Search

Razvoj digitalnih tehnologij je prinesel nove načine varstva in razširjanja kulturne dediščine. Z digitalizacijo je dostop do kulturnih del omogočen neomejenemu številu posameznikov, obenem so dela zaščitena pred degradacijo zaradi poteka časa. Slednje je osrednji namen projektov digitalizacije kulturne dediščine. Digitalizacija avtorskega dela predstavlja nedovoljen poseg v izključno pravico do reproduciranja, objava na spletu pa poseg v izključno pravico do dajanja na voljo javnosti, če pred tem ni pridobljeno soglasje imetnika pravic. Ker v pravnem redu Evropske unije (EU) ni odprte izjeme, kot je poštena uporaba v Združenih državah Amerike (ZDA), je za zakonito izvedbo projektov digitalizacije treba »deaktivirati« avtorsko pravico. Razčiščevanje pravic za posamezna dela je drago in zamudno, še posebej pri masovnih projektih digitalizacije kulturne dediščine. Obenem številna avtorskopravno varovana dela nimajo znanega avtorja (t.i. osirotela dela) ali niso komercialno izkoriščana (t.i. razprodana dela), kar onemogoča ali znatno otežuje pridobitev licenc. Da bi olajšala projekte digitalizacije kulturne dediščine, je EU v zadnjih letih sprejela številne ukrepe, ki spreminjajo dosedanjo avtorskopravno ureditev. Predmetna raziskava te ukrepe kontekstualizira in analizira. The development of digital technologies has brought new ways of protecting and disseminating cultural heritage. With digitization, access to cultural works is made possible to an unlimited number of individuals, while at the same time works are protected from degradation due to the passage of time. The latter is the central aim of cultural heritage digitization projects. Digitization of a copyright protected work constitutes an infringement of the exclusive right of reproduction, while publication on the internet constitutes an infringement of the exclusive right to make it available to the public, unless prior authorization of the rightsholder is obtained. Since there is no open exception in the copyright legal framework of the European Union (EU) such as is the fair use in the United States of America (USA), it is necessary to "deactivate" the copyright for digitization projects to be legal. Clearing the rights for individual works is expensive and time-consuming, especially in mass digitization projects of cultural heritage. At the same time, many copyrighted works do not have a known author (i.e. orphan works) or are not commercially exploited (i.e. out-of-commerce works), which makes it impossible or significantly more difficult to obtain licenses. To facilitate the cultural digitization projects, the EU has adopted several measures that have reshaped the copyright legal framework in recent years. This research contextualizes and analyzes these EU measures.

Avtor v magistrski nalogi problematizira vpliv avtorskega prava na kreativnost avtorjev, predvsem pri ustvarjanju glasbenih del. Avtorsko pravo, kot izhaja že iz imena, služi zaščiti avtorjem, a kakšen vpliv ima dejansko pri kreaciji novih glasbenih del, če upoštevamo psihološke zakonitosti kreativnosti in glasbe kot takšne? V prvem delu se skozi zgodovinski razvoj avtorskega prava prikaže izvorne interese in akterje, ki so pripomogli k uveljavitvi pravic avtorjev. Nato je predstavljena filozofska podstat avtorskopravne ureditve, kjer sta poglavitni filozofski teoriji naravnopravna misel na eni in ekonomsko-utilitaristična teorija na drugi strani, ki je služila za osnovo copyright sistemom. Prav tako se je treba vprašati, kaj kreativnost sploh pomeni, kjer so v veliko pomoč dognanja psihologije. Ta razkrivajo kreativni proces ustvarjanja, predvsem v glasbi, kjer je razvidno, da gre praktično zmeraj za prevzemanje elementov že obstoječih glasbenih del, ki so ustrezno spremenjeni in postavljeni v nek nov kontekst. Neustrezna je tudi romantična koncepcija avtorja kot nenadno božansko navdihnjenega, saj gre za avtorjev postopen mentalni proces. Zatem je predstavljena slovenska pozitivnopravna ureditev, pri čemer je temelj Zakon o avtorski in sorodnih pravicah (ZASP). V naslednjem delu se avtor posveča institutoma fair use in de minimis, ki sta sicer del copyright sistema ZDA, vendar lahko služita kot orodje za manifestiranje psiholoških zakonitosti glede ustvarjanja glasbe in kreativnega procesa tudi drugod. Na koncu so za demonstracijo prikazani še sodni primeri, predvsem iz ZDA, pri katerih gre za implicitno ali eksplicitno prevzemanje obstoječih glasbenih elementov, kjer se pokaže potencialna uporabnost analiziranih institutov in lahko vidi vpliv avtorskega prava na kreativnost v glasbi. Author of this master's thesis problematizes the effect of author's law on the creativity of authors, especially regarding the creation of new musical works. As the name implies, author's rights serve the author, but what effect does the legal system have on the creation of music, if we take into consideration the psychological findings regarding creativity and music? Firstly, the historical part gives an insight into the primary interests that fostered the establishment of author’s rights. Then the philosophical base of the author's right is presented. The main philosophical theories on the field are the natural law theory and the economic-utilitarian philosophy which act as a basis for the copyright systems. One also has to question how creativity could be defined. Here the psychological research comes into play. The latter demystifies the creative process, especially in music. It is clear that music is formed with the adoption and borrowing of elements from pre-existing musical works, which are then reshaped and presented in a new context. The notion of the romantic conception of the author also proves to be false as the creation of new works seems to be a gradual mental process. The author then continues with displaying the Slovene author's law system, the main document being the Copyright and Related Rights Act. The next part is devoted to the analysis of the fair use and de minimis doctrines, which although part of the USA legal system, can serve as a tool for integration of psychological findings regarding music and the creative process also elsewhere. Lastly, legal cases mainly from the USA are unveiled where borrowing of elements from existing musical works is present. Here the possible implementation of aforementioned doctrines is discussed and the effect of copyright on creativity can be observed.

