Gotowe bibliografie tematyczne / Piracy (Copyright) Australia

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Gotowa bibliografia na temat „Piracy (Copyright) Australia”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 18 lutego 2022

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Artykuły w czasopismach na temat "Piracy (Copyright) Australia"

Gaunson, Stephen. "Lost adaptations: piracy, ‘Rip Offs’, and the Australian Copyright Act 1905." Historical Journal of Film, Radio and Television 37, no. 2 (March 9, 2016): 161–73. http://dx.doi.org/10.1080/01439685.2016.1157288.

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Chelberg, Kristina. "‘Sharing is Caring’: Copyright Metaphors and Online Sharing Norms." Law, Technology and Humans 3, no. 1 (September 28, 2021). http://dx.doi.org/10.5204/lthj.1271.

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Copyright is under contest in Australia amid growing digital cultures of sharing. Using metaphor as a frame for analysis, this study applies internet search data (Google Trends) methods to visualise Australian online information-seeking patterns for metaphors related to copyright and sharing. An overview of legal metaphors of online copyright (‘piracy’, ‘war on copyright’) and metaphors of digital sharing (‘sharing is caring’, ‘sharing economy’) leads to a critical examination of the ‘metaphor struggles’ between the rhetoric of copyright infringement and sharing cultures promoted by social med

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Arvanitakis, James, and Martin Fredriksson. "Commons, Piracy and the Crisis of Property." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 14, no. 1 (February 17, 2016). http://dx.doi.org/10.31269/triplec.v14i1.680.

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This article takes the politicisation of copyright and file sharing as a starting point to discuss the concept of the commons and the construction of property. Empirically, the article draws on a series of interviews with Pirate Party members in Sweden, Australia, Germany, the UK and USA; placed in the theoretical framework of the commons. We argue that piracy, as an act and an ideology, interrogates common understandings of property as something self-evident, natural and uncontestable. Such constructions found liberal market ideology. The article has two broad aims: to outline the different p

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Rimmer, Matthew. "Robbery under arms: Copyright law and the Australia-United States Free Trade Agreement." First Monday, March 6, 2006. http://dx.doi.org/10.5210/fm.v11i3.1316.

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This article considers the radical, sweeping changes to Australian copyright law wrought by the Australia–United States Free Trade Agreement 2004 (AUSFTA). It contends that the agreement will result in a “piracy of the public domain”. Under this new regime, copyright owners will be able to obtain greater monopoly profits at the expense of Australian consumers, libraries and research institutions, as well as intermediaries, such as Internet service providers. Part One observes that the copyright term extension in Australia to life of the author plus 70 years for works will have a negative econo

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Phillips, Dougal, and Oliver Watts. "Copyright, Print and Authorship in the Culture Industry." M/C Journal 8, no. 2 (June 1, 2005). http://dx.doi.org/10.5204/mcj.2340.

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   Historically the impact of the printing press on Western culture is a truism. Print gave rise to the mass reproduction and circulation of information with wide reaching consequences in all fields: political, social, and economic. An aspect that this paper wishes to focus on is that this moment also saw the birth (and necessity) of copyright legislation, to administer and protect this new found ability to package and disseminate text. The term copyright itself, used freely in debates surrounding contemporary topics such as iTunes, DVD piracy, and file-sharing, is not only s

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Bruns, Axel. "The Fiction of Copyright." M/C Journal 2, no. 1 (February 1, 1999). http://dx.doi.org/10.5204/mcj.1737.

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It is the same spectacle all over the Western world: whenever delegates gather to discuss the development and consequences of new media technologies, a handful of people among them will stand out from the crowd, and somehow seem not quite to fit in with the remaining assortment of techno-evangelists, Internet ethnographers, multimedia project leaders, and online culture critics. At some point in the proceedings, they'll get to the podium and hold a talk on their ideas for the future of copyright protection and intellectual property (IP) rights in the information age; when they are finished, th

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Leisten, Susanna, and Rachel Cobcroft. "Copy." M/C Journal 8, no. 3 (July 1, 2005). http://dx.doi.org/10.5204/mcj.2351.

