Paradigm Shift in European Intellectual Property Law? From Microsoft to Linux

"L’auteure Lucie Guibault aborde la question des ""logiciels libres"" dans le cadre des droits d’auteurs et des brevets. Ces logiciels sont des programmes informatiques qui sont gratuitement distribués au public, dont la modification et la redistribution sont fortement encouragées, mais dont la vente ou la commercialisation est découragée ou même carrément prohibée. Ces caractéristiques particulières distinguent les logiciels libres des ""programmes propriétés"" traditionnels, qui se basent sur le principe que le créateur d’un programme en possède les droits de propriété et qu’il est le seul autorisé à le modifier ou le vendre, sous réserve de sa capacité à faire cession de ces droits. Les logiciels libres sont fondés sur une idéologie de coopération, qui promeut la propagation des idées et des connaissances et qui favorise ainsi la création de meilleurs logiciels. L’auteure présente les grandes caractéristiques des trois principales licences de logiciels libres, soit la ""General Public License"", la licence ""Berkeley Software Distribution"" et la ""Mozilla Public License"". Elle soutient que ces logiciels libres et les régimes normatifs qui les encadrent sont à l’origine d’un changement de paradigme au sein des régimes européens et hollandais de protection des droits d’auteurs et des brevets. La première partie de l’article analyse les régimes des droits d’auteur des trois licences de logiciels libres. L’auteure souligne que ces régimes ont été établis en se basant sur la prémisse qu’il n’y a pas de distinction significative entre les créateurs et les utilisateurs de logiciels libres. Les régimes normatifs reflètent cette situation en prévoyant un ensemble de droits et d’obligations pour les utilisateurs dans le cadre de l’utilisation, de la reproduction, de la modification et de la redistribution gratuite des logiciels libres. L’auteur explique comment ces régimes normatifs s’intègrent au sein de la législation européenne et hollandaise, entre autre au niveau du droit de propriété, du droit commercial, du droit des communications et du droit des obligations. L’auteur démontre que, de façon générale, ces régimes normatifs législatifs semblent s’être adéquatement adaptés aux nouvelles réalités posées par les règles de droits d’auteurs des logiciels libres. La seconde partie aborde la problématique du droit des brevets, tel que défini par la législation européenne et hollandaise. La plupart des utilisateurs et créateurs de logiciels libres s’opposent aux régimes de brevets traditionnels, qui limitent l’innovation et les possibilités de développement techniques. L’auteur décrit les différents régimes alternatifs de brevets offerts par les trois licences de logiciels libres. De plus, l’auteur présente l’encadrement légal pour ces nouveaux brevets, tel que défini par les législations européennes et hollandaises. Elle soutient que cet encadrement légal est inadéquat et qu’il n’est pas adapté aux besoins des utilisateurs de logiciels libres.""The author Lucie Guibault analyzes the phenomenon of ""open source"" software and its impact on copyright and patent law. These software are freely distributed on the Internet and their modification and redistribution are encouraged. However, selling or commercializing such software is highly discouraged or even formally prohibited. These specific characteristics characterize ""open source"" software from traditional property software, which are based on the principle that the creator of a program posses every property rights associated to it, is the only one permitted to sell or modify it and has the faculty of alienating these rights. Open source software are founded upon a cooperative ideology, which promotes the free diffusion of ideas and knowledge, thus promoting the creation of better software. The author presents the overall characteristics of the ""General Public License"", the ""Berkeley Software License"" and the ""Mozilla Public License"", which are the three main ‘open source’ software licenses to date. She holds that the normative regime surrounding these licenses is the source of a paradigm shift within European and Dutch copyright and patent law. The first section of the article defines the copyright regimes of the three ""open source"" licenses. The author holds that such regimes have been established on the fundamental notion that the distinction between users and creators of ‘open source’ software has essentially vanished. This reality is reflected in the normative regimes of the licenses by providing users with certain rights and obligations concerning the use, reproduction, modification and free distribution of such software. The author explains how these regimes have been integrated within European and Dutch property, commercial, competition, communication and contract law. Guibault holds that the European and Dutch legislation have successfully adapted to the new challenges posed by copyright rules of ""open source"" software. The second section focuses on the problematic presented by ""open source"" software in the context of European and Dutch patent law. Most ""open source"" software users and creators oppose the traditional patent system, alleging that it is inhibiting innovation and limiting the possibilities of technical development. The author describes the alternative patent regimes proposed by the ‘open source’ licenses and defines their legal framework within European and Dutch legislation. She holds that these laws have yet to adequately adapt to the needs of ""open source"" software users.

