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Emergence of artificial intelligence (AI) has resulted in an enormous volume of content created by machines. This article explores the copyright implications of AI-generated content and the legal challenges that arise in determining authorship, ownership, and liability. It analyses the current copyright laws and their application to AI-generated content, discusses the challenges in determining authorship and ownership, and investigates how AI-generated content could influence the development of copyright law in the future. The paper also provides examples of legal cases related to AI-generated content and their outcomes. Finally, the paper offers recommendations for dealing with the copyright issues raised by AI-generated content, including the importance of establishing clear copyright guidelines, promoting transparency and accountability in the development of AI technology, and engaging in continued legal and policy dialogues about these concerns. [ABSTRACT FROM AUTHOR]

The growth of digital technology has been one of the highlights of the 21st century. This has led to the growth of the development of new Software and Computer-Related Inventions (CRIs). The grant of Intellectual Property Rights protection to these inventions has been questionable since they have been explicitly excluded from IP protection statutes across the world. However, as time progresses, legislatures across the world have been under pressure to provide some sort of protection to such inventions. This has resulted in amendment of laws and a criterion has been devised to protect CRIs and software. The approach adopted towards the same varies from country to country. Moreover, there has also been a rise of inventions generated using Artificial Intelligence (AI). AI has made the process of invention much easier since the mental element is taken care of by the AI. However, questions are raised regarding the grant of IP protection to such inventions for the lack of an inventive step. The paper analyses the scope of protection granted to Software and CRI across different legal systems in the world. It also explores the possibility of the application of these principles to AI or the modification of existing principles to allow for the patentability of AI. [ABSTRACT FROM AUTHOR]

The artist’s resale right has been recognized by countries around the world in an effort to protect artists. However, despite having one of the largest art markets in the world, China has not yet established the resale right. During the last revision of the Copyright Law, although the resale right was introduced in a draft amendment, this legislative attempt ultimately failed. Considering China’s important position in the world art market, there is still controversy surrounding the question of whether China needs to introduce this right. Tracing back the causes for China’s legislative failure, it can be seen that the main reason is that China misunderstood the rationale for the legitimacy of the resale right. According to the ‘balance among authors’ theory and considering the need to protect the interests of artists, China should introduce this right. Moreover, since China already has a strict regulatory mechanism for the art market, the country meets the conditions for the successful implementation of the resale right, which means that it can be introduced relatively easily in China. [ABSTRACT FROM AUTHOR]

In this digital era, where digital information is available in various formats, Digital Right Management has emerged as a great technology used by content owners to safeguard their intellectual property digitally. Digital rights management restricts the use of copyrighted digital works from unauthorised access. Although Digital Right Management appears to protect writers' copyrights, it limits the copyright freedom of blind and visually impaired users who depend on accessibility features. The study aims to discuss and highlight the impact of Digital Right Management on the accessibility of libraries' electronic resources for BVI users. Furthermore, it discusses how complex Digital Rights Management violates the fair-use rights of BVI users by making it impossible for them to access electronic resources. This review article outlines the key research findings on Digital Right Management hindrances encountered by blind and visually impaired users in accessing electronic resources. The results root in the literature surveyed discloses that the majority of libraries throughout the world are falling behind in delivering efficient access to electronic resources for BVI users. Libraries have a variety of obstacles to the accessibility of electronic content, including Digital Right Management challenges, license constraints, website design limitations, accessibility issues, and compatibility issues with assistive software. To overcome some of these barriers, librarians should review the implications of Digital Right Management for accessibility. Moreover, librarians must be knowledgeable about the numerous forms of visual impairments, including these users in accessibility studies, and consider the assistive technology they use. The article will review the literature on the following topics: find out how accessible electronic resources in libraries are for blind or visually impaired users; identify existing accessibility challenges arising from Digital Right Management technologies that impede access to electronic resources by blind or visually impaired users, and identify the challenges that they are facing. [ABSTRACT FROM AUTHOR]

