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The Creation-Public-Internet coalition publishes its proposal framework
by philippe.aigrain＠sopinspace.com July 1, 2009

July 1, 2009

The coalition that brings together the UFC Que Choisir consumer union, La Quadrature du Net, two musicians unions (Union of jazz musicians, SAMUP) adn a collective of movie producers, directors and actors (Pour le cinéma), has released a gframework proposal for collective licensing for peer-to-peer as a basis for discussions within the Assises Création / Internet that it will organize this Autumn. Press release : http://creationpublicinternet.fr/blog/index.php?post/2009/06/30/Communiqu%C… Proposal : http://creationpublicinternet.fr/blog/public/logos/Proposition0609.pdf Coverage : http://www.numerama.com/magazine/13328-Creation-Public-Internet-vers-une-li… Philippe Aigrain

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Il Consiglio di Stato francese della opinione che l'HADOPI2 sarei inconstitutionale come l'HADOPI1
by philippe.aigrain＠sopinspace.com June 30, 2009

June 30, 2009

Articolo in francese. Philippe

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Proposta di Legge contro Net Neutrality in Italia
by Enrico Bertacchini June 29, 2009

June 29, 2009

Forse ne siete già a connoscenza o ne avevamo già parlato, però girando tra le proposte di legge presenti in parlamento mi sono imbattutto in questa che mi sembra interessante tenere d'occhio http://www.camera.it/_dati/leg16/lavori/schedela/apriTelecomando_wai.asp?co… A presto Enrico -- Enrico Bertacchini - Researcher University of Torino - Department of Economics "Cognetti De Martiis" EBLA Center - International Center for Research on the Economics of Culture, Institutions and Creativity NEXA Center for Internet & Society, Politecnico of Torino Via Po 53, 10124 Torino, Italy TEL +390116704982

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Conferenza COMMUNIA 2009 (Torino/Moncalieri, 28-30 giugno)
by J.C. DE MARTIN June 27, 2009

June 27, 2009

Nell'ambito del progetto europeo COMMUNIA [1], la rete tematica sul pubblico dominio digitale finanziata dall'Unione Europea e coordinata dal Centro NEXA su Internet & Società [2], ricordiamo che domenica 28 giugno 2009 ha inizio, presso il Rettorato dell'Università di Torino, via Po 17, la COMMUNIA Conference 2009, un appuntamento internazionale dal titolo: "Global Science & Economics of Knowledge-Sharing Institutions". Maggiori informazioni (programma, organizzatori, sede per lunedì e martedì, ecc.) sono disponibili sul sito di COMMUNIA [3]. Chi fosse interessato a contribuire ai working group COMMUNIA [4] che si riuniranno domenica mattina dalle 9 alle 12.30 presso il Jolly Hotel Ligure (di fronte alla stazione di Porta Nuova), può farlo senza necessariamente iscriversi alla conferenza. Gli interessati contattino direttamente i responsabili [4], o postino un messaggio sulla mailist list communia [5], o vengano direttamente al luogo dell'incontro. [1] http://communia-project.eu/ [2] http://nexa.polito.it [3] http://communia-project.eu/conf2009 [4] http://communia-project.eu/activities [5] https://lists.communia-project.eu/cgi-bin/mailma/listinfo/communia

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NY Times: "Roy Blount: Say Yes to ‘Google Books’"
by J.C. DE MARTIN June 25, 2009

June 25, 2009

http://mediadecoder.blogs.nytimes.com/2009/06/24/roy-blount-say-yes-to-goog… June 24, 2009, 6:10 pm Roy Blount: Say Yes to ‘Google Books’ By Motoko Rich <http://mediadecoder.blogs.nytimes.com/author/motoko-rich/> Google’s settlement with authors and publishers over its scanning of millions of books contained in several university libraries has come under fire recently from critics who argue that Google is effectively creating a monopoly of digital versions of books. The criticism has centered on so-called orphan books <http://www.nytimes.com/2009/04/04/technology/internet/04books.html?scp=2&sq…>, out-of-print books that are still in copyright but for which rights holders cannot be found. On Wednesday, in an open letter to members, Roy Blount <http://www.authorsguild.org/advocacy/articles/roy-blount-on-google-orphans.…>, the president of the Authors Guild, argued that such criticism was unwarranted. “I would generally rather be a dissenter, myself, than not,” he wrote. But, he added: “I can’t see any reason to dissent from the settlement over the matter of orphan books.” These books, he said, are being given an opportunity with the Google settlement — the chance to see the light of day and find readers again. “Google is essentially being accused of cornering the market on the unmarketable,” Mr. Blount, the author of “Longtime Leaving” and “Alphabet Juice.” “To prevent a monopoly of the orphans, the dissenters would undo a wide range of benefits to authors, publishers and readers,” he concluded, appending a list of benefits of the settlement. The Google settlement is currently the subject of a Justice Department inquiry and is also subject to court review.

