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His show also marks a new high point for China's "shanzhai" culture. Shanzhai, which literally means "mountain fortress" and implies banditry and lack of state control, refers to China's vast array of name-brand knockoffs. Shanzhai versions of Apple Inc.'s iPhone, for example, include the HiPhone, the SciPhone and the deliberately misspelled citrus-themed iOrgane. Recently, the definition of shanzhai has expanded. On China's Internet, blogs, bulletin boards and news sites carry photos of automobiles jerry-rigged to run on railroad tracks ("shanzhai trains"), fluffy dogs trimmed and dyed to look like the national mascot ("shanzhai pandas") and models of the Beijing Olympic Games' National Stadium made out of sticks ("shanzhai Bird's Nest"). A property developer in Nanjing, hoping to lure business and buzz, set up storefront facades with logos such as "Haagon-Bozs," "Pizza Huh," "Bucksstar Coffee," "KFG" and "McDnoald's." Images of what became known as "Shanzhai Street" spread rapidly online. Once a term used to suggest something cheap or inferior, shanzhai now suggests to many a certain Chinese cleverness and ingenuity. Shanzhai culture "is from the grass roots and for the grass roots," says Han Haoyue, a media critic in Beijing, who sees it as a means of self-expression. "It gives people another choice and the possibility of resisting dominant cultural values." Chinese authorities appear to regard shanzhai warily, especially when it comes to intellectual property issues. "The shanzhai culture as a celebration of the DIY [do it yourself] spirit or as a parody to mainstream culture can add fun to our daily lives," said one recent editorial in an official state newspaper. "However, we should remain vigilant against it as a justification for rip-off products."

"This paper investigates the conditions of the manufacture of low-cost technology in China with the examples of 'pirated' VCD players, 'no-name' DVD players, and Shenzhen's development as a techno-urban city. It emphasizes the significance of the cultural logic of original equipment manufacturers (OEMs) and argues that the various transformations and deflections that are derived from ubiquitous OEM experiences have gone beyond the original model of an authorized OEM, experiences that are to some extent embodied in the transgression of brand name and patent hegemonies, which are mainly controlled by high technology companies. OEMs have been associated with China's current imperative and uninhibited development of low-cost technology capitalism. 'Made in China' signifies the production of any product, legal or illegal, for transnational high technology giants or domestic technology manufacturers. Learning to 'become an OEM' in China has partly resulted in excessive technological mimesis that may be part of an unauthorized, underground economy that is based on low-cost technology. Based on the Shenzhen experience, part of this study will show industrial production-oriented OEM cultures in which illegal operations and counterfeit trade are incorporated, even in city projects that are shared by municipal governments and Chinese technological companies, and undergo spatial restructuring in the development of the economy, consumerism, and urbanism. "

"Tracking the products, trends and reach of China's local to global technology & culture."

EU Council conclusions on the development of legal offers of online cultural and creative content and the prevention and combating of piracy in the digital environment.

Very reminiscent of the debates around cultural appropriation of the Alberto Korda photo of Che.

"There have been several Shanzhai mobile cases exposed recently, including India's expulsion of China Shanzhai mobiles. China's Shanzhai culture has got a pretty bad reputation the world over, to the point where other Shanzhai manufactures complain: "copycatting shouldn't be so unscrupulous; law breaking can't be that obviously extreme. HAFF-COMM forces all of us into the international spotlight.""

A landmark study by the Institute of European Media Law (EML) found that a levy on internet usage legalising non-commercial online exchanges of creative works conforms with German and European copyright law, even though it requires changes in both. The German and European factions of the Green Party who had commissioned the study will make the "culture flat-rate," as the model is being called in Germany, an issue in their policies. The global debate on a new social contract between creatives and society is getting more pronounced by the day. Two models are emerging: a free-market approach based on private blanket licences and voluntary subscriptions, and a legal licence approach based on exceptions in copyright law and mandatory levies, that now has been proven legally feasible and appropriate by the EML study.

This site endeavours to provide access to national copyright and related rights legislation of UNESCO Member States. The collection currently comprises about 100 laws and is constantly being updated and completed.

"Meeting of the 14th session of the Intergovernmental Committee on the Universal Copyright Convention as revised in 1971 . 7-9 June, 2010 UNESCO Headquarters, Paris, France. "

My friend had hundreds of these examples. We could have sat in his living room playing at musical genealogy for hours. Did the examples upset him? Of course not, because he knew enough about music to know that these patterns of influence-cribbing, tweaking, transforming-were at the very heart of the creative process. True, copying could go too far. There were times when one artist was simply replicating the work of another, and to let that pass inhibited true creativity. But it was equally dangerous to be overly vigilant in policing creative expression, because if Led Zeppelin hadn't been free to mine the blues for inspiration we wouldn't have got "Whole Lotta Love," and if Kurt Cobain couldn't listen to "More Than a Feeling" and pick out and transform the part he really liked we wouldn't have "Smells Like Teen Spirit"-and, in the evolution of rock, "Smells Like Teen Spirit" was a real step forward from "More Than a Feeling." A successful music executive has to understand the distinction between borrowing that is transformative and borrowing that is merely derivative, and that distinction, I realized, was what was missing from the discussion of Bryony Lavery's borrowings. Yes, she had copied my work. But no one was asking why she had copied it, or what she had copied, or whether her copying served some larger purpose.

"I think we should permanently cut off the internet access of any company that sends out three erroneous copyright notices. Three strikes and you're out, mate."

"As the world economy increasingly centers on "memes, genes, and bits," new technologies permit new production models that threaten entrenched interests. As a consequence, we face a looming political battle that could reshape the information society. There are three main barriers to democratic participation in setting the rules of the information economy that bias the playing field in favor of entrenched interests and old models. The first is that the harms of bad A2K policy often take a long time to manifest themselves, making it difficult to instill a sense of urgency in the body politic and among policy elites. The current experience of "information overload" obscures increasing regulation of the use of knowledge. The second is that information policy issues tend to be highly technical and esoteric to the uninitiated, and difficult even for the initiated to analyze effectively. The third is that the promises of a world where knowledge is free as the air we breathe seems ephemeral in the face of the concrete harms claimed by those who would fence off the information commons."

Copy-paste from mailer sent out by Sunil.

Excellent post by Feroz Ali Khader on Bayh-Dole. "Ideally, the move to commercialise university research must have come after removing all the barriers that hinder research and restrict its produce. Till such time, the temptation of putting the horse before the cart must be resisted."