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International Survey on Private Copying
International Survey on Private Copying For more information contact WIPO at www.wipo.int Law & Practice 2 012 World Intellectual Property Organization 34, chemin des Colombettes 2012 International Survey on Private Copying – Law & Practice P.O. Box 18 CH-1211 Geneva 20 Switzerland Telephone: +4122 338 91 11 Fax: +4122 733 54 28 WIPO Publication No. 1037E ISBN 978-92-805-2271-6 International Survey on Private Copying Law & Practice 2012 Acknowledgement and thanks for front cover illustrations (Image of headphones courtesy of: www.publicdomainpictures.net/view-image.php?image=2133&picture=headphones by Anna Langova and all other images courtesy of www.copyright-free-images.com) Table of Contents EXECUTIVE SUMMARY 2 1. REVENUES PER CAPITA 12 2. TARIFFS ON BLANK CARRIERS 13 3. TARIFFS ON DEVICES (ALL THE AMOUNTS IN THIS REPORT ARE IN EUROS [€].) 14 4. AUSTRIA 15 5. BELGIUM 20 6. BULGARIA 25 7. BURKINA FASO 30 8. CANADA 33 9. CROATIA 37 10. CZECH REPUBLIC 41 11. CZECH REPUBLIC 45 12. DENMARK 48 13. FINLAND 51 14. FRANCE 56 15. GERMANY 61 16. GREECE 65 17. HUNGARY 69 18. ITALY 74 19. JAPAN 80 20. LATVIA 86 21. LITHUANIA 90 22. NETHERLANDS 97 23. NORWAY 102 24. PARAGUAY 104 25. POLAND 107 26. PORTUGAL 112 International Survey on Private Copying 27. ROMANIA 114 28. RUSSIA 118 29. SLOVAKIA 121 Law & Practice 2012 30. SLOVENIA 124 31. SPAIN 127 32. SWEDEN 132 33. SWITZERLAND 136 34. TURKEY 141 1 35. UNITED STATES OF AMERICA 144 Executive Summary 1. Introduction The present Survey represents a collection of key data on private copying compensation systems around the world. -
En Un Principi Era…
En un principi era… Dibuix, figura i màscara en l’obra d’Eugeni d’Ors Laura Mercader Amigó Aquesta tesi doctoral està subjecta a la llicència Reconeixement- NoComercial – SenseObraDerivada 3.0. Espanya de Creative Commons. Esta tesis doctoral está sujeta a la licencia Reconocimiento - NoComercial – SinObraDerivada 3.0. España de Creative Commons. This doctoral thesis is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0. Spain License. En un principi era… Dibuix, figura i màscara en l’obra d’Eugeni d’Ors projecte de tesi doctoral de Laura Mercader Amigó direcció de Mireia Freixa Serra pla de doctorat EEE H1801 1 Universitat de Barcelona novembre de 2015 En un principi era… Dibuix, figura i màscara en l’obra d’Eugeni d’Ors tesi doctoral Laura Mercader Amigó Direcció de Mireia Freixa Serra pla de doctorat EEE H1801 Universitat de Barcelona novembre de 2015 A la meva mare, per regalar-me la paraula Al meu pare, per oferir-me les oportunitats En memòria d’Ángel d’Ors i Jaume Vallcorba taula de continguts I. Dibuix, figura i màscara en l’obra d’Eugeni d’Ors Agraïments ...................................................................................................................................................................... 13 Resum ............................................................................................................................................................................. 15 Introducció. Eugeni d’Ors, l’home que juga ..................................................................................................................... -
La Abstracción En La Argentina: Siglos Xx Y Xxi
ISABEL PLANTE | CRISTINA ROSSI La abstracción en la Argentina: siglos xx y xxi La abstracción en la Argentina: siglos xx y xxi Consejo de Administración Presidente Presidente Mauro Herlitzka Eduardo Caride Vicepresidente 1ª Secretario General Teresa Aguirre Lanari de Bulgheroni José Luis Rodríguez Zarco Vicepresidente 2º Tesorero Luis Fernando Benedit Mario E. Vázquez Secretario Vocales Alejandro Gorodisch Manuel A. Álvarez Trongé Javier Nadal Ariño Prosecretario Carmen Grillo Adriana Rosenberg Federico Rava Francisco Serrano Martínez Tesorero Juan Waehner Gabriel Vázquez Directora Fundación Telefónica Vocales Carmen Grillo Claudia Caraballo de Quentin Salvador Carbó Gerentes Eduardo Grüneisen Alejandrina D’Elia Raúl Naón Bibiana Ottones Erika Roberts Gabriel Werthein Vocal emmeritus Marcelo