srijeda, 19.07.2006.


Ivan Ostoja - Gatsby
-------, 10000 Zagreb, Croatia
Contact: +385 99 34 34 553
Email (temp.): ;
As of August 1, 2006:;;




Terms/ Abbreviations:

hereinafter: 'CATALOGUE'
hereinafter: 'BOND'
hereinafter: 'IP'
hereinafter: 'DPO'
'INVESTORS' (who purchase Bonds and its derivatives),
hereinafter : 'BOND-OWNERS
likenesses and registered pen names used for the purpose by the Content Providers

Key words:

IP as a start-up SME asset, based on Catalogue featuring copyrights of the original globally exploitable pop-rocks songs and related appplicative commercially exploatitive rights deriving therefrom such as mechanical, publisher, perfomer, broadcasting, producer, miscellaneous etc. rights attainable on the worldwide level.

Bond - Gatsby & Lauren Mega Hit Bond 2006-2011 - supported by the Music and Related Rights,
with the back-up of attached supplemental rights relating to the bonus values for the Bond-Owners shall be based on the IP assets of Catalogue, and shall be initially placed by the unofficial as the Zero-Coupon Bond and Convertible Bond, additionally collaterised by the Content Providers - Ivan Gatsby and Isaac Lauren, if so required, by the commercially transferable values with rationale of the ultimate assistance to Bond Owners.

The business construction of Catalogue shall contain the defined escalating number of globally potential and commercially viable mega hit/hit substantiated releases, backed by the innovative solutions as to the marketing, performing and business schemes covering display, distribution, pay systems and the like at the fraction of regular industry costs.

Article 1 : Projected Face Value Issuance Worth

The Face Value of the Bond's issuance shall not exceed EUR/USD 4.000.000,00 (FourMillion) for the very purpose od Bond as a special vehicle utilised for financing the global penetration of Gatsby & Lauren's product.
Ivan Gatsby and Isaac Lauren shall offer the potential Investors and Bond-Owners a high class quality and dynamically upgradebale content to be conveyed in the updateable Catalogue projected to create the relevant commercial basis of Bond besides additional collateral cathegories as listed hereinunder.

The Face Value of the Bond's issuance shall total EUR4.000.000(FourMillion) at 12% premium (Zero-Coupon Bond ) per annum. Bond shall be thus released at 28-34% nominal Face Value Price which shall be negotiable as to the framework of the overall viability of the arrangement.

(A) Bond shall be nominated at EUR 50 (FiftyEuros) - (USD par value) - to avoid the uneccessary costs arising thereby with the particular aim of the entire capital utilisation for the very core activities.

The purpose of the Bond issuance relates to collecting the funds required for/to:
a) To finalise Catalogue and shape it into a commercially exploitable and marketable product;
b) Acts development;
c) Establishing the managing units and organising the all-applicative platform for online and physical markets releases, resulting in the projected revenues, including the publishing and related rights revenues.

Article 2: The Scope of this Abstract

The very scope of this temporary Info Abstract (for the time being, until Catalogue has been completed) is reduced to the purely circumstantial information featuring the attempts to attain the highest level security to the investors, propelled by spin-off projects in the media and finance areas, aimed to enhance the commercial basis and develop it into a comprehensive platform mixing the variety of feasible basic and derivative values' marketability.

Hence, the text exposed hereinunder does not spotlight on the excessive underlying necessity towards the utilising public effects caused therefrom, and innovative models of IP Securitisation.
It rather edits the practises executed up to this point of time, and establishes the platform applicable for the new financial markets, either 'official' or alternative, with the ultimate purpose of IP's usage as the magnifying force for the start-up capital applicable to the small and medium enterprise development.

Catalogue containing the copyrights and any rights arising therefrom, such as publishing rights, mechanical rights and other rights regarded as standard profit-or-loss vehicles to the music and media industry throughout the globe, shall serve as the start-up asset of the small media development and export company 'Hit InduSTria d.o.o. (Ltd.).

The initial capacity of the Catalogue contains 65 original songs which are globally marketable and exploitable on both commercial and artistic levels, and the aforestated capacity shall leverage at the minimum 100 songs by DPO's Bond step-by-step commence in October 1, 2006

The highlight of this Offer preview relates to innovating the array of pattens referring to start-up companies with initial non-tangible IP assets being reinforced by the relevant know-how, feasibility of both the business plan and realistically projected financial performances and receivables.
We welcome the visitors of this webpage familliarise with the term 'Intellectual Property Securitisation' as defined and revealed by the World Property Organisation (

The sole purpose of the texts presented hereinunder, as well as on this blog/site, is to educate the visitors of the IP essentials[/B]:
[I]' Lending partly or wholly against intellectual property (IP) assets is a recent phenomenon even in developed countries. Collateralizing commercial loans and bank financing by granting a security interest in IP is a growing practice, especially in the music business, Internet-based SMEs and in high technology sectors.
……..Securitization normally refers to the pooling of different financial assets and the issuance of new securities backed by those assets. In principle, these assets can be any claims that have reasonably predictable cash flows, or even future receivables that are exclusive. Thus securitization is possible for future royalty payments from licensing a patent, trademark or trade secret, or from musical compositions or recording rights of a musician. In fact, one of the most famous securitizations of recent years involved the royalty payments of a rock musician in the USA, namely, Mr. David Bowie.' (for more information visit:

Article 3: Content Providers

IP (copyright and all related rights) shall be the principal asset of the start-up company, 'Hit Industria Ltd. (d.o.o. –LTD. - u.o.), which shall develop the company-holding 'plusMedia d.o.o. (Ltd.)' comprising the units such as 'MI2 Music Ltd.' and 'Gatsby & Lauren Global Media and Finance', with the particular aim of the securing the initial financing of the Catalogue's finalisation, as well as the placement and releases of the songs featured therein.

The Content Providers (Catalogue;Business Structure; Business Plan) and the designers of the initial Bond Issuance are:

Ivan Ostoja (48) (read: 'ostoja) - an entrepeneur, media innovator, the chart record-breaker who introduced tabloid press and changed the media scape in the South -Eastern European territory, causing the break-up of a federal state in 1990. – Pennamed (pseudonym,stage name) for the purpose by the public notary as the name, likeness and identity of: IVAN GATSBY];


Mario Merien (29) - a sophisticated and cost-friendly audio engineer, producer, composer,performer and back vocals singer - Pennamed (pseudonym,stage name) for the purpose by the public notary as the name, likeness and identity of: ISAAC LAUREN;

claiming the status of the complete content creators (including: original hit and mega hit potential songs) featured in Catalogue in each conceivable aspect, be it business-, melody-, and harmony-wise, in vitro acts creation, and the like ;

shall deliver a number of ecomomically irresistable premium bonuses to the Investors and Bond-Owners as a good faith gesture supposed to miminimise the investing risks and enable Bond-Owners to be be refunded should their investment, void of Coupon paid in advance, suffered during Bond's maturity.

Ivan Gatsby and Isaac Lauren shall provide their in depth expertise to the projects and the Investors respectively adressing each segment, be it businesswise referring to the financial construction, work and management organisation, as well as the creation of melodies, harmonies and lyrics, primarily targeted at their Project/Studio in vitro Acts, the images and marketing techniques applicable to each act projected in Catalogue.

The advantage of Ivan Gatsby and Isaac Lauren's concept is the underlying fact that they are the sole authors* (* rare and chosen coolaborators are noted in the song list to be offered within the scope of MegaHit Catalogue)]of the songs represented in Catalogue, besides claiming the exclusive rights to any asset, perfomance, artistic, mechanical, producer and publishing rights to be offered in Catalogue, and the associated derivatives thereto/collaterals, if any required, such as Convertible Bond, Goodwill values relating to the Ivan Gatsby's Damage Request adressed to the Republic of Croatia, totalling at the moment of writing up to HRK1.000.000.000(OneBillion), cca. USD170 M M or EUR140M , which occurs to be the minimal net threshold of the damage Ivan Ostoja has undergone as the result of the failed actions of the State Courts (1992-2006); .

Bond—Owners shall be further honoured by the rights offer relating to the spin-off business projects such as the premium Initial Public Offering share-prices of ArielActiveFund, Tesla!Electrified Fund, Data!plusFund and so forth, to be derived from Catalogue basic asset.

Article 4 : Business Procedures Framework

The basic workplot about finalising the content, shaping and registering Catalogue has been edited in the manner as follows hereinunder:

1. Ivan Gatsby and Isaac Lauren shall organise the workshop/atelier for the composing, notating, lyrics writing, modifying, upgrading and polishing the content on a daily basis, minimum 4 (Four) hours a day, with the aim of creating the song-upgrades and updates to regularly refreshened Catalogue, featuring the melodies, harmonies and lyrical deliverances matching the cutting-edge potentials of the hit songs algorhitms, and void of inadequacies contained in the most album releases worlwide as to the ratio of the songs quality, assuring therewith the investor friendly degree of security and profit enlargement during the Bond's lifetime,
2. As designed by the Issuer and the Content Providers, the Bond's market value and shall defy the market shifts, provided the shifts are unfavourable, by the repurchase contracts and options,thus rewarding the investors for their risk exposure and assistance in providing the content to the general public in every relevant market,
3. Ivan Gatsby and Isaac Lauren, as the Content Providers, shall provide minimum 65 (sixty-five) songs with hit and mega hit potential for the pop and rock segments to the major music and media industry markets (Germany, the United Kingdom, the United States, France, Italy, South America,Latin America, Japan, Australia, Nederland, Sweden, Austria, China, Russia, Ireland, Poland and the like) for the initial Catalogue content, as well as the Acts performing the songs contained in Catalogue.
4. Ivan Gatsby and Isaac Lauren shall be rewriting and finalising their demo tapes into the final tunes with lyrics, adding the songs which meet the Catalogue's standards of the expected song potential and profile by the minimal capacity of 10 (Ten) songs a month, which shall enhance the capacity of Catalogue to minimum 100 (OneHundred) songs by January 2007.
5. Catalogue shall be multiplied by the new songs, viable rights and commercial papers on a permanent basis throughout the duration of Bond,
6. Ivan Gatsby and Isaac Lauren shall perform their best effort to enhance the market(able) value of Catalogue's by proposing, arranging and striking agreements utilising to all parties involved in Catalogue's commercial exploitation. Such actions, as well as the marketing trials relating to the music acts performing the songs from Catalogue, shall ultimately create an extra value to the Bond- Owners, as well as otherwise Investors, provided there are any at all, for the first purchase rights and other benefits shall be made available to Bond-Owners and Investors in accordance with circumstantial reports. The first purchase rights Bond- Owners shall be entitled to to the discounted prices for the shares in the acts fund (ArielActive Fund and others), lombardian values to be created
therefrom, and so forth,
7. Ivan Gatsby and Isaac Lauren shall be using Catalogue's commercially exploitable rights as the basis for the Bond issue which in turn shall serve as the financing essential for the developing, producing, recording, marketing and releasing onto both online (Internet-Mobile) market and physical CD and other media markets at favourable price,
8. The price difference between the initial Bond's value and the actual market value during the duration of Bond may honour the Bond-Owners with additional value,

Article 5 : The Genres and Artists

All songs sported in Catalogue have been and shall be written, composed, arranged enginereed and produced by Gatsby & Lauren. The exceptions referring to the songs written by close associates or act as covers or partial covers of the selected songs shall be notified accordingly.

The songs featured on MegaHit Catalogue shall cover the most popular music forms and genres.

The principal umbrela definition of the Gatsby & Lauren style is POP-ROCK NOIR, introducing a variety of new and subgenre scalable styles ranging from ‘After Pop/Rock’, ‘Global Sympho Pop’, 'Art Country Pop',‘ Pop’n’Roll’, 'Sugar Country Pop', ‘Pop’n’Punk’ to 'Techno Robot Pop', Electro-Robot Pop', etc.

The opening in vitroActs/ Studio Projects shall cover the genres such as:

Music Style: After Pop-Rock; Neo Pop Country; Neo Brit-Pop
referring to the Act: ARIEL tHE TEMPLAR- in short: AtT,

Music Style: Electro-Robot Pop, Techno Robot Pop,
referring to the Studio Act: DAta!DAta![/B]),

Music Style : Global Sympho Pop
Referring to the first-ever female Virtual Act: TESLA GIRLS!;

Music Style: Power-Protest Pop Punk
referring to the Act: THE TOUCHDOWNS,

and others.

Ivan Gatsby and Isaac Lauren create the very best of commercially music, which happens to be comercially exploitable at any level, public- and genre-wise.
Ivan Gatsby and Isaac Lauren have created a simulation of a hit factory structure in Zagreb, Croatia, providing comprehensive work, reasearch and designing One-Off, in vitro Acts-Artists expected to evolve into self-standing Acts as of their debut releases or co-releases on Gatsby & Lauren Mega Edition.

Ivan Gatsby and Isaac Lauren have written richly textured and inspired melodies, harmonies and lyrics, besides contributing to the formulaic chart-bound song testouts, in order to acess the scientific values relating to the 'sure-fire' hit song sector as close as possible, excluding force de majeure which occasionaly helps certain songs achieve the status of a hit song.

Article 6: The Projected Outfits

Ivan Gatsby and Isaac Lauren have created the tentative imagery, pennames and likenesses of the temporarily defined acts, such as:

THE TOUCHDOWNS: Sash Darien - Joel Cassidy - Victor Sans - Francis Palmer
ARIEL tHE TEMPLAR: Simon K.T. - Savin Gregory - Richard Odell – Milo Howard
TESLA GIRLS!: Nina Picasso (PR) - Michelle Morris - Laura Kennedy - Christina M. - Zoe Kruzeiro
DATA!DATA! (virtual computer act): Getsbian – RobotKraft 32 - Robin Hall
NINA PICASSO & THE MODELIERS: Nina Picasso, guitar and vocal, supported by Maurice Adams,
the multinstrumentalist, and Denisse Alistair, backvocals.

Article 7: Potential Revenue Resources

Catalogue shall comprise the songs as stated hereinunder, initially targeted at the acts listed thereby, although Ivan Gatsby and Isaac Lauren reserve rights to any any modifications.

The songs published shall be offered to the major force of the music industry following the best practice of the publishing and copyright rules. Therefore the resource of projected revenues will proably feature a roster of the artists releasing the song on their albums, singles, electronic and physical releases widening the scope of exploitation relating to the rights income.

