[LAB2]: NOT YET FULLY OPERATIVE
(February 2001)

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Examples of possible solutions

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Warning: The following "Search challenges" are a prototype.
Therefore this is'nt yet a full-fledged searching lab.
Omnium rerum principia parva sunt:-)

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This here is a "beta version" of what this lab should look like. Lab2 will open 'officially' only after having REALLY checked all possible paths and the relative "pedagogical" value of the challenges... this said, there's no reason you shouldn't already try your own hand at it if you feel like it... be warned if you want to try this lab, do not read the 'examples of possible solutions' until you'r done with your own attempts, else you'll spoil your own approach.

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Note also that those of you that will solve this lab will gain some QUITE dangerous abilities... and add a couple of ~ around their nick, should they care about such crap... eheh :)

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[1) SARAH: copyrights galore]   [2) SCHOUMNUS: how many idiots click?]
[3) MELCHOM: stalking politicians and powerful puppeteers]   [4) MAGRAD: images, as different as snowflakes]

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Please note that your Lab-assignement is to find THE MORE ACCURATE DATA about each query target and to describe exactly all steps and paths you have followed. Use pencil and paper, you wont regret it... see the tips below.

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1) Regional: copyrights galore
codename: Sarah
'copyrights galore' or 'the importance of subsidiarity'... 'regional stabs', 'data extrapolation' and 'inference pointers'

How much of 'his' money does an author put in his own pocket? Say, for a book he has written? Say for his program? Say for his images/photos/songs? How high (or low) is his percentage of the money really made selling his work? Middlemen... how many? How much? Copyright enforcers? Lawyers?
Spelunking boldly in the dark world of copyrights.
Suggestion: you don't need to aim global... subsidiarity search! find the data for -say- Sweden and Spain and you'll be able to extrapolate somehow... even if many, or even almost all parameters do actually differ elsewhere...

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Examples of possible solutions

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Loki, february 2001
First attempt to answer to challenge [1 : SARAH] of the seachal2.htm
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My targeted country for this challenge is France. I'm not 
an experienced seeker, and in term of evaluation the fact 
that the language used is my mother's one has done 50% of 
the job for me :)

I used the lexicon from ipr-helpdesk
in order to translate the "intellectual property" related terms the 
better i could.
First of all i have build a "pool" of sites that seemed related 
to our subject.

I used for that the meta search engine surfwax, 
the directory of search engines L'indicateur, the SE 
Google for his new hability to search inside 
PDF, and the librarian's index to the internet
All sites were collected in 2 hours (if i remember it right)
You can consult my draft on the attached file : lokipool.txt

The first step of our travel is law-perusing. In France when the 
intellectual property is concerned, we refeer to the Intellectual Property 
Rights.
You can find a copy of it here : http://www.rabenou.org/cpil.html

To sum up, here is defined what is an artistic work, the patrimonial 
right of the author, the moral rights etc ... all kind of author rights.
Note that compilations and translation are artistic works.

Let's have a deeper look at that part : Article L.131-1 - Article 
L.131-8 : Exploitation des droits

Article L.131-4 :
La cession par l'auteur de ses droits sur son úuvre peut être totale ou 
partielle. Elle doit comporter au profit de l'auteur la participation 
proportionnelle aux recettes provenant de la vente ou de l'exploitation.
Toutefois, la rémunération de l'auteur peut être évaluée 
forfaitairement dans les cas suivants:

1° La base de calcul de la participation proportionnelle ne peut être 
pratiquement déterminée;
2° Les moyens de contrôler l'application de la participation font 
défaut;
3° Les frais des opérations de calcul et de contrôle seraient hors de 
proportion avec les résultats à atteindre;
4° La nature ou les conditions de l'exploitation rendent impossible 
l'application de la règle de la rémunération proportionnelle, soit que la 
contribution de l'auteur ne constitue pas l'un des éléments essentiels 
de la création intellectuelle de l'úuvre, soit que l'utilisation de 
l'úuvre ne présente qu'un caractère accessoire par rapport à l'objet 
exploité;
5° (Loi N° 94-361 du 10 mai 1994) En cas de cession des droits portant 
sur un logiciel;
6° Dans les autres cas prévus au présent Code.</PRE>


In other words, the author can make a transfer of right, full or 
partial.  But this transfer gots to have a proportional remuneration to the 
author. Proportional to what ? The selling or the exploitation of the 
work.
The listed cases define some exeption to this law : instead of a 
proportional remuneration, you can have a contractual remuneration.

