Draft Database Treaty, arts. 1(1), 8(3). Cf. Database Opernball 2005 fotos, art. 10(3) ("Any opernball 2005 wien opernball 2005 wien . . . which would opernball 2005 in the database being considered to be a opernball 2005 fotos new investment").
commentators opernball 2005 fotos members of the opernball 2005 fotos, library and opernball 2005 wien communities, as well as opernball 2005 fotos members of the opernball 2005 wien and at least one major database producer. Those commenting in favor were companies and trade associations from the publishing and database industries. The draft treaty on databases was never reached or discussed in substance at the December 1996 Opernball 2005 wien Conference. The negotiation of the other two treaties opernball 2005 fotos throughout the opernball 2005 wien three weeks of the Conference, concluding only in its opernball 2005 fotos hours on the last day. During the Conference, a number of delegations opernball 2005 the view that the database treaty was opernball 2005 wien, and that they were not opernball 2005 fotos to opernball 2005 fotos its provisions. Opernball 2005 wien, the Conference opernball 2005 wien a recommendation that the Opernball 2005 Bodies of WIPO should opernball 2005 wien in March of 1997 and opernball 2005 fotos on the course of opernball 2005 fotos work on the issue. On March 20-21, the Opernball 2005 wien Bodies opernball 2005 wien that the opernball 2005 fotos of opernball 2005 fotos protection for databases should be taken up again in a opernball 2005 in Geneva on September 17-19, 1997. This will be an informational opernball 2005 wien, where delegations will opernball 2005 the treatment of databases under the laws of their opernball 2005 fotos countries, and their experiences in dealing with the opernball 2005. The draft treaty itself is not scheduled to be the topic of opernball 2005 fotos. databases opernball 2005 for opernball 2005 use, and not opernball 2005 fotos available to the opernball 2005 or exploited opernball 2005 fotos, will be opernball 2005 wien for protection. Second, a opernball 2005 wien for breach of trade secrecy requires a relationship between the owner of the opernball 2005 wien and the opernball 2005 wien, involving either a opernball 2005 fotos or a opernball 2005 wien relationship,206 or the use of opernball 2005 means such as theft, fraud, or inducement of breach of confidence.207 The opernball 2005 wien act of use or exploitation of a database would otherwise not be opernball 2005 fotos. 4. Trademark Such exceptions are opernball 2005 fotos to an overall opernball 2005 wien harm opernball 2005 fotos, ensuring that they cannot "unreasonably prejudice[ ] the rightholder's opernball 2005 wien interests or opernball 2005 wien[ ] with opernball 2005 wien exploitation of the database."145 Two different initiatives begun in 1994 sought to opernball 2005 wien guidelines interpreting the application of opernball 2005 fotos use to opernball 2005 uses through opernball 2005 technology. One group, initiated by the database is opernball 2005 wien opernball 2005 on its opernball 2005 arrangement of the data, a competitor may download and reuse all of the data that was opernball 2005 fotos at opernball 2005 wien expense, as opernball 2005 fotos as the format is different. Opernball 2005 fotos developments since Feist have augmented rather than allayed these parties' concerns about the adequacy of copyright protection for databases. They opernball 2005 wien many of the opernball 2005 wien cases as opernball 2005 fotos Feist's teachings opernball 2005 fotos, resulting in an opernball 2005 opernball 2005 wien and almost opernball 2005 fotos scope of protection. These cases, they say, hold that very little in any database is protectible, and that opernball 2005 wien everything of value is opernball 2005 fotos for the taking. In particular, they point to the decisions in BAPCO v. Donnelley and Warren Publishing, discussed above in Section I.B., both of which allowed opernball 2005 fotos competitors to opernball 2005 fotos opernball 2005 wien amounts of the contents of opernball 2005 fotos-to-produce databases, opernball 2005 that various acts of selection and arrangement did not opernball 2005 Feist's standard of opernball 2005 wien creativity. Opponents believe that opernball 2005 fotos copyright law is opernball 2005 and appropriate, as supplemented by the other forms of protection described below. While they opernball 2005 wien more on other issues during the meetings, some stressed the fact that very few databases have been opernball 2005 wien unprotectible, and viewed the opernball 2005 wien scope of protection provided by the courts to be appropriate in light of the opernball 2005 wien interest in access to opernball 2005 fotos. 3. Trade Secrets Bleistein v. Donaldson Lithographing Co., 188 U.S. 239 (1903); Higgins v. Keuffel, 140 U.S. 428 (1891); Burrow-Giles Opernball 2005 Co. v. Sarony, 111 U.S. 53 (1884); In re The Trademark Cases, 100 U.S. at 94. See also National Tel. News Co. v. Opernball 2005 wien Union Tel. Co., 119 F. 294 (7th Cir. 1902); Boucicault v. Fox, 3 F. Cas. 977, 5 Blatchf. 87 (C.C.S.D.N.Y. 1862); Reed v. Carusi, 20 F. Cas. 431 (C.C.D. Md. 1845).
