Legal isues pertaining to the restoration and reconstitution of manuscripts, sheet music, paintings and films for marketing purposes

Torremans, Paul

doi:10.4337/9781848440210.00006

Cited by 3 publications

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“…57 As could be expected, they predominantly found intrinsic motivations 58 , as fun (enjoyment/pleasure), ideology (of openness), values (related to altruistic and humanitarian concerns for others) being key for contribution. Extrinsic motivations such as reputation, reciprocity and self-development (improvement of skills and knowledge) were among those positively correlating with sharing behaviour, but usually to a lesser extent than the intrinsic ones.…”

Section: Wikipedian's Relationship With Workmentioning

confidence: 88%

“…The motivation that comes with the presence of community itself, like recognition, reciprocity, and wish to improve one's knowledge about a certain subject also play an important role, but perhaps not as important as in, for instance, Open Source communities. 59 Creative autonomy or rewards in order to be able to continue creative work seemingly do not have significant presence in the relationship Wikipedians have with their 57 work. The predominance of intrinsic rather than extrinsic motivations, on the other hand, still draws focus to value for autonomy and appreciation for personal beliefs, choices and decisions.…”

Section: Wikipedian's Relationship With Workmentioning

confidence: 99%

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On Author, Copyright and Originality: Does the Unified EU Originality Standard Correspond to the Digital Reality in Wikipedia?

Lukoseviciene

2017

MUJLT

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This article is contributing to the future of copyright law debate by exploring the recently harmonised originality standard in the EU copyright law and its suitability to a creative sharing community of Wikipedia. It shows that the “free creative choices” and “author’s personal” touch criteria established by the CJEU might be unsuitable not only because of practical concerns, but also because the understanding of “author” they are based on does not match the understanding possessed by Wikipedia community. The concepts of author (or rather author and Wikipedian) are compared through three key elements: author’s relationship with work, author’s relationship with others and presumptions about author’s personality and creative process.

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Section: Wikipedian's Relationship With Workmentioning

confidence: 88%

Section: Wikipedian's Relationship With Workmentioning

confidence: 99%

On Author, Copyright and Originality: Does the Unified EU Originality Standard Correspond to the Digital Reality in Wikipedia?

Lukoseviciene

2017

MUJLT

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Framing Texts and Images: Critical and Posthumous Editions in the Digital Single Market

Sappa,

Widła

2023

IIC

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Although Art. 14 of the Directive on Copyright in the Digital Single Market (CDSM Directive) was introduced mostly to deal with issues connected with non-original photographs of public domain works, it also impacts the protection of posthumous and critical editions. Whenever a work of visual art that belongs in the public domain becomes the object of an edition, Art. 14 CDSM Directive excludes its protection under neighbouring rights. In the case of complex works, embedding original contributions belonging to different genres, Art. 14 CDSM Directive applies only if visual elements are predominant in the given work and as long as it is not possible to exploit the work of visual art without using other contributions embedded in the complex work. At the same time, Art. 14 CDSM Directive indirectly confirms that an edition may be protected by copyright if it is original. The particularly low threshold of originality required makes the presence of copyright quite common in three-dimensional and two-dimensional reproductions of works in the public domain that can qualify as editions. Then, with reference to textual works, the limits of originality are challenged: although there is little doubt that the person preparing a critical edition faces choices, they may not necessarily be free and creative. Editorial interference with the text can be compared to findings made by historians during their research and, as such, remain unprotected by copyright. Such an edition may still be protected within the regime of the neighbouring right in those few member states that decided to implement it. Eventually, as is the case nowadays with many aspects of human activity, the future of IP protection of various editions will become murkier due to the advent of new artificial intelligence technologies. For example, models are already being developed to automate the arduous and difficult process of transcription of manuscripts, as well as to ensure appropriate restoration of works of visual art. In particular, the further rapid development of artificial intelligence may cause the neighbouring rights in editions to become at least partially obsolete if the process of preparation of editions becomes devoid of human input. And this would have an impact on the copyright presence as well.

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Creative Process as Labor

Menger

2021

The Oxford Handbook of the Creative Process in Music

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This chapter synthesizes a large body of sociological research dedicated to artistic creation as a labor-intensive activity. Questioning the nineteenth-century expressivist ideal of self-actualization, contemporary ontologies—whether defined by artists, scholars, or various professional assessors—function within two opposing regimes: elite egalitarianism and competing differentiation. Adopting a processual perspective, the chapter first turns to creation as a sequence of choices and tests realized under strict uncertainty of results, with an extreme discrepancy between accumulated efforts and reputational as well as monetary outcomes. Second, the chapter follows the downstream production of aesthetic value, turning to scores and performances and the reallocation of creative roles they rest upon. Third, the chapter sketches a genealogy of finishedness, from Romantic idealization to modern relativization, with a special focus on the completion of uncompleted works. Finally, the chapter outlines several caveats regarding the study of the creative process and their consequence for the sociology of labor, work, and innovation.

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Legal isues pertaining to the restoration and reconstitution of manuscripts, sheet music, paintings and films for marketing purposes

Cited by 3 publications

References 0 publications

On Author, Copyright and Originality: Does the Unified EU Originality Standard Correspond to the Digital Reality in Wikipedia?

On Author, Copyright and Originality: Does the Unified EU Originality Standard Correspond to the Digital Reality in Wikipedia?

Framing Texts and Images: Critical and Posthumous Editions in the Digital Single Market

Creative Process as Labor

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