The resources of the income with regards to the rights implemented in Catalogue shall be described in detail in the Prospect to Bond. The potential investors at the initial stage,however,should be aware that their investment recoupment and profit engaged shall be made possible from the following resources:
1. Any agreement or contracts, not necessarily relating from the contracted Rights xploitation, made by any of the Gatsby & Lauren's unit (such as: Gatsby & Lauren Global Media & Finance Ltd., in forming) shall be complimented to the Bond-fund's income. The contracts prenegotiated to an extent and realistically expected shall relate to:
a) the advance, royalty or joint venturee agreement as to the producer
b) label deals with a major or variety of independent distributors covering different territories;
c) acts (artists);
d) composers and publishing rights and revenues;
e) miscellaneous products, services and business services such as stimulating the investment funds, proactive to the small and medium enterpreneurs, whereby the shares of the Bond-fund might account for the proportional share of the e-album or release. Such a system shall enable teenagers and actively working AOR public to assist the economical revival in their countries (Welfare cause), besides enjoying the high-rate music delivered by and Gatsby & Lauren release.
This conception shall be primarily exposed to the new generations in 20-ies, 30-ies, as well as the middle, and older-middle aged generations all over the world who will utilise the Gatsby & Lauren products and services as their tool for assisting the world's survival and development, simultaneously acquiring profit from the Bond-funds and the services to be offered by Gatsby & Lauren portal.
Most of all, the public and Bond-Owners,respectively, shall be complimented with great entertainement with substance, class, integrity and sweetening irresistability. The social role of Gatsby & Lauren brand shall by no doubts cause ascension of any values associated thereto, such as Bond, and so forth.
2. Royalties earned by the rights of a song shall be derived from the value and copies made, be it e-releases or physical releases, brodacasts, sound and video recording, advertising revenue, feature film licensing, live perfomances.
3. By the music and Intellectual Property standards, the owners of song copyright are the creators of the words and music, as well as the publisher or any Third Party honoured, such as Bond -Owners during the Bond's maturity period with aim of securing the Bond's cashflow and value sustainability.The owners of the recording copyright are usually the artist(s) or the record label, and this is the purpose Bond shall be used for – to enable the project retain as many rights for as large territories as possible. The performers of a recorded performance — the artist(s) or other musicians are the owners of these rights, yet Ivan Gatsby and Isaac Lauren by using the session or bona fide musicians and vocals reserve the revenues from these rights to the fund.
4. Ivan Gatsby and Isaac Lauren shall register a music publishing company ‘MI2 Music Ltd.’ and the revenues accomplished by the publisher shall honour the Bond-fund as well the receivables from any 'Gatsby & Lauren' legal unit associated to the media or finance markets dealing with the Bond content .

5. The main royalties are those belonging to the writers (paid to Publisher):mechanical (paid from Distributor/Label to Publisher); perfomance recording (paid to Recording rights owner) ; perfomance –perfomer (paid to Performers); artist (paid to Artists). Ivan Gatsby and Isaac Lauren as the writers, creative force (producers, engineers, musicians, backvocals), publishers and label unit shall be entitled to most of the herinabove royalties until the arists shall evolve into self-standing acts from the second album onwards. That point shall, however, produce the value difference and make up for the eventually ungainable artist or perfomer royalties or share of royalties.
6. MI2 Music Ltd. as well as Gatsby & Lauren Global Media and Finance Ltd. revenues shall develop and henceforth score the various agreements, contracts and royalty assignment with distributors, royalty collecting societies and additional sources in the shape of deals, advances, recoupments, joint venture deals, licensing grants/deals executed to the very best practise in the music industry.
7. Copyright Info: As for longevity of rights, songwriter copyright runs for 70 years after the death of the writer (or first publication if later). Recording copyright runs for 50 years from the release (first publication). Collection royalty societies will pay 100% direct to writers without publishers (self-publishers) or 50% direct to writers who have a publisher (in this case the publisher will also pay part of their 50% to the writer).
8. The other resources of the rights/recording revenues include: film and television recording sync rights; recording clearance and licensing for samples; licensing recordings for adverts.

Article 8: Additional Collaterals

Bond-Owners shall be collateralised by the following assets:

1. Catalogue rights containing the objective globally exploitable commercial multilevel potential of the songs featured therein,as well as the business activities initiated and performed as to the Catalogue's extensive feasibility,
2. Marketing innovations targeting at the specific niche audiences ,
3. Initial low-cost value of the rights, projects and operative business framework structure are supposed to create the bonus premium to the Bond-Owners from the outstart of their involvement therein,
4. Zero-Coupon Bond, Five- Year Maturity, coupon face value annuities provided instantly,
5. Convertible Bond with Goodwill and other relevant supplemental values related to the content of Bond and esteems derived therefrom,
6. Dynamically modifying Bond content, with the initial 65 (SixtyFive) songs, principally of hit and mega hit appeal, being added to Catalogue each year during Bond life, advances the commercial potential of the Catalogue's revenues,
7. Early termination option possible provided the Bond Issuer or the Content Providers want to repurchase the Bond ownerships before its maturity,
8. Life, injury and business liability, as well as other applicable insurances by the Content Providers matching the risk capacity of the Bond's Face Value issue,
9. Extensive commercially exploitable rights of the books, screenplays, media projects and other values, to be displayed at web site (out on September 1, 2006),
10. The Right for Damage Compensation of Ivan Gatsby totalling to HRK1Billion, as claimed in the process versus the Republic of Croatia),
10. Know-how], results and visionary milestones by Ivan Gatsby and expertise by Isaac Lauren apply as the managing and creative force.

Article 9: The Overview - Projected Tentative Songs and Releases

The songs to be included in Catalogue,thus the basic asset of Bond, shall be as follows hereinunder. The artists/projects noted thereby are projected to have the first option on each song
Due to the circumstances,and contrary to the original projections, Ivan Gatsby and Isaac Lauren shall open the roster with the Acts:

1. DAta! DAta! and 2. ARIEL tHE TEMPLAR for the opening songs/e-releases (to be available at : as of September 1,2006)


caused interest by the business angel company in Austria already at the songs' demo stage.

The Act DAta! DAta!, cherishing the very finest of Techno-, and Robot Pop, shall be out with e-Album, tentatively titled PERFECT DARKNESS by November 1, 2006:

The e-Album, as an edition of GATSBY & LAUREN'S e-njoy! shall contain songs:
Songs - Candidates: 1. Kiss Me Automatic… It’s So Chic! 2. ABC of Singing – So Far Away 3. Life Goes On 4. Proud To Be Catholique 5. They Used to Be Robots (But We Are Robots No More) 6. How Electric We Can Get 7. Who Was That 8. We'll Meet Tonight 9. Dass Ist Mein, Dass Kapital 10. The Air That We Need 11. This Very Night 12. Unzipped Memories 13. C'eST la Vie

Modifications with aim of achieving commercial and artistic perfection possible.

The Act ARIEL tHE TEMPLAR shall record and release the debut album titled FROM THE SHADOWS
THEY CAME in accordance with the aggreement signed with the strategic investors, Bond-Owners and otherwise investors.

If no agreements shall be defined, the releases shall be tentatively as follows:
(Single releases not listed)


A. ' e-njoy!' e-albums containg at the later stage data and song bonuses such as: 'Almost 3 albums for price of One!'
B. 'Mega (ST)Art Edition' – initial home made CD editions with valuable supplements
C. Gatsby & Lauren Classic Gold and Platinum EDition – global market CD and likewise editions


featuring sensational denovo groups ARIEL tHE TEMPLAR and TESLA GIRLS!

Songs - Canditates: 1. Heart of Gold (Seven Minutes) 2. Anywhere You Seem 3. Draw the Line 4. Every Rain in the World 5. Message to the People 6. (Turn Back Time) 7. Secrets of My Life 8. Walk on by (And Never Stop) 9. Don't Worry, Ma, Nothing Is Gonna Be Alright, 10. Confessions of a Traveller 11. Evidence of Mind 12.Where Was My Friend When I Needed Him Most 13. Brothers in Blood 14. Walking down to Heaven 15. Closing Time 16. Why Do We Talk about Love 17. The Storm A-Comin’ 18. Pater Noster (Young Person’s Guide to Suicide), featuring Sir George Lawrence, DJ Marcel Le Catolique, Soldier of Allahu and Black Pearl 19. Living Only for Today 20. All Night Hallo 21. A Town with No Name

Songs-Candidates: 1. Lennon Just Tonight 2.Alert on Planet Earth 3. Love and Fears 4. Sound of Revolution 5. (On the )Streets of London 6. Dust in Your Eyes 7. Hold the Time 8.Darkness Must Go 9 . Only a Call Away (featuring choir ‘Gregorian Distances’ ) 10.The Horroscope Heroes 11.Reason to Live 12. U Calling Me Around 13. Tune to the Moon, and I Am Gonna Visit You 14. Goodbye...Still Seems to Be the Hardest Word 15. Summertime Cola (Halo Hello Ola) 16. Proud To Be a Housewife 17. Wishing by Numbers 18.After the Kisss...They Call It Love

Songs – Candidates: 1.They Always Come Back 2. Can We Live Together 3. The Cross and Wine
4. Nobody is Calling Your Name (5 .Ring My Bell (2006) 6. All The Day He Was a Zero 7.Dreaming Life Away 8.The Things U Didn't Do 9. Hey Mister, Never Touch My Mind 10. Do You Feel Like Feeling Better 11.Good Morning, Oh Boy! 12. The Last Romantic on the Town 13. Twisting in the London Town 14. I Love Surfin' Sex 15. Gimme Your Hand and Save Me Now 17. Dreams Are Broken...The World Is Open 18. Heroes on the Block 19. Claire (Have I Told You That I Love You Too) 19. Have You Seen Anything, Anything At All 20. It's So Easy (To Fall in Love) 21. Vacant Law 22. Hallo. How Are You?

Songs -Candidates: 1. Fly Back Tonight 2. Someday Never Comes 3. At First It Looked Like Love 4. Selling Time 5. One of a Kind 6. The Boulevard Where Hearts Break 7. Sailing over Ages 8. Slowdowns 9. Sweet Silence of the Roman Empire 10. Call It a Day 11. Feel the Troubled Waters

Note: Easy listening instrumental album to be added to GATSBY & LAUREN I or II MEGA ALBUMS as bonus:
Themes: 1. The Falls of Dorian Gray 2. One Dream in a Million 3. A Cloud, Maybe 4. Champagne in the Sunset 5. The Starlight Protocol 6. Dark Days Passsed By 7. A Tear Travelling Miles 8. Late Night Tea at Manhattan 9. Very Private Rainbow 10. The History of Paperplanes 11. Fire Sleeping in the Sands

Songs – Candidates: 1. Coming Home, Finally 2. The Perfect Nobodies 3. Tonight I Am Going to Die 4. One Forever After 5. Somebody Needs You Now 6. Turn of the Cards 7. Saved and Sealed by the Bell 8. Time to Close the Door 9. The Believers 10. Sailing 11. The Last Train to Coast 12. Never Look Back 13. Money All Over 14. From Europe to America 15. Running Out of the West 16. The Princess

Note: This album of recital--poems in the Cohenesque style shall be a bonus on Gatsby & Lauren II or III album
Songs: 1. Pale Sort of Blue 2. Cafe d’ Europe 3. Two Million Years from Home 4. At the Time Like This 5. Storyteller against the Rain 6. Ships Never Meet in the Night 7. He Didn’t Call Back 8. Visitor and the Roses 9. Black Angel Falling 10. Go Go Go...Go Away from Me 11. Jerusalem on Fire 12. This Planet According to the Snowman 13. Into the Matters

Act: TESLA GIRLS! Album II ( a solo album): THEORY OF MIDNIGHT
Songs: 1. Dark Horses 2. A Heart Full of Love Never Dies 3. Take It to the Limit 4. Sometimes When We Know 5. It's Been So Long 6. We Gotta Move 7. I Am Late. And You? 8. Strangers Coming out of the Night 9. Not Afraid To Move On 10. After We Have Touched 11. Where the Love Has Gone


HITSTERIA! (OH!pled, Semipled, Overpled)

a. ‘Double Pleasure (For Single Price) by ‘
b. ‘The Very First Internet Pop Opera: Almost Forever’ by ‘Various Artists’
c. ’Interview with a Saint’ by ‘Nexxxt to Madonna’
d. ‘The First Touch’ by Eurozone

Ariel the Templar/ Tesla Girls! / The Touchdowns/ T-Bees/ Data!Data!/ Eurozone/ Electric Park Orchestra/ Protocol ‘69/ Dream Committee/ Amen Now/ Dream Index/ Yes-S/ Frappe/ Mr.Vampire Project/ Electric Sister 2007/ K-Plus/ Adrian Gold and His Elite Orchestra/ Yv / Nexxxt to Madonna/ Nina Picasso and the Modeliers/ Merien/ d’Accord / L’Avvocato / Marcel Le Catholique/ The Priorities / The Nominees/ James and the Outsiders/ Edisson, a.s.f.

ARIEL tHE TEMPLAR: 2006/07 – From the Shadows They Came / 2007/08 – One Forever After /
2008 –The Breaking News
TESLA GIRLS!: 2007 – An Evening on Earth / 2008 Theory of Midnight / 2008 - They
aLive (So OH!Pled )
THE TOUCHDOWNS: 2007 - Communication Lost / 2008 – Physical Evidence / 2008 – When the
Days Stop
DATA!DATA: 2006/07 – Perfect Darkness / 2007 –Future of the Time / 2009- Privileged
ADRIEN GOLD & HIS ELITE CAFFE ORCHESTRA: 2007-2010: So Far-The Ultimate Net Collection (
inc. albums: A View to Avalanche - Cold Sky and a Piano –Darkness Falling on Manhattan )
NINA PICASSO & THE MODELIERS: 2008 - Pssst! A Cloud,Maybe / 2009 – Yesterdays of Never /
2011 - Into This World We Were Born
ELECTRIC PARK ORCHESTRA: 2007 – The Final Days of a Lonely Heart / 2008 - Somebody Long Ago
T-BEES: 2008 – Lovecution / 2011 - Thunders and TV -Show

AMEN NOW: A Remote Bible View (Another Story of Heaven) – The Pilgrims Who Drew the Crowds
(releases dates not specified)

THE VERY FIRST INTERNET POP OPERA (versatile acts): 2008 – Almost Forever (accompanied by
the hit book ‘Earthernal C..00medy’)

The projected Bond shall be supported by the registered original songs featured in Catalogue, assuming the commercial exploitation of all the rights arising therefrom, as well as the derivative direct, and indirect commercial activities relating to the Gatsby & Lauren brand, the names of the Acts, and and other copyrighted or IP protected items relating to the Bond's life.

- to continue upon interest -

- 11:52 - Komentari (4) - Isprintaj - #

utorak, 10.01.2006.


The texts selected hereinunder are used for underlying educative purpose with the sole aim of rising the awareness of the visitors to this site and enabling their rationale as to the publicly known matters of copyright.
[B]The usage of the texts defined hereinabove at this stage is believed to fall into the cathegory of fair usage, for the links and visible guidelines to the adresses of the copyright owneres are highly noticeable and pose no relevant intereference to any interest of the copyright holders whatsoever.

