CopyrightUser.org’s new ‘Going for a Song’ resource
CREATe is delighted to announce the publication of a new educational resource on CopyrightUser.org.
Going for a Song offers authoritative and accessible sector-specific copyright guidance for music writers and composers. It is based around the video, Going for a Song, which tells the story of Tina and Ben, a (fictional) music composer and a lyricist who create an original song and discuss how to market it. Continue reading
We are delighted to launch the CREATe IP Summer Summit (CIPSS’17) at the University of Glasgow! This year’s theme is ‘Open Science and Open Culture’ with a special focus on development in the Global South.
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?
‘Stop Me If You Think That You’ve Heard This One Before: plagiarism in music copyright’ as part of CREATe Public Lectures 2017
Where can you draw the invisible ‘line in the sand’ which separates an infringing piece of music from one that simply draws on the influence of other works for inspiration? In this interactive CREATe Public Lecture, composer and music publisher Dr Simon Anderson, attempts to answer this question. The interactive presentation examines plagiarism cases that have been heard before the English courts in recent years, with music clips and scores to facilitate comparison. Attendees will have the opportunity to vote on whether they think a tune infringes or not. Continue reading
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How does copyright impact institutional access policies and use of our shared cultural heritage locally and internationally?
The Cultural Institution Roundtable Event is a half-day discussion, organised by CREATe, the National Library of Scotland and i-Publishing Consultants to explore this essential question.
Early career researchers, PhD students and faculty are welcome to come along to the following upcoming workshop events in CREATe.
On Tuesday 14th February 2017 from 3:30pm to 5:30 pm, we will be discussing Methods for investigating digital platforms: algorithms and affordances. The purpose of this workshop is to share and discuss techniques and methodological challenges related to investigating creative industries activity in online settings. CREATe researchers will share recent research design processes for investigating behavior on YouTube, Amazon and Kickstarter. Attendees are encouraged to bring specific questions related to their own online research challenges for group discussion. The recommended readings linked on the events page here provide context and theoretical underpinning for understanding the ‘method as the message’ in online research.
Please note that immediately following the meeting on 14th February, a public lecture will be given by Professor Thomas Höppner on the topic of EU copyright reform: the case for a related right for press publishers. All are welcome to attend, but we ask that participants please register for the lecture on the event page.
Blog post by Florence Thepot, CREATe Associate and Lecturer in Competition and European Union Law, University of Glasgow
On 14 and 15th November 2016, I attended the international workshop on Cultural industries and digital platforms organised by the LabEx ICCA in Paris.
LabEx ICCA (University Paris 13 and University Paris 3) is an interdisciplinary research centre specialising in the creative economy. They focus on how changes such as digitisation are impacting various dimensions of the creative industry, including the emergence of new business models, methods of consumption etc.
The workshop was the second international workshop organised by the LabEx ICCA and took place at the Maison de la Recherche de l’Université Sorbonne Nouvelle, in Paris 5th arrondissement just near the Pantheon. Continue reading
Philip Schlesinger, CREATe Deputy Director
Philip Schlesinger, CREATe Deputy Director and Professor in Cultural Policy, has been awarded a Robert Schuman Fellowship at the European University Institute in Florence.
An award for distinguished scholars made by invitation only, this will run from March to June 2018.
Professor Schlesinger will be based at the Robert Schuman Centre for Advanced Studies (RSCAS) where he will work with colleagues on “digital culture and the future of the public sphere”.
He said: “The current turmoil in political communication, growing xenophobia, and present challenges to rational thought compel our attention. I’m delighted that the EUI has invited me to research these questions.”
The RSCAS was established in 1992 to complement the four disciplinary departments that make up the EUI. It is involved in both basic and policy research, collaborating with other centres of excellence in Europe, providing opportunities for young scholars and promoting dialogue with the world of practice. The Centre takes its name from Robert Schuman, one of founding fathers of the European Communities. Continue reading
A new CREATe project will help advance the study of historical copyright by making the Stationers’ Register fully searchable, in a freely accessible online database.
