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Auswahl der wissenschaftlichen Literatur zum Thema „Copyright based industries“
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Zeitschriftenartikel zum Thema "Copyright based industries"
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Nikzad, Rashid. „Evaluation of Productivity in the Canadian Copyright-based Industries“. Athens Journal of Business & Economics 9, Nr. 3 (29.06.2023): 273–84. http://dx.doi.org/10.30958/ajbe.9-3-2.
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Copyright industries are an important part of the economy, accounting for five to over ten percent of the GDP of certain economies. Studies suggest that the copyright sector has grown faster than the entire economy in most countries. However, the author’s earlier study found that Canada’s core copyright-based industries accounted for a smaller share of the economy when compared to those industries in the United States and Europe. This paper examines the factors behind the slower growth of copyright-based industries in Canada. In particular, the paper estimates the growth of the main economic indicators of the core copyright-based industries of Canada and compares them with those of the rest of the economy and with those of the copyright-based industries in the United States. The study also explores the impacts of factors such as exports, foreign direct investment, and information and communication technologies on the productivity of the copyright-based industries. Generalized Method of Moments (GMM) and System GMM methods are used to estimate the models. The study suggests that there is a significant gap between Canada and the United States in terms of value added, employment, investment, and labor productivity growth of core copyright-based industries.
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Samad, Ghulam, Vaqar Ahmed und Rauf Khalid. „Economic Contribution of Copyright-based Industries in Pakistan“. Pakistan Development Review 57, Nr. 1 (01.03.2018): 99–114. http://dx.doi.org/10.30541/v57i1pp.99-114.
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The copyright-based industries contribute substantially to the national economy in the form of value addition, tax revenues, trade and employment. This study highlights both the core and non-core copyright-based industries in Pakistan. With the technical guidance of World Intellectual Property Organisation (WIPO) and National Institute of Cultural Studies (NICS), we conducted the first ever survey of the copyright-based industries in Pakistan. The estimates of contribution to GDP, tax revenues, trade and employment were also validated through focus group discussions and key informant interviews. Our findings reveal that copyright-based industries contributed Rs 136 billion to GDP (on 1999-2000 base year prices of Pakistan Bureau of Statistics). These industries also contributed Rs 18 billion to the government in indirect taxes. On the trade side, the exports of these industries totalled $ 943 million and imports amounted to $2130 million in 2007-08. In terms of job creation one of the core sub-sectors i.e. electronic media employed around 47,000 persons by the end of 2011. JEL Classification: 034, F10, E24 Keywords: Copyright, Economic Growth, Trade and Employment
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Nikzad, Rashid, und Raphael Solomon. „The value of copyright-based industries in Canada“. Creative Industries Journal 12, Nr. 2 (04.05.2019): 204–28. http://dx.doi.org/10.1080/17510694.2019.1610589.
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Zhu, Zhiwei. „Research on the Effect of Copyright system on the Development of Creative Industries“. Frontiers in Business, Economics and Management 9, Nr. 1 (19.05.2023): 155–58. http://dx.doi.org/10.54097/fbem.v9i1.8589.
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Based on its property attribute and incentive function, copyright is often regarded as the organizing principle of creative industries. This paper believes that the positive effect of copyright system on creative industry is limited, and there are negative effects of copyright on creative industry such as monopoly, high cost and negative incentives. Copyright may be not the primary factor for the development of creative industries, and the empirical research on the relationship between copyright and creative industries needs to be further studied.
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Vasiu, Ioana, und Lucian Vasiu. „Criminal Enforcement of Copyright as an Important Safeguard for Economic and Security Interests“. European Journal of Sustainable Development 8, Nr. 3 (01.10.2019): 228. http://dx.doi.org/10.14207/ejsd.2019.v8n3p228.
