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.
CREATe is running its first ever MOOC (massive open online course) this summer! This free online course ‘Music Copyright: Understanding UK Copyright Law When Working with Music‘, introduces you to the key aspects of UK music copyright law. You can learn at your own pace as long as you commit about four hours per week reading the materials, interacting in forum posts and attempting quizzes. Join the course here which starts on 10 July 2017 and lasts for 2 weeks.
This free course will help answers questions such as: what is protected by copyright and what is not? In what circumstances can you reuse copyrighted material without permission or payment? How do collecting societies work? And how can you make money as a musician through licensing deals, self publishing or giving your music away? The content includes 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.
Developed and run by CREATe academics, Dr Sukhpreet Singh, Dr Kris Erickson and Bartolomeo Meletti, the course is aimed at musicians and current or aspiring music industry professionals. It covers the key aspects of copyright law that creators, producers, marketers and distributors of music need to know about. It is also useful to anyone working in other creative industries that license music, such as advertising, film, television and digital media.
If you are interested in more formal learning opportunities in intellectual property, innovation and the creative economy, see our Postgraduate Certificate, Postgraduate diploma and MSc / LLM level qualifications offered by the School of Law, University of Glasgow at www.create.ac.uk/study
CREATe research was on show to more than 1800 attendees of TedX Glasgow, held on Friday 2nd June 2017 at the SEC Armadillo. The theme of this year’s TEDx in Glasgow was ‘Lead or Follow’ with thought-provokers, inspirational speakers, thinkers and doers, from all over UK speaking about innovative ideas and disruptive actions.
CREATe’s stand at the TedX, enthusiastically manned by Bartolomeo Meletti, Sukhpreet Singh and Kris Erickson, showcased two of CREATe’s innovative education offerings for users and executive workers in creative industries. This included copyrightuser.org (online resource aimed at making UK copyright law more accessible) and CREATe’s suite of creative industry focussed online Masters degree, diploma and certificate study programmes in ‘IP & Innovation’.
Visitors to the CREATe stand included representatives from heritage agencies, fintech firms, patent attorneys and IP consultants, visualization & simulation experts and change managers.
On 23rd June, Bournemouth University will host a Symposium on New Approaches to the Orphan Works Problem. A limited number of spaces are still available for those wishing to participate in the event, which will include presentations by Peter Jaszi, Dan Hunter and Meredith Jacob. CREATe researchers Victoria Stobo and Kris Erickson will also present new research arising from interviews with cultural heritage institutions in Italy, The Netherlands and the UK, as well as from the Digitising Morgan project at the University of Glasgow.
The purpose of the symposium is to evaluate recent legislative interventions such as the EU Orphan Works Directive of 2012. A wealth of new empirical data such as those gathered in the first phase of the EnDOW project, offer new insights on the ways that legislation is actually impacting the European heritage sector. A second focus of the symposium is to evaluate emerging technical and regulatory solutions (such as the EnDOW crowdsourcing proposal or systems involving blockchain technology) as potential mechanisms to alleviate outstanding problems associated with orphan works.
This event should be of interest to those working in the cultural heritage sector, as well as those more broadly interested in memory institutions, digitisation and the economics of copyright clearance. Visit the Symposium page on the EnDOW website to learn more about the event or to register.
The peer-reviewed journal of Internet policy in Europe is seeking submissions of 6000-8000 words on topics of relevance to the regulation of digital communication technologies. The journal, edited in partnership between Alexander von Humboldt Institute for Internet and Society in Berlin, the Centre National de la Recherche Scientifique (CNRS) in France and CREATe at the University of Glasgow, publishes four issues per year and considers new submissions on a rolling basis.
Internet Policy Review is a multidisciplinary journal at the confluence of policy studies, technology studies, law, economics, communication studies and sociology. Engagement may take the form of empirical, legal or theoretical analysis or scholarly essays but should always be critical and original. Submissions should make explicit reference to European policy and should be oriented towards analysing and, if appropriate, proposing regulatory solutions to emerging socio-technical challenges. The journal has previously published contributions on topics such as the regulation of cryptocurrencies, the role of Wikipedia in the ‘freedom of panorama’ debate and the copyright implications of user-generated content.
Dr Thomas Margoni (Director of the LLM Intellectual Property and the Digital Economy and Senior Lecturer in Intellectual Property and Internet Law) 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.
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.
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
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.
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.