November 2011 - nexa - server-nexa.polito.it

Catricalà e la NN
by avv. Monica Alessia Senor Nov. 23, 2011

Nov. 23, 2011

Navigando, mi sono imbattuta in questo articolo del 7 ottobre scorso, lo stesso giorno in cui il Garante europeo pubblicava la sua opinion su NN, traffic management e data protection e in un tempo non sospetto per Catricalà come Ministro http://www.repubblica.it/tecnologia/2010/10/07/news/catricala_contro_la_net_ neutrality-7822466/ Un caro saluto Monica

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Fwd: Berkman Center Webcast live oggi ore 18.30 - The Spanish Revolution & the Internet: From free culture to meta-politics
by Giuseppe Futia Nov. 22, 2011

Nov. 22, 2011

> > * The Spanish Revolution & the Internet: From free culture to > meta-politics > > *http://cyber.law.harvard.edu/events/luncheon/2011/11/morell > * * > Mayo Fuster Morell, Berkman Center Fellow > Today, 6.30 pm > > Webcast live: http://cyber.law.harvard.edu/interactive/webcast > > http://nexa.polito.it/berkman-webcast-live > > In the context of multiple crises – ecological, political, financial and > geopolitical restructuring – there are emerging forms of social cooperation. > > > In the Spanish case, we have seen some of the largest demonstrations since > the country made its transition to democracy in the 70s with massive > occupations of public squares, attempts to prevent parliaments’ functioning > and citizen assemblies of thousands of people taking place in spring and > autumn 2011. Large mobilizations are also taking place in other countries > (such as Arab countries, Iceland, Greece, and more recently the United > States). In the Spanish case, the Free Culture and Digital Commons Movement > played an important role in the rising and shaping of the mobilization. The > campaign against "Sinde Law" (on restrictive Internet regulation) in > December 2010 and its afterworld meta-political derivation into "Don't vote > them" campaign (meaning do not vote for the parties which approved Sinde > law) are considered a starting point and one of the trajectories that most > contributed to the generation of the "Indignate"/15th of May mobilization > cycle for a "True Democracy Now". Additionally, the Free Culture and > Digital Commons Movement has influenced the organizational logic of the > "Indignate" mobilization (particularly in terms of new technologies usage > for the collective achievement of common goals); however, in turn, the > "Indignate" mobilization has also stressed a split between two sectors in > the Free Culture and Digital Commons Movement itself (the performative one > focusing on building commons keeping a political ambivalence and the > campaigning sector aiming to mobilize citizens and intervene in the > institutional politics arena). > > > In sum, Mayo Fuster Morell will first present the role of the Free Culture > and Digital Commons Movement in the genealogy of the "Indignate" Movement > in Spanish State. Then, she will analyze the commonalities and differences > between both emerging forms of social cooperation (contrasting "digital > commons" initiatives such as Wikipedia and "society commons" initiatives > such as Square Occupations) that together suggest a shift to a more active > role of civic society in the network society. > > > The presentation will be based on the results of previous/ongoing > qualitative and quantitative research on the Free Culture and Digital > Commons Movement and the "Indignate" Movement, and develop a political > analysis. > > > > >

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Paper: "Should China Adopt an Extended Licensing System to Facilitate Collective Copyright Administration: Preliminary Thoughts"
by J.C. DE MARTIN Nov. 21, 2011

Nov. 21, 2011

*Should China Adopt an Extended Licensing System to Facilitate Collective Copyright Administration: Preliminary Thoughts* Jia Wang <http://papers.ssrn.com/sol3/cf_dev/AbsByAuth.cfm?per_id=680011> Stellenbosch University July 1, 2010 /European Intellectual Property Review, Vol. 32, No. 6, pp. 283-289, 2010 / http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1633708 *Abstract: * The paper argues that China could adopt an extended collective copyright licensing system similar to the one used in Nordic countries to facilitate collective management. The paper firstly examines the characteristics of three major models of collective administration. It then introduces the development of collective management organizations in China and demonstrates that a pesky problem CMOs face is they are unable to represent copyright holders who are not CMO members. The inability to represent non-members largely renders the CMO system inefficient. To address the problem, the paper recommends China adopt an extended licensing system based on the Nordic model and puts forward suggestions on how to implement such a system. Finally, the paper considers some downsides of the current legal and regulatory framework of the collective administration system and proposes amendments to the Copyright Law of 2001 and the Collective Copyright Management Regulations to address the deficiencies. To improve the CMO system based on the proposed amendments would provide a sound foundation for copyright law to implement an extended licensing system. *Number of Pages in PDF File:* 14 *Keywords:* China, collective societies, copyright *JEL Classifications:* K19 Working Paper Series