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Copyright industries represent an important part of the developed economies. The effective protection of copyright fulfills an important role in the advancement of innovation and economic development. However, in the digital economy, the protection of copyrighted works poses numerous and very difficult challenges. The protected works usually targeted by criminals are computer programs, motion pictures, video games, and musical compositions. The estimated or actual harm to copyright owners can amount to billions of dollars. Moreover, these offenses are sometimes perpetrated in connection with other crimes, such as conspiracy to commit racketeering or money laundering. This paper argues that criminal enforcement of copyright can be an important safeguard of economic and information security interests. The paper discusses essential aspects regarding the criminal protection of copyright in the United States. Based on a theoretically-informed, yet empirically-driven approach, which takes into account a large corpus of data, consisting mostly of cases brought to courts of law, the paper discusses the main aspects of the phenomenon. Finally, the paper proposes a number of measures that would improve the protection copyrighted works. Keywords: Copyright, Economic Development, Cybercrime, Infringement, Security, Loss
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Novira, Elyana, Prima Resi Putri und Briggs Samuel Mawunyo Nutakor. „The Characteristics of Song Copyright in Bank Debt Guarantees“. Jurnal Dinamika Hukum 23, Nr. 3 (30.09.2023): 482. http://dx.doi.org/10.20884/1.jdh.2023.23.3.3701.
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By focusing on the Indonesian context and based on Law Number 28 of 2014 concerning Copyright, this study analyzes the characteristics of copyright to songs as assets that can be pledged as collateral, as well as the impacts and implications of copyright utilization in the financial sector and creative industries. The results of the research show that copyright has the potential to be used as collateral in debt transactions at banks. Factors such as the economic value of the work, exclusive control, legal protection, and regular income allow copyright to be used as collateral. Copyright law regulates the process of guaranteeing, utilizing, and executing copyright as security. The use of copyright as collateral has a positive impact on the financial sector and the creative industry. Diversification of bank portfolios, easier access to finance for creative industry players, as well as increased innovation and creativity are the identified impacts. However, there are also challenges, such as complex copyright value assessments and potential conflicts of interest between rights owners and financial institutions.
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Selman, Brianne, Brian Fauteux und Andrew DeWaard. „From Copyright Cartels to Commons and Care: A Public Infrastructure Model for Canadian Music Communities“. Partnership: The Canadian Journal of Library and Information Practice and Research 17, Nr. 1 (05.08.2022): 1–23. http://dx.doi.org/10.21083/partnership.v17i1.6706.
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Using research on the political economy of the music industries, interviews with independent musicians about their lived experiences, and the authors' experience participating in government copyright consultations in Canada, this article discusses how the market power of major music companies, and their capture of the policy-making process through lobbying, has made copyright reform an extremely limited avenue for remedying the variety of hardships facing musicians in the streaming media era. Against the continued consolidation and concentration of power within the music industries, we explore a case study of Edmonton Public Library’s Capital City Records as an alternative model that may inspire further initiatives that advocate for artists and users. We conclude by discussing a commons-based, public infrastructure and governance model that could serve as a tool to circumvent uneven power dynamics in the music industries, facilitate stronger music communities, and provide sustainable livelihoods for working musicians in Canada.
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Jensen, Jake. „Hollywood Blackout“. Texas A&M Journal of Property Law 3, Nr. 2 (März 2016): 147–72. http://dx.doi.org/10.37419/jpl.v3.i2.3.
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This Article will focus on particular emerging copyright laws and their effect on the film industry. Section II will begin with a brief overview of the film industry as well as a brief discussion of the reasons people watch films. The Section will then proceed with a discussion on the importance of filming locations, as well as how the industry has changed in its perception of filming locations. Section III will detail what the current copyright law is, as well as exceptions the courts have used in determining copyright infringement. Section IV will then describe the Freedom of Panorama laws that many countries have enacted to help filmmakers and other industries avoid copyright infringement. The Section will also detail the new copyright laws discussed around the world in addition to what these new laws mean for Hollywood and independent filmmakers. Finally, Section V will propose a solution to these new copyright laws that will be equally beneficial to both the copyright owners and the film industry. The solution calls for a heightened and more descriptive de minimis requirement that creates a more element-based approach as opposed to the factorbased approach used now.
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Parry, Glenn, Oscar F. Bustinza und Ferran Vendrell-Herrero. „Copyright and creation: repositioning the argument“. Strategic Direction 30, Nr. 3 (04.02.2014): 32–35. http://dx.doi.org/10.1108/sd-11-2013-0092.
