Erik S: Visst är det Beethovens femma! Jag funderade lite på vilken kompositörs noter jag skulle leta fram som exempel på “noter”, och kom fram till att Beethoven måste vara den ultimata representanten för tiden kring år 1800.
[...] published nor shared. Required fields are marked * Name * Email * Website Comment ‹ Slides: The nonlinear history of copyright Stim fruktar europeisk konkurrens › Möjligtvis liknande inlägg: Veckans [...]
[...] Even if it’s bad enough that IP-addresses (e.g whoever uses your wireless connection) are policed by ISPs (concerned more with profits/survival than politics), it is even more alarming when such procedures can be automatized. Youtube and its ContentID analyzes the audio of videos and pays a part of ad revenues to copyright holders/publishers. IFPI’s ISRC embeds copyright information into audio. Similar systems are likely to be demanded for open networks to satisfy those in line with 4 bloated music corporations, like with the re-launch of Napster. As my favourite doctor of copyriot says, copyright control is no longer focused on works but on regulating the tools/media. [...]
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Nice one. From slide 19, when the history becomes more contemporary speculation it gets very good.
Bra presentation!
Var det måhända Bethovens femma som hade smugit sig in där?
Erik S: Visst är det Beethovens femma! Jag funderade lite på vilken kompositörs noter jag skulle leta fram som exempel på “noter”, och kom fram till att Beethoven måste vara den ultimata representanten för tiden kring år 1800.
[...] published nor shared. Required fields are marked * Name * Email * Website Comment ‹ Slides: The nonlinear history of copyright Stim fruktar europeisk konkurrens › Möjligtvis liknande inlägg: Veckans [...]
Can I take this for a report?
Slosh: Please do! And send me a link or something.
[...] Even if it’s bad enough that IP-addresses (e.g whoever uses your wireless connection) are policed by ISPs (concerned more with profits/survival than politics), it is even more alarming when such procedures can be automatized. Youtube and its ContentID analyzes the audio of videos and pays a part of ad revenues to copyright holders/publishers. IFPI’s ISRC embeds copyright information into audio. Similar systems are likely to be demanded for open networks to satisfy those in line with 4 bloated music corporations, like with the re-launch of Napster. As my favourite doctor of copyriot says, copyright control is no longer focused on works but on regulating the tools/media. [...]
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