Sukhpreet Singh (Director of the MSc/LLM @CREATe) and Kerry Patterson (CREATe Community Manager) reflect on the initial run of CREATe’s MOOC.
CREATe ran its first MOOC (massive open online course) this summer: ‘Music Copyright: Understanding UK Copyright Law When Working with Music.’ Introducing learners to key aspects of UK music copyright law, it was developed by CREATe academics, Dr Sukhpreet Singh, Dr Kris Erickson and Bartolomeo Meletti and ran from for 2 weeks from 10th to 26th July. The first run of the free course was aimed at musicians and current or aspiring music industry professionals. It covered key aspects of copyright law important to creators, producers, marketers and distributors of music. The course was also designed to be useful to anyone working in other creative industries that use music, such as advertising, film, television and digital media.
Contents of the MOOC were developed to help learners to answer basic copyright questions such as: what is protected by copyright and what is not? In what circumstances can creators reuse copyrighted material without permission or payment? How do collecting societies work? And how can musical creators earn money through licensing deals, self publishing or giving music away? The content included real-life musicians sharing their experiences throughout the course, offering advice on dealing with copyright, being copied by other artists and avoiding accidentally falling into a copy trap. Continue reading
Tibbie McIntyre reflects on open culture and on her experience of CREATe’s IP Sumnmer Summit, #cipss17. This post first appeared on the 1709 blog.
The CREATe IP Summer Summit 2017 took place from Monday 26 – Friday 30 June. In this inaugural year, the theme of the Summit was ‘Open Science and Open Culture’. A range of speakers from around the globe presented on an array of Open Innovation issues, with attendees travelling from the National Law University in Delhi, IP Australia, the American University and the University of Trento in Italy. Organised by Dr Sukhpreet Singh – Senior Lecturer and CREATe Programme Leader – the Summit explored the benefits of developing openness within our culture, particularly within the global south. Dr Singh is an expert on market based approaches to IP protection and exploitation, and this shone through in the interdisciplinary reach of the Summit, with speakers from industry, government and academia in attendance.
The granting of property rights in intellectual creations is intended to facilitate scientific and creative progress. The archetypal expression of this approach is probably to be found in Article I, § 8.01.8 of the U.S. Constitution:
Congress is empowered “to promote the progress of science and the useful arts, by securing, for limited times, to authors and inventors the exclusive right to their respective writings and discoveries.”
The rationale behind intellectual property protection is that our society benefits if authors and inventors can generate profit from their work. If authors and inventors were not able to generate profit from their endeavours, why would they go to the trouble and expense to innovate at all? Continue reading
Kat Eleanor Wilson reports on CREATe’s first summer summit, which explored the theme of ‘Open Science and Open Culture’ with a focus on development in the Global South. This post was originally published on IPKat.
Attendees working on a diligent search exercise set by the UK IPO’s Margaret Haig
I was lucky enough to attend CREATe’s inaugural Summer Summit from 26 – 30 June, which was jointly organised with National Law University (NLU) Delhi by Dr Sukhpreet Singh (CREATe, University of Glasgow). The theme of the summit was ‘Open Science, Open Culture & the Global South’, and openness was discussed from every possible interpretation – from open access to open exceptions, from open policy making to open education. This post contains just some edited highlights of an intensive week.
The week kicked off with a keynote from Dr Peter Jaszi, (American University Washington) who argued that what is sometimes seen as “gaps” in copyright law are part of its fabric and design. Apart from describing copyright as a luxurious piece of lace, he raised some serious concerns about the constrictiveness of closed-list exceptions against the impetus for openness. It quickly became clear that, while it means different things to different people, “openness” is much more than a buzzword. Openness is, it seems, a very broad church which includes the concept of “free as in beer” and “free as in speech”, and embraces openness to access, remix, re-use, and often more.
On 13th July 2017, I presented some of the short films produced for CopyrightUser.org at the international conference Copy Ethics: Theory and Practice, held at ZiF – the Centre for Interdisciplinary Research at Bielefeld University. The conference was part of the project ‘The Ethics of Copying’, led by Reinold Schmücker (Westf. Wilhelms-Universität, Münster), Thomas Dreier (Karlsruher Institut für Technologie, Karlsruhe), Pavel Zahrádka (Univerzity Palackého v Olomouci, Olomouc) and Eberhard Ortland (Universität Bielefeld, Bielefeld).
Bartolomeo Meletti presents Copyrightuser.org at Copy Ethics
The research group is a collaboration between legal scholars, philosophers and scholars from art history, art sciences, book studies, comparative literature, German literature, media studies, popular music and sociology. Its overarching aim is to develop proposals balancing the interests of those affected by copying practices, which might influence future legislation and facilitate the formation of inter-subjective moral standards for distinguishing between legitimate and illegitimate forms of copying. Continue reading
Will there be a show on artists and copyright at the largest arts festival in the world? Yes!
Dr Smita Kheria (University of Edinburgh) is taking the research findings from her CREATe project on ‘Individual Creators’ to Edinburgh Fringe 2017. The show is inspired by her fieldwork conducted at the Edinburgh Festivals, including the Fringe, in 2014 and 2015. Provocatively titled ‘No copyright, No Problem?’ the show is a part of the Cabaret of Dangerous Ideas.
