Difference between revisions of "CCi Legal Day Programme 2008"
m (→Future Versioning) |
m |
||
| Line 8: | Line 8: | ||
== “International Porting” == | == “International Porting” == | ||
| − | 9.15-10.45 <br> | + | 9.15-10.45 <br><br> |
Different needs for different regions and stakeholders | Different needs for different regions and stakeholders | ||
* General remarks and peculiarities for Europe -- tba | * General remarks and peculiarities for Europe -- tba | ||
| Line 18: | Line 18: | ||
==Discussion== | ==Discussion== | ||
| − | 11.15-13.00 Regarding international porting: Challenges for different national licenses in the next 5 years | + | 11.15-13.00 <br><br>Regarding international porting: Challenges for different national licenses in the next 5 years |
<br> | <br> | ||
| Line 37: | Line 37: | ||
* Japanese digital TV broadcasting – an example or exemption? Tomoaki Watanabe | * Japanese digital TV broadcasting – an example or exemption? Tomoaki Watanabe | ||
| − | ===Discussion | + | ===Discussion=== |
| − | 16.00-16.30 | + | 16.00-16.30 <br><br> |
| + | Strategies for future versioning | ||
<br> | <br> | ||
| − | '''''16.30-17. | + | '''''16.30-17.00 Tea break''''' |
===Creative Commons licenses in the shade of litigation=== | ===Creative Commons licenses in the shade of litigation=== | ||
| Line 60: | Line 61: | ||
<br> | <br> | ||
| − | '''''Dinner | + | '''''Dinner'''' |
Revision as of 10:14, 29 May 2008
Morning
Contents
Welcome
- Catharina Maracke and Mike Linksvayer- introduction
- What happened since Dubrovnik (new jurisdiction projects / version 3.0 / new protocols)
“International Porting”
9.15-10.45
Different needs for different regions and stakeholders
- General remarks and peculiarities for Europe -- tba
- Peculiarities for Japan “digital copyright” - Prof. Tamura, Hokkaido University
- Moral Rights -- tba
10.45-11.15 Coffee break
Discussion
11.15-13.00
Regarding international porting: Challenges for different national licenses in the next 5 years
13.00-14.30 Lunch
Future Versioning
“International Private Law Clause”
14.30-15.00
- Introduction and proposal – Catharina Maracke
“On licensing of Derivative Works”
15.00-15.30
- How can derivative works be licensed? (Questions for the BY / BY-NC) Jessica Coates
“Parallel distribution clause”
15.30-16.00
- Japanese digital TV broadcasting – an example or exemption? Tomoaki Watanabe
Discussion
16.00-16.30
Strategies for future versioning
16.30-17.00 Tea break
Creative Commons licenses in the shade of litigation
17.00-18.15
- Virgin mobile case and lessons learned – legal aspects
- Discussion
“Non Commercial”
18.15-18.45
- Introduction of CC research study – next steps
- National guidelines: Europe? Asia (Japan?)
- Relevance for Collecting Societies (details about CS; update Dutch pilot etc at Session 3.1 of Open Business track)
CC0 “waiver and universal public domain assertion tools“
18.45-19.30
- Overview – new wording and next steps
- Discussion?
Dinner'
Business Track (separate day)
CC+
Session 2 Session summary: Getting everyone up to speed on the implications, capabilities and parameters of the cc+ protocol - the prime legal mover in terms of this track. (Eric Steuer) >1 hour
Outcome: We are all on the same page with regard to cc+. [edit]
Collecting Societies
Session 3.1 Open business models in the field of music have a strong link to collecting societies. The field is broader than the discussion about collecting societies although, at the moment collecting societies are one of the important players.
This session is a panel discussion around the issues at the intersection between the open music business and collecting societies. There have been some significant changes recently in the collecting societies regime and these will be grappled with in this session.
At least half of the time in the session will be dedicated to open discussion.
The following questions will be addressed:
* What is the role of collecting societies in these business models * What is the role of the new platforms (jamendo, myspace, magnatune etc.) * Are they in a position to replace collecting societies (in the long run)? * What is the role for cc in all of this? (more than a provider of standard licenses?) * Does cc+ make sense for musicians? * How does it interface with collective rights management?
