Copyright Laws On Using Quotes

People are taking the piss out of you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you. You, however, are forbidden to touch them. Trademarks, intellectual property rights and copyright law mean advertisers can say what they like wherever they like with total impunity. Fuck that. Any advert in a public space that gives you no choice whether you see it or not is yours. It’s yours to take, re-arrange and re-use. You can do whatever you like with it. Asking for permission is like asking to keep a rock someone just threw at your head. You owe the companies nothing. Less than nothing, you especially don’t owe them any courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.

Copyright law has got to give up its obsession with 'the copy.' The law should not regulate 'copies' or 'modern reproductions' on their own. It should instead regulate uses--like public distributions of copies of copyrighted work--that connect directly to the economic incentive copyright law was intended to foster.

It’s better to have one huge filing with lots of detail, data, and use cases than a dozen failed filings of five to ten pages each. Minimum filing requirements are not minimum requirements to secure a patent. Who does your patent keep out, and how? Your goal in creating IP is for it to be valuable, to be connected to the company, to be linked to your products or service, and to keep out competitors.

IP is an intangible asset—an idea converted into transferable personal property rights through patents, trademarks, copyrights, service marks, and trade secrets. IP covers every famous animated character you’ve ever heard of, the logos on your clothing. IP covers products and services you use every day—from flashlights to mobile phones, packaging to cars, food and beverage products, to smart thermostats. IP is not only for big businesses. Most start-ups and event microbusinesses have IP of some kind. 

Copyright: a system of monopoly privilege over the expression of ideas that enables government to stop consumer-friendly economic development and reward uncompetitive and legally privileged elites to fleece the public through surreptitious use of coercion.

If someone contacts you and asserts that you’re infringing on their patent, you’ll need a lawyer to shield you from the accusation that you are willfully infringing. Never, ever respond yourself. At the same time, you’re not left with whatever your lawyer tells you to do. If you have patents of your own (which you should), disputes don’t have to come to litigation, damages, and bankruptcy. In my experience, the best way to settle IP infringement suits out of the courtroom is through cross-licensing—an agreement between all parties to give each other a license to use their patents.

Every time I go past a cinema and see a queue out the door, I think, look at those fools, every penny they spend is turned into profits that are used to pass laws imprisoning their own children. Can't they see?

Every Pirate Wants to Be an Admiral IT’S NOT AS though this is the first time we’ve had to rethink what copyright is, what it should do, and whom it should serve. The activities that copyright regulates—copying, transmission, display, performance—are technological activities, so when technology changes, it’s usually the case that copyright has to change, too. And it’s rarely pretty. When piano rolls were invented, the composers, whose income came from sheet music, were aghast. They couldn’t believe that player-piano companies had the audacity to record and sell performances of their work. They tried—unsuccessfully—to have such recordings classified as copyright violations. Then (thanks in part to the institution of a compulsory license) the piano-roll pirates and their compatriots in the wax-cylinder business got legit, and became the record industry. Then the radio came along, and broadcasters had the audacity to argue that they should be able to play records over the air. The record industry was furious, and tried (unsuccessfully) to block radio broadcasts without explicit permission from recording artists. Their argument was “When we used technology to appropriate and further commercialize the works of composers, that was progress. When these upstart broadcasters do it to our records, that’s piracy.” A few decades later, with the dust settled around radio transmission, along came cable TV, which appropriated broadcasts sent over the air and retransmitted them over cables. The broadcasters argued (unsuccessfully) that this was a form of piracy, and that the law should put an immediate halt to it. Their argument? The familiar one: “When we did it, it was progress. When they do it to us, that’s piracy.” Then came the VCR, which instigated a landmark lawsuit by the cable operators and the studios, a legal battle that was waged for eight years, finishing up in the 1984 Supreme Court “Betamax” ruling. You can look up the briefs if you’d like, but fundamentally, they went like this: “When we took the broadcasts without permission, that was progress. Now that someone’s recording our cable signals without permission, that’s piracy.” Sony won, and fifteen years later it was one of the first companies to get in line to sue Internet companies that were making it easier to copy music and videos online. I have a name for the principle at work here: “Every pirate wants to be an admiral.

The content industries like to portray fair use as a narrow and grudging defense against an otherwise valid case for copyright infringement—as if the claim were, “Yes, I trespassed on your land, which was wrong, I admit. But I was starving and looking for food. Please give me a break.” This is simply inaccurate. True, fair use is asserted as “an affirmative defense”; that is the way it is brought up in a copyright case. But in U.S. law, fair uses are stated quite clearly to be limitations on the exclusive rights of the copyright holder—uses that were never within the copyright holder’s power to prohibit. The defense is not “I trespassed on your land, but I was starving.” It is “I did not trespass on your land. I walked on the public road that runs through it, a road you never owned in the first place.