The mission of the texts presented hereinunder provides deficieny of any commercial gain derived therefrom.The whole web page, as currently set up, supplies basic information of the abstract tentatively tittled: Gatsby & Laurent Global Mega Hit Catalogue 2006-2011 and the abstract tentatively titled: Gatsby & Lauren Global Hit Bond 2006-2011.
The texts have been selected from the sources ransomely accessed by the author of this innovative model abstract designed to serve a start-up enterprises which raise capital thru the available Intellectual Capital by means of either the early age equity financing or the applicable securities issuance.
The difference between the Pre-Offer abstract relating to the abstract Gatsby & Lauren Global Mega Hit Catalogue 2006-2011 and the abstract Gatsby & Lauren Global Hit Bond 2006-2011, which shall be displayed by the February 28, 2006, both in English and Croatian language, and the preceding security issuances based on IP asset / receivables such as, namely, 'Bowie Bonds', originates in the particular goals and state of conditions.
The IP Bonds issued covered the established marketable assets whereas the Gatsby & Lauren Global Hit Bond 2006-2011 (tentative title) shall introduce the new technique and modus operandi to the start-up companies with IP assets in any form, maturity or shape all over the globe.
The expected Offer (displayed as the abstact for the time being) supported by the projected Prospect containing elaborate information on Gatsby & Lauren Global Mega Hit Catalogue 2006-2011+, as well as the commercial content thereto, shall not include any of copyrighted material for either informative or educational purposes other than the original material created by the authors of the Prospect and the Project, respectively.
The potential investors in a start-up company backed by the IP asset such as Music Rights should be enticed to consider such entities for their investing portfolio which shall in turn increase the new values manufacture in most economies.
Therefore,the model as exhibited on the web page is expected to attend to the welfare cause.
In accordance with the terms of the current circumstances, the visitors interested in fostering their views into further informative texts on Copyright, Trademarks, Pseudonyms, Industrial Designs are strongly invited to visit the web sites with prescribed content deemed to be the uppermost official source of informatiuon such as World Inteelectual Property Organisation ( ).


Resource: State Intelelectual Property Office of the Republic of Croatia ()

Copyright law is a group of legal rules (among which in Croatia the most important is the Copyright and Related Rights Act) governing legal relations in respect of copyright works. Copyright is also the right of the author in his work.

The author of a work is a natural person who has created the work. The author is presumed to be the person whose name, pseudonym or mark appears in the customary manner on the copies of the work, until proven to the contrary.
If several authors participated in the creation of a work a co-authors’ work is concerned.
If such a created work is an indivisible whole the co-authors have a joint copyright in it.
If two or more authors join their created works for the purpose of a joint use, each of them keeps the copyright in his/her own work.

A copyright work is an original intellectual creation in the literary, scientific and artistic domain, having an individual character, and being expressed in any manner whatsoever.
For the notion of a copyright work as a basic notion of copyright law it is essential that it concerns an original intellectual creation, or the creation of human intellectual creativity, respectively. Originality, in the sense of copyright law, does not require the absolute novelty, but the so-called subjective originality or the novelty in subjective sense is required. A work is considered to be subjectively original if the author does not imitate another work known to him. Furthermore, a work has to be in the literary, scientific, or artistic domain. In addition, it has to be pointed out that the mentioned concept has a broader meaning in the copyright law than literary works in the theory of literature or artistic works in the history of art. The copyright protection is enjoyed by expressions, comprising a tangible form of an idea, achieved by means of various means of expression such as written or spoken word, body movement, sound, as two dimensional and three dimensional forms.

Copyright works are in particular:
works of language (written works, oral works, computer programs),
musical works, with or without words,
dramatic and dramatico-musical works,
choreographic works and works of pantomime,
works of visual art (in the field of painting, sculpture and graphics), and other works of visual arts,
works of architecture,
works of applied art and industrial design,
photographic works and works produced by a process similar to photography,
audiovisual works (cinematographic works, and works created in a manner similar to cinematographic creation), cartographic works, presentations of a scientific or technical nature such as drawings, plans, sketches, tables, etc.

Subject matter of copyright protection does not include:
ideas, scientific discoveries, processes, methods of operation and mathematical concepts,
official texts in the domain of legislation, administration, and judiciary, as well as, their collections, which are disclosed for the purpose of officially informing the public,
news of the day and other news, having the character of mere items of press information

Copyright includes:
Moral rights of the author – protect personal and intellectual ties of the author with his work,
Economic rights of the author - protect economic interests of the author in respect of his copyright work,
Other rights of the author – other interests of the author in respect of his work.

Related rights are the rights that have their special subject matter, which is mainly related to copyright. With regard to the similar subject matter, they are also called the rights related to copyright or simply related rights. With regard to the fact that they are close to copyright they are also called the rights neighbouring to copyright. According to the Copyright and Related Rights Act) they include:
Right of performers
Right of producers of phonograms
Right of film producers
Right of broadcasting organizations
Right of publishers in their editions
Right of producers of databases

1. How and where can I protect my copyright work?
Copyright in a work belongs to it author by the mere act of creation of the work (by virtue of Article 9 para. 2 of the Copyright and Related Rights Act) with no formality to be complied with, such as registration or deposit of the work. Any deposit of the work is legally irrelevant for the acquisition of copyright.
A copyright work may be used only with the authorization of the author (in writing). Individual use of a copyright work has to be regulated by a corresponding contract in writing between a rightholder and a user of the subject matter of protection.
2. What is the meaning of disclosure and what of publication?
Disclosure comprises any act of making a work available to the public (publication, display, broadcasting), i.e. relates to the appearance of a copyright work in public, in any form whatsoever (tangible or non-tangible).
Publication is one of the forms of disclosure. This is the process by which a work is put, in a certain number of copies into circulation and thus is made available to the public i.e. relates to the copies of copyright works in material form, making any publication a disclosure, but not vice versa.
3. What is the meaning of the public?
The public means a larger number of persons that are outside the usual circle of persons closely tied with family or other personal relations.
4. What is the meaning of public use of a copyright work?
Public use of a copyright work is considered to be any use of a copyright work that is accessible to the public, or such use in the area that is accessible to members of the public as well as, providing to members of the public access to the work at a time and from a place individually chosen by them (by the Internet).
5. Are the translations made by professional translators and court interpreters copyright works?
Article 6 of the Copyright and Related Rights Act provides for that translations, as basic alterations of a copyright work, being original individual intellectual creations, are protected as independent copyright works. The same Article provides for that translations of official texts in the domain of legislation, administration and judiciary are protected, unless made for the purpose of officially informing the public and disclosed as such.
This means that all the translations of copyright works are always protected as copyright works. However, other translations fulfil, in most cases, the pre-requisites for copyright protection (subjective originality, intellectual creation and individual character). Still, if translations of official texts made for officially informing the public are concerned and if they are disclosed as such (e.g. a translation of the treaty disclosed in «Narodne novine» - the Official Gazette of the Republic of Croatia), the translations will share legal destiny of the basic work and will not enjoy copyright protection).
6. Is a synopsis for a yet unfixed audiovisual work a copyright work?
A synopsis i.e. a basic content or a «pre-screenplay» for an audiovisual work yet unfixed is a written copyright work, provided it is original, i.e. subjectively original – meaning that it does not imitate any other known work. The author of the synopsis becomes a copyright holder by the mere act of creation of the synopsis even without disclosure.
In most cases a synopsis and a screenplay are the works of the same author.
7. How to protect a screenplay for an audiovisual work?
A screenplay is a written copyright work and is the subject matter of copyright protection, by the mere act of creation of the work, without having to comply with any formalities.
However, after the creation of an audiovisual work a screenplay becomes part of a co-authors work, within the meaning of Article 11 of the Copyright and Related Rights act:
“Co-authors of a work are the persons who created the work jointly, and whose contributions cannot be used independently. Co-authors shall have a joint copyright in the created work, so a part of such copyright calculated in proportion to the whole copyright (co-authors part) shall belong to each of them”.
For some types of copyright works such contributions may be of the same sort (e.g. in computer programs), while for other works they are of different sort (e.g. for dramatico-musical or audiovisual works). According to the provisions of Article 116 of the Copyright and Related Rights Act, as co-authors of an audiovisual work shall be considered: the principal director, the author of screenplay, the author of dialogue, the principal cameraman, the composer of music specifically created for use in such work, the principal drawer, and the principal animator respectively, if a drawing or animation is essential element of an audiovisual work. It is provided for that other persons may also be co-authors of an audiovisual work (and not only the authors of contributions), if they prove that their copyright works represent essential parts of the audiovisual work.
8. Are standards copyright works and are they protected by copyright?
Standards introduced by the so called private persons are written copyright works of language, if they fulfil the prescribed pre-requisites for copyright works, i.e. if they are individual, intellectual and original creations. Such standards enjoy copyright protection.
However, the standards which have to be applied by someone and which form part of a certain regulation as an official work do not enjoy copyright protection, because they share legal destiny of other official works. The standards which form part of legal regulations and the standards to which particular legal regulation refer to are official works.
9. Can the author, who exercises his rights in the system of collective management of rights, authorize individually the use of his work in particular cases?
The reason why particular forms of exploitation of copyright works are managed collectively lies in the fact that, in particular cases, owing to the massive use (public communication of music, public lending, reproduction for private use), necessary contact between the users and authors to ensure on the one hand the author’s authorisation for the use and on the other hand remuneration to the author for such use is impracticable. Therefore, such forms of exploitation are authorized and paid all over the world by associations of authors, which provide to the user legality of use in respect of the whole repertoire represented by the association, and to the author – control over all (or the largest number) uses of his works. In order to enhance legal security many legislations (if not it, then the court practice) in many countries all over the world are introducing the institute comprising the so-called presumed power of attorney of one society in the country for management of the rights for a particular category of rightholders. Such a society represents all the authors in its country, as well as, the authors of other countries on the basis of agreements on reciprocal representation concluded with the corresponding foreign societies.
The above mentioned comprises certain obligations of associations of authors in relation to rightholders and users: the association must represent equally all the rightholders and treat equally all the users in the manner that they provide access to a copyright work and its use to any of them under equal terms. Following the above stated and by virtue of the provisions of the Copyright and Related Rights Act it is concluded that there is always a presumption of collective management of rights, if the right concerned is the right which is provided for as the right which may be managed collectively. If a rightholder did not, in the manner provided by the Act, refuse (refrain from) collective management of rights i.e. did not: 1. expressly, 2. in writing, 3. notify the association not to manage his rights (Article 159 para. 2 of the Copyright and Related Rights Act) he can not manage his right individually from case to case...

The Office examines whether the industrial design application as filed complies with formal requirements prescribed by the Law and the Regulations, and examines whether the prescribed fees and procedural charges are paid. In the case where the application does not comply with the prescribed requirements, the Office invites you to remedy the found deficiencies. Failing this the application will be rejected.
The correct application is further examined ex officio in respect to certain requirements for the registration of an industrial design, so the registration can be refused entirely or partially if:
the design does not comply with the definition itself of a design
the design is contrary to public policy or to accepted principles of morality
the design contains elements comprising national symbols, badges, emblems or escutcheons (coats of arms).
If your application is not contrary to requirements of the Law, the industrial design will be registered, and the data concerning the industrial design will be published in the Office official gazette (the Croatian Intellectual Property Gazette).
The Office does not examine ex officio the novelty of a design applying for registration, nor its individual character, which can be established as a possible legal invalidity subsequently, in the procedure for declaring the industrial design invalid...

The trademark filing relaters to the 'GATSBY & LAUREN GLOBAL' brand ; 'plus-' brand (featuring projected units and products :plusBANKA , InveST! plus, plusMEGA CARD etc.)




by Editors
from Nolo Press
at© Nolo Press
A copyright is a legal device that provides the creator of a work of art or literature, or a work that conveys information or ideas, the right to control how the work is used. The Copyright Act of 1976--the federal law providing for copyright protection--grants authors a bundle of intangible, exclusive rights over their work. These rights include the:
· reproduction right-the right to make copies of a protected work.
· distribution right--the right to initially sell or otherwise distribute copies to the public.
· right to create adaptions (or "derivative works")--the right to prepare new works based on the protected work.
· performance and display rights--the right to perform a protected work, or display a work in public.
An author's copyright rights may be exercised only by the author--or by a person or entity to whom the author has transferred all or part of her rights. If someone wrongfully uses the material covered by the copyright, the copyright owner can sue and obtain compensation for any losses suffered.
Copyright protects original works of expression, like plays, paintings, sheet music, recorded music performances, novels, software code, artwork, sculptures, photographs, choreography and architectural designs. In fact, copyright protects any creative work that is fixed in a tangible medium of expression.
A work is protected by copyright only if, and to the extent, it is original--that is independently created by the author. A work does not have to be novel, and its quality, ingenuity and aesthetic merit does not matter. So long as a work was independently created by its author, it is protected by copyright even if other similar works already exist.
A copyright automatically comes into existence the moment an author fixes her words in some tangible form--for instance, the moment a book or article is typed, handwritten or dictated. No further action need be taken.
p>No. A copyright notice has not been necessary to obtain copyright protection for works published since March 1, 1989, it is still a very good idea to include one anyway. When a work contains a valid copyrigt notice, an infringer cannot claim in court that he didn't know it was copyrighted. This makes it much easier to win a copyright infringement case. Moreover, the existence of a notice might discourage infringment.
The copyright notice should contain (1) the "c" in a circle ©; (2) the name of the author or owner of all the copyright rights in the published work; and (3) the date of publication.
If the work is valuable, it should be registered. Registration is not mandatory, but it gives you right to get attorneys' fees and statutory damages up to $100,000 in an infringement suit. Registration is relatively easy: You fill out an application form and submit it along with two copies of the work to the Copyright Office.
As a general rule, no. The key to understanding copyright is understanding that it applies only to a particular expression and not to the ideas or facts underlying the expression.
For instance, copyright may protect a particular song, novel or computer game about a romance in space, but it cannot protect the the underlying concept or idea of having a love affair among the stars.
Moreover, copyright does not protect facts--whether scientific, historical, biographical or news of the day. Thus, the facts that an author discovers in the course of research are in the public domain, free to all. This is so even if the author spends considerable time and effort discovering previously unknown facts. Copyright only protects fixed, original and minimally creative expression.
Technically it does, as long as your words are your own and no one elses. However, it doesn't protect your bright ideas that you share with your on-line friends, only your words. Also, a legal doctrine known as fair use may allow others to use your words for educational or news purposes.
Society can often benefit from the unauthorized use of copyrighted materials when the purpose of the use serves the ends of scholarship, education or an informed public. For instance, scholars are free to quote from their research resources in order to comment on the material.
Often it's difficult. In deciding whether a use is a fair use, you need to consider: (1) is it a competitve use (for instance, would people buy your work instead of the material you're using?) ; (2) how much are you taking; (3) the quality of the material taken. Criticism and comment, news reporting, research and scholarship, and non-profit educational uses are most likely to be judged fair uses. Used motivited primarily by a desire for a commercial gain are less likely to be fair.
As a general rule, if you are using a small portion of somebody else's work in a non-competitive way and the purpose for your use is to benefit the public in some way, you're on pretty safe ground. On the other hand, if you take large portions of someone else's expression for your own purely commercial reasons, the rule usually won't apply.
Not always. Copyrights are generally owned by the people who create the works of expression, with three important exceptions:
· 1) the employer owns the copyright in a work created by an employee in the course of his or her employment;
· 2) the entity commissioning a creative work owns the copyright in it when the creator works as an independent contractor and signs a written work for hire agreement; and
· 3) a business or person other than the creator may own the copyright by purchasing it from the creator.
Most copyrights last for the life of the author plus fifty years. However, if the work is a work for hire or is published anonymously or under a pseudonym, the copyright lasts between seventy five and one hundred years, depending on the date the work is published.
Most works enter the public domain because their copyright has expired. However, some works published before 1989 became public domain material because they didn't carry the proper copyright notice (a notice is no longer required to maintain a copyright). Also, many works published before 1964 have entered the public domain because the copyright owners did not renew their copyright under the law then in effect.
When a work is in the public domain, it can be used by anyone without the author's permission. For instance, Shakespeare is in the public domain.
If a person infringes (violates) the exclusive rights of a copyright owner, the courts will step in and issue orders (restraining orders and injunctions) to prevent further violations, award money damages if appropriate, and in some circumstances award attorneys' fees.