Museum ad nauseam ? Des musées dans le labyrinthe postmoderne

En 1956, alors que la France commençait juste à profiter des avantages de la société de consommation, Charles Estienne, critique d’art reconnu et influent, qui défendait les formes les plus avancées de l’art moderne, décida de mettre fin définitivement à sa carrière dans le monde de l’art pour se consacrer à l’écriture de chansons populaires, en particulier pour son ami anarchiste Léo Ferré, et devint rapidement l’incarnation de la chanson à textes française. Pour justifier un changement d’or..

Pour en finir avec la dépression lyrique !

Tel un tsunami critique, une nouvelle vague déferle sur l’histoire de l’art. Il semblerait que l’on finisse par se pencher, avec force et intelligence, sur ces années 1950 si longtemps oubliées, comme frappées par une maladie honteuse. Paris et la France avaient perdu leur hégémonie culturelle, New York s’était emparé de toutes les clefs critiques, au point que des marchands d’art avisés avaient quitté Paris pour faire du négoce en Amérique. Longtemps, les étudiants français en histoire de l’..

Museum ad nauseam? Museums in the post-modern labyrinth

In 1956, as France was just beginning to savor the benefits of a consumer society, Charles Estienne, an influential and popular French art critic who was championing the most advanced forms of modern art, finally decided to give up his career in the art world and devote himself to writing popular songs, in particular for his anarchist friend Léo Ferré, and quickly became the household name of French intellectual songwriting. In order to justify such a radical change, Estienne, who had previo..

Pour en finir avec la dépression lyrique !

Tel un tsunami critique, une nouvelle vague déferle sur l’histoire de l’art. Il semblerait que l’on finisse par se pencher, avec force et intelligence, sur ces années 1950 si longtemps oubliées, comme frappées par une maladie honteuse. Paris et la France avaient perdu leur hégémonie culturelle, New York s’était emparé de toutes les clefs critiques, au point que des marchands d’art avisés avaient quitté Paris pour faire du négoce en Amérique. Longtemps, les étudiants français en histoire de l’..

Respingos na parada modernista: a invasão fracassada da arte abstrata no Brasil, 1947-1948

Tendo como pano de fundo não apenas os acontecimentos mas também os discursos que cercaram a criação do primeiro museu de arte moderna no Brasil, este ensaio pretende analisar as possíveis conexões da formação de um acervo de arte atento às ideias de "moderno" e de "abstrato" com a emergência de uma sociedade urbana no país e com certos interesses de política internacional durante a Guerra Fria.With the backdrop of not only the events but also the rhetoric that surrounded the creation of the first museum of modern art in Brazil, this essay aims to examine possible connections of the formation of an art collection observant of the ideas of "modern" and "abstract" with the emergence of an urban society in the country and certain interests of international politics during the Cold War

Colectivización, participación y disidencia en el eje trasatlántico durante la Guerra Fría: guerrilla cultural para desestabilizar el equilibrio de poder en los años sesenta

