Droit De Suite Research Articles

IMPLIKASI KEWAJIBAN PELAKSANAAN PATEN TERHADAP PENYELENGGARAAN ALIH TEKNOLOGI

Technology has a central role in accelerating the development of a country. The need for technology is pursued through a technology transfer process. The purpose of this study was to analyze the implications of patent obligations on the implementation of technology transfer in relation to the principle of property law, namely the droit de suite. This research uses legal research methods using primary and secondary legal materials. The approach used is a statutory approach) and a conceptual approach to be analyzed in depth with a prescriptive method. The results of the research show that the provisions referred to in Article 20 of the Patent Law require special exemptions for patent holders in the form of Institute of Science and Technology in order to carry out obligations related to making products or using processes in Indonesia to support technology transfer. The recommendation from this research is that there is a need for an exception to Article 20 of the Patent Law, by providing room for foreign patent holders not to immediately fulfill the obligations in Article 20 of the Patent Law or to make amendments (amendments) to these provition. Keywords : Implications, Patents, Technology Transfer.

Perlindungan Hukum Kreditor Pemegang Hak Tanggungan Terhadap Obyek Hak Tanggungan Yang Diletakkan Sita Jaminan (Analisis Putusan Pengadilan Negeri Jakarta Timur Nomor 321/PDT.G/2012/PN.JAKTIM Dan Nomor 211/PDT.G/2014/PN.JAK.TIM)

The purpose of this study was to find out and analyze the legal protection of holders of liability rights to the placement of collateral seizures on objects of mortgages and legal remedies for holders of mortgage rights in the presence of collateral seizures on objects of mortgage rights. From the results of the study it is known: First, the UUHT has provided forms of legal protection for holders of mortgage rights, among others, giving a priority or prioritizing position (droit de preference); always follow objects that are guaranteed in the hands of whoever the object is (droit de suite); fulfill the principle of speciality and publicity so that it can bind third parties and provide legal certainty to interested parties; as well as easy and sure execution. So that it should be if the object of the dispute that has been burdened with mortgages should not be placed confiscated in order to ensure legal certainty in the implementation of the parate execution. Secondly, the Mortgage Rights Holder whose interests are harmed by the decision/determination of seizure guarantee can make a third party resistance (derdenverzet). The interests of creditor holders of mortgage rights are clearly disadvantaged due to the placement of seizure guarantees on the object of mortgage rights, because the holders of mortgage rights cannot carry out executions in the presence of seizure guarantees.

Legal Separation of Property: Study of the French and Russian Institutions

This article examines legal separation within the real estate rental legal relationship in relation to the laws of Russia and France. In particular, special attention is given to the French institution of 'superficie' and theories of its legal nature. The author concludes that the institution, contrary to prevailing in French jurisprudence opinion, constitutes a limited proprietary right to the land plot. Based on the data of comparative studies, including 'superficie', the author separates the right in rem and right in personam in leasing in general and for the purpose of construction in the Russian system of law. The author concludes that such proprietary elements as "Droit de Suite" and absolute protection do not themselves give rise to classification of the lease as right in rem. However, the lease for the construction purposes is a specific case within which it is advisable to recognize the existence of limited property rights on land. This right in rem should include the ownership of the building, which was erected based on the lease for the construction and, in general, be related to property law, primarily in the field of protection. In addition, the conceptualization of this institution can convert practice on unauthorized construction and to clarify other issues of theory and practice.

Il diritto di seguito nel mercato dell'arte contemporanea

Oggi il mercato dell'arte contemporanea è sempre più globale e si assiste ad una crescente delocalizzazione delle vendite verso Paesi in cui il diritto di seguito non è previsto dalla legislazione nazionale. L'articolo affronta le origini del diritto di seguito (droit de suite) in Francia, alla fine del 1800, la sua introduzione, a livello internazionale, con la Convenzione di Berna e, infine, nei Paesi dell'Unione Europea con la Direttiva 2001/84/CE. L'articolo inoltre descrive, in sintesi, il quadro normativo relativo al diritto di seguito in Italia, distinguendo tra mercato dell'arte primario e secondario, per poi affrontare la proposta di riforma della legge sul diritto d'autore della Repubblica Popolare Cinese e i più recenti dibattiti all'interno della comunità dell'arte degli Stati Uniti d'America. In conclusione, è presentata una soluzione alternativa per gli artisti di quei Paesi che non riconoscono il diritto di seguito: la previsione contrattuale della royalty nell'accordo con l'artista per ogni rivendita delle sue opere d'arte.