During (and after) the lockdowns of the Covid-19 pandemic, educational communities have employed distance education to reach their students. However, not all districts are aware of the legal requirements of using instructional materials in a virtual setting. In recognition of the growth of virtual learning environments, Congress passed the Technology, Education and Copyright Harmonization (TEACH) Act in 2002 with the goal of redefining the circumstances and rules under which nonprofit and educational institutions might digitally use copyright protected materials. For districts exploring or expanding opportunities in distance education, understanding the laws that pertain to the use of digital, copyrighted materials is of critical importance. This article explores and explains these requirements for policymakers, site and district leadership, and classroom instructors. [ABSTRACT FROM AUTHOR]

Constitution of India. When the Supreme Court decides a lis, it not only decide for the parties to the case but also declares the law on a question that it decides to answer. There are only twenty-four reported decisions delivered by the Supreme Court in the last 72 years on the copyright law. Number of decisions per year is not even one. On an average, the Supreme Court has decided. 33 case in a year; or one copyright case in 1104.58 days; or in 3.02 years. These decisions of the Supreme Court on the copyright law are just double of the number of decisions on the patent law. A review of decisions on copyright law from 28 January 1950 to 28 August 2022, reveals that: (i) only in 20 decisions, the Supreme Court has declared copyright law which include 4 decisions from 20th century and 16 decisions from 21st century; (ii) the validity of The Copyright Act, 1957, was not challenged in any decision; (iii) only one case from the decision of theHigh Court involving the constitutionality of Rule 29 (4) of The Copyright Rules, 2013 where the High Court re-drafted the Rule, reached to the Supreme Court and the Supreme Court held the re-drafting by the High Court as unwarranted and shown deference to the legislative wisdom; (iv) No Constitution Bench or Single Bench decision is reported; (v) no Chief Justice of India was on the bench in any copyright decision; (vi) only 4 judges authored their separate but concurring judgments (3 from 20th century and 1 from 21st century) and no dissenting judgment was delivered; (vii) the Court has unanimpously answered the questions of copyright law; and (viii) only some of the questions of copyright law have been answered unambiguously and unequivovally by the Supreme Court but some of the questions have been left open by the Court. This Paper seeks to cull out the principles of copyright law as declared by the Supreme Court in the last 72 years. [ABSTRACT FROM AUTHOR]

Part I of the research paper attempts to introduce the conceptual understanding of user generated content and the copyright issues related to UGC, following which Part II will present a critical analysis of the problems contained in the Fair use defence as enshrined in the United States legislation. Part III of the research paper will try to argue as to why the non-commercial UGC exception as enshrined in Section 29.21 of the Canadian Copyright acts till remains the much-needed answer which UGC has been looking for so long now, along with a few concluding thoughts. Throughout the paper, the author tries to argue that the new exception, namely the non-commercial user generated exception is the much-needed UGC protection with respect to the commercial aspect of any user created content on online platforms. [ABSTRACT FROM AUTHOR]

Academic law librarians have two primary responsibilities in the profession: to be faithful to the fundamental law of library science, and to be the frontrunners in implementing the law of the land. The Philippine copyright law tests the academic law librarians' purpose in accomplishing both responsibilities. In this pandemic, when most library services are on online modality, the academic law librarians' duty of providing information the fastest way possible may slow down due to their obligation to abide by the copyright law. To avoid this scenario and provide recommendations when this happens, the researchers of this study examines the overall perception of academic law librarians on the following: (1) the degree of which the copyright law in the country affects the librarians' provision of information service in this time of online modality; (2) the copyright law's impacts in fulfilling librarians' mission of carrying out the first fundamental law of library science; and (3) the extent of support the copyright law is providing the librarians while performing their tasks. Results are gathered using a 3-part survey questionnaire that tackles the demographics, perceptions, and concerns, and suggestions of the respondents. These are analyzed using percentages, weighted mean, and Spearman's Rank Correlation Coefficient. Salient results such as the low level of support the academic law librarians perceive they can get from the Philippine copyright law, and their conviction that the prevailing law needs additional provisions to protect librarians in providing information services while adhering to the fundamental law of librarianship, are significantly discussed in this study. [ABSTRACT FROM AUTHOR]

