scholarly journals Decentralized Global Copyright System Based on Consortium Blockchain with Proof-of-Authority

2021 ◽  
Author(s):  
Md. Mainul Islam ◽  
Hoh Peter IN
Keyword(s):  
Social Media ◽  
Energy Saving ◽  
Monitoring System ◽  
Copyright Protection ◽  
Consensus Algorithm ◽  
Digital Content ◽  
Cross Border ◽  
Copyright Information ◽  
Copyright Laws ◽  
Transaction Fees

Conventional copyright systems are governed nationally, and there is no global ledger to store copyright data. Because copyright laws differ across countries, it is difficult to provide cross-border copyright protection. The differences in national copyright laws, absence of a global copyright monitoring system with a central cloud that can store copyrighted content worldwide, and lack of transparency raise challenges in international copyright management. Copyright information is dispersed across various centralized databases, which are not incentivized to share. It is impossible to bring all centralized servers that store billions of copyright data under a synchronized platform. Due to the lack of a global copyright monitoring system through which people can investigate whether a work is copyrighted by searching copyright catalogs and records, copyrighted works are often downloaded from Google or social media unconsciously and shared with others freely, which may result in huge revenue losses to copyright holders.<div>In this paper, we propose a novel decentralized copyright system based on consortium blockchain, which ensures cross-border copyright protection of individuals’ digital content and solves existing challenges in international copyright management. The proposed system enables a synchronized platform to register and trade copyright globally without using a global cloud. Unlike conventional copyright systems, the proposed system does not require any centralized server to store copyrighted content. Instead, blockchain is used to store the metadata of copyrighted content. Individual countries receive membership from a copyright federation and participate in block creation by executing the energy-saving proof-of-authority consensus algorithm. These countries are regarded as the authorities of the platform and are responsible for proposing new blocks after validating transactions. Anyone, either registered or unregistered, can investigate a copyrighted work, but only registered users can make transactions. A token-based payment system is also proposed for paying copyright charges or transaction fees to the authorities through the federation. A prototype of the system was implemented, and its performance was evaluated. This paper provides direction and guidance towards international copyright management.</div>

scholarly journals Decentralized Global Copyright System Based on Consortium Blockchain with Proof-of-Authority

2021 ◽  
Author(s):  
Md. Mainul Islam ◽  
Hoh Peter IN
Keyword(s):  
Social Media ◽  
Energy Saving ◽  
Monitoring System ◽  
Copyright Protection ◽  
Consensus Algorithm ◽  
Digital Content ◽  
Cross Border ◽  
Copyright Information ◽  
Copyright Laws ◽  
Transaction Fees

Conventional copyright systems are governed nationally, and there is no global ledger to store copyright data. Because copyright laws differ across countries, it is difficult to provide cross-border copyright protection. The differences in national copyright laws, absence of a global copyright monitoring system with a central cloud that can store copyrighted content worldwide, and lack of transparency raise challenges in international copyright management. Copyright information is dispersed across various centralized databases, which are not incentivized to share. It is impossible to bring all centralized servers that store billions of copyright data under a synchronized platform. Due to the lack of a global copyright monitoring system through which people can investigate whether a work is copyrighted by searching copyright catalogs and records, copyrighted works are often downloaded from Google or social media unconsciously and shared with others freely, which may result in huge revenue losses to copyright holders.<div>In this paper, we propose a novel decentralized copyright system based on consortium blockchain, which ensures cross-border copyright protection of individuals’ digital content and solves existing challenges in international copyright management. The proposed system enables a synchronized platform to register and trade copyright globally without using a global cloud. Unlike conventional copyright systems, the proposed system does not require any centralized server to store copyrighted content. Instead, blockchain is used to store the metadata of copyrighted content. Individual countries receive membership from a copyright federation and participate in block creation by executing the energy-saving proof-of-authority consensus algorithm. These countries are regarded as the authorities of the platform and are responsible for proposing new blocks after validating transactions. Anyone, either registered or unregistered, can investigate a copyrighted work, but only registered users can make transactions. A token-based payment system is also proposed for paying copyright charges or transaction fees to the authorities through the federation. A prototype of the system was implemented, and its performance was evaluated. This paper provides direction and guidance towards international copyright management.</div>

Effects of Image Upload on Social Media as Media Promotion in Journal Publishers

CCIT Journal ◽  
2020 ◽  
Vol 13 (1) ◽  
pp. 20-31
Author(s):  
Untung Rahardja ◽  
Ani Wulandari ◽  
Marviola Hardini
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Digital Content ◽  
Three Solutions ◽  
Conventional Process ◽  
Promotion System

Digital content is content in various formats, whether written, image, video, audio or combination so that it can be read, displayed or played by a computer and easily sent or hared through digital media. Digital content has abundant benefits, especially in the field of promotion. Where when a place of business or a body wants to introduce a product or service that is owned, it definitely requires content such as images as a promotional media. However, if you have to distribute posters to everyone you meet, it is not in line with current technological advancements because you are still using a conventional process. Therefore, to overcome this problem, social media can be used to process digital content easily and quickly. In this study, there are 3 (three) problems that will be overcome by 2 (two) methods, and 3 (three) solutions are produced. The advantage of digital content in social media is that it can be accessed anytime and anywhere, so it is concluded that the use of digital content in social media is able to overcome problems and is a creativepreneur effort found in the promotion system of a journal publisher.   Keywords—Digital Content, Creativepreneur, ATT Journal, Social Media