Influencia del arte en el desarrollo jurídico de la Propiedad Intelectual. Dos casos puntuales

La relación simbiótica entre arte y derecho se pone de manifiesto en la figura del droit de suite y Las Reservas en el Derecho mexicano, que nacen como respuesta a dos problemáticas distintas relacionadas con el arte y sus autores. El droit de suite es una iniciativa de finales del siglo XIX, y reconocida en la conferencia de Roma de 1928, que permite que los autores o sus causahabientes reciban una participación en las reventas de las obras de su autoría, esto frente al hecho de que muchos autores y causahabientes desde la pobreza observaban como con el transcurso del tiempo sus obras eran vendidas en sumas exorbitantes. Con las Reservas, por otro lado, la legislación mexicana buscó abarcar una expresión artística desatendida y merecedora de protección: la personalidad de los personajes ficticios y no sólo su aspecto exterior que es lo que protegen la generalidad de legislaciones.

Droit de Suite: A Moral Crisis

"Droit de Suite (DDS), or the Artist’s Resale Royalty, is a law enforced in the European Union that requires a royalty fee to be paid to an original artist every time a painting is resold. Those in favor of a royalty believe that an artist should be able to take part in the success of his or her work after the first sale, as pieces often appreciate significantly in value in subsequent sales. A study on the effect of DDS on markets can show whether this law is an appropriate response to the moral issue. This paper features unique data of Post-War and Contemporary paintings sold between 2004 and 2015 by Christie’s. This paper measures the effect of DDS on the art market by tracking the displacement of sales and a depression in prices. I estimate an equation predicting art prices, and then I examine the effect of DDS on this equation. My results suggest that, first, provenance significantly contributes to value; second, that there is evidence of the “afternoon” effect in art auctions; third, that DDS may impact works of lower value negatively; and, finally, that DDS does not affect the very high end of the market. These results enforce the theory that a royalty affects the lower end of the market, while expensive works absorb the cost of the royalty."

PARADIGMA HAK KEBENDAAN KEPEMILIKAN SARUSUN YANG DIBANGUN PADA LAHAN HAK GUNA BANGUNAN

Of the title "The Legal Paradigm of the properties on the strata title ownership built above the land with the Right to Cultivate Ownership" research objectives to be at said is knowing why the legal construction of the right material from the strata title built on land rights, attached to the Rights of material the building as common property rights and know how reconstruction material rights on the Strata titles built on building rights or rights of use that reflects justice and legal certainty. With the concept of methodologies theories and research approaches, as well as of the problems of this study concludes that there are a couple of things. First by sticking the land rights of the unit, then Strata titles have a dependency on the bottom right HGB as with all buildings owned and also can weaken the property rights of apartment units as the strongest and most, but became assessors of HGB. This situation raises a negative implication in the community and has created legal uncertainty and considered unfair, weakening the material rights of Strata titles caused dualism applicable law, the law of the land, building law and the law of objects. It affects the mutual intervention and debilitates the material rights as stipulated in the rules of the law of things, namely; droit de suite, droit de preverent, and droit de levering. In construction law, state that debilitates the legal certainty and justice, it can be reconstructed from the perspective of the development of the legal system of the building against the law of the land, or to the development of HGB as of right down with some simulations and restoration of existing government regulations, or reconstruct the principal laws agrarian related lease rights, land rights, and the rights of use by developing existing government regulations become law, so the law on the new ground by adding the rights of others. In a reconstruction of the law of the land, which is more competitive and create legal certainty and fairness.