E. Pacheco Gestión Institucional Coordinación general: Marina Baron Supervielle Comité organizador Asesora de proyectos especiales: Patricia Artundo Ethel R. de Martínez Sobrado Bibliotecólogas: Analía Trouve, Carolina Gruegui Guiomar de Urgell Amalia Sanjurjo de Vedoya Asistencia general: Adriana Donini Mauro Herlitzka Julio Suaya Laprida Informática: Sebastián Guarino José Antonio Urgell La abstracción en la Argentina: siglos xx y xxi Fondo para la Investigación del Arte Argentino Créditos editoriales Coordinación editorial Marina Baron Supervielle Traducción Marta Merajver Diseño gráfico Estudio Marius Riveiro Villar Preimpresión e impresión Ronor® Plante, Isabel La abstracción en la Argentina : siglos XX y XXI / Isabel Plante; María Cristina Rossi. - 1a ed . - Ciudad Autónoma de Buenos Aires: Fundación Espigas, 2020. Libro digital, PDF Archivo Digital: descarga y online Traducción de: Marta Merajver. ISBN 978-987-1398-43-0 1. Arte. I. Rossi, María Cristina. II. Merajver, Marta, trad. III. Título. CDD 709.82 © 2010, Fundación Espigas Impreso en la Argentina Av. -
2016 Bulletin
2016 Bulletin Table of Contents Director’s Note 05 Ellsworth Kelly’s Austin 06 Public Programs 08 PK–12 Programs 09 Family Programs 10 Community Programs 11 Center for Prints and Drawings 12 University Engagement 13 Membership 16 Events 17 At a Glance 18 Exhibitions 20 Special Installations 31 Select Exhibition Loans 33 Acquisitions 35 Donor Listing 65 Appendix 66 BLANTON NATIONAL LEADERSHIP BOARD Michael Klein, Chair Janet Allen, Vice Chair Janet and Wilson Allen Leslie and Jack Blanton, Jr. Suzanne Deal Booth Sarah and Ernest Butler Michael Chesser Mary McDermott Cook Alessandra Manning-Dolnier and Kurt Dolnier Tamara and Charles Dorrance Sally and Tom Dunning Kelley and Pat Frost Stephanie and David Goodman Anthony Grant Shannon and Mark Hart Eric Herschmann Stacy and Joel Hock Sonja and Joe Holt Nancy and Bob Inman Kenny and Susie Jastrow Marilyn D. Johnson Jeanne and Michael Klein Jenny and Trey Laird Cornelia and Meredith Long Kathleen Irvin Loughlin and Christopher Loughlin Suzanne McFayden Marlene N. Meyerson (1940–2017) Fredericka and David Middleton Lora Reynolds and Quincy Lee Richard Shiff Eliza and Stuart W. Stedman Ellen and Steve Susman Judy and Charles Tate Marilynn and Carl Thoma Jill Wilkinson Jessica and Jimmy Younger 4 Director’s Note This bulletin offers a snapshot of the Blanton’s multifaceted role as one of the most celebrated university museums in the world and as Austin’s art museum. The exhibitions and acquisitions covered in these pages begin where the last Blanton bulletin concluded, in January 2014, and extend through summer 2016. The Blanton’s programming during this period reflects the quality and uniqueness the museum strives for through its diverse forms of engagement with the community. -
Rethinking Private Copyinc in the Digital Age: an Analysis of the Canadian Approach to Music
RETHINKING PRIVATE COPYINC IN THE DIGITAL AGE: AN ANALYSIS OF THE CANADIAN APPROACH TO MUSIC BY John Davidson A thesis submitted in conformity with the requirements for the degree of Master of Laws Graduate Department of the Faculty of Law University of Toronto O By John Davidson 2001 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliogmphic Services services bibliographiques 395 Wellington Street 395. rue Wellington mwa ON K1A ON4 OtlawaON K1AW canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allouwing the exclusive permettant à la National Library of Cana&. to Biblothèque nationale du Canada de reproduce, loan, distribute 9r seil reproduire, prêter, distribuer ou copies of diis thesis in microform, vendre des copies de cette îhèse sous paper or electronic formats. la forme de microfiche/fïlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thése ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. RETHINKING PRIVATE COPYING IN THE DIGITAL AGE: AN ANALYSIS OF THE CANADIAN APPROACH TO MUSIC John Davidson B.Comm. (U. Syd.), LL.B. (Hons.) (U. Syd.) Admitted to Practice Law in New South Wales, Australia Master of Laws Faculty of Law University of Toronto 200 1 ABSTRACT Digital technotogy and the Internet in particular have fundamentally altered the dynamics of private copying. -
