Copyright: Intellectual Property: Find Books

Offering practical tools and ideas to combat academic plagiarism, this text outlines the scope of the problem and the role of the Internet in facilitating plagiarism, as well as describing types of intentional and unintentional plagiarism.

Hinduja examines the social, psychological, criminological, and behavioral aspects of Internet crime. Guided by the most prominent general theories of criminal behavior, he explores music piracy - an all too-common form of cybercrime - by attempting to answer a number of questions. Does stress and strain play a role? What about low self-control? Is music piracy learned within intimate social groups? Do rationalizations and justifications contribute to participation? Is the behavior strengthened or weakened through rewards and punishments? Hinduja then proposes a model which integrates both "social" and "technical" factors to inform and guide strategies to combat music piracy, and potentially other variants of high-tech crime.

Is music property? Under what circumstances can music be stolen? Such questions lie at the heart of Joanna Demers's timely look at how overzealous intellectual property (IP) litigation both stifles and stimulates musical creativity. A musicologist, industry consultant, and musician, Demers dissects works that have brought IP issues into the mainstream culture, such as DJ Danger Mouse's "Grey Album" and Mike Batt's homage-gone-wrong to John Cage's silent composition "4'33." Demers also discusses such artists as Ice Cube, DJ Spooky, and John Oswald, whose creativity is sparked by their defiant circumvention of licensing and copyright issues. Demers is concerned about the fate of transformative appropriation--the creative process by which artists and composers borrow from, and respond to, other musical works. In the United States, only two elements of music are eligible for copyright protection: the master recording and the composition (lyrics and melody) itself. Harmony, rhythm, timbre, and other qualities that make a piece distinctive are virtually unregulated. This two-tiered system had long facilitated transformative appropriation while prohibiting blatant forms of theft. The advent of digital file sharing and the specter of global piracy changed everything, says Demers. Now, record labels and publishers are broadening the scope of IP "infringement" to include allusive borrowing in all forms: sampling, celebrity impersonation--even Girl Scout campfire sing-alongs. Paying exorbitant licensing fees or risking even harsher penalties for unauthorized borrowing have become the only options for some musicians. Others, however, creatively sidestep not only the law but also the very infrastructure of the music industry. Moving easily between techno and classical, between corporate boardrooms and basement recording studios, Demers gives us new ways to look at the tension between IP law, musical meaning and appropriation, and artistic freedom.

In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.

Learn how to educate defensively and avoid accidents In this updated version of Technology and Copyright Law, the authors expand on new developments in the world of copyright, including those in the areas of legislation and case law. Special chapters provide information on the law's enablement for those who work with the blind and physically handicapped, and the use of copyrighted materials in distance education. Divided into four parts, this valuable resource covers topics that include: existing law - what was it's intention, how it developed, where it's going; guidance for making copyright decisions in day-to-day situations; electronic classroom and international copyright agreements; glossary of important terms and phrases and mandated words; lists of exclusive rights of copyright holders, as well as limitations on those rights; and, the TEACH Act and its implications for libraries and classrooms.

In her new book, seasoned copyright expert Butler turns her attention to one of the complex arenas in the world of copyright and intellectual freedom: the unique environment of higher education. This practical handbook will show students training to become college and university librarians how to make informed decisions regarding the use and availability of print, non-print, and online resources. Based on Butler's 17 years of experience conducting copyright workshops and courses, her book matches real-world scenarios with interpretations of the law from copyright experts in the field to provide a thorough understanding of current, everyday applications of copyright law in higher education. Beginning with a solid grounding in the underlying principles of copyright law, such as fair use, public domain, permissions, plagiarism, documentation and licenses, Creative Commons, Open Source (OS), and Open Access (OS), Butler moves on to specific applications of copyright law, including: Internet resources such as blogs/vlogs, podcasts, wikis, social networking tools, and more DVDs, television, and streaming and on-demand video Computer and gaming software, handheld applications, and mobile technologies CDs, music, and audio Multimedia and print works Butler explains fair use, public domain, documentation and licenses, permissions, creation and ownership, violations and penalties, international copyright law, and avoiding copyright problems as they relate to each of these formats. A separate chapter covers the use of each format in distance learning, as well as how the Digital Millennium Copyright Act (DMCA) and the Technology, Education, and Copyright Harmonization (TEACH) Act relate to and affect the many aspects of distance education. A clear and comprehensive textbook for copyright courses, this book features figures and decision flowcharts throughout that make the concepts presented easy to follow and understand. Appendices feature pertinent sections of U.S. copyright law and a helpful glossary of terms.