1. Who actually holds the copyright in a piece of music - artist, record company, composer/publisher or all three?
There is generally more than one owner of rights in any given track. The people who wrote the tune and the lyrics and/or their publishers own authors' rights, which is the classic copyright. The artist that performs that music has certain 'related rights' as a performer. And a record label typically owns the copyright or producer's related rights in the particular recording of the song.
Permission is needed from all of these people who created the music-or those to whom they have assigned their rights-in order to use the music.

2. How do I know if there's a copyright on a particular piece of music?
All music and recordings of music are copyrighted and also subject to protections of 'related rights' as of the date they are created, and for at least 50 years afterwards (up to 120 years in some countries). In Europe, for example, authors and music publishers retain copyright for 70 years after the death of the author. You may find a copyright or other notice indicating that the music is protected (e.g. © (P) 2003, Acme Records Ltd. All rights reserved), but these are not necessary. Protection is automatic.

3. How do I know if what I'm doing is legal or illegal?
Under copyright and related rights it is not legal to copy, adapt, translate, perform, or broadcast a protected work or recording, or put it on the internet, unless a specific exception exists in the copyright law of your country, or unless you have permission from all of the relevant owners of rights.
Copyright and related protections apply in virtually every country. In fact they are required by international law in the 150 countries that are members of various copyright treaties, and the 145 countries that are members of the World Trade Organisation.

4. Is it illegal for me to copy and distribute music even if I'm not making money out of it?
The question of whether you are doing copying for profit may affect what penalties apply, but does not determine whether you are in breach of copyright.
The legal case against the illegal file-sharing service Napster proved the point. The court found that users of that peer-to-peer service were engaged in 'commercial' copying even though no money changed hands. The key ruling of the court was that 'Napster users get for free something that they would ordinarily have to buy.' Napster, 114 F. Supp. 2d, at 912.

5. Isn't it legal to make copies for my own personal use?
The laws of some countries have limited exceptions to the rights owners' rights to control copying, which allow a limited number of copies to be made strictly for personal and private use.
These exceptions do not apply, however, if you make available or transmit copyright material over the internet, distribute your 'private' copies, or (in many countries) copy from illegal sources. In short, the law does not allow indiscriminate peer-to-peer transfers of copyright material. These do not fit the definition of 'private' copies. This is 'public' copying among millions of users.

6. If I have bought a legitimate CD, can't I do what I like with the music on it?
In buying a legitimate CD you have paid for the right to own the physical disc, to play it privately, and to pass on the same physical disc to another person. You have not bought the right to distribute copies, whether on CD-R or over the internet.

7. So what if I break the law - what can anyone do about it?
Where people persistently make music available on the internet in breach of copyright laws, they are in effect acting as copyright thieves and that exposes them to the risk of legal action by the copyright holders.

Owners of copyright and related rights regularly take action in different countries to remove illegal material from the internet and to seek civil or criminal sanctions against infringers. Hundreds of millions of music files are removed from the internet each year through co-operation between internet service providers and the music industry.

Civil and criminal lawsuits have been taken against internet infringers in many countries. The music industry has announced its intention to step up action against copyright theft of this type.

8. Is there a copyright on all music, including music that may no longer be available commercially?
Generally, yes. While some very old songs may have fallen into the public domain, the vast bulk of those that appear on the internet are still under copyright protection.
The fact that a song or a track is no longer offered commercially by its creators is not relevant. It's their music, and copyright gives them the right to withdraw their work from commercial publication if they like.

9. What if I just want to download a few songs to see if it's worth buying the album?
That's fine if you're allowed to so by the holder of the rights. Some commercial sites let you listen to clips from particular songs, or sample a limited download of tracks from their service, as a 'taster' of the music.
But there is no general right or exception that lets you copy before you buy without permission, for the obvious reason that once something is copied it probably won't be bought.

10. Is it all right to transmit and copy material over the internet if it is marked with 'delete within 24 hours', 'for evaluation purposes', or a similar disclaimer?
These excuses are not recognised by copyright. The law looks to the reality of what is happening-unauthorised transmission and reproduction of somebody else's music-rather than 'fine print' that is clearly false.

11. Does it make a difference how much I'm uploading?
You are likely to be breaking the law whether you are uploading one copyrighted song or thousands. Of course the impact on the legitimate music community of what you are doing is more serious the more music you are illegally uploading.

12. Is all file-sharing illegal?
The vast bulk of peer-to-peer 'file sharing' is considered illegal copying and transmission of copyright material. But this is a matter of choice for the rights owners involved. It's fine if the owners of rights for any particular song agree that it could be put on a peer-to-peer service and copied and transmitted without payment or restriction.
Most rights owners do not do this, however, because they see peer-to-peer activities as hurting sales of music and the livelihoods of people in the business.

13. What if I download music from a site from a different country than the one I'm in, where the law might be different?
Internet activities of this sort typically involve acts of copying, transmission, or distribution in both countries, so both countries' laws would apply. Copyright owners usually take action in the country in which the infringer is located, however.
Among most of the countries where the internet is prevalent, there are international agreements in place allowing court judgements in one country to be enforced in the other. This process would be typically used only in complicated or unusual cases.

14. Where can I find out more about the different laws on copying and copyright?
What is copyright? FAQs. World Intellectual Property Organisation.
What is copyright? Copyright and the internet. The international legal framework. IFPI.

Where can I look at various countries' copyright laws? WIPO collection of laws for electronic access.


DIY: Copyrights, Trademarks and Publication
by Ram Samudral
from Twisted Helices at
© [indiecentre]

Doing it Yourself: Copyrights, Trademarks, and Publication
Now you have a cool studio and you've come up with a great band name and recorded a bunch of songs you consider brilliant. Are you losing sleep worrying about people "stealing" your music or your band name? Do you need to have a label to release music?
· Copyrights
· Trademarks
· Publication
· Labels

Current copyright law says that you own the rights to a work when you create it. Thus if the rights to use your work ever comes into question, you just have to be able to prove in a court of law that you created your stuff (first). What copyright registration does for you is give you the ability to present concrete evidence in a court. As a friend of mine said "someone came up with a scam to make money `selling' copyrights". But, if your work means something, get it registered. It's very easy and it's only $20. You can get the forms and more information from the Copyright Office at the Library of Congress.
Contrary to popular belief, you can't copyright names. You can register a trademark, or more appropriately a service mark, for them. But the service mark rights, like copyrights, by default belongs to the first person who uses it in practice. As does the right to register to it. Registering a service mark is kinda expensive. But you can get the forms, and more information, from the U.S. Patent and Trademark Office.
ASCAP, BMI, etc., are performing rights organisations. They collect royalties for music performed that is written by you. The BMI and ASCAP pages have a lot of relevant information on this topic, much more than what I have here. Check it out!
Generally, if you're the only artist being distributed, there is no need to have a label. However, there are some advantages to going the label route, and certainly some advantages to treating the whole thing as a business, in terms of tax breaks and the like. This is a route I've chosen not to pursue for a variety of reasons, primary one being that it doesn't do anything for me. However, see the Going Legal section in the Simple Minds Guide to putting out records, and the articles section in IndieCentre for more information.

© [indiecentre]

History of Copyright - A Chronology
(as applicable in Britain, unless otherwise stated)
© Music Business Journal 2001-2002

Copyright is not a new idea. Even scholars in Ancient Greece and Rome had to insist upon their right to be recognised as the authors of their works (the right of paternity) in an era when plagiarism was no crime. However, these scholars certainly had no automatic, legal right to income from their works (the economic right). In the Middle Ages - a time when most of the population was illiterate, and manuscripts laboriously copied by hand and available only to the privileged few - copyright was not a major issue.
Gutenberg and Caxton changed all that - with the introduction of mechanical printing, and the subsequent viability of commercial publishing. Half a millennium later, the Internet has further revolutionised matters, because it permits virtually unlimited duplication of documents at a single key-stroke. Jim Griffin, former Director of Technology at Geffen Records, has characterised the digital age as the era of the "friction-free Gutenberg."
· 1455 - Johannes Gutenberg is the first in the Western world to print using movable type. In about 1455, in Mainz, he produces his famous Bible, the first complete typeset book extant in the West. (If Gutenberg's process revolutionises the dissemination of the printed word, the Internet will go a vital step further at the end of the 20th century.)
· 1492 - William Caxton introduces the printing press into England.
· 1557 - Queen Mary I gives control of all printing and bookselling to a single guild, the Stationer's Company.
· 1662 - The Licensing Act establishes a register of licensed books, as well as requiring a copy of a licensed book to be deposited with the Stationer's Company, who are given powers to seize books suspected of being hostile to Church or Government.
· 1681 - The Licensing Act is repealed, but the Stationer's Company has now passed a by-law establishing rights of ownership for books registered to its members, so the Company is able to continue regulating the printing trade.
· 1707 - Following the political union between Scotland and England on 1st May 1707, laws passed by the London Parliament now became generally applicable throughout Great Britain.
· 1709/10 - The Statute of Anne is enacted in 1709, which becomes effective on 10th April, 1710. Copyright in books and other writings now has the protection of an Act of Parliament. Prior to this, disputes over the rights to the publishing of books could be enforced by common law. The Statute of Anne (being a law passed during the reign of Queen Anne) is the first modern copyright law in England, and the first in the English-speaking world. Writers are given control of their works for a limited period of 14 years (with the option of renewing for another 14 years).
· 1774 - The House of Lords declares that authors and publishers have no absolute property rights over their works.
· 1790 - Like the Statute of Anne in Britain, the U.S. Copyright Act of 1790 gives writers of books, maps, and charts a 14-year copyright, with the option of renewing for a similar period. Major revisions to the Act are undertaken in 1831, 1870, 1909 and 1976.
· 1833 - In the reign of William IV, the Dramatic Copyright Act is enacted. It is commonly known as "Bulwer Lytton's Act" - after the prolific writer, poet and dramatist, Edward George Bulwer-Lytton, who promoted this seminal statute concerned with stage works. This is effectively the first British Act to protect performing rights in dramatic works, though only for a limited number of years. (The performing right is defined as the "sole right of representation or performance"). After this Act, many other copyright measures are passed, most of which are repealed on the passing of the great codifying Act of 1911.
· 1842 - In the subsequent Literary Copyright Act of 1842, authors are granted lifetime property rights in their own work. This Act grants copyright for 42 years from the date of publication, or the life of the author plus 7 years, whichever is the greater. But the Act fails to cover performances of dramatization of non-dramatic works. Unless an author dramatizes his own literary works, stage productions are not copyright protected. Further, if a play is published before being produced, the performing right is usually lost. As a consequence, some authors employ actors to give a single "copyright performance" - of a stage dramatization of one of their works (a novel, or narrative poem, for instance) - "in a place of public entertainment", in order to establish dramatic copyright.
· 1873 - The need for international protection of intellectual creations becomes clear when many foreign exhibitors boycott The International Exhibition of Inventions in Vienna. They fear, as has previously occurred, that their ideas will be stolen and commercially exploited in other countries.
· 1875 - A Royal Commission in Britain sests that present copyright-related Acts be improved and codified, and recommends that the government enter a bilateral copyright agreement with the United States of America.
· 1883/4 - The Paris Convention for the Protection of Industrial Property is signed by 14 European member states, and enters force in 1884.
· 1884 - The Society of Authors is founded for "the maintenance, definition, and defence of Literary Property". The Society's first objective is to obtain copyright protection for English authors in the United States. Among its other aims, it also lobbies for a Bill for the Registration of Titles.
· 1886/7 - The seminal Berne Convention for the Protection of Literary and Artistic Works is signed (in Berne, Switzerland). It intends to give international copyright protection to the creative works of the citizens of European member state signatories. Works protected include: novels, short stories, poems and plays; songs, operas, musicals, sonatas and symphonies; drawings, paintings, sculptures and architectural works. In the International Copyright Act of 1886, Great Britain gives assent to the obligations of the Berne Convention. This Act abolishes the requirement to register foreign works, and introduces an exclusive right to import or produce translations. The U.K. ratifies the Berne Convention with effect from 5th December, 1887. The U.S., however, remains governed by its 1790 Copyright Act, and is not subject to the Berne Convention. Longstanding U.S. literary and musical piracy of works by European authors and composers (and vice-versa) continues to be an accepted way of life for publishers, until finally brought to an end by the establishment of separate bilateral copyright agreements with the U.S.. The Berne Convention is revised in 1908 and 1928. The Berlin Act of 1908 extends the duration of copyright to the life of the author plus 50 years, takes account of new technologies, and declares that formal registration is unnecessary in order to hold a copyright. The Rome Act of 1928 is the first to codify the moral rights of authors and artists.
· 1909 - A major third revision to the U.S. Copyright Act is completed. More categories of protected works are included than ever before (effectively, all works of authorship). The renewal term is also extended from 14 years to 28, taking the total possible period of protection to 56 years. With respect to music, Congress declares: "The main object to be desired in expanding copyright protection afforded to music has been to give the composer an adequate return for the value of his composition …"
· 1911/12 - The great codifying Copyright Act, 1911, comes into force in Britain on 1st July, 1912. For the first time, all provisions on copyright are unified in one Act. The Act adds to the composer's rights that of controlling reproductions of his work by any mechanical means, and his right to authorise performances. Sound recordings are now protected (as are works of architecture). The Act abolishes the requirement to register copyright with Stationer's Hall, and abolishes common law copyright protection in unpublished works, apart from unpublished drawings and photographs. Copyright duration is extended: it is granted for the life of the holder plus fifty years after his death. This new Act gives the copyright holder three principal rights:
(1) to print and sell copies of his work [largely via publishers];
(2) to reproduce his work by means of mechanical contrivances, such as gramophone records and perforated piano rolls [thus the necessity of establishing what became the MCPS];
(3) to perform works in public, and to authorise these acts [thus the necessity of establishing the PRS].
Each of these rights can be separately exercised.
· 1934 - Following a test case brought by the Gramophone Company against a coffee shop [Gramophone Company Ltd. v. Stephen Cawardine & Co. (1934)], the British courts now recognised that owners of sound recordings should be paid for the broadcasting and public performance of their copyrights (songwriters were already being remunerated for these activities by virtue of their membership of the Performing Right Society). This acknowledgement of a separate right (from songwriters' rights), led to the establishment of a new collection society - PPL (Phonographic Performance Limited) - with a specific remit to collect and distribute broadcasting and public performance royalties on behalf of UK sound recording owners.
· 1956/7 - The Copyright Act, 1956, comes into force on 1st June, 1957. It takes into account further amendments to the Berne Convention, and also the Universal Copyright Convention, to which the U.K. is a signatory. Films and broadcasts are now protected in their own right. The Performing Right Tribunal, predecessor of the Copyright Tribunal, is established.
· 1961 - The Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organisations is signed. This proves important to the recording industry, and assists in the prevention of recorded music piracy (further strengthened by the later Geneva Convention for the Protection of Producers of Phonograms Against Unauthorized Duplication of Their Phonograms, of 1971.)
· 1967/70 - The Convention establishing the World Intellectual Property Organisation is signed (of which the international bureaus set up to administer the Paris and Berne Conventions, almost a century earlier, were forerunners). (WIPO, as an international copyright umbrella organisation, commences operations in 1970.)
· 1976 - In the fourth major revision of the U.S. Copyright Act, fair use and first sale doctrines are codified for the first time, and copyright is extended to unpublished works. In anticipation of becoming a Berne signatory, this statute is framed to bring the U.S. more into line with international copyright law.
· 1984 - Richard Stallman, working at MIT, founds the Free Software Foundation, which is believed to be the first anti-copyright organisation of the digital era.
· 1988 - The United States finally becomes a signatory to the Berne Convention.
· 1988/9 - The Copyright, Designs and Patents Act, 1988, supersedes the various amendments to the Copyright Act, 1956. The 1988 Act comes into force on 1st August, 1989. In addition to economic rights, this Act introduces the concept of moral rights for the first time (The Right of Paternity and The Right of Integrity). (This present Act continues to be amended, and now incorporates various European Directives.)
· 1990 - The U.S. Copyright Act is amended in order to prohibit the commercial lending of computer software.
· 1994 - John Perry Barlow (a former lyric writer for The Grateful Dead, and co- founder of the Electronic Frontier Foundation) declares, in a widely read manifesto, that intellectual property law "cannot be patched, retrofitted, or expanded to contain digitized expression".
· 1995/6 - The period of copyright is extended, in Europe and then America, to the life of the author plus 70 years p.m.a. (post mortem auctoris) for most printed works. (Sound recordings remain at 50 years.) (See the actual amendments to the 1988 CDPA for various details and exceptions, and dates of applicability. In the U.K., works created on/after 1st January 1996 become 70-years p.m.a..)
· 1996 - In the U.S., the TRIPS Agreement restores, from 1st January, 1996, copyright protection to many works of foreign origin which are already in the public domain in the United States.
· 1996 - On 1 December, the UK formally adopted European Union Directive 92/100/EEC which was concerned with rental, lending and neighbouring rights matters. This meant that those featured artists and session performers who performed on sound recordings which were broadcast or performed in public after 1 December 1996 in the UK now had a legal right to receive "equitable remuneration" for this use of the copyright. As well as PPL (Phonographic Performance Limited), the legislation subsequently led to the need for further collection societies in the UK - namely, PAMRA (Performing Artists' Media Rights Association) and AURA (Association of United Recording Artists). Fees are paid by the user of the sound recording (e.g. radio station or nightclub etc.) and are collected at source by PPL. Half of this income is paid by PPL to the owners of the sound recordings (record companies). The remainder is distributed to the featured artists and session performers through their individual membership of either PPL, PAMRA or AURA.
· 1998 - The Digital Millennium Copyright Act (DMCA) is enacted in the United States. It is soon criticised as being already out of date in respect of new Internet and other technological developments. The Internet music-file swap site, Napster, when sued by all the major record companies, is to use the Act to argue (unsuccessfully) in court that Napster is merely a "dumb pipe" - a conductor of digitised information - and therefore is not liable for users' copyright infringements (which Napster facilitates).
· 2001 - The European Copyright Directive (Directive 2001/29/EC) which harmonises certain aspects of copyright across the 15 member states is approved by the European Parliamant and the European Council (22 May).
· 2002 - Effective from 1st January, 2002, the German Bundestag (Parliament) introduces a new law to provide for collective bargaining between organisations representing creators and exploiters of intellectual property, aimed at encouraging fairer remuneration for creators - including the statutory right for creators to ask for payment reviews and audits of companies involved in such exploitation.