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Invito: Conferenze Digital Agenda 2011 - Bologna, Palermo, Roma
by Margot.BEZZI＠ec.europa.eu Nov. 21, 2011

Nov. 21, 2011

> >> <<>Untitled Attachment>>> > > > Commissione europea - Rappresentanza in Italia > > > La Rappresentanza in Italia della Commissione europea, la Presidenza del Consiglio – Dipartimento Digitalizzazione PA e innovazione tecnologica, il Ministero per lo Sviluppo Economico, la Conferenza delle Regioni e l’Anci, promuovono tre incontri sulla Digital Agenda. Le tre iniziative, che avranno luogo a Bologna (21 novembre), Palermo (22 novembre) e Roma (23 novembre), hanno l'obiettivo di coinvolgere i territori nella realizzazione degli obiettivi della Digital Agenda > > L'iniziativa rappresenta inoltre un’occasione di dialogo e scambio di conoscenze e best practices tra istituzioni a diversi livelli di governo, parti economico-sociali, università e centri di ricerca, imprese e i cittadini. Particolari attenzioni sono dedicate alle priorità indicate nell’Agenda Digitale Europea, tra cui il contrasto al digital e al knowledge divide, l’alfabetizzazione digitale, lo sviluppo di reti a banda ultra larga, la promozione dell’e-government e degli open data e gli interventi per la realizzazione delle smart cities. > Contesto > L’Agenda digitale europea, una delle sette flagship di europa 2020, è stata lanciata dalla Commissione europea il 19 maggio 2010 per accelerare la diffusione delle tecnologie dell’informazione e della comunicazione (ICt) e sfruttare i vantaggi del mercato unico digitale per cittadini e imprese. > Al fine di diffondere e analizzare i principali elementi dell’agenda Digitale europea e per allargare le basi di una collaborazione efficace tra tutti gli attori del settore a livello europeo, la Commissione ha organizzato quest’anno una serie di eventi nei singoli stati membri. > Sulla base delle indicazioni fornite dalle autorità italiane e dagli operatori del settore nel corso del seminario organizzato presso la Rappresentanza in Italia a Roma il 5 luglio 2010 e in altre iniziative, si intende rilanciare ora il dibattito in Italia promuovendo tre diversi eventi: a Bologna, a Palermo e a Roma. Il coinvolgimento nella preparazione dei tre appuntamenti di una grande molteplicità di attori, utilizzando anche le tecnologie web 2.0, e la decisione di differenziare geograficamente i temi trattati, permetteranno di ricondurre il dibattito soprattutto alla sua dimensione locale e di affrontare le specifiche problematiche anche a livello territoriale. > Per maggiori informazioni: > Digital Agenda Going Local 2011 <http://ec.europa.eu/information_society/events/cf/daelocal/item-display.cfm…> > > Programma dei tre eventi <http://ec.europa.eu/italia/documents/eventi/digital_agenda_brochure_9-11_1.…> > > NB: Per l'evento di Roma, a seguito delle note vicende istituzionali, il programma è in corso di aggiornamento. Se ne darà ulteriore comunicazione quanto prima > > Contatti: > Bologna: Dimitri tartari, tel. 051 5275481, dtartari(a)regione.emilia-romagna.it > Palermo: www.poat-si.it - info(a)poat-si.it > Roma: Francesca Cigarini, tel. 06 69999266, francesca.cigarini(a)ec.europa.eu; registrazione partecipanti: digitalagenda_goinglocal(a)fonema.it > > > > > >

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Workshop ‘Copyright and Access to Knowledge’ (25.-26.11.2011, Sala Triaria) European University Institute, Firenze
by Angela Daly Nov. 21, 2011

Nov. 21, 2011

* WORKSHOP* *‘Copyright and Access to Knowledge’* ** ** **Ø **The workshop is organised in cooperation with the European University Institute (EUI), the Osservatorio di Proprietà Intellettuale, Concorrenza e Comunicazioni (OPICC), the Libera Università Internazionale degli Studi Sociali Guido Carli (LUISS), and the Istituto di Studi di Diritto Industriale (ISDIR).**** ** ** **Ø **It aims at exploring how to redraw the balance between copyright protection and access, and considering this debate from the perspective of constitutional principles, drawing also from the discourse in patent law.*** * ** ** **Ø **25 – 26 November 2011**** ** ** **Ø **Sala Triaria (Villa Schifanoia)**** ** ** ** ** For registration please send an email to beate.hintzen(a)eui.eu (latest by 23.11.2011).**** ** ** Best wishes,**** ** ** Beate Hintzen**** ** ** ** ** *Beate Hintzen* Project Assistant Department of Law European University Institute Via Boccaccio 121 **** 50133 Florence - Italy**** tel. +39 055 46 85 546 fax +39 055 46 85 200 E-mail: *beate.hintzen(a)eui.eu* www.eui.eu/DepartmentsAndCentres/Law/**** ** ** ** ** * * * * ** **