Marketing communication objectives through digital content marketing on social media

2020 ◽  
pp. 79-104
Author(s):  
Janice J. Nieves-Casasnovas ◽  
Frank Lozada-Contreras
Keyword(s):  
Social Media ◽  
Marketing Strategies ◽  
Brand Awareness ◽  
Digital Content ◽  
Media Content ◽  
Marketing Communication ◽  
Case Study Design ◽  
Multiple Case ◽  
Content Marketing

The purpose of this study was to determine what type of marketing communication objectives are present in the digital content marketing developed by luxury auto brands with social media presence in Puerto Rico, particularly Facebook. A longitudinal multiple-case study design was used to analyze five luxury auto brands using content analysis on Facebook posts. This analysis included identification of marketing communication objectives through social media content marketing strategies, type of media content and social media metrics. Our results showed that the most used objectives are brand awareness, brand personality, and brand salience. Another significant result is that digital content marketing used by brands in social media are focused towards becoming more visible and recognized; also, reflecting human-like traits and attitudes in their social media.

AN EXPLORATION OF GENDER DIFFERENCES IN TEENAGERS’ USE, CONSUMPTION AND DIGITAL PRODUCTION

2020 ◽  
Author(s):  
Corina-Maricica Seserman ◽  
Daniela Cojocaru
Keyword(s):  
Gender Differences ◽  
Social Media ◽  
Data Collection ◽  
Gender Identity ◽  
Online Survey ◽  
Peer Group ◽  
Methodological Approach ◽  
Digital Content ◽  
Media Consumption ◽  
The Way

Today’s teenagers have a very close relationship with ICTs and the digital space related to them, as they have impacted the way the youth constructs their sense of self and the tools they use to perform their carefully constructed identity. One key element which influences the way one constructs their views by themselves is within the boundaries set by their biological sex and therefore through the behaviors associated with their asigned gender. Through the symbolic interactionist lense, or more specifically through Goffman's dramaturgical theory on the manner in which one presents him/herself in society, this paper looks at the manner in which teenagers use social media platforms and at the way they consume and create digital content in order to present their gender identity. The way teenagers consume and produce digital content differs and depends on how they interpret their ideals of femininity and masculinity, which are afterwards reproduced in the content they post on their social media pages. Therefore this research is an attempt to understand what are the factors teenagers take in account when consuming and producing content. What gender differences can be observed in regards to new media consumption? What difference can be observed in online activity behaviors between males and females? How do they feel about their gender identity concerning fitting in with their peer group? A mix-methodological approach was engaged in the data collection process. In the first stage of the research highschool students (n=324) from the city of Suceava (Romania) participated in taking an online survey. The initial intent was to meet with the young respondents in person, but due to the COVID-19 pandemic this was deemed impossible. For the second stage of data collection, six of the participants who took the online survey were invited to participate in a focus group designed to grasp a better understanding of the results from the previous stage. The discovered findings uncover engaging gender similarities and differences in social media consumption and the type, subject, matter and style in which they posted their content, but also in regards to the performance of the self between the online and offline space.

Eliminating ‘Aesthetics’ from Copyright Law: The Aftermath of Cofemel

2021 ◽  
Author(s):  
Koray Güven
Keyword(s):  
Copyright Protection ◽  
Copyright Law ◽  
The European Union ◽  
Court Of Justice ◽  
Applied Art ◽  
Copyright Laws ◽  
The One ◽  
Works Of Applied Art ◽  
Functionality Doctrine ◽  
The Eu

Abstract The recent Cofemel judgment of the Court of Justice of the European Union extended the European Union’s (EU) originality criterion (i.e. the author’s own intellectual creation) to the realm of works of applied art. The Court excluded ‘aesthetically significant visual effect’ as a condition of copyright protection. It was condemned as subjective and incompatible with the EU originality criterion. The decision may signal a shift in several national copyright laws, under which requirements relating to ‘aesthetics’ are laid down as a condition to acquire protection. This article will demonstrate that the ‘aesthetics criterion’, as it emerged historically and has been employed in national copyright laws, is associated with a different meaning than it conveys at first glance. The aesthetics criterion designates the elbow room remaining to the author after functional constraints have been taken into account, and thus represents a form of the functionality doctrine in the domain of copyright law. However, to some extent it also excludes – though not uniformly – commonplace designs from the scope of copyright protection. Against this background, this article suggests that the aesthetics criterion can arguably be reconciled with the EU originality criterion. The aesthetics criterion represents a balance struck between the need for copyright protection in the field of applied arts, on the one hand, and competition, on the other. In order not to upset this careful balance, a robust application of the EU originality criterion is advocated, precluding protection not only to functionality, but also to commonplace creations.

Sign in / Sign up

Export Citation Format

Share Document