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Frequently Asked Questions
Please note that Creative Commons does not provide legal advice, so while this FAQ is designed to be helpful in raising awareness about the use of our licenses, it is by nature not a complete discussion nor a substitute for legal advice. It may not cover important issues that affect you and, depending on your situation, you may wish to consult with a lawyer.
Questions for people thinking about applying a Creative Commons license to their work
How do I apply a Creative Commons® license to my work?
For online works, you apply a Creative Commons license to a work by selecting the license that suits your preferences. Once you have selected your license, and if you are applying it to an online work, follow the instructions to include the html code in your work. This code will automatically generate the “Some Rights Reserved” button and a statement that your work is licensed under a Creative Commons license, or a “No Rights Reserved” button if you choose to dedicate your work to the public domain. The button is designed to act as a notice to people who come in contact with your work that your work is licensed under the applicable Creative Commons license. The html code will also include the metadata that enables your work to found via Creative Commons-enabled search engines.
Can I apply a Creative Commons license to an offline work?
Yes. For offline works, you should identify which Creative Commons license you wish to apply to your work and then mark your work either: (a) with a statement such as “This work is licensed under the Creative Commons [insert description] License. To view a copy of this license, visit [insert url]; or, (b) send a letter to Creative Commons, 543 Howard Street, 5th Floor, San Francisco, California, 94105, USA.” or insert the applicable license buttons with the same statement and URL link. The only difference between applying a Creative Commons license to an offline work and applying it to an online work is that offline works will not include the metadata and, consequently, will not be identified via Creative Commons-customized search engines.
How does a Creative Commons license operate?
A Creative Commons license is based on copyright. So they apply to all works that are protected by copyright law. The kinds of works that are protected by copyright law are books, websites, blogs, photographs, films, videos, songs and other audio & visual recordings, for example. Software programs are also protected by copyright but, as explained below, we do not recommend that you apply a Creative Commons license to software code. Creative Commons licenses give you the ability to dictate how others may exercise your copyright rights—such as the right of others to copy your work, make derivative works or adaptations of your work, to distribute your work and/or make money from your work. They do not give you the ability to restrict anything that is otherwise permitted by exceptions or limitations to copyright—including, importantly, fair use or fair dealing—nor do they give you the ability to control anything is not protected by copyright law, such as facts and ideas.
Creative Commons licenses attach to the work and authorize everyone who comes in contact with the work to use it consistent with the license. This means that if Bob has a copy of your Creative Commons-licensed work, Bob can give a copy to Carol and Carol will be authorized to use the work consistent with the Creative Commons license. You then have a license agreement separately with both Bob and Carol.
Creative Commons licenses are expressed in three different formats: the Commons Deed (human-readable code), the Legal Code (lawyer-readable code); and the metadata (machine readable code). You don’t need to sign anything to get a Creative Commons license—just select your license at our ‘Publish’ page.
One final thing you should understand about Creative Commons licenses is that they are all non-exclusive. This means that you can permit the general public to use your work under a Creative Commons license and then enter into a separate and different non-exclusive license with someone else, for example, in exchange for money.
What things should I think about before I apply a Creative Commons license to my work?
We have set out some things that you should think about before you apply a Creative Commons license to your work at this page.
Which Creative Commons license should I choose?
You should choose the license that meets your preferences. The license is a statement as to what others may do with your work, so you should select a license that matches what you are happy for others to do with your work. You can find an overview of the Creative Commons licenses here.
You can find out information about how our licenses have been applied by other people to text, audio, images, video and educational works.
You can also participate in our email discussion lists and/or review the discussion archives to see if our community is able to respond to your questions and concerns and/or has already addressed them.
Finally, you can also consult with a lawyer to obtain advice on the best license for your needs. For information about how you may be able to locate a suitably qualified lawyer, please refer to this question and answer.
What if I change my mind?
Creative Commons licenses are non-revocable. This means that you cannot stop someone, who has obtained your work under a Creative Commons license, from using the work according to that license. You can stop distributing your work under a Creative Commons license at any time you wish; but this will not withdraw any copies of your work that already exist under a Creative Commons license from circulation, be they verbatim copies, copies included in collective works and/or adaptations of your work. So you need to think carefully when choosing a Creative Commons license to make sure that you are happy for people to be using your work consistent with the terms of the license, even if you later stop distributing your work.
Do I need to sign something or register to obtain a Creative Commons license?
No. Creative Commons licenses are designed to be applied to your work and to be binding upon people who use your work based on their notice of the Creative Commons “Some Rights Reserved” (or “No Rights Reserved” in the case of the public domain dedication) button and the statement that the work is Creative Commons-licensed.
We do not keep track of or a register of which creative works have been licensed under a Creative Commons license. We make the licenses, code and tools available for you to use or not as you wish.
What is the Commons Deed? What is the legal code? What does the html/metadata do?
Creative Commons licenses are expressed in three different formats: the Commons Deed (human-readable code), the Legal Code (lawyer-readable code); and the metadata (machine readable code).
The Commons Deed is a summary of the key terms of the actual license (which is the Legal Code)—basically, what others can and cannot do with the work. Think of it as the user-friendly interface to the Legal Code beneath. This Deed itself has no legal value, and its contents do not appear in the actual license.
The Legal Code is the actual license; a document designed to be enforced in a court of law.
The metadata describes the key license elements that apply to a piece of content to enable discovery through customized search engines.
I am in a band; can I use Creative Commons licenses but still collect statutory royalties such as under statutory licenses for public performances?
Yes, so long as you choose a “NonCommercial” license option (ie. Attribution-NonCommercial, Attribution-NonCommercial-ShareAlike or Attribution-NonCommercial-NoDerivatives) because under these licenses you reserve the right to collect royalties under statutory or compulsory licenses for commercial use of your work. Whether, as a practical matter, you can collect these royalties, depends on which country you are in (check out the answer to the next question).
Under the Creative Commons licenses that permit other people to make commercial use of your work (ie. Attribution, Attribution-ShareAlike, Attribution-NoDerivatives), the licensor waives the right to collect these royalties.
I am a member of a collecting society, can I use Creative Commons licenses?
You need to check with your society. Currently, many of the collecting societies in Australia, Finland, France, Germany, Luxembourg, Spain, Taiwan and the Netherlands take an assignment of rights (or in France what is called a “mandate” of rights that nonetheless has the same effect practically as an assignment) from you in present and future works (so that they effectively become the owner of these rights) and manage them for you. So if you are already a member of a collecting society in one of these jurisdictions, you may not be entitled to license your work yourself under a Creative Commons license because the necessary rights are not held by you but by the collecting society. Please also read the FAQ on the website of the Creative Commons project team for your jurisdiction for more information about this issue in your jurisdiction.
Creative Commons is reaching out to collecting societies in those jurisdictions where this problem arises to try to find a solution that enables creators to enjoy the benefits both systems offer.
If you encounter difficulties with using Creative Commons licenses because of your membership in a collecting society in your jurisdiction that is not listed above, please let either your country’s Creative Commons project team know or email Also, if you wish to discuss ways to try to deal with the situation in your country please contact your country’s Creative Commons project team.
If you are already a member of one of these collecting societies, feel free to encourage your collecting society to give you the option of Creative Commons licensing.
Can I still make money from a work I make available under a Creative Commons licenses?
Absolutely. Firstly, because our licenses are non-exclusive which means you are not tied down to only make a piece of your content available under a Creative Commons license; you can also enter into other revenue-generating licenses in relation to your work. One of our central goals is to encourage people to experiment with new ways to promote and market their work.
Secondly, the noncommercial license option is an inventive tool designed to allow people to maximize the distribution of their works while keeping control of the commercial aspects of their copyright. To make one thing clear that is sometimes misunderstood: the "noncommercial use" condition applies only to others who use your work, not to you (the licensor). So if you choose to license your work under a Creative Commons license that includes the “noncommercial use” option, you impose the ”noncommercial” condition on the users (licensees). However, you, the creator of the work and/or licensor, may at any time decide to use it commercially. People who want to copy or adapt your work, "primarily for monetary compensation or financial gain" must get your separate permission first.
One thing to note on the noncommercial provision: under current U.S. law, file-sharing or the trading of works online is considered a commercial use -- even if no money changes hands. Because we believe that file-sharing, used properly, is a powerful tool for distribution and education, all Creative Commons licenses contain a special exception for file-sharing. The trading of works online is not a commercial use, under our documents, provided it is not done for monetary gain.
Do I need to register my copyright?
In most jurisdictions, registration is not required. However, for creators in the United States registration can be obtained and is advisable so that you can enforce your copyright in court. For US-based creators, you should check out the U.S. Copyright Office’s ‘Copyright Basics’ page, which explains more about copyright registration.
How do I register my copyright?
If you are based in the US, to find out more about how to register your copyright, check out the U.S. Copyright Office’s ‘Copyright Basics’ page.
Is applying a Creative Commons license to my work the same or an alternative to registering the copyright to my work?
No. Applying a Creative Commons license to your work does not give you the same, similar or alternate protection to registering your copyright. Creative Commons licenses apply in addition to and on top of an existing copyright.
Do I need to register my copyright in order to use a Creative Commons license?
No. Creative Commons licenses apply to works that are copyrighted. As a general rule, in most jurisdictions, copyright protection is automatic for those works that satisfy the requirements of copyright law. Generally, copyright attaches to creative and expressive works once they are fixed in tangible form, ie. the minute you put pen to paper, brush to easel, hit the “save” button on your computer, the “send” button on your email or take a photo.
For U.S. based creators, registering your copyright with the U.S. Copyright Office is advisable so that you can enforce your copyright in court. For US-based creators, you should check out the U.S. Copyright Office’s ‘Copyright Basics’ page which explains more about copyright registration.
Do I need a copyright notice to protect my work?
You do not need to apply a copyright notice to secure copyright protection. However, a copyright notice can be useful because it clearly signals to people that you believe you own copyright in your work and who to contact.
Do Creative Commons licenses affect fair use, fair dealing or other exceptions to copyright?
No. All jurisdictions allow some uses of copyrighted material without permission, such as quotation, current-affairs reporting, or parody, although these vary from country to country. These are not dependent on the license and so cannot be affected by it. To make this clear, all of our licenses include this or similar language: “Nothing in this license is intended to reduce, limit, or restrict any rights arising from fair use, first sale or other limitations on the exclusive rights of the copyright owner under copyright law or other applicable laws.” Thus, regardless of the jurisdiction a user is in, our licenses do not affect a user’s right to use or allow use of content under copyright exceptions.
Can I use a Creative Commons license for software?
Creative Commons licenses are not intended to apply to software. They should not be used for software. We strongly encourage you to use one of the very good software licenses available today. The licenses made available by the Free Software Foundation or listed at the Open Source Initiative should be considered by you if you are licensing software or software documentation. Unlike our licenses -- which do not make mention of source or object code -- these existing licenses were designed specifically for use with software.
Creative Commons has “wrapped” some free software/open source licenses with its Commons Deed and metadata if you wish to use these licenses and still take advantage of the Creative Commons human-readable code and Creative Commons customized search engine technology. You can find more details here.
Should I use Creative Commons licenses for software documentation?
Absolutely. Creative Commons licenses work well for all text materials.
What happens when a copyright owner says her work is governed by two different Creative Commons licenses?
As a user, you can choose to use the work under either license. Generally, a licensor that offers the same work under two different licenses gives the public a choice between them. If, for example, a photograph is governed by one license with a NonCommercial provision, plus a separate license with a NoDerivatives provision, it does not mean that both provisions apply together. If an owner wants both to apply together, she should be sure to choose a single license that contains both provisions.
Are Creative Commons licenses enforceable in a court of law?
The Creative Commons Legal Code has been drafted with the intention that it will be enforceable in court. That said, we can not account for every last nuance in the world's various copyright laws and/or the circumstances within which our licenses are applied and Creative Commons-licensed content is used. Please note, however, that our licenses contain "severability" clauses -- meaning that, if a certain provision is found to be unenforeceable in a certain place, that provision and only that provision drops out of the license, leaving the rest of the agreement intact.
Will Creative Commons help me enforce my license?
Unfortunately, Creative Commons is not permitted to provide legal advice or legal services to assist you with enforcing the licenses. We cannot afford to provide any ancillary services particular to your situation and, in any case, our mission does not include providing such services. We are not a law firm. We're much like a legal self-help press that offers form documentation -- at no cost -- for you to use however you see fit.
However, if you are based in the US, you may be able to find a suitably qualified volunteer lawyer in your area from this site. If you are based in Australia, the Arts Law Centre of Australia may be able to put you in touch with a volunteer lawyer.
What happens if someone misuses my Creative Commons-licensed work?
A Creative Commons license terminates automatically if someone uses your work contrary to the license terms. This means that, if a person uses your work under a Creative Commons license and they, for example, fail to attribute your work in the manner you specified, then they no longer have the right to continue to use your work. This only applies in relation to the person in breach of the license; it does not apply generally to the other people who use your work under a Creative Commons license and comply with its terms.
You have a number of options as to how you can enforce this; you can consider contacting the person and asking them to rectify the situation and/or you can consider consulting a lawyer to act on your behalf. For information about how you may be able to locate a suitably qualified lawyer, please refer to this question and answer.
I don’t like the way a person has used my work in a derivative work or included it in a collective work; what can I do?
If you do not like the way that a person has made a derivative work or incorporated your work into a collective work, under the Creative Commons licenses, you may request removal of your name from the derivative work or the collective work.
In addition, the copyright laws in most jurisdictions around the world (with the notable exception of the US) grant creators “moral rights” which may provide you with some redress if a derivative work represents a “derogatory treatment” of your work. Moral rights give an original author the right to object to “derogatory treatment” of their work; “derogatory treatment” is typically defined as “distortion or mutilation” of the work or treatment, which is “prejudicial to the honor, or reputation of the author.” All Creative Commons licenses (with the exception of Canada) leave moral rights unaffected. This means that an original author may be able to take action against a derivative work that infringes the moral right that protects against derogatory treatment. Of course, not all derivative works that a creator does not like will be considered “derogatory.”
Questions for people thinking about using a Creative Commons-licensed work
Will Creative Commons give me permission to use a work?
The permission isn’t ours to give. Creative Commons simply makes available licenses and tools to enable creators and licensors to license their works on more flexible terms. By applying a Creative Commons license to a work, the creator or licensor has decided to clearly signal to members of the public, such as you, that you may use the work without having to ask for permission—provided that you use it consistent with the license terms.
Does Creative Commons determine what content is released under its licenses?
Creative Commons, as an organization, does not control how the licenses are used and does not check or verify whether a Creative Commons license has been correctly applied to a particular work. Creative Commons does not endorse or certify any use of its licenses.
Instead, Creative Commons provides the licenses as a tool that may be adopted (or not) by members of the creative community. Creative Commons does not determine whether the use of the licenses is appropriate for your situation or for a particular work.
What are the terms of a Creative Commons license?
The key terms of the core suite of Creative Commons licenses are: Attribution, NonCommercial, NoDerivatives and ShareAlike. These license elements are succinctly described as follows:
Attribution=you must attribute the author and/or licensor in the manner they require.
NonCommercial=you may not use the work in a manner primarily directed toward commercial advantage or private monetary compensation.
NoDerivatives=you may only make verbatim copies of the work, you may not adapt or change it.
ShareAlike=you may only make derivative works if you license them under the same Creative Commons license terms.
For an overview of our licenses and links to the Commons Deed and Legal Code, check out this page. For the key details of our Sampling Licenses check this page.
So “NonCommercial” means that the work cannot be used commercially?
Not quite. The “NonCommercial” license option means that you do not receive the commercial rights via the Creative Commons license. You can always approach the licensor directly to see if they will separately license you the commercial rights.
What does the Creative Commons “Some Rights Reserved” button mean? What does a Creative Commons license do?
A Creative Commons license is a signal to you that you can use the work without having to seek out the individual creator or licensor and ask for permission—provided you use the work in the manner permitted by the Creative Commons license. The Commons Deed sets out the key terms governing your use of the work.
What happens if I want to make a different use of the work?
If you want to use a Creative Commons-licensed work in a manner that is not permitted under the terms of the Creative Commons license, you need to contact the creator and/or licensor and ask for their permission. If you use a Creative-Commons licensed work contrary to the terms of the Creative Commons license, your right to use the work terminates and you could be sued for infringement of copyright.
So I don’t have to pay to use Creative Commons-licensed works if I comply with the license terms?
As a general rule yes—Creative Commons licenses are made available under royalty-free licenses. In the case of Creative Commons-licensed works that are licensed for NonCommercial use only, the creator or licensor reserves the right to collect statutory royalties or royalties under compulsory licenses for commercial uses such as those collected for public performances; so, you may still have to pay a collecting society for such uses of Creative Commons licensed works. However, these are indirect payments, not payments to the licensor.
How do I use a Creative Commons-licensed work?
If you come across a work that says it is made available under a Creative Commons license, you are authorized by the licensor to use it consistent with those license terms. You should satisfy yourself that the scope of the license covers your intended uses. Since there are a number of versions of the Creative Commons licenses, you should read the particular license carefully to ensure that the license meets your needs. All Creative Commons licenses require that you attribute the author, licensor and/or any other parties specified by the author/licensor. To correctly use a Creative Commons licensed work, you must provide proper attribution. This is explained in the answer below.
To get an understanding of the key terms of the license, check out the Commons Deed for the license and/or review this page, which has links to the Commons Deed and basic explanations of all of our licenses.
Does using a Creative Commons-licensed work give me all the rights I need?
You should be aware that all of the licenses contain a disclaimer of warranties, so there is no assurance whatsoever that the licensor has all the necessary rights to permit reuse of the licensed work. The disclaimer means that the licensor is not guaranteeing anything about the work, including that she owns the copyright to it, or that she has cleared any uses of third-party content that her work may be based on or incorporate.
This is typical of so-called “open source” licenses, where works are made widely and freely available for reuse at no charge. The original version 1.0 of the Creative Commons licenses contained a warranty, but we ultimately concluded that, as with “open source” licenses, warranties and indemnities are best determined separately by private bargain, so that each licensor and licensee can determine the appropriate allocation of risk and reward for their unique situation. One option thus would be to use private contract to obtain a warranty and indemnification from the licensor, although it is likely that the licensor would charge for this benefit.
As a result of the warranty disclaimer, before using a Creative Commons licensed work, you should satisfy yourself that the person has all the necessary rights to make the work available under a Creative Commons license. You should know that if you are wrong, you could be liable for copyright infringement based on your use of the work.
You should learn about what rights need to be cleared and when a fair use or fair dealing defense may be available. It could be that the licensor is relying on the fair use or fair dealing doctrine, but depending on the circumstances, that legal defense may or may not actually protect her (or you). You should educate yourself about the various rights that may be implicated in a copyrighted work, because creative works often incorporate multiple elements such as, for example, underlying stories and characters, recorded sound and song lyrics. If the work contains recognizable third-party content, it may be advisable to independently verify that it has been authorized for reuse under a Creative Commons license.
The result of this is that you should always use your informed good judgment, and you may want to obtain legal advice.
How do I properly attribute a Creative Commons licensed work?
If you are using a work licensed under one of our core licenses (Attribution, Attribution-ShareAlike, Attribution-NonCommercial-ShareAlike, Attribution-NonCommerical, Attribution-NoDerivatives, Attribution-NonCommercial-NoDerivatives (this is the same as the Music Sharing license)) or under our Developing Nations license, then the proper way of accrediting your use of a work when you making a verbatim use of it is: (1) to keep intact any copyright notices for the Work; (2) credit the author, licensor and/or other parties (such as a wiki or journal) in the manner they specify; (3) the title of the Work; and (4) the Uniform Resource Identifier for the work if specified by the author and/or licensor.
You also need to provide the Uniform Resource Locator for the Creative Commons license that applies to the work, together with each copy of the work that you make available.
If you are making a derivative use of a work licensed under one of our core licenses or under the Developing Nations license, in addition to the above, you need to you need to identify that your work is a derivative work, ie. “This is a Finnish translation of the [original work] by [author]” or “Screenplay based on [original work] by [author].”
If you are sampling a work licensed under one of our Sampling licenses you should credit derivative works you create using those samples by saying something along the lines of: “Remix of the [original work] by [author]” or “Inclusion of a portion of the [original work] by [author] in collage.”
What is a derivative work?
A derivative work is a work that is based on another work but is not an exact, verbatim copy. What this means exactly and comprehensively is the subject of many law journal articles and much debate and pontification. In general, a translation from one language to another or a film version of a book are examples of derivative works. Under Creative Commons’ core licenses, synching music in timed-relation with a moving image is considered to be a derivative work.
Under U.S. law, generally, changing the format of a work—ie. from print to digital—where the content of the work has not otherwise been changed, would also constitute a derivative work; however, the Creative Commons licenses allow the user to exercise the rights permitted under the license in any format or media. This means that, under the Creative Commons Attribution-NonCommercial-NoDerivatives license, for example, you can copy the work from a digital file to a print file consistent with the terms of that license.
If I use a Creative Commons-licensed work with other works, do I have to Creative Commons license everything else as well?
With the exception of those of our licenses that contain the ShareAlike element, the Creative Commons licenses do not require everything else to be Creative Commons licensed as well. We specifically designed the Creative Commons licenses so that they would not turn all other works they were combined with into being Creative Commons-licensed. If you combine any work with a Creative Commons-licensed work that is licensed with a ShareAlike license provision, then, because of the way that the ShareAlike license element operates, the resultant work will need to be licensed under the same license as the original work.
If you include a Creative Commons licensed work in a “collective work” (ie. a collection of works in their exact original format, not adaptations), then you only need to continue to apply the Creative Commons license to that work (even if the work was licensed under a Creative Commons Share-Alike license provision). You do not need to apply it to the entire collection.
Can I combine two different Creative Commons licensed works? Can I combine a Creative Commons licensed work with another non-CC licensed work?
Generally yes; you can combine one Creative Commons licensed work with another Creative Commons licensed work or with another work.
The one big caveat is for Creative Commons licenses that contain the ShareAlike license element (ie. Attribution-ShareAlike, Attribution-NonCommercial-ShareAlike). These licenses require derivative works (ie. the result of two combined works) to be licensed under the same license elements. So, you cannot, for example, combine an Attribution-ShareAlike license with an Attribution-NonCommercial-ShareAlike. If you are combining a work licensed under a ShareAlike license condition, you need to make sure that you are happy and able to license the resulting work under the same license conditions as the original work.
I used part of a Creative Commons-licensed work, which Creative Commons license can I relicense my work under?
The chart below should give you some assistance in figuring out which Creative Commons license you can use to relicense a work. Some of our licenses just do not, as practical matter, work together.
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- 09:03 - Komentari (3) - Isprintaj - #