Smita will be drawing on extensive empirical research on the perspectives and practices of individual creative practitioners (writers, illustrators, and visual artists) to ask whether copyright matters or could we live without it. She asks; Is copyright necessary? Does it hinder or does it help? What would happen if there was no copyright? Without it, who benefits and who loses out? Is copyright just for corporations? Or does copyright also serve the interests of individual creators more effectively than we might think?
Date: 16 August 2017
Time: 13:50 – 14:50
Location: Lower Hall, New Town Theatre, 96 George St, Edinburgh EH2 3DH
Tickets: Now available here (£8/£6, no booking fee)
Are you interested in exploring copyright’s next frontier? Do you want to do that while working at CREATe? Apply for a Marie Skłodowska-Curie Individual Fellowship with CREATe as a host institution!
Julia Reda MEP speaking to CREATe researchers and industry guests at the CREATe Festival 2016
Marie Skłodowska-Curie Actions (MSCA) are set of EU funding initiatives supporting research, training and career development focused on innovation skills. The programme funds worldwide and cross-sector mobility that implements excellent research in any field – a “bottom-up” approach. Endowing researchers with new skills and a wider range of competencies, while offering them attractive working conditions, is a crucial aspect of the MSCA. In addition to fostering mobility between countries, the MSCA also seek to break the real and perceived barriers between academic and other sectors, especially business. Several MSCA initiatives promote the involvement of industry and NGOs in doctoral and post-doctoral research: for more details see here. Continue reading
Victoria Stobo reports on the launch of the Copyright Cortex, at the British Library:
The Copyright Cortex is the brainchild of Professor Ronan Deazley of Queen’s University Belfast and CREATe postgraduate researchers Victoria Stobo and Andrea Wallace.
An online resource dedicated to copyright and digital cultural heritage, it was developed to provide libraries, archives, museums and other memory institutions with information and expert commentary on how copyright law affects the creation and management of digital cultural heritage.
The website has two features: firstly, it’s a catalogue. It brings together a wide range of material relating to copyright and digital cultural heritage: scholarly publications, practical guidance, policy documentation, and real world case studies. Secondly, it includes an open access text for cultural heritage practitioners: Copyright and Digital Cultural Heritage (or Copyright 101). The book is free to read online, and free to download. It presents a comprehensive introduction to copyright law for memory institutions, focusing specifically on how copyright impacts access to and use of digital cultural heritage materials within and across national borders.
A Post-Doctoral Research Fellowship is available at the Department of Media and Communication at the University of Oslo, Norway to work as part of the project Music on Demand: Economy and Copyright in a Digitised Cultural Sector (MUSEC) with CREATe Fellow Ruth Towse, Professor of Economics of Creative Industries and Co-Director of the Centre for Intellectual Property Policy and Management at Bournemouth University. The project is funded by the Norwegian Research Council’s KULMEDIA programme.
The overall aim of the project is to provide new insight into how music is distributed and paid for in the digital era. The project entails examinations of the economic interactions among different parties in the music sector and the ways in which copyright law protects those involved. The research project will offer novel contributions of knowledge to academic research on cultural production, to those working in the music sector, as well as to the public policymakers responsible for it.
“The UK’s rational option is to develop a more open innovation system at home while encouraging the EU to pursue bad copyright policies. But this is unlikely to happen.” Martin Kretschmer reports on the Westminster Media Forum:
On 22 June 2017, I spoke at the Westminster Media Forum on Brexit and the UK’s future approach to copyright: exceptions, originality thresholds and creator reward. I developed a simple argument for a panel chaired by Lord Clement-Jones. Other discussants included James Bennett (Head of Rights and Licensing, Copyright Licensing Agency), Imogen Heap (Recording Artist and Creative Executive Officer, Featured Artist Coalition), Ben White (Head of Intellectual Property, British Library) and Susie Winter (Director of Policy and Communications, The Publishers Association). Since the transcript is only accessible behind a paywall, I reproduce my contribution below. My intervention came directly after Ros Lynch (Director, Copyright and IP Enforcement, Intellectual Property Office) who outlined priorities for the future of the UK copyright framework.
A resource page reflecting the proceedings of the Launch of the Copyright & Innovation Network is now available at: http://www.create.ac.uk/cin-launch/ .
The page highlights key future research avenues from a range of perspectives and includes downloadable versions of presentations from the day, plus audio of keynote speaker Paul Belleflamme on the subject of ‘The Economics of Digital Goods’.
Also available is a new paper in the CREATe Working Paper series: Business Models, Intellectual Property and the Creative Industries: A Meta-analysis by Nicola Searle.
Grounded in the business model literature, this paper examines business models in the Creative Industries (CI), and the of role intellectual property (IP) following the UK’s 2011 Hargreaves Review of Intellectual Property. It does so via a meta-analysis of 20 research projects, including 80 case studies, on business models in the CI, with a focus on television, film, computer games and publishing. This paper probes the research to identify CI business models, and the interaction of IP and business models.
The full abstract and downloadable paper can be accessed from here.