scholarly journals The Intellectual Property Policy of Universities and Research Institutions in Conditions of Digitization and Development of Innovations

JURIST ◽  
2021 ◽  
Vol 1 ◽  
pp. 11-16
Author(s):  
Ivan A. Bliznets ◽  

The article describes the process of restructuring of education in Russia, and in particular the writing of policy on intellectual property in the Russian universities. The article provides an overview of the activities of the leading Russian and foreign educational institutions in this area.

Author(s):  
Ahmad Fakheri ◽  
Farzaneh Fazel

In the last 25 years, the research conducted in universities, hospitals, and research institutions has resulted in the creation of over 4500 new companies based on the licenses obtained from these institutions. In the same period, there has been a 1500 percent increase in the number of patents granted to universities. These achievements have been primarily at research universities and research institutions, and have not been enjoyed by the overwhelming majority of educational institutions that are not research-intensive. This paper examines technology commercialization activities at non-research-intensive universities and recommends means by which they can generate more intellectual property in a cost-effective manner. These universities can increase financial opportunities for themselves and their communities and can be more effective in job creation and local economic development by adopting policies that are different from those of their research-intensive counterparts. They can use their resources more creatively to promote creation of intellectual property, faculty entrepreneurship, and interdisciplinary cooperation among faculty


Author(s):  
Robson Almeida Borges de Freitas ◽  
Antonio Martins de Oliveira Júnior ◽  
Humbérila da Costa e Silva Melo

In Brazil, Public Research Institutions (PRI) are agents that promote innovation and technological production. The role of these institutions in social and regional development is to provide scientific and technological production and make it available for productive arrangements. This study aims to relate the evaluation and valuation of patents with the processes of Technology Transfer in Public Research Institutions in Brazil. To justify the execution of the study, it is observed that it is necessary to improve the use of technologies created in PRI so that society can take advantage of the advances promoted in scientific research, and so that the distance between industry and academia is minimized. We researched 30 Public Research Institutions, in five variables collected on the platform of INPI (National Institute of Industrial Property), ESPACENET (European Patent Office) and BDTD (Brazilian Digital Library of Theses and Dissertations). In possession of the data, the Shapiro-Wilk test and the Spearman correlation coefficient were used used to analyze them. The R software was used to apply the statistical methods. For data discussion, the reports of FORMICT (Information Form on Intellectual Property Policy of Scientific and Technological Institutions) were analyzed to guide the arguments. The data did not show normality and have moderate and strong correlations, the significance of the correlations is strong or very strong. It is believed that the patent evaluation and valuation processes have space for improvement and thus can enhance the Transfer of Technologies of PRI.


2014 ◽  
Vol 38 (1) ◽  
pp. 77-89 ◽  
Author(s):  
Martin Zeilinger

This article concerns the emerging creative practice of live coding (i.e., the real-time programming of electronic music in text-based programming environments), and explores how this practice can be deployed as a tactic of resistance against the overreach of restrictive intellectual property policy. I begin by surveying definitions of copyright and patent law, and related issues, to situate live coding in the field of existing perspectives on cultural ownership. Drawing on legal theory and critical discourse on improvised music in other genres, I then argue that the dynamic, palimpsestic, and improvisational qualities of live coding contradict many of copyright law's core assumptions regarding the nature of “fixed” works of art. These contradictions can be usefully mobilized for the purpose of resisting legal and economic enclosures of the digital cultural commons. As I conclude, live coding can, from its current, inherently ambivalent position on copyright matters, develop a strong, performance-based critical stance against the imbalances and shortcomings of intellectual property regimes and outdated notions of exclusive cultural ownership. Integrating artistic practices with ongoing and emerging critiques of intellectual property, such resistance can go a long way towards highlighting readily available opportunities to oppose and confound the law.


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