Patent-Based Open Science
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Intelligent Multimedia Danièle Bourcier, Melanie Dulong De Rosnay, Pompeu Casanovas, Maracke Catharina
Intelligent Multimedia Danièle Bourcier, Melanie Dulong de Rosnay, Pompeu Casanovas, Maracke Catharina To cite this version: Danièle Bourcier, Melanie Dulong de Rosnay, Pompeu Casanovas, Maracke Catharina. Intelligent Multimedia. Danièle Bourcier, Pompeu Casanovas, Mélanie Dulong de Rosnay, Catharina Maracke. European Press Academic Publishing, pp.412, 2010, Series in Legal Information and Communication Technologies. halshs-00671623 HAL Id: halshs-00671623 https://halshs.archives-ouvertes.fr/halshs-00671623 Submitted on 17 Feb 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Series in Legal Information and Communication Technologies Volume 8 IntelligentMultimedia.tex; 28/05/2010; 20:00; p.1 Volume Editors’ Biographies Daniele Bourcier, doctorate in Public Law, is director of research at the Centre National de la Recherche Scientifique, CERSA, Paris. She is associ- ated professor at the University of Paris 1 in eGovernment. Scientific lead of CC France, she works on Commons Governance and Regulation. She wrote 16 books (collective or not) and many papers in the field of IT, Cognition and Law. She is an appointed member of the Comite d’Éthique des Sciences (CNRS). Pompeu Casanovas, director of the UAB Institute of Law and Technol- ogy (http://idt.uab.cat) and professor of Philosophy of Law at the Universitat Autònoma de Barcelona. -
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. -
When Is Open Access Not Open Access?
Editorial When Is Open Access Not Open Access? Catriona J. MacCallum ince 2003, when PLoS Biology Box 1. The Bethesda Statement on Open-Access Publishing was launched, there has been This is taken from http:⁄⁄www.earlham.edu/~peters/fos/bethesda.htm. a spectacular growth in “open- S 1 access” journals. The Directory of An Open Access Publication is one that meets the following two conditions: Open Access Journals (http:⁄⁄www. 1. The author(s) and copyright holder(s) grant(s) to all users a free, irrevocable, doaj.org/), hosted by Lund University worldwide, perpetual right of access to, and a license to copy, use, distribute, transmit Libraries, lists 2,816 open-access and display the work publicly and to make and distribute derivative works, in any digital journals as this article goes to press medium for any responsible purpose, subject to proper attribution of authorship2, as (and probably more by the time you well as the right to make small numbers of printed copies for their personal use. read this). Authors also have various 2. A complete version of the work and all supplemental materials, including a copy of “open-access” options within existing the permission as stated above, in a suitable standard electronic format is deposited subscription journals offered by immediately upon initial publication in at least one online repository that is supported traditional publishers (e.g., Blackwell, by an academic institution, scholarly society, government agency, or other well- Springer, Oxford University Press, and established organization that seeks to enable open access, unrestricted distribution, many others). In return for a fee to interoperability, and long-term archiving (for the biomedical sciences, PubMed Central the publisher, an author’s individual is such a repository). -
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. -
Copyright Online Education
Roadmap Copyright online education April 2018 Education and Student Affairs 1 | Roadmap for Copyright April 2018 Table of content Table of content ....................................................................................2 Introduction .........................................................................................3 Open Education and Licenses ...................................................................4 What you further have to know about Creative Commons .............................6 What is… .............................................................................................7 Flow chart for the use of footage in ..........................................................9 Searching for images, audio or video via CC Search ................................... 10 More websites with new CC footage ........................................................ 11 Attributing works ................................................................................. 12 Copyright and Brightspace .................................................................... 14 Contact .............................................................................................. 16 2 | Roadmap for Copyright April 2018 1. Introduction Education is based on a foundation of sharing. In our education we share knowledge with our students and our fellow teachers. Sharing educational resources openly and offering open and online courses gives others a chance to benefit from the knowledge we teach. In return others can contribute back -
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 ........................................................................................................................... -
