CopyrightX Summit 2017

Senior Lecturer in Intellectual Property and Internet Law Dr Thomas Margoni reports on the 2017 CopyrightX Summit, held at Harvard Law School.

The second CopyrightX Summit took place between 15th and 17th of May and was hosted by Harvard Law School and the Berkman Klein Center for Internet and Society in the beautiful Wasserstein Hall building of the Harvard Law School. During three full days of discussions and presentations, more than 30 CopyrightX teaching fellows from six continents (not Antarctica, yet!) had the occasion to interact in person and to exchange their experience of teaching the CopyrightX course.

CopyrightX is a twelve-week networked course created and supervised by HLS professor William Fisher and has been offered annually since 2013 under the auspices of Harvard Law School, the HarvardX distance-learning initiative, and the Berkman Klein Center for Internet and Society. As explained on the course website the CopyrightX community has three components:

— a residential course on Copyright Law, taught by Prof. William Fisher to approximately 100 Harvard Law School students;

— an online course divided into sections of 25 students, each section taught by a Harvard Teaching Fellow;

— a set of affiliated courses associated with universities and other institutions outside the United States, each taught by an expert in copyright law.

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New Working Paper: Living With(in) Copyright Law

This study by Lee Edwards, Giles Moss and  Kristina Karvelyte from the University of Leeds aims to respond to a call in previous research for greater public deliberation about copyright policy. It is underpinned by the principle that copyright policy is a matter of public interest, and as such, should be a subject of public discussion and debate, so that the eventual implementation of copyright is one that attracts a general level of agreement among all affected parties.

The research builds on an earlier project (Grant reference ESRC RES 062-23-3027) that examined the ways in which copyright was understood and evaluated by industry, activist groups and users. This work argued that users should be viewed as ‘sources of legitimate justifications rather than dysfunctional consumers to be educated or prosecuted’ and identified the need for a more deliberative and democratic process of copyright policymaking. However, little research has delved further into public opinions about copyright, explored how they might be formed, and considered what might happen when members of the public are given a broader range of information about copyright from which to form their opinions. The purpose of this research project was to investigate how people would engage with a deliberative process, where they were given the time and space and a range of information to reflect on the complex issue of copyright.

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Launch of the Copyright Cortex

CREATe researchers invite you to the launch of the Copyright Cortex at the British Library on the evening of Tuesday, 20th June 2017.

The Copyright Cortex is a new innovative online resource concerned with copyright and digital cultural heritage. A collaboration between Queen’s University Belfast and CREATe at the University of Glasgow, the Copyright Cortex will become the principal point of reference for archives, museums, libraries and other memory institutions seeking information and expert commentary on how UK copyright law impacts the creation, access to and use of digital cultural heritage.

Speakers at the launch event include:

  • Lionel Bently, Professor of Intellectual Property, University of Cambridge
  • Jill Cousins, Executive Director, Europeana
  • Ronan Deazley, Professor of Copyright, Queen’s University Belfast
  • Ben White, Head of Intellectual Property, British Library

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What academic research can gain from the pitch competition format

PhD Researchers Janet Burgess, Kirsty McDougall and Bettina Pahlen pitch their idea at the Early Career Research Camp 5th May 2017.

Pitch competitions are short, intense events in which teams compete to solve challenges set by organisers. They offer the possibility to explore innovative solutions in a relatively compressed time-frame and with limited resources. They have been widely used in the technology, design and business worlds to generate and rapidly prototype new ideas. How might academic researchers benefit from the pitch competition format, either as organisers or as participants ourselves? And how can these events be improved to promote interdisciplinary collaboration and knowledge exchange?

Over the past year, colleagues and I in CREATe have experimented with the pitch competition format. We have used it to engage with external communities of software developers, artists, designers and entrepreneurs. For example, in 2016 we organised the Copyright Visualisation Hackathon and the Open Innovation Design Jam events in Glasgow. We also participated as mentors in the EU Hackathon in Brussels and the Skills Development Scotland Hack Day.

Recently, we decided to use the pitch competition format as part of the Early Career Research Camp, an event focused on interdisciplinary capacity building for postgraduate students and postdocs. In this post, I will explore some of the lessons learned from our experiences working with this format and share thoughts about its potential value for academic research.

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Can the EU undertake effective cultural diplomacy?