ponedjeljak, 09.01.2006.


U ovom postu predstavljamo službeni podatke o autorskim pravima (copyright) i žigovima (trademark) koji čine temeljnu imovinu (asset) očekivane ponude Gatsby & Lauren.

Izvor: Državni zavod za intelektualno vlasništvo

Autorsko pravo je skup pravnih pravila, među kojima je za Hrvatsku najznačajniji Zakon o autorskom pravu i srodnim pravima (ZASP), koja određuju pravne odnose u pogledu autorskih djela.

[B]Autorsko pravo je i pravo autora u pogledu njegovog autorskog djela.

Autorsko djelo je originalno, duhovno (intelektualno) ostvarenje iz književnog, umjetničkog i znanstvenog područja, koje ima individualni karakter i koje je na neki način izraženo.

Za pojam autorskog djela kao temeljnog pojma autorskog prava bitno je da se radi o originalnom intelektualnom (kreativnom) ostvarenju, odnosno ostvarenju ljudskog duhovnog stvaralaštva. Originalnost (izvornost) u smislu autorskog prava ne zahtijeva apsolutnu novost, već se traži tzv. subjektivna originalnost (izvornost), odnosno novost u subjektivnom smislu. Djelo se smatra subjektivno originalnim ako autor ne oponaša drugo njemu poznato djelo. Dalje je potrebno da je djelo iz književnog, znanstvenog ili umjetničkog područja. Uz to osobito treba upozoriti da navedena sintagma ima u autorskom pravu značajno šire značenje, nego što u teoriji književnosti znače književna djela, a u povijesti umjetnosti umjetnička djela. Autorskopravnu zaštitu uživaju izražaji, što podrazumijeva zamjetljiv oblik (formu) određene ideje koja se postiže pomoću različitih sredstava izražavanja, kao što su npr. pisana ili govorena riječ, pokret tijela, zvuk, kao različiti dvodimenzionalni ili trodimenzionalni oblik.

Autorska djela jesu osobito:
jezična djela (pisana djela, govorna djela, računalni programi),
glazbena djela, s riječima ili bez riječi,
dramska i dramsko-glazbena djela,
koreografska i pantomimska djela,
djela likovnih umjetnosti (s područja slikarstva, kiparstva i grafike), te ostala djela likovnih umjetnosti,
djela arhitekture,
djela primijenjenih umjetnosti i industrijskog dizajna,
fotografska djela i djela proizvedena postupkom sličnom fotografskom,
audiovizualna djela (kinematografska djela i djela stvorena na način sličan kinematografskom stvaranju),
kartografska djela, prikazi znanstvene ili tehničke prirode kao što su crteži, planovi, skice, tablice i dr.

Autoru pripada autorsko pravo na njegovom djelu činom ostvarenja djela bez ispunjavanja bilo kakvih formalnosti kao što su primjerice registracija ili depozit djela.

Autorsko pravo traje za života autora i sedamdeset godina nakon njegove smrti. Ako se radi o koautorskom djelu autorsko pravo traje sedamdeset godina od smrti koautora koji je najdulje živio.