I was delighted to hear that a number of people returned to see Orphée (as much as five or six times), to the amazement of the managements. This is significant, for the cinema is usually regarded as a place where one drops in for a little entertainment as one would for a glass of beer. This is why film societies, those Courts of Appeal, have so important a part to play, and why they deserve all the support we can give them. This is why I accepted nomination as President of the fédération des Cinéclubs. But, alas, even film societies are sometimes unable to retrieve old films, which the industrial squall sweeps away in order to clear a space for new ones. We had imagined that great actresses like Greta Garbo would be granted the privilege which was denied to a Rachel or a Sarah Bernhardt. But we were wrong. Today it is impossible to show Garbo in The lady of the Camelias for instance, to the young people who could not see the film when it came out, for all the copies have been meticulously destroyed. The lady of the Camelias is to be remade with new stars and new methods, using all the latest technical inventions, colour, three dimensions, and what not. It is a real disaster. Mrs B., the head of the new York Film Library, finds herself confronted with the same difficulties as Langlois of the Cinémathèque française whenever she endeavours to save a film from oblivion. She finds that she cannot obtain a single copy. Chaplin alone escapes that terrible destruction, because he is his own firm and consequently would not fall victim to the perpetual clearing. It is none the less true that fabulous sums are demanded for the showing of any one of his films, and if his very early films are still available it is because the present destructive legislation had not come into force when they were made. This is why René Clair demands the passing of a law of copyright deposit.

The US traded its manufacturing sector’s health for its entertainment industry, hoping that Police Academy sequels could take the place of the rustbelt. The US bet wrong. But like a losing gambler who keeps on doubling down, the US doesn’t know when to quit. It keeps meeting with its entertainment giants, asking how US foreign and domestic policy can preserve its business-model. Criminalize 70 million American file-sharers? Check. Turn the world’s copyright laws upside down? Check. Cream the IT industry by criminalizing attempted infringement? Check. It’ll never work. It can never work. There will always be an entertainment industry, but not one based on excluding access to published digital works. Once it’s in the world, it’ll be copied. This is why I give away digital copies of my books and make money on the printed editions: I’m not going to stop people from copying the electronic editions, so I might as well treat them as an enticement to buy the printed objects. But there is an information economy. You don’t even need a computer to participate. My barber, an avowed technophobe who rebuilds antique motorcycles and doesn’t own a PC, benefited from the information economy when I found him by googling for barbershops in my neighborhood. Teachers benefit from the information economy when they share lesson plans with their colleagues around the world by email. Doctors benefit from the information economy when they move their patient files to efficient digital formats. Insurance companies benefit from the information economy through better access to fresh data used in the preparation of actuarial tables. Marinas benefit from the information economy when office-slaves look up the weekend’s weather online and decide to skip out on Friday for a weekend’s sailing. Families of migrant workers benefit from the information economy when their sons and daughters wire cash home from a convenience store Western Union terminal. This stuff generates wealth for those who practice it. It enriches the country and improves our lives. And it can peacefully co-exist with movies, music and microcode, but not if Hollywood gets to call the shots. Where IT managers are expected to police their networks and systems for unauthorized copying – no matter what that does to productivity – they cannot co-exist. Where our operating systems are rendered inoperable by “copy protection,” they cannot co-exist. Where our educational institutions are turned into conscript enforcers for the record industry, they cannot co-exist. The information economy is all around us. The countries that embrace it will emerge as global economic superpowers. The countries that stubbornly hold to the simplistic idea that the information economy is about selling information will end up at the bottom of the pile. What country do you want to live in?

iI U.S. law, fair uses are stated quite clearly to be limitations on the exclusive rights of the copyright holder—uses that were never within the copyright holder’s power to prohibit. The defense is not ‘I trespassed on your land, but I was starving.’ It is ‘I did not trespass on your land. I walked on the public road that runs through it, a road you never owned in the first place.’ When society hands out the right to the copyright holder, it carves out certain areas of use and refuses to hand over control of them.

In U.S. law, fair uses are stated quite clearly to be limitations on the exclusive rights of the copyright holder—uses that were never within the copyright holder’s power to prohibit. The defense is not ‘I trespassed on your land, but I was starving.’ It is ‘I did not trespass on your land. I walked on the public road that runs through it, a road you never owned in the first place.’ When society hands out the right to the copyright holder, it carves out certain areas of use and refuses to hand over control of them.

authors and publisher. This story is a work of fiction, pulled together from the imaginations of the Interactive Stories team. It has been created under the "Fair Use" doctrine pursuant to United States copyright law. References to real people, events, establishments, organizations, or locales are intended only to provide a sense of authenticity, and are used fictitiously. Minecraft is a trademark of Mojang AB, Stockholm. The author and publisher of this book are not associated with the makers of Minecraft or Mojang AB or any of its subsidiaries. Nothing in this book is meant to imply that it is a Minecraft product for advertising or other commercial purposes.