Osrednje vprašanje magistrskega dela je vprašanje odgovornosti za hiperpovezavo. Povezovanje s hiperpovezavami je danes priljubljen način nudenja dostopa do informacij na spletu, ki uporabnikom omogoča, da s klikom na hiperpovezavo prehajajo od enega spletnega mesta, do naslednjega, ki ga želijo obiskati. Uporabnik je s klikom na hiperpovezavo preusmerjen na spletno stran, ki dopolnjuje vsebino prve strani. Vsebina na drugi spletni strani je lahko iz različnih razlogov nezakonita. Takrat se pojavi vprašanje kdaj in pod kakšnimi pogoji za tako nezakonito vsebino odgovarja oseba, ki je ustvarila hiperpovezavo. Namen te magistrske naloge je ugotoviti, pod kakšnimi pogoji bi bil lahko ponudnik hiperpovezave odgovoren za vsebino, do katere ta vodi. Pravo tega vprašanja ne regulira izrecno, zato se odgovornost presoja po splošnih pravilih. Predstavljena bo splošna ureditev odgovornosti internetnih posrednikov in izjem od nje v skladu z Direktivo o elektronskem poslovanju. Hiperpovezave v tej direktivi sicer niso izrecno urejene, vendar so nekatere države po zgledu ureditve iz direktive določile splošna pravila za hiperpovezave. Obravnava odgovornosti za vsebino hiperpovezave je odvisna od področja prava, na katerega sega domnevna kršitev in v veliki meri od dejanskih okoliščin primera. Magistrska naloga je zato osredotočena na pravna področja nelojalne konkurence, časti in dobrega imena ter avtorskega prava, saj se pri vsakem področju hiperpovezava obravnava drugače. S pomočjo analize odločitev iz sodne prakse bodo predstavljena skupna izhodišča, ki bi lahko predstavljala temeljna načela splošne ureditve pri presoji odgovornosti za vsebino hiperpovezave. The focal point of this Master’s thesis is the issue of liability for hyperlinking. Hyperlinking is a popular way of providing access to information online, allowing users to move from one site to the next by clicking on a hyperlink. The users are redirected to a web page that complements the content of the first page. The content on the linked website may be illegal for a variety of reasons. This raises the question of when and under what conditions the person who created the hyperlink is responsible for its illegal content. This Master's thesis aims to determine the conditions under which a hyperlink provider could be responsible for the content to which the hyperlink leads. The law does not explicitly regulate this issue, so liability is assessed according to general rules. The general regime of liability of Internet intermediaries and exceptions to it in accordance with the Electronic Commerce Directive will be presented. Hyperlinks are not explicitly regulated in this Directive however, following its example, some countries have formulated some general rules for hyperlinks. The assessment of liability for hyperlinked content largely depends on the actual circumstances of the case and the area of law covered by the alleged infringement. Therefore, the Master's thesis focuses on the areas of unfair competition, honor and reputation, and copyright. Following an analysis of the case law, the thesis presents shared starting points which could represent the basic principles of general regulation in the assessment of liability for the hyperlinked content.

