Difference between revisions of "CCi Legal Day Programme 2008"
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<center><big>'''Draft Programme CCi Legal Day,
<center><big>'''Draft Programme CCi Legal Day, , July 29, 2008 Sapporo''' </big></center>
Revision as of 13:07, 9 July 2008
- 1 Status Quo
- 2 Future Versioning
- 3 Business Track (separate day)
- Catharina Maracke and Mike Linksvayer - Introduction
- What happened since Dubrovnik - New Jurisdiction Projects / Version 3.0 / New Protocols
Different needs for different regions and stakeholders
- General remarks and peculiarities for Europe -- Dr. Lucie Guibault
- Peculiarities for Japan / “digital copyright” - Prof. Tamura (Hokkaido University)
- Moral Rights -- Prof. Susy Frankel (CC New Zealand, Victoria University of Wellington)
11.45-12.00 Coffee break
Regarding international porting: Challenges for different national licenses in the next 5 years
“Private International Law Clause”
- Questions regarding cross border licensing – Catharina Maracke
"CC licenses worldwide"
15.00 – 15.30
- Giorgos Cheliotis, Mike Linksvayer
“On licensing of Derivative Works”
- How can derivative works be licensed? (Questions for the BY / BY-NC) Jessica Coates
“Parallel distribution clause”
- Japanese digital TV broadcasting – an example or exemption? Tomoaki Watanabe
Strategies for future versioning
17.00-17.15 Tea break
- Introduction of research study regarding “non-commercial” – next steps
- National guidelines: Europe? Asia (Japan?)
- Relevance for Collecting Societies (different visions by different user groups)
CC0 “waiver and universal public domain assertion tools“
- Overview – new wording and next steps
Business Track (separate day)
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+. 
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?