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Glossary - Copyright for Librarians - Work For Hire - Harvard - 0 views

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    "Other resources: PDF of US Copyright Office circular "Works Made for Hire Under the 1976 Copyright Act" Text of US copyright law "Chapter 2 - Copyright Ownership and Transfer" Article: "Working with freelancers: What every publisher should know about the "work for hire" doctrine." A short analysis of Community For Creative Non-Violence v. Reid the seminal U.S. case on the topic Music Law.com's page on work for hire Legal information site's page on "Works Made for Hire Under the Copyright Act" Video: Protecting Your Work: Understanding Publishing, Copyright, and "Work For Hire"" Law Review article: "Pre-existing Confusion in Copyright's Work-for-Hire Doctrine" The Writing for Children Resource Site article: "The Work-for-hire question" EFF article: "Film Schools Teach Wrong Copyright Lesson" Academy for Creative Media FAQ on the Student Copyright Agreement KeepYourCopyrights.org page on Work for Hire Wikipedia article on work for hire"
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    Soprattutto interessante per le risorse.
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Copyright In The Twilight Zone: The Strange Case Of 'Buffy Versus Edward' - Daniel Nye ... - 1 views

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    "...Teachable moments As is often the case in awkward cases - where the system does not quite work as intended - a few things can be drawn from this episode. YouTube's Content ID system - http://youtube-global.blogspot.co.uk/2012/10/improving-content-id.html - is, in fact, intended to act as a buffer between the sometimes conflicting interests of content holders and uploaders: rather than forcing content holders to either ignore infringing content or go straight to a DMCA takedown notice. YouTube compares content that is uploaded to huge numbers of files of copyright works supplied by content owners, as do external agencies contracted to content owners. Content owners are able to set their own parameters, and determine what action YouTube should take - whether that is allowing, monetizing or blocking the content. One problem with this setup is that mechanical systems, while necessary to sort the vast amount of content being uploaded to YouTube and other video sharing sites every moment, are short on nuance. One can make assumptions and built rules based on quantifiable properties - if there are five minutes of rightsholder-owned content scattered across a 30 minute video, for example, that content is more likely to be being used for illustrative purposes in a review than uploaded in an infringing fashion - but ideas like fair use are generally decided by humans, and can only be approximated by mechanical systems. So, the rights holder, the agency pursuing monetization on the rights holder's behalf, the uploader and YouTube have connected but not identical interests. This may go some way to explaining the lacunae which took this example from a formality to a three-month epic. And, in this particular case, there are unusual elements - for example, the double claims, for first audiovisual and then visual content. The system is not intended to enable this kind of double jeopardy
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    Daniel Nye Griffiths descrive un caso reale di disputa sul copyright nel caso di un remix video pubblicato su YouTube. Da lì, spiega come funziona il sistema YouTube che individua possibili violazioni di copyright ma consente anche di contestare tali individuazioni. Ci sono anche link alle fonti dirette. Cosa buffa: il caso reale riguarda il copyright di una serie TV intitolata "The Twilight Zone", l'area crepuscolare tra giorno e notte. Sono capitata su questo articolo cercando di capire se un episodio del 1960 di questa serie era ancora sotto copyright oppure era caduto nel pubblico dominio. Prima avevo provato con lo strumento Digital Copyright Slider dell'associazione delle biblioteche US - http://librarycopyright.net/resources/digitalslider/ - che aveva cautamente risposto "Forse", con una nota che spiegava che dipendeva se il copyright originale era stato rinnovato, e link a lunghi e complessi documenti su come fare per scoprirlo... quindi sono tuttora nella "Twilight Zone" in merito.
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World Book and Copyright Day 2014: EIFL librarians voice their hopes for copyright | EIFL - 0 views

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    (EIFL = Electronic Information for Libraries) "Published: 23 Apr 2014 To celebrate UNESCO's World Book and Copyright Day on 23 April 2014, and WIPO's World IP Day on 26 April 2014 - we asked librarians in EIFL partner countries what they wish for copyright today. Read what librarians in Armenia, Latvia, Botswana, Kenya, Estonia, Russia, Uzbekistan, Uganda, Kyrgyzstan, Senegal, Mongolia, Poland, Ghana and Nigeria said."
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Copyright, Copyleft, Copyfraud e Copyfear #ltis 13 | Claude Almansi 2013-04-29 - 1 views

