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[Guest post] Can the owner of an artistic work convert it into an NFT for its use in the Metaverse?

The IPKat

Now, a further development on IP and NFTs comes from Spain, as Katfriend Mercedes Morán Ruiz (CEDRO) reports: Can the owner of an artistic work convert it into an NFT for its use in the Metaverse? This would not be the case if the work were in the public domain or if it could be considered an orphan work owned by a museum or a library.

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Do I Need Clearance in the U.S. if I Acquire Rights from a Public Domain Source Abroad?

Dear Rich IP Blog

Although most countries have placed the artist's works in the public domain (based on the life+70 years rule), the U.S. A work first published outside the U.S. for 95 years from publication. That puts all of the artist's works published before 1925 in the public domain in the U.S.

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Is your original work automatically protected by copyright?

Intepat

Intellectual property rights (IPR) offer protection and grant exclusive rights to the creator’s work. Copyrights are a form of IPR that offers protection to a wide range of artistic and literary works of a creator. It includes musical works, photographic works, artistic works, motion pictures, and computer programs.

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First preliminary injunction issued by a court in Turkey regarding NFTs

The IPKat

Picture in middle is entited "A ship in need in a raging storm, by Willem van de Velde II, and is in the public domain.

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[Guest post] Universal Copyright Convention – RIP

The IPKat

Here's what Jørgen writes: Universal Copyright Convention – RIP by Jørgen Blomqvist On December 9, 2021, WIPO announced that the Kingdom of Cambodia has joined the Berne Convention for the Protection of Literary and Artistic Works, with effect from March 9, 2022.

Copyright 133
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Copyright for AI-generated works: a task for the internal market?

Kluwer Copyright Blog

Thus, copyright protection would be suitable if there is an existing or imminent obstacle to trade in the context of AI-generated works and if left in the public domain, the functioning of the internal market would be disturbed. This brings the discussion to the third factor – proportionality stricto sensu.

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The Much-Adapted “Peter Pan” (1904 – Forever )

Velocity of Content

It also does not permit the foundation to impose, even in the UK, any restriction (other than the payment of royalties) on performances of, or creation of derivative works from, the play. And the 1911 content reused in these works may actually be in the public domain already.