scholarly journals Creative industries and the IPR dilemma between appropriation and creation: some insights from the videogame and music industries

2010 ◽  
Vol 14 (3) ◽  
pp. 59-72 ◽  
Author(s):  
Laurent Bach1 ◽  
Patrick Cohendet2 ◽  
Julien Pénin3 ◽  
Laurent Simon4
Keyword(s):  
Intellectual Property ◽  
Video Games ◽  
Property Rights ◽  
Open Source ◽  
Intellectual Property Rights ◽  
Creative Industries ◽  
Creative Work ◽  
Creative Commons ◽  
Strategic Role ◽  
Collective Process

Intellectual property rights (IPR) play a strategic role in creative industries. Defined as a collective process, creativity involves actors with contradictory IPR needs. This leads to an “IPR dilemna”. Firms are looking into appropriating creative work and prevent imitation; whereas creative communities need a weak IPR to combine past work and generate novelty. It becomes problematic for individuals to find themselves between these two. As a result, actors are developing specific IPR arrangements (e.g. open source and creative commons practices) to preserve the balance between appropriation and openness allowing creation. Two creative industries are used as illustrations: music and video-games.

IP/IPR as a Market Object

2019 ◽  
pp. 27-49
Author(s):  
Barbara Townley ◽  
Philip Roscoe ◽  
Nicola Searle
Keyword(s):  
Nineteenth Century ◽  
Intellectual Property ◽  
Property Rights ◽  
Intellectual Property Rights ◽  
Creative Industries ◽  
Creative Economy ◽  
Creative Work ◽  
Artistic Creation ◽  
Collective Processes

The creative economy is driven by the transfer of property; tradable property is the ‘product’ of the creative industries. The chapter explores how intellectual property (IP)/intellectual property rights (IPR) function to constitute creative work as a market object that can be disentangled and sold. The chapter deals first with the performative role of law in constructing market objects. We examine how law, with its focus on authorship and originality, embodies a particular conception of solitary artistic creation, inherited from nineteenth-century Romantic aesthetics; at the same time, the law also mandates property rights as a means of constituting a market object, and these property rights necessitate a creator to whom they can attach. Both aspects seem highly artificial in view of the collaborative and collective processes that produce creative work and it becomes clear that creative producers have to manage this multifaceted, liminal object in the shape of the IP/IPR nexus.

PERLINDUNGAN HAK KEKAYAAN INTELEKTUAL TERHADAP INDUSTRI KREATIF DALAM MENINGKATKAN INDUSTRI PARIWISATA BERBASIS BUDAYA LOKAL

2019 ◽  
Vol 3 (1) ◽  
pp. 88
Author(s):  
Ganefi Ganefi
Keyword(s):  
Intellectual Property ◽  
Property Rights ◽  
Intellectual Property Rights ◽  
Public Awareness ◽  
Creative Industry ◽  
Registration Process ◽  
State Revenue ◽  
Strategic Role ◽  
Long Time ◽  
The Government

AbstractThe creative industry as one of the pillars of the future economy has a very strategic role in overcoming the problems faced by the community along with the government, especially in the field of employment, business fields, and as a source of state revenue (GDP). Therefore, creative industry entrepreneurs must be protected by their intellectual rights so that all copyrighted works are legally protected by their existence and not arbitrarily anyone can steal, trade, multiply without the permission of the owner. However apparently only 17% of the 16.7 million creative industry players registered the results of their creativity. This shows that the protection of Intellectual Property Rights towards the creative industry is still very weak due to several factors, namely; Lack of public awareness / creative industry players to register their creativity businesses; Lack / lack of understanding of the community / industry players regarding the protection of Intellectual Property Rights (IPR); The presumption of some people / creative industry players for the management of registration of Intellectual Property Rights requires quite a large fee; The registration process takes a long time and is complicated. AbstrakIndustri kreatif sebagai salah satu pilar ekonomi masa depan memiliki peran yang sangat strategis dalam mengatasi masalah-masalah yang dihadapi oleh masyarakat bersama pemerintah, terutama di bidang ketenagakerjaan, bidang usaha, dan sebagai sumber penerimaan negara (PDB) . Oleh karena itu, pengusaha industri kreatif harus dilindungi oleh hak intelektual mereka sehingga semua karya cipta dilindungi secara hukum oleh keberadaan mereka dan tidak sewenang-wenang siapa pun dapat mencuri, berdagang, berkembang biak tanpa izin dari pemiliknya. Namun ternyata hanya 17% dari 16,7 juta pelaku industri kreatif yang mendaftarkan hasil kreativitas mereka. Ini menunjukkan bahwa perlindungan Hak Kekayaan Intelektual terhadap industri kreatif masih sangat lemah karena beberapa faktor, yaitu; Kurangnya kesadaran publik / pelaku industri kreatif untuk mendaftarkan bisnis kreativitas mereka; Kurangnya / kurangnya pemahaman tentang komunitas / pemain industri mengenai perlindungan Hak Kekayaan Intelektual (HKI); Anggapan sebagian orang / pelaku industri kreatif untuk pengelolaan pendaftaran Hak Kekayaan Intelektual membutuhkan biaya yang cukup besar; Proses pendaftaran memakan waktu lama dan rumit.