Magistrsko delo celovito obravnava avtorskopravni položaj glasbe pri pretočnem predvajanju. Po opisu ekonomskih vplivov novih tehnologij in razlage pretočnega predvajanja se delo dotakne avtorskega prava, njegove zgodovine ter avtorskih pravic. Podrobneje je obdelana problematika pridobitve licenc na glasbenih delih in repertoarjih, s podanimi osnovami delovanja glasbene distribucije in tendenc, ki se razvijajo iz sodobnih poslovnih glasbenih ekosistemov. Opredeljene so pravice pretočnega predvajanja v slovenski nacionalni zakonodaji in problematika subsumpcije nekaterih dejanskih stanj pod opredeljene pravice. Zaradi globalizacije glasbenega trga so avtorska dela dostopna za čezmejno konzumacijo, kar je zahtevalo odziv na mednarodnem nivoju. V nalogi je tako podrobneje orisan avtorskopravni položaj platform za pretočno predvajanje na nivoju Evropske unije in zakonodaja na zadevnem področju, z osredotočenjem na Direktivo o avtorskih pravicah na enotnem digitalnem trgu, sporni 17. člen zadevne direktive ter njegove predvidevane in že vidne učinke. Sledi razlaga kolektivnega upravljanja pravic oziroma licenčnin, ki izvirajo iz pretočnega pradvajanja ter obravnava najbolj popularnih platform za pretočno predvajanje (Youtube, Soundcloud in Spotify) z analizami postopkov pri kršitvah avtorskih pravic in učinkih uvedbe vsebinskih filtrov. Na koncu delo kritično predstavi kapitlističnost platform za pretočno predvajanje ter njihovo usmerjenost v konsumpcijo platforme same, v nasprotju s pričakovano spodbudo glasbene ustvarjalnosti. The master thesis comprehensively deals with issues regarding the copyright position of music works in the scope of music streaming. It explains the economic impacts of new technologies, music streaming and touches on copyright, its history and authorship rights. This is followed by an in-depth discussion about the issue of obtaining licenses in music works and repertoires - including the basics of the functionality of music distribution and tendencies developing from contemporary music ecosystems. It defines music streaming rights in Slovenian national legislation, as well as the problematics of subsumption of some factual situations under regarded rights. As a result of music market globalization, protected music works have become available for cross border consumption, which required an international response. The master thesis therefore thoroughly delineates streaming platforms’ position and concerning legislation at the European Unions level. It focuses on Directive on copyright and related rights in the Digital Single Market, the controversial Article 17, and its contemplated as well as already perceptible effects. Followed by a portrayal of collective management of rights and royalties stemming from streaming services, the paper characterizes the most popular streaming platforms (Youtube, Soundcloud, and Spotify) by analyzing copyright infringement proceedings and the effects of introducing upload filters. Conclusively the work critically presents the capitalism of streaming platforms and the focus of their own consumption, as opposed to the expected promotion of musical creativity.

Diplomska naloga obravnava pravico do javne priobčitve del skozi pravne akte in sodno prakso Sodišča EU. V skladu z Direktivo 2001/29 pravica do priobčitve javnosti zajema vsako oddajanje ali retransmisijo dela v javnosti, ki ni prisotna na kraju izvora priobčitve, po žici ali brez, vključno z radiodifuznim oddajanjem. Sodišče EU je v pojem javne priobčitve vpeljalo več meril, ki so mu služila kot pravilo za določitev, ali gre v posamezni obravnavani zadevi za javno priobčitev del ali ne. Pri določenih merilih je Sodišče EU ubralo neko svojstveno razlago, kaj naj bi določeno dejanje z vsemi okoliščinami v okviru določenega merila pravzaprav pomenilo. Vsa merila so se nesistematično snovala s prakso Sodišča EU, ne da bi pri tem izhajala iz teoretičnih pravnih podlag ali oprijemljivih kazalnikov. Kriterij nove javnosti in dejanje hiperpovezav, trenutno veljata za najbolj sporna konstrukta Sodišča EU, katere pravni obstoj je prerekan iz več razlogov. Sodišče EU pri svojem utemeljevanju, nove javnosti, naredilo odmik pri razlagi posameznih določb pravnih aktov na katerih je gradilo temelje nadaljnjega sojenja. Koncept nove javnosti nima prav pozitivnega pridiha nekega trdnega kriterija, s katerim bi lahko določili priobčitev javnosti. Podobno usodo delijo hiperpovezave, ki sicer niso opredeljene kot kriterij priobčitve javnosti, vendar pa so zajete kot dejanje, ki priobči zaščiteno delo javnosti. Ugotavlja se, da je potrebno tudi hiperpovezave izločiti iz priobčitve javnosti. Posledice teh nejasnosti rezultirajo v neenaki sodni praksi pojma javne priobčitve. The diploma thesis deals with the right of communication to the public through legal acts and legal practice of the Court of Justice of the EU. According to Directive 2001/29, the right of communication to the public should cover any such transmission or retransmission of a work to the public, which is not present at the place of origin of the communication, by wire or wireless means, including broadcasting. In the concept of public communication, the Court of Justice of the EU introduced several criteria that served as a rule for determining whether or not there is a matter of public communication in each individual case. For certain criteria, the Court of Justice of the EU has taken on a specific interpretation of what a particular act, in all circumstances within a given criterion, actually means. All the criteria have been unsystematically formed in the practice of the Court of Justice of the EU, without resulting from the theoretical legal bases or tangible indicators. The criterion of the new public and the act of hyperlinking are currently considered to be the most controversial constructs of the Court of Justice of EU, whose legal existence is disputed for several reasons. In its justification of the new public, the Court of Justice of the EU made a move towards the interpretation of individual provisions of the legal acts on which it laid the foundations for a further judgment. The concept of the new public does not have a very positive hint of a kind of a firm criterion, by which it could determine the communication to the public. A similar destiny is shared by hyperlinking, which is not defined as a criterion of communication to the public, but are recorded as an act that communicates a protected work to the public. It is established that hyperlinking needs to be excluded from communication to the public. The consequences of these ambiguities result in dissimilar case law of the notion of public communication.