Private Copying and Fair Compensation: an Empirical Study of Copyright Levies in Europe
Private Copying and Fair Compensation: An empirical study of copyright levies in Europe Martin Kretschmer Centre for Intellectual Property Policy & Management www.cippm.org.uk Bournemouth University [email protected] WIPO, 15 February 2012 EC levy definition (2006) A private copying levy is a form of indirect remuneration for right holders, based on the premise that some acts of private copying cannot be licensed for practical purposes by the relevant right holders. A copyright levy is typically attached to certain products (equipment or blank media) that can serve to reproduce audio, audio-visual and textual material such as music, films or books. Policy context ESRC Fellowship at UK IPO (2010/11) – UK: What position on EU wide regulation? – UK: Can a private copying exception be introduced without providing compensation? Limitations and exceptions – Are exceptions just a response to market failure? – What activities should be possible without permission? – If without permission, requirement to pay? Empirical approach: If we don’t know how a “regulated” market works, we can’t intervene. Levy history in the EU – 1965: Germany UrhG §53 – 2001: Info Soc Directive (“fair compensation”) – 2006: EC recommendation (almost) – October 2010: ECJ Padawan (“uniform interpretation”, “calculation based on harm”) – May 2011: EC announces “comprehensive legislative action” regarding private copying levies (+ “mediator”) – August 2011: UK commitment to introduce private copying exception without compensation (“Hargreaves”) – [Norway], Finland, -
FEP Report of Activities 2011 - 2012 3 4 FEP Report of Activities 2011 - 2012 Foreword by Fergal Tobin, FEP President
Report of Activities May 2011 – May 2012 Table of Content Table of Content Foreword by Fergal Tobin, FEP President . 5 DG Internal Market & Services . 25 25. Review of the Enforcement Directive27 FEP . 7 26. Effective Enforcement of copyright 28 28. Directive on orphan Works 30 FEP Meets 29. out-of-commerce Dialogue 31 FEP in Brussels and in Europe 30. viP stakeholders Dialogue 32 FEP Networks 31. collective Management 33 FEP statistics 32. Levies 34 DG Culture & Education . 9 DG Justice . 33 9. Multilingualism 33. Data protection 35 10. European cultural platforms Green Paper on 35. Brussels i Regulation cultural industries 11. European Union Prize for Literature 12. High level expert group on literacy DG Home Affairs . 36 36. Data retention DG Entreprise . 13 13. Toy Safety DG Research & Innovation . 38 DG Environment . 15 DG Taxation . 39 15. Eco-label 16. Obligations of operators who place timber and 39. Reduced rates of vAt timber products on the market 41. vAt on books in the member countries DG Health & Consumers . 17 DG Trade . 42 17. Review of the consumer Acquis 42. Anti-counterfeiting trade Agreement (ACTA) 43. External EU actions against piracy and counterfeiting DG Information Society & Media. 19 19. task force for the coordination of the Media The Publications Office of the European Union 20. European Digital Library - Europeana (publications office) . 45 21. ARROW – ARROW + 22. Revision of the directive 2003/98/Ec on the re- use of public sector information 24 23. Net Neutrality 25 FEP REPoRt oF ActivitiEs 2011 - 2012 3 4 FEP REPoRt oF ActivitiEs 2011 - 2012 Foreword by Fergal Tobin, FEP President Ebook, epublishing, elibraries, ebookshops… if the word of them are developing digital works, innovative tools to that defines you does not start with an e, you are pretty access them, tailor-made licences for all types of users. -
FAQ – Extending the Private Copying Levy to MP3 Players