Moralna prava autora obuhvaćaju:
Pravo prve objave – autor ima pravo odlučiti kada i kako će njegovo djelo postati pristupačno javnosti,
Pravo na priznanje autorstva – autor ima pravo biti priznat i označen kao autor djela,
Pravo na poštovanje autorskog djela i čast ili ugled autora – autor ima pravo usprotiviti se svakom deformiranju, sakaćenju ili drugoj izmjeni svojeg djela i svakom korištenju djela koji ugrožava njegov čast ili ugled,
Pravo pokajanja – autor ima pravo opozvati pravo korištenja djela i spriječiti njegovo daljnje korištenje uz popravljanje štete korisniku toga prava, ako bi daljnje korištenje štetilo njegovoj časti ili ugledu.
Imovinska prava su isključiva prava autora, jer autor može odobriti ili zabraniti korištenje svog djela na bilo koji način. Ta se prava manifestiraju osobito kao:
pravo reproduciranja (pravo umnožavanja) – pravo izrade autorskog djela u jednom ili više primjeraka, u cijelosti ili u dijelovima, izravno ili neizravno, privremeno ili trajno, bilo kojim sredstvima i u bilo kojem obliku.

pravo distribucije (pravo stavljanja u promet) i iznajmljivanje - pravo distribucije je isključivo pravo stavljanja u promet izvornika ili primjeraka autorskog djela prodajom ili na koji drugi način. Iznajmljivanje označava davanje na korištenje izvornika ili primjeraka djela u ograničenom razdoblju, radi ostvarivanja izravne ili neizravne imovinske ili komercijalne koristi.

pravo priopćavanja autorskog djela javnosti obuhvaća:
- pravo javnog izvođenja,
- pravo javnog prikazivanja scenskih djela,
- pravo javnog prenošenja,
- pravo javnog priopćavanja fiksiranog djela,
- pravo javnog prikazivanja,
- pravo radiodifuzijskog emitiranja,
- pravo radiodifuzijskog reemitiranja,
- pravo javnog priopćavanja radiodifuzijskog emitiranja,
- pravo stavljanja na raspolaganje javnosti.

Autorsko djelo može biti neposredno priopćeno javnosti kao rezultat umjetničkog ostvarenja (primjerice koncertna izvedba glazbenog djela ili scenska izvedba dramskog djela u kazalištu), a djelo se može priopćiti javnosti i pomoću različitih tehničkih uređaja i postupaka, kao što su radiodifuzijsko emitiranje ili prijenos u mreži preko Interneta. Međutim, postoje i situacije kada se u jednom trenutku na više različitih načina jedno djelo u jednoj izvedbi javno iskorištava. Na primjer, kada se glazbeno djelo koje se javno izvodi uživo u koncertnoj dvorani istodobno priopćava javnosti izvan prostora te dvorane pomoću zvučnika ili na ekranu, događa se nov oblik korištenja djela. Riječ je o novom pravu autora, pravu javnog prenošenja. Tada se posebno treba ugovoriti javno izvođenje, a posebno javno prenošenje. Moguće je da se ista izvedba istog djela emitira i putem radiodifuzije, te će tada i pravo radiodifuzijskog emitiranja biti potrebno posebno ugovoriti.

Posebnu važnost ima novo pravo - pravo stavljanja na raspolaganje javnosti kao pravo priopćavanja djela javnosti putem Interneta. To je pravo uređeno najmodernijom definicijom isključivog prava stavljanja na raspolaganje javnosti djela, bežično ili putem žica, na način koji pripadnicima javnosti omogućava pristup djelu s mjesta i u vrijeme koje sami izaberu. Na taj način otklonjene su sve eventualne dvojbe koje su se mogle javiti u svezi zaštite autorskog prava kada se djela javno priopćavaju putem Interneta.

pravo prerade - isključivo je pravo na prevođenje, prilagođavanje, glazbenu obradu ili koju drugu preinaku autorskog djela.

Osim uvriježene i osnovne podjele sadržaja autorskog prava na imovinska prava autora i moralna prava autora postoje i tzv. «druga prava autora», prava koja nose obilježja i imovinskih i moralnih prava, a ne mogu se svrstati ni u jednu od navedenih kategorija. Ona obuhvaćaju prava na naknadu, pravo slijeđenja i ostala druga prava autora.

Autor ustupa pravo korištenja autorskog djela na određeni način ugovorom. Ugovor mora biti sklopljen u pisanom obliku. Autorskopravni ugovor mora sadržavati barem djelo na koje se odnosi, način korištenja, te osobu ovlaštenu na korištenje autorskog djela (korisnik). Autorskopravni ugovor može biti sklopljen i u pogledu autorskog djela koje još nije stvoreno pod pretpostavkom da se njime odredi barem vrsta i način korištenja budućeg djela. I visinu naknade potrebno je odrediti ugovorom. Ako visina naknade nije određena ugovorom, ili je njena visina određena neprimjereno, autor ima pravo na primjerenu naknadu. Primjerena je ona naknada koja se u pravnom prometu pošteno mora dati u času zaključenja pravnog posla s obzirom na vrstu i opseg korištenja autorskog djela, uzimajući pri tom u obzir i financijski uspjeh u korištenju autorskog djela, vrstu i obujam autorskog djela, trajanje korištenja, postojanje sporazuma između odgovarajuće udruge autora i odgovarajućeg udruženja korisnika kojim se utvrđuje visina primjerene naknade, kao i druge elemente na temelju kojih se može donijeti odluku o primjerenoj naknadi.

Umjetnici izvođači su glumci, pjevači, glazbenici, plesači i druge osobe koje glumom, pjevanjem, recitiranjem, deklamiranjem, interpretiranjem, pokretima ili na drugi način izvode djela s područja književnosti i umjetnosti ili izražaje folklora. Umjetnikom izvođačem smatra se i redatelj kazališne predstave i dirigent umjetničkog ansambla.
Predmet zaštite prava umjetnika izvođača je izvedba i to živa izvedba ili fiksirana (snimljena) izvedba.

Moralna prava umjetnika izvođača odnose se na sljedeća prava umjetnika:
biti priznat i označen kao izvođač pri korištenju njegove izvedbe,
suprotstaviti se izobličenju, deformiranju ili izmjeni svoje izvedbe.

Imovinska prava umjetnika izvođača odnose se na isključiva prava (davanje odobrenja ili zabrane) umjetnika izvođača ima za:
fiksiranje (snimanje) svoje nefiksirane (nesnimljene) izvedbe,
reproduciranje (umnožavanje) svoje fiksirane izvedbe,
distribuiranja (stavljanja u promet), kao i pravo iznajmljivanja svoje fiksirane izvedbe,
priopćavanja javnosti svoje nefiksirane i fiksirane izvedbe koje osobito obuhvaća:
pravo radiodifuzijskog emitiranja i reemitiranja,
pravo javnog priopćavanja fiksiranih izvedbi i radiodifuzijskih emitiranja,
pravo javnog prenošenja,
pravo javnog prikazivanja,
pravo stavljanja na raspolaganje javnosti.

Umjetnik izvođač ima pravo na naknadu:
za priopćavanje javnosti svoje fiksirane izvedbe (sekundarno korištenje koje uključuje radiofuzijsko emitiranje i svako drugo priopćavanje javnosti),
za svako zvučno ili zvučno i vizualno snimanje svoje fiksirane izved¬be za privatno ili drugo vlastito korištenje,
ako se njegova fiksirana izvedba posuđuje posredovanjem javne knjižnice,
ako svoje (isključivo) pravo iznajmljivanja prepusti proizvođaču fonograma ili filmskom producentu, ili kojoj drugoj osobi, zadržava pravo na primjerenu naknadu za iznajmljivanje svoje fiksirane izvedbe.
Trajanje prava izvođača je 50 godina od izvedbe. Ako u tom razdoblju fiksirana izvedba bude zakonito izdana ili zakonito priopćena javnosti, prava traju 50 godina od zakonitog izdanja ili zakonitog priopćavanja javnosti izvedbe, ovisno o tome koje je bilo ranije.


Proizvođač fonograma je fizička ili pravna osoba koja poduzima inicijativu i koja je odgovorna za prvo fiksiranje zvukova izvedbe ili drugih zvukova ili onog što predstavlja zvukove.
Predmet zaštite prava proizvođača fonograma jest fonogram kao fiksacija zvukova izvedbe ili drugih zvukova ili onoga što predstavlja zvukove.(Fiksiranje znači ugrađivanje zvukova ili onoga što predstavlja zvukove na podlogu s koje se mogu slušati, umnožavati ili priopćavati putem nekog uređaja).
Isključiva prava proizvođača fonograma odnose se na davanje odobrenja ili zabrane za:
reproduciranje (umnožavanje) svojih fonograma,
distribuiranje (stavljanja u promet) i iznajmljivanje svojih fonograma,
stavljanje na raspolaganje javnosti svojih fonograma.
Prava na naknadu proizvođača fonograma odnose se na naknadu:
za radiofuzijsko emitiranje i svako drugo priopćavanje javnosti svojih fonograma,
za posuđivanje svojih fonograma posredovanjem javnih knjižnica,
za svako zvučno snimanje svojih fonograma za privatno korištenje.
Trajanje prava proizvođača fonograma je 50 godina od prvog fiksiranja fonograma. Ako je u tom razdoblju (od 50 godina) fonogram zakonito izdan, prava traju 50 godina od takva prvog izdanja. Ako fonogram u tom razdoblju nije zakonito izdan, ali je zakonito priopćen javnosti, prava traju 50 godina od takvog prvog priopćavanja javnosti.

Isključiva prava organizacija za radiodifuziju (davanje odobrenja ili zabrane) odnose se na:
reemitiranje svojih emitiranja bežično i putem žica,
fiksiranje svojih emitiranja,
reproduciranje svojih fiksiranih emitiranja,
distribuiranje, osim prava iznajmljivanja i javne posudbe, svojih fiksiranih emitiranja,
javno priopćavanje svojih emitiranja, ako je takvo priopćavanje pristupačno javnosti uz plaćanje ulaznice,
stavljanja na raspolaganje javnosti svojih fiksiranih emitiranja.
Kabelski distributer koji samo obavlja retransmisiju radiodifuzijskih emitiranja nije organizacija za radiodifuziju.
Trajanje prava je 50 godina računajući od prvog emitiranja
Nakladnici imaju vlastito pravo na naknadu za svako reproduciranje svojih pisanih izdanja za privatno korištenje.
Trajanje prava nakladnika je 50 godina od zakonitog izdanja djela.

Osoba koja prvi put zakonito izdaje ili priopći javnosti još neobjavljeno autorsko djelo na kojemu je autorsko pravo prestalo, stječe pravo odgovarajuće imovinskim autorskim pravima po ovom zakonu.
Trajanje prava je 25 godina od prvog zakonitog izdanja djela

Proizvođač baze podataka pravna je ili fizička osoba koja je poduzela inicijativu i rizik ulaganja u stvaranju baze podataka. Predmet zaštite ove vrste prava je (neoriginalna) baza podataka.
Baza podataka je zbirka je samostalnih djela, podataka ili druge građe u bilo kojem obliku, koji su uređeni po određenom sustavu ili metodi i pojedinačno dostupni elektroničkim ili drugim sredstvima. Za postizanje, verifikaciju i predstavljanje sadržaja baze podataka zahtijeva se kvalitativno i/ili kvantitativno znatno ulaganje koje se primjerice sastoji u sredstvima, utrošenom vremenu i uloženom trudu.

Kod baze podataka štite se:
cjelokupan sadržaj baze podataka,
svaki kvalitativno i/ili kvantitativno znatni dio sadržaja baze podataka,
kvalitativno i/ili kvantitativno neznatne dijelove sadržaja baze podataka kad se ti dijelovi koriste ponavljano i sustavno, pa je to u suprotnosti s redovitim korištenjem baze podataka ili ako neopravdano štete zakonitim interesima proizvođača baze podataka.
Isključiva prava proizvođača baze podataka (davanje odobrenja ili zabrane) odnose se na:
reproduciranje svoje baze podataka,
distribuiranje primjeraka svoje baze podataka uključujući iznajmljivanje, isključujući javnu posudbu,
stavljanje na raspolaganje javnosti svoje baze podataka,
drugog oblika priopćavanja javnosti svoje baze podataka.
Trajanje prava je 15 godina od završetka izrade baze podataka. Ako je u tom razdoblju baza podataka zakonito objavljena, prava traju 15 godina od takve prve objave. Međutim, svaka kvalitativna ili kvantitativna znatna izmjena dijela sadržaja baze podataka, koja je znatno novo ulaganje u kvalitetu ili kvantitetu sadržaja baze podataka, rezultira novim rokom zaštite od 15 godina. Znatna izmjena sadržaja baze podataka uključuje i postupno dopunjavanje, brisanje i mijenjanje baze.
Za sui generis zaštitu (neoriginalne) baze podataka bitno je da se štite sredstva i trud uložen u bazu podataka. Takva baza podataka ne treba ispunjavati kriterije koji su potrebni za autorskopravnu zaštitu originalnih baza podataka: originalan izbor ili raspored sadržaja koji čini originalnu intelektualnu tvorevinu.

Ostvarivanje prava koje se odnosi na pojedinačno korištenje autorskog djela (npr. izdavanje određenog književnog djela, prikazivanje ili radiodifuzijsko emitiranje određenog dramskog ili drugog scenskog djela), odnosno predmeta zaštite srodnih prava, prema odgovarajućem ugovoru između nositelja prava i korisnika predmeta zaštite, obavlja sam nositelj prava osobno ili putem zastupnika. Poslove opunomoćenog zastupnika može obavljati odvjetnik, specijalizirana pravna osoba za ostvarivanje autorskog prava i srodnih prava (npr. Hrvatska autorska agencija), te udruga za kolektivno ostvarivanje prava.

U slučaju korištenja velikog broja autorskih djela i predmeta zaštite srodnih prava, koja nisu unaprijed određena (javne izvedbe, emitiranja i reemitiranja putem radija ili televizije ili drugog priopćavanja javnosti nescenskih glazbenih djela ili zvučno snimanje odnosno fiksiranje izvedbe na fonogram), ne postoji mogućnost da korisnik djela stupa u kontakt s autorima, odnosno subjektima zaštite srodnih prava pojedinačno i da sklapa pojedinačne autorske ugovore ili ugovore o npr. korištenju izvedbe za svako pojedino djelo. U takvom slučaju odgovarajući ugovor može se sklopiti na taj način da umjesto autora, odnosno nositelja srodnih prava ugovor sklapa udruga za kolektivno ostvarivanje prava. Prema takvom ugovoru udruga daje autorizaciju (odobrenje) za korištenje svih djela koja zastupa (cijeli repertoar), raspodjeljuje ubrane naknade među nositeljima prava prema određenim pravilima raspodjele i obavlja kontrolu korištenja djela.
Razvoj sustava kolektivnog ostvarivanja prava ubrzo je učinio da su, prvo, organizacije (udruge) za kolektivno ostvarivanje prava u pojedinoj zemlji počele zastupati sve nositelje prava određene vrste, a zatim su se sa srodnim organizacijama u raznim zemljama počele povezivati ugovorima o uzajamnom zastupanju. Stupajući sve zajedno u svjetske asocijacije srodnih udruga (primjerice CISAC za društva za zaštitu glazbenih, književnih i likovnih prava), te su se udruge konačno udružile i u globalne, nadnacionalne asocijacije.

