International and Domestic Intellectual Property Enforcement
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Royal Air Force Historical Society Journal 29
ROYAL AIR FORCE HISTORICAL SOCIETY JOURNAL 29 2 The opinions expressed in this publication are those of the contributors concerned and are not necessarily those held by the Royal Air Force Historical Society. Copyright 2003: Royal Air Force Historical Society First published in the UK in 2003 by the Royal Air Force Historical Society All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or by any information storage and retrieval system, without permission from the Publisher in writing. ISSN 1361-4231 Typeset by Creative Associates 115 Magdalen Road Oxford OX4 1RS Printed by Advance Book Printing Unit 9 Northmoor Park Church Road Northmoor OX29 5UH 3 CONTENTS BATTLE OF BRITAIN DAY. Address by Dr Alfred Price at the 5 AGM held on 12th June 2002 WHAT WAS THE IMPACT OF THE LUFTWAFFE’S ‘TIP 24 AND RUN’ BOMBING ATTACKS, MARCH 1942-JUNE 1943? A winning British Two Air Forces Award paper by Sqn Ldr Chris Goss SUMMARY OF THE MINUTES OF THE SIXTEENTH 52 ANNUAL GENERAL MEETING HELD IN THE ROYAL AIR FORCE CLUB ON 12th JUNE 2002 ON THE GROUND BUT ON THE AIR by Charles Mitchell 55 ST-OMER APPEAL UPDATE by Air Cdre Peter Dye 59 LIFE IN THE SHADOWS by Sqn Ldr Stanley Booker 62 THE MUNICIPAL LIAISON SCHEME by Wg Cdr C G Jefford 76 BOOK REVIEWS. 80 4 ROYAL AIR FORCE HISTORICAL SOCIETY President Marshal of the Royal Air Force Sir Michael Beetham GCB CBE DFC AFC Vice-President Air Marshal Sir Frederick Sowrey KCB CBE AFC Committee Chairman Air Vice-Marshal -
Fairlight News 9
NAB 1999 ISSUE THE FAIRLIGHT ESP NEWS BULLETIN Image Group Post Superdupe Recording On Track with MFX3plus Networks with MediaLink and MediaLink nderscoring the increasing shift Utowards real-time networking solutions in high-end, multiple-room audio post studios, Superdupe Recording in New York City has installed Fairlight’s MediaLink fast audio networking solution to link its six Fairlight MFX3plus digital audio workstations and one Fairlight FAME integrated digital audio production system. According to Karen Carelli, General Manager Superdupe Recording, the implementation of networking will enhance the company’s workflow. “MediaLink is the logical extension of the latest technology because it gives us the ability to link our MFX3plus workstations Superdupe Recording’s new MFX3plus workstations communicate with MediaLink - and thereby link different projects. Now (L-R) Henri Perotti, Mitch Rayboy, Glenn Navia, Bill Smith and Gary Arnold we can work in store-and-forward mode or, if it’s a major project with short Neil Karsh, Vice President of Audio Services Superdupe Recording specializes in audio deadlines, using multiple workstations in for the New York Media Group including post production for top level advertising real-time,” Carelli noted. Superdupe agrees. “Our goal is to become agencies, as well as cable and broadcast “It’s also exciting because it’s the first time an extremely integrated audio post studio television clients. Superdupe Recording is Image Group Post rides into the new millennium with Fairlight - (L-R) John Wilkinson, in quite a while that Superdupe Recording and we believe that with MediaLink and part of the New York Media Group family Audio Assistant; Frank Lanzer, Chief Audio Engineer; James Krieger, Audio Editor. -
Online Software Piracy of the Last Millennium.Sxw
Online Software Piracy of the Last Millennium By Ben Garrett aka Ipggi Ever since there has been the ability to store data on a personal computer and commercial software for sale, there has been the existence of pirating. Pirating, cracking and even pirate scenes go all the way back to the late seventies, and maybe even earlier. By the early eighties some machines (such as the BBC Macro in Europe) where so riddled with pirates that the programming companies gave up. They discontinued producing and porting software for the affected computers because there was simply no money to be made. This article has been written with only the PC scene in mind. Table of Contents 1. The IBM PC Scene Beginnings Page 1 2. Bulletin Board Systems And Couriers 2 3. The Death of