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Purpose – This paper highlights the challenges and key arguments for digital copyright protection legislation for creative industries. Design/methodology/approach – This briefing is prepared by independent academics who place the arguments in context based upon literature and market data. Findings – Many of the arguments used against copyright protection laws draw upon flawed analysis. Artistic creators should be treated fairly and their work should be afforded the same protection as other property. Practical implications – Digital legislation warrants review, but not for the frequently cited reasons of “stifling innovation” or “restriction” of others using the work. Rather, artists need better protection for their work and fairer treatment with regards their property rights. Originality/value – The paper provides context and practical insights into the data used to influence policy decision makers, providing a stronger case for legislative review.
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Zerov, Kostiantyn. „Intellectual property in the field of information and communication technologies“. Theory and Practice of Intellectual Property, Nr. 5 (17.11.2021): 32–41. http://dx.doi.org/10.33731/52021.244516.
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Keywords: IT, computer program, copyright, creative industry
The article discusses the main issues regarding IP-protection in the sphere of information (information and communication) technologies — one of thelargest creative industries in Ukraine. Development and capitalization of informationtechnologies are impossible without proper legal protection of intellectual propertybecause the basis of the creative industry is the creation of creative products — goodsand services created/provided by cultural (artistic) and/or creative expression andhave high added value and are objects of intellectual property rights, which determinesthe relevance of this study.It is noted that basic types of economic activity that belong to the creative industriesare defined at the resolution of the Cabinet of Ministers of Ukraine and areaimed at creating and distributing intellectual property rights to already createdcopies (or copies) of software. It is assumed that the tax legislation of Ukraine stipulatesthat certain business transactions for the “publication” of software must be carriedout based on contracts for the supply of software and not based on contracts forthe transfer of intellectual property rights.A brief description of copyright objects in the field of information technology andthe possibilities of their legal protection, namely a computer program, databases, andwebsite, is given. It is noted that the website may combine different intellectual propertyrights.The issue of intellectual property rights distribution on the object created in connectionwith the implementation of the employment agreement (contract) and on theobject created by the order is investigated. It is concluded that the law of Ukraine.“On Stimulating the Development of the Digital Economy in Ukraine” eliminated theconflict between the Civil Code of Ukraine and the Law of Ukraine “On Copyright andRelated Rights” on the distribution of property copyrights on official works. The currentapproach to the distribution of economic copyright rights is harmonized with Europeanstandards.
Dissertationen zum Thema "Copyright based industries"
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Chakraborty, Avishek. „Copyright infringement in hindi and bengali film industry in India: A critical study of the role of indian law enforcement mechanism“. Thesis, University of North Bengal, 2017. http://ir.nbu.ac.in/handle/123456789/2691.
Der volle Inhalt der QuelleBücher zum Thema "Copyright based industries"
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Richard, Crawford. Lender's guide to the knowledge-based economy: Featuring risk grid analysis. New York: AMACOM, 1996.
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National Studies on Assessing the Economic Contibution of the Copyright-based Industries (Creative Industries Series). World Intellectual Property, 2006.
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National studies on assessing the economic contribution of the copyright-based industries [recurso electrónico]. World Intellectual Property Organization, 2008.
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Lenders Guide to the Knowledge-Based Economy: Featuring Risk Grid Analysis. Amacom Books, 1995.
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Karapapa, Stavroula. Defences to Copyright Infringement. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198795636.001.0001.
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Defences to copyright infringement have gained increased significance over the past twenty years. The fourth industrial revolution emerged with the development of innovative copy-reliant services and business models, transforming the way in which copyright works can be used, from digital learning methods to mass digitization initiatives, media monitoring services, image transformation tools, and content mining technologies. The lawfulness of such innovative services and business methods, which arguably have the potential to enhance public welfare, is dubious and challenges copyright law. EU copyright contains specifically enumerated, narrowly drafted, and strictly interpreted defensive rules, often taking the form of the so-called exceptions and limitations to copyright. Because the fourth industrial revolution promises innovation and business growth—stated objectives of EU copyright—it invites an examination of defensive rules as a whole. The book adopts a holistic approach in its exploration of the limits of permissibility under EU copyright, including legislatively mentioned exceptions and limitations, doctrinal principles, and rules external to copyright, with a view to unveiling possible gaps and overlaps, offering a novel classification of defensive rules, and evaluating the adaptability of the law towards technological change. Discussing recent legislative developments, such as the provisions of the Digital Single Market Directive, Court of Justice of the European Union case law, and insights from national laws and cases, the book tells the story of copyright from the perspective of copyright defences, offering positivist and normative insights into law and doctrine and arguing towards a principle-based understanding of the scope of defences that could inform future law and policy making.