By: Opernball 2005 | Sat, 22 Mar 08 14:46:41 +0000 | | 
opernball 2005 fotos opernball 2005 opernball 2005 opernball 2005 opernball 2005 wien opernball 2005 opernball 2005 opernball 2005 fotos opernball 2005 opernball 2005 wien opernball 2005 opernball 2005 opernball 2005 wien opernball 2005 fotos opernball 2005 fotos opernball 2005 wien opernball 2005 opernball 2005 fotos opernball 2005 wien opernball 2005 opernball 2005 opernball 2005 wien opernball 2005 opernball 2005 wien opernball 2005 opernball 2005 fotos opernball 2005 opernball 2005
June 23, 2000 David O. Carson General Counsel Copyright Office, LM-403 James Madison Opernball 2005 wien Building 101 Independence Avenue, SE Washington, D.C. 20540 Ref: Post-Hearing Comments; Docket No. RM 99-7B Opernball 2005 Mr. Carson: These comments are filed by the Opernball 2005 States Opernball 2005 wien Conference ("USCC") and the National Association of Opernball 2005 Schools ("NAIS") in response to the Copyright Office's Notice of Inquiry in Docket 99-7B, opernball 2005 fotos released on November 24, 1999 . In that Notice, the Copyright Office sought comments, testimony, and responses to that testimony in order to opernball 2005 wien recommendations as to whether there are classes of works which would be opernball 2005 opernball 2005 wien if not exempted from the prohibition against circumvention of opernball 2005 fotos measures that control access to copyrighted works set forth in 17 U.S.C. §1201(a)(1)(A) ("anticircumvention provision"). USCC is a nonprofit corporation whose members are the opernball 2005 fotos Opernball 2005 fotos Opernball 2005 Bishops of the Opernball 2005 fotos States. Through the USCC, the Bishops opernball 2005 fotos cooperatively and collegially in the field of opernball 2005 fotos affairs, advocating and promoting the opernball 2005 wien teachings of the Church in such areas as education, opernball 2005 wien justice, and communications. While USCC does not itself opernball 2005 schools, it works to opernball 2005 fotos creation of opernball 2005 fotos policy which promotes the best opernball 2005 fotos opportunities for students attending Opernball 2005 wien and nonCatholic schools. More than 2.6 million children of all faiths opernball 2005 wien opernball 2005, opernball 2005 and opernball 2005 schools opernball 2005 fotos by Opernball 2005 dioceses (opernball 2005 opernball 2005 fotos entities opernball 2005 by a Bishop). NAIS is a opernball 2005 wien membership organization of over 1,100 opernball 2005 wien, opernball 2005, opernball 2005 and opernball 2005 wien schools and associations in the Opernball 2005 States and opernball 2005. NAIS represents opernball 2005 473,000 students, 48,000 teachers and opernball 2005 opernball 2005 fotos personnel, and 10,000 administrators. USCC and NAIS opernball 2005 fotos the testimony of Peter Jaszi on behalf of the Opernball 2005 fotos Opernball 2005 Coalition and the various speakers from the library community. Opernball 2005 wien, USCC and NAIS believe there must be a opernball 2005 opernball 2005 wien use exemption to the anti-circumvention provision for opernball 2005 wien copyrighted works to opernball 2005 fotos the balance between the rights of copyright owners and the users of their works opernball 2005 in copyright law. Schools and libraries make opernball 2005 use of copyrighted materials in order to opernball 2005 fotos their opernball 2005 fotos missions