the Bulletin Board System and the Rise of the Internet 4 4. Software Suppliers 5 5. Text Files 5 6. Scene Art 6 7. The Emergence of Europe 6 8. The Death of the Floppy Disk 6 9. Evolution to the ISO scene 7 10.Bibliography 8 1. The IBM PC Scene Beginnings With the large amount of 8-bit computers around during the early eighties, otherwise known as the Golden Age. And then with the subsequence scenes that followed, most people will agree that the Commodore 64 scene was the greatest at the time. But the Commodore 64 1 wasn't the first computer system to have an organised international pirate scene. It was probably the Apple II users in the very late seventies 2 that can be credited with creating the first remnant of a pirate scene that would be familiar in todays internet warez world. -
Piracy Landscape Study
Piracy Landscape Study: Analysis of Existing and Emerging Research Relevant to Intellectual Property Rights (IPR) Enforcement of Commercial-Scale Piracy Prepared for the U.S. Patent and Trademark Office Solicitation Number: 1333BJ19Q00142004 Brett Danaher Michael D. Smith Rahul Telang Chapman University Carnegie Mellon University Carnegie Mellon University This Version: March 20, 2020 Table of Contents Executive Summary ...................................................................................................................... 3 1. The Piracy Ecosystem........................................................................................................... 4 1.1 Piracy of Physical Goods................................................................................................ 6 1.1.1 Manufacturing......................................................................................................... 7 1.1.2 Discovery ................................................................................................................ 7 1.1.3 Distribution ............................................................................................................. 8 1.1.4 Communication, Payment Processing and Fulfillment ......................................... 11 1.2 Piracy of Digital Goods ................................................................................................ 11 1.2.1 Sources.................................................................................................................. 12 1.2.2 -
Minutes of Previous Meeting.Pdf
MINUTES EAST SUSSEX COUNTY COUNCIL MINUTES of a MEETING of the COUNTY COUNCIL held at County Hall, Lewes on 1 DECEMBER 2020 at 10.00 am Present Councillors John Barnes MBE, Matthew Beaver, Colin Belsey, Nick Bennett, Bill Bentley, Bob Bowdler, Tania Charman, Charles Clark, Martin Clarke, Godfrey Daniel, Philip Daniel, Angharad Davies, Chris Dowling, Claire Dowling, Deirdre Earl-Williams, Simon Elford, David Elkin (Chairman), Nigel Enever, Michael Ensor, Kathryn Field, Gerard Fox, Roy Galley, Keith Glazier, Darren Grover, Carolyn Lambert, Tom Liddiard, Laurie Loe, Carl Maynard, Ruth O'Keeffe MBE, Sarah Osborne, Peter Pragnell, Pat Rodohan, Phil Scott, Jim Sheppard (Vice Chairman), Daniel Shing, Stephen Shing, Alan Shuttleworth, Rupert Simmons, Andy Smith, Bob Standley, Richard Stogdon, Colin Swansborough, Barry Taylor, David Tutt, John Ungar, Steve Wallis, Trevor Webb and Francis Whetstone 30 Minutes of the meeting held on 13 October 2020 30.1 RESOLVED to confirm as a correct record the minutes of the County Council meeting held on 13 October 2020. 31 Apologies for absence 31.1 An apology for absence was received on behalf of Councillor Tidy. 32 Chairman's business FIONA WRIGHT 32.1 The Chairman informed the Council that Fiona Wright was leaving the County Council after 40 years of public service. Her whole career has been in Education. Fiona joined East Sussex as Headteacher at Eastbourne Technology College in 1994 before becoming the first Head of Peacehaven Community School and Executive Head of Seaford Community College. She joined the Children’s Services Department in 2006 and progressed to her current role in 2013. She has had a massive impact on the lives of children in this County and in working to ensure that we provide the best service possible. -
Computer Demos—What Makes Them Tick?