Pogodba o naročilu umetniškega likovnega dela je pravni posel, s katerim se avtor zaveže ustvariti likovno delo in njegov izvirnik izročiti naročniku, ta pa mu bo za to plačal honorar. Razlikovati moramo med enostavnimi pogodbami, kjer avtor obdrži avtorsko pravico v celoti, ter zloženimi, kjer se zaveže še k prenosu posameznih materialnih avtorskih ali drugih pravic. Njena ločena obravnava je utemeljena s posebnimi lastnostmi pogodbenega predmeta, naravo razmerja in varstvom avtorja, ki imajo obligacijskopravne, avtorskopravne in tudi stvarnopravne posledice. Contract to Comission an Artwork is transaction by which the author undertakes to create the work of art and to deliver the original to another contracting authority in return for payment, which can be arranged as fee, royalty or remuneration. It is crucial to distinguish contracts where author retains copyright as a whole, from contracts that include the transfer of an individualised copyright or related right. Seperate treatment of the Contract is justified by specificities which arise from characteristics of an artwork, nature of the contractual relationship and copyright protection, which have consequences in the area of the contract, copyright and property law.

Magistrsko delo obravnava posamezna vprašanja, ki se nanašajo na avtorsko-pravno varstvo računalniških programov. V zvezi s tem ugotavlja, da glede na razlikovanje med idejnimi osnovami računalniškega programa in samim izrazom računalniškega programa, ki je varovan z avtorskimi pravicami, funkcionalnost z le-temi ni varovana, saj bi s tako širokim oziroma s takšnim načinom vrstva omogočili prilaščanje idej v škodo tehničnemu napredku. Na področje digitalnega gospodarstva in konkurence pa pomembno vpliva tudi obratni inženiring računalniških programov. Glede slednjega delo ugotavlja, da je dovoljeno opraviti tako imenovani obratni inženiring v širšem smislu (to je z dekompilacijo strojne kode) z namenom pridobivanja informacij (s strani zakonitega pridobitelja računalniškega programa), ki so potrebne za doseganje interoperabilnosti med različnimi računalniškimi programi, vendar se tako pridobljeni podatki ne smejo uporabiti za razvijanje, proizvodnjo ali trženje računalniškega programa, ki je v svojem izrazu bistveno podoben. Povedano drugače, dekompilacija računalniškega programa je dovoljena, v kolikor je ta nujna za pridobitev informacij o vmesnikih in protokolih, ki so potrebni, da lahko prihaja do izmenjave podatkov med dvema programoma. Vendar je dovoljeno, da zakoniti pridobitelj računalniškega programa brez dovoljenja imetnika avtorske pravice opazuje, proučuje ali testira delovanje tega programa zato (če ni imel dostopa do izvorne kode), da dožene ideje in načela tega programa (tako imenovano testiranje »black box«), če izvršuje dejanja, ki jih licenca dovoljuje, z namenom, da bi njegovo delovanje poustvaril v drugem programu. The master thesis deals with individual issues related to the copyright protection of computer programs. In this regard, it concludes that, given the distinction between the conceptual foundations of a computer program and the very expression of a computer program protected by copyright, the functionality within these is not protected, as with such broader protection it would be possible to appropriate ideas what would be to the detriment of technical progress. In the field of digital economy and competition, however, the reverse engineering of computer programs is also significantly influenced. As regards this, the work concludes that it is permissible to perform the so-called reverse engineering in the broader sense (by decompiling the machine code) in order to obtain information (by a legitimate user of a computer program) that is necessary to achieve interoperability between different computer programs, but the information so obtained may not be used for the development, production or marketing of a computer program that is essentially similar in its expression. In other words, decompilation of a computer program is permitted, if necessary, to obtain information with respect to the interfaces and protocols that are necessary for the exchange of data between two programs. However, it is permissible for a legitimate acquirer of the computer program to observe, study or test the operation of this program without the permission of the copyright holder (without access to the source code) to experience the ideas and principles of this program (so-called black box testing) if she performs the acts that this license permits in order to recreat the performance in another program.

Avtorici prikažeta razvoj sodne prakse s področja avtorskega prava v zadnjih desetih letih. Analiza sodne prakse pokaže, da je ključna predpostavka, ki odločilno vpliva na presojo pravnega standarda avtorskega dela, individualnost. Uveljavljeno je stališče, da manjši kot je manevrski prostor možne ustvarjenosti, večji mora biti vložek, ki je potreben za izpolnitev kriterijev iz 5. člena ZASP. Na področju vsebinskih omejitev avtorske pravice je sodna praksa razvila ustrezna, konkretna in domišljena merila, ki kažejo razumevanje za občutljivo vlogo ravnotežja med avtorsko pravico in pravicami tretjih. Čeprav je področje prenosa avtorskih pravic izredno pomembno za učinkovito izkoriščanje avtorskih del, pa je primerov s tega področja v sodni praksi relativno malo. The article is concerned with the development of case law in the field of copyright law in the last ten years in Slovenia. The analysis of the case law shows that the decisive precondition when determining the legal standard of a copyrighted work, is the work’s individuality. In order to qualify for copyright protection, a work needs to show a higher degree of creativity when the margin of maneuver to create is more narrow. With respect to copyright limitations (fair use), the case law has developed useful, practical and well balanced criteria, which secure that the sensitive balance between copyright and the rights of third parties is kept. Although licensing of copyright is of utmost importance for the effective commercial exploitation of copyright works, the number of case law in the field of copyright contracts is surprisingly low.

