Copyleft

Lecture on Basic copyright and the current enforcement of the law and the negative impact on Artists and Designers.

Copyleft , software livre e Creative Commons: a nova feição dos Direitos Autorais e as Obras Colaborativas Direitos Autorais e as obras colaborativas

Como se sabe, a lei brasileira de direitos autorais, Lei 9.610/98 (doravante designada LDA), é tida pelos especialistas no assunto como uma das mais restritivas de todo o mundo. Ao proibir a cópia integral de obra alheia, condutas que se afiguram corriqueiras no mundo contemporâneo são, a rigor, contrárias à lei. Por exemplo, diante dos termos estritos da LDA, quando uma pessoa adquire um CD numa loja, não pode copiar o conteúdo do CD para seu iPod, o que configura proibição incoerente com o mundo em que vivemos e com as facilidades da tecnologia digital. Dentro de um sistema jurídico que tem a Constituição Federal como filtro interpretativo (como é o nosso caso, no Brasil), é indispensável que as leis infraconstitucionais passem pelas lentes da Constituição. No entanto, nem sempre a reinterpretação das leis infraconstitucionais a partir do prisma constitucional será suficiente para aferir a legitimidade do uso de obras de terceiros, diante dos termos rígidos da LDA. É necessário buscar novos mecanismos para dar segurança jurídica a quem queira se valer de obras alheias. Como exemplo desses mecanismos, podemos mencionar as licenças públicas. O objetivo deste artigo é apresentar soluções que, ainda que incipientes se comparadas à estrutura secular e insatisfatória dos princípios legais do direito autoral vigente, encontram-se já ao alcance de todos e abrangem todos os tipos de obras de arte, indistintamente.

Da invenção à inversão do autor: copyleft, all rights reversed

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Pass the scissors : consumers close in on the fashion industry

The fashion ecosystem is at boiling point as consumers turn up the heat in all areas of the fashion value, trend and supply chain. While traditionally fashion has been a monologue from designer brand to consumer, new technology and the virtual world has given consumers a voice to engage brands in a conversation to express evolving needs, ideas and feedback. Product customisation is no longer innovative. Successful brands are including customers in the design process and holding conversations ‘with’ them to improve product, manufacturing, sales, distribution, marketing and sustainable business practices. Co-creation and crowd sourcing are integral to any successful business model and designers and manufacturers are supplying the technology or tools for these creative, active, participatory ‘prosumers’. With this collaboration however, there arises a worrying trend for fashion professionals. The ‘design it yourself’, ‘indiepreneur’ who with the combination of technology, the internet, excess manufacturing capacity, crowd funding and the idea of sharing the creative integrity of a product (‘copyleft’ not copyright) is challenging the notion that the fashion supply chain is complex. The passive ‘consumer’ no longer exists. Fashion designers now share the stage with ‘amateur’ creators who are disrupting every activity they touch, while being motivated by profit as well as a quest for originality and innovation. This paper examines the effects this ‘consumer’ engagement is having on traditional fashion models and the fashion supply chain. Crowd sourcing, crowd funding, co-creating, design it yourself, global sourcing, the virtual supply chain, social media, online shopping, group buying, consumer to consumer marketing and retail, and branding the ‘individual’ are indicative of the new consumer-driven fashion models. Consumers now drive the fashion industry - from setting trends, through to creating, producing, selling and marketing product. They can turn up the heat at any time _ and any point _ in the fashion supply chain. They are raising the temperature at each and every stage of the chain, decreasing or eliminating the processes involved: decreasing the risk of fashion obsolescence, quantities for manufacture, complexity of distribution and the consumption of product; eliminating certain stages altogether and limiting the brand as custodians of marketing. Some brands are discovering a new ‘enemy’ – the very people they are trying to sell to. Keywords: fashion supply chain, virtual world, consumer, ‘prosumers’, co-creation, fashion designers

Formatting information: A beginner's introduction to typesetting with LATEX

This book originally accompanied a 2-day course on using the LATEX typesetting system. It has been extensively revised and updated and can now be used or self-study or in the classroom. It is aimed at users of Linux, Macintosh, or Microsoft Windows but it can be used with LATEX systems on any platform, including other Unix workstations, mainframes, and even your Personal Digital Assistant (PDA).