This article analyses the role of collectivization and participation and their configuration under the concept of Cultural Guerrilla that implied a socio-political commitment of artists in the 1960s. It discusses how the Cultural Guerrilla was understood by the artists and how it participated in the destabilization of the social (and political) system and in confronting the imperialist policies of the US. It, firstly, focuses on the development processes of a collective and participative action during that decade and its role for confronting the aesthetic model that was fostered by the US within their Cold War cultural politics. Secondly, the text approaches the exchanges of French-based artists and intellectuals with the revolutionary government of Cuba in 1967 during the organization of the Salón de Mayo in Havana, discussing, thirdly, their impact on the artists’ participation during the events of May’68 in Paris.Este artículo analiza el papel que la colectivización y la participación tuvieron en la configuración del concepto de Guerrilla Cultural, el cual implicó el compromiso socio-político del artista en los años sesenta. Se estudia el modo en el que fue entendida dicha Guerrilla Cultural por los artistas y como, a partir de la misma, participaron en la desestabilización del sistema social (y político) y en la confrontación con las políticas imperialistas de los Estados Unidos. En primer lugar, se estudia el desarrollo de los procesos de acción colectiva y participativa durante los años sesenta y su rol en el cuestionamiento del canon estético apoyado por los EEUU en sus políticas culturales durante la Guerra Fría. En segundo lugar, el artículo analiza los intercambios entre artistas e intelectuales residentes en Francia con el gobierno revolucionario cubano en 1967, durante la organización del Salón de Mayo en la Habana, tratando, finalmente, su impacto en los artistas que participaron en las revueltas de Mayo del 68 en París

Provinciality and the Art World: The Midland Group 1961- 1977

This paper takes as its focus the Midland Group Gallery in order to first, make a case for the consideration of the geographies of art galleries. Second, highlight the importance of galleries in the context of cultural geographies of the sixties. Third, discuss the role of provinciality in the operation of art worlds. In so doing it explicates one set of geographies surrounding the gallery – those of the local, regional and international networks that connected to produce art works and art space. It reveals how the interactions between places and practices outside of metropolitan and regional hierarchies provides a more nuanced insight into how art worlds operated during the sixties, a period of growing internationalism of art, and how contested definitions of the provincial played an integral role in this. The paper charts the operations of the Midland Group Gallery and the spaces that it occupied to demonstrate how it was representative of a post-war discourse of provincialism and a corresponding re-evaluation of regional cultural activity

Regional imaginaries of governance agencies: practising the region of South West Britain

publication-status: AcceptedHarvey D C, Hawkins H, Thomas N J, 2011. The definitive, peer-reviewed and edited version of this article is published in Environment and Planning A 43(2) 470 – 486 DOI: 10.1068/a43380Copyright © 2011 PionChanges in government and governmentality in the UK have witnessed what has been termed a ‘regional renaissance’ over the last decade. This has led to an increase in the number of offices, institutions and agencies operating with a regional remit that is based upon a notion of fixed territorial containers. One sector that has increasingly been brought into the orbit of the new regional policy framework is that of the creative industries, and research is required in order to understand how creative industry governance agencies imagine and interpret the regional spaces that they administer. Notwithstanding the supposedly agreed upon and bounded nature of the territories over which they have competence, we find that personnel working within these regional bodies negotiate and imagine regional space in a number of ways. Drawing on empirical work with three creative governance agencies in the South West of Britain, we consider a range of dynamic and sometimes contradictory understandings of regional space as practised through their policy development and implementation. The paper traces how the practice of creative industry governance challenges the governmentally determined region and, by implication, any territorial unit as a naturally given container that is internally coherent and a discrete space available for governance. In doing so, the paper has broader lessons for effective policy delivery more generally

Development of an Alcohol Dehydrogenase Biosensor for Ethanol Determination with Toluidine Blue O Covalently Attached to a Cellulose Acetate Modified Electrode

In this work, a novel voltammetric ethanol biosensor was constructed using alcohol dehydrogenase (ADH). Firstly, alcohol dehydrogenase was immobilized on the surface of a glassy carbon electrode modified by cellulose acetate (CA) bonded to toluidine blue O (TBO). Secondly, the surface was covered by a glutaraldehyde/bovine serum albumin (BSA) cross-linking procedure to provide a new voltammetric sensor for the ethanol determination. In order to fabricate the biosensor, a new electrode matrix containing insoluble Toluidine Blue O (TBO) was obtained from the process, and enzyme/coenzyme was combined on the biosensor surface. The influence of various experimental conditions was examined for the characterization of the optimum analytical performance. The developed biosensor exhibited sensitive and selective determination of ethanol and showed a linear response between 1 × 10−5 M and 4 × 10−4 M ethanol. A detection limit calculated as three times the signal-to-noise ratio was 5.0 × 10−6 M. At the end of the 20th day, the biosensor still retained 50% of its initial activity