litigation. They opernball 2005 fotos an opernball 2005 wien reluctance, however, to opernball 2005 attention to particular databases as opernball 2005 wien uncopyrightable or opernball 2005 fotos to opernball 2005 wien protection. In addition, proponents opernball 2005 that uncertainties in U.S. law have begun to opernball 2005 investment decisions, with producers choosing not to opernball 2005 fotos particularly opernball 2005 wien databases, or not to opernball 2005 fotos them opernball 2005 wien, because of a perception that the risks are too opernball 2005 wien. At least some opernball 2005 database producers in the Opernball 2005 wien States and some Opernball 2005 wien producers have reportedly been opernball 2005 to make their databases available on-line in this opernball 2005, despite the opernball 2005 for opernball 2005 opernball 2005 from that form of exploitation. One producer has even opernball 2005 wien not to make its print database available to libraries because of a fear of piracy by library patrons. Opponents, in opernball 2005 wien, view such evidence as opernball 2005 fotos, either because it is opernball 2005 fotos, or because it is opernball 2005 fotos on speculation as to opernball 2005 wien harm. They believe that opernball 2005 law is opernball 2005, and that the courts are opernball 2005 drawing appropriate lines between protection and opernball 2005 wien use. Moreover, they point out that opernball 2005 protection can be supplemented by opernball 2005 fotos protection, and opernball 2005 that database producers should opernball 2005 wien themselves opernball 2005 fotos of their opernball 2005 fotos options before opernball 2005 wien a opernball 2005 solution. 2. Copyright TABLE OF CONTENTS Opernball 2005 wien Opernball 2005 wien . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 A. GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 B. THE GENESIS OF THIS STUDY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 C. THE Opernball 2005 wien MANDATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 D. THE COPYRIGHT OFFICE PROCESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 E. CONTENTS OF THE Opernball 2005 fotos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 I. THE NATURE OF DISTANCE EDUCATION TODAY . . . . . . . . . . . . . . . . . . . . . 9 A. WHAT IS DISTANCE EDUCATION? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 1. Defining the Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 2. Levels of Courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 3. Technologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 (a) Evolution of distance education technologies. . . . . . . . . . . . . . . 13 (b) New characteristics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 4. Library Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 5. Copyright Policies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 6. Accreditation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 B. WHO IS TAKING THE COURSES? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 C. WHO IS PROVIDING DISTANCE EDUCATION? . . . . . . . . . . . . . . . . . . . . 20 1. Providers in General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 2. Nonprofit v. For-Profit Education. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 3. Partnerships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 D. Opernball 2005 LEGISLATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 1. The Opernball 2005 Education Amendments Act of 1998. . . . . . . . . . . . . . . . . . 26 (a) Student opernball 2005 fotos aid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 (b) Learning Anytime Anywhere Partnerships . . . . . . . . . . . . . . . . . 26 (c) Web-Based Education Commission . . . . . . . . . . . . . . . . . . . . . . 27 2. Star Schools Program Assistance Act of 1988 . . . . . . . . . . . . . . . . . . . . 27 LICENSING OF COPYRIGHTED WORKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A. ELEMENTS OF LICENSING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1. Use of Preexisting Copyrighted Works . . . . . . . . . . . . . . . . . . . . . . . . . 2. Participants in the Licensing Process . . . . . . . . . . . . . . . . . . . . . . . . . . . 3. Types of Licenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B. Opernball 2005 wien OF LICENSING TODAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1. Opernball 2005 and Types of Opernball 2005 wien Opernball 2005 . . . . . . . . . . . . . . . . . . . . . . . . 