Creative Destruction and the Music Industry
Creative Destruction and The Music Industry A Thorough approach on new technologies and their impact on the sustainability of the music market. FLAVIO SEFA SUPERVISOR Daniel Nordgård University of Agder, 2019-2020 Faculty of Fine Arts Department of Popular Music Table of Contents Introduction .................................................................................................................................................. 3 Research Question .................................................................................................................................... 4 Sub Research Question ............................................................................................................................. 4 Aim of Research ........................................................................................................................................ 4 Methodology ................................................................................................................................................. 5 Definitions ................................................................................................................................................. 7 Creative Destruction ..................................................................................................................................... 8 Creative Destruction and Disruptive innovation .................................................................................... 11 The Main Stages of The Music Industry ..................................................................................................... -
How to Sustain Technology and Make It Profitable While Avoiding IP Conflicts
How to sustain technology and make it profitable while avoiding IP conflicts Harvard Biotechnology Journal Club meeting, Feb 22nd 2017 Julian Daich, fellow at the Wound Healing and Tissue Engineering Lab, BWH, supervised by Dennis Orgill Patents First established in Venice in 1450, patents are a set of exclusive rights granted by a sovereign state to an inventor or assignee for a limited period of time in exchange for detailed public disclosure of an invention Source: Wikipedia A patent – grants a monopoly over a technological niche – does not guarantee freedom to operate – standard formal structure ● State of the art ● Full description of the invention with examples ● Claims- sentences that define the scope to be enforced a patent application has to show novelty and non obviousness – Empowerment. Patents are a legal basis for priority access to a technological niche – Freedom. Patents are a legal stamp that guarantees protection from other patents Defensive vs offensive ● Big corps dealing with ● Big corps pursuing to many technologies and monopolize a niche parties ● Newcomers attempting ● Newcomers attempting to capture a niche to access to an existing ● Non practitioners niche ● Patent trolls ● Technological standards and frameworks ● Can either accelerate or stop innovation ● Do not harm innovation Patent SWOT ● Strengths ● Weakness – Empower to develop – Discourage making new technology developments or – Encourage to share improvements to already knowledge patented technology ● Opportunities ● Threats – Create new technological – Ambigous patents can niches and markets be used to block technology development or to obtain economical benefits at expenses of authentic innovation Patentleft ● Person A has a patent, and licenses it under a patentleft license. -
Bright Ideas a Publication of the Intellectual Property Law Section of the New York State Bar Association
NYSBA SPRING/SUMMER 2011 | VOL. 20 | NO. 1 Bright Ideas A publication of the Intellectual Property Law Section of the New York State Bar Association Message from the Chair I am pleased to report on but has never quite been able to fi nd the right place. I am a number of exciting develop- excited to report that we will be trying something differ- ments and activities of our ent this year: the Section’s 2011 Fall Meeting will be held Section. First, we had another at the Rittenhouse Hotel in Philadelphia from October great Annual Meeting in January. 20-23. We hope that moving the Meeting to an urban Kudos to our Annual Meeting venue will mix things up a bit and help keep the program Co-Chairs, Chuck Miller and Phil fresh. There are many fun things for our families (and Furgang, for putting together ourselves) to do in Philadelphia, and the city is easy to a fascinating program, which get to by train or by car from most points within New covered diverse and cutting-edge York. We are planning special events to take advantage of intellectual property topics Paul M. Fakler what the city has to offer, hopefully including an event at such as the latest developments the Franklin Institute (a wonderful museum named for in patent litigation, counterfeiting, intellectual property inventor and statesman Benjamin Franklin and dedi- legislation, ethical issues raised by cloud computing, and cated to science and technology). Traditionalists need not intellectual property protection in China. We also had the worry: we plan to return to one of our traditional upstate distinct honor of hosting a thought-provoking luncheon venues for the 2012 Fall Meeting. -