Video game in the system of intellectual property: the concept and features of legal protection

2021 ◽  
pp. 57-66
Author(s):  
Anatolii Kodynets ◽  
Arsen Murashko
Keyword(s):  
Intellectual Property ◽  
Video Games ◽  
Property Rights ◽  
Computer Program ◽  
Intellectual Property Rights ◽  
Video Game ◽  
Regulatory Function ◽  
Digital Information ◽  
Electronic Information ◽  
Audiovisual Work

Keywords: video game, intellectual property law, computer program, software, digitalinformation, electronic information, multimedia work, audiovisual work The article is devoted to thestudy of the legal understanding of video games as an object of intellectual propertyrights. The author concludes that video games constitute digital information, whichgreatly facilitates their development, however, complicates the protection of intellectualproperty rights. There is a contradictory connection between the concepts of«electronic (digital) information», «audiovisual work», «computer program» and «literarywork», which establishes some uncertainty in the protection of video games,namely, what should be understood by these concepts in terms of law.The author found that the use of the latest technologies to improve the visual componentbrings the video game even closer to the game audiovisual object, which increasesthe complexity of the process of protection of intellectual property rights. However, thecurrent situation with the use of the term «computer program» in the context of protectionof intellectual property rights to video games does not cover all features of the latter,covering only the main program among the software recording and operation of thegame, such as audiovisual content. Therefore, there is a need to use the generalized conceptof «software» as opposed to the narrower concept of «computer program». In thiscase, in the absence of at least one of the characteristics of the multimedia work, the computerprogram should be referred to the scope of legal regulation of software.The author proposed to understand the video game as object of intellectual propertylaw in the following manner: multimedia work expressed in the form of digital(electronic) information, the principle of which is determined by the algorithms of thesoftware provided for installation in the memory of computer devices.In general, the digital nature of video games presupposes a revision of existing approachesto the protection of intellectual property rights, which may be aimed atweakening the regulatory function of the law where it is possible to regulate the relationshipby more flexible means.

scholarly journals Open Source Seeds and the Revitalization of Local Knowledge

2021 ◽  
Vol 13 (21) ◽  
pp. 12270
Author(s):  
Martin Fredriksson
Keyword(s):  
Intellectual Property ◽  
Property Rights ◽  
Open Source ◽  
Intellectual Property Rights ◽  
Open Source Software ◽  
Memory Loss ◽  
Ecological Knowledge ◽  
Collective Knowledge ◽  
Farming Communities ◽  
Information Politics

This article engages with the resistance against the global erosion of seed diversity following the modernization and industrialization of agriculture over the 20th century. This resistance spans from local farming communities that preserve and safeguard traditional landraces to international movements which oppose proprietary seed regulations and promote free sharing of seeds. The article focuses on the latter and presents a study of the open source seed movement: an initiative to apply strategies from the open source software movement to ensure the free circulation of seeds. The erosion of seed diversity can be seen not only as a loss of genetic diversity but also a memory loss where traditional, collective knowledge about how to grow certain landraces is forgotten. Consequently, the open source seed movement is not only about saving seeds but also about preserving and revitalizing local and traditional ecological knowledge against privatization and enclosure through intellectual property rights. The aim of this article is, thus, to analyze the open source seed movement as an act of revitalization in relation to intellectual property rights and in the context of information politics.

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