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    "Questa mattina ho ripensato al tentativo di Francesco Valotto di introdurre le nozioni di Copyright e Copyleft e in particolare, le licenze Creative Commons, nella discussione su Una domanda, un compito e un'esplorazione - #ltis13. Copyfraud Ci ho ripensato per via del post YouTube: Urheberrechtsmissbrauch vs. Public Domain, ("YouTube: abuso del diritto d'autore v. Dominio Pubblico") dove Martin Steiger spiega il concetto di Copyfraud, cioè di rivendicazione infondata di diritti su un'opera (per un'ottima spiegazione non solo in italiano, ma contestualizzata alla realtà italiana, vedi Copyfraud & Copyfear di Marco Scialdone 28 giugno 2009). Martin Steiger dà poi un esempio concreto di Copyfraud: il software YouTube che reperisce potenziali violazioni di copyright gli ha spedito un avvertimento: "Il tuo video potrebbe includere una canzone di proprietà di una terza parte." (traduzione mia)."
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Intervention of the Holy See: WIPO Diplomatic Conference on a Treaty for the Blind | Kn... - 0 views

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    The Holy See delivered this statement on 18 June 2013 at the Marrakesh Diplomatic Conference on a WIPO Treaty for the Blind. Statement by His Excellency Archbishop Silvano M. Tomasi Permanent Observer of the Holy See to the UN and Other International Organizations in Geneva at World Intellectual Property Organization Diplomatic Conference to Conclude a Treaty to Facilitate Access to Published Works by Visually Impaired Persons and Persons with Print Disabilities Marrakech (Morocco) "...Mr. President, The primary goals of the copyright system is the dissemination of creative works to enhance the common good. Copyright has never been an end in itself. Increasingly, technological developments have strained the capacity of copyright law to limit the ways in which the public accesses creative works. As stated by Jean Paul II, in his Encyclical Letter Laborem Exercens, "It would be radically unworthy of man, and a denial of our common humanity, to admit to the life of the community, and thus admit to work, only those who are fully functional. To do so would be to practise a serious form of discrimination, that of the strong and healthy against the weak and sick" [2] . Since all persons are called to contribute to society, it is fundamental to create an international instrument that could give even to impaired people a variety of opportunities to discover their potential, understand their environment, discover their rights and put to the best use their talents and resources both for personal fulfilment and for their contribution to society. This common good must be served in its fullness, not according to a reductionist vision subordinated only to the advantage of some people; rather, it is to be based on a logic that leads to the acceptance of a comprehensive responsibility. "The common good corresponds to the highest of human inclinations [3], but it is a good that is very difficult to attain because it requires the constant ability and effort to see
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    La difesa incondizionale da parte del Vaticano di un trattato OMPI per i ciechi e altre persone che non possono adoperare testi stampati è particolarmente interessante: in incontri precedenti su questo trattato - sotto il Papa precedente - il Vaticano si era allineato sui paesi ricchi del cosiddetto "Gruppo B" dell'OMPI nel chiedere di seppellire questo trattato.
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USPTO releases 142 pages of emails sent by MPAA to USPTO over the treaty for the blind ... - 1 views

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    "Submitted by James Love on 22. June 2013 - 14:22 Attached is an electronic copy of a FOIA received from USPTO, of email messages sent by MPAA lobbyists to the USPTO, about the WIPO negotiations on a treaty for copyright exceptions for persons with disabilities. (Copy here). The FOIA request covered: All correspondence sent to the USPTO from Disney, Viacom, the MPAA or members of the MPAA, regarding the WIPO treaty on copyright exceptions for persons who are blind for the time period 2013."
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A Fair(y) Use Tale | Center for Internet and Society - 0 views

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    "By Documentary Film Program on March 1, 2007 at 1:30 pm Professor Eric Faden of Bucknell University created this humorous, yet informative, review of copyright principles delivered through the words of the very folks we can thank for nearly endless copyright terms. View (streaming) or download (mp4) the whole film or watch it below Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License Distributed on DVD by The Media Education Foundation."
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Fair Use, MOOCs, and the Digital Millennium Copyright Act: FAQs - 0 views

