Your Life Torn Open, essay 1: Sharing is a trap This article was taken from the March 2011 issue of Wired magazine. Be the first to read Wired's articles in print before they're posted online, and get your hands on loads of additional content by subscribing online. The author of The Cult Of The Amateurargues that if we lose our privacy we sacrifice a fundamental part of our humanity. Every so often, when I'm in Amsterdam, I visit the Rijksmuseum to remind myself about the history of privacy. I go there to gaze at a picture called The Woman in Blue Reading a Letter, which was painted by Jan Vermeer in 1663. It is of an unidentified Dutch woman avidly reading a letter. Today, as social media continues radically to transform how we communicate and interact, I can't help thinking with a heavy heart about The Woman in Blue. On this future network, we will all know what everyone is doing all the time. Every so often, when I'm in London, I visit University College to remind myself about the future of privacy.
Music Law 101: What Does Copyright Law Protect? | ReverbNation Blog We are pleased to introduce a new blog series. Music Law 101 will be a recurring bi-weekly series consisting of posts covering a wide variety of legal topics relevant to artists, musicians, songwriters, producers, and others in the music industry. Topics will include information on copyright law, trademark law, the right of publicity, laws relating to agents and managers, and music contract law. With the Music Law 101 series, we intend to break down legal jargon to make the concepts useful to you as you create, perform, and distribute music. We want to help you Protect Your Music and Protect Yourself. Copyright law can be confusing. The most important concept in music copyright law is that each single piece of recorded music involves two distinct rights: The first right protects the underlying musical composition—that is, the specific arrangement and combination of musical notes, chords, rhythm, harmonies, and song lyrics. The Music Law 101 series is provided by Coe W.
U.S. Department of State Freedom of Information Act (FOIA) This site is designed to assist you in making a request for records controlled by the U.S. Department of State. If you would like to request records from another agency, you may wish to view a list of Other Federal Agencies’ FOIA Web Sites . Information Access Guide – if you would like to request Department of State Records, please follow the instructions in our comprehensive guide. Requesting Department of State Records – basic instructions for filing a FOIA request. Electronic FOIA Request – make a FOIA request online. FOIA/Privacy Act Reference Material – laws, regulations, policies, and administrative guidelines relating to information access programs. Electronic Reading Room – records available to the public including final opinions and administrative rulings, administrative staff manuals, and policy guidelines. Publications – reports, statements, and releases on foreign affairs issues, including reports to Congress.
The Internet and Musical Copyright Law The Internet and Musical Copyright Law Yuriko Tada I. Introduction My friend John is the vocalist and songwriter for a rock band that enjoyed modest radio success some years ago. Every three months, John receives a check from BMI, one of three main companies who administer the system of performance royalties. 1 Enclosed with the check is an itemized statement of the air play that each of the band’s registered songs has received, and how much money John received each time. For some musicians, performance royalties are a primary source of income. This paper argues that depriving singers/musicians of performance royalties for broadcasts is an anachronism rooted in the origins of modern American copyright law, and that the original rationales are no longer valid. II. Copyright law in music makes two crucial distinctions. The second important distinction in copyright law is between the performance and reproduction of musical works. III. IV. Again, "My Way" provides a good illustration. A. B.
Code of Best Practices in Fair Use for Academic and Research Libraries - Center for Media and Social Impact Introduction The mission of academic and research librarians is to enable teaching, learning, and research. Along with serving current faculty, researchers, and students (especially graduate students), these librarians also serve the general public, to whom academic and research libraries are often open. Finally, academic and research librarians are committed to faculty, researchers, and students of the future, who depend on the responsible collection, curation, and preservation of materials over time. Copyright law affects the work of academic and research librarians pervasively and in complex ways, because the great bulk of these librarians’ work deals with accessing, storing, exhibiting, or providing access to copyrighted material. In addition to specific exceptions for libraries and educators, academic and research librarians use the important general exemption of fair use to accomplish their mission. How This Document Was Created What This Is What This Isn't Copyright and Fair Use Notes
Copyright and Fair Use :: Topics :: Lumen As mentioned above, it is hard to predict what a court will do when presented with a fair use defense. However, in this case the answer depends in part on your purposes in copying. If you intend to archive the copies, the answer is probably no, while if you intend to use the copies in classroom instruction (without charging for the copies), the use may be fair. In 1994 the Second Circuit Court of Appeals held that it was not a fair use for research scientists at Texaco to photocopy articles from various scientific and technical journals. Further, use of another's work for classroom instruction purposes may be protected under a separate provision of the Copyright Act. Furthermore, the recently enacted "Technology, Education, and Copyright Harmonization Act" -- the TEACH Act -- amends Section 110 to exempt certain uses of copyrighted works in the context of distance education (beyond the context of face-to-face teaching).
Chapter 1 - Circular 92 101. Definitions2 Except as otherwise provided in this title, as used in this title, the following terms and their variant forms mean the following: An “anonymous work” is a work on the copies or phonorecords of which no natural person is identified as author. An “architectural work” is the design of a building as embodied in any tangible medium of expression, including a building, architectural plans, or drawings. “Audiovisual works” are works that consist of a series of related images which are intrinsically intended to be shown by the use of machines or devices such as projectors, viewers, or electronic equipment, together with accompanying sounds, if any, regardless of the nature of the material objects, such as films or tapes, in which the works are embodied The “Berne Convention” is the Convention for the Protection of Literary and Artistic Works, signed at Berne, Switzerland, on September 9, 1886, and all acts, protocols, and revisions thereto.4 (2) the Geneva Phonograms Convention;