Prispevek obravnava avtorskopravno varstvo del konceptualne umetnosti in izpostavlja probleme, ki se pri tem pojavljajo. Osredotoča se predvsem na ureditev v Republiki Sloveniji, hkrati pa analizira tudi francosko sodno prakso in teorijo, kjer izpostavlja predvsem novejši pristop, ki je naklonjen razširitvi razlage zakonskih predpostavk in holistični oceni sodobnega umetniškega dela. Avtorica zaključuje, da lahko z ločevanjem med abstraktno idejo in idejo, ki se je na ustrezen način izrazila v zunanjem svetu, uporabimo subjektiven pristop k individualnosti tudi za konceptualna umetniška dela, ki jih lahko na ta način ustrezno avtorskopravno zavarujemo. The paper deals with protection of works of conceptual art by copyright and sets out the problems linked to such protection. It focuses primarily on the Slovenian legal system but analyses French theory and legal practice as well, where it focuses on its new approach, which is inclined to broaden legal requirements and focusing on holistic approach to a work of contemporary art. The authoress concludes that by separating between an abstract idea and an idea, which has been properly expressed, subjective approach to originality can be used also for conceptual works of art that can consequently become protected by copyright.

Glavni vodili vzpostavitve avtorskopravnega sistema, ki se nista spremenili vse od povojev avtorskega prava v začetku 18. stoletja, sta spodbuditi učenje in širiti znanje. V prispevku so identificirani trije pojavi, ki so v preteklem desetletju povzročili obrate v nekaterih temeljnih paradigmah, vezanih na avtorskopravno varstvo znanstvenih del. Analiza sodobnih trendov vodi do sklepa, da motivacija za ustvarjanje v znanosti vse manj izhaja iz koristi, ki jih avtorju (znanstveniku ali raziskovalcu) prinaša avtorskopravni monopol in da so to spodbudo v veliki meri nadomestili samoregulacijski sistemi znotraj institucionalne znanosti. Tak razvoj posredno postavlja pod vprašaj teoretično utemeljitev potrebe po avtorskopravnem varstvu znanstvenih del. Since the early 18th century, a legal monopoly has been granted to authors with regard to their creative work with the justification that such encourages learning and spreads knowledge. The development of new digital technologies, the globalisation and institutionalisation of science, and the expansion of the global economic crisis are three phenomena that have changed the basic principles of the protection of authors% rights to scientific works. The analysis of the latest trends in this paper suggests that the motivation to create scientific works derives not so much from enjoying a copyright monopoly but rather is being replaced with self-regulatory systems within institutional science. Such developments indirectly call into question the theoretical justification of the need for copyright protection of scientific works.

Copyright is an absolute intellectual property right. Historically it is of territorial nature. One of the central issues of copyright is the remuneration of authors. A copyright confers to its holder a legal monopoly comprising certain economic rights that are granted for pecuniary consideration. The economically most efficient way of management of copyright's pecuniary consideration is the collective management. However, collective management covers due to territorial nature of copyright only territory of a certain state. In competition law that might be considered as a monopoly by collecting societies limited to borders of states, in other words there are issues of a possible abuse of a dominant position. Avtorska pravica je absolutna pravica intelektualne lastnine. Zgodovinsko je teritorialne narave. Eno od bistvenih vprašanj avtorske pravice je plačilo avtorjev. Avtorska pravica imetnikom podeli zakonit monopol nad nekaterimi materialnimi avtorskimi pravicami, ki se odstopijo odplačno. Ekonomsko najbolj učinkovitejši način upravljanja denarnega plačila za avtorske pravice je kolektivno upravljanje. Zaradi teritorialne narave avtorske pravice to zajema zgolj ozemlje določene države. To pa se v konkurenčnem pravu lahko obravnava kot monopolni oz. prevladujoč položaj organizacij za kolektivno upravljanje, s tem pa tudi vprašanje možne zlorabe takšnega položaja.