MENGUJI ASAS DROIT DE SUITE DALAM JAMINAN FIDUSIA

The principle of droit de suite is one of the most important principles in the law of guarantee,especially in fiduciary security. The principle implies that the rights of the creditor as therecipient of the fiduciary objects continue to follow the object of guarantee, wherever theobject is, to guarantee the repayment of the debts of the debitor. The rights which are ownedby the creditor as the recipient of fiduciary security in the principle seem to be absolute, butin fact if it is related to de practice, the principle of droit de suite has certain limitations.The limitations of this principle is whon it is faced with higher interest, the individual rightsowned by the recipient of fiduciary must succumb, as in the case of illegal logging, whichonce was decided to test the Forestry Law by the Constitutional Court (Case DecisionNumber 012/PUU-III/2005). Although the State can perform fiduciary deprivation of theobject which is used for committing illegal logging, but from the aspect of material criminallaw, it cannot be done immediately to destroy the object of guarantee, since object of thefiduciary collateral, is not considered a dangerous thing. Whereas, from the legal aspects ofcriminal procedure, if the case has been decided, then there is a duty of the State to returnthe object of fiduciary to those who own it.From the aspect of civil law, the creditor as recipient of fiduciary who feel harmed as aresult of illegal logging practices may have standing to sue for damages under Article 1365of Burgerljik Wetboek. The provision is used, because the act of illegal logging is an actagainst the law and there are losses caused to the recipient of fiduciary.

Duch ustawy o prawie autorskim i prawach pokrewnych – 20 lat ulatniania się

Autor wskazuje liczne przykłady oraz przyczyny erozji ustawy o prawie autorskim i prawach pokrewnych w minionym 20-leciu jej obowiązywania. Odwołując się do fundamentalnych zasad prawa autorskiego, wśród przyczyn ww. erozji wymienia: błędne nowelizacje, złe implementacje przepisów międzynarodowych, ułomną działalność doktryny i praktyki prawniczej, błędne orzecznictwo na wszystkich szczeblach sądownictwa, ale także ignorancję prawną twórców i użytkowników, przemożny wpływ na proces legislacyjny mediów i różnych grup interesów, pozaparlamentarne mieszanie się w stosowanie ustawy przez polityków. Autor wskazuje także na uhandlowienie ustawy i postrzeganie prawa autorskiego przez pryzmat potrzeb odbiorców i rynkowe motywacje użytkowników, spychanie na drugi plan praw osobistych autorów i unikatowości twórczości. Autor wskazuje także na konieczność kompleksowej regulacji sfery obrotu prawami autorskimi i pokrewnymi w jednym akcie i podaje przykład absurdu zastosowania przepisów wolnościowych konkurencji do zbiorowego zarządu prawami autorskimi. Erozję prawa autorskiego autor analizuje także na gruncie Uzasadnienia ustawy z 1994 r., będącego podstawą jej uchwalenia. W tym zakresie wskazuje na: odejście od prawidłowych regulacji droit de suite, utworu audiowizualnego i powiązanych z nim wynagrodzeń autorskich, przepisów regulujących zbiorowy zarząd, contra legem interpretacje domniemań prawnych (m.in. legitymacji organizacji zbiorowego zarządzania (OZZ), nabycia praw majątkowych do utworu audiowizualnego), naruszania bezwzględnie obowiązujących przepisów ustawy w zakresie zbywania autorskich praw majątkowych, błędne realizowanie przepisów o tzw. opłacie reprograficznej. Podając przykłady przepisów wprowadzanych w życie nowelizacjami ustawy, autor wskazuje na upadek techniki legislacyjnej i konieczność stosowania skomplikowanych metod interpretacyjnych, aby dotrzeć do sensu przepisu, np. art. 331 i następnych. Lekceważenie ustawy przejawia się także w niestosowaniu ustawowych terminów przez sądy polskie, np. art.80 pr.aut. Wieloma niekorzystnymi skutkami stosowania ustawy obarcza doktrynę prawną niepodejmującą interpretacji wielu pojęć i instytucji ustawowych np. „ogólnego obciążenia” z art. 11013 ust. 5 pkt 2; „inne środki publicznego udostępniania” z art. 70 ust. 21 pkt 3 pr.aut. Autor z niepokojem też wskazuje na projekty nowelizacji ustawy, będące ciągiem dalszym odchodzenia od jej ducha i zagrażające właściwemu zabezpieczaniu praw twórców, artystów wykonawców i innych podmiotów praw pokrewnych.