The Register is an unequalled resource for literary scholars, book historians and all those interested in the early history of copyright. The origins of Anglo-American copyright begin in the mid sixteenth-century with the commencement of a series of ledgers kept by the Stationers’ Company of London, that are now collectively known as the Stationers’ Register.
Register D, f.69, the entry of Shakespeare’s First Folio to Blount & Jaggard
In these ledgers, early publishers including those of William Shakespeare, John Milton, Thomas Hobbes and thousands of other authors, musicians and artists sought protection from their works being copied and printed. Edward Arber’s printed edition of the earliest entries, published in the 1890s, has remained the standard way of accessing the Register: although invaluable, it does not permit complex searching or quantitative analysis. Continue reading
CREATe Industry Fellow Richard Paterson, Head of Research and Scholarship at the BFI
This blog by CREATe Deputy Director, Philip Schlesinger, introduces ‘The competition discourse in British broadcasting policy‘ – a Working Paper authored by CREATe Industry Fellow Richard Paterson.
In his analysis, Richard Paterson revisits the history of broadcasting policy formation. Returning to the 1950s when the first rationales for competition were fully enunciated, he shows how by degrees such ideas have moved from the margins to occupy centre stage in shaping the TV market-place. Paterson’s account – which involves a painstaking reconstruction of the key steps on the road to where we are now – should give us all pause. While he thinks that the UK’s original vertically integrated duopolistic system demonstrated considerable strengths in global competition, he is not nostalgic about this, recognising that the structures were of their time and place and that a new framework needed to be invented. But he does not think that in this regard policy makers have been up to the task of looking after the national interest.
Paterson reminds us of the various kinds of industry lobbying that have occurred for decades (not least by ‘independent’ producers and major corporations) and astutely analyses a long-term policy failure in assessing the risks of a particular kind of competition agenda, not least in ignoring lessons from the USA just as they became apposite. Unusually in present debate, Richard Paterson demonstrates the value of taking the long view in understanding how ideas and perspectives become embedded and taken for granted – and somehow, it now seems, beyond criticism.
Paterson’s Working Paper is a provocation to us all to think afresh. He argues that our present TV landscape shares a great deal with the British film industry, not least because it is heavily dependent on US players and its genuinely independent actors are small and weak. A key consequence, he fears, is that the present obsession with inward investment as the ostensible solution to competition will so skew the rationales for indigenous production that UK-focused drama production will be less and less concerned with its British public and more and more defined by international deal-making.
This Working Paper sets the scene for Richard Paterson’s next one, when he will provide a detailed analysis of the industrial structure of television.
As algorithms permeate more aspects of daily life, how can the law ensure that we remain in control?
A limited number of spaces have opened up for a workshop on algorithms and law organised by Professor Lilian Edwards at the University of Strathclyde. PhD students and early career researchers are invited to take part in the event, which will take place on 15th February from 12:30-17:00h. Speakers include Professor Lillian Edwards (Strathclyde), Michael Veale (UCL), Lorna Woods (Essex), Freddie Borgesius (Amsterdam) and Thomas Höppner (Berlin).
The workshop will consider the legal, social and technical dimensions of algorithms and their role in governance. As we move further towards network-connected material life described as the ‘Internet of Things’, the status of algorithms as mechanisms for regulating social activity becomes evermore important. The afternoon session will discuss possible remedies to the problems of algorithmic governance including the lack of political visibility and the lack of discretionary decision making in current computerised systems. These are issues that will be familiar to digital economy scholars that have studied platforms such as YouTube and its ContentID technology for filtering potentially infringing videos.
It will surely be a stimulating afternoon and I encourage interested researchers to register for the event here.
Those who are keen for more discussion on algorithms, please note that we will be discussing a similar topic at our PhD research development group meeting the evening before on 14th February.