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    "Fair Use, MOOCs, and the Digital Millennium Copyright Act: Frequently Asked Questions In October 2015 the Librarian of Congress issued new rules permitting certain teachers of Massive Open Online Courses (MOOCs) to break encryption on DVDs, Blu-Ray discs and streaming videos to create short clips for use in their teaching. It's a major step forward for MOOC teachers and their students. This document, prepared by Professors Peter Decherney and Brandon Butler, answers some of the most common questions you might have about the new rule."
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    (Per il contesto, vedi http://infojustice.org/archives/35654 e http://ipclinic.org/2016/01/22/fair-use-moocs-and-the-digital-millennium-copyright-act-frequently-asked-questions/) Parti problematiche: Coursera and Udacity are for profit companies. Can they take advantage of the exemption? Coursera and Udacity are the platforms. Colleges, universities, museums, and other nonprofit organizations offer courses through these platforms. The organization that creates the course must be an accredited nonprofit educational institution, but the provider of the software platform may be for-profit . So a university course offered through Coursera may take advantage of the exemption. How can the material be restricted to students enrolled in the course? We believe that use of passwords provided only to enrolled students will sufficiently limit access to the course content to students or learners. How can redistribution be prevented? Offering streaming rather than downloadable versions of the course content should reasonably limit unauthorized redistribution of the work. Unfortunately, this unfairly disadvantages learners with slower internet access" Cioè l'autorizzazione a far saltare i blocchi anticopia vale soltant per i MOOC che non sono MOOC perché non sono Open ma protetti da password. E l'argomento secondo il quale il fair use vale per i video di corsi Coursera e Udacity, a patto che gli enti che elargiscono il corso non siano a scopo di lucro, anche se le piattaforme lo sono, è dubbio. in effetti Coursera e Udacity traggono profitto dai materiali proposti da questi enti. Quanto all'offerta dei video in solo streaming per impedirne lo scaricamento: almeno nei corsi Coursera dove il link di scaricamento è stato t
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Sample Contract Clause | Keep Your Copyrights | Columbia Law School - 0 views

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    Example + comment: "This language is designed to grab all rights from a free-lance author or artist. The first clause purports to create a work for hire agreement, which would mean that the author has no rights left at all, ever (and cannot even get them back through the termination right). The second clause takes a belt-and-suspenders approach: if for any reason the work is not for hire -- which it would not be if the commissioned work did not fall within the statutory categories -- the author explicitly assigns all rights not only in this work, but in any work based on this work, for the full term of copyright, for the whole world."
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Works Made For Hire | Keep Your Copyrights | Columbia Law School - 0 views

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    "If there is no signed written agreement, then the work isn't for hire, and you start out with all the rights. If there is a written agreement, it should be entered into before you create the work. Beware of after-the-fact attempts to take away your rights by calling the work "for hire," for example by sending you a check whose endorsement line says that your signature is your agreement that the work was for hire."
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    Cf. https://d396qusza40orc.cloudfront.net/translations%2FCoursera%20Translator%20TOS.pdf , l'accordo imposto da Coursera ai volontari che traducono i sottotitoli dei video di lezioni.
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Wikipedia refuses to delete photo as 'monkey owns it' - Telegraph Matthew Sparkes 2014-... - 1 views

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    "By Matthew Sparkes, Deputy Head of Technology 12:03PM BST 06 Aug 2014 Wikimedia, the US-based organisation behind Wikipedia, has refused a photographer's repeated requests to remove one of his images which is used online without his permission, claiming that because a monkey pressed the shutter button it should own the copyright. British nature photographer David Slater was in Indonesia in 2011 attempting to get the perfect image of a crested black macaque when one of the animals came up to investigate his equipment, hijacked a camera and took hundreds of selfies. "
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VOXINOX la Radio des jeunes Seniors - A propos de VOXINOX - 2 views