CREATe Deputy Director Philip Schlesinger opened the first session at the High Level Policy Workshop on ‘EU international cultural relations: a strategic approach’, held in Florence at the European University Institute’s Global Governance Programme on 18-19 May.

He argued that there were two complicating contradictions that affected the EU’s desire to project itself as a global actor. First, supranationalism is in constant tension with the Member States’ competence in managing national cultures and identities. And second, there was an expediently fluctuating relationship between culture and the economy: culture was seen both as an instrument of economic development and a source of defensive and offensive intrinsic values at a time of perceived global crisis, and often tended to be treated as a singular object rather than a plural set of practices.

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EU Copyright Reform: quo vadis?

Press publishers, Internet platforms
and Text-and-data-mining. Martin Kretschmer reports on the progress of the EU’s contested copyright reforms in the European Parliament and Council.


Over the last months, many observers have tried to follow the progress of the EU copyright reform package that is now bogged down by close to 1,000 amendments from Members of the European Parliament to the proposed Copyright in the Digital Market Directive (COM(2016)593).

This post tries to shed some light on what is going on behind the scene. (CREATe’s earlier contributions to the debate can be found here.)

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Copyright as Frame & Prison: Discussion

CREATe researchers Andrea Wallace and Ronan Deazley participated in the panel discussion ‘Copyright As Frame And Prison’ on 28 April at the Phoenix Arts Centre in Leicester.

© Antonio Roberts. Photo by Pamela Raith.

Complementing the exhibition No Copyright Infringement Intended, which includes work by Wallace and Deazley, the discussion explored the disruptive power of technological innovation on culture and copyright. A video recording of the panel discussion is now available on the CREATe Media YouTube Account.

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CREATe Copyright and Innovation Network Launch: 26 May, London

Launch of CREATe Copyright and Innovation Network

Trends in the Creative Digital Economy: Findings from the CREATe Research Programme

London, Digital Catapult Centre, 101 Euston Road, NW1 2RA

26 May 2017, 11:00 – 16:00

 

CREATe announces the launch of the Copyright and Innovation Network (CIN) with an event exploring, “Trends in the Creative Digital Economy: Findings from the CREATe Research Programme.” This event marks the launch of a national CREATe network on copyright and innovation that aims to be a catalyst for new industry-relevant research at the interface of law, technology and social science.

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CREATe IP Summer Summit 2017 (26 – 30 June)

We are delighted to launch the CREATe IP Summer Summit (CIPSS’17) at the University of Glasgow, jointly organized with the National Law University Delhi, India.

This year’s theme is ‘Open Science and Open Culture’ with a special focus on development in the Global South.

* CIPSS’17 counts as 20 hours of verifiable CPD for solicitors in Scotland *
* 50% discount for full-time academic staff and full-time registered students *
* 50% discount for University of Glasgow alumni *


Openness is an aspirational goal to build transparent and participative societies. Does this conflict with international IP policy that prescribes complex arrangements of exclusive property rights as part of the global free trade area? The 1994 WTO TRIPS agreement sets minimum standards of protection for copyright, trademarks, geographical indications, industrial designs and patents, restricting the use of knowledge goods in order to encourage their production. A development agenda for copyright law, in particular, has remained polarised. Rules were set at a time when countries in the Global South ‘were barely at the threshold of the digital revolution‘.

The “Open Science and Open Culture” summit lays the foundation to assess if countries in the global south need to move through traditional closed scientific and cultural models first. Are there opportunities to ‘leapfrog’ to open access and open data practices in educational resources and science, and to participatory digitization and disintermediated access to markets in relation to culture? What are the regulatory flexibilities, and legal and social hurdles to realising the benefits of openness?

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Book now: Convergence or differentiation in IP protection strategies and business models? – The case of China

Image from Qidian

Date: 5 June  2017 (9:00 – 18:00)

Location: University of Edinburgh Business School, room LT1A

To book: Email project director Dr Xiaobai Shen (xiaobai.shen@ed.ac.uk )

This workshop presents findings from CREATe supported research into the role of digitization and copyright protection in the development of creative industries in contemporary China. In the USA and Europe, incumbent players in the creative industries have been strongly entrenched and struggled to hold on to old business models, while China has enjoyed a period of “letting a hundred flowers bloom”. Continue reading

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