The Trans-Pacific Partnership
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8. Putting Artists and Guardians of Indigenous Works First
8 Putting Artists and Guardians of Indigenous Works First: Towards a Restricted Scope of Freedom of Panorama in the Asian Pacific Region Jonathan Barrett1 1 Introduction ‘Freedom of panorama’2 permits use of certain copyright-protected works on public display; for example, anyone may publish and sell postcards of a public sculpture.3 The British heritage version of freedom of panorama, which is followed by many jurisdictions in the Asian Pacific region,4 applies 1 Copyright © 2018 Jonathan Barrett. Senior Lecturer, School of Accounting and Commercial Law, Victoria University of Wellington. 2 The term ‘freedom of panorama’ recently came into common usage in English. It appears to be derived from the Swiss German ‘Panoramafreiheit’, which itself has only been used since the 1990s, despite the exemption existing in German law for 170 years. See Mélanie Dulong de Rosnay and Pierre-Carl Langlais ‘Public artworks and the freedom of panorama controversy: a case of Wikimedia influence’ (2017) 6(1) Internet Policy Review. 3 Incidental copying of copyright works is not considered to be a feature of freedom of panorama. See Copyright Act 1994 (NZ), s 41. 4 Asian Pacific countries are those west of the International Date Line (IDL), as defined for the purposes of the Asian Pacific Copyright Association (APCA) in Brian Fitzgerald and Benedict Atkinson (eds) Copyright Future Copyright Freedom: Marking the 40 Year Anniversary of the Commencement of Australia’s Copyright Act 1968 (Sydney University Press, Sydney, 2011) at 236. 229 MAkING COPyRIGHT WORk FOR THE ASIAN PACIFIC? to buildings, sculptures and works of artistic craftsmanship on permanent display in a public place or premises open to the public.5 These objects may be copied in two dimensions, such as photographs. -
Beyond Authorship Refiguring Rights in Traditional Culture and Bioknowledge
Beyond Authorship Refiguring Rights in Traditional Culture and Bioknowledge Martha Woodmansee and Peter Jaszi An “author” in the modern sense is the creator of unique literary, or artistic, “works” the originality of which warrants their protection under laws of intellectual property -- Anglo American “copyright” and European “authors’ rights.” This notion is so firmly established that it persists and flourishes even in the face of contrary experience. Experience tells us that our creative practices are largely derivative, generally collective, and increasingly corporate and collaborative. Yet we nevertheless tend to think of genuine authorship as solitary and originary. This individualistic construction of authorship is a relatively recent invention, the result of a radical reconceptualization of the creative process that culminated less than two centuries ago in the heroic self-presentation of Romantic poets. In the view of poets from Herder and Goethe to Wordsworth and Coleridge genuine authorship is originary in the sense that it results not in a variation, an imitation, or an adaptation, and certainly not in a mere reproduction, but in a new, unique -- in a word, “original” -- work which, accordingly, may be said to be the property of its creator and to merit the law’s protection as such.1 With its emphasis on originality and self-declaring creative genius, this notion of authorship has functioned to marginalize or deny the work of many creative people: women, non-Europeans, artists working in traditional forms and genres, and individuals engaged in group or collaborative projects, to name but a few. Exposure of these exclusions -- the recovery of marginalized creators and underappreciated forms of creative production -- has been a central occupation of cultural studies for several 1 See Martha Woodmansee, “The Genius and the Copyright: Economic and Legal Conditions of the Emergence of the ‘Author’”; rpt. -
Intellectual Property Rights – II
