ISCC

Digital contents distributed over the internet are regulated by law and by technical management systems. The latter include a semantic component that describes licenses, i.e. rights of use which are granted to the user. These elements of Digital Rights Management (DRM) systems are called Rights Expression Languages (REL), they gather terms and relations needed to build licenses. Some are based on an ontology of online licenses, not necessarily related to applicable law and various legal systems, and cannot interoperate. As a consequence, there is a need for a more generic way to express licenses. Here, generic means that rightholders should only need to express the license they need once, and semi-automatic tools should then translate this license so it can be browsed by any specific system. Hence it implies the necessity to be able to model concept semantics in order to translate a license expressed in generic terms into more specific terms that are compliant with the specific standards used by distribution systems. This work comes as part of larger studies on legal ontologies, legal systems and RELs.

At the crossroad of law and compu ter science, the notion of Digital Rights Managemen t renews the research on Lex Electronica. Rights Expression Languages provide the legal semantic and syntax to be implemen te d by Digital Rights Management Systems. Rights Expressions are legal metadata that define the actions led on a digital text or multimedia file. This article presents some legal resources and requiremen ts to express rights and transactions pertaining to digital documen ts and data, ie legally or contractually allowed usages or actions. The proposed model associates terminological resources from technology, usages, exclusive rights and public domain. Research aroun d this article takes place in Medialex, an interdisciplinary project aiming at building a transaction ontology to license, access and reuse.

Legal ontologies design raises knowledge management but also jurisprudence issues. To which extent is it possible to establish common concerns between technical means and theoretical constraints? After a brief presentation of the network methodology, we give two convergent results of our working groups on the feasibility of legal ontologies. First, the definition of a meta legal language handling fundamentals (acts, actors, conditions…) contributes to a shared understanding of legal knowledge between disciplines and jurisdictions. Second, ontological alignment concerns not only knowledge management but is also the core of the judge's activity.

The focus of this paper is the exploration of ontologies as a means for knowledge sharing in music information retrieval scenarios. Our approach is intended to support the complete "life cycle of digital music" and focuses on the implications of a digital world for all the actors involved in the process of creation, consumption and modification of such entities. As a novelty we take care about legal aspects, digital rights management being heavily tangled in such scenarios. MPEG-7 and MPEG-21 vocabularies are considered as basic ingredients for our ontology which ensures in this way interoperability within the multimedia delivery and music research communities.

2 3 E v e r e t t S t r e e t • S e c o n d F l o o r • C a m b r i d g e , M a s s a c h u s e t t s 0 2 1 3 8 5 0 C h u r c h S t r e e t • T h i r d F l o o r • C a m b r i d g e , M a s s a c h u s e t t s 0 2 1 3 8 + 1 6 1 7 . 4 9 5 . 7 5 4 7 • + 1 6 1 7 . 4 9 5 . 7 6 4 1 ( f a x ) • h t t p : / / c y b e r . l a w . h a r v a r d . e d u • c y b e r @ l a w . h a r v a r d . e d u

2 3 E v e r e t t S t r e e t • S e c o n d F l o o r • C a m b r i d g e , M a s s a c h u s e t t s 0 2 1 3 8 5 0 C h u r c h S t r e e t • T h i r d F l o o r • C a m b r i d g e , M a s s a c h u s e t t s 0 2 1 3 8 + 1 6 1 7 . 4 9 5 . 7 5 4 7 • + 1 6 1 7 . 4 9 5 . 7 6 4 1 ( f a x ) • h t t p : / / c y b e r . l a w . h a r v a r d . e d u • c y b e r @ l a w . h a r v a r d . e d u

1 D'après Reidenberg Joël,«Lex Informatica: the formulation of information policy rules through technology», Texas Law Review, vol. 76, p. 553, 1998. La lex informatica est nommée code par analogie entre le code informatique et le code juridique par Lessig Lawrence, Code and other laws of cyberspace,(ci-après Code), Basic Books, New York, 1999, 297 p. tel-00666307, version 1-3 Feb 2012

Abstract. Legal and technical means regulate the digital dissemination of creative works. Technological protection measures and rights management information implementing copyright licenses or contracts are based on Rights Expression Languages, ie machine-readable ontologies that link copyright concepts and terms to events occurring on digital networks. While developing such devices, specific attention shall be dedicated users' expectations in terms of problem description and legal situations expression.

Creative Commons (CC,< http://www. creativecommons. org>) provides licensing tools to assist creators in publishing their work under flexible terms which are more generous for the public than the traditional copyright" all rights reserved" approach. Inspired from the GNU-GPL license (General Public License), CC proposes a copyleft license for non-software intellectual and artistic works, as well as several more restrictive licenses allowing for instance creators to reserve commercial exploitation and derivative works.

In a context of extension of copyright duration and scope, the public domain is at risk, and with it, the vibrant expression of our culture and democracies. A group of academic and think-tank researchers, librarians, government representatives, museum curators, copyright and human rights activists, information technology entrepreneurs and non-profits worked between 2007 and 2011 to understand the notion of the public domain. Often lacking a positive definition, this concept has been poorly represented in the public debate.

Executive summary Creative Commons licenses have been designed to facilitate the use and reuse of creative works by granting some permissions in advance. However, the system is complex, with a multiplicity of licenses options, formats and versions available, including translations into different languages and adaptation to specific legislations towards versions that are declared compatible with each other after an international porting process.

Abstract: Different disciplines and fields of study seem to be heralding the rise of an interdisciplinary scientific and intellectual movement focused on digital heritage, operationally defined as the ensemble of documents and information created in digital formats and subjected to preservation policies developed by individuals, companies and institutions.

Abstract. Creative Commons tools makes it easier for users, who are also authors, to share, locate and distribute reusable content, fostering remix and digital creativity, open science and freedom of expression. But reuse could be made even easier by the licensing framework, which does not yet handle the diversity of legal and usage situations pertaining to technical accessibility and reuse modalities of works and data.

Face au renforcement de la protection de la propriété intellectuelle demandée par certains porteurs d'intérêts, d'autres acteurs s' interrogent sur des pratiques alternatives pour favoriser la circulation des œuvres. Existe-t-il un moyen simple qui permette aux auteurs et autres titulaires de droits d'exprimer au public les conditions de mise à disposition de leur œuvre, et aux utilisateurs d'accéder à des œuvres qu'ils pourraient exploiter légalement, mais sans devoir négocier systématiquement des autorisations?

Citer l'auteur est une norme sociale qui dépasse les obligations juridiques et permet de comprendre qui a émis un document ou l'a modifié, de distinguer oeuvre originale, reprise, commentaire ou transformation et ainsi d'inférer la valeur ou la réputation d'une information. Ces questions déjà présentes dans la culture papier sont multipliées avec les pratiques créatives numériques, comme l'échantillonnage ou le sampling et le remix artistique et l'écriture collaborative.

However, creators can choose to let others copy and reuse their works for free. By deciding to be more generous, they will get more exposure, maybe even foster citizen participation, creative remix or translation by volunteers. Creative Commons (), a non-profit organization, is offering a set of open content licenses to the public, in order to remove barriers to access and creativity by facilitating sharing of works1.