The New Hampshire, Vol. 72, No. 26 (Jan. 22, 1982)

The student publication of the University of New Hampshire

China: Rule-taker or Rule-maker in the International Intellectual Property System?

Intellectual property has been a crucial issue for China in the past four decades. Internationally, it was central to China’s fifteen-year negotiation on its accession to the WTO and has been a priority in China-US bilateral relations. Domestically, changes in the regulation and use of intellectual property reflect a larger picture of rapid economic and social transition in China. Initially, China was a rule-taker in intellectual property, experiencing pressure from abroad to do much more on intellectual property. In response, China enacted comprehensive domestic intellectual property laws. From 2001, the Chinese Trademark Office was registering more trademarks than any other office in the world and from 2011, the State Intellectual Property Office of China (SIPO) became the world's largest patent office. Today the Chinese government promotes intellectual property protection in its national strategy of “innovation-driven development” and seeks to transform China into the world’s leading intellectual property power. This thesis focuses on whether the large-scale deployment of intellectual property by China in various markets means that it has become a regulatory power in intellectual property, in the sense of being an agenda setter and source of global influence over IP rules. The UK in the nineteenth century and the US in the twentieth were regulatory IP powers in this sense. China’s regulatory and international influence over IP rules is tracked empirically through case studies on geographical indications (Chapter 3), the disclosure obligation (Chapter 4), and intellectual property and standardization (Chapter 5), along with an examination of China’s international IP engagement at the bilateral level (Chapter 6) and plurilateral and multilateral levels (Chapter 7). This thesis also analyses the roles of sub-state actors and non-state actors in China’s international intellectual property engagement (Chapter 8). This thesis argues that China’s role in international intellectual property regulation is more nuanced and complicated than a binary categorization of “rule-maker” or “rule-taker”. China’s international IP engagement is guided by a group of key principles, specifically the principles of IP instrumentalism and a set of foreign policy principles. These principles have been implemented through a process of modeling, while potential conflicts have been minimized through a strategy of balancing. The effects of modeling are compliance and institutional isomorphism which makes the Chinese IP system similar to those of developed countries. Balancing leads to constructed inconsistency and has led China into keeping a low-profile in international policy debates on intellectual property

The Whitworthian 1958-1959

The Whitworthian student newspaper, September 1958-May 1959.https://digitalcommons.whitworth.edu/whitworthian/1042/thumbnail.jp

Data and the city – accessibility and openness. a cybersalon paper on open data

This paper showcases examples of bottom–up open data and smart city applications and identifies lessons for future such efforts. Examples include Changify, a neighbourhood-based platform for residents, businesses, and companies; Open Sensors, which provides APIs to help businesses, startups, and individuals develop applications for the Internet of Things; and Cybersalon’s Hackney Treasures. a location-based mobile app that uses Wikipedia entries geolocated in Hackney borough to map notable local residents. Other experiments with sensors and open data by Cybersalon members include Ilze Black and Nanda Khaorapapong's The Breather, a "breathing" balloon that uses high-end, sophisticated sensors to make air quality visible; and James Moulding's AirPublic, which measures pollution levels. Based on Cybersalon's experience to date, getting data to the people is difficult, circuitous, and slow, requiring an intricate process of leadership, public relations, and perseverance. Although there are myriad tools and initiatives, there is no one solution for the actual transfer of that data

The best of all worlds: public, personal, and inner realms in the films of Krzysztof Kieslowski.

This thesis is a study of the oeuvre of Krzysztof Kielowski. In particular, I examine claims made by Kielowski and many critics that in the 1980s the director moved away from filming the public world, which had been crucial to his work since he began filming in the late 1960s and became instead primarily concerned with the inner world. Although I agree that Kieslowski increasingly shifted his emphasis to the inner life, I argue that any attempt to abandon the public world in his later films was in fact of more limited scope than his claims suggest and his focus on the inner sphere neither absolute nor lacking in ambivalence. I distinguish between three realms of existence in Kielowski's narratives: the public sphere, namely, public life be it socio-political, economical, or work-related; the personal sphere, consisting of the individual's family and close friends; and the inner sphere, comprising the intimate emotional and mental life of the individual. By extensively examining Kielowski's treatment of these spheres and how they interact with and inform both one another and the films, I aim to demonstrate that the public and personal realms continued play a significant part in the productions of the 1980s and 1990s, regardless of Kielowski's claims otherwise, and result in more complex, multi-layered, and ambiguous narratives than is usually recognised. In distinguishing between the spheres that make up the individual's existence, I discuss the concomitant differences between public and inner realities. I examine the complications and ambiguities that arose from the combined presence of these quite distinct realities in the final works and end by looking at how they influenced Kielowski's decision to abandon fihnmaking in the mid-1990s. My thesis is also a career-survey of Kielowski's oeuvre and; in addition to substantiating my arguments, I simultaneously discuss what I believe to be other interesting and important aspects of Kielowski and his work, including the financing and censorship of his films, his political tendencies, his representation of his male and female characters as well as his distinction between youth and adulthood, his collaborative method; his relationship with his audience, and his critical reception. In doing so I aim to provide a detailed overview of Kielowski's entire career which can stand alone as a self-contained and comprehensive reference work and thus fill the current gap in English-language studies of Kielowski