KLE LAW ACADEMY BELAGAVI (Constituent Colleges: KLE Society’s Law College, Bengaluru, Gurusiddappa Kotambri Law College, Hubballi, S.A. Manvi Law College, Gadag, KLE Society’s B.V. Bellad Law College, Belagavi, KLE Law College, Chikodi, and KLE College of Law, Kalamboli, Navi Mumbai) STUDY MATERIAL for IPR II Prepared as per the syllabus prescribed by Karnataka State Law University (KSLU), Hubballi Compiled by Dundappa B. Solapure, Principal K.L.E.Society's Law College, Chikodi This study material is intended to be used as supplementary material to the online classes and recorded video lectures. It is prepared for the sole purpose of guiding the students in preparation for their examinations. Utmost care has been taken to ensure the accuracy of the content. However, it is stressed that this material is not meant to be used as a replacement for textbooks or commentaries on the subject. This is a compilation and the authors take no credit for the originality of the content. Acknowledgement, wherever due, has been provided. Course –III: Optional –V Intellectual Property Rights – II Study Materials on Intellectual Property Rights – II Objectives: Intellectual Property law has assumed great importance in recent times as a result of the recognition that “knowledge is property”. The creations of the human brain as IP Legislations are required to be understood and protected. The syllabus encompassing all relevant IP Legislations in India with a view to understand and adjust with changing needs of the society because creative works useful to society and law relating to innovation/creativity i.e. Intellectual Property is one of the fastest growing subjects all over the globe because of its significance and importance in the present era. -
MINERVA SURGICAL, INC. V. HOLOGIC, INC., ET AL
(Slip Opinion) OCTOBER TERM, 2020 1 Syllabus NOTE: Where it is feasible, a syllabus (headnote) will be released, as is being done in connection with this case, at the time the opinion is issued. The syllabus constitutes no part of the opinion of the Court but has been prepared by the Reporter of Decisions for the convenience of the reader. See United States v. Detroit Timber & Lumber Co., 200 U. S. 321, 337. SUPREME COURT OF THE UNITED STATES Syllabus MINERVA SURGICAL, INC. v. HOLOGIC, INC., ET AL. CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR THE FEDERAL CIRCUIT No. 20–440. Argued April 21, 2021—Decided June 29, 2021 In the late 1990s, Csaba Truckai invented a device to treat abnormal uterine bleeding. The device, known as the NovaSure System, uses a moisture-permeable applicator head to destroy targeted cells in the uterine lining. Truckai filed a patent application and later assigned the application, along with any future continuation applications, to his company, Novacept, Inc. The PTO issued a patent for the device. No- vacept, along with its portfolio of patents and patent applications, was eventually acquired by respondent Hologic, Inc. In 2008, Truckai founded petitioner Minerva Surgical, Inc. There, he developed a sup- posedly improved device to treat abnormal uterine bleeding. Called the Minerva Endometrial Ablation System, the new device uses a moisture-impermeable applicator head to remove cells in the uterine lining. The PTO issued a patent, and the FDA approved the device for commercial sale. Meanwhile, Hologic filed a continuation application with the PTO, seeking to add claims to its patent for the NovaSure System. -
Traditional Knowledge & Intellectual Property: a TRIPS-Compatible
Vanderbilt University Law School Scholarship@Vanderbilt Law Vanderbilt Law School Faculty Publications Faculty Scholarship 2005 Traditional Knowledge & Intellectual Property: A TRIPS-Compatible Approach Daniel J. Gervais Follow this and additional works at: https://scholarship.law.vanderbilt.edu/faculty-publications Part of the Contracts Commons, and the Intellectual Property Law Commons Recommended Citation Daniel J. Gervais, Traditional Knowledge & Intellectual Property: A TRIPS-Compatible Approach, 2005 Michigan State Law Review. 137 (2005) Available at: https://scholarship.law.vanderbilt.edu/faculty-publications/830 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Law School Faculty Publications by an authorized administrator of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. +(,1 2 1/,1( Citation: 2005 Mich. St. L. Rev. 137 2005 Content downloaded/printed from HeinOnline (http://heinonline.org) Mon Jun 4 15:16:16 2012 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at http://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. Retrieved from DiscoverArchive, Vanderbilt University’s Institutional Repository This work was originally published in 2005 Mich. St. L. Rev. 137 2005 TRADITIONAL KNOWLEDGE & INTELLECTUAL PROPERTY: A TRIPS-COMPATIBLE APPROACH Daniel Gervais" 2005 MICH. ST. L. REV. 137 TABLE OF CONTENTS INTRODUCTION ............................................ 137 I. TRADITIONAL KNOWLEDGE & INTELLECTUAL PROPERTY ...... 140 II. COMPATIBILITY ANALYSIS ................................ 149 A. Nature of the Owner ................................ 149 B. Nature of the Object ................................ 151 C. Nature of the Right(s) .............................. -