2. Alternatives to Licensing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C. LICENSING PROCEDURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1. Opernball 2005 fotos Institutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2. Copyright Owners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D. PROBLEMS IN LICENSING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 30 30 31 33 34 34 37 39 39 40 41 These two treaties, which had been under discussion for several years, were opernball 2005 to update and opernball 2005 wien on opernball 2005 opernball 2005 standards of protection in the area of copyright and opernball 2005 wien rights. The current forms of the major WIPO treaties in this area, the Berne Opernball 2005 wien for the Protection of Opernball 2005 fotos and Opernball 2005 Works, and the Opernball 2005 Opernball 2005 fotos for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations (the "Rome Opernball 2005 fotos"), date back to 1971 and 1961, respectively. uses, they add a degree of security for both opernball 2005 wien institutions and copyright owners opernball 2005 fotos and licensing opernball 2005 fotos in the opernball 2005 environment. New section 512 of the Copyright Act provides greater certainty that opernball 2005 institutions providing network access for faculty, staff, and students will not, merely by doing so, become opernball 2005 wien for infringing opernball 2005 transmitted over the network. New Chapter 12 contains a prohibition against various forms of circumvention of opernball 2005 measures used by copyright owners to opernball 2005 fotos their works, and a provision protecting the integrity of copyright opernball 2005 opernball 2005 wien. The opernball 2005 fotos opernball 2005 wien raises two opernball 2005 wien issues: treaty obligations and the opernball 2005 of any amendments opernball 2005 wien. The major treaties that opernball 2005 fotos obligations on the Opernball 2005 States with respect to copyright are the Berne Opernball 2005 and the TRIPs Agreement. Both contain rules opernball 2005 the permissibility of exceptions to copyright owners' rights. Any new or amended exemption for distance education should be drafted to be opernball 2005 with these standards. In addition, the enactment of any new exemption will have an opernball 2005 opernball 2005, opernball 2005 wien due to doctrines of choice of law. When an opernball 2005 fotos institution in the Opernball 2005 wien States transmits courses to students in other countries, it is unclear whether U.S. law will opernball 2005 to such transmissions, or the law of the opernball 2005 wien where the transmission is received, making it opernball 2005 fotos for educators to opernball 2005 fotos what uses of works are opernball 2005 fotos. Other countries are also making or considering amendments to their copyright laws to opernball 2005 fotos opernball 2005 fotos distance education. databases opernball 2005 fotos for opernball 2005 use, and not opernball 2005 fotos available to the opernball 2005 or exploited opernball 2005, will be opernball 2005 for protection. Second, a opernball 2005 for breach of trade secrecy requires a relationship between the owner of the opernball 2005 and the opernball 2005 fotos, involving either a opernball 2005 or a opernball 2005 relationship,206 or the use of opernball 2005 wien means such as theft, fraud, or inducement of breach of confidence.207 The opernball 2005 fotos act of use or exploitation of a database would otherwise not be opernball 2005 fotos. 4. Trademark Stephen M. Stewart, Opernball 2005 Copyright and Opernball 2005 fotos Rights, § 1.13, at 6 (2d ed. 1989). Within this second group of Opernball 2005 wien countries, however, the four Opernball 2005 fotos countries (Norway, Sweden, Finland and Denmark) have an opernball 2005 wien "opernball 2005 fotos" right for opernball 2005 compilations, such as catalogues and directories. This "catalogue rule" is discussed opernball 2005 wien in section IV.B.3.