Prispevek obravnava vprašanje upravljanja z avtorskimi pravicami na delih, ki jih ustvarijo visokošolski učitelji in raziskovalci, zaposleni na univerzah. Po zakonu je imetnik materialnih avtorskih pravic na teh delih delodajalec, v praksi pa je temu ravno nasprotno. Trenutno nobena od slovenskih univerz imetništva teh pravic ne uveljavlja, pač pa založniške in druge pogodbe sklepajo kar avtorji v svojem imenu in za svoj račun ter samostojno prenašajo avtorske pravice na teh delih. Prispevek najprej obravnava problematiko pravne ureditve avtorskih del v delovnem razmerju na splošno (ne samo za avtorska dela na univerzi) in pri tem izpostavlja vprašanja, kot so: cessio legis za deset let od dokončanja dela, vprašanje teritorialnosti prenosa, možnosti nadaljnjega prenosa takih avtorskih del in vprašanje primernega nadomestila ob morebitni ponovni zahtevi za izključni prenos. V luči obravnave avtorskih del na univerzi pa je ključno vprašanje, kaj sodi v delovno obveznost visokošolskih učiteljev in raziskovalcev. Avtorica izpostavlja, da odgovor na to vprašanje ni enoznačen in je odvisen od razlage vrste raznih pravnih aktov in presoje okoliščin vsakega konkretnega primera. Morebitne spremembe trenutne ureditve bodo morale biti takšne, da bodo iskale kompromis med zagotavljanjem večje pravne varnosti, v smislu bolj jasne in natančne ureditve na eni strani in akademsko svobodo ter ustreznimi spodbudami za ustvarjanje na drugi strani. The article deals with dilemmas regarding legal aspects of copyright management at university. Although the law provides that the holder of copyright in these works is the employer, in practice the copyright ownership does not follow this principle. Currently, none of Slovenian universities exercises the ownership over the works of their professors and researchers (faculty). Faculty authors conclude publishing contracts in their own name and at their own account and autonomously assign the copyright over those works. The paper first discusses the issues of regulation of copyright works in employment relationship in general (not only for copyright works at the university). The current legislation raises questions such as: cessio legis for ten years from the completion of the work, the issue of territoriality of the copyright transfer, the possibility of further transmission of such works and the issue of appropriate compensation for re-transfer of copyright to the employer. Regarding the treatment of copyright works at the university, the key question is what falls within the work obligation of professors and researchers. The author points out that the answer to this question is not easy and that it depends on the interpretation of the various types of legal acts and on judgment of circumstances of each individual case. Any changes to the current arrangements will have to seek a compromise between providing greater legal certainty in terms of clear and precise rules and academic freedom on the one hand, and to create appropriate incentives on the other.

Članek obravnava pogodbeno ureditev avtorskopravnih vprašanj v zvezi z arhitekturnimi deli kot deli uporabne umetnosti. Zanje velja, da je arhitekt kot avtor praviloma postavljen v nekoliko slabši položaj kot ostali avtorji umetniških, znanstvenih in književnih del, obenem pa ima šibkejši položaj tudi v razmerju do naročnika oz. lastnika arhitekturnega objekta, ki lahko pod določenimi pogoji prosto posega v arhitekturni objekt in ga prilagaja svojim funkcionalnim potrebam. Takšni posegi lahko za avtorja pomenijo tudi grobo kršitev njegovih moralnih avtorskih pravic in okrnitev njegovega ugleda in imena. Prav zato je za arhitekte ključnega pomena, da avtorskopravna vprašanja, ki izhajajo iz razmerja z naročnikom, podrobno opredelijo in se s tem izognejo morebitnim neželenim posegom v svoje delo ter posledičnim sporom. The present article discusses the contractual regulation of copyright issues regarding works of architecture as works of applied art. Commonly, the architect is at slight disadvantage compared to other authors of artistic, scientific and literary works, and at the same time has a weaker position in relation to the client or proprietor of the architectural object at hand. The latter can, under certain circumstances, freely modify the architectural structure and adjust it to his functional needs. Through the eyes of the author, such interventions can present a grave infringement of his moral rights and mutilation of his reputation and good name. Precisely therefore it is of vital importance to the architect that the copyright issues, emerging from his relationship with the contractor, are exhaustively defined, thus avoiding potential unwanted interference with their work and consecutive disputes.