In the present times, the Internet has become a threat to copyright content by facilitating sharing of information on a large-scale, and providing accessible alternatives to retrieve information goods including films & music. The irony of sharing information over the internet is that 'access-to-content' is deemed synonymous with 'control-of-content'. This phenomenon is defined as "Online Digital Piracy". The Indian Film and Entertainment industry too is one such victim of piracy of its copyright in cinematographic works over the internet. This study attempts to understand the causes and impacts of Online Digital Piracy on the Indian Film Industry and the efficiency of the current legal regime in India governing the same. It takes a unique approach as the same is reflective of the inferences drawn from an empirical study of digital content consumers concerning the volumes of consumption of pirated film content. It deals with the conceptual and theoretical basis of online digital piracy with reference to the Indian Film Industry and critically evaluates the current legal regime in India under Copyright and Technology Laws to combat the adverse effects of piracy-related activities after corroborating the inferences drawn from an empirical study of consumer behaviour towards online digital piracy. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Physical Education / Tiyu Xuekan is the property of Journal of Physical Education Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Hungarian Playwrights' Association was founded on 7 January, 1904, with the aim of providing moral and financial protection to theatre authors and the developing Hungarian stage. In its first incarnation it lasted until March 1919, and was subsequently re-established in December 1920. Like so many associations at that time, the Association was dissolved by ministerial decree on 8 December, 1950. The legal situation of playwrights at the time, along with the lack of adequate representation of their interests, prompted the Hungarian cultural sector to protect their rights by setting up an appropriate body of self-representation, following the examples of foreign countries. The association is of great importance in the history of the self-organisation and interest representation of Hungarian artists, as it was the first such independent Hungarian representative body. [ABSTRACT FROM AUTHOR]

Advanced technologies, such as Artificial Intelligence (AI) systems, have beenpushing nowadays societies toward new ethical and legal challenges, including copyright law dilemmas. The contemporarydevelopment of innovativemachinesand cognitive technologies raisesthe need to rethink basic concepts such as ownership and accountability. In light of the rules of copyright law, this paper argues that innovative algorithms, such as GPT-3 (an autoregressive language model developed by Open AI to produce human-like text via deep learning), could be considered a modern form of ghostwriting brought forward by the Third Industrial Revolution, as defined by Jeremy Rifkin. The phenomenon of ghostwriting has beennotorioussinceantiquity. Althoughghostwritingis also quitepervasive today, neither national nor international legal systems have yet fully regulated it. Based on the assumption that AI systems operate likeghostwriters in terms of their creativity, this paperasks whether AI's creationshould be subject to copyright regulations soon, and if so, to what extent. [ABSTRACT FROM AUTHOR]

Copyright of Revista Chilena de Derecho is the property of Revista Chilena de Derecho and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is described on the improvement of the Active Textbook System (A-txt) and the consideration for Copyright Law when the A-txt is used. The A-txt is a next-generation electronic educational material system proposed by the authors that can digitally expand the general paper books with general-purpose terminals. This system is the original system that allows you to easily attach additional digital content to any location by using figures and sentences on paper as augmented reality (AR) markers. Initially, A-txt, which was developed for each type of mobile OS, is provided on a unified platform by using Unity, and it has become possible to concentrate budgets and human resources. This time, we have added new functions to make usability better and improved the screen display by modifying the source code. In addition, as a measure to use figures in books as AR markers without infringing copyright, we experimentally have found the minimum necessary range in which A-txt can be used without inconvenience. In the process, we also have found a method to increase the recognition rate of markers. [ABSTRACT FROM AUTHOR]

