16,111 research outputs found

    Edible Plagiarism: Reconsidering Recipe Copyright in the Digital Age

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    Sharing recipes through food blogs is an increasingly popular activity. Bloggers publish their own recipes, claiming copyright protection, but they also publish others\u27 recipes. Food publishers who distribute recipes online may be harmed when bloggers include the entire text of the food publisher\u27s recipe on a blog without the publisher\u27s knowledge or permission. The blogger\u27s inclusion of an entire recipe often reduces site traffic to the food publisher\u27s website, thereby damaging advertising revenues. Copyright law, as courts interpret it today, does not provide these publishers with recourse against bloggers who publish their recipes without permission. This Note analyzes the various issues related to the copyrightability of recipes, beginning with the current rule on copyright protection for recipes. The current rule should be changed due to the prevalence of recipe sharing through food blogs. Any such change must comply with the constitutional requirements for copyright law as applied to recipes. In order to demonstrate successful enforcement of recipe copyright, this Note looks to examples of copyright licensing organizations such as the Internet licensing organization, Creative Commons, and the American Society of Composers, Artists and Publishers (ASCAP). Ultimately, this Note proposes that the challenges arising from recipe use on the Internet require a new approach to copyrighting published recipes that includes copyright protection combined with an establishment of an industry licensing the enforcement organization

    The Enigma of Digitized Property A Tribute to John Perry Barlow

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    Compressive Sensing has attracted a lot of attention over the last decade within the areas of applied mathematics, computer science and electrical engineering because of it suggesting that we can sample a signal under the limit that traditional sampling theory provides. By then using dierent recovery algorithms we are able to, theoretically, recover the complete original signal even though we have taken very few samples to begin with. It has been proven that these recovery algorithms work best on signals that are highly compressible, meaning that the signals can have a sparse representation where the majority of the signal elements are close to zero. In this thesis we implement some of these recovery algorithms and investigate how these perform practically on a real video signal consisting of 300 sequential image frames. The video signal will be under sampled, using compressive sensing, and then recovered using two types of strategies, - One where no time correlation between successive frames is assumed, using the classical greedy algorithm Orthogonal Matching Pursuit (OMP) and a more robust, modied OMP called Predictive Orthogonal Matching Pursuit (PrOMP). - One newly developed algorithm, Dynamic Iterative Pursuit (DIP), which assumes and utilizes time correlation between successive frames. We then performance evaluate and compare these two strategies using the Peak Signal to Noise Ratio (PSNR) as a metric. We also provide visual results. Based on investigation of the data in the video signal, using a simple model for the time correlation and transition probabilities between dierent signal coecients in time, the DIP algorithm showed good recovery performance. The main results showed that DIP performed better and better over time and outperformed the PrOMP up to a maximum of 6 dB gain at half of the original sampling rate but performed slightly below the PrOMP in a smaller part of the video sequence where the correlation in time between successive frames in the original video sequence suddenly became weaker.Compressive sensing har blivit mer och mer uppmarksammat under det senaste decenniet inom forskningsomraden sasom tillampad matematik, datavetenskap och elektroteknik. En stor anledning till detta ar att dess teori innebar att det blir mojligt att sampla en signal under gransen som traditionell samplingsteori innebar. Genom att sen anvanda olika aterskapningsalgoritmer ar det anda teoretiskt mojligt att aterskapa den ursprungliga signalen. Det har visats sig att dessaaterskapningsalgoritmer funkar bast pa signaler som ar mycket kompressiva, vilket innebar att dessa signaler kan representeras glest i nagon doman dar merparten av signalens koecienter ar nara 0 i varde. I denna uppsats implementeras vissa av dessaaterskapningsalgoritmer och vi undersoker sedan hur dessa presterar i praktiken pa en riktig videosignal bestaende av 300 sekventiella bilder. Videosignalen kommer att undersamplas med compressive sensing och sen aterskapas genom att anvanda 2 typer av strategier, - En dar ingen tidskorrelation mellan successiva bilder i videosignalen antas genom att anvanda klassiska algoritmer sasom Orthogonal Matching Pursuit (OMP) och en mer robust, modierad OMP : Predictive Orthogonal Matching Pursuit (PrOMP). - En nyligen utvecklad algoritm, Dynamic Iterative Pursuit (DIP), som antar och nyttjar en tidskorrelation mellan successiva bilder i videosignalen. Vi utvarderar och jamfor prestandan i dessa tva olika typer av strategier genom att anvanda Peak Signal to Noise Ratio (PSNR) som jamforelseparameter. Vi ger ocksa visuella resultat fran videosekvensen. Baserat pa undersokning av data i videosignalen visade det sig, genom att anvanda enkla modeller, bade for tidskorrelationen och sannolikhetsfunktioner for vilka koecienter som ar aktiva vid varje tidpunkt, att DIP algoritmen visade battre prestanda an de tva andra tidsoberoende algoritmerna under visa tidsekvenser. Framforallt de sekvenser dar videosignalen inneholl starkare korrelation i tid. Som mest presterade DIP upp till 6 dB battre an OMP och PrOMP