Introducción al software libre en general y a los SIG libres en particular

En este documento se analizan los conceptos clave relacionados con el software libre: ¿qué es el software libre? ¿qué es el software propietario? ¿qué es el software gratuito? ¿qué es una licencia copyleft? A continuación se muestra cómo las aplicaciones horizontales libres se desarrollan de forma distinta a las verticales libres, entre las que se encuentran los SIG. Seguidamente se detallan las características de los sistemas SIG, centrándose en los SIG libres. El hecho de ser una aplicación vertical condiciona y explica buena parte de las particularidades de los SIG libres. Estas particularidades se analizan a partir de impresiones de profesionales de los SIG. Todo ello lleva a la conclusión que los SIG libres no pueden depender sólo de una comunidad de desarrolladores y necesitan un respaldo económico importante

Team Quintinlessness: Open source software resource set

INFO2009 Assignment 2 reference list for team "Quintinlessness" - Subject: Open source software

Learning Resource Coursework - Team Sigma

We have created a slideshow on Open Source, and have created a reference list and poster for it.

INFO2009 Group 1 -- Open Source Software Licensing Infographic

An infographic for open source software licensing. This resource can serve as a simple introduction to open source software licensing, and as a reference for future use.

El desarrollo de materiales educativos multimedia y el derecho de autor en la legislación española.

Resumen tomado de la publicación

Controversias en torno al software libre : prácticas y discursos en la docencia universitaria valenciana.

Resumen basado en el de la publicación

Attaching unit costs to Australia`s national survey of mental health and wellbeing

Background: In mental health, policy-makers and planners are increasingly being asked to set priorities. This means that health economists, health services researchers and clinical investigators are being called upon to work together to define and measure costs. Typically, these researchers take available service utilisation data and convert them to costs, using a range of assumptions. There are inefficiencies, as individual groups of researchers frequently repeat essentially similar exercises in achieving this end. There are clearly areas where shared or common investment in the development of statistical software syntax, analytical frameworks and other resources could maximise the use of data.

Aims of the Study: This paper reports on an Australian project in which we calculated unit costs for mental health admissions and community encounters. In reporting on these calculations, our purpose is to make the data and the resources associated with them publicly available to researchers interested in conducting economic analyses, and allow them to copy, distribute and modify them, providing that all copies and modifications are available under the same terms and conditions (i.e., in accordance with the `Copyleft' principle). Within this context, the objectives of the paper are to: (i) introduce the `Copyleft' principle; (ii) provide an overview of the methodology we employed to derive the unit costs; (iii) present the unit costs themselves; and (iv) examine the total and mean costs for a range of single and comorbid conditions, as an example of the kind of question that the unit cost data can be used to address.

Method: We took relevant data from the Australian National Survey of Mental Health and Wellbeing (NSMHWB), and developed a set of unit costs for inpatient and community encounters. We then examined total and mean costs for a range of single and comorbid conditions.

Results: We present the unit costs for mental health admissions and mental health community contacts. Our example, which explored the association between comorbidity and total and mean costs, suggested that comorbidly occurring conditions cost more than conditions which occur on their own.

Discussion: Our unit costs, and the materials associated with them, have been published in a freely available form governed by a provision termed `Copyleft'. They provide a valuable resource for researchers wanting to explore economic questions in mental health.

Implications for Health Policies: Our unit costs provide an important resource to inform economic debate in mental health in Australia, particularly in the area of priority-setting. In the past, such debate has largely been based on opinion. Our unit costs provide the underpinning to strengthen the evidence-base of this debate.

Implications for Further Research: We would encourage other Australian researchers to make use of our unit costs in order to foster comparability across studies. We would also encourage Australian and international researchers to adopt the `Copyleft' principle in equivalent circumstances. Furthermore, we suggest that the provision of `Copyleft'-contingent funding to support the development of enabling resources for researchers should be considered in the planning of future large-scale collaborative survey work, both in Australia and overseas.

Internet e direito autoral: o ciberespaço e as mudanças na distribuição da cultura

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Propriedade intelectual e as indústrias criativas: cultura digital, regulamentação e as licenças públicas

When we think of a transposition from a traditional culture industry to the new coherence of the creative industries, a number of new parallel discussions arises, encircled by the reconfiguration of the value chain of such industries and, not only, but also due to a change on creation coherence of a product whose most valuable input is creativity. Therefore, as a mechanism through which such creativity is valued, the intellectual property becomes one of the key elements of this debate, mainly in a world where the coherence of distribution transcends the physical copies towards the digitization of content. From this initial debate, the present article seeks to weave the main relations between the theme of creative industries and the intellectual property, describing the adversities of a deficient regulation and its consequences on the creative industries production, indicating the existing alternatives and questioning the balance between two forces: the collective and the individual rights.