Constitutional Hazard: The California Resale Royalty Act and the Futility of State-Level Implementation of Droit de Suite Legislation

Repetition d’un Ballet, the famous painting by French artist Edgar Degas, sold for $401,000 in 1965. The jubilant seller bragged that Degas originally asked a mere $100 for the painting. In his early career, celebrated American artist Norman Rockwell sold original works like Homecoming Marine and Breaking Home Ties for a few hundred dollars each. In the last decade, these paintings were resold for $9.2 million and $15.4 million at Sotheby’s auctions, but the Rockwell estate received nothing in these transactions. Over the centuries, great wealth in the arts has rarely translated into great wealth for the artist. Since its inception in France, the resale royalty known as the droit de suite has aimed at remedying this perceived injustice. Although a resale royalty right is currently recognized in seventy-nine jurisdictions, California is the only American jurisdiction to have adopted it. The California Resale Royalties Act (CRRA), enacted in 1976, grants visual artists the right to collect a 5% royalty on the total sales price each time their works are resold in California or by a resident of California. The fate of the California Resale Royalty Act, however, currently rests with the U.S. Court of Appeals for the Ninth Circuit.

Constitutional Hazard: The California Resale Royalty Act and the Futility of State-Level Implementation of Droit de Suite Legislation

Repetition d’un Ballet, the famous painting by French artist Edgar Degas, sold for $401,000 in 1965. The jubilant seller bragged that Degas originally asked a mere $100 for the painting.1 In his early career, celebrated American artist Norman Rockwell sold original works like Homecoming Marine and Breaking Home Ties for a few hundred dollars each.2 In the last decade, these paintings were resold for $9.2 million and $15.4 million at Sotheby’s auctions, but the Rockwell estate received nothing in these transactions.3 Over the centuries, great wealth in the arts has rarely translated into great wealth for the artist.4 Since its inception in France, the resale royalty known as the droit de suite has aimed at remedying this perceived injustice.5 Although a resale royalty right is currently recognized in seventy-nine

Droit de Suite – The Artists’ Resale Right

This article looks at the droit de suite, which is a legally recognised right that forms part of copyright law and more widely, intellectual property law. The article reviews the present restrictive application of the law, analyses the definition of the “artist” and discusses the merit of a wider interpretation and application of the droit de suite. The English translation of droit de suite literally means the ‘right to follow’ and, in the context of the artists’ resale right, it allows artists to follow the future success of their artistic works. This future success involves an economic entitlement that the artist may participate in. In practical terms this means that, after the first sale of the artistic work, every subsequent public sale, for instance through a dealer or a gallery, is subject to a sort of royalty. Royalties in the traditional sense entitle various types of artistic creators, such as ...

The Artist's Resale Royalty Right: Overcoming the Information Problem

The artist's resale royalty right, commonly called the droit de suite, has proven politically popular in a diverse range of countries. Since France first codified the right into law in 1920, at least fifty countries have followed suit. To date, the United States, with the exception of California, has been notably absent from this picture. But a federal resale royalty law is now on the horizon for American artists. In December 2011, delegates in both the U.S. House of Representatives and the U.S. Senate introduced the Equity for Visual Artists Act of 2011 (EVAA), a bill which would amend the existing copyright law to include a resale royalty provision. This Article evaluates whether Congress should adopt the EVAA, or some other variation of the resale royalty right, and provides guidance to lawmakers in considering such legislation. Specifically, this Article points out that an informational deficit, which it terms the information problem, looms over the resale royalty right. Scholars and lawmakers must have access to information about sales of artwork in order to evaluate the effect and efficacy of the right in practice. Likewise, the structure of the right requires that various parties have access to information about sales in order to carry out the requirements of resale royalty laws. However, secrecy norms pervade the art market, especially in the United States, making such information difficult, if not impossible, to come by. This Article considers several possibilities for how federal lawmakers might overcome, or at least minimize, this information problem, and concludes that the most promising scheme would be one that requires parties to disclose relevant information through a registration system.

The impact of the Droit de Suite in the UK: an empirical analysis

The Droit de Suite, known in the UK as Artists’ Resale Rights, provides an artist with the inalienable right to receive a royalty based on the resale price of an original work of art. This paper provides an empirical analysis of actual changes in the UK auction market for art that is newly subject to the Droit de Suite (DDS) because of a change in law. All changes are measured relative to changes for art not subject to the DDS and relative to changes in the auction markets for art in countries where there has been no change in law. We do a difference-in-difference analysis, differencing price growth and sales growth across market segments and across countries over the period 1993–2007. Our results suggest that the introduction of the DDS has not had a consistent negative impact on the UK art auction market during the period of study.

The Resale Royalty Right and its Economic Effects

We investigate, by using a 2 period model, the effects of the resale royalty right, also known as the droit de suite or the follower-up right, on an artist, consumers and the society as a whole. We consider two cases separately, depending upon whether the artist behaves as a price taker or a price setter. In both cases, for the artist, the profit in period 1 decreases, but in period it 2 increases and the life time profit increases. However, in case of price taker, the output decreases in both periods. In case of price setter the output in period 1 increases, but in period 2 it decreases and the total output decreases. In case of price taker, consumer surplus decreases in both period, but in case of price setter consumer surplus increases in period 1, but in period 2 it decreases so that the total consumer surplus decreases. In both cases, social welfare decreases.

CHRONICLES: January 1, 2006–December 31, 2006

In Italy the droit de suite, introduced by the European Union (EU) Directive of 2001/84/EEC, entered into force. Legge 18 (118) (February 2006); Gazzetta ufficiale 71 (25 March 2006); Il Giornale dell'Arte, January 2006, p. 1, April 2005, p. 36. Also Germany amended the German copyright act accordingly. Frankfurter Allgemeine Zeitung, 27 January 2006, p. 38, 28 January 2006, p. 45, as well as Austria. Handig, wirtschaftsrechtliche blatter 2006, p. 397, and in France, Le Journal des Arts 29 (April–12 May 2006): 25.

The Economic Consequences of Droit De Suite in the European Union

In the EU the author of an original artwork enjoys ‘Droit de suite’, a right to an economic interest in successive commercial sales of that work. This is intended to ensure that artists benefit from successive ‘exploitations’ of their work. The ensuing royalty is a percentage of the sale price. It is argued that it worsens the position of contemporary artists, but diminishes trade in the tertiary art market, is detrimental to their position on the international art market for those states introducing it and is severely anti-redistributive. It diminishes purchasers’ property rights, reducing the price of artworks. This most severely affects early career artists who value the ensuing marginal decreases in income most highly, but whose work has not yet reached the secondary market.

Economic Analysis Of The Droit De Suite– The Artist's Resale Royalty

Interest in the Droit de Suite, the artist's resale royalty, has been re‐kindled by the decision of the European Union to introduce such a scheme to apply from 2006. The general nature of the Droit de Suite as an extension of copyright is discussed. The specific proposals for a Droit de Suite in Australia are analysed. Economic arguments support the sceptical view of the Droit de Suite. It is argued that the introduction of the Droit de Suite would be predicted to reduce sales of new paintings, that selling activity would move to jurisdictions which do not have a Droit de Suite and that artists would prefer to alienate their Droit de Suite by sale of a painting. The economic analysis is supplemented by an empirical study of art auction prices of 72 artists in Australia over the period 1973–1989 which reveals that the works few artists achieve a capital gain on sale in the secondary market re‐inforcing the view that, if implemented, a Droit de Suite would provide payments to only a small number of artists who are likely to be in good economic circumstances. The burden of the Droit de Suite is shown to fall on the collector when selling paintings. The effect of the imposition of the Droit de Suite will be to lower the gain to collectors of paintings. It is concluded that the Australian proposal for the Droit de Suite is based on an inadequate analysis of the art market and would require a registration procedure for art works incurring heavy costs in relation to the funds available for distribution.

The law and economics of artists' inalienable rights

This paper provides an overview of the economic analysis of inalienability, here defined in the narrow sense of restrictions on whether and how ownership of a right may be transferred to someone else. It then considers three aspects of the laws relating to artists and their works that are subject to some inalienability restrictions: droit de suite, moralrights, and unconstitutional conditions. It is suggested that inalienability restrictions designed to achieve distributional goals are probably misguided, and that although in theory one could derive some efficiency arguments for inalienability rules, in practice it is not clear that they apply to these examples from the laws relating to artists.

An Economic Analysis of the Droit de Suite

The droit de suite, or resale royalty right, entitles an artist to a percentage of either the price received when her works are resold by their owners. This paper analyzes the effect of this law on the artist's production when early and late works are either substitutes or complements. By giving the artist an interest in the resale price of early works, the royalty provides a credible incentive to maintain value when later production decisions are made. Since the initial sales price capitalizes the stream of future values, the benefit of higher resale prices accrues to the artist.