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Il caso ReDigi: vendita di seconda mano di musica.
by vale.it.newsletters＠gmail.com Nov. 21, 2011

Nov. 21, 2011

http://origin.static.arstechnica.com/2011/11/14/ReDigiRIAA.pdf La RIAA inizia a contrastare un servizio online dedicato a vendere di "seconda mano" tracce digitali online legalmente acquistate dai propri utenti - venditori. Era un possibile scenario già delineato in Free Culture di Lawrence Lessig. V

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Neelie Kroes - intervento al Forum d'Avignone - "Who feeds the artist?" - 19 November 2011
by Andrea Glorioso Nov. 20, 2011

Nov. 20, 2011

Cari tutti, anche se normalmente non amo molto usare la lista NEXA come cassa di risonanza dei comunicati stampa ufficiali della Commissione Europea, penso che in questo caso i partecipanti alla lista possano essere interessati all'intervento di Neelie Kroes, Vice-Presidente della Commissione Europea/Commissaria per l'Agenda Digitale, al Forum di Avignone del 19 November 2011 (e non solo per il riferimento alle licenze collettive estese). Per saperne di piu` sul Forum di Avignone, guardate http://www.forum-avignon.org/. Permettetemi, prima di lasciarvi al testo del discorso di Neelie Kroes, di segnalare un passaggio che penso sia particolarmente significativo: "I see how some European stakeholders see with horror the arrival of Netflix, or the expansion of iTunes. We need to react, not to be paralysed by fear. Let's take chances. As Zygmunt Bauman put it, "the function of culture is not to satisfy existing needs, but to create new ones". So that's my answer: it's not all about copyright. It is certainly important, but we need to stop obsessing about that. The life of an artist is tough: the crisis has made it tougher. Let's get back to basics, and deliver a system of recognition and reward that puts artists and creators at its heart." http://europa.eu/rapid/pressReleasesAction.do?reference=SPEECH%2F11%2F777 Neelie Kroes Vice-President of the European Commission responsible for the Digital Agenda Who feeds the artist ? Forum d'Avignon 19 November 2011, Avignon, France Reference: SPEECH/11/777 Date: 19/11/2011 The creative sector is a unique source for growth, both economic and social. And it's something we do well in Europe. The current winner of the Oscar for Best Picture; the bestselling album in the US this year; 7 out of the last 10 winners of the Nobel Prize for Literature: what do they have in common? They all come from the EU. This is essential to our image abroad, and essential to our economic future. And if we want it to stay this way, we must be able to support those who create art. We must be concerned about the fate of Europe's struggling artists and creators. Art feeds the soul. But who feeds the artist? Often, this debate focuses on copyright, especially enforcing copyright. But this isn't the whole story. For a moment, let's take a step back from the tools, and remember what we are trying to achieve. Legally, we want a well-understood and enforceable framework. Morally, we want dignity, recognition and a stimulating environment for creators. Economically, we want financial reward so that artists can benefit from their hard work and be incentivised to create more. I am an unconditional supporter of these objectives. But let's ask ourselves, is the current copyright system the right and only tool to achieve our objectives? Not really, I'm afraid. We need to keep on fighting against piracy, but legal enforceability is becoming increasingly difficult; the millions of dollars invested trying to enforce copyright have not stemmed piracy. Meanwhile citizens increasingly hear the word copyright and hate what is behind it. Sadly, many see the current system as a tool to punish and withhold, not a tool to recognise and reward. Speaking of economic reward: if that is the aim of our current copyright system, we're failing here too. 1000 euros a month is not much to live off. Often less than the minimum wage. But most artists, and not only the young ones at the early stages of their career, have to do so. Half the fine artists in the UK, half the "professional" authors in Germany, and, I am told, an incredible 97.5% of one of the biggest collecting society's members in Europe, receive less than that paltry payment of 1000 euros a month for their copyright works. Of course, the best-paid in this sector earn a lot, and well done to them. But at the bottom of the pyramid are a whole mass of people who need independent means or a second job just to survive. This is a devastatingly hard way to earn a living. The crisis will only make this worse, as public and private spending on arts, so often seen as discretionary, feels the squeeze. This must be a worry to one of the most valuable and unique sectors in Europe: it is certainly a worry to me. We need to go back to basics and put the artist at the centre, not only of copyright law, but of our whole policy on culture and growth. In times of change, we need creativity, out-of-the-box thinking: creative art to overcome