Sentences with phrase «existing copyrighted works»

Talking about fair use often means talking about your right to re-use existing copyrighted works in the process of making something new - to make remixes and documentaries, parodies, or even to build novel Internet search tools.

Since 2003, they have conducted negotiations with the National Gallery that included minimum fees for use of existing copyright works.

Not exact matches

By submitting content to this Mead Johnson Nutrition website, you automatically grant Mead Johnson Nutrition, or warrant that the owner of such content has expressly granted Mead Johnson Nutrition, the royalty - free, perpetual, irrevocable, non-exclusive right and license to use, reproduce, modify, adapt, publish, translate, and distribute the content (in whole or in part) worldwide and / or to incorporate it into other works in any form, media or technology now known or hereafter developed, for the full term of any copyright that may exist in such content.

Moreover, the motion states that while the Copyright Act gives owners some rights, including reproducing and distributing a piece of work or preparing derivative works, «with the exception of visual arts, the right of attribution simply doesn't exist under U.S. copyrighCopyright Act gives owners some rights, including reproducing and distributing a piece of work or preparing derivative works, «with the exception of visual arts, the right of attribution simply doesn't exist under U.S. copyrightcopyright.»

Copyright exists to allow creators to control the use of their work.

One of the first sites that operates through user - interest dollars was Unglue.it, who as early as 2011 was working to solicit donations to take existing books and basically «unglue» the copyright status; for enough donations, the rights» holder — either the publisher, the author, or the author's estate — would be compensated to release the book into public domain.

In general, registration is voluntary because copyright exists from the moment the work is created - so the short answer is «no.»

The presence of Kindle Worlds might also give copyright owners firmer legal standing if they choose to go after fan ficcers who try to profit from their work («There is an existing platform that allows you to do this legally.

Impositions upon the body also exist for viewers to the exhibition as they walk around the space and encounter artworks that have their own autonomous movements (Eva Fabregas's floor - based works, Self - Organising System, and Alan Butler's Orphan Transposition series of spinning laser - etched acrylic panels, featuring out - of - copyright images of Yosemite National Park, freely circulating online).

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

4.1 Where you are invited to submit any contribution to the Site (including without limitation any text, graphics, video or audio) you are required by such submission to grant WRAP a perpetual, royalty - free, non-exclusive, sub-licenseable right and license to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, perform, play, and exercise all copyright and publicity rights with respect to any such work worldwide and / or to incorporate it in other works in any media now known or later developed for the full term of any rights that may exist in such content, consistent with privacy restrictions set forth in WRAP's Privacy Policy.

Copyright gives the copyright holder control over derivative works, so if your story can be classified as a derivative work of Dr.. Who, and is not covered by the exceptions that exist in copyright law (i.e. Parody, Fair use), then you would breach cCopyright gives the copyright holder control over derivative works, so if your story can be classified as a derivative work of Dr.. Who, and is not covered by the exceptions that exist in copyright law (i.e. Parody, Fair use), then you would breach ccopyright holder control over derivative works, so if your story can be classified as a derivative work of Dr.. Who, and is not covered by the exceptions that exist in copyright law (i.e. Parody, Fair use), then you would breach ccopyright law (i.e. Parody, Fair use), then you would breach copyrightcopyright.

At issue was whether Congress could extend the terms of existing copyrights and reinstate copyright on works already in the public domain.

Copyright exists in «works» (ie original literary, dramatic, musical or artistic works) and «other than works» (ie sound recordings, cinematograph films, television and sound broadcasts and published editions of works).

Whereas the referring court had limited its questions to «copyright - protected novels, collections of short stories, biographies, travelogues, children's books and youth literature», the AG argues that the provisions of the Directive should apply to «works of all types that exist in the form of an electronic book.»

The culture industry brief declares that «copyright exists to protect creators and copyright owners... It is a core principle of copyright law, «on the books» since the 18th century» and «that holders of copyright... can define the business terms on which their works will be used and re-used by others.»

It can no longer be said that «copyright protects the form in which an idea is presented but not the idea itself» because private rights have confiscated content from the public weal and new and expanded rights have been bolted retrospectively onto existing works.

Access to copyright protected works for education and research purposes must be facilitated by strengthening existing exceptions and limitations.

Where such a series of point - to - point communications of the same work to an aggregation of individuals is found to exist, it matters little for the purposes of copyright protection whether the members of the public receive the communication in the same or in different places, at the same or at different times or at their own or the sender's initiative.

For the purposes of this Agreement, «Intellectual Property Rights» means all patent rights, copyright rights, mask work rights, moral rights, rights of publicity, trademark, trade dress and service mark rights, goodwill, trade secret rights and other intellectual property rights as may now exist or hereafter come into existence, and all applications therefore and registrations, renewals and extensions thereof, under the laws of any state, country, territory or other jurisdiction.

an industry in the United States shall be considered to exist if there is in the United States, with respect to the articles protected by the patent, copyright, trademark, mask work, or design concerned --

Copyrights should still be protected, as they exist for a reason beyond the remuneration the holder may be entitled to, at some point — they exist in the first instance, to encourage people to work and create.