FAQ – Extending the Private Copying Levy to MP3 Players Why should the private copying levy be extended to MP3 players like the iPod? The private copying levy exists to provide fair compensation to songwriters, composers, music publishers, recording artists, musicians and recording companies for private copies made of their music. Currently, the levy only applies to CD-Rs. The time has come to extend the levy to reflect how private copies of music are actually made today – not how they were made a decade ago. Of the 1.9 billion songs copied annually in Canada, 62% are copied onto MP3 players like the iPod. Modernizing the levy by extending it to MP3 players will bring the current copyright legislation in line with the way people use and copy music today. Why is this so “urgent”? MP3 players have become the method of choice for copying music. The percentage of private copies being made on to CD-Rs is decreasing significantly. Revenue from the current levy has dropped 68% since 2008 and is drying up quickly. Rights holders are no longer being compensated for the majority of private copies being made of their music. Canadians have changed the technology used to copy music – our copyright law needs to change also, so that artists, songwriters and other rights holders can continue to receive the compensation to which they are entitled. Isn’t this just another tax? No. The private copying levy is not a tax. It is a royalty paid to music rights holders. Unlike a tax, which is collected by the government, the private copying levy is collected by the Canadian Private Copying Collective (CPCC) to provide remuneration to rights holders for private copying. -
Biblioteca Oliverio Girondo
LA BIBLIOTECA DE OLIVERIO GIRONDO por Patricia M. Artundo con la colaboración de Sofía Frigerio y Susana Lange Buenos Aires Fundación Pan Klub - Museo Xul Solar 2008 Índice Introducción: claves para una reconstrucción (parcial) de la Biblioteca de Oliverio Girondo 4 Patricia M. Artundo I. Catálogo de la venta de la Biblioteca de Oliverio Girondo 11 II. Listado de libros donados al Museo de Arte Hispanoamericano por Norah Lange 118 III. Intento de reconstrucción: breve catálogo de los libros que pertenecieron a Oliverio Girondo 153 Patricia M. Artundo IV. Colección Susana Lange 158 Claves para una reconstrucción (parcial) de la Biblioteca de Oliverio Girondo Patricia M. Artundo A lo largo de su vida, Oliverio Girondo (1890-1967) reunió en su biblioteca más de 6.000 libros. Una biblioteca de la que sólo ha quedado un registro parcial en algunos documentos de la década de 1970. Esta “Biblioteca de Oliverio Girondo” es, precisamente, una reconstrucción que se basa en el catálogo de la venta realizada por la firma Adolfo Bullrich y Cía. Ltda. en 19731 y en el listado de la donación realizada por Norah Lange (1905-1972) hacia 1970 al Museo de Arte Hispanoamericano “Isaac Fernández Blanco”.2 A ellos se suma el listado de libros que Norah conservó consigo luego del fallecimiento de Oliverio y que hoy son propiedad de su sobrina Susana Lange. En su conjunto, este nuevo corpus sólo llega a representar un 25% del total de su biblioteca. Un porcentaje sin duda menor pero que posee singular relevancia a la hora de abordar a Girondo desde otros lugares, en especial, la bibliofilia, independientemente de que su biblioteca aporte datos invalorables acerca de muchos otros de sus intereses. -
The Artistic Work of Zdravko Dučmelić in Argentina
DVE DOMOVINI • TWO HOMELANDS • 46 • 2017 REPRESENTATIONS OF MEMORIES THROUGH ART: THE ARTISTIC WORK OF ZDRAVKO DUČMELIĆ IN ARGENTINA Nadia MOLEK|, Juan Carlos RADOVICH||, Juan Esteban DE JAGER|||, Amalia PEREZ MOLEK|||| COBISS 1.01 ABSTRACT Representations of Memories through Art: The Artistic Work of Zdravko Dučmelić in Argentina This article discusses the topic of representations of memories through art using an interdisciplinary approach that connects contributions from the fields of anthropology and art history to the research problems of art and creative processes. Considering the artistic world of the Croatian painter Zdravko Dučmelić in Argentina as a case study, the main aim of the article is to explore how the sum of the ac- quired artistic/aesthetic habitus that mediated his artistic activities, memories and personal experienc- es was combined in the artist’s creative process. To this end we will present the formation of Dučmelić’s artistic and aesthetic habitus, and his insertion into the Argentinian sociocultural and artistic context, in order to explore Dučmelić’s creative process, paying special attention to the way that personal expe- riences, emotional stimuli and memories were resignified into artistic, symbolic and oneiric images. KEY WORDS: Dučmelić, art, creative process, memories, Croatians in Argentina, interdisciplinary approach IZVLEČEK Reprezentacije spominov skozi umetnost: Umetniško delo Zdravka Dučmelića v Argentini Avtorji v članku predstavljajo umetniški svet hrvaškega slikarja Zdravka Dučmelića v Argentini. Spominjanje s pomočjo umetnosti in kreativnosti obravnavajo z interdisciplinarnim povezovanjem antropologije in umetnostne zgodovine. Raziskujejo izražanje pridobljenega umetniškega in estet- skega habitusa ter združevanje spominov in osebnih izkušenj v umetniškem ustvarjalnem procesu. S tem namenom predstavijo Dučmelićev estetski in umetniški habitus in njegov vstop v argentinski sociokulturni in umetniški prostor. -
International Survey on Private Copying
International Survey on Private Copying For more information contact WIPO at www.wipo.int World Intellectual Property Organization Law & Practice 2015 34, chemin des Colombettes P.O. Box 18 CH-1211 Geneva 20 Switzerland Telephone: +4122 338 91 11 Fax: +4122 733 54 28 WIPO Publication No. 1037E/16 ISBN 978-92-805-2707-0 Acknowledgement and thanks for front cover illustrations Acknowledgement and thanks for front right image courtesy of Carlos Porto at FreeDigitalPhotos.net Top image courtesy of Stuart Miles at FreeDigitalPhotos.net centre Top right image courtesy of tungphoto at FreeDigitalPhotos.net Top Lower left Image courtesy of stockimages at FreeDigitalPhotos.net image courtesy of xedos4 at FreeDigitalPhotos.net Lowewr centre Lower right image courtesy of watcharakun at FreeDigitalPhotos.net International Survey on Private Copying Law & Practice 2015 International Survey on Private Copying Law & Practice 2015 International Survey on Private Copying Law & Practice 2015 Table of Contents PREFACE 2 EXECUTIVE SUMMARY 3 1. Introduction 3 2. Methodology and Scope 3 3. Legal background for private copying remuneration 4 4. Practical implementation of compensation systems 7 5. Liability 10 6. Collection and distribution 11 7. Revenue trends 13 8. Conclusion 22 9. Annex 24 1. AUSTRIA 30 2. BELGIUM 37 3. BURKINA FASO 44 4. CANADA 46 5. CROATIA 51 6. CZECH REPUBLIC 56 7. DENMARK 60 8. ESTONIA 64 9. FINLAND 68 10. FRANCE 74 11. GERMANY 81 12. GREECE 85 13. HUNGARY 90 14. ITALY 97 15. JAPAN 103 International Survey on Private Copying 16. LATVIA 109 17. LITHUANIA 112 18. NETHERLANDS 118 19. NORWAY 123 Law & Practice 2015 20. -
P2P and the Future of Private Copying Peter K
Texas A&M University School of Law Texas A&M Law Scholarship Faculty Scholarship 2005 P2P and the Future of Private Copying Peter K. Yu [email protected] Follow this and additional works at: https://scholarship.law.tamu.edu/facscholar Part of the Intellectual Property Law Commons, and the Internet Law Commons Recommended Citation Peter K. Yu, P2P and the Future of Private Copying, 76 U. Colo. L. Rev. 653 (2005). Available at: https://scholarship.law.tamu.edu/facscholar/383 This Article is brought to you for free and open access by Texas A&M Law Scholarship. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Texas A&M Law Scholarship. For more information, please contact [email protected]. P2P AND THE FUTURE OF PRIVATE COPYING PETER K. Yu* TABLE OF CONTENTS INTRODUCTION ..................................................................................... 654 I. THE 2003 COPYRIGHT WARS ......................................................... 658 I. THE FUTURE P2P FILE-SHARING WARS ......................................... 676 A . Dom estic Challenges ............................................................... 676 1. Proliferation of New P2P Technologies ............................ 676 2. Transnational Nature of the Future Copyright Wars ......... 677 3. Increased Political Alienation of the Recording Industry. 679 4. Counterattacks and Setbacks ............................................. 685 B. InternationalChallenges ......................................................... 686 1. Heightened