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   Rip, mix, share, and sue. Has ‘copy’ become a dirty word? The invitation to artists, activists, consumers and critics to engage in the debate surrounding the creative processes of ‘copy’ has been insightful, if not inciting sampling/reproduction/reflection itself: It clearly questions whether ‘copy’ deserves the negative connotations that it currently summonses. It has confronted the divide between the original and its replica, and questioned notions of authenticity and the essence of identity. It has found that ‘open source’ is an opportunity to capitalise on creativity,

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Collins, Steve. "‘Property Talk’ and the Revival of Blackstonian Copyright." M/C Journal 9, no. 4 (September 1, 2006). http://dx.doi.org/10.5204/mcj.2649.

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    Proponents of the free culture movement argue that contemporary, “over-zealous” copyright laws have an adverse affect on the freedoms of consumers and creators to make use of copyrighted materials. Lessig, McLeod, Vaidhyanathan, Demers, and Coombe, to name but a few, detail instances where creativity and consumer use have been hindered by copyright laws. The “intellectual land-grab” (Boyle, “Politics” 94), instigated by the increasing value of intangibles in the information age, has forced copyright owners to seek maximal protection for copyrighted materials. A prop

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Dieter, Michael. "Amazon Noir." M/C Journal 10, no. 5 (October 1, 2007). http://dx.doi.org/10.5204/mcj.2709.

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   There is no diagram that does not also include, besides the points it connects up, certain relatively free or unbounded points, points of creativity, change and resistance, and it is perhaps with these that we ought to begin in order to understand the whole picture. (Deleuze, “Foucault” 37) Monty Cantsin: Why do we use a pervert software robot to exploit our collective consensual mind? Letitia: Because we want the thief to be a digital entity. Monty Cantsin: But isn’t this really blasphemic? Letitia: Yes, but god – in our case a meta-cocktail of authorship and copyright –

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Bowrey, Kathy, and Matthew Rimmer. "Rip, Mix, Burn: The politics of peer to peer and copyright law (originally published in August 2002)." First Monday, July 4, 2005. http://dx.doi.org/10.5210/fm.v0i0.1456.

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This paper is included in the First Monday Special Issue: Music and the Internet, published in July 2005. Special Issue editor David Beer asked authors to submit additional comments regarding their articles. Since this paper was first published in 2002 there has been a constant stream of litigation surrounding P2P in the US and in other jurisdictions. In the United States, the District Court and the Court of Appeals controversially held that Grokster was not liable for contributory and vicarious copyright infringement. Justice Thomas of the Federal Circuit observed: "We live in a quicksilver t

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Rozprawy doktorskie na temat "Piracy (Copyright) Australia"

Rimmer, Matthew Rhys. "The pirate bazaar the social life of copyright law." View electronic text, 2001. http://eprints.anu.edu.au/documents/disk0/00/00/08/14/index.html.

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Available via the Australian National University Library Electronic Pre and Post Print Repository. Title from title screen (viewed Mar. 28, 2003) Includes bibliographical references. Mode of access: World Wide Web.

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Steedman, Sam, and sam steedman@gmail com. "Change and Growth of Australian Music Value Chains." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091029.161558.

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The Australian music industry is growing and developing yet specific information about the ways in which distribution systems develop is limited. In this study I examined the growth and change of the Australian music value chain. This includes the development of digital distribution systems and the effect that peer-to-peer technology has on system development, specifically the disintermediation between consumers and artists to the detriment of the multinational value chains. The drivers of this change are broken into social and technical elements in order to describe the growth and change occ

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Streszczenia konferencji na temat "Piracy (Copyright) Australia"

W. L. Fong, Michelle. "Music in Cyberspace." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2831.

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The music scene in cyberspace is an example of how a legal framework has been developed to curb online copyright infringement. The emergence, in the mid-1990’s, of online music websites and software programs such as MP3 technology to compress and download music, have delivered considerable copyright threat to the music industry. This threat has been further exacerbated by the remarkable development of technological innovations, such as high-speed broadband Internet connection and affordable CD burners, which are capable of delivering fast download and reasonably good audio and visual quality.

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