestricted monopoly rights• Innovation = process by which knowledge advances
    • 49. Inhibit• IPRs to protect yesterday’s innovation allow innovator to control future innovation• “anti-commons” --> PATENTS – No justification for restricting access to public domain – Patents increase transaction costs of developing new innovation
    • 50. Inhibit• Lawrence Lessig – The Future of Ideas
    • 51. Inhibit• Economists Michele Boldrin & David K. Levine – Perfectly competitive markets capable of rewarding/stimulating innovation – Example: fashion world – Monopoly rights unnecessary for innovation
    • 52. References

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