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This Opinion Is Not a Precedent of the TTAB in Re Scram Software Pty Ltd
This Opinion is not a Precedent of the TTAB Mailed: November 23, 2016 UNITED STATES PATENT AND TRADEMARK OFFICE _____ Trademark Trial and Appeal Board _____ In re Scram Software Pty Ltd. _____ Serial No. 86658580 _____ Joshua M. Gerben, Gerben Law Firm PLLC, for Scram Software Pty Ltd. Brittany A. Estell, Trademark Examining Attorney, Law Office 122, John Lincoski, Managing Attorney. _____ Before Zervas, Hightower, and Larkin, Administrative Trademark Judges. Opinion by Larkin, Administrative Trademark Judge: Scram Software Pty Ltd. (“Applicant”) seeks registration on the Principal Register of the mark CLOUD SHERIFF in standard characters (“CLOUD” disclaimed) for goods and services identified as: “Computer software for encrypting, decrypting, synchronizing, replicating, processing, transmitting, exchanging, storing, backing up, archiving, organizing, sharing, modifying, updating, digitally signing, watermarking, removing metadata from, manipulating and accessing files and directories, data, documents, information, messages, emails, text, photos, images, graphics, music, audio, video, and multimedia content via Serial No. 86658580 global and local computer networks and other communication networks; computer software for encrypting, decrypting, integrity checking and detecting unauthorized activity of computer files, directories, documents, folders, data and information; computer software for use in a cloud or networked computing environment providing data encryption and privacy relating to storing, organizing, transmitting, processing, -
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 ..................................................................................................... -
The Business of Anti-Piracy: New Zones of Enterprise in the Copyright Wars
International Journal of Communication 6 (2012), 606–625 1932–8036/20120606 The Business of Anti-Piracy: New Zones of Enterprise in the Copyright Wars RAMON LOBATO1 JULIAN THOMAS Swinburne University of Technology From the perspective of copyright holders, piracy represents lost revenue. In this article we argue that piracy nevertheless has important generative features. We consider the range of commercial opportunities that piracy opens up outside of the media industries, identifying four overlapping fields of legal anti-piracy enterprise: technological prevention, revenue capture, knowledge generation, and policing/enforcement. Our analysis notes the commercialization of these activities and their close relationship with the informal media economy. A case study of recent “speculative invoicing” lawsuits demonstrates the extent of this commercialization and its detachment from the mainstream content industries. A key strategy of content industry groups during their long war on piracy has been to associate copyright infringement with lost revenue for artists, producers, and media businesses. Consumers are now familiar with the claim that piracy directly threatens the livelihoods of cultural workers and generates large profits for criminal organizations, bootleggers, and online intermediaries. Hence, the model of a zero-sum economic redistribution between two camps—producers and pirates—with the latter cannibalizing the revenues of the former. This is an ever-present theme in anti-piracy discourse, exemplified by the Motion Picture Association of America’s claim that “copyright theft means declining incomes, lost jobs and reduced health and retirement benefits” (MPAA, 2010, p. 2) and by the Australian Federation Against Copyright Theft’s warning that “film and TV piracy rips more than $230 million out of the Australian economy each year” (AFACT, 2008, p. -
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. -
Numer 2/2013
Numer 2/15/2013 ISSN 2299-5536 l UMOWA UP RP – SIPO CHRL – WAŻNA DLA PRZEDSIĘBIORCÓW I WYNALAZCÓW l PRAWO W INTERNECIE – JAK KORZYSTAĆ LEGALNIE Z ZASOBÓW SIECI l EDUKACJA = INNOWACYJNA GOSPODARKA l ROK PROF. J. CZOCHRALSKIEGO l CZY MOŻNA WIEDZIEĆ „PRZEDTEM”, CO BĘDZIE „POTEM” – PROF. E. MĄCZYŃSKA, PREZES PTE l ORZECZNICTWO TRYBUNAŁU atentowego RP SPRAWIEDLIWOŚCI UE O ZNAKACH rzędu P TOWAROWYCH l REFORMA PCT U l TROLLE PATENTOWE l PRAWO DO GENÓW l DRZWI OTWARTE UP RP WSPIERAMY MŁODYCH WYNALAZCÓW KONFERENCJE I INNE PRZEDSIęWZIęCIA UP RP W III KWARTALE 2013 r. 5-6 września w Krakowie Międzynarodowe seminarium z cyklu: WŁASNOŚĆ PRZEMYSŁOWA W INNOWACYJNEJ GOSPODARCE „WDRAżANIE INNOWACJI: PRZEKSZTAłCANIE WIEDZY W ZYSK” 16-20 września w Cedzynie XXXII SYMPOZJUM RZECZNIKÓW PATENTOWYCH SZKÓł WYżSZYCH 23 września w siedzibie Urzędu spotkanie z młodymi naukowcami i konstruktorami „NAukA JEST SUPER” Zajęcia poprowadzą dorośli specjaliści razem z dziećmi, które zaprezentują swoje pasje, konstrukcje, hodowle. l Dlaczego warto grać na komputerze? l Proste programowanie komputerów. l Bezzałogowe łodzie podwodne. l Bajeczne eksperymenty chemiczne. To główne tematy tego fascynującego spotkania. 