1 Copyright Fair Dealing Guidelines
Copyright Fair Dealing Guidelines ______________________________________________________________________ Introduction: University of Toronto faculty, staff and students are creators of material that is subject to the protections of the Copyright Act. They are also the users of such material. Accordingly, all have both rights and obligations that arise from copyright law as it has been interpreted and applied by the courts. As specified in the Act, “copyright” in relation to a particular work means the sole right to produce or reproduce the work or any substantial part of it, to perform the work or any substantial part of it in public, and if the work is unpublished, to publish the work or any substantial part of it. Copyright extends to other activities such as adaptation, translation, and telecommunication to the public of a work. The definition in the Act also contains several other details that will not be explored here. In general, if a work meets the definition of a copyright-protected work, copying the work or any substantial portion of it, or engaging in any of the other protected activities, will require permission of the copyright owner unless one of the exceptions in the Act applies. The statutory concept of “fair dealing” is an important exception, particularly in the educational context of a university, and these Guidelines will explain that concept and indicate the kinds and levels of copying that it typically includes. The Act also contains other specific educational exceptions that may apply to your activities. These will be covered in an update to of the University’s Copyright FAQs document, which will be published shortly. -
Comparative Advertising and Parodies
COMPARATIVE ADVERTISING AND PARODIES: Treatment Through a Fair Use Approach Under Trademark and Copyright Law in Selected Jurisdictions A Report by the Fair Use Subcommittee of the INTA Copyright Committee Ivon Hernandez (Arias, Guatemala), Chair Florencia Rosati (Beccar Varela, Argentina) Juan Lapenne (Fox & Lapenne, Uruguay) Nadav Applebaum (Glazberg, Applebaum, & Co., Israel) Rosita Li (Mayer Brown, Hong Kong SAR, China) April 2020 PREFACE INTA’s Copyright Committee, Fair Use Subcommittee, prepared the chart below reflecting how comparative advertising and parody may be considered to affect trademarks and copyrighted works in different jurisdictions, further resulting in whether or not they are considered an intellectual property infringement. The investigated jurisdictions were: Argentina Estonia Israel New Zealand Australia European Union Italy Singapore Belgium France Latvia United States of America Canada Guatemala Lithuania Uruguay China Hong Kong SAR, China Netherlands For purposes of this study, comparative advertising may be defined as a marketing technique that compares one’s own goods or services, or certain features of such goods or services, with those of an identified or identifiable competitor. Countries may go from being strong supporters of comparative advertising to accepting comparative advertising subject to certain rules. Likewise, parody may be defined as a work that humorously, ironically, or sarcastically imitates another work. Parodies may be found in paintings and in literature. They may also be found in films and in music. Ultimately, parodies can be found in different art or cultural expressions, and are very common in politics. In some jurisdictions, for example in the United States, parody constitutes “fair use,” and hence is a defense to copyright and trademark infringement. -
I. Introduction II. Parody, Copyright Infringement and Fair