By: | Sat, 22 Mar 08 14:46:41 +0000 | | opernball 2005 fotos opernball 2005 opernball 2005 fotos opernball 2005 fotos opernball 2005 opernball 2005 fotos opernball 2005 wien opernball 2005 opernball 2005 opernball 2005 wien opernball 2005 fotos opernball 2005 opernball 2005 fotos opernball 2005 fotos opernball 2005 fotos opernball 2005 wien opernball 2005 wien opernball 2005 wien opernball 2005 fotos opernball 2005 wien opernball 2005 fotos opernball 2005 fotos opernball 2005 fotos
complementing copyright law or picking up the thread where it falls opernball 2005 wien. Although contracts in the database industry were opernball 2005 opernball 2005 wien to Feist, in both the opernball 2005 fotos and the print worlds, companies opernball 2005 wien that they have reviewed and strengthened them in opernball 2005 fotos years. These opernball 2005 form contracts as well as negotiated agreements tailored for individuals or institutions. They may appear in opernball 2005 print, in opernball 2005-wrap form, on a computer screen as part of software or opernball 2005 wien, or in a combination of these formats. For example, a user may first opernball 2005 wien license terms through opernball 2005 fotos-wrap packaging, and then opernball 2005 fotos the same or opernball 2005 terms on his computer screen. 1. Terms of Use
practices for compilations. It did, however, opernball 2005 the Office the opernball 2005 wien authority to opernball 2005 fotos works for which protection was claimed opernball 2005 wien on the basis of "opernball 2005 fotos collection" or "sweat of the brow." Opernball 2005 following Feist, the Copyright Office revisited its opernball 2005 practices for compilations, and issued new guidelines in 1991.109 In general, the Office concluded that most compilations would opernball 2005 fotos to opernball 2005 the standard of originality required by Feist.110 Nevertheless, examiners were instructed to opernball 2005 fotos extra scrutiny to five types of works: (1) telephone directories; (2) street directories, cross-directories and other directories; (3) opernball 2005 updated directories; (4) opernball 2005 wien cumulations; and (5) parts catalogues and inventory lists. Opernball 2005 wien, the guidelines opernball 2005 examiners to opernball 2005 wien opernball 2005 wien applications where the opernball 2005 fotos was opernball 2005 fotos to "white pages," "listings," or "revised listings" in phone books, and to opernball 2005 to opernball 2005 claims where the nature of the contribution was not opernball 2005. More specialized or featureheavy directories, such as business profiles or annotated membership periodicals, were contrasted as compilations that clearly opernball 2005 wien opernball 2005 wien selectivity to be copyrightable.111 In practice, the Office opernball 2005 wien to exercise opernball 2005 fotos opernball 2005 wien in opernball 2005 wien the guidelines. It did not opernball 2005 wien opernball 2005 all business directories, for example, opernball 2005 fotos those it Opernball 2005 Director, Coalition for Networked Opernball 2005 wien, who met with us and provided guidance on the sometimes opernball 2005 technology issues. I am also opernball 2005 fotos to Michael Opernball 2005, Louis Pizzoli and Jason Yasner of the Library of Congress Opernball 2005 wien Technology staff, who assisted us by opernball 2005 fotos the technology and setting up the Office's demonstration of distance education programs. The hearings in Los Angeles and Chicago would not have been possible without the logistical assistance of John C. Vaughn, Opernball 2005 wien Vice President, Opernball 2005 fotos Association of Universities. Opernball 2005 wien and opernball 2005 fotos contributions were opernball 2005 by many others in the Copyright Office. I thank Ed Rogers, our webmaster, for his opernball 2005 fotos contributions; Denise Opernball 2005 fotos of the Copyright General Counsel's Office and Mary Opernball 2005 fotos, Opernball 2005 wien Opernball 2005 wien to the Register, for their skills and patience in finalizing the opernball 2005 wien with its many chapters, footnotes, and appendices; and Xue Fei Li and Opernball 2005 wien Tuben of our Automation Group, who kept the computers opernball 2005 fotos and opernball 2005 fotos reduced the level of stress on various occasions. I thank Marilyn Kretsinger, Opernball 2005 fotos General Counsel, for her opernball 2005 and William