Sve je to rezultiralo time da je u svim modernim zemljama, bilo na zakonodavnoj bilo na faktičkoj razini, uspostavljen sustav koji karakteriziraju ove bitne značajke:
u pravilu, u jednoj zemlji jedna udruga kolektivno ostvaruje prava za sve pripadnike jedne skupine nositelja prava;
takva udruga ostvaruje prava ne samo domaćih, nego i svih inozemnih nositelja prava.
Predmet zaštite spram korisnika zato, logično nisu pojedinačno nabrojana djela, već cjelokupni svjetski repertoar.

Prema Zakonu o autorskom pravu i srodnim pravima kolektivno ostvarivanje prava može obavljati udruga nositelja prava koja ima za obavljanje takve djelatnosti odobrenje Državnog zavoda za intelektualno vlasništvo. Zavod može izdati odobrenje za obavljanje predmetne djelatnosti samo jednoj udruzi za pojedinu vrstu nositelja prava, i to onoj koja ima najveći broj članova na temelju dobivenih punomoći, uz primjeren broj ugovora o uzajamnom zastupanju sa stranim udrugama. Udruga može ostvarivati jednu, dvije ili više vrsta prava koja se, u pravilu, odnose na pojedinu vrstu nositelja autorskog prava, odnosno srodnih prava.

Kolektivno ostvarivanje autorskog i srodnih prava na teritoriju Hrvatske obavljaju:
Hrvatsko društvo skladatelja, Služba ZAMP HDS-ZAMP, iz Zagreba, Rendićeva 23, kao udruga autora,
Hrvatska udruga za zaštitu izvođačkih prava HUZIP, iz Zagreba, I. Broza 8a, kao udruga umjetnika izvođača,
Hrvatska diskografska udruga HDU iz Zagreba, Šubićeva 16, kao udruga proizvođača fonograma i
Društvo hrvatskih filmskih redatelja DHFR iz Zagreba, Britanski trg 2, kao udruga filmskih redatelja, scenarista, snimatelja i filmskih producenata.


1.Kako i gdje da zaštitim svoje autorsko djelo?
Autoru pripada autorsko pravo na njegovom djelu činom ostvarenja djela (temeljem čl. 9. st. 2. ZASP-a) bez ispunjavanja bilo kakvih formalnosti kao što su primjerice registracija ili depozit djela. Bilo kakav depozit djela nema utjecaja na stjecanje autorskog prava, on je pravno irelevantan.
Autorsko djelo može se koristiti samo uz odobrenje autora (u pisanom obliku). Pojedinačno korištenje autorskog djela potrebno je odrediti pisanim odgovarajućim ugovorom između nositelja prava i korisnika predmeta zaštite.
2. Što znači objavljivanje autorskog djela, a što izdavanje autorskog djela?
Pojam objavljivanja obuhvaća svaki postupak kojim djelo postaje pristupačno javnosti (izdavanje, izlaganje, radiodifuzno emitiranje), tj. odnosi se na pojavljivanje autorskog djela u javnosti u bilo kojem (tjelesnom ili netjelesnom) obliku.
Izdavanje je jedan je od načina objavljivanja, to je postupak kojim se djelo u određenom broju primjeraka stavlja u promet i na taj način postaje pristupačno javnosti, tj. odnosi se na primjerke autorskih djela u tjelesnom obliku, pa će time svako izdavanje ujedno biti i objavljivanje, no ne i obratno.
3. Što je to javnost?
Javnost označava veći broj osoba koje su izvan uobičajenoga užeg kruga osoba usko povezanih rodbinskim ili drugim osobnim vezama.
4. Što znači javno korištenje autorskog djela?
Javnim korištenjem autorskog djela smatra se svako korištenje autorskog djela koje je pristupačno javnosti ili korištenje u prostoru koji je pristupačan pripadnicima javnosti, kao i omogućavanje pripadnicima javnosti pristupa autorskom djelu u vrijeme i na mjestu koje sami odaberu (putem Interneta).
5. Jesu li prijevodi tekstova profesionalnih prevoditelja i sudskih vještaka autorska djela?
Člankom 6. ZASP-a propisano je da su prijevodi, kao osnovne prerade autorskog djela, koji su sami originalne intelektualne tvorevine individualnog karaktera, zaštićeni kao samostalna autorska djela. Istim člankom propisano je i da su prijevodi službenih tekstova iz područja zakonodavstva, uprave i sudstva zaštićeni osim ako su učinjeni radi službenog informiranja javnosti i kao takvi objavljeni.
To znači da su svi prijevodi autorskih djela uvijek zaštićeni kao autorska djela. Međutim, i ostali prijevodi u većini slučajeva ispunjavaju pretpostavke autorskopravne zaštite (subjektivna originalnost, intelektualno ostvarenje i individualni karakter). Ipak, ako se radi o prijevodu službenih tekstova koja su učinjeni radi službenog informiranja javnosti i ako su kao takvi i objavljeni (npr. prijevod međunarodnog ugovora objavljen u «Narodnim novinama»), prijevodi će dijeliti pravnu sudbinu osnovnog djela i neće uživati autorskopravnu zaštitu.
6. Je li sinopsis za još nesnimljeno audiovizualno djelo autorsko djelo?
Sinopsis tj. osnovni sadržaj ili «pred scenarij» za još nesnimljeno audiovizualno djelo je pisano autorsko djelo, ako je izvoran, tj. ako je subjektivno originalan - što znači da ne oponaša drugo poznato djelo. Autor sinopsisa postaje nositeljem autorskog prava samim činom ostvarenja sinopsisa i bez objavljivanja.
Najčešće su sinopsis i scenarij djela istog autora. 7. Kako zaštititi scenarij za audiovizualno djelo?
Scenarij je pisano autorsko djelo i predmet je zaštite autorskog prava i to samim činom ostvarenja djela bez ispunjavanja bilo kakvih formalnosti.
Međutim, nakon ostvarenja audiovizualnog djela scenarij postaje dio koautorskog djela u smislu članka 11. ZASP-a: “Koautori djela su osobe koje su zajedničkim radom stvorile autorsko djelo, a čijim se doprinosima ne može samostalno koristiti. Koautorima pripada zajedničko autorsko pravo na stvorenom autorskom djelu, tako da svakome pripada dio toga autorskog prava računski određen razmjerno prema cijelom autorskom pravu (koautorski dio)”.
Kod nekih vrsta autorskih djela ti doprinosi mogu biti istovrsni (npr. kod računalnih programa), dok su kod drugih djela različite vrste (npr. kod dramsko-glazbenih ili kod audiovizualnih djela). Po odredbama članka 116.ZASP-a, koautorima završenog audiovizualnog djela smatraju se glavni redatelj, autor scenarija, autor dijaloga, glavni snimatelj, skladatelj glazbe posebno skladane za korištenje u tom djelu i glavni crtač, odnosno glavni animator, ako je crtež odnosno animacija bitni element audiovizualnog djela. Određuje se i da druge osobe mogu biti koautori audiovizualnog djela (a ne samo autori doprinosa), ako dokažu da njihova autorska djela predstavljaju bitni element audiovizualnog djela.
8. Jesu li norme autorska djela i jesu li zaštićene autorskim pravom?
Norme koje donose tzv. privatne osobe jesu pisana jezična autorska djela, ako ispunjavaju propisane pretpostavke za autorska djela, tj. ako su individualna, intelektualna i originalna ostvarenja. Takve norme uživaju i autorskopravnu zaštitu.
Međutim, one norme koje netko mora primijeniti i koje su postale dio određenog propisa kao službeno djelo ne uživaju autorskopravnu zaštitu, jer dijele pravnu sudbinu ostalih službenih djela. U službena djela spadaju one norme koje su postale dio propisa kao i one norme na koje se pojedini propisi pozivaju.
9.Može li autor koji svoja prava ostvaruje u sustavu kolektivnog ostvarivanja prava u pojedinačnom slučaju individualno odobriti korištenje svog djela?
Razlog da se određeni oblici iskorištavanja autorskih djela ostvaruju kolektivno, leži u činjenici da je, zbog masovnog korištenja (javno priopćavanje glazbe, javna posudba, reprodukcija za privatno korištenje – što se još popularno naziva “malim pravima”), nemoguće u svakom pojedinom slučaju ostvariti potreban kontakt između korisnika i autora i na taj način, s jedne strane, osigurati autorovo odobrenje, a s druge strane – autoru osigurati naknadu za to. Zbog toga se takvi oblici iskorištavanja odobravaju i naplaćuju, svugdje u svijetu, putem autorskih Udruga (društava), koja korisniku osiguravaju legalnost korištenja u pogledu čitavog repertoara što ga zastupa društvo, a autoru – kontrolu svih (ili najvećeg broja) iskorištavanja njegovog djela. Da bi se pojačala pravna sigurnost, mnoga zakonodavstva (a ako ne ona, onda sudska praksa) u raznim zemljama svijeta, uvode institut tzv. pretpostavljene punomoći jednog društva u jednoj državi, za ostvarenje prava za pojedinu vrst nositelja prava. Takvo društvo zastupa sve autore u svojoj zemlji, kao i autore drugih zemalja temeljem ugovora o recipročnom zastupanju s odgovarajućim inozemnim društvima.
To stvara i određene obveze autorske udruge prema nositeljima prava i prema korisnicima: udruga mora zastupati sve nositelje prava ravnopravno, i tretirati sve korisnike ravnopravno na način da svima pod jednakim uvjetima omogućuje pristup autorskom djelu i njegovo korištenje. Slijedom navedenog, a temeljem propisa ZASP-a zaključuje se da uvijek postoji presumpcija kolektivnog ostvarivanja prava ako je u pitanju pravo koje je propisano kao ono koje se može kolektivno ostvarivati. Ako nositelj prava nije na zakonom propisan način otklonio kolektivno ostvarivanje svojih prava, tj. nije: 1. izričito, 2. u pisanom obliku, 3. obavijestio udrugu neka udruga ne ostvaruje njegova prava (čl.159. st. 2, ZASP-a ne može pojedinačno ostvarivati svoje pravo od slučaja do slučaja.

ŽIG (Trademark):

Žig je isključivo pravo priznato za znak koji služi za razlikovanje proizvoda i/ili usluga jedne osobe od ostalih osoba u gospodarskom prometu. Ime, logotip, amblem, etiketu ili druga razlikovna obilježja vašeg proizvoda i/ili usluge moguće je zaštititi žigom.

Žig se u većini zemalja stječe registracijom na temelju ispitivanja koje obavlja odgovarajuće nadležno tijelo, a u Republici Hrvatskoj je to Državni zavod za intelektualno vlasništvo.

Osnovni uvjeti koje neki znak mora zadovoljiti da bi mogao postati žig jesu da je razlikovan te da nije sličan nekom ranijem žigu.Žig osigurava vlasniku isključivo pravo na stavljanje u promet proizvoda i/ili usluga obilježenih njime.

Zaštita žigom predstavlja učinkovito tržišno sredstvo kojim proizvođači i pružatelji usluga štite sredstva koja su uložili u promidžbu i marketing svojih proizvoda i/ili usluga. Zaštita same kreacije nekog znaka, logotipa ili etikete može predstavljati autorsko djelo koje je zaštićeno kao autorsko pravo, čime je zaštićen interes autora ili kreatora.

Žig može prijaviti svaka fizička ili pravna osoba.

Strane osobe u pravilu su obvezne voditi postupak putem zastupnika koji su ovlašteni djelovati u zemlji registracije, a domaće osobe mogu postupak voditi ili same ili putem zastupnika u području industrijskog vlasništva, koji vode cijeli postupak u ime i za račun svojih stranaka

Imajući u vidu vrijeme potrebno za ispitivanje, dvomjesečnu periodiku izlaženja službenog glasila, te rok od 3 mjeseca za prigovor protiv registracije, uobičajeno trajanje cijelog postupka je 6 do 8 mjeseci.

Međutim, važno je znati da uvjetnu zaštitu žiga ostvarujete od datuma podnošenja prijave, neovisno o vremenu trajanja postupka. Ako budu ispunjeni svi zakonom propisani uvjeti te se žig registrira, potpuna zaštita se ostvaruje od dana predaje prijave Zavodu.

Prijava industrijskoga dizajna mora sadržavati naznaku proizvoda u kojem bi dizajn trebao biti sadržan ili na koji bi dizajn trebao biti primijenjen.

Poželjno je da prijava sadrži i naznaku razreda toga proizvoda, prema Međunarodnoj klasifikaciji industrijskoga dizajna. Svrstavanje u razrede međunarodne klasifikacije ne utječe na opseg zaštite dizajna, već služi za potrebe objave dizajna u službenom glasilu, te za pretraživanje registara. Ukoliko prijavitelj sam ne naznači razred prema Međunarodnoj klasifikaciji, to će tijekom postupka učiniti službenici Zavoda.

Tiskano izdanje klasifikacije na hrvatskom jeziku možete koristiti ili kupiti u prijemnom uredu Zavoda (Izvori informacija).

Cjelokupni sadržaj klasifikacije (8. izdanje) može se naći i na stranicama Svjetske organizacije za intelektualno vlasništvo (WIPO/OMPI)

Postupak međunarodne registracije iz Republike Hrvatske pokreće se podnošenjem Zavodu prijave za međunarodnu registraciju. Način podnošenja prijave za međunarodnu registraciju žiga putem Zavoda propisan je Zakonom o žigu i Pravilnikom o žigu, a prijava se podnosi na Obrascu MŽ-1 ili obrascu Međunarodnog ureda Svjetske organizacije za intelektualno vlasništvo (MM-1, MM-2, MM-3). Obrasci se ispunjavaju na propisanom jeziku prijave (francuskom, ako se primjenjuje Sporazum; na engleskom ili francuskom ili španjolskom jeziku, ako se primjenjuje Protokol). Uz prijavu obavezno je priložiti dokaz o uplati propisane upravne pristojbe i naknade troškova.

Međunarodna prijava se mora temeljiti na domaćoj registraciji ili prijavi (ovisno o zemlji na koju se odnosi) što znači da priloženi znak i podnositelj moraju biti jednaki kao u domaćoj prijavi ili registraciji. Popis proizvoda i/ili usluga koji se prilaže uz međunarodnu prijavu mora biti obuhvaćen domaćom prijavom ili registracijom.

Zavod prijavu ispituje i urednu prijavu prosljeđuje Međunarodnom uredu Svjetske organizacije za intelektualno vlasništvo (OMPI/WIPO) koji prijavu:

upisuje u Međunarodni registar

objavljuje u službenom glasilu

šalje službenu obavijest o izvršenoj registraciji nadležnim nacionalnim uredima naznačenih zemalja.

Nakon primljene službene obavijesti nacionalni uredi imaju rok od 12 (prema Sporazumu) ili 18 mjeseci (prema Protokolu) u kojem mogu odbiti zaštitu. U tom slučaju daljnji postupak, na temelju kojega prijavitelj eventualno ipak može ishoditi zaštitu žiga uz određene izmjene u prijavi, odnosno ona može biti konačno odbijena, odvija se pred uredom koji je odbio zaštitu, prema odredbama zakonodavstva te zemlje.

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