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AC640 Government, Public Policy, and the Law (Political Communication) :Law and Ethics [7]

论文作者:None论文属性:讲稿 Lecture Notes登出时间:2007-07-25编辑:点击率:27402

论文字数:5000论文编号:org200707250901489726语种:英语 English地区:英国价格:免费论文

附件:unit5.pdf

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to a world of privately owned culture. The Wikipedia defines copyleft as follows: “Copyleft describes a group of licenses applied to works such as software, documents, and art. Where copyright law is seen by the original proponents of copyleft as a way to restrict the right to make and redistribute copies of a particular work, a copyleft license uses copyright law in order to ensure that every person who receives a copy or derived version of a work, can use, modify, and also redistribute both the work, and derived versions of the work. Thus, in a non-legal sense, copyleft is the opposite of copyright.” the “copyleft” symbol (it reverses the copyright icon) 3. Alternatives and Applications: Arguments on Behalf of Intellectual Property Law source: William Adkinson. “Copy Left: The Opposite of Copyright.” Center for the Study of Digital Property, a research unit attached to The Progress and Freedom Foundation. Published February 4, 2004. In a world where information has significant commercial value—as Google’s success has proved again--it is not surprising that the terms in which intellectual and artistic products are assigned legal protection are the subject of passionate debate. Thirty years ago, some 80% of the value of publicly traded companies was defined in terms of tangible assets. Today, the dominant forms of value are in intangible assets— copyrights, customer lists, discoveries, patents, brands—or what we might call collectively “intellectual property.” The debate over intellectual property is one of the most heated and vital in the context of this emergent information economy. The article by Perelman is aligned with a view of copyright that prefers only limited control by individuals and, especially, by corporations over information and cultural properties. But there is a different side to this debate, which takes the form of a principled defense of property rights by critics often, but not always, associated with free- market liberalism and the political right. The substance of this argument is echoed in William Adkinson’s criticism of the “copyleft” phenomenon, which prefers limited legal protections for intellectual and creative works on the grounds that the free circulation of ideas is best for society. Adkinson argues that advocates of “copyleft” (like Perelman) do not understand that intellectual property laws—and specifically copyright for intellectual and cultural works— are necessary to allowing creators to profit from their efforts. Phenomena like “peer-to- peer” sharing of music and movies on the Internet undermine the “marketable rights” of creators, whether individual or corporate, and thus ultimately stifle free expression— rather than encouraging it. Mass markets for media and cultural goods—for example, Peter Jackson’s film adaptation of King Kong—are the best way of ensuring that people get access to low-cost culture. Market forces encourage economies of scale that, on a per-unit cost, reduce prices to make movie tickets, legal music downloads like iTunes, and software affordable to all. Consumers, after all, are buying the right to enjoy the product, not to distribute copies themselves. Critics of copyright argue that it represents an obstacle to the creative development of the culture. But Adkinson counters by asserting that the ideas that derive from reading, watching, or listening to others’ works are in论文英语论文网提供整理,提供论文代写英语论文代写代写论文代写英语论文代写留学生论文代写英文论文留学生论文代写相关核心关键词搜索。
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