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Colombia regulates use of trade mark symbol
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"AMY GOODMAN: Can you talk about the Creative Commons movement, what it means, what it means in Brazil, what it means for your music, what you’re trying to do?
GILBERTO GIL: Yeah. The author laws, the author rights, I mean, they belong to—the way they are set and the laws are written and applied and everything, that all belongs to a previous period, you know, previous time, an analog, so to speak, an analog time. Now, the digital area, the digital era enable us to extend and expand cultural products and cultural goods and cultural possibilities to a level that we—we have to also rewrite and reshape the legal framework and the regulatory framework, so that it can adjust to the new possibilities. That’s what Creative Commons is about, bringing possibilities to manage their own work, you know, to the creators, so that the songwriters, the theater play writers, the book writers, and so and so, can have the possibilities to manage their own work and say—and determine what their work will serve for.
AMY GOODMAN: We are here in the Time Warner building in New York, where the Personal Democracy Forum is taking place. Can you talk about your experience with Time Warner?GILBERTO GIL: Well, when I decided to open one of—some of my songs, you know, so that recommendation and sharing and everything would be possible, made possible for other people, I had a “no” from my company—then my company; I am not Time Warner anymore, then I was—and they wouldn’t allow me to use the songs that they had recorded. And I wanted—
AMY GOODMAN: You wanted them to be able to be downloaded for free?
GILBERTO GIL: Not necessarily to be downloaded for free, but to be open for different uses, you know, cultural uses by different people, the way the licenses, the Creative Commons licenses allow people to, so that they could recombine, they could share, they could redo parts or wholes of the songs for the cultural purposes, you know? And I couldn’t use the pieces that I had recorded for Time Warner. And then I used some of the pieces that I had already recorded for myself, because my contract with them was ending by then, and I had started doing my own recordings and owning my own recordings and some of them. And then I used some of that.
AMY GOODMAN: Gilberto Gil, do you see the way the music companies are cracking down on musicians and cracking down on access to music, calling it piracy, similar to the food companies like Monsanto cracking down on farmers, because they’re claiming they’re using their seeds in an unauthorized way?
GILBERTO GIL: Yeah, this is one of the things that we have to reconsider—I mean, the whole of the society, as I say, politicizing the new technology, so that we can discuss the uses, you know, and the restrictions and how far the restrictions should go and should stay and how open we should sort of get the whole system, you know, going, because we need that. I mean, there are several social uses that we can have, from pharmaceuticals and from intellectual goods and everything, that need openness to be considered, you know, so that the sharing, the access and everything, could be permitted. So we have to reshape them and the whole legal framework, you know, internationally and locally, you know, country by country and internationally.
And we are doing that. I mean, the Creative Commons project, for instance, helps a lot this kind of advancement, so that the individuals, the creators themselves, they can start establishing which kind of use they want their works to have, and which they allow, which they don’t allow the other people to do their works. But in Brazil, for instance, we are now launching a whole project of changing the authoral law in Brazil, discussing—
AMY GOODMAN: You’re working with Lawrence Lessig?
GILBERTO GIL: With Lawrence?
AMY GOODMAN: With Lawrence Lessig?
GILBERTO GIL: Oh, definitely. Yes, we are partners. He brought the Creative Commons project to Brazil. We helped them—we helped him and the whole group to find their ways in Brazil, to find the right people, to find the universities and institutions that back them in Brazil. So we became close friends. We are working together, yeah".
"The city is conveniently located at the convergence of the borders of three countries (Brazil, Argentina and Paraguay), making it the ideal transit point for tax free and often illegal goods headed to all points beyond. ...Whatever the position of the state agencies, the fact remains that civil enforcement, policed by the IP owners whose rights are infringed by fake products, is particularly difficult to achieve when IP rights are abused in geographically remote areas and where each owner has to enforce its rights at its own expense.
As long as the Paraguayan and Brazilian authorities continue to turn a blind eye to the thriving smuggling practice, Paraguay's black markets will continue to thrive. For a country that doesn't see much tourism (or other industry for that matter) it seems to be as much an economic necessity as it is a fact of life".
"transparent, high-standard protection has been locked in for intellectual property rights including patents, trademarks, geographical indications and copyright".This is the first FTA between any country within Latin America and Australia.
"In Brazil, the stem cell cannot be patented, as Articles 10 and 18 from the Industrial Property Law (Law 9.279/06) state that the country does not recognise patents on life. But the country accepts patents on processes for obtaining stem cells and other things such as proliferation, differentiation, and patient treatment, with INPI requiring novelty, inventive step, industrial application and other tests".[Source: "Brazil Approval Of Embryonic Stem Cell Research Could Boost Patenting", posted by Catherine Saez].