The articles from L.132-1 to L.132-17 are related to the contracts.
We have in the L.132-6 Article another case where contractual 
remuneration could be choose instead of proportional one. 
For a first edition of Scientifics Abstracts, Encyclopedia, 
Illustrations of a book, prayer books (!!!), cheap book for childrens etc ... 
It's the same for the journalism

That's for the Edition contract. There are other ones, you can have a 
presentation of them one the 
CALCRE site.
With these contracts, you can find an alternate way of editing your 
works, because, as the CALCRE said, and as we'll see it later, with the 
classical edition contract : 
"Soit que le pourcentage de droits d’auteur devienne scandaleusement 
bas, soit que l’éditeur pratique une rémunération forfaitaire là où elle 
n’est pas justifiée, soit enfin qu’il profite de certaines ambiguïtés 
juridiques pour minorer l’assiette des droits d’auteur (c’est-à-dire 
leur base de calcul)."
The alternates can let all the rights to the authors. The distributors 
are seen there as they'd have to be seen : as a SERVICE
	
Articles from L.321-1 to L.321-12 tells us that author can use Society 
of Authors to recieve their due. These one are often choose for 
musical, multimedia, computer programs authors
It's not the case for the book :
En d'autres termes, l'éditeur, sauf exception, ne paye pas directement 
l'auteur mais il partage la rémunération en provenance de la société 
d'auteur. Au contraire, dans la matière de l'édition littéraire, c'est 
bien l'éditeur qui verse directement à l'auteur ses redevances. Il en est 
ainsi parce que les éditeurs et les auteurs compositeurs, membres de 
sociétés d'auteur ont donné à celles-ci l'autorisation de gérer leurs 
droits. C'est donc, dans la plupart des cas, ces sociétés elles seules qui 
perçoivent la rémunération pour l'exploitation de l’œuvre et la 
rétrocèdent ensuite aux ayants droit.
http://www.chanson.ca/musiconseils/documentation/editionmusicale.html

So, we now have a first small representation of the general "artistic 
field" in France :

             transfer of rights
Authors -----------------------------> Editors
    ^                    		   ^ 
    | royalties                            |             
    Editors does a transfer of rights to the Society of Authors too
    |                     royalties        |
 Society of Authors -----------------------  

To finish with the law, you can find here an information report from 
the French National Assembly to the EU about the opening of the european 
art market 
http://www.assemblee-nat.fr/2/sae/rap-info/i1965.pdf
I haven't read it in detail, but it could be usefull for the next part
(internationalisation of our data ) 

So ... at that time we know that authors can suscribe to a Society of 
Authors. Who are they ?

SACEM: Music
http://www.sacem.fr/percevoir/conditions.html
5% on TV exploitation, 6% on Radio exploitation

	"La plupart des auteurs d'oeuvres de l'esprit ont confié à une société 
de gestion collective, notamment la SACD, la SACEM, la SCAM..., le soin 
de délivrer en leur nom les autorisations pour la représentation et la 
reproduction de leurs oeuvres. Ces sociétés d'auteur se sont regroupées 
dans la SDRM pour gérer spécifiquement le droit de reproduction 
mécanique."

Most authors have entrusted society of authors to deliver in 
their name the authorisation for representation and reproduction of their 
works. These society groups under the 
SDRM (La Société pour 
l'Administration du Droit de Reproduction Mécanique des Auteurs, 
Compositeurs et Editeurs ) to  manage the copyright of their works.
	On the SDRM site, we can find the wanted percentage that was our target:	
http://www.sacem.fr/percevoir/sdrm/prod5.html
"Le pourcentage est de 8 % sur le prix de vente au détail ou, à 
défaut, de 11 % sur le prix de gros publié aux détaillants (PPD)."
		
