Copyright Issues with Open Source Software
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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. -
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. -
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 ........................................................................................................................... -
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. -
Building Online Content and Community with Drupal
Collaborative Librarianship Volume 1 Issue 4 Article 10 2009 Building Online Content and Community with Drupal Gabrielle Wiersma University of Colorado at Boulder, [email protected] Follow this and additional works at: https://digitalcommons.du.edu/collaborativelibrarianship Part of the Collection Development and Management Commons Recommended Citation Wiersma, Gabrielle (2009) "Building Online Content and Community with Drupal," Collaborative Librarianship: Vol. 1 : Iss. 4 , Article 10. DOI: https://doi.org/10.29087/2009.1.4.10 Available at: https://digitalcommons.du.edu/collaborativelibrarianship/vol1/iss4/10 This Review is brought to you for free and open access by Digital Commons @ DU. It has been accepted for inclusion in Collaborative Librarianship by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Wiersma: Building Online Content and Community with Drupal Building Online Content and Community with Drupal Gabrielle Wiersma ([email protected]) Engineering Research and Instruction Librarian, University of Colorado at Boulder Libraries use content management systems Additionally, all users are allowed to post in order to create, manage, edit, and publish content without using code, which enables content on the Web more efficiently. Drupal less tech savvy users to contribute content (drupal.org), one such Web-based content just as easily as their more proficient coun- management system, is unique because it terparts. For example, a library could use employs a bottom-up strategy for Web de- Drupal to allow library staff to view and sign that separates the content of the site edit the library Web site, blog, and staff from the formatting which means that “you intranet. -
50109195.Pdf
UNIVERSIDAD DE EL SALVADOR FACULTAD MULTIDISCIPLINARIA ORIENTAL DEPARTAMENTO DE INGENIERÍA Y ARQUITECTURA TRABAJO DE GRADO: IMPACTO DEL SOFTWARE LIBRE EN LAS INSTITUCIONES DE EDUCACIÓN MEDIA DEL MUNICIPIO DE SAN MIGUEL DURANTE EL AÑO 2019 Y CREACIÓN DE PLATAFORMA VIRTUAL PARA EL REGISTRO DE DICHA INFORMACIÓN. PARA OPTAR AL TÍTULO DE: INGENIERO DE SISTEMAS INFORMÁTICOS PRESENTADO POR: EVER FERNANDO ARGUETA CONTRERAS. ROBERTO CARLOS CÁRDENAS RAMÍREZ. GERSON ALEXANDER SANDOVAL GUERRERO. DOCENTE ASESOR: INGENIERO LUIS JOVANNI AGUILAR CIUDAD UNIVERSITARIA ORIENTAL, 11 DE SEPTIEMBRE DE 2020 SAN MIGUEL, EL SALVADOR, CENTRO AMÉRICA UNIVERSIDAD DE EL SALVADOR AUTORIDADES Msc. ROGER ARMANDO ARIAS RECTOR PhD. RAÚL ERNESTO AZCÚNAGA LÓPEZ VICERECTOR ACADÉMICO INGENIERO JUAN ROSA QUINTANILLA VICERECTOR ADMINISTRATIVO INGENIERO FRANCISCO ALARCÓN SECRETARIO GENERAL LICENCIADO RAFAEL HUMBERTO PEÑA MARÍN FISCAL GENERAL LICENCIADO LUIS ANTONIO MEJÍA LIPE DEFENSOR DE LOS DERECHOS UNIVERSITARIOS FACULTAD MULTIDISCIPLINARIA ORIENTAL AUTORIDADES LICENCIADO CRISTÓBAL HERNÁN RÍOS BENÍTEZ DECANO LICENCIADO OSCAR VILLALOBOS VICEDECANO LICENCIADO ISRRAEL LÓPEZ MIRANDA SECRETARIO INTERINO LICENCIADO JORGE PASTOR FUENTES CABRERA DIRECTOR GENERAL DE PROCESOS DE GRADUACIÓN DEPARTAMENTO DE INGENIERIA Y ARQUITECTURA AUTORIDADES INGENIERO JUAN ANTONIO GRANILLO COREAS. JEFE DEL DEPARTAMENTO. INGENIERA LIGIA ASTRID HERNANDEZ BONILLA COORDINADORA DE LA CARRERA DE INGENIERIA EN SISTEMAS INFORMATICOS INGENIERA MILAGRO DE MARÍA ROMERO DE GARCÍA COORDINADORA DE PROCESOS DE GRADUACIÓN TRIBUNAL EVALUADOR INGENIERO LUIS JOVANNI AGUILAR JURADO ASESOR INGENIERO LUDWIN ALDUVÍ HERNÁNDEZ VÁSQUEZ DOCENTE JURADO CALIFICADOR INGENIERA LIGIA ASTRID HERNANDEZ BONILLA DOCENTE JURADO CALIFICADOR AGRADECIMIENTOS A DIOS: Por darme la oportunidad de vivir y por haberme dado la sabiduría para poder culminar mis estudios y por fortalecer mi corazón e iluminar mi mente, por haber puesto en mi camino a aquellas personas que han sido mi soporte y compañía durante todo el periodo de estudio. -
Understanding Code Forking in Open Source Software
EKONOMI OCH SAMHÄLLE ECONOMICS AND SOCIETY LINUS NYMAN – UNDERSTANDING CODE FORKING IN OPEN SOURCE SOFTWARE SOURCE OPEN IN FORKING CODE UNDERSTANDING – NYMAN LINUS UNDERSTANDING CODE FORKING IN OPEN SOURCE SOFTWARE AN EXAMINATION OF CODE FORKING, ITS EFFECT ON OPEN SOURCE SOFTWARE, AND HOW IT IS VIEWED AND PRACTICED BY DEVELOPERS LINUS NYMAN Ekonomi och samhälle Economics and Society Skrifter utgivna vid Svenska handelshögskolan Publications of the Hanken School of Economics Nr 287 Linus Nyman Understanding Code Forking in Open Source Software An examination of code forking, its effect on open source software, and how it is viewed and practiced by developers Helsinki 2015 < Understanding Code Forking in Open Source Software: An examination of code forking, its effect on open source software, and how it is viewed and practiced by developers Key words: Code forking, fork, open source software, free software © Hanken School of Economics & Linus Nyman, 2015 Linus Nyman Hanken School of Economics Information Systems Science, Department of Management and Organisation P.O.Box 479, 00101 Helsinki, Finland Hanken School of Economics ISBN 978-952-232-274-6 (printed) ISBN 978-952-232-275-3 (PDF) ISSN-L 0424-7256 ISSN 0424-7256 (printed) ISSN 2242-699X (PDF) Edita Prima Ltd, Helsinki 2015 i ACKNOWLEDGEMENTS There are many people who either helped make this book possible, or at the very least much more enjoyable to write. Firstly I would like to thank my pre-examiners Imed Hammouda and Björn Lundell for their insightful suggestions and remarks. Furthermore, I am grateful to Imed for also serving as my opponent. I would also like to express my sincere gratitude to Liikesivistysrahasto, the Hanken Foundation, the Wallenberg Foundation, and the Finnish Unix User Group.