26-27 września FESTIWAL NAukI W URZęDZIE PATENTOWYM l 26 września wykład i panel dyskusyjny „O przeszłości i przyszłości wynalazków”, w którym wezmą udział: dr Sławomir Łotysz – Uniwersytet Zielonogórski, prof. Bolesław Orłowski – Polska Akademia Nauk, Instytut Pamięci Narodowej, Michał Szota – Prezes, Stowarzyszenie Polskich Wynalazców i Racjonalizatorów, Zbysław Szwaj, konstruktor – Leopard Automobile-Mielec l 27 września wykład i panel dyskusyjny „Jak czerpać korzyści materialne z patentów i innych praw niematerialnych?”, w którym udział wezmą: Karol Król – Prezes, Beesfund, Piotr Tomaszewski – Prezes Zarządu, Patentbroker, Dr inż. Wojciech Nawrot – Autorski Park Technologiczny oraz przedstawiciele UP RP SPIS TREŚCI Szanowni Państwo, O wartościach europejskich ......................................... -
Digital Music Business Models
School of Journalism and Mass Communications Faculty of Economic and Political Sciences Digital Music Business Models BY Esra Poryalı A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF DIGITAL MEDIA, COMMUNICATION AND JOURNALISM Specialization: Digital Media, Communication, Culture Supervisor: Prof. George Tsourvakas Prof. George Kalliris Prof. Andreas Veglis May 2019 Abstract The Internet and modern-day technologies have changed the way people connect with the world around them. The music industry is one of the areas that is undoubtedly affected by the Internet. Music technologies have faced a drastic reorganization process due to the digital revolution that changed the way people consume, source, listen, purchase, discover, experience, produce, read and learn music. These technological advancements have induced great changes for artists, listeners, and producers. This study will attempt to investigate the business models of digital music that can be profitable in the future. As previous studies suggest (Arditi, 2017), with the introduction of the technological revolution the whole revenue mechanism has shifted. This study attempts to give insight into the changing revenue mechanism of how musicians, record labels, make money from digital music by analyzing the digital music business models from the perspective of the consumer, the record labels and the artists. The fundamental questions this study attempts to address are a) how technology has changed by presenting an overview of the music industry, b) what kind of digital music business models exist by analyzing their effects from the perspective of the listeners, artists and record labels, and c) what happens if the business model does not meet the demand of the users by explaining the ‘piracy’ phenomenon. -
D3.2B Digital Library Reference Model
DL.org: Coordination Action on Digital Library Interoperability, Best Practices and Modelling Foundations Funded under the Seventh Framework Programme, ICT Programme – “Cultural Heritage and Technology Enhanced Learning” Project Number: 231551 Deliverable Title: D3.2b The Digital Library Reference Model Submission Due Date: September 2010 Actual Submission Date: April 2011 Work Package: WP3 Responsible Partner: CNR Deliverable Status: Final DL.org www.dlorg.eu Document Information Project Project acronym: DL.org Project full title: Coordination Action on Digital Library Interoperability, Best Practices & Modelling Foundations Project start: 1 December 2008 Project duration: 24 months Call: ICT CALL 3, FP7-ICT-2007-3 Grant agreement no.: 231551 Document Deliverable number: D3.2b Deliverable title: The Digital Library Reference Model Editor(s): L. Candela, A. Nardi Author(s): L. Candela, G. Athanasopoulos, D. Castelli, K. El Raheb, P. Innocenti, Y. Ioannidis, A. Katifori, A. Nika, G. Vullo, S. Ross Reviewer(s): C. Thanos Contributor(s): (DELOS Reference Model Authors) L. Candela; D. Castelli; N. Ferro; Y. Ioannidis; G. Koutrika; C. Meghini; P. Pagano; S. Ross; D. Soergel; M. Agosti; M. Dobreva; V. Katifori; H. Schuldt Participant(s): CNR, NKUA, UG Work package no.: WP3 Work package title: Digital Library Models and Patterns Work package leader: CNR Work package participants: CNR, NKUA, UG Est. Person-months: 6 Distribution: Public Nature: Report Version/Revision: 1.0 Draft/Final Final Total number of pages: 273 (including cover) Keywords: Reference Model; Content Domain Model; User Domain Model; Functionality Domain Model; Policy Domain Model; Quality Domain Model; Architecture Domain Model; Conformance Criteria; Conformance Checklist; Page 2 of 273 D3.2b The Digital Library Reference Model DL.org – No. -
