CREATe is co-supporting an interactive workshop organized by the Digital Catapult that aims to generate points of discussion and provide reliable guidance about the rules governing the production, exploitation and consumption of music in the digital age. It will also be an opportunity for the organisers to better understand what songwriters and composers specifically need to know about copyright.
Understanding UK Copyright Law: An Interactive Workshop for Music Writers and Composers/ London / March 19 @ 10:00 am – 1:00 pm
To book a space and for the most up to date information, please visit the Digital Catapult workshop link.
In March 2015, CREATe is organizing a suite of events ranging from seminars on creativity, innovation, creative industry business models to copyright history. This resource page provides details on the events, the speakers, as well as, how to book spaces. For general enquiries, email us.
Download the events poster (pdf).
CREATe’s project ‘Digitising the Edwin Morgan Scrapbooks‘, was exclusively featured in The Sunday Herald on Sunday 15th February. In a full page article, journalist Judith Duffy explores some of the challenges and aims of the project, with quotes from the project officer Kerry Patterson and Prof. Martin Kretschmer, one of the joint investigators of the project.
Click on the image on the right to read on the Herald Scotland website.
The project was also reported in The Times on Monday 16th February, using quotes from the Sunday Herald article. The Times article focuses on making the scrapbooks available for the first time. However, it does not acknowledge that a key aim of the project is evidence-based engagement with EU and UK copyright law, specifically aspects of the orphan works legislation and diligent search requirements.
Click on the image on the left to read on The Times website.
Post by CREATe researchers Piers Fleming (University of East Anglia) and Daniel John Zizzo (Newcastle University) based on a presentation at a CREATe capacity building event hosted by the Centre for Competition Policy & University of East Anglia, Norwich
The simple answer to the question of why people may engage in unlawful downloading is that it is free. Undoubtedly there may be legal risks involved but the evidence as emerging from our previous scoping review (Watson, Zizzo & Fleming, 2014) is sufficiently unclear, that the choice to engage in unlawful downloading is not as straightforward as it may seem. This is because the existing evidence base is patchy and is particularly problematic in determining causality.
A new suite of online learning materials has been launched today to help students and the general public understand how copyright law works.
The resource aims to help A-Level media students in the UK study for their exams while educating the wider public about what can and cannot be done with copyright works.
In October 2014, former Intellectual Property Adviser to the Prime Minister, MP Mike Weatherly issued a report strongly urging government to find innovative ways ‘to prepare pupils […] for the 21st century knowledge economy’.[i]
A team of legal researchers from the University of Glasgow CREATe Centre and the University of Bournemouth Centre for Intellectual Property and Policy Management (CIPPM) and Centre for Excellence in Media Practice (CEMP) have united to answer Weatherly’s call, while broadening the meaning of ‘copyright education’ to include uptake and re-use of artistic works. The resource is supported by funding from the Arts and Humanities Research Council (AHRC).
We are pleased to announced the release of CREATe’s first Working Paper of 2015, the twenty-seventh in the series to date. Copyright and the Value of the Public Domain by Kristofer Erickson, Paul Heald, Fabian Homberg, Martin Kretschmer and Dinusha Mendis documents the results of a year-long knowledge exchange initiative undertaken between the Intellectual Property Office, researchers at the University of Glasgow CREATe Centre, and more than two dozen UK businesses and innovators, to explore how value is generated from the public domain. The study was supported by the Economic and Social Research Council (ESRC) and the Intellectual Property Office (IPO).
Kerry Patterson, Project Officer for CREATe’s Digitising the Edwin Morgan Scrapbooks introduces her work to explore the extent to which EU and UK copyright policy impacts the digitisation of unique and distinctive artistic collections, such as the Morgan scrapbooks, as well as the costs associated with rights clearance.
Collage from Scrapbook 12
Digitising the Edwin Morgan Scrapbooks is a project led by CREATe in conjunction with Glasgow University’s Special Collections Department. Within the Archive of the poet Edwin Morgan (1920-2010) held at the University, are sixteen scrapbooks. These date from 1931 to 1966 and were used by Morgan as an outlet for his creative expression before poetry became his primary focus. Within the scrapbooks are around 3,600 pages in total, with material from a diverse range of sources; contemporary and historical newspapers, books and periodicals, photographs, stamps, advertisements, flyers, cigarette cards and other everyday items.
Professor Raymond Boyle from the Centre for Cultural Policy Research at the University of Glasgow leads CREATe’s Work Package on Copyright, Football and European Media Rights. His blog below summarises several aspects of IP and licensing within the sport media environment. A full article from the project will appear in Media, Culture and Society in April 2015.
The demise in the value of television rights for live football has been long predicted. Yet the successive rights deals in the case of the FA Premier League (FAPL) continue to disprove this. The current three year deal that ends shortly was worth £1.78billion.
In just over the twenty years since its creation the FAPL has helped launch and sustain the UK pay-Tv platform BSkyB. Forget all the talk about first run movies, its exclusive live sport, or, more accurately live English football that has helped position Sky as wealthiest broadcaster in the UK.
The European private copying exception under Art. 5(2)(b) of the 2001 Information Society Directive, and its varying implementations among EU member states, is continuing to cause a great deal of controversy and litigation. The Musicians’ Union (MU), The British Academy of Songwriters, Composers and Authors (BASCA) and UK Music have just launched an application for Judicial Review of the UK implementation that introduced a narrowly conceived exception for “Personal Copies for Private Use” on 1 October 2014 – without providing for compensation. There is also an ever-longer string of cases before the Court of Justice of the European Union (ECJ), challenging the basis for charging compensatory copyright levies on media and equipment that may be used for making private copies.
At the heart of the policy debate is the uncertainty about what the levy system is really for: Is it a form of taxation for the benefit of artists; Is it a licence to consumers for certain activities? EU law has skirted around these fundamental questions, focussing instead on the requirements in the InfoSoc-Directive to provide “fair compensation” taking account of the “possible harm to the rightholders” (Recital 35 and Padawan Case C-467/08). However, a current case at the ECJ may actually address one of the critical issues: Can rightholders permit certain uses, and still require compensation through the levy system?
CREATe has offered a prize among the LLM class taking “Copyright in the digital environment” at the University of Glasgow for the best blog on Copydan (Case C-463/12). The winning entry was written by Susan Bischoff and Kristina Wagner. Congratulations!
19th December 2014 – CREATe director Prof Martin Kretschmer and Investigator Prof Estelle Derclaye are among members of the European Copyright Society (ECS) which has approached the new Commissioner for Digital Economy and Society seeking unification of copyright law in the European Union. Following earlier calls for improvements to EU rules on copyright law the Society emphasised in their open letter to Mr Günther Oettinger that the time was right to develop a European law with uniform and direct applicability across the Union.
The Society cited territoriality associated with the existing national approach to copyright law, causing an associated fragmentation of markets along national boundaries, restricting the emergence of a Digital Single Market for creative content and undermining international competitiveness.
The Society accepted the challenges associated with achieving unification, conceding that it would be a medium to long-term objective, but urged Mr. Oettinger to dismiss the arguments of those equating time-consuming with ‘unrealistic’.
Download the European Copyright Society’s Open Letter to Mr Oettinger.