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Singh, Harbir, Ananth Padmanabhan und Ezekiel J. Emanuel, Hrsg. India as a Pioneer of Innovation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199476084.001.0001.
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What does innovation mean to and in India? What are the predominant areas of innovation for India, and under what situations do they succeed or fail? This book addresses these all-important questions arising within diverse Indian contexts: informal economy, low-cost settings, large business groups, entertainment and copyright-based industries, an evolving pharma sector, a poorly organized and appallingly underfunded public health system, social enterprises for the urban poor, and innovations for the millions. It explores the issues that promote and those that hinder the country’s rise as an innovation leader. The book’s balanced perspective on India’s promises and failings makes it a valuable addition for those who believe that India’s future banks heavily on its ability to leapfrog using innovation, as well as those sceptical of the Indian state’s belief in the potential of private enterprise and innovation. It also provides critical insights on innovation in general, the most important of which being the highly context-specific, context-driven character of the innovation project.
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Calboli, Irene, und Martin Senftleben, Hrsg. The Protection of Non-Traditional Trademarks. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826576.001.0001.
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During the last decades, non-traditional marks have found their way into trademark registers worldwide. Against this background, the time has come to take stock. Which law and practice has evolved with regard to these marks? How do trademark offices and courts address the wide variety of issues—ranging from legal-doctrinal to competition-based and cultural concerns—that are raised by the inclusion of non-traditional marks in the trademark system? Which positions have evolved in the debate on the continuous expansion of the domain of trademark protection? Which repercussions does this expansion have on other branches of intellectual property protection and the intellectual property system as a whole? Offering a fresh, critical, and interdisciplinary analysis of the questions raised by the acceptance of non-traditional marks, this book provides an insightful academic—and at the same time practical—legal and economic review of the topic. Office and court decisions from different countries and regions serve as a starting point for a comparison of existing approaches to non-traditional marks. Providing a comprehensive overview of the status quo in different jurisdictions, the essays in this book offer a cutting-edge discussion of legal problems and solutions in the field of non-traditional marks. The analysis, however, goes far beyond specific questions of trademark law and practice. It places the issue in the broader context of fundamental rights, in particular freedom of competition and freedom of expression, and explores the impact on other fields of intellectual property, such as patent, copyright, and industrial designs law.
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Meades, Alan. Arcade Britannia. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/12420.001.0001.
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The story of the British amusement arcade from the 1800s to the present. Amusement arcades are an important part of British culture, yet discussions of them tend to be based on American models. Alan Meades, who spent his childhood happily playing in British seaside arcades, presents the history of the arcade from its origins in traveling fairs of the 1800s to the present. Drawing on firsthand accounts of industry members and archival sources, including rare photographs and trade publications, he tells the story of the first arcades, the people who made the machines, the rise of video games, and the legislative and economic challenges spurred by public fears of moral decline. Arcade Britannia highlights the differences between British and North American arcades, especially in terms of the complex relationship between gambling and amusements. He also underlines Britain's role in introducing coin-operated technologies into Europe, as well as the industry's close links to America and, especially, Japan. He shows how the British arcade is a product of centuries of public play, gambling, entrepreneurship, and mechanization. Examining the arcade's history through technological, social, cultural, biographic, and legislative perspectives, he describes a pendulum shift between control and liberalization, as well as the continued efforts of concerned moralists to limit and regulate public play. Finally, he recounts the impact on the industry of legislative challenges that included vicious taxation, questions of whether copyright law applied to video-game code, and the peculiar moment when every arcade game in Britain was considered a cinema.
Buchteile zum Thema "Copyright based industries"
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Netanel, Neil Weinstock. „Copyright in the International Arena“. In Copyright. Oxford University Press, 2018. http://dx.doi.org/10.1093/wentk/9780199941148.003.0007.
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Copyright markets are global in scope. U.S.-based copyright industries (some of which are multinational conglomerates) earn a significant share of their revenues from exports. Social media also transcend national borders. So do notorious file-sharing sites like Pirate Bay. United States copyright industries complain bitterly that...