The ambit of Copyright law has expanded over time, leading to development of newer concepts such as, 'Personality Rights'. These rights are vested in individuals who have acquired an 'identifiable persona' in the eyes of the public. There are two important facets to personality rights- Right to Publicity &Right to Privacy. When such identifiable identities use their acquired celebrity status to promote goods and services of a company to attract more consumers, it can be understood as 'Celebrity Endorsements'. This is the most common source of marketing used by major companies to increase sales and garner goodwill and reputation. However, this source of communicating necessary information to the public becomes dangerous when celebrities promote false or misleading advertisements. To counter such issues, the Consumer Protection Act, 2019 introduced provisions tohold celebrities endorsing such products or services to be liable for injury suffered by consumers. The Law mandates that in order to ensure that such misleading advertisements aren't promoted, the celebrities must conduct 'due diligence' of the products before endorsing them. However, the question remains that to what extent can celebrities, who are not directly involved in production or manufacturing, be held liable for exploiting their personality rights? This paper aims at addressing the newly created legal interlink between personality rights via celebrity endorsements and protection of consumer interests. [ABSTRACT FROM AUTHOR]

Copyright of Informacao & Sociedade: Estudos is the property of Universidade Federal de Campina Grande, Centro de Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reviews U.S. copyright laws, focusing on two legal doctrines, the work for hire doctrine and the fair use doctrine, and their implications for distance learning. The article also explores ethical and pedagogical issues arising from distance learning and the involvement of higher education unions. The paper concludes with directions for future policies and research pertaining to faculty intellectual property rights in the context of online delivery. [ABSTRACT FROM AUTHOR]

Der „Vertrag von Marrakesch zur Erleichterung des Zugangs für blinde, sehbehinderte oder anderweitig lesebehinderte Personen zu veröffentlichten Werken" (kurz: „Marrakesch-Vertrag") gilt heute in 57 Ländern der Erde und regelt in 22 Artikeln die von den Vertragsstaaten umzusetzenden Anpassungsregelungen im Urheberrecht zugunsten von Menschen mit Seh- und Lesebehinderungen. In den Mitgliedstaaten der Europäischen Union trat der Vertrag am 1. Januar 2019 in Kraft. Der Beitrag zeigt, wie im deutschen Urheberrecht die oben genannten Anpassungsregelungen erfolgen. "The Marrakesh Treaty to facilitate access to published works for persons who are blind, visually impaired, or otherwise print disabled" (in short: Marrakesh Treaty) presently applies for 57 countries worldwide providing for the implementation of copyright realignment schemes for the benefit of persons who are visually impaired or have reading disabilities in 22 articles. In the member states of the European Union, the treaty came into force on 1 January, 2019. The following contribution illustrates how the realignment scheme adapts to German copyright law. [ABSTRACT FROM AUTHOR]

Copyright of Revista Chilena de Derecho is the property of Revista Chilena de Derecho and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: The evolution in digital technologies has had an enormous impact on traditional copyright notions. Works in digital form have uniform characteristics and these works can be copied, distributed and stored with ease. Objectives: The focus of this article was how to attain a balance between the need to promote access to works and therefore knowledge and learning, on the one hand, and the protection of the interests of copyright holders, on the other. Method: Technological protection measures (TPMs) are applied to copyright works in digital form to curb infringement. The authors explore the extent to which TPMs impact on access the knowledge and learning. Results: The findings of this article suggest a need for possible countermeasures in promoting knowledge and literacy through legislative reform that address the needs of creators and users in developing communities. Conclusion: The authors conclude that TPMs may hinder data literacy, access to works, teaching and learning, particularly in developing communities. For example, recent attempts to revise South African copyright law have not attained a balanced approach. [ABSTRACT FROM AUTHOR]

