What is CREATe?
CREATe is the RCUK centre for copyright and new business models in the creative economy. With an ambitious programme of 40 projects delivered by an interdisciplinary team of academics (law, economics, management, computer science, sociology, psychology, ethnography and critical studies), CREATe is a pioneering academic initiative designed to help the UK cultural and creative industries thrive and become innovation leaders within the global digital economy.
The ninth release in CREATe’s Working Paper Series is now available for download. Writing About Comics and Copyright by Ronan Deazley and Jason Mathis explores, with the aid of beautiful comic illustrations, the challenges faced by scholars when seeking to write about visual work. It asks what constitutes ‘a work’ protected by copyright within the context of comics publishing? What does it mean to speak of ‘insubstantial copying’ from a copyright-protected comic? And what can be copied lawfully from a comic for the purpose of criticism and review?
Post by Prof. Dr. Leonhard Dobusch, first published here.
Creative Commons licenses are essential to virtually all of the different “open movements”, which have emerged over the past two decades beyond open source software. In the realm of open education, open science and open access, Creative Commons licenses are the standard way to make content open to the wider public. Also in fields such as open data and open government Creative Commons licenses are widely used to make it easier for third parties to re-use publicly funded content.
Philip Schlesinger, Melanie Selfe and Ealasaid Munro presented their interim findings on their in-depth study of Cultural Enterprise Office (CEO) to staff and board on 11 November.
The research project involves a comprehensive organisational analysis of CEO’s support for cultural micro-businesses in Scotland and is funded by the AHRC’s Creative Economy Knowledge Exchange programme. The project has already had an impact on CEO’s in-house thinking as well as its fund-raising. This is the first of three planned events, with others to come in January and March.
Methodological challenges posed by the study will be discussed at CREATe’s upcoming capacity building event ‘Creatives Day‘ on 31 January 2014.
Post by Prof. Derek McAuley
Coincidentally, five days after the publication of the Copyright Licensing Steering Group‘s report on the last 12 months of work on streamlining copyright, I was due to give a talk at a joint event of CREATe and the EPSRC funded Network of Excellence in Identity. The event “Identity Lost – electronic identity, digital orphan works and copyright law reform”, the talk “Digital tool chains; get your act together” – what joy to find the CLSG report, which lays down 10 key principles, formed the perfect frame to what I had planned to talk about! What should we do to avoid the on going creation of digital works that are orphans at birth?
Herewith the blogged version of the talk…
Metadata matters: encourage its use and preservation
I. By default create and preserve metadata
What is metadata in a digital image? Simply data attached to the digital image written by the camera when the image is created or afterwards as the image is processed by various tools. Nearly all cameras (including smartphones) capture information about the “camera” – lens, aperture, timing, resolution etc. – and the when and (especially with smartphones) the where. (More here.)
© Derek McAuley; not really sufficient…
Professor Martin Kretschmer presented a seminar at the Amsterdam Center for Law & Economics on 4th November, exploring the topic of “Limitless Copyright?” He contrasted views expressed by Ian Hargreaves in his 2011 Review of Intellectual Property and Growth with those often attributed to Wendy Gordon’s 1982 paper: “Fair Use as Market Failure” and questioned the role of empirical evidence in the context of the debate.
The seminar was organised by Amsterdam Center for Law & Economics and the Institute for Information Law (IViR).
Professor Martin Kretschmer addressed “The Formation of Normative Orders” Cluster of Excellence at Goethe University in Frankfurt on November 5th 2013; the title of his lecture was “Limitless Copyright?” Kretschmer considered the appropriateness of legislative intervention limiting the scope of copyright, and sought to understand what empirical evidence may contribute to the debate.
CREATe Deputy Director Professor Lilian Edwards will give a talk to the Center for Internet and Society at Stanford Law School on November 12th entitled “Third Strike for ‘Three Strikes’ Legislation? Internet Intermediaries as Tools of Copyright Enforcement”. The talk will include coverage of work undertaken in CREATe’s research work package 3C.3, Public/Intermediary-enabled Copyright Enforcement.
Introduction by Prof. Lilian Edwards
Below is a blog written originally on the personal website of Professor Derek McAuley, head of the Horizon Digital Economy Hub and Doctoral Training Centre and lead for Nottingham as partner in CREATe. I have added a short new introduction to put into context why the work outlined below is an integral and vital part of the CREATe work programme.
Horizon is CREATe’s major partner looking at the creative industries’ problems from the viewpoint of technology and computing science. Specifically, Horizon took on the Herculean job of considering a number of interlocked problems. First, the Internet is obviously the source of, and platform for, much of the new creative and innovative activity in modern society. It clearly and brutally cannot be ignored by a Centre devoted to promoting the creative industries.
CREATe presented, as part of University of Strathclyde’s Internet Law Events Autumn 2013, “3D Printing – Industry Game Changer or Just the Latest Hype?” on 3rd December 2013 at the University of Strathclyde’s McCance Building.
3D printing is the talk of the steamie: will it create the next industrial revolution or expose us to the next wave of 3D real world piracy?
Posted in News
A Response by: Dr Sukhpreet Singh, R&D Manager, CREATe.
In a timely post in the Managing Culture section of the Tafter Journal, Pierre-Jean Benghozi and Elisa Salvador from Ecole Polytechnique Paris, argue that despite an increase in interest in the strategic and economic dimensions of creative industries (CIs) and their business models, the issue of managing R&D in the creative industries is severely neglected, with most organizations providing for poor investments in the R&D function. They cite innovations such as, the sound recording by Edison/ General Electric in the early 20th Century, the Walkman by Sony, and, the Appstore by Apple, where disruptive innovations strategically changing the landscape of a creative industry have come from outside the industry, and where creative firms have not managed to control their innovation. This has been attributed to poor investment in the R&D function within CIs.