GE

toc =Atelier DICE Genève= Workshop "Le droit d’auteur dans le contexte de l’enseignement" 11 novembre 2010 9 - 16 h. Uni-Mail, salle R290 le matin et S160 l'après-midi. Informations et programme: http://elearning.unige.ch/DICE.html Flyer: http://elearning.unige.ch/DICE/workshopDICE.pdf =Présentation OA CC= Cette présentation de l'Open Access (Libre Accès) et des licences Creative Commons les situera dans leur tradition historique et en présentera les caractéristiques principales.

Diapositives
Ces diapositives sont sous une licence Creative Commons http://creativecommons.org/licenses/by-nc-sa/2.5/ch/. Pour les versions précédentes des diapositives, cf. la version http://cc4dice.wikispaces.com/page/diff/GE/181180729 de cette page (1290520737) =Enregistrement=
 * [|OA_CC_geneve_2010_11_11_C.odp] (2.1 MB)
 * [|OA_CC_geneve_2010_11_11_C.pdf] (396 Kb)

Diaporama
Diapositives [|OA_CC_geneve_2010_11_11_C.pdf] synchronisées avec l'audio en http://www.myplick.com/view/aGfOw72SPAR :

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Audio
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 * Libre Accès: [|GE_OA_edited.mp3]
 * Creative Commons [|GE_CC_edited.mp3]
 * Questions, fin [|GE_OA_CC_edited_fin.mp3]

=Autres=

Lichôdmapwa v ASBL Festival de théâtre de Spa
Jugement du Tribunal de première instance de Nivellles, 26 octobre 2010: > ...Les six demandeurs sont des artistes qui ont formé un groupe de musique dénommé Lichôdmapwa et ont composé en 2004 un album contenant le titre Aabatchouk, morceau de 3 minutes 20. > L’album est placé sur le site internet www.dogmazic.net et ce sous licence Creative Commons 2.5 qui permet une utilisation publique de la musique moyennant le respect de trois conditions précises. > Les demandeurs ne sont pas affiliés à la société collective Sabam. > La défenderesse est une ASBL qui organise le Festival de théâtre de Spa et a, dans le cadre de la promotion commerciale de la saison 2008, choisi le morceau Aabatchouk comme musique de fond de sa publicité. > Cette publicité a été diffusée sur Vivacité, La Première et Antipode et ce pour un total de 415 passages de 20 secondes. > Les demandeurs ont entendu le spot publicitaire par hasard et ont pris contact avec une employée de la défenderesse afin de tenter de trouver une solution amiable qui puisse régler cette situation préjudiciable. > Des négociations furent engagées mais à défaut d’accord, citation fut lancée. ...

Document du jugement et transcription en Nivelles CC. Questions pour une étude de cas basée sur ce jugement: sous Music dans Cases.

Lessig: Discours inaugural à l'OMPI
Version sous-titrée en anglais (et partiellement en italien), avec transcription interactive: http://universalsubtitles.org/videos/wonQe0wrTNal/, à partir de http://www.youtube.com/watch?v=6AT02dOSbxc. Description de la version originale: > 4 November 2010, Geneva: Keynote at WIPO "Facilitating Access to Culture in the Digital Age" Meeting. A bunch here is familiar, though I refine a bit the idea of ecologies of culture, and press for WIPO to launch a "blue skies" commission to frame a sensible framework for copyright in the digital age. Comments welcome at comments@lessig.org.

Citation (depuis 35:14): > The existing system of copyright could never work in the digital architecture of the internet. Either it will force people to stop creating, or it will force a revolution. And both options, in my view, are not acceptable. > We, especially here, need to recognize, there is a growing copyright abolitionist movement out there. People who believe that copyright might have been a good idea for other centuries, it makes no sense in the modern era. > I am against abolitionism. In this sense, I feel more like Gorbachov than I feel like Yeltsin, I feel like an old communist who's just trying to preserve this system in a new era. And I wage this war against these two extremisms. Because both extremisms are going to lead to the destruction of the core value of copyright. > Now if and only if, in my view, WIPO leads in this debate, will we have the chance to avoid these extremisms. Now most people around the world don't care about preserving copyright. > So one last plea, if you are in that camp, not likely if you're here, but one last plea: we all need to recognize we're not going to kill these technologies. We can only criminalize them. > We're not going to stop our kids from being creative in a way that I at least was not creative as I grew up in the last century, we can only drive their creativity underground. > We're not going to make the passive. We can only make the pirates. And the question we have to ask is whether that is good for free societies. > In America, kids live in an age of prohibition. All sorts of activities in their lives are technically against the law, and they live life against the law. But that way of living life is corrosive and corrupting of the rule of law in a democracy. > This entity needs to lead the copyright system out of that regime of corrupting law violations. And I urge, after 15 years that we at least start that process now.

Doctorow: What do we want copyright to do?
Voir http://www.guardian.co.uk/technology/2010/nov/23/copyright-digital-rights-cory-doctorow. Citation: > A recurring question in discussions of digital copyright is how creators and their investors (that is, labels, movie studios, publishers, etc) will earn a living in the digital era. But though I've had that question posed to me thousands of times, no one has ever said which creators and which investors are to earn a living, and what constitutes "a living". > Copyright is in tremendous flux at the moment; governments all over the world are considering what their copyright systems should look like in the 21st century, and it's probably a good idea to nail down what we want copyright to do. Otherwise the question "Is copyright working?" becomes as meaningless as "How long is a piece of string?"