GOOD MONEY GONE BAD Digital Thieves and the Hijacking of the Online Ad Business a Report on the Profitability of Ad-Supported Content Theft
GOOD MONEY GONE BAD Digital Thieves and the Hijacking of the Online Ad Business A Report on the Profitability of Ad-Supported Content Theft February 2014 www.digitalcitizensalliance.org/followtheprofit CONTENTS Contents .............................................................................................................................................................i Table of References .....................................................................................................................................ii Figures .........................................................................................................................................................................................ii Tables ...........................................................................................................................................................................................ii About this Report ..........................................................................................................................................1 Executive Summary .................................................................................................................................... 3 Three Key Relevant Growth Trends .................................................................................................... 4 Methodology .................................................................................................................................................. 4 Sites Studied .......................................................................................................................................................................... -
Universidade Federal Do Rio De Janeiro Escola De Comunicação Centro De Filosofia E Ciências Humanas Jornalismo
UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS JORNALISMO CULTURA DO HYPE: COMO MOVIMENTOS MUSICAIS EFÊMEROS DA DÉCADA DE 2000 CRIARAM NOVOS ÍCONES NA CULTURA POP TÚLIO BRASIL VILELLA RIO DE JANEIRO 2014 III UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS JORNALISMO CULTURA DO HYPE: COMO MOVIMENTOS MUSICAIS EFÊMEROS DA DÉCADA DE 2000 CRIARAM NOVOS ÍCONES NA CULTURA POP Monografia submetida à Banca de Graduação como requisito para obtenção do diploma de Comunicação Social/ Jornalismo. TÚLIO BRASIL VILELLA Orientadora: Profa. Dra. Rose Marie Santini RIO DE JANEIRO IV 2014 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO TERMO DE APROVAÇÃO A Comissão Examinadora, abaixo assinada, avalia a Monografia Cultura do Hype: Como Movimentos Musicais Efêmeros da Década De 2000 Criaram Novos Ícones na Cultura Pop, elaborada por Túlio Brasil Vilella. Monografia examinada: Rio de Janeiro, no dia ........./........./.......... Comissão Examinadora: Orientadora: Profa. Dra. Rose Marie Santini Doutora em Ciência da Informação – UFF/IBICT Departamento de Comunicação - UFRJ Prof. Marcio Tavares d`Amaral Doutor em Letras (Ciências da Literatura) pela – UFRJ Departamento de Comunicação -. UFRJ Prof. Paulo Guilherme Domenech Oneto Doutor em Filosofia - Université de Nice Departamento de Comunicação – UFRJ RIO DE JANEIRO V 2014 FICHA CATALOGRÁFICA BRASIL, Túlio. Cultura do Hype: Como movimentos musicais efêmeros da década de 2000 criaram novos ícones na cultura pop. Rio de Janeiro, 2014. Monografia (Graduação em Comunicação Social/ Jornalismo) – Universidade Federal do Rio de Janeiro – UFRJ, Escola de Comunicação – ECO. Orientadora: Rose Marie Santini VI As pessoas vão se esquecendo. -
The Film Industry in the Russian Federation