Svobodo panorame predstavlja omejitev avtorske pravice, ki posameznikom daje pravico do ustvarjanja dvodimenzionalnih upodobitev javnih prostorov in prosto uporabo teh upodobitev. Takšna omejitev temeljni na človekovi pravici do svobode izražanja in na ideji, da je javni prostor v določenem smislu »skupno dobro«. Evropska InfoSoc direktiva določa svobodo panorame, vendar je določba za države članice neobvezna in je zato v veliki meri neharmonizirana. Posledično se pravne ureditve med državami članicami močno razlikujejo. Nemška zakonodaja zagotavlja svobodo panorame tako v nepridobitne kakor tudi v pridobitne namene. Kljub temu iz navedene ureditve izvzema fotografije, ki niso ustvarjene iz samega javnega prostora (npr. zračne fotografije). V nasprotju z Nemčijo pa Italija svobode panorame ne pozna. Zakon, ki ureja varstvo kulturnih dobrin celo določa obveznost pridobitve licence in plačila nadomestila zanjo, če kulturno dobrino reproducira posameznik v pridobitne namene ali pravna oseba. Medtem pa svoboda panorame v ZDA velja le za arhitekturna dela, kar lahko predstavlja težavo, saj je javni prostor prežet tudi z drugimi avtorskimi deli. Ne glede na to se ureditev razteza tudi v pridobitne namene. Slovenska ureditev omejuje fotografiranje javnih površin tako z vidika avtorskega prava kakor tudi z vidika varstva kulturne dediščine. ZVKD-1 v 44. členu prepoveduje fotografiranje spomenikov v pridobitne namene brez dovoljenja njihovih lastnikov. Takšna ureditev svobode panorame je zelo restriktivna in predstavlja poseg v ustavno pravico do svobode izražanja. Freedom of panorama is an exception to copyright law that gives individuals the right to create two-dimensional depictions of public spaces and the free use of these images. Such a restriction is fundamental to the human right of freedom of expression and to the idea that public space is, in a sense, a "common good". The InfoSoc Directive of the European Union provides the freedom of panorama however, the provision is optional for the Member States and is therefore to a great extent non-harmonised. Consequently, there is a breadth of legal arrangements across the Member States. The German legislation provides freedom of panorama for commercial and non-profit purposes. However, it excludes the photographs that are not created from the public space itself (e.g. aerial photographs). On the other hand, Italian legal system does not recognize the freedom of panorama. Moreover, the law on protection of cultural property even imposes an obligation to obtain a license and pay due compensation for both individuals that would like to reproduce a cultural property for commercial purposes and for legal entities despite their purpose. Meanwhile, the freedom of panorama in the United States only applies to architectural works, potentially imposing a problem, since the public space is typically filled with other copyrighted works. Still, the legislation prescribes free use of such photographs for all purposes. Photographing of public space in the Slovenian law is regulated by the copyright law provisions and by the provisions of law on protection of cultural heritage. Article 44 of Cultural Heritage Protection Act prohibits taking photos of monuments in order to gain profit without prior consent of the monuments´ owners. Therefore, the Slovenian regulation of freedom of panorama is very restrictive and constitutes an interference with the constitutional right of freedom of expression.

V magistrski nalogi so predstavljene licence Creative Commons, pravna orodja, s katerimi ustvarjalci ponudijo svoja avtorska dela, na katerih so nekatere pravice pridržane. To počno z namenom, da se dela lažje širijo po spletu. S tem avtorji želijo pridobiti razpoznavnost in ugled. Znotraj knjižnega založništva je to še neraziskana vrsta promocije, pri kateri avtorji objavljajo literarna dela prosto dostopna na spletu. V raziskavi sem se osredotočil na avtorje leposlovnih del, ki se poslužujejo licence CC. V študiji primera sem raziskal motive za uporabo licenc in kakšen vpliv je to imelo na nakup tiskane in e-knjige. Ugotovljeno je bilo, da se licence CC ne uporabljajo pogosto za literarna dela. Do leta 2015 v Sloveniji ni znanega avtorja, ki bi uporabil licence CC. Razpoznavnost in posledično povečan delež prodanih knjig sta bila odvisna od tega, ali so avtorja zvesti bralci razširili po spletu od ust do ust ter ali je bil deležen medijskih objav in recenzij s strani medijev in spletnih dnevnikov mnenjskih vodij. The thesis presents Creative Commons licenses, legal tools with which artists offer their works with some rights reserved. They do this in order so that their works spread online more easily. By doing so, authors wish to obtain recognition and reputation. Inside the book publishing this still remains unexplored type of promotion through which authors publish their literary works that are freely distributable online. In the research I have focused on those authors of literary works that use CC licenses. In the case study I investigated the motives for the use of licenses and impacts these have on purchasing of printed books and e-books. It was found that the CC licenses are not frequently used for literary works. By 2015 Slovenia has had no known established author using CC licenses. Visibility/recognition and consequently an increase in the proportion of books sold were dependent on whether the author's faithful readers spread the books awareness online via word of mouth or whether that was done through/ the authors/ the books have received media coverage and media reviews or blogs of opinion leaders.