Žižek is not a legal theorist, nonetheless, he has written about the law throughout his work. This essay builds on Jodie Dean's work in 'Žižek and Law' which sets out a theory of law, preferable to most critical legal theories because it retains the belief that law can serve emancipatory aims. My aim in is to apply this Žižekian theory of law to copyright, in the hopes of presenting an alternative framework that retains the initial promise of copyright: that cultural material may be dis-alienated public property. This is necessary in a music-focused issue, because copyright law dictates the forms in which music, and cultural products, are created and consumed. The argument is presented in three parts: the founding of copyright, its obscene supplement, and its paradoxical future from within. I argue that future copyright legislative proposals should not focus on extending or limiting any overall term, or what marginal increase in revenues a creator should be entitled to; rather, creators should be given a renewal right. In this way, an author has the ability to constantly renegotiate the terms on which their work is commoditized. [ABSTRACT FROM AUTHOR]

The German Federal Constitutional Court has delivered an important decision with regards to the permissibility of sampling which is widely used in hip hop and electronic music. With this decision, the Court ended a dispute that has been ongoing for almost twenty years. Furthermore, the Court has applied a fundamental rights discourse between the countervailing rights of the original authors and those of the new works using samples from the original works. The preceding courts found that sampling would constitute an infringement of the phonogram producer rights (Section 85 of the German Author's Rights Act) where the samples could have been created independently. The German Constitutional Court, however, disagreed: by holding that sampling was a form of art protected by the fundamental right of artistic freedom and may outweigh the exploitation interest of the phonogram producer, which would only be impaired to a minimal extent by sampling. [ABSTRACT FROM AUTHOR]

Although the creative industries have been considered as central to the twenty-first century economy, scholarly efforts to measure creativity have adopted diverse approaches, and there has been no consensus as to its definition. This article distils the concept of creative autonomy from Sternberg's definition of creativity, establishes a contextual definition through international human rights law, and analyses the notion through the lens of copyright theory. Though deontological and consequentialist theories on copyright may commonly be considered independently of each other, this article adopts a fused approach. It weighs deontological theories in order to ascertain justification for creative autonomy, and then argues that in addition to the dual consequentialist ideals of access to cultural goods and financial incentives for authors, explicit recognition of the notion of creative autonomy may lend a further perspective to consequentialist analysis of copyright law. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Zhejiang University. Humanities & Social Sciences / Zhejiang Daxue Xuebao is the property of Zhejiang University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The most important purpose of copyright law is the creating of the legal balance between the interests of authors, users, and the public. Because of this aim the Act LXXVI of 1999 on Copyright (henceforward: Copyright Act) includes many warranty regulations for the parties, especially for authors. The Section 48 of the Hungarian Copyright Act declares the so-called 'best-seller clause', which is one of the most important warranty legal institution. The legal regulation is the following: „According to the general provisions of civil law, the court may amend the license agreement even if such an agreement infringes the author's substantial lawful interest in having a proportional share in the income resulting from the use because the difference in value between the services provided by the parties becomes strikingly great as a result of the considerable increase in the demand for the use of the work following the conclusion of the agreement.“ According to a regulation of the Copyright Act, the provisions of the Civil Code shall be applied to matters not regulated by the Copyright Act. Because of this regulation, certain provisions of the Copyright Act shall be interpreted in accordance with the relevant regulations of the Civil Code. [ABSTRACT FROM AUTHOR]

Copyright of Bosniaca is the property of National & University Library of Bosnia & Herzegovina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bibliotheksdienst is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article speculates on whether India needs the digital rights management (DRM) provisions that were introduced in the Indian Copyright law. The author argues that the new DRM provisions go against the interests of India for three reasons. First, its adoption was made without cost-benefit analysis. Second, such legislation is not warranted due to the nature of piracy in India. Third, it will reportedly create a para-copyright regime in India.

The article discusses changes made in the Indian Copyright Act in order to comply with Internet Treaties, World Intellectual Property Organization (WIPO) Copyright Treaty (WCT) and WIPO Performances and Phonograms Treaty (WPPT). The amendments in the Copyright Amendment Act 2012 make Copyright Act, 1957 compliant include amendments to facilitate access to works, strengthening enforcement against Internet piracy, and reform of Copyright Board.