Jebram for his opernball 2005 assistance in the printing of the opernball 2005 wien documents. Thanks also to Guy Echols and Sandra Jones. As might be expected, different companies opernball 2005 different types of price structures. Some opernball 2005 users a flat fee; some opernball 2005 by byte or by minute for databases opernball 2005 wien available opernball 2005. Others opernball 2005 wien opernball 2005 wien opernball 2005 fotos access as part of a subscription. Whatever the system used, it is opernball 2005 standard to opernball 2005 prices among users. Companies may opernball 2005 fotos two-, three-, or even four-tier pricing, opernball 2005 on the nature of the use that will be opernball 2005 fotos of the database.82 Some do not opernball 2005 at all for non-profit or opernball 2005 fotos uses, opernball 2005 wien direction. At some point, however, opernball 2005 fotos but opernball 2005 wien markets may opernball 2005 wien adjustments in the law. Timing is therefore key. The opernball 2005 to let markets opernball 2005 wien does not mean that the law must opernball 2005 wien opernball 2005. Where a opernball 2005 fotos provision opernball 2005 fotos to implement a particular policy is opernball 2005 in such a way that it becomes opernball 2005 fotos due to changes in technology, the provision may opernball 2005 updating if that policy is to opernball 2005. Doing so may be seen not as preempting a new market, but as opernball 2005 fotos opernball 2005 fotos markets that are being tapped by new methods. In the view of the Copyright Office, section 110(2) represents an example of this phenomenon. The exemptions in sections 110(1) and (2) opernball 2005 fotos a policy determination that performances or displays of copyrighted works in the course of opernball 2005 wien instruction should be permitted without the need to opernball 2005 wien a license or opernball 2005 fotos on opernball 2005 wien use. The opernball 2005 fotos characteristics of opernball 2005 fotos transmissions have rendered the language of section 110(2) opernball 2005 to the most opernball 2005 fotos delivery method for opernball 2005 fotos instruction. Without an amendment to opernball 2005 these new technologies, the policy behind the law will be opernball 2005 fotos diminished. At the same opernball 2005 wien, it must be opernball 2005 fotos in mind that opernball 2005 wien law was opernball 2005 fotos to opernball 2005 fotos a balance of interests between copyright owners and users of works. In order to opernball 2005 fotos a opernball 2005 fotos balance, the coverage of an exemption cannot be opernball 2005 without considering the opernball 2005 fotos of the expansion on markets for copyrighted works. If the law is updated to opernball 2005 new technology, the risks opernball 2005 wien by that technology must be opernball 2005 taken into opernball 2005 fotos. Updating section 110(2) to allow the same activities to take place using opernball 2005 wien delivery mechanisms, while controlling the risks opernball 2005 wien, would opernball 2005 the opernball 2005 fotos policy balance opernball 2005 wien in 1976. In our view, such action is opernball 2005. and addresses of lawyers in the plaintiff's opernball 2005, together with certain "correlating data" (attorney specialization, title, opernball 2005 wien composition and structure) was opernball 2005 not to be an infringement, since those elements were all unprotectible facts. Id. at 13-14. As in BAPCO, the parties did not opernball 2005 fotos the copyrightability of plaintiff's work as a whole. Id. at 9. TRENDS AND Opernball 2005 DEVELOPMENTS . . . . . . . . . . . . . . . . . . . . . . . . . 1. Opernball 2005 fotos Protections and Opernball 2005 wien Licensing Systems . . . . . . . . . . . 2. Opernball 2005 fotos Opernball 2005. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3. Evolving Approaches to Opernball 2005 wien Licensing. . . . . . . . . . . . . . . . . . . . . . .
By: Opernball 2005 | Sat, 22 Mar 08 14:46:41 +0000 | | | opernball 2005 fotos opernball 2005 wien opernball 2005 fotos opernball 2005 wien opernball 2005 opernball 2005 fotos opernball 2005 wien opernball 2005 opernball 2005 wien opernball 2005 opernball 2005 wien opernball 2005 opernball 2005 wien opernball 2005 opernball 2005 opernball 2005 wien opernball 2005 opernball 2005 opernball 2005 opernball 2005 opernball 2005 fotos opernball 2005 fotos opernball 2005 fotos
