Non-Infringing Uses in Digital Sampling: The Role of Fair Use and the de Minimis Threshold in Sample Clearance Reform

In this book excerpt, the authors address the role of two major legal exceptions to copyright protection in the music industry’s practices surrounding digital sampling. Although the United States law on the books requires a balance between the interests of copyright owners and sampling musicians, the business practice has been to mandate licensing in almost every instance. Despite this hurdle to a more balanced approach to sampling, the authors discuss several benefits that might come through doctrinal or statutory reforms, or even through developing best practices for claiming fair use

Copyleft e maremoto

99 p.Libro ElectrónicoSe presentan diferentes artículos con casos relacionados con el derecho y acceso a la infornmación desde diferentes escenarios como lo son el derecho a la lectura, y los derechos de autor como lo son el copyright y el copyleftEl Derecho a la Lectura 9 Richard Stallman Copyright y Maremoto 23 Wu Ming 1 El Copyleft explicado a los niños 35 Wu Ming 1 Copiar, robar, mandar 45 César Rendueles El futuro digital y el pasado analógico 71 Kembrew McLeod Glosario Básico 9

La música y la vanguardia de la expresión popular

Esta es una entrevista a Kembrew McLeod realizada por Juan Pablo Viteri. Kembrew McLeod es profesor de Estudios de Comunicación en la Universidad de Iowa y productor independiente de documentales. Este autor y cineasta prolífico, ha escrito y producido varios libros y documentales que se centran en la música popular, los medios independientes y la ley de derechos de autor

Music and the cutting edge of cultural expression

In this interview, Juan Pablo Viteri speaks with Kembrew McLeod. McLeod is a Professor of Communication Studies at the University of Iowa and an independent documentary producer. A prolific author and filmmaker, he has written and produced several books and documentaries that focus on popular music, independent media and copyright law

Owning culture: Authorship, ownership and intellectual property law

Owning Culture demonstrates how the fabric of social life in most Western countries—and increasingly, the world—is deeply bound up with the logic(s) of intellectual property law. The primary new question that is asked, which provides the focus for this dissertation, is the following. What happens to an area of cultural production that had been previously (relatively) untouched by the sphere of intellectual property law when that area is immersed in these new social relations? To better understand why people resist, adapt, or cease to engage in cultural practices at particular historical moments and in situated social contexts, I use articulation theory to help me identify and map the particular elements at play in the privatization of culture. By primarily focusing on ownership patterns, battles over ownership, and the effects of the corporate ownership of culture, political economists have ignored many interesting questions that are raised when cultural texts become commodified and subject to laws of private ownership. If one looks beyond the political economy of cultural production and shifts the unit of analysis to the location where culture is produced, a whole new set of questions emerge—questions that focus on the way in which intellectual property law affect the day to day lived experiences of cultural producers and consumers