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Harabi, Najib. „Copyright-based industries in Arab countries“. In Routledge Studies in Contemporary Political Economy, 193–212. Routledge, 2007. http://dx.doi.org/10.4324/9780203086704.ch8.
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Bollier, David. „Intellectual Property in the Digital Age“. In Key Issues in the Arts and Entertainment Industry. Goodfellow Publishers, 2011. http://dx.doi.org/10.23912/978-1-906884-20-8-1442.
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Once a backwater of law that elicited little interest beyond arts and entertainment industries and their lawyers, over the past generation, copyright law has become a major arena of social and political conflict. Many clashes amount to tactical skirmishes among companies for competitive advantage — a long and familiar dynamicin copyright law. But much of the turmoil revolves around a deeper issue: what legal principles and social norms should be used to promote new creativity, especially when the Internet and other digital technologies are involved? Many Internet users, academics, software programmers, artists and citizens criticise the expansion of copyright law and its enforcement as an obnoxious limitation on their basic freedoms. Content industries, for their part (with significant exceptions among large Internet-based companies like Google) tend to regard expansive copyright protection and enforcement as indispensable for sustaining creativity itself. This chapter describes the profound shifts that copyright law has undergone over the past 20 years as digital technologies have disrupted mass media markets and changed people’s stake in copyright law. As we saw in Chapter 2, the 20th century business models for media industries treated people as passive audiences, whose chief role was to ‘consume’ works made by professionals and sold in the marketplace. This changed with the arrival of the Internet. Telecommunications and digital technologies have enabled ordinary people to become prolific creators in their own right. The ‘people formerly known as the audience’, in Jay Rosen’s memorable phrase (Rosen, 2006), have become bloggers, musicians, remix artists, video producers, website curators, hackers, academic collaborators, and much else. Ordinary people can generate, copy, modify and share works with a global public without having to deal with commercial content intermediaries such as publishers, record labels or studios.
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Schultz, Robert A. „Copyright and Piracy“. In Contemporary Issues in Ethics and Information Technology, 119–32. IGI Global, 2006. http://dx.doi.org/10.4018/978-1-59140-779-9.ch009.
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As I noted in Chapter II, information technology’s basic feature of easy reproduction of digital information gives rise both to new benefits and to new ethical problems. Easy reproduction allows new—and sometimes unwelcome—ways of sharing material previously much harder to copy, such as digitized music and movies. Napster, based on the brilliant and revolutionary idea of distributed storage on millions of machines with no centralized profit-taking, was defeated by centralized profit-takers. Of course, there was also an issue of copyright violation. Currently, movie and music companies are aggressively pursuing digital copyright violators. The response of the record and movie companies might have been different. The earlier technological advances of cassette audiotapes and VCRs facilitated copying music and video but did not elicit a wave of court cases against consumers. After an initial attempt to block any copying, the recording and movie industries realized that amateur copying was actually promoting sales. However, since the inception of Napster, music CD sales have gone down significantly. It is an open question whether copying or poor music quality is more responsible. Music commentators state that current industry producers have strong incentives to promote mediocre music in familiar genres.1 An accompanying issue is control of channels of distribution to reduce competition against mediocre music.2 In fact, much of what these companies now treat as piracy had always been considered “fair use” in other areas.3
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Hagen, Anja Nylund. „Musikkforlagets rolle i den digitale musikkbransjen“. In Musikerne, bransjen og samfunnet, 173–98. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.160.ch7.
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Music publishing has always been key in the music industries. The profession has changed over time, but the concept remains the same: to generate added value based on creative and administrative management of musical copyright. When music circulates in streaming services and online platforms, rightsholders are faced with complex copyright issues of a global character. At the same time, the value of copyrighted material and existing catalogues is expected to grow. The digital shift in music production and distribution, has therefore created new opportunities for the publishing sector, aligning the label of the music industry as a “copyright industry”. However, music publishing in Norway is poorly developed and little documented, which creates a good starting point for research. Based on 16 qualitative interviews with Norwegian music publishers and industry actors, this chapter offers insight into current publishing practices. In facilitating co-writing sessions and camps, a professional approach to songwriting as a craft is revealed. The key is to get songwriters together, as topliners, artists and producers, to write music in commercial and creative collaborations. These practices involve a specific understanding of “how to build songwriters” involving long-term perspectives, global networks and “accessing the right rooms”. Despite the fact that new actors are challenging the field, high levels of skill and autonomy are documented. The chapter addresses a continued need to strengthen the publishing sector in Norway so that, over time, it may have an impact on the development of already acknowledged songwriter and production environments, and the music industry understood as a “songwriting industry”.