7 Outstanding Tips for Banner Printing Choosing to produce a printed banner is a fantastic way to maximize your promotional requirements, it helps you to give maximum stand out and showcase your brand. There are a range of options from large PVC banners to simple roller banner solutions to suit all purposes of banner printing. Let’s look at some important points that can help you to make the most out of your printed banner. 1. Use High resolution images While going for banner printing, having good quality images is imperative. If you carry your own camera, then your camera should be able to take decent quality images, but be careful with images from the internet. Not only could you infringe copyright law but the quality is usually quite poor. 2. Clever use of color Your banner printing should be such that maximizes the use of color. Imagine the environment, where will your banner be positioned? What does your competition look like? Then, you can use color to ensure that you stand out from the crowd. If you are an established business, be sure to use your brand colors and clearly position your logo towards the top of the banner, this will make sure you develop a consistent brand identity throughout your marketing material. 3. Count your words Using a large amount of written text can look busy, messy and be off putting to your audience. Try to work out on your key message or brand values and make the banner big and bold. A short & striking message or a graphic will work a hundred times better than a hundred words. The banner printing is meant to grab attention of the viewer, not bore them. 4. Reveal your benefit Succinctly convey your key benefit in your banner headline. Do you have the best price? The best service? The best quality product? Whatever it is, make your banner printing known, specific to your audience and make it centralized. 5. Include an offer Make a time – limited offer to motivate customers to respond quickly. Your offer might even be included in your headline to simplify your banner. 6. Create a memorable call to action Make it clear what customers should do next in order to take advantage of your special offer. Your call to action should be succinct as well as memorable, such as an easy-to-remember URL or phone number. Remember that potential customers will only have a few seconds to digest your banner, so they must be able to retain the action step at a glance. 7. Less is more It is a simple rule but one that makes all the difference. It is very tempting to use a banner to get across every possible message and cram it full of content and images, however from an end user perspective big, bold and simple messaging and graphics is the most effective way to grab attention as well as looking professional and confident.

Throughout American economic life, regulatory barriers to entry and competition limit innovation by providing excessive monopoly privileges through copyright and patent laws, restrict occupational choice by protecting incumbent service providers through occupational licensing restrictions, and create artificial scarcity through land-use regulation. They contribute to increased inequality while reducing productivity growth.

retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, without the prior written permission of the authors and publisher. This story is a work of fiction, pulled together from the imaginations of the Interactive Stories team. It has been created under the "Fair Use" doctrine pursuant to United States copyright law. References to real people, events, establishments, organizations, or locales are intended only to provide a sense of authenticity, and are used fictitiously. Minecraft is a trademark of Mojang AB, Stockholm. The author and publisher of this book are not associated with the makers of Minecraft or Mojang AB or any of its subsidiaries. Nothing in this book is meant to imply that it is a Minecraft product for advertising or other commercial purposes.

Tongue Twisters for Kids By Riley Weber RileyWeberArt.com © 2012 Riley Weber.  All rights reserved. Any unauthorized reproduction, use, copying, distribution or sale of these materials - including words and illustrations - without written consent of the author is strictly prohibited.  Federal law provides severe penalties for unauthorized reproduction, use, copying or distribution of copyrighted material.

The Pen Made for the White House Presidents come and go, but one thing remains constant in the West Wing BY DAN LEWIS FROM NOW I KNOW PHOTOGRAPH BY ADAM VOORHES The pens read “Skilcraft U.S. Government.” And if you have worked for an American government institution, chances are you’ve used one. About $5 million worth of these pens are sold every year (with 60 percent going to the military), and they have quite the story behind them. To start, they’re assembled by the blind. In 1938, in the midst of the Great Depression, the government stepped in to help blind workers, who were already at a competitive disadvantage. Franklin Delano Roosevelt signed into law the Wagner-O’Day Act, which required that the federal government purchase specific goods manufactured by blind Americans. The law soon included pens. The Skilcraft brand came to be a decade or so later, in 1952. Today, the company employs over 5,500 blind workers in 37 states, producing an arsenal of office supplies, with the pens made in factories in Wisconsin and North Carolina. The pens must be built to the specifications outlined in a 16-page document that was first promulgated more than 50 years ago. Among the requirements? The pens must be able to write continuously for no less than 5,000 feet and in temperatures up to 160 degrees and down to 40 degrees below zero. You know, just in case. Copyright © 2011 by Dan Lewis.

