Art and CopyrightBloomsbury Publishing, 2021. gada 11. marts - 336 lappuses First published in 2001, Art and Copyright has established itself as a leading text in the field. Revised and updated, this third edition includes additional coverage of the following topics: - The relationship between designs law and artistic works; - EU and Brexit developments; - AI-created works; - graffiti and other non-conventional works; - blockchain and rights management; - orphan works; - new exceptions to copyright; and - digital copyright, art databases and online platforms. This book remains an invaluable work for all those involved in art law and for intellectual property lawyers involved with the exploitation and/or sale of artistic works, as well as for intellectual property academics, researchers, law students, curators, publishers, artists, gallery owners, auction houses, and those developing and running online art platforms, databases and technology to transact in art. |
No grāmatas satura
1.–5. rezultāts no 55.
7. lappuse
... argued that the Romantic conception of authorship (which he describes as 'the Wordsworthian vision of the “author-genius” with privileged access to the numinous': Jaszi (ibid) 459, referring to M Woodmansee, 'The Genius and the ...
... argued that the Romantic conception of authorship (which he describes as 'the Wordsworthian vision of the “author-genius” with privileged access to the numinous': Jaszi (ibid) 459, referring to M Woodmansee, 'The Genius and the ...
8. lappuse
... argued that copyright law initially developed in the United Kingdom without much recourse to philosophical or other justifications.1 Indeed, Lyman Ray Patterson, a leading copyright historian, once categorised the historical development ...
... argued that copyright law initially developed in the United Kingdom without much recourse to philosophical or other justifications.1 Indeed, Lyman Ray Patterson, a leading copyright historian, once categorised the historical development ...
10. lappuse
... arguments have been prevalent. It has been strongly argued, for example, that 'the purpose of copyright is basically to ensure a continuing profit to the originator or creator of a copyrighted work'.12 Therefore the grant of exclusive ...
... arguments have been prevalent. It has been strongly argued, for example, that 'the purpose of copyright is basically to ensure a continuing profit to the originator or creator of a copyrighted work'.12 Therefore the grant of exclusive ...
12. lappuse
... argued that a variant of the desert theory is the 'reap/sow' principle, or 'unjust enrichment' argument as it is also called (ie, that it is unjust to reap where you have not sown), although this also has utilitarian aspects.27 This has ...
... argued that a variant of the desert theory is the 'reap/sow' principle, or 'unjust enrichment' argument as it is also called (ie, that it is unjust to reap where you have not sown), although this also has utilitarian aspects.27 This has ...
14. lappuse
... argued that Locke's theory of a right of property deriving from personal labour was from the start embedded in ... argued that the personality justification is the one best applied to the arts.41 The now unfashionable philosopher Herbert ...
... argued that Locke's theory of a right of property deriving from personal labour was from the start embedded in ... argued that the personality justification is the one best applied to the arts.41 The now unfashionable philosopher Herbert ...
Saturs
1 | |
8 | |
3 The Modern Law of Copyright | 24 |
4 Moral Rights and Artists Resale Right Droit de Suite | 72 |
Copyright Related Rights and Digitisation | 98 |
6 Some Current Issues | 126 |
7 Some Practical Issues and Precedents | 196 |
8 Art and Intellectual Property Rights Other than Copyright | 218 |
9 Conclusion | 229 |
Precedents and Precedent Checklists | 236 |
Index | 247 |
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