NOT SO FUNNY NOW IS IT ? THE SERIOUS ISSUE OF PARODY IN INTELLECTUAL PROPERTY LAW Rahul Saha ∗ Sryon Mukherjee I. Introduction On December 2, 1987 the Supreme Court of the United States of America (U.S.) was faced with an unusual case 1: The publisher of a pornographic magazine called Hustler was being sued for libel and infliction of emotional distress by a well known minister and political commentator, Jerry Falwell, for publishing a parodic advertisement depicting the plaintiff, among other things, as having engaged in sexual intercourse with his mother in the outhouse. On November 9, 1993 the same Court was faced with an equally strange case 2: The rap band, 2 Live Crew , was being sued, for copyright infringement, on releasing a parodic version of Roy Orbison’s hit song Oh Pretty Woman with changed lyrics such as “ Big hairy woman you need to shave that stuff…Bald headed woman girl your hair won’t grow…Two timin’ woman girl you know you ain’t right. ” In both of the above cases, the Court ruled in favour of the defendant. Parody, in a literal sense, refers to a work, which humorously and critically comments on an existing work in order to expose the flaws of the original work. 3 In order to create a successful parody, the parodist necessarily requires his audience to recognize the original work as well as the manner in which it has been ridiculed. 4 Thus, a parody, by its very nature, is dependant upon, and borrows from, the original work. It is this nature of parody that brings it into potential conflict with three areas of intellectual property law. -
Misappropriation of Shuar Traditional Knowledge (TK) and Trade Secrets: a Case Study on Biopiracy in the Amazon Winston P
University of Florida Levin College of Law UF Law Scholarship Repository Faculty Publications Faculty Scholarship 2010 Misappropriation of Shuar Traditional Knowledge (TK) and Trade Secrets: A Case Study on Biopiracy in the Amazon Winston P. Nagan University of Florida Levin College of Law, [email protected] Eduardo J. Mordujovich Judit K. Otvos Jason Taylor Follow this and additional works at: http://scholarship.law.ufl.edu/facultypub Part of the International Law Commons Recommended Citation Winston P. Nagan, Eduardo J. Mordujovich, Judit K. Otvos, & Jason Taylor, Misappropriation of Shuar Traditional Knowledge (TK) and Trade Secrets: A Case Study on Biopiracy in the Amazon, 15 J. Tech. L. & Pol'y 9 (2010), available at http://scholarship.law.ufl.edu/ facultypub/458 This Article is brought to you for free and open access by the Faculty Scholarship at UF Law Scholarship Repository. It has been accepted for inclusion in Faculty Publications by an authorized administrator of UF Law Scholarship Repository. For more information, please contact [email protected]. ARTICLES MISAPPROPRIATION OF SHUAR TRADITIONAL KNOWLEDGE (TK) AND TRADE SECRETS: A CASE STUDY ON BIOPIRACY IN THE AMAZON Winston P. Nagan* with EduardoJ. Mordujovich, JuditK. Otvos, & Jason Taylor* I. INTRODUCTION ......................................... 10 II. BIOPROSPECTING TURNED BIoPIRAcY IN THE SHUAR NATION ..... 15 A. The Lure of the Shuar Heritage ............... ..... 15 B. Bioprospectingfor the Ostensible Preservationof Biodiversity ......... ............. 21 C. How the Model of Bioprospecting Works ... .............. 23 D. Misappropriationof Shuar TK: A Case Summary of Biopiracy.......... ................. 26 VII. Is TK PROPERTY? . 27 A. Propertyin Indigenous Communities ........... ..... 27 B. Propertyand Legal Theory. .................. ..... 29 C. TK as Property. ...................... ......... 31 VIII. -
I Infringed Again: an Analysis of U.S
City University of New York (CUNY) CUNY Academic Works Student Theses Baruch College Spring 4-30-2018 Oops!... I Infringed Again: An Analysis of U.S. Copyright and its Intended Beneficiaries Gabriele A. Forbes-Bennett CUNY Bernard M Baruch College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bb_etds/79 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Oops!... I Infringed Again: An Analysis of U.S. Copyright and its Intended Beneficiaries Gabriele Forbes-Bennett 30 April 2018 Submitted to the Committee on Undergraduate Honors at Baruch College of the City University of New York in partial fulfillment of the requirements for the degree of Bachelor of Arts in Political Science and the Management of Musical Enterprises with Honors Professor Elizabeth Wollman, Honors Faculty Sponsor ____________________ Professor Marc Edelman, Signatory ____________________ Professor Donna Gitter, Signatory ____________________ 2 Table of Contents 1. Abstract 4 2. Why was the law created? 