THE FILM INDUSTRY IN THE RUSSIAN FEDERATION November 2012 Set up in December 1992, the European Audiovisual Observatory’s mission is to gather and diffuse information on the audiovisual industry in Europe. The Observatory is a Euro pean public service body comprised of 39 member states and the European Union, represented by the European Commission. It operates within the legal framework of the Council of Europe and works alongside a number of partner and professional organisations from within the industry and with a network of correspondents. In addition to contributions to conferences, other major activities are the publication of a Yearbook, newsletters and reports, and the provision of information through the Observatory’s Internet site (http://www.obs.coe.int). The Observatory also makes available four free‑access databases, including LUMIERE on admissions to films released in Europe (http://lumiere.obs.coe.int) and KORDA on public support for film and audiovisual works in Europe (http://korda.obs.coe.int). Nevafilm was founded in 1992 and has a wide range of experience in the film industry. The group has modern sound and dubbing studios in Moscow and St. NEVAFILM Petersburg (Nevafilm Studios); is aleader on the Russian market in cinema design, film and digital cinema equipment supply and installation (Nevafilm Cinemas); became Russia’s first digital cinema laboratory for digital mastering and comprehensive DCP creation (Nevafilm Digital); distributes alternative A REPORT FOR THE content for digital screens (Nevafilm Emotion); has undertaken independent monitoring of the Russian cinema market in the cinema exhibition domain since EUROPEAN AUDIOVISUAL OBSERVATORY 2003, and is a regular partner of international research organizations providing data on the development of the Russian cinema market (Nevafilm Research). -
Best of a Decade on Opensource.Com 2010–2019
Best of a decade on Opensource.com 2010–2019 In celebration of our 10-year anniversary Opensource.com/yearbook FROM THE EDITOR ............................. FROM THE EDITOR ............................. Dear reader, As we celebrate 10 years of publishing, our focus is on the people from all over the globe, in various roles, from diverse backgrounds, who have helped us explore the multitude of ways in which open source can improve our lives—from technology and programming to farming and design, and so much more. We are celebrating you because we’ve learned that growing this unique storytelling site demands that we do one thing better than all the rest: listen to and talk with our readers and writers. Over the years, we’ve gotten better at it. We regularly hold meetings where we review how articles performed with readers from the week before and discuss why we think that’s so. We brainstorm and pitch new and exciting article ideas to our writer community on a weekly basis. And we build and nurture close relationships with many writers who publish articles for us every month. As an editor, I never would have imagined my biggest responsibility would be community management and relationship building over copy editing and calendar planning. I’m so grateful for this because it’s made being a part of Opensource.com a deeply rewarding experience. In December, we closed out a decade of publishing by reaching a new, all-time record of over 2 million reads and over 1 million readers. For us, this validates and affirms the value we’ve learned to place on relationships with people in a world swirling with metrics and trends. -
Patent-Based Open Science
Maine Law Review Volume 59 Number 2 Symposium: Closing in on Open Science: Article 6 Trends in Intellectual Property & Scientific Research June 2007 Road Map to Revolution? Patent-Based Open Science Lee Petherbridge Follow this and additional works at: https://digitalcommons.mainelaw.maine.edu/mlr Part of the Intellectual Property Law Commons, and the Science and Technology Law Commons Recommended Citation Lee Petherbridge, Road Map to Revolution? Patent-Based Open Science, 59 Me. L. Rev. 339 (2007). Available at: https://digitalcommons.mainelaw.maine.edu/mlr/vol59/iss2/6 This Article is brought to you for free and open access by the Journals at University of Maine School of Law Digital Commons. It has been accepted for inclusion in Maine Law Review by an authorized editor of University of Maine School of Law Digital Commons. For more information, please contact [email protected]. ROAD MAP TO REVOLUTION? PATENT-BASED OPEN SCIENCE Lee Petherbridge, Ph.D I. INTRODUCTION II. A TOPOGRAPHY OF INNOVATION AND LAW IN THE LIFE SCIENCES A. The Industrial Infrastructure: Integrating Public and Private Science B. The Legal Infrastructure: A Proprietary Approach I. The Innovation Suppressive Cost of Monopoly 2. Additional Innovation Suppressive Costs III. A THEORY OF OPEN LIFE SCIENCE A. Open Science B. To Open Science from Open Source I. Addressing Fixed Costs 2. Peer Worker Potential 3. Issues of Modularity and Granularity 4. Subsequent (Mis)appropriation IV. TOWARD A PATENT-BASED OPEN SCIENCE FRAMEWORK A. Establishing a Patent Servitude B. Patent Servitudes in Operation C. Additional Considerations V. CONCLUDING REMARKS HeinOnline -- 59 Me. L. Rev. 339 2007 340 MAINE LAW REVIEW [Vol.