V prispevku so postavljeni temelji pravnega statusa ljubitelja umetnosti, ki je v pravni doktrini pogosto zanemarjen. Avtor poudarja vse večjo potrebo po pozitivni opredelitvi tega statusa, saj se ljubitelj z razvojem tehničnih ukrepov za zaščito avtorskih del, ki vse bolj ovirajo njegovo svobodno uživanje stvaritve, ter z nedavnimi spremembami avtorskopravnih zakonodaj po zgledu ameriškega DMCA (Digital Millennium Copyright Act), ki utrjujejo takšno stanje, čuti vse bolj ogroženega. Avtor tako zariše okvire, v katerih ljubitelj uživa popolno svobodo v uživanju stvaritve. Gre za pravno varovano območje svobode, katerega pravno varstvo ustreza splošnemu interesu, ki mora voditi zakonodajalca, poleg tega pa lahko svobodo uživanja stvaritve štejemo tudi med temeljne človekove pravice in svoboščine. Francoski izvrnik tega referata je bil junija 2006 predstavljen na seminarju »Lastnina in temeljne svoboščine«, ki je bil izveden v okviru programa »Lastninski modeli v 21. stoletju« na inštitutu CECOJI (Centre de COopération Juridique Internationale – UMR 6224 CNRS) Univerze v Poitiersu. Opombe niso del izvirnega besedila, temveč gre za opombe prevajalke. The author discusses the grounds of legal status of an amateur of art in the French legal system. Neglected in the past, this issue has recently achieved a primary importance, since the amateur of art has encountered the danger coming from the technical protection measures and the recent European legal reforms, that back up this factual state of control over amateur’s acts. The author relates the study of amateur's legal status to literary and artistic property.By a subtle analysis of French legal provisions concerning the author’s rights, this article demonstrates existence of an area in which amateur of art benefices total freedom of intellectual enjoyment of a work. As a matter of fact, amateur's legal status proceeds from the cultural interest that he shares with the author. This cultural interest is also a general interest and the fundamental pillar of the entire French author’s law. Therefore, it is in public interest that the law draws out the legal status of an amateur of art, which complements the author’s legal status. The author defines legal status of an amateur of art by reference to two series of legal provisions contained in the French Intellectual property code. These provisions regulate the amateur's legal status indirectly. The first series of provisions, protecting author's moral rights, guarantee the authenticity of a work. Even though, by defending the expression of his personality in the work, the creator is primarily pursuing his personal interest, he is de facto serving the general interest (and so the amateur’s interest), since the entire cultural interest actually resides in this expression of creator’s personality. Secondly, author refers to provisions that limit the scope of the exclusive exploitation right. Since the French author’s law defines the exploitation right as the right to communicate a work to the public, no authorisation is needed for an act that does not imply the communication to the public. Therefore, the mere access to the work, as well as succeeding accesses, is free. Furthermore, a private copying is free and cannot be restricted by exploitation rights. Moreover, on the basis of the French author’s law, communication in the family circle is also free. It can neither be limited by the author nor by the holder of the exploitation right.Finally, the author demonstrates that this scope of amateur’s liberty is not merely an open area that anyone could occupy, but a protected area. That is why the use of technical protection measures extends illegitimately the right to communicate a work to the public with the right to control the access to works. To defend this position, author further explains the source of amateur’s liberty: by an unilateral act of first divulgation, creator accords the amateur the right to access his work. On the other hand, amateur’s acts that do not imply the communication to the public can not be controlled by the holder of the exploitation right. In between, the amateur enjoys absolute freedom. A violation of this freedom is not only in contradiction with the fundamental principals of French author’s law, but could also result in a violation of the right to privacy. Author finally argues that this scope of amateur’s freedom should be respected by the legislator, as, in addition to the fact that this protection complies with the public interest, it bounds the legislator as a part of fundamental rights and liberties.

Diplomska naloga obravnava aktualno problematiko avtorskih pravic na internetu. Obravnava načine zagotavljanja varstva avtorskih pravic na internetu, problematiko glede varstva uporabnikov in načine preganjanja kršiteljev na svetovnem spletu. Bralca seznanja s splošnimi pojmi avtorskega prava in zakonodaje, povezane z računalniškimi programi, ter pomembnimi internetnimi pravnimi viri. Prav tako predstavlja internetno storitev za izmenjavo vsebin (t. i. P2P), preko katere tudi prihaja do internetnega piratstva in zlorab ter obravnava učinkovitost varstva avtorskih pravic na internetu, ki je predstavljena skozi statistične podatke nadzora programske opreme v Sloveniji v primerjavi s podobnimi podatki v Nemčiji. Ugotoviti je mogoče, da se v Sloveniji izvaja nadzor varstva avtorskih pravic le na področju programske opreme nad pravnimi osebami, ki ga izvaja Tržni inšpektorat (TIRS). Nadzor nad fizičnimi osebami se zaenkrat ne izvaja, kljub urejeni zakonodaji. V Nemčiji je situacija drugačna, saj organi nadzora preganjajo pravne in fizične osebe. The thesis deals with the current problem of copyright in relation to the internet. Preventative measures to deter copyright infringement on the internet, the safety of internet users, as well as ways of prosecuting copyright violators will be discussed in detail. General concepts of copyright law and legislation, in connection with computer programmes and relevant internet legal sources, will be explained. Furthermore, we will present and study the internet service for content exchange (so-called P2P) where internet piracy and violations actually occur. The last part of the thesis will focus on the efficiency of copyright protection on the internet, supported by statistical data on copyright control in the field of software in Slovenia, compared with similar data from Germany. The thesis reveals that in Slovenia the control of copyright protection is implemented only with legal persons and is conducted by Tržni inšpektorat (TIRS eng. Market inspectorate). Despite regulated legislation, natural persons are not yet controlled in this matter. In Germany, control authorities successfully prosecute both legal and natural persons.