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Udostępnianie utworów na licencjach Creative Commons – wybrane aspekty

100%
Tomaszewska A.
Zeszyty Prawnicze BAS
|
2019
|
issue 3(63)
9-24
EN
The purpose of the article is to systematize the most important information regarding Creative Commons licenses, released by the Creative Commons organization, including the structure and nature of these licenses. The scope of the analysis also covered some issues related to the possibility of using the Creative Commons licenses as an alternative to the traditional model of copyright protection. The article also describes some expressed reservations about using Creative Commons licenses under Polish law. The last part of the text refers to the method of granting the Creative Commons licenses.
2
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Creative Commons Licensing and Relations of Production in the Sound Industry

88%
Miszczyński M.
Polish Sociological Review
|
2021
|
vol. 215
|
issue 3
253-368
EN
This article describes current production practices taking place in the sound industry, concentrating on the process of implementation and popularization of Creative Commons. Existing studies have considered the role of classical copyright in the creative industries, pointing at its functions in regulating the creative process, but so far have not extensively examined its relationship to alternative intellectual property frameworks. This paper uses the empirical example of the largest sound repository to describe the change occurring in cultural production. The article posits that mass popularization of Creative Commons provokes transformation within three key and intersecting areas of production, including the subjects of property (creators), objects of property (creations) and articulation of usage (source information). The paper theoretically frames and expands our understanding of change provoked by open licensing and its relationship to the creative production process.
3
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Creative Commons (CC)

75%
Delert E.
Themis Polska Nova
|
2014
|
issue 1(6)
280-305
EN
Creative Commons is a non-profit organisation, which was established in 2001 in the United States of America. It was founded of the initiative of the people involved in work for the protection and promotion of common cultural goods. Polish branch of the organisation has been operating since 2005 and its partners are Centre for Digital Design: Poland and the Interdisciplinary Centre for Mathematical and Computational Modelling at the University of Warsaw. The article presents the development of Creative Commons licence their history specifics and use both in USA and international environment. Last part of the text is focused on presentation and analysis of the situation of Creative Commons licences in Polish Law.
4
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Archiwa audiowizualne telewizji publicznej – od sejfu do kreatywności

45%
Kroplewski R.
internetowy Kwartalnik Antymonopolowy i Regulacyjny
|
2015
|
vol. 4
|
issue 7
100-115
PL
Artykuł podejmuje zagadnienia prawne efektywnego sposobu udostępniania audycji audiowizualnych stanowiących zasób archiwalny pozostający w dyspozycji TVP po transformacji. Porusza też kwe-stię tzw. odżywania praw autorskich wobec dawnych produkcji ze skutkiem rozszerzającym na polu Internetu. Jako sposób dla uwzględnienia potrzeby odbiorców dotyczących dostępu do dóbr kultury audiowizualnej i zapewnienia warunków dla „Otwartego Kodu Rozwoju” artykuł omawia formy licencji właścicielskich typu Creative Commons. Konwergencja mediów uzasadnia także postawienie tezy o zanikaniu różnic między polami technicznymi nadania i publicznego udostępnienia w Internecie przekazów audiowizualnych i tworzeniu się jednego rynku audiowizualnych usług medialnych. Całość opracowania zmierza do zaprezentowania prawnej ścieżki otworzenia sejfu archiwów dla przyszłej kreatywności i debaty publicznej w sferze kultury z poszanowaniem prawa własności.
EN
The article considers a variety of legal issues concerning effective means of sharing audiovisual programmes which constitute archival goods held (in a proverbial ‘safe’) by the Polish public broadcaster TVP. The paper also addresses the issue of the so-called ‘copyrights revival’ concerning old programmes in the context of its extension to the Internet. The article discusses the use of the ‘Creative Commons’ license type, as a way of taking into account the needs of recipients to access audiovisual culture, as well as ensuring the conditions of the ‘Open Development Code’. Media convergence justifies also the thesis on the disappearance of differences between technical transmission modes and communication to the public over the Internet, and the creation of a single market for audiovisual media services. The article aims to present the legal path to opening the audiovisual ‘safe’ (audiovisual archives of the TVP) to facilitate future creativity, as well as to outline the public debate concerning the sphere of culture on respecting property rights. Key words: transformation, the public media service, archives, collection of programs, material media, intangible goods, intellectual property, TVP, complementary contribution, copyrights revival, digitization, Creative Commons, Creative Archive License, Open Development Code, TVP-COL, convergence.
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