    Music in electronic markets: an empirical study

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    Music plays an important, and sometimes overlooked part in the transformation of communication and distribution channels. With a global market volume exceeding US$40 billion, music is not only one of the primary entertainment goods in its own right. Since music is easily personalized and transmitted, it also permeates many other services across cultural borders, anticipating social and economic trends. This article presents one of the first detailed empirical studies on the impact of internet technologies on a specific industry. Drawing on more than 100 interviews conducted between 1996 and 2000 with multinational and independent music companies in 10 markets, strategies of the major players, current business models, future scenarios and regulatory responses to the online distribution of music files are identified and evaluated. The data suggest that changes in the music industry will indeed be far-reaching, but disintermediation is not the likely outcome

    The relationship between copyright and contract law

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    Contracts lie at the heart of the regulatory system governing the creation and dissemination of cultural products in two respects: (1) The exclusive rights provided by copyright law only turn into financial reward, and thus incentives to creators, through a contract with a third party to exploit protected material. (2) From a user perspective purchases of protected material may take the form of a licensing contract, governing behaviour after the initial transaction. Thus, a review of the relationship between copyright and contract law has to address both supply- and demand-side issues. On the supply side, policy concerns include whether copyright law delivers the often stated aim of securing the financial independence of creators. Particularly acute are the complaints by both creators and producers that they fail to benefit from the exponential increase in the availability of copyright materials on the Internet. On the demand side, the issue of copyright exceptions and their policy justification has become central to a number of reviews and consultations dealing with digital content. Are exceptions based on user needs or market failure? Do exceptions require financial compensation? Can exceptions be contracted out by licence agreements? This report (i) reviews economic theory of contracts, value chains and transaction costs, (ii) identifies a comprehensive range of regulatory options relating to creator and user contracts, using an international comparative approach, (iii) surveys the empirical evidence on the effects of regulatory intervention, and (iv) where no evidence is available, extrapolates predicted effects from theory

    Copyright

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    BECOMING A GLOBALLY COMPETITIVE PLAYER: THE CASE OF THE MUSIC INDUSTRY IN JAMAICA

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    This paper uses the NSI approach to examine the prospects for industrial development in Jamaica, a small middle-income developing country. It argues that the present state of the Jamaican NSI is not adequately developed to provide the necessary support to ensure that one of its key emerging industries – the music sector – becomes competitive on global markets. It suggests various policy options aimed at industrial upgrading and better integration with those markets. The type of applied research presented here is highly original and speaks to a wider audience, as it represents a novel attempt to operationalize the concept of NSI in a developing country context, with particular reference to the music and entertainment sector, which is not traditionally treated in the NSI context. This sector, however, has been selected as one of the leading emerging sectors for the Jamaican economy identified in its national industrial policy.

    The American Assembly: Art, Technology, and Intellectual Property

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    Examines intellectual property issues as the arts sector joins other sectors in the race to deal with an increasingly information-driven economy

    Copyright

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    The purpose of copyright laws is discussed. Copyright is essentially about protecting the autonomy of authors
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