8% on the detail selling price, 11% for wholesale price. But there 
are abatements (a nice CD pocket reduce the percentage for exemple )
There's also a table for the minimum royalties on a CD.
		
SCAM : Documentary
http://www.scam.fr/ 

SACD : Fiction, theater, dance
http://www.sacd.fr/

For the cinema, we have here a
http://www.sacd.fr/Contrats_AV/cin%C3%A9ma%20mixte.pdf
typical contract. "Proportional royalties : ..... %"

ADAGP : Graphical Arts
http://www.adagp.fr/
http://www.adagp.fr/edition/fr/ju_drre.htm
A lawsuit beetween Frédéric Rossif, writer and realizer of "From 
Nuremberg to Nuremberg" and his editor.
Here, the percentage is at 3 % on a sale of a videotape.
	


Let's have a look now from the side of the editors 

http://www.calcre.com/
The edition world
http://www.calcre.com/res/sto/tomate.htm
Editors you need to avoid

Here you can download a guide on how to build Edition Contracts 
http://www.culture.fr/culture/mrt/numerisation/fr/documents/guide_elaboration_contrats.pdf

Here is a contract edition, but not with percentage, this one uses the 
method of "contractual remuneration"
http://landric.multimania.com/maitrise/animation/module4/contratedition.htm
	
Some books editors : 

Cylibris
They offer : 5% to 15% to authors, 50% on multimedia exploitation

Couleur Locale
"For a book of 150 pages, published in 200 specimens, sold 100 FF (French Francs )
- Print Cost : 15 to 30 FF 
- Librarian Stroke : from 30 to 50 % 
- the rest for the promotion
This last point exceed generally the others.
In consequence, the author owns rarely something (...)" (my poor 
translation of the interesting part)

now, the point of view of some authors on that subject

http://www.ac-nantes.fr/peda/disc/cdi/animlect/mayenne/elevhono.htm
10% for this one

http://ftp.univ-lyon1.fr/faq/by-name/fr/loisirs/bd
FAQ de fr.rec.arts.bd
8% to 12% for comics

I have collected some good documents, abstracts and other texts that 
discuss the subject of the author remuneration in France

http://www.u-paris2.fr/dess-dmi/articles/pla/artremaut.htm          
If you speak french, i recommand you to read that article from a 
student in DESS of Intellectual Property.
I've extract two interesting sentences, wich i'll try to explain :

"Le taux de la rémunération proportionnelle : L’art. L 131.4 ne donne 
aucune directive : le choix du taux est donc libre, en distinguant selon 
les modes d’exploitation. Cependant contrôle du caractère non dérisoire 
du taux : un pourcentage de 2.5/100 pour la rédaction de la 
quasi-totalité des textes ne peut apparaître comme sérieux et s’apparente 
nécessairement à une fraude à la loi (TGI PARIS 16.5.1969 D 1969.630). "
It is said that the choosing of a rate for the proportional 
remuneration is free .. but there is a minus, under 2.5% it is consider as 
"ridiculous" and is liable to the law.
(on verra que le recours au forfait devient de plus en plus fréquent 
sous l’influence des nouvelles technologies). 
The use of the contractual remuneration is more and more frequent under 
the influence of new technologies

Articles from http://www.u-paris2.fr/dess-dmi/articles/plaart.htm are 
indeed of great interest ! The newest one is an abstract about the 
Artistic License and the copyleft.


We have now some percentages on the domain of : Music, Books, Films and 
their derived
But there is some particular case. For exemple, the journalism. How 
much is paid a news authors ? Is it a contractual remuneration, or a 
percentage ?
You can access here to the site of the Journalists Trade Union where it 
is discussed

I think we have now a good base about the author remuneration in 
France. We can go a bit further trying to understand better the "artistic 
field" as we did a little above
A simple search on google with "filière du disque" gives interesting 
results :

www.sodec.gouv.qc.ca/etudes/pdf/ind_disque.pