Articles sur Copyright

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The Indigenous flag flies above Victorian Parliament in 2017. Tracey Nearmy/AAP

Explainer: our copyright laws and the Australian Aboriginal flag

As the flag's copyright owner, Luritja artist Harold Thomas has the right to grant licences to whomever he pleases. Asking the government to buy back his copyright licence could be seen as an appropriation of Aboriginal property rights.
Vincent Copley senior and Vincent Copley junior at Redbanks Conservation Park, Burra, in June, 2018. They are holding Ngadjuri book, with their grandfather and great-grandfather, Barney Waria, on the cover. Photo: C.J. Taylor, Flinders University.

Friday essay: who owns a family’s story? Why it’s time to lift the Berndt field notes embargo

In the 1940s, the last initiated Ngadjuri man, Barney Waria, gave a series of interviews to anthropologist Ronald Berndt. Almost 80 years later, Waria's grandson wants to share this material with his family.
The on-paper designs for furniture belong to the designer, just like any other artists. But things get more complicated when designs become physical objects. Shutterstock

Explainer: can you copyright furniture?

How are furniture designers protected by law, and what is an 'original design' when aesthetics meets functionality?
Companies like Amazon create value for investors through their people, their invented systems and processes, and their physical presence. Jakub Kaczmarczyk

To value companies like Amazon and Facebook, we need to look beyond dollars and assets

Traditional accounting calculates a company's value by measuring physical assets and how much they owe. But we can tweak this for today's economy by including people and their ability to innovate.
There are many ways the not-for-profit GLAM sector - public galleries, libraries, archives and museums - could be protected from potential copyright damages claims. from www.shutterstock.com

Why the not-for-profit cultural sector needs tailor-made copyright safe harbours

Australia's plan to extend ISP 'safe harbour' copyright immunities to cultural institutions avoids more nuanced thinking about the nature and social value of culture, art and education.

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