Using my music may seem fair to you, but note that music composers have never been dealt a fair card.

Monique was the most unlikely girl to be tending bar at a place like the French Hotel in Monrovia. She was the girl guys would ask, “What’s a sweet girl like you doing in a place like this?” I, like everyone else, liked Monique and always chatted her up. Monique loved the attention and had a heavy hand with the bottles. The later into the evening it got, the more she poured. In Liberia there were no laws holding a bartender responsible for the inebriated actions of their patrons and she was just being friendly. What’s more is that all the expats kept returning. Monique was a dark haired beauty. Slight of stature, she had a pleasant demeanor and a cute French accent. Having some difficulty with English, she would listen intently and try to repeat what was said. Her mannerisms were a delight to watch as she tended bar. For the men, in this hot forsaken place, Monique was a breath of fresh air and an attentive young female to talk to. Her French perfume was a most pleasant contrast to the foul odors that normally filled the air in Monrovia. I liked Monique, didn’t everyone? She was a hot French mademoiselle and looked the part with her cute slightly turned up nose, brown eyes and dark brown hair. In fact she looked very much like Leslie Caron. No one took photos like they do today, so just to give you an idea of how she looked, I was tempted to use a publicity photo of Leslie. However with copyright laws being what they are, I prudently resisted that idea. Although Monique always flirted with me, it was always in a cute or perhaps an innocent way. Without the little encouragement, which I hoped for, I was starting to think of her more like a sister. No, that wasn’t quite it. Although she was always flirtatious and cutesy, the truth was that she just wasn’t available to me and I didn’t know why.

Copyright ©2014 by Geniuz Gamer All rights reserved worldwide. No part of this book may be reproduced or transmitted or stored in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval, without express written permission from the author. In creation of this book all references and other trademark properties are used in accordance with the ‘’Fair Use’’ doctrine pursuant to US copyright law and the equivalent in other jurisdictions. Product names and trademarks are the property of their respective owners. All

Copyright ©2014 by Geniuz Gamer All rights reserved worldwide. No part of this book may be reproduced or transmitted or stored in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval, without express written permission from the author. In creation of this book all references and other trademark properties are used in accordance with the ‘’Fair Use’’ doctrine pursuant to US copyright law and the equivalent in other jurisdictions.

For artwork, I simply turned to nineteenth-century books and magazines, of which I built a large collection. I knew that (under the copyright laws of the time) works created prior to 1906 were no longer subject to copyright, so we were free to use the artwork. To create the cartoons, I would leaf through old sources until I found a cartoon that I thought would match the text. Much later, I learned from Robert Graves’s The White Goddess that what I was practicing was iconotropy, the deliberate misreading of images. Graves thought that a lot of myths had come from people misreading or twisting the meaning of the pictures on Greek vases. I spent the next nineteen years iconotropically creating those cartoons. They were at once a chore and a relief from the pressures of running the business. Best of all, they caught on with the public, and played a major role of establishing Trader Joe’s as a “different” kind of retailer, one that didn’t take itself too seriously.

strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text

This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorized distribution or use

What if you kill a man who was plotting to shoot up a McDonald's? What if you commit one murder to prevent a dozen murders? The "obviously correct" judgment of the law starts to sound more and more like an opinion when a new variable is introduced, doesn't it? And okay, these "what if this?" exercises may feel like cerebral game play, but you don't even need to look to extreme examples to see the tenuous, opinion-based nature of laws. Abortion. Gay marriage. Determining fair use in a copyright infringement case. Every time a law is applied, it is applied as a matter of opinion. And those are the laws -- the biggest and baddest rules we have.

5.2. Copyright and Disclaimer Copyright 2014 Metin Bektas. All Rights Reserved. This book is designed to provide information about the topics covered. It is sold with the understanding that the author is not engaged in rendering legal, accounting or other professional services. The author shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the information covered in this book. The book is for personal use of the original buyer only. It is exclusive property of the author and protected by copyright and other intellectual property laws. You may not modify, transmit, publish, participate in the transfer or sale of, reproduce, create derivative works from and distribute any of the content of this book, in whole or in part. The author grants permission to the buyer to use examples and reasonably sized excerpts taken from this book for educational purposes in schools, tutoring lessons and further training courses under the condition, that the material used is not sold or given away and is properly cited.

Today’s tech giants have not invented an interop-proof computer. They’ve invented laws that make interoperability illegal unless they give permission for it. A new, complex thicket of copyright, patent, trade secret, noncompete and other IP rights has conjured up a new offense we can think of as “felony contempt of business model”—the right of large firms to dictate how their customers, competitors and even their critics must use their products.

Using copyrighted material without consent to train commercial AI models, is like robbing a bank to start a business.

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