Publisher Correction: Pairwise Library Screen Systematically Interrogates Staphylococcus Aureus Cas9 Specificity in Human Cells
DOI: 10.1038/s41467-018-06029-z OPEN Publisher Correction: Pairwise library screen systematically interrogates Staphylococcus aureus Cas9 specificity in human cells Josh Tycko 1,5, Luis A. Barrera1,6, Nicholas C. Huston1,7, Ari E. Friedland1, Xuebing Wu2, Jonathan S. Gootenberg 3, Omar O. Abudayyeh4, Vic E. Myer1, Christopher J. Wilson 1 & Patrick D. Hsu1,8 Correction to: Nature Communications; https://doi.org/10.1038/s41467-018-05391-2; published online 27 July 2018 The original HTML version of this Article incorrectly listed an affiliation of Josh Tycko as ‘Department of Genetics, Stanford 1234567890():,; University School of Medicine, Stanford, CA 94305, USA’, instead of the correct ‘Present address: Department of Genetics, Stanford University School of Medicine, Stanford, CA 94305, USA’. It also incorrectly listed an affiliation of this author as ‘Present address: Arrakis Therapeutics, 35 Gatehouse Dr., Waltham, MA, 02451, USA’. The original HTML version incorrectly listed an affiliation of Luis A. Barrera as ‘Present address: Department of Molecular Biophysics and Biochemistry, Yale University, New Haven, CT, 06511, USA’, instead of the correct ‘Present address: Arrakis Therapeutics, 35 Gatehouse Dr., Waltham, MA 02451, USA’. Finally, the original HTML version incorrectly omitted an affiliation of Nicholas C. Huston: ‘Present address: Department of Molecular Biophysics and Biochemistry, Yale University, New Haven, CT 06511, USA’. This has been corrected in the HTML version of the Article. The PDF version was correct from the time of publication. Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. -
Stream-Ripping: Its Role in the UK Music Piracy Landscape Three Years On
Stream-ripping: Its role in the UK music piracy landscape three years on September 2020 PRS for Music Foreword Stream-ripping: its role in the UK music piracy landscape three years on builds on research we published with the Intellectual Property Office three years ago. The initial research, Stream-ripping: How it works and its role in the UK music piracy landscape, came at a time when little work had been done to understand the size of problem posed by stream-ripping. The previous report allowed us to map the landscape of online music piracy and to gain insight into the functioning and the business model of stream-ripping services. We found evidence to support our assumption that stream-ripping was on course to become the dominant mode of online infringement. This second wave of research shows that our expectation is now the reality: stream-ripping services account for more than 80% of the top 50 music specific piracy sites. We can see that the services are becoming more sophisticated, offering better quality downloads, evolving their revenue streams, and becoming more adept at operating beneath the radar, with many using the popular content delivery network Cloudflare to obfuscate the location of their servers. But what we can also see is that concerted efforts by the industry do work: a reduction of more than 50% of BitTorrent sites can be attributed to increased geo-blocking and enforcement efforts over the past three years. Since this research was conducted, the world has changed beyond what anyone could have imagined. Amidst the massive societal changes, the almost global lockdown caused by the COVID-19 pandemic has also accelerated the acculturation of digital services. -
Will Sci-Hub Kill the Open Access Citation Advantage and (At Least for Now) Save Toll Access Journals?
Will Sci-Hub Kill the Open Access Citation Advantage and (at least for now) Save Toll Access Journals? David W. Lewis October 2016 © 2016 David W. Lewis. This work is licensed under a Creative Commons Attribution 4.0 International license. Introduction It is a generally accepted fact that open access journal articles enjoy a citation advantage.1 This citation advantage results from the fact that open access journal articles are available to everyone in the word with an Internet collection. Thus, anyone with an interest in the work can find it and use it easily with no out-of-pocket cost. This use leads to citations. Articles in toll access journals on the other hand, are locked behind paywalls and are only available to those associated with institutions who can afford the subscription costs, or who are willing and able to purchase individual articles for $30 or more. There has always been some slippage in the toll access journal system because of informal sharing of articles. Authors will usually send copies of their work to those who ask and sometime post them on their websites even when this is not allowable under publisher’s agreements. Stevan Harnad and his colleagues proposed making this type of author sharing a standard semi-automated feature for closed articles in institutional repositories.2 The hashtag #ICanHazPDF can be used to broadcast a request for an article that an individual does not have access to.3 Increasingly, toll access articles are required by funder mandates to be made publically available, though usually after an embargo period.