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Aidro.org: "Creative commons oltre gli usi gratuiti"
by J.C. DE MARTIN June 23, 2009

June 23, 2009

http://www.aidro.org/Paginedettaglio/VIS_News.aspx?IDUNI=op4wzryatlwkyw45k3… Creative commons oltre gli usi gratuiti Le licenze Creative commons consentono a un qualsiasi avente diritto di concedere agli utenti una serie ben specificata di diritti a titolo gratuito, garantendo al tempo stesso il controllo dei diritti morali e la possibilità di limitare l'estensione dell'uso gratuito. Ma come sono gestiti i diritti che vanno oltre quelli "rilasciati" gratuitamente? L'esempio più tipico è quello delle licenze "creative commons non commerciali". Se incontro ad esempio una foto pubblicata in Internet con questo tipo di licenza e voglio sfruttarla commercialmente, cosa debbo fare? Finora lo schema di gestione delle CC non forniva risposte a questa domanda. Oggi le cose si modificano, grazie ad una iniziativa della società di gestione diritti USA CCC-Copyright Clearing Center (con la quale AIDRO collabora attraverso lo scambio di repertori), denominata OZMO, presentata nei giorni scorsi a Madrid durante l'incontro del "Digital Issue Forum" di IFRRO. Qualsiasi produttore di contenuti digitali che utilizza licenze CC plus può creare in modo semplice, tramite un editor web, una propria licenza di utilizzo delle proprie opere non limitata agli usi gratuiti. Per quelli commerciali gli utilizzatori interessati possono acquisire tramite CCC i diritti d'uso, secondo i termini e le condizioni fissate dall'autore, che riceve i redditi derivanti sulla base di rendiconti periodici. Le licenze sono associate ai contenuti tramite un semplice link, analogo a quanto avviene con le licenze CC, così che se incontrano il logo di OZMO a fianco di quello CC gli utenti sono immediamente messi in grado di raggiungere tutte le informazioni necessarie per un riutilizzo anche commerciale del contenuto. L'iniziativa dimostra come le licenze CC ribadiscano l'importanza dei diritti degli autori, in primis e da sempre quelli morali, ma - a partire da questa iniziativa - anche quelli patrimoniali. Se taluno ha giocato sull'inglese copyright per proporre le CC come copyleft, si potrebbe forse dire che con le Creative commons l'author's right, il diritto d'autore, è ribadito come the author is right, l'autore ha ragione, dal momento che mantiene il giusto controllo della propria opera. 08/06/2009

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creato account NEXA su identi.ca
by J.C. DE MARTIN June 22, 2009

June 22, 2009

http://identi.ca/nexacenter Non poteva, infatti, mancare anche un account (sincronizzato con quello di Twitter) su identi.ca, il servizio di microblogging basato su software libero, che offre molti contenuti con licenza CC attribuzione. juan carlos

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creato account NEXA su twitter
by J.C. DE MARTIN June 22, 2009

June 22, 2009

http://twitter.com/nexacenter buona lettura, juan carlos

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New Harvard Business School working paper "File Sharing and Copyright"
by J.C. DE MARTIN June 22, 2009

June 22, 2009

http://www.michaelgeist.ca/content/view/4062/125/ (original paper is at http://www.hbs.edu/research/pdf/09-132.pdf ) Economists Felix Oberholzer-Gee and Koleman Strumpf have just released a new Harvard Business School working paper calledFile Sharing and Copyright that raises some important points about file sharing, copyright, and the net benefits to society. The paper, which includes a helpful survey of the prior economic studies on the impact of file sharing, includes the following: 1. The data indicates that file sharing has not discouraged creativity, as the evidence shows significant increases in cultural production. The authors note that: Overall production figures for the creative industries appear to be consistent with this view that file sharing has not discouraged artists and publishers. While album sales have generally fallen since 2000, the number of albums being created has exploded. In 2000, 35,516 albums were released. Seven years later, 79,695 albums (including 25,159 digital albums) were published (Nielsen SoundScan, 2008). Even if file sharing were the reason that sales have fallen, the new technology does not appear to have exacted a toll on the quantity of music produced. Obviously, it would be nice to adjust output for differences in quality, but we are not aware of any research that has tackled this question. Similar trends can be seen in other creative industries. For example, the worldwide number of feature films produced each year has increased from 3,807 in 2003 to 4,989 in 2007 (Screen Digest, 2004 and 2008). Countries where film piracy is rampant have typically increased production. This is true in South Korea (80 to 124), India (877 to 1164), and China (140 to 402). During this period, U.S. feature film production has increased from 459 feature films in 2003 to 590 in 2007 (MPAA, 2007). Given the increase in artistic production along with the greater public access conclude that "weaker copyright protection, it seems, has benefited society." This is consistent with the authors' view that weaker copyright is "uambiguously desirable if it does not lessen the incentives of artists and entertainment companies to produce new works." 2. The paper takes on several longstanding myths about the economic effects of file sharing, noting that many downloaded songs do not represent a lost sale, some mashups may increase the market for the original work, and the entertainment industry can still steer consumer attention to particular artists (which results in more sales and downloads). 3. The authors' point out that file sharing may not result in reduced incentives to create if the willingness to pay for "complements" increases. They point to rising income from performances or author speaking tours as obvious examples of income that may be enhanced through file sharing. In particular, they focus on a study that concluded that demands for concerts increased due to file sharing and that concert prices have steadily risen during the file sharing era. Moreover, the authors' canvass the literature on the effects of file sharing on music sales, confirming that the "results are decidedly mixed." The authors were one of the first to challenge the early claims about the effects of file sharing. Years later, many other economists have followed suit (including the study funded by Industry Canada). This latest paper does a nice job of expanding the discussion, by using the data to examine incentives for creativity and the effects on aggregate creator and industry income.

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articolo di Deborah De Angelis su licenze collettive estese
by J.C. DE MARTIN June 19, 2009

June 19, 2009

Vi segnalo che sull'ultimo numero di "Viva Verdi" (n. 2, Marzo/Aprile 2009) il magazine ufficiale della SIAE, compare un articolo dell'avv. Deborah De Angelis, che molti di voi conoscono, sul tema delle licenze collettive estese. Il titolo dell'articolo e' "Ecco come tutelare la musica in rete - Internet: una proposta per i compensi dei brani musicali" ed e' disponibile online all'indirizzo: http://www.siae.it/edicola.asp?click_level=0500.0300.0200.0200&link_page=st… L'articolo e' a pag. 76-78, cliccate su "Licenze estese". un caro saluto, juan carlos

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