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„Copyright“. In Sustainable Industrial Processes Based on Microalgae, iv. Elsevier, 2024. http://dx.doi.org/10.1016/b978-0-443-19213-5.00017-0.
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„Copyright“. In The Multi-Dimensions of Industrial Relations in the Asian Knowledge-Based Economies, iv. Elsevier, 2010. http://dx.doi.org/10.1016/b978-1-84334-264-9.50011-8.
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Ricketson, Sam, und Uma Suthersanen. „The Design/Copyright Overlap: Is There a Resolution?“ In Overlapping Intellectual Property Rights, 213–60. 2. Aufl. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192844477.003.0008.
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Abstract This chapter covers the overlap and differences between the laws of copyright and design. It elaborates on design laws, which reflect the design spectrum of a wide range of activities that has grown with the developments in mechanically based production technology. The Berne Convention for the Protection of Literary and Artistic Works, the Paris Convention for the Protection of Industrial Property, and the Trade-Related Intellectual Property Rights (TRIPS) Agreement address the complexity of intellectual property law and design law. The chapter then looks into the national and international regulations concerning cumulative protection and other variations of non-cumulative protection. It also considers the jurisprudential analysis of the national and regional copyright or design interface.
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Tako, Fiona, und Jona Marashi. „Artificial intelligence and copyright“. In Human Rights - From reality to the virtual world, 124–34. Publisher House WSGE Alcide De Gasperi University of Euroregional Economy ul. Sienkiewicza 4 05-410 Józefów, 2021. http://dx.doi.org/10.13166/wsge//bvlf4208.
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In this new era of the fourth industrial revolution that we are living in here, we are increasingly aware of the immense possibilities and potential of technological development that lie ahead and of the increasingly important role that artificial intelligence is assuming in the scientific field but also and especially in the daily life of all of us. Today, artificial intelligence affects almost all aspects of life: science, culture, art and law. Surely it has improved, from different points of view, each of these areas, but, at the same time, since this evolution is fast and unstoppable, it has highlighted the gaps that the legal system presents in these sectors. Jurisprudence is making a huge effort to keep pace with technological evolution but despite this, questions that need answers, possibly as soon as possible, often arise. Thus, in the field of artificial intelligence, an interesting combination under the legal aspect is that between works of art or intellectual property and legislation, with particular regard to copyright. In fact, creativity, both scientific and artistic, has always been considered as exclusively belonging to the human being, to man, as it was believed that only he was capable of original and autonomous intellectual creation. Almost in all of the existing legal systems, this is precisely the principle underlying the legislation concerning copyright: all creative intellectual works that belong to science, literature, music, figurative arts, architecture, theater and cinema, regardless of the way or form of expression, are protected and safeguarded. The prerequisite for recognizing copyright, also admitted by jurisprudence, is the causal link between creativity and personality, considering that the work reflects the personality of its author. The issue presents difficulties, however, when it is a machine or a robot to carry out a certain work of genius in one of the aforementioned fields. How can the legislator, whether Italian, Albanian, European or international, regulate this new legal reality linked to a work created by artificial intelligence? To whom do the authorship and the rights of economic use of the work belong in this case? Can we talk in this case of a moral right? What is the most suitable type of protection that can be given to such works and through what methods, given that all the legal rules on the subject presuppose human creative activity? Basically, in the case of the creation of a particular work by an artificial intelligence, can robots have intellectual property rights? Can they have liability towards third parties? In this article we will try to shed some light and give some answers to these questions imposed by the reality we are living in, based on the current legal framework in the field of copyright, the considerations of the doctrine and also the analysis of certain concrete cases such as that of the “Portrait of Edmond Bellamy”, a portrait made entirely by an AI and sold for $ 432,500, and that of the selfie made by a macaque monkey with the camera of photographer David Slater.