this difficult period and creative business models to monetise the art. And for this we need flexibility in the system, not the straitjacket of a single model. The platforms, channels and business models by which content is produced, distributed and used can be as varied and innovative as the content itself. ICT can help here. In all sorts of sectors, ICT can help artists connect with their audience, directly and cheaply. And it can help audiences find and enjoy material that suits their specific needs, interests and tastes. And ICT can help in other ways too, supporting a system of recognition and reward. A Global Repertoire database to find out what belongs to whom . Tracking technologies, to permit a totally transparent process for artists and intermediaries to find out who is looking at what artwork when and to distribute revenues accordingly. Digitisation, to make artworks available for instant transmission to distant fans. Look at Cloud computing: it presents a totally new way of purchasing, delivering and consuming cultural works - music, books, films - which will certainly raise new questions about how licensing should function in an optimal way. It's not just about technology: smart legislation can help, too. We need to find the right rules, the right model to feed art, and feed artists. We need the legal framework to be flexible. This is my recipe, my commandment, my bumper-sticker to nurture creation. The digital world changes quickly, and if allowed to do so can permit creativity in all stages of the chain. So we shouldn't prescribe a particular model, but set a framework allowing many new models to flourish. In particular, we should make it as easy as possible to license, not obstruct that process while making sure that the system efficiently secures the interests of artists themselves. This is what we are doing at the Commission with our future legislative proposal on collective rights management. But as I said, it's not only about copyright legislation. Take tax, for example. Isn't it just common-sense to think that eBooks should benefit from the same reduced VAT rates as physical books? The legal regime – the EU's own, I admit – makes it illegal to do that. Not just discouraged, but illegal. Personally, I find this very difficult to explain. Thankfully, my colleague Algirdas Semeta is preparing a new strategy on VAT. This subject will certainly be debated. Another example is the audiovisual industry. I know how important "windowing" is for the industry under current business models and I don't want to take decisions for the business, it's not my job. As new ways of watching films develop in the market, binding legislation dictating the sequence and period of release windows seems inflexible – and may make it harder, not easier, to provide and purchase content legally. A system of rewarding art, in all its dimensions, must be flexible and adaptable enough to cope with these new environments. Or else we will kill innovation and damage artists' interests. These are just a few examples of rigid legislation from the pre-digital era. There are many new ideas out there – ideas, for example, like extended collective licensing as practised in Scandinavia, or other ideas that seek to both legitimise and monetise certain uses of works. Are these ideas the right ones to achieve our goals? I don't know. But too often we can't even try them out because of some old set of rules made for a different age – whether it is the Berne Convention, the legislation exceptions and limitations on the VAT Directive or some other current law. So new ideas which could benefit artists are killed before they can show their merit, dead on arrival. This needs to change. I can't set out for you now what the model should be and indeed it's not the kind of model that should be developed from the centre. Rather we need to create a framework in which a model – or indeed several models – can develop organically, flexibly, in ways that support artists. I see how some European stakeholders see with horror the arrival of Netflix, or the expansion of iTunes. We need to react, not to be paralysed by fear. Let's take chances. As Zygmunt Bauman put it, "the function of culture is not to satisfy existing needs, but to create new ones". So that's my answer: it's not all about copyright. It is certainly important, but we need to stop obsessing about that. The life of an artist is tough: the crisis has made it tougher. Let's get back to basics, and deliver a system of recognition and reward that puts artists and creators at its heart. Let's not wait for a financial crisis in the creative sector to happen to finally adopt the right tools to tackle it. Thank you." Ciao, Andrea -- I speak only for myself. Sometimes I do not even agree with myself. Keep it in mind. Twitter: @andreaglorioso Facebook: https://www.facebook.com/andrea.glorioso LinkedIn: http://www.linkedin.com/profile/view?id=1749288&trk=tab_pro

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Re: [nexa] Contents of nexa digest Opposition to SOPA
by Giuseppe Vaciago Nov. 20, 2011

Nov. 20, 2011

Probabilmente lo conoscerete già, ma ho trovato questo documento estremamente interessante. http://politechbot.com/docs/sopa.law.professor.letter.111511.pdf Il giorno 19/nov/2011, alle ore 12.00, nexa-request(a)server-nexa.polito.it ha scritto: > Send nexa mailing list submissions to > nexa(a)server-nexa.polito.it > > To subscribe or unsubscribe via the World Wide Web, visit > https://server-nexa.polito.it/cgi-bin/mailman/listinfo/nexa > or, via email, send a message with subject or body 'help' to > nexa-request(a)server-nexa.polito.it > > You can reach the person managing the list at > nexa-owner(a)server-nexa.polito.it > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of nexa digest..." > > > Today's Topics: > > 1. Paper on the WIPO Proposed Instrument (Luca Valente) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Fri, 18 Nov 2011 16:30:25 +0100 > From: Luca Valente <luca.valens(a)gmail.com> > Subject: [nexa] Paper on the WIPO Proposed Instrument > To: nexa(a)server-nexa.polito.it > Message-ID: > <CAPudM5YfL8vsc2=ut6S7W+qxSybpgfM+mDb1ZhnLQPdVB2KRMQ(a)mail.gmail.com> > Content-Type: text/plain; charset="iso-8859-1" > > FYI, > > Luca Valente > > ____ > > > Please circulate the important message below about the choice of > international instrument which is to be decided at WIPO's Standing > Committee on copyright next week as the outcome of the decision, whether > to make it a binding Treaty or a non-binding Recommendation, will have > significantly different outcomes for the print disabled reading community > around the world. > > You may have seen that the Information Society Project at Yale Law School > have produced a paper entitled "Addressing the Proposed WIPO International > Instrument on Limitations and Exceptions for Persons with Print > Disabilities: Recommendation or Mandatory Treaty?" > > The paper is now up on the Yale ISP website of working papers:/ > http://www.law.yale.edu/intellectuallife/6564.htm > > Their in-depth analysis shows that the options of soft law and a Two Step > Approach (first soft law followed by a possible Treaty as still favoured > by USA, Mexico, EU) are both technically inappropriate and totally > inadequate as a solution to the challenge of removing copyright as an > unreasonable or discriminatory barrier to accessible formats for print > disabled readers. The full paper provides lots of material for the > negotiations at WIPO next week and is well worth reading in full. > > > Your thoughts on this timely piece of academic research would be > interesting as we make our final preparations. > > > Please also encourage your networks to blog and tweet this for us. > > With kind regards, > > > Christopher Friend > > WBU Strategic Objective Leader - Accessibility Chair WBU Global Right to > Read Campaign > > Programme Development Advisor > > Sightsavers > > T: +44 1444 446663; M: +44 7919 552 170 >

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Discorso di Neelie Kroes al Forum di Avignone
by Marco Pancini Nov. 20, 2011

Nov. 20, 2011

Vi consiglio la lettura di questo bel discorso di Neelie Kroes al Forum di Avignone: http://europa.eu/rapid/pressReleasesAction.do?reference=SPEECH%2F11%2F777 'it's not all about copyright. It is certainly important, but we need to stop obsessing about that. The life of an artist is tough: the crisis has made it tougher. Let's get back to basics, and deliver a system of recognition and reward that puts artists and creators at its heart.' Buona domenica. marco -- Marco Pancini | Senior Policy Counsel | pancini(a)google.com | +32.28948492 +32.473531203 This email may be confidential or privileged. If you received this communication by mistake, please don't forward it to anyone else, please erase all copies and attachments, and please let me know that it went to the wrong person. Thanks.

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Paper on the WIPO Proposed Instrument
by Luca Valente Nov. 18, 2011

Nov. 18, 2011

FYI, Luca Valente ____ Please circulate the important message below about the choice of international instrument which is to be decided at WIPO's Standing Committee on copyright next week as the outcome of the decision, whether to make it a binding Treaty or a non-binding Recommendation, will have significantly different outcomes for the print disabled reading community around the world. You may have seen that the Information Society Project at Yale Law School have produced a paper entitled "Addressing the Proposed WIPO International Instrument on Limitations and Exceptions for Persons with Print Disabilities: Recommendation or Mandatory Treaty?" The paper is now up on the Yale ISP website of working papers:/ http://www.law.yale.edu/intellectuallife/6564.htm Their in-depth analysis shows that the options of soft law and a Two Step Approach (first soft law followed by a possible Treaty as still favoured by USA, Mexico, EU) are both technically inappropriate and totally inadequate as a solution to the challenge of removing copyright as an unreasonable or discriminatory barrier to accessible formats for print disabled readers. The full paper provides lots of material for the negotiations at WIPO next week and is well worth reading in full. Your thoughts on this timely piece of academic research would be interesting as we make our final preparations. Please also encourage your networks to blog and tweet this for us. With kind regards, Christopher Friend WBU Strategic Objective Leader - Accessibility Chair WBU Global Right to Read Campaign Programme Development Advisor Sightsavers T: +44 1444 446663; M: +44 7919 552 170

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