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    "QUE DES PROFESSIONNELS! Les Voix Les chroniques et émissions que vous trouverez sur ce site ont été conçues par des professionnels qui ont sacrifié une grande partie de leur vie pour le media radiophonique. Ils ont pris une retraite méritée mais leur passion n'a pas disparue. La preuve... Les VIP Que des personnalités ou des "people" ayant ou n'ayant jamais fait de radio. Elles nous livrent ici leur chroniques ou anecdotes à la sauce Voxinox. QUE DE L'INEDIT! Les émissions présentes sur ce site n'ont jamais été diffusées ou distribuées ailleurs que sur ce site. Elles appartiennent à leurs auteurs en collaboration avec VOXINOX. "
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    Tanti file audio riutilizzabili per attività linguistiche. La pagina Copyright - http://voxinox.ch/articles.php?lng=fr&pg=910 - dice che le risorse sono sotto una licenza http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ e che per utilizzazioni derivate, bisogna chiedere il permesso. Tuttavia, quando ho chiesto chiarimenti sul loro forum in http://www.voxinox.ch/thread.php?lng=fr&pg=4297&cat=1 , hanno risposto: " Le choix de ce copyright est uniquement fait pour nous protéger des sites aspirateurs ou voir de sites qui s'approprient notre travail. Cette licence à l'avantage d'être tout de même assez explicite. Nous n'avons pas le moyens de créer notre propre licence. Vous pouvez utiliser notre contenu à des fins non commerciales sans autre, comme dans le cas de classes d'école. Travailler sur le contenu ou l'illustrer a des fins pédagogiques est accepté dans le cadre d'internet. Tout ce que nous demandons est de mettre une mention ou mieux un lien sur l'origine de cet élément. Dans le cas d'éventuels droits d'auteurs, pour une diffusion publique hors internet, ils seront à régler auprès des organisme comme la Suisa ou la SSA (soumis à autorisation). Notre partage concerne, dans le cas d'un podcast, le podcast en entier des dérivés." Si c'est commercial, il faut nous contacter par email et détailler votre projet car ça dépasse le cadre de la crative commons et ce afin d'obtenir les autorisations des auteurs puis d'examiner les implications avec les différentes sociétés suisses de droits d'auteurs. " Concretamente, questo significa che i derivati creati a scuola sono OK a patto di - indicare la paternità dell'opera originale e il link ad esso - pubblicare il derivato in modo che non crei redditi; perciò non su piattaforme con annunci pubblicitari, come YouTube.
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Il digitale è una cultura, non una tecnica: il giornalismo e le dieci leggi d... - 7 views

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    Interessante, però manca qualsiasi indicazione sull'inasprimento del diritto d'autore da quando c'è il digitale e dai grattacapi causati, che fanno parte integrante - purtroppo - di quella cultura digitale. Dal commento in attesa di moderazione che ho lasciato al post di Mario Tedeschini: "sotto questo post, c'è la scritta "Copyright © 1999-2007 Elemedia S.p.A. Tutti i diritti riservati" seguita da "Gruppo Editoriale L'Espresso Spa" (collegato a gruppoespresso.it). (...) cosa sarebbe quell'Elemedia? Non lo spiega nemmeno la pagina gruppoespresso.it . Certo, se si va sulla sotto-pagina delle attività radiofoniche, viene spiegato (ma cosa diamine c'entra questo blog con quella SpA che gestisce le attività radiofoniche) e c'è un link a elemedia.it , ma reindirizza automaticamente a gruppoespresso.it. Che valgano allora le condizioni stipulate nella sottopagina "notizie legali" di gruppoespresso.it, le sole indicazioni fornite agli utenti? Sono molto più limitative della legge italiana sul diritto d'autore, che prevede restrizioni al copyright ad es. per scopi educativi e di accessibilità per i disabili, per la parodia e la citazione. Gruppoespresso.it no: la sola restrizione che consentono quelle notizie legali è quella per utilizzo personale. Perciò Gloria Vanni le ha violate, citando 4 righe di questo post quando l'ha ribloggato, anche se quella citazione è lecita secondo la Legge sul diritto d'autore. E per non essere di resto, le ho violate ancora più platealmente utilizzando Webcitation.org per ottenere un riferimento accademicamente corretto di questo post: "Mario Tedeschini. Il digitale è una cultura, non una tecnica: il giornalismo e le dieci leggi dell'universo digitale. Source: Kataweb. . URL:http://mariotedeschini.
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"Why a supposed German breakthrough in e-book DRM is just as dumb as the old e-book DRM... - 0 views

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    "Why a supposed German breakthrough in e-book DRM is just as dumb as the old e-book DRM By Cory Doctorow | Jul 06, 2013 " > The idea that copyright owners might convince a judge, or, worse, a > jury that because they found a copy of an e-book on the Pirate Bay > originally sold to me they can then hold me responsible or civilly > liable is almost certainly wrong, as a matter of law. At the very > least, it's a long shot and a stupid legal bet. After all, it's not > illegal to lose your computer. It's not illegal to have it stolen > or hacked. It's not illegal to throw away your computer or your > hard drive. In many places, it's not illegal to give away your > e-books, or to loan them. In some places, it's not illegal to sell > your e-books. > > So at best, this new "breakthrough" DRM scheme will be ineffective. > But worse, what makes anyone think this kind of implicit fear of > reprisal embedded within one's digital library is acceptable, or, > for that matter, preferable to old-school DRM?
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Come estrarre un file mp3 da un video di You Tube (della serie, iniziamo a imparare dai... - 2 views