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Ellis, George, und Jens Ohno Krah. „Observer-Based Resolver Conversion in Industrial Servo Systems11Presented at PCIM 2001 Conference, Nuremberg, Germany, June 19–21, 2001. Copyright ZM Communications. Reprinted by permission.“ In Observers in Control Systems, 217–26. Elsevier, 2002. http://dx.doi.org/10.1016/b978-012237472-2/50011-0.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Copyright based industries"
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Wiggen, Frode, Maren Justnes und Sindre Espeland. „Risk Based Management of Corrosion Under Insulation“. In SPE International Oilfield Corrosion Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205040-ms.
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Abstract Risk Based Management of Corrosion Under Insulation, DNVGL-RP-G109© Corrosion Under Insulation (CUI) is a major challenge for different process industries. Today it is managed in many ways, ranging from full removal of insulation to minimal maintenance including some inspection with insufficient non-destructive testing. These two extremes exhibit a lack of understanding and a lack of systematic approach in managing the CUI risk, globally. The paper will describe the results from a recent (2017-2019) CUI Joint Industry Project (JIP) where the oil and gas industry in the North Sea area has established a methodology for managing the CUI threat. In this context managing the CUI threat involves risk assessment, risk mitigation, risk update and experience transfer in a systematic manner. The methodology assesses four CUI barriers: material, coating, water wetting and design. DNV GL has made this methodology available for the industry in DNVGL-RP-G109 "Risk Based Management of Corrosion Under Insulation" Copyright © DNV AS. 2019 All rights reserved. (1) issued in December 2019. The Recommended Practice is issued alongside a cloud-based web application, the "CUI Manager" Copyright © DNV AS. 2020 All rights reserved. (2) that ease and supports the implementation of the work process described in the RP. This web application can be aligned with individual company specific requirements, as well as solely rely on the DNV GL RP methodology, or use a combination of the two.
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Majdúchová, Helena, und Peter Štetka. „Share of Intellectual Property Rights on Innovation Activities in Creative Industries in Slovak and Czech Republic“. In Sustainable Business Development Perspectives 2022. Brno: Masaryk University Press, 2022. http://dx.doi.org/10.5817/cz.muni.p280-0197-2022-15.
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The aim of this paper is to identify specific problems of intellectual property rights protection in creative industries and to identify the current state of this protection in the Slovak and Czech Republic. The results presented in this paper are based on the official statistics of the Czech and Slovak Statistical Offices, which conduct two-year cycles of surveys of innovative activities of companies. In June 2020 data for 2016-2018 were published. A harmonized Eurostat model questionnaire was used for data collection by all EU countries, thus ensuring comparability of the data gathered. These results are interpreted with the ambition to suggest appropriate solutions. The proposed paper is also reflecting the current state of digitalization and digital transformation currently identified in creative industries and is raising relevant questions, such as: How can intellectual property rights be enforced in the digital environment to prevent infringements of intellectual property rights and to limit the legitimate use of copyright exceptions? How to find a balance between strong IPR protection and the ability of businesses to exploit the creative potential of the knowledge economy? How can consumer and competitor rights be transferred from analogue to digital context? Do we need new categories of intellectual property rights? Can we create a system of rights that ensures that the scope and duration of rights do not create obstacles to the expansion of creativity?
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Zhao Yuan. „The handwriting identification of copyright owners based on fractal features“. In 2009 International Conference on Industrial Mechatronics and Automation (ICIMA 2009). IEEE, 2009. http://dx.doi.org/10.1109/icima.2009.5156614.
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Liu Quan und Liu Hong. „A new architecture for digital copyright protection system based on mobile agent“. In 2008 3rd IEEE Conference on Industrial Electronics and Applications (ICIEA). IEEE, 2008. http://dx.doi.org/10.1109/iciea.2008.4582865.
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Muziol, Robert, Christine Crites, Darryl Pole und Palak Parikh. „IEC 61850-Based Advanced Bus Transfer Scheme For Industrial Substations: Copyright Material IEEE Paper No. PCIC-(do not insert number)“. In 2022 IEEE IAS Pulp and Paper Industry Conference (PPIC). IEEE, 2022. http://dx.doi.org/10.1109/ppic52995.2022.9888926.
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