Copyright Management and Control Systems: Metering Metering systems allow copyright owners to ensure payment to or at the time of a consumer's use of the work. Those technologies include: Hardware Devices Those have to be acquired and installed by the user. For example under a debit card approach, the user purchases a debit card that is pre-loaded with a certain amount of value. After installation, the debit card is debited automatically as the user consumes copyrighted works. Digital Certificates Hereby a certification authority issues to a user an electronic file that identifies the user as the owner of a public key. Those digital certificates, besides information on the identity of the holder can also include rights associated with a particular person. Vendors can so control access system resources, including copyrighted files, by making them available only to users who can provide a digital certificate with specified rights (e.g. access, use, downloading). Centralized Computing Under this approach all of the executables remain at the server. Each time the executable is used, the user's computer must establish contact with the server, allowing the central computer to meter access. Access Codes Access code devices permit users to "unlock" protective mechanisms (e.g. date bombs or functional limitations) embedded in copyrighted works. Copyright owners can meter the usage of their works, either by unlocking the intellectual property for a one-time license fee or by requiring periodic procurement of access codes. Copyright Clearinghouses Under this approach copyright owners would commission "clearinghouses" with the ability to license the use of their works. A user would pay a license fee to obtain rights concerning the intellectual property.

TEXTBLOCK 1/2 // URL: http://world-information.org/wio/infostructure/100437611725/100438659615

World War II ... Never before propaganda had been as important as in the 2nd World War. From now on education was one more field of propaganda: its purpose was to teach how to think, while pure propaganda was supposed to show what to think. Every nation founded at least one ministry of propaganda - of course without calling it that way. For example the British called it the Ministry of Information (= MOI), the U.S. distinguished between the Office of Strategic Services (= OSS) and the Office of War Information (= OWI), the Germans created a Ministry of Propaganda and Public Enlightenment (= RMVP) and the Japanese called their disinformation and propaganda campaign the "Thought War". British censorship was so strict that the text of an ordinary propaganda leaflet, that had been dropped from planes several million times, was not given to a journalist who asked for it. Atrocity stories were no longer used the same way as in the 1st World War. Instead, black propaganda was preferred, especially to separate the Germans from their leaders. German war propaganda had started long before the war. In the middle of the 1930s Leni Riefenstahl filmed Hitler best propaganda movies. For the most famous one, "Triumph of the Will" (1935), she was the only professional filmier who was allowed to make close-up pictures of her admirer. Some of the pictures of fear, hatred and intolerance still exist in people's heads. Considering this propaganda did a good job, unfortunately it was the anti-national-socialist propaganda that failed at that time.

TEXTBLOCK 2/2 // URL: http://world-information.org/wio/infostructure/100437611661/100438658610

1996 WIPO Copyright Treaty (WCT) The 1996 WIPO Copyright Treaty, which focused on taking steps to protect copyright "in the digital age" among other provisions 1) makes clear that computer programs are protected as literary works, 2) the contracting parties must protect databases that constitute intellectual creations, 3) affords authors with the new right of making their works "available to the public", 4) gives authors the exclusive right to authorize "any communication to the public of their works, by wire or wireless means ... in such a way that members of the public may access these works from a place and at a time individually chosen by them." and 5) requires the contracting states to protect anti-copying technology and copyright management information that is embedded in any work covered by the treaty. The WCT is available on: http://www.wipo.int/documents/en/diplconf/distrib/94dc.htm http://www.wipo.int/documents/en/diplconf/dis...

INDEXCARD, 1/3

Economic rights The economic rights (besides moral rights and in some cases also neighboring rights) granted to the owners of copyright usually include 1) copying or reproducing a work, 2) performing a work in public, 3) making a sound recording of a work, 4) making a motion picture of a work, 5) broadcasting a work, 6) translating a work and 7) adapting a work. Under certain national laws some of these rights are not exclusive rights of authorization but in specific cases, merely rights to remuneration.

INDEXCARD, 2/3

DMCA The DMCA (Digital Millennium Copyright Act) was signed into law by U.S. President Clinton in 1998 and implements the two 1996 WIPO treaties (WIPO Performances and Phonograms Treaty and WIPO Copyright Treaty). Besides other issues the DMCA addresses the influence of new technologies on traditional copyright. Of special interest in the context of the digitalization of intellectual property are the titles no. 2, which refers to the limitation on the liability of online service providers for copyright infringement (when certain conditions are met), no. 3, that creates an exemption for making a copy of a computer program in case of maintenance and repair, and no. 4 which is concerned with the status of libraries and webcasting. The DCMA has been widely criticized for giving copyright-holders even more power and damage the rights and freedom of consumers, technological innovation, and the free market for information.

INDEXCARD, 3/3