Analysis of Agenda Items for WIPO SCCR 47
This note, which will be presented at the November 25, CKG Workshop on SCCR 47, provides background information, links to recently published research and analysis, and descriptions of the issues […]
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This note, which will be presented at the November 25, CKG Workshop on SCCR 47, provides background information, links to recently published research and analysis, and descriptions of the issues […]
This week our research team published a series of new reports. These relate to the work streams in the upcoming Standing Committee on Copyright and Related Rights (SCCR) at the
This timeline provides a detailed view of the developments concerning broadcasting rights within international copyright law. It begins with the 1928 Rome Revision of the Berne Convention, which initially introduced
The timeline presented below details the progression of discussions within the WIPO Standing Committee on Copyright and Related Rights (SCCR) regarding Limitations and Exceptions (L&Es) to copyright. This detailed chronology, spanning from 1996 to
Two documents have been introduced in connection to the Limitations and Exceptions agenda item for SCCR 47 Previously we already had a third document Below are two tables. The first
Sean Flynn, Director of the Centre on Knowledge Governance was featured in GLOBE #36, the review of the Geneva Graduate Institute.
The mandate for working on an international instrument on limitations and exceptions (L&Es) at the World Intellectual property Organization (WIPO) is rooted in the principle of maintaining a “balance between
The World Intellectual Property Organization (WIPO) recently published a new draft of the proposed Broadcasting Organizations Treaty as document SCCR/47/3 in preparation for the 47th meeting of the Standing Committee
The World Intellectual property Organization (WIPO) has published four new proposals on ways forward for some of its key work streams in the Standing Committee on Copyright and related Rights
The rapid development of generative AI has sparked intense debate over how, or even if, creators should be compensated when their copyrighted works are used to train commercial AI systems.