5 a. What were the original terms? Where did they come from? 5 3. The 1831 Amendment 6 4. The purpose of the law begins to change 8 5. The 1971 Amendment 11 6. The 1976 Act 14 a. The Berne Convention 15 b. The Buenos Aires Convention 16 c. The Universal Copyright Convention 17 7. What sets the 1976 Act apart? 18 a. The length of copyright protection 18 b. Copyright Registration 19 c. Qualifications for copyright protection 21 d. -
Beyond Theories: Intellectual Property Dynamics in the Global Knowledge Economy
WAKE FOREST INTELLECTUAL PROPERTY LAW JOURNAL VOLUME 9 2008 - 2009 NUMBER 2 BEYOND THEORIES : INTELLECTUAL PROPERTY DYNAMICS IN THE GLOBAL KNOWLEDGE ECONOMY CHIDI OGUAMANAM * ABSTRACT This Article critically examines the inadequacy of theoretical postulates on intellectual property. It acknowledges that theorizing around intellectual property is an important ongoing but elusive intellectual adventure that is critical for law and policy direction on intellectual property. Perhaps, at no time is this fact more obvious than in the extant post-industrial epoch or the era of Global Knowledge Economy (“GKE”). The latter is spurred by advances in bio- and digital technologies. Both phenomena drive significant shift and transition in intellectual property jurisprudence and in the tide of innovation from physical to life sciences. They also supervise implosions in new and complex domains or sites for knowledge and information generation. As its feature, the global knowledge economic order is undergirded by an institutional and structural shift in international intellectual property lawmaking and governance, provoking a serendipitous counter-regime dynamic in diverse sites for contestations around intellectual property. The pivotal role of intellectual property in the GKE presents intellectual property as an increasingly multidisciplinary subject with complex issue linkages in virtually all fronts, including public health, human rights, biodiversity, biotechnology, biopiracy, the environment, ethics, culture, indigenous knowledge, electronic commerce, and research ethos. Overall, these and many more issue linkages to intellectual property are part of the latter’s open-ended dynamics in the GKE. They are constitutive of a myriad of factors that task and shape policy and theory on intellectual property as the knowledge economy continues to unravel. -
Fair Use and Fair Dealing for Libraries Fair Use and Fair Dealing Give You the Right to Use Copyrighted Works Without Asking Permission, Under Certain Conditions
Fair Use and Fair Dealing for Libraries Fair use and fair dealing give you the right to use copyrighted works without asking permission, under certain conditions. They make it possible for libraries to provide their public service. Here’s how they work:1 Fair Use Fair Dealing Where? Where? United States, South Korea, Canada, Australia, United Kingdom, Israel, Philippines, Bangladesh, South Africa, New Zealand, India.14 Bahamas, Singapore.2 How does it work? How does it work? Uses are limited to certain users, works If a use is fair, it’s allowed.3 Definitions of or purposes, such as research, study, ‘fair’ vary, but there are four factors you criticism, journalism, parody or satire. should consider in the United States:4 It also needs to be decided, in all these cases, whether the use is fair. Here’s 1. The purpose and character what you should consider in Canada: of the use: is the use commercial? Is it new or transformative? 1. Its purpose: is the use commercial 2. The nature of the work: or not? how creative was it? Is there a public 2. Its character: is the use new or interest in its availability? transformative? 3. The amount and substantiality of 3. The nature of the work: how original the portion used: how much of the is the use? original is used? 4. Its amount: how much of the work is 4. The effect on the original work’s being used? value: does the use mean fewer 5. Its effect on the work: does it stop people will buy the original? people from buying it? 6.