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    Piccoli trucchi utili
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    Ganzo (con tutte le riserve sulla qualità dell'mp3).
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    @Luisella: In effetti http://www.youtube-mp3.org/it che menzioni nel post funziona molto meglio di http://getvids.de/ che usavo prima e che è per giunta pieno di annunci pubblicitari noiosi (vabbé, getvids può servire se si vuol scaricare il video come tale ma mi capita di rado) . L'altra cosa bella di youtube-mp3.org sono i link per la condivisione: ad es. gli ho fatto estrarre un mp3 da http://www.youtube.com/watch?v=FjYQyWqdjGQ e tra i "codici per il collegamento" c'è http://www.youtube-mp3.org/#v=FjYQyWqdjGQ . Avevo scelto quel video perché mi era valso una notifica di contenuto sotto copyright altrui da parte di YouTube, quindi volevo anche vedere cosa succede rispetto a quel che dici del copyright nel post. Non sembra un ostacolo per la conversione con youtube-mp3.org . Ma ci sarebbe da provare con un video dove è stato bloccato l'embed, cioè lo streaming. Probabilmente in quei casi non funziona... però prima devo trovare un video con embed bloccato.
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    Anche se l'embed è bloccato, la conversione funziona lo stesso: l'ho bloccato per http://www.youtube.com/watch?v=zls1_eQnRE0 e l'mp3 si può scaricare da http://www.youtube-mp3.org/#v=zls1_eQnRE0 .
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    Bene a sapersi, grazie Claude
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Pics4Learning | Free photos for education - 3 views

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    "Pics4Learning is a safe, free image library for education. Teachers and students can use the copyright-friendly photos & images for classrooms, multimedia projects, websites, videos, portfolios, or any projects in an educational setting."
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CreateSpace: Content guidelines - 0 views

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    "Items sold on through the CreateSpace service must follow our content policy and guidelines, detailed below. (...) Public Domain and Other Non-Exclusive Content Some types of content, such as public domain content, may be free to use by anyone, or may be licensed for use by more than one party. We will not accept content that is freely available on the web unless you are the copyright owner of that content. For example, if you received your content from a source that allows you and others to re-distribute it, and the content is freely available on the web, we will not accept it for sale through CreateSpace. We do accept public domain content, however we may request that you provide proof that your submitted material is actually in the public domain and may choose to not sell a public domain title if its content is undifferentiated or barely differentiated from one or more books already available through our service or available through other retail sites. We do not currently accept public domain material for Amazon Video on Demand. "
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01- This course is an experiment [Massive Teaching] with subtitles | Amara - 1 views

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    ... This course only spans three weeks.The structure will be quite simple.In the first week, I'll take a mostly positive tone about MOOCs, describe the promise that many people see in them, including me. In the second week, I'll take a closer look at the technology and survey the copyright aspects. In the third week, I'll discuss the business aspects and maybe a bit of science fiction. In fact I'll prepare some material for the third week, but I'll be ready to add muchmore to it than that, mostly in response to questions that will intermittently pop up in the forums.It's quite a tight schedule, so it might be that atthe last minute, I settle for more text then I originally intended. In any case, this is just the first run of the course.As soon as possible, I hope to rerun it, this time with a bit more material, that I can reintegrate, to offer a slightly longer course.
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    From Week 1 Lecture Videos of "Teaching goes massive: new skills required" by Paul-Olivier Dehaye See https://etherpad.mozilla.org/pr8ZtLXODg and http://www.elearnspace.org/blog/2014/07/09/congrats-to-paul-olivier-dehaye-massiveteaching/
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Creative Commons, la condivisione del sapere | My cMOOC Blog - 0 views

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    "Come fare a inserire il logo cc (Creative Commons) sul proprio blog (ad esempio sulla colonna di destra o in fondo alla pagina per i template che lo permettono, come il mio, Twenty Eleven). E come embeddare una presentazione di SlideShare"
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Il nostro cervello e le intelligenze multiple | My cMOOC Blog - 0 views

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    "Mi piace molto questa immagine postata da Antonella. Come ho scritto nel mio commento al suo post, mi dà l'idea che forse è proprio proponendo ai nostri studenti attività che stimolino entrambi gli emisferi del cervello, che riusciremo a ottenere i migliori risultati in termini di motivazione, apprendimento, soddisfazione personale. E si ritorna forse al discorso che mi è tanto caro sulle intelligenze multiple. "
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