The article presents different forms of using press content on the Internet in the light of prevailing legal regulations of Polish copyright law and the 2001/29/WE Directive of the EU Parliament. Detailed attention will be given to regulations on fair use of copyright work -- the so-called dissemination law (art. 25 of Polish copyright law), quotation law (art. 29) and general clauses restricting these laws. In the second part of the article, the action of companies providing press clipping services have been discussed, since some Polish companies have based their functioning on art. 30 of the Polish copyright law and similar laws, forgetting that this exception concerns only analogous use of only parts of work. The activity of Polish companies has been presented in the light of European press clipping companies practice. The article is supplemented with the most accurate verdicts of European courts, which should be taken into account in amending Polish legal acts. [ABSTRACT FROM AUTHOR]

The article presents information on a study which explored the issue of a cinematographic lyricist's right to copyright royalty following the producer of a film has been given the right in Indian. The amendment to the Copyright Act and the enactment of the Copyright (Amendment) Bill 2010 are discussed. It elaborates the position taken by the Indian-judiciary in relation to the right of authors over lyrics in cinematographic works. It suggests solutions for taking advantage of the reforms.

Why is the use of copyrighted materials in the United Kingdom referred to as a process of 'fair dealing', while in the United States it is referred to as a process of 'fair use'? Because of the universality of communications and the ever expanding use of the Internet to facilitate the free flow of published expression between readers in the United Kingdom and the United States, works have comingled their respective copyright notices that are attached to them. At first glance 'fair dealing' and 'fair use' might appear to be synonymous terms having the same meaning in law, but they are not. But then, neither is there a simple explanation as to what either term means. To find an answer it is necessary to reference a supreme written law to understand both their parameters and penumbras defining national law on copyrights, as modified by international treaties. [ABSTRACT FROM AUTHOR]

Copyright of Socialinių Mokslų Studijos is the property of Mykolas Romeris University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The current state of the fair use doctrine in the United States has been variously described as confusing, unsettled, and troublesome. The combination of a vague statute, a nationwide patchwork of restrictive and extra-legal classroom guidelines, and split court decisions with limited precedential value has left educators with no way to know, absent litigation, whether a given use of copyrighted materials is a fair use. While alternate solutions have been suggested to remedy this situation—including advice to courts on interpreting the statutory factors, recommended "fair use" language for inclusion in electronic resource licenses, and assertions that better guidelines or best practices are needed—this paper proposes that true fairness, clarity, and predictability can only be achieved through an amendment to the law providing "bright-line" standards for educational fair use. [ABSTRACT FROM AUTHOR]

Copyright of Socialinių Mokslų Studijos is the property of Mykolas Romeris University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Collected Papers of the Faculty of Law in Split / Zbornik Radova Pravnog Fakulteta u Splitu is the property of Split Faculty of Law and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work examines the historical, philosophical and legal particulars relating to copyright law and intellectual property as an intangible work, as well as, the practical application of those rights with emphasis on the particular effects of computerisation and the emergance of the internet on the business results of the music industry. A question is raised as to whether it is businessly ethical for a legal entity to accrue considerable material gain as the result of illegal usage of copywritten material. [ABSTRACT FROM AUTHOR]

The article focuses on the performer protection laws in India. It notes that India law protects the rights of performers through the mechanism of copyright law. It also compares existing Indian law with that of the prevailing English, American and international performer protection law. It is concluded that law reform in the nature of performer protection rights in India is needed.

The article analyzes the manner in which open source software utilizes principles of copyright law to provide free access to software. It traces the history of such a movement on software programming. It also discusses the role played by the open source software in the development and dissemination of software programs. In addition, it examines the long-term implications of this movement on the software industry.

The article discusses the need to improve the curriculum of library schools to educate effectively information professionals. It is the author's view that information professionals act as mediators to satisfy the rights of users and creators. It is also the information professionals' role to balance copyright and intellectual freedom and represent the public in copyright arguments. It is suggested that there are 37 library schools in the U. S. offering classes related to information policy and only 7 schools have J.D. holder faculty members.