Copyright Or Copyleft? an Analysis of Property Regimes for Software Development
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Easy As Abc: Categorizing Open Source Licenses
EASY AS ABC: CATEGORIZING OPEN SOURCE LICENSES Andrew T. Pham1, Matthew B. Weinstein2, Jamie L. Ryerson3 With more than 180,000 open source projects available and its more than 1400 unique licenses, the complexity of deciding how to manage open source usage within “closed-source” commercial enterprises have dramatically increased.4 Because of the complexity and risks associated with open source—where source code is made freely available for all to review, edit, and use—many closed-source commercial enterprises discourage or prohibit use of open source; a common and short-sighted practice. With a proper open source management framework, open source can be an invaluable resource, and its risks can be understood, managed and controlled. This article proposes a simple, consistent and effective open source categorization and management system to enable a peaceful coexistence between open source and closed-source codes. Free and open source software (“FOSS” or collectively “open source”) is a valuable tool, but one that must be understood to be used effectively. The litany of risks associated with use of open source include: having to release a derivative product incorporating open source under the same open source license; incorporating code that infringes a patent; violating an open source license’s attribution requirements; and a lack of warranties and indemnities. Given the extensive investment of time, money and resources that goes into product development, it comes as no This article is an edited version of the original, which dealt not only with categorizing open source licenses but also a wider array of issues associated with implementing an open source policy. -
The Game's the Thing: Properties, Priorities and Perceptions in the Video Games Industries
The game's the thing: properties, priorities and perceptions in the video games industries Mac Sithigh, D. (2017). The game's the thing: properties, priorities and perceptions in the video games industries. In M. Richardson, & S. Ricketson (Eds.), Research Handbook on Intellectual Property in Media and Entertainment (pp. 344-366). Edward Elgar Publishing. https://doi.org/10.4337/9781784710798 Published in: Research Handbook on Intellectual Property in Media and Entertainment Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2017, the Author. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:25. Sep. 2021 The Game’s the Thing: Property, Priorities and Perceptions in the Video Games Industries Daithí Mac Síthigh* Published in Richardson and Ricketson (eds), Research Handbook on Intellectual Property in Media and Entertainment (Edward Elgar 2017) I. -
Circular 1 Copyright Basics
CIRCULAR 1 Copyright Basics Copyright is a form of protection Copyright is a form of protection provided by the laws of the provided by U.S. law to authors of United States to the authors of “original works of authorship” that are fixed in a tangible form of expression. An original “original works of authorship” from work of authorship is a work that is independently created by the time the works are created in a a human author and possesses at least some minimal degree of creativity. A work is “fixed” when it is captured (either fixed form. This circular provides an by or under the authority of an author) in a sufficiently overview of basic facts about copyright permanent medium such that the work can be perceived, and copyright registration with the reproduced, or communicated for more than a short time. Copyright protection in the United States exists automatically U.S. Copyright Office. It covers from the moment the original work of authorship is fixed.1 • Works eligible for protection • Rights of copyright owners What Works Are Protected? • Who can claim copyright • Duration of copyright Examples of copyrightable works include • Literary works • Musical works, including any accompanying words • Dramatic works, including any accompanying music • Pantomimes and choreographic works • Pictorial, graphic, and sculptural works • Motion pictures and other audiovisual works • Sound recordings, which are works that result from the fixation of a series of musical, spoken, or other sounds • Architectural works These categories should be viewed broadly for the purpose of registering your work. For example, computer programs and certain “compilations” can be registered as “literary works”; maps and technical drawings can be registered as “pictorial, graphic, and sculptural works.” w copyright.gov note: Before 1978, federal copyright was generally secured by publishing a work with an appro- priate copyright notice. -
Open Source Software Vs Proprietary Software Sakshi Singh, Madhvik Verma, Naveen Kumar N
International Journal of Scientific & Engineering Research Volume 8, Issue 12, December-2017 735 ISSN 2229-5518 Open Source Software Vs Proprietary Software Sakshi Singh, Madhvik Verma, Naveen Kumar N Abstract— Open Source software are the most revolutionizing concept that has been put forth in the Information Technology spectrum. This new release has raised quite a lot of brows, similar to when the Internet was launched. For a very long time, there has been a tiff going on between the Proprietary software and the open source software and how the open source software are taking over their ancestors. The technical experts often indulge in conversations as to which of the two software is better and why. People also get confused as to which type of software can be listed as Open source. In this paper we aim to emphasize that the open source development cycle has been there in the market for quite some time and has a huge user base now, thus giving it a strong hold in the software market. It has encouraged the use of new strategically placed actions which has in turn made a huge base for open source software systems. On the other hand, many experts also suggest that this is just momentary and it will pass over a period of time whereas the proprietary software are there to stay. This paper gives the understanding and recommendations for both the kind of software thus giving the user a proper understanding of which software is suitable for their use and thus they can make a better choice for their purpose. -
The Constitutional Law of Intellectual Property After Eldred V. Ashcroft
The Constitutional Law of Intellectual Property After Eldred v. Ashcroft By Pamela Samuelson* I. Introduction The past decade has witnessed an extraordinary blossoming of scholarship on the constitutional law of intellectual property,1 much of which focuses on copyright law.2 Had the Supreme Court ruled in favor of Eldred’s challenge to the constitutionality of the Copyright Term Extension Act,3 this body of scholarship would have undoubtedly proliferated with alacrity. Many scholars would have been eager to offer interpretations of implications of an Eldred-favorable decision for other intellectual property disputes.4 Given the Ashcroft-favorable outcome, some may expect the Eldred decision to “deconstitutionalize” intellectual property law and reduce to a trickle further scholarly * Chancellor’s Professor of Law and Information Management, University of California at Berkeley. Research support for this article was provided by NSF Grant No. SES 9979852. I wish to thank Eddan Katz for his exceptional research assistance with this article. 1 See, e.g., Dan L. Burk, Patenting Speech, 79 Tex. L. Rev. 99 (2000); Paul J. Heald and Suzanna Sherry, Implied Limits on the Legislative Power: The Intellectual Property Clause as an Absolute Constraint on Congress, 2000 U. Ill. L. Rev. 1119 (2000); Robert Patrick Merges and Glenn Harlan Reynolds, The Proper Scope of the Copyright and Patent Power, 37 J. Legis. 45 (2000); Mark A. Lemley, The Constitutionalization of Technology Law, 15 Berkeley Tech. L.J. 529 (2000); Malla Pollack, Unconstitutional Incontestability? The Intersection Of The Intellectual Property And Commerce Clauses Of The Constitution: Beyond A Critique Of Shakespeare Co. v. -
Online Software Copyright Infringement and Criminal Enforcement
Online Software Copyright Infringement and Criminal Enforcement Submitted: May 14, 2005 Randy K. Baldwin American University Washington College of Law What are Warez and Who Trades Them? This paper will discuss infringement of software copyrights with a focus on criminal ‘warez trading‘ of copyrighted software on the Internet. Warez are infringing electronic, digital copies of copyrighted works whose copy protection measures have been removed.1 Warez are most often ‘cracked’ software programs whose digital rights management (DRM) and copy control measures have been circumvented. Once DRM controls have been disabled, warez are subsequently distributed and traded on the Internet, usually without any direct financial gain to the distributors and traders.2 Distribution of warez usually starts as small-scale deployments from password- protected file transfer protocol (FTP) servers and encrypted and/or password-protected web sites run by warez groups. Warez are then traded on the Internet among broader groups via direct peer-to-peer (P2P) connections, and encrypted emails with warez attachments. Trading and downloading of warez is coordinated via closed, invite-only Internet Relay Chat (IRC) channels, Pretty Good Privacy (PGP) encrypted email, Instant Messaging (IM), private chat rooms, direct connect P2P networks, and messages posted to Usenet groups under pseudonyms.3 Servers and sites hosting warez and communications means used by warez traders are designed to avoid detection and identification by law enforcement.4 File and directory names are intentionally 1 Goldman, Eric, A Road to No Warez: The No Electronic Theft Act and Criminal Copyright Infringement. 82 Or. L. Rev. 369, 370-371 (2003). [hereinafter Road to No Warez], available at http://ssrn.com/abstract=520122 (last visited May 9, 2005) (on file with author) (Defines warez and warez trading. -
An Introduction to Software Licensing
An Introduction to Software Licensing James Willenbring Software Engineering and Research Department Center for Computing Research Sandia National Laboratories David Bernholdt Oak Ridge National Laboratory Please open the Q&A Google Doc so that I can ask you Michael Heroux some questions! Sandia National Laboratories http://bit.ly/IDEAS-licensing ATPESC 2019 Q Center, St. Charles, IL (USA) (And you’re welcome to ask See slide 2 for 8 August 2019 license details me questions too) exascaleproject.org Disclaimers, license, citation, and acknowledgements Disclaimers • This is not legal advice (TINLA). Consult with true experts before making any consequential decisions • Copyright laws differ by country. Some info may be US-centric License and Citation • This work is licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0). • Requested citation: James Willenbring, David Bernholdt and Michael Heroux, An Introduction to Software Licensing, tutorial, in Argonne Training Program on Extreme-Scale Computing (ATPESC) 2019. • An earlier presentation is archived at https://ideas-productivity.org/events/hpc-best-practices-webinars/#webinar024 Acknowledgements • This work was supported by the U.S. Department of Energy Office of Science, Office of Advanced Scientific Computing Research (ASCR), and by the Exascale Computing Project (17-SC-20-SC), a collaborative effort of the U.S. Department of Energy Office of Science and the National Nuclear Security Administration. • This work was performed in part at the Oak Ridge National Laboratory, which is managed by UT-Battelle, LLC for the U.S. Department of Energy under Contract No. DE-AC05-00OR22725. • This work was performed in part at Sandia National Laboratories. -
Audiences, Gender and Community in Fan Vidding Katharina M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding Katharina M. Freund University of Wollongong, [email protected] Recommended Citation Freund, Katharina M., "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding, Doctor of Philosophy thesis, School of Social Sciences, Media and Communications, Faculty of Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3447 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Veni, Vidi, Vids!”: Audiences, Gender and Community in Fan Vidding A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy From University of Wollongong by Katharina Freund (BA Hons) School of Social Sciences, Media and Communications 2011 CERTIFICATION I, Katharina Freund, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Arts Faculty, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Katharina Freund 30 September, 2011 i ABSTRACT This thesis documents and analyses the contemporary community of (mostly) female fan video editors, known as vidders, through a triangulated, ethnographic study. It provides historical and contextual background for the development of the vidding community, and explores the role of agency among this specialised audience community. Utilising semiotic theory, it offers a theoretical language for understanding the structure and function of remix videos. -
Crowdsourcing: Today and Tomorrow
Crowdsourcing: Today and Tomorrow An Interactive Qualifying Project Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Fangwen Yuan Jun Liang Zhaokun Xue Approved Professor Sonia Chernova Advisor 1 Abstract This project focuses on crowdsourcing, the practice of outsourcing activities that are traditionally performed by a small group of professionals to an unknown, large community of individuals. Our study examines how crowdsourcing has become an important form of labor organization, what major forms of crowdsourcing exist currently, and which trends of crowdsourcing will have potential impacts on the society in the future. The study is conducted through literature study on the derivation and development of crowdsourcing, through examination on current major crowdsourcing platforms, and through surveys and interviews with crowdsourcing participants on their experiences and motivations. 2 Table of Contents Chapter 1 Introduction ................................................................................................................................. 8 1.1 Definition of Crowdsourcing ............................................................................................................... 8 1.2 Research Motivation ........................................................................................................................... 8 1.3 Research Objectives ........................................................................................................................... -
Fair Use FAQ for Students
Fair Use FAQ for Students What is copyright? How is it different from using proper attribution and avoiding plagiarism? Copyright is actually a limited bundle of rights that the government grants to authors of original works such as novels, plays, essays, and movies. For a limited time (currently the life of the author plus 70 years, in most cases), copyright gives the author control over who can copy, distribute, publicly perform or display, or create derivative works (such as sequels or translations) based on their work. The purpose of copyright is to encourage the creation and dissemination of new works for the benefit of the public. Copyright is therefore much broader than the norms against plagiarism. Plagiarism is the presentation of someone else’s work as one’s own; copyright infringement can take place even where the user is honest about the work’s true author. As long as you use proper attribution, plagiarism should not be a worry for you. Copyright is somewhat more complex: unless your use satisfies one of the exceptions or limitations described in the Copyright Act, you cannot use copyright protected material without permission. Fair use is one of the most important limitations to copyright. What is fair use? Fair use is a part of copyright law that allows certain uses of copyrighted works, such as making and distributing copies of protected material, without permission. It evolved over time as judges made case-by-case exceptions to copyright to accommodate uses that seemed legitimate and justifiable regardless of the copyright holder’s apparent rights. Typical early fair uses involved criticism, commentary, and uses in an educational or scholarly context. -
Ubuntu Unleashed 2013 Edition: Covering 12.10 and 13.04
Matthew Helmke with Andrew Hudson and Paul Hudson Ubuntu UNLEASHED 2013 Edition 800 East 96th Street, Indianapolis, Indiana 46240 USA Ubuntu Unleashed 2013 Edition Editor-in-Chief Copyright © 2013 by Pearson Education, Inc. Mark Taub All rights reserved. No part of this book shall be reproduced, stored in a retrieval Acquisitions Editor system, or transmitted by any means, electronic, mechanical, photocopying, record- Debra Williams ing, or otherwise, without written permission from the publisher. No patent liability is assumed with respect to the use of the information contained herein. Although every Cauley precaution has been taken in the preparation of this book, the publisher and author Development Editor assume no responsibility for errors or omissions. Nor is any liability assumed for damages resulting from the use of the information contained herein. Michael Thurston ISBN-13: 978-0-672-33624-9 Managing Editor ISBN-10: 0-672-33624-3 Kristy Hart Project Editor The Library of Congress cataloging-in-publication data is on file. Jovana Shirley Printed in the United States of America Copy Editor First Printing December 2012 Charlotte Kughen Trademarks Indexer All terms mentioned in this book that are known to be trademarks or service marks have Angie Martin been appropriately capitalized. Sams Publishing cannot attest to the accuracy of this information. Use of a term in this book should not be regarded as affecting the validity Proofreader of any trademark or service mark. Language Logistics Warning and Disclaimer Technical Editors Every effort has been made to make this book as complete and as accurate as Chris Johnston possible, but no warranty or fitness is implied. -
Arxiv:1812.09167V1 [Quant-Ph] 21 Dec 2018 It with the Tex Typesetting System Being a Prime Example
Open source software in quantum computing Mark Fingerhutha,1, 2 Tomáš Babej,1 and Peter Wittek3, 4, 5, 6 1ProteinQure Inc., Toronto, Canada 2University of KwaZulu-Natal, Durban, South Africa 3Rotman School of Management, University of Toronto, Toronto, Canada 4Creative Destruction Lab, Toronto, Canada 5Vector Institute for Artificial Intelligence, Toronto, Canada 6Perimeter Institute for Theoretical Physics, Waterloo, Canada Open source software is becoming crucial in the design and testing of quantum algorithms. Many of the tools are backed by major commercial vendors with the goal to make it easier to develop quantum software: this mirrors how well-funded open machine learning frameworks enabled the development of complex models and their execution on equally complex hardware. We review a wide range of open source software for quantum computing, covering all stages of the quantum toolchain from quantum hardware interfaces through quantum compilers to implementations of quantum algorithms, as well as all quantum computing paradigms, including quantum annealing, and discrete and continuous-variable gate-model quantum computing. The evaluation of each project covers characteristics such as documentation, licence, the choice of programming language, compliance with norms of software engineering, and the culture of the project. We find that while the diversity of projects is mesmerizing, only a few attract external developers and even many commercially backed frameworks have shortcomings in software engineering. Based on these observations, we highlight the best practices that could foster a more active community around quantum computing software that welcomes newcomers to the field, but also ensures high-quality, well-documented code. INTRODUCTION Source code has been developed and shared among enthusiasts since the early 1950s.