AALTO UNIVERSITY School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Markku Reunanen Computer Demos—What Makes Them Tick? Licentiate Thesis Helsinki, April 23, 2010 Supervisor: Professor Tapio Takala AALTO UNIVERSITY ABSTRACT OF LICENTIATE THESIS School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Author Date Markku Reunanen April 23, 2010 Pages 134 Title of thesis Computer Demos—What Makes Them Tick? Professorship Professorship code Contents Production T013Z Supervisor Professor Tapio Takala Instructor - This licentiate thesis deals with a worldwide community of hobbyists called the demoscene. The activities of the community in question revolve around real-time multimedia demonstrations known as demos. The historical frame of the study spans from the late 1970s, and the advent of affordable home computers, up to 2009. So far little academic research has been conducted on the topic and the number of other publications is almost equally low. The work done by other researchers is discussed and additional connections are made to other related fields of study such as computer history and media research. The material of the study consists principally of demos, contemporary disk magazines and online sources such as community websites and archives. A general overview of the demoscene and its practices is provided to the reader as a foundation for understanding the more in-depth topics. One chapter is dedicated to the analysis of the artifacts produced by the community and another to the discussion of the computer hardware in relation to the creative aspirations of the community members. -
Revolutionary Industry and Digital Colonialism Dylan E
Old Dominion University ODU Digital Commons Philosophy Faculty Publications Philosophy & Religious Studies 2008 Revolutionary Industry and Digital Colonialism Dylan E. Wittkower Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/philosophy_fac_pubs Part of the Communication Technology and New Media Commons Repository Citation Wittkower, Dylan E., "Revolutionary Industry and Digital Colonialism" (2008). Philosophy Faculty Publications. 6. https://digitalcommons.odu.edu/philosophy_fac_pubs/6 Original Publication Citation Wittkower, Dylan E. "Revolutionary Industry and Digital Colonialism." Fast Capitalism 4, no. 1 (2008): 31. This Article is brought to you for free and open access by the Philosophy & Religious Studies at ODU Digital Commons. It has been accepted for inclusion in Philosophy Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. Revolutionary Industry and Digital Colonialism D.E. Wittkower Copyright-based industries have become revolutionary. That is, the machinery of production of digital wares has itself taken on the role of the revolutionary class within the political economy of digital production. The progress of capitalist production in this industry has undermined the conditions of its own possibility, not because it has driven the proletariat to rise against an oppressive system, but because the means of production, through digital media, have simultaneously made communist production -
Aurora Edit User Guide, Version
Aurora Edit FAST TURN PRODUCTION TOOLS User Guide SOFTWARE VERSION 6.3 071-8500-03 SEPTEMBER 2007 Copyright Copyright © 2007 Grass Valley, Inc. All rights reserved. Printed in the United States of America. Portions of software © 2000 – 2007, Microsoft Corporation. All rights reserved. This document may not be copied in whole or in part, or otherwise reproduced except as specifically permitted under U.S. copyright law, without the prior written consent of Grass Valley, Inc., P.O. Box 59900, Nevada City, California 95959-7900 This product may be covered by one or more U.S. and foreign patents. Trademarks Grass Valley, K2, Aurora, Turbo, M-Series, Profile, Profile XP, NewsBrowse, NewsEdit, NewsQ, NewsShare, NewsQ Pro, Aurora, and Media Manager are either registered trademarks or trademarks of Grass Valley, Inc. in the United States and/or other countries. Other trademarks used in this document are either registered trademarks or trademarks of the manufacturers or vendors of the associated products. QuickTime and the QuickTime logo are trademarks or registered trademarks of Apple Computer, Inc., used under license therefrom. Grass Valley, Inc. products are covered by U.S. and foreign patents, issued and pending. Additional information regarding Grass Valley, Inc. trademarks and other proprietary rights may be found at www.thomsongrassvalley.com. Disclaimer Product options and specifications subject to change without notice. The information in this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Grass Valley, Inc. Grass Valley, Inc. assumes no responsibility or liability for any errors or inaccuracies that may appear in this publication. -
Resource Materials on Technology-Enabled Crime
Resource materials on technology-enabled crime Gregor Urbas Kim-Kwang Raymond Choo Technical and Background Paper No. 28 © Australian Institute of Criminology 2008 ISSN 1445-7261 ISBN 978 1 921185 70 0 Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act 1968 (Cth), no part of this publication may in any form or by any means (electronic, mechanical, microcopying, photocopying, recording or otherwise) be reproduced, stored in a retrieval system or transmitted without prior written permission. Inquiries should be addressed to the publisher. Project no. 0074a Published by the Australian Institute of Criminology GPO Box 2944 Canberra ACT 2601 Tel: (02) 6260 9272 Fax: (02) 6260 9299 Email: [email protected] Website: http://www.aic.gov.au Please note: minor revisions are occasionally made to publications after release. The online versions available on this website will always include any revisions. Disclaimer: The views expressed do not necessarily represent the policies of the Australian Government or AHTCC. Edited and typeset by the Australian Institute of Criminology Resource materials on technology-enabled crime Gregor Urbas Kim-Kwang Raymond Choo Technical and Background Paper No. 28 Contents Foreword and acknowledgements v Introduction 1 Background 2 Terminology and definitions 2 Brief historical background 3 Main types of technology-enabled crime 5 Future trends 6 Prevalence and costs of technology-enabled crime 6 Issues for law enforcement agencies, prosecutors -
Niplecc 2003 Annual Report
NIPLECC 2003 ANNUAL REPORT NATIONAL INTELLECTUAL PROPERTY LAW ENFORCEMENT COORDINATION COUNCIL SUBMITTED TO THE PRESIDENT OF THE UNITED STATES AND THE UNITED STATES CONGRESS OFFICE OF THE UNITED STATES TRADE REPRESENTATIVE UNITED STATES DEPARTMENT OF COMMERCE UNITED STATES DEPARTMENT OF HOMELAND SECURITY UNITED STATES DEPARTMENT OF JUSTICE UNITED STATES DEPARTMENT OF STATE UNITED STATES PATENT AND TRADEMARK OFFICE UNITED STATES COPYRIGHT OFFICE (ADVISOR TO THE COUNCIL) NIPLECC 2003 ANNUAL REPORT THE NATIONAL INTELLECTUAL PROPERTY LAW ENFORCEMENT COORDINATION COUNCIL SUBMITTED TO THE PRESIDENT OF THE UNITED STATES AND THE UNITED STATES CONGRESS OFFICE OF THE UNITED STATES TRADE REPRESENTATIVE UNITED STATES DEPARTMENT OF COMMERCE UNITED STATES DEPARTMENT OF HOMELAND SECURITY UNITED STATES DEPARTMENT OF JUSTICE UNITED STATES DEPARTMENT OF STATE UNITED STATES PATENT AND TRADEMARK OFFICE UNITED STATES COPYRIGHT OFFICE (ADVISOR TO THE COUNCIL) Notice: No copyright is claimed in United States Government or public domain materials. This report is available on the following web sites: United States Customs and Border Protection: www.customs.gov United States Department of Commerce: www.doc.gov United States Department of Justice: www.usdoj.gov United States Department of State: www.state.gov United States Patent and Trademark Office: www.uspto.gov United States Trade Representative: www.ustr.gov United States Copyright Office: www.loc.gov/copyright/ Single copies of this Report may be obtained, free of charge, by sending requests by e-mail to [email protected] or by written request to: Office of Public Affairs United States Patent and Trademark Office 2121 Crystal Drive, Suite 0100 Arlington, VA 22202 NATIONAL INTELLECTUAL PROPERTY LAW ENFORCEMENT COORDINATING COUNCIL TABLE OF CONTENTS Introduction ...................................................................................................................... -
To Graphic Notation Today from Xenakis’S Upic to Graphic Notation Today
FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY PREFACES 18 PETER WEIBEL 24 LUDGER BRÜMMER 36 SHARON KANACH THE UPIC: 94 ANDREY SMIRNOV HISTORY, UPIC’S PRECURSORS INSTITUTIONS, AND 118 GUY MÉDIGUE IMPLICATIONS THE EARLY DAYS OF THE UPIC 142 ALAIN DESPRÉS THE UPIC: TOWARDS A PEDAGOGY OF CREATIVITY 160 RUDOLF FRISIUS THE UPIC―EXPERIMENTAL MUSIC PEDAGOGY― IANNIS XENAKIS 184 GERARD PAPE COMPOSING WITH SOUND AT LES ATELIERS UPIC/CCMIX 200 HUGUES GENEVOIS ONE MACHINE— TWO NON-PROFIT STRUCTURES 216 CYRILLE DELHAYE CENTRE IANNIS XENAKIS: MILESTONES AND CHALLENGES 232 KATERINA TSIOUKRA ESTABLISHING A XENAKIS CENTER IN GREECE: THE UPIC AT KSYME-CMRC 246 DIMITRIS KAMAROTOS THE UPIC IN GREECE: TEN YEARS OF LIVING AND CREATING WITH THE UPIC AT KSYME 290 RODOLPHE BOUROTTE PROBABILITIES, DRAWING, AND SOUND TABLE SYNTHESIS: THE MISSING LINK OF CONTENTS COMPOSERS 312 JULIO ESTRADA THE UPIC 528 KIYOSHI FURUKAWA EXPERIENCING THE LISTENING HAND AND THE UPIC AND UTOPIA THE UPIC UTOPIA 336 RICHARD BARRETT 540 CHIKASHI MIYAMA MEMORIES OF THE UPIC: 1989–2019 THE UPIC 2019 354 FRANÇOIS-BERNARD MÂCHE 562 VICTORIA SIMON THE UPIC UPSIDE DOWN UNFLATTERING SOUNDS: PARADIGMS OF INTERACTIVITY IN TACTILE INTERFACES FOR 380 TAKEHITO SHIMAZU SOUND PRODUCTION THE UPIC FOR A JAPANESE COMPOSER 574 JULIAN SCORDATO 396 BRIGITTE CONDORCET (ROBINDORÉ) NOVEL PERSPECTIVES FOR GRAPHIC BEYOND THE CONTINUUM: NOTATION IN IANNIX THE UNDISCOVERED TERRAINS OF THE UPIC 590 KOSMAS GIANNOUTAKIS EXPLORING -
The Hacker Demo Scene and It's Cultural Artefacts"
"THE HACKER DEMO SCENE AND IT'S CULTURAL ARTEFACTS" George Borzyskowski School of Design Curtin University of Technology Perth, Western Australia [email protected] ABSTRACT The paper reports on a study undertaken into vernacular forms of multimedia production referred to as "demos" or "intros" and variants of these terms among adherents of a computer oriented subculture identifying itself as "the scene". The cultural and technological factors which are thought to have influenced the evolution of the genre since the early 1980's are discussed as are observations which distinguish a specific, almost exclusively male gender, internationally dispersed anarchistic youth subculture which holds this form of cultural production as a principal objective. An analysis of a number of examples of the genre provides tentative information on the dynamics of the subculture which survives on the basis of liberty and cooperation in the absence of coercive or cohesive structural influence, and presents an overview of the "demo" genre form in terms of function and audio visual syntax. INTRODUCTION The study was undertaken from 1992 to 1994 and resulted in an account of a cyberculture which evolved before the current widespread availability of access to the world wide web via graphical browsers such as Mosaic, Netscape or Internet Explorer. It was and is a subculture whose transactions are created and delivered through the computer screen, though in it’s formative years the transmission and exchange of the data was by means of floppy disk passed on by hand or through the international postal service. Files were also maintained and distributed on private scene bulletin board systems.