Understanding The Social Impacts Of Copyright

Understanding The Social Impacts Of Copyright

By Zuzana Adamová
Book Description

Each year artists and producers, European Parliament members, Pirates, collecting societies, librarians and lawyers, scientists, politicians and educators from all over the world meet in Warsaw to participate in CopyCamp, the world's biggest international conference on the impact of copyright on the information society. All parties interested in the debate on the current shape of the copyright system discuss the future of law regulating the circulation of cultural goods on the Internet and its influence on society, science, education and art. In 2014 special attention was paid to the perspective of the Visegrad Group countries. The post-conference publication is a subjective selection of some of the most interesting presentations given at the third edition of the CopyCamp conference.

A variety of Polish perspectives along with views from other countries highlight common aims – and restrictions that may create borders in the Internet era. In her piece, Zuzana Adamová explores the role of collective-ma- nagement organizations in Slovakia, while in A Tale of Two Coprights Dimitar Dimitrov indicates how “liquid lobbying” can best utilize communication technologies in our democratic processes. Łukasz Łyczkowski's Copyrights in Social Media shows who remains legally responsible for infringements, and Yngve Slettholm explains a licensing solution he's helped to instigate at the National Library of Norway. Jan Sowa draws conclusions from a survey of Polish writers conducted by Fundacja Korporacja Ha!art, about e-books and copyright issues. Marcin Wilkowski focuses on born-digital heritage preservation, connecting library efforts today with ancient archetypes, Michał “rysiek” Woźniak considers copyleft licensing and Richard Stallman's “four freedoms” for software (and any resources), and finally Jacek Zadrożny reveals the potential that available access technologies have for the broadest, most inclusive use of audiovisual culture – and, of course, the restrictions that copyrights can so readily impose.

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