2. Oktober 2006. Heute veröffentlicht die Initiative Kunstfreiheit.ch gemeinsam mit 40 prominenten ErstunterzeichnerInnen der Schweizer Kunstszene einen offenen Brief an den Justizminister, Bundesrat Christoph Blocher, sowie die Mitglieder der national- und ständerätlichen Rechtskommission, die in dieser Session die Revision der Urheberrechts (UHR) behandeln.
In diesem Brief wird die Sorge von KünstlerInnen und Kulturschaffenden zum Ausdruck gebracht, dass in der aktuellen Revision des UHR ihre Interessen
und Bedürfnissen nicht berücksichtigt werden. Unsere Anliegen:
Das Urheberrecht steht im Spannungsfeld zwischen Schutz und Monopolisierung. Es muss eine vernünftige Balance zwischen den Interessen der Verwerter und jenen der KünstlerInnen und des Publikums geben.
Freier Zugang zu kulturellen Werken ist notwendig für die freie Weiterentwicklung der Kultur.
Technische Kopierschutzmassnahmen untergraben die Freiheit der Kunst.
Die im UHR vorgesehenen Kontrollmöglichkeiten dürfen der freien Entwicklung des künstlerischen Schaffens nicht entgegenstehen.
Der Brief kann hier eingesehen und ab sofort von allen Interessierten, die unsere Anliegen unterstützen, mitunterzeichnet werden.
Am 18. Oktober, 18:00 findet an der Hochschule für Gestaltung und Kunst in Zürich eine Podiumsdiskussion zum Thema statt.
Teilnehmer (u.a.):
Daniel Vischer, Präsident der Kommissionen für Rechtsfragen, NR
Philipp Meier, Leiter Cabaret Voltaire
Werner Stauffacher, Pro Litteris
Nähere Informationen folgt in einer separaten Ankündigung
Am 3. Oktober 2006 findet ein Aktionstag gegen DRM statt. In verschiedenen Städten der Welt finden öffentliche Aktionen statt, um gegen DRM aufmerksam zu machen. Auf Defectivbydesign findet sich eine Liste der Aktionen.
This paper is not written from a legal perspective, but from a cultural heritage community perspective. This perspective is informed by legal professionals and publications and by direct experience with intellectual property issues that arise out of the daily practice of cultural professionals. One could say that this paper is an attempt to create a snapshot of the cultural heritage community's response to intellectual property law and practice regarding (digital) art. This paper is meant to ground that response not in terms of broad theories or abstract philosophies, but in terms of daily practice and real-world case studies. For that reason, the sources used for this paper are not mainly books, but instead more topical, conversational, and immediate sources such as digital art community websites, blogs, email discussion lists and extensive interviews with cultural heritage professionals in Canada and the United States ranging from artists to curators to educators. The intended audience for this paper is primarily the cultural heritage community who may benefit from the discussion and analysis of the issues and proposed paths of action. The legal community may also benefit from the case studies and articulation of how one area of law is playing out in the larger society whether it reaches the courts or not.
Als Teil der diesjährigen Wizards of OS Konferenz in Berlin fand am 14.09. ein Workshop zu "Art and Copyright" statt, initiiert von Cornelia Sollfrank. Nicolas Malevé fasst den Workshop in einem ausführlichen Report zusammen.
Yesterday, an international group of artists, programmers and theoreticians met for a concentrated exchange of experiences within a workshop situation. The program of the day included a general discussion about terminology (esp. in regard to openness and freedom as derived from open source and free software and applied to arts and culture); it addressed questions of authorship (collaboration and distibutive practices as challenges for the art world); it discussed the role of free tools as better instruments for artistic creations and as mediators between the public and an esthetic experience; it tried to understand how the practices and the licenses mutually influenced one another, and finally demonstrated a new model of open publishing (print on demand) as well as an exploration of free tools in design and publishing during a final “printing party”.
Making a summary of a day so full of ideas is a difficult task. It will be therefore partial and subjective. I must thank Saul Albert to have taken the time to help me doing it.
Cornelia introduced the workshop insisting on the fact that all the terminology we were using to speak about open and free culture was unstable and needed permanent redefinition.
Eine der wichtigsten Grundlagenerklärungen zur Wichtigkeit des freien Zugangs zu Werken, initiert vor knapp einem Jahr von der Royal Society for the encouragement of Arts, Manufactures and Commerce
Humanity's capacity to generate new ideas and knowledge is its greatest asset. It is the source of art, science, innovation and economic development. Without it, individuals and societies stagnate.
This creative imagination requires access to the ideas, learning and culture of others, past and present.
Human rights call on us to ensure that everyone can create, access, use and share information and knowledge, enabling individuals, communities and societies to achieve their full potential.
Creativity and investment should be recognised and rewarded. The purpose of intellectual property law (such as copyright and patents) should be, now as it was in the past, to ensure both the sharing of knowledge and the rewarding of innovation.
The expansion in the law’s breadth, scope and term over the last 30 years has resulted in an intellectual property regime which is radically out of line with modern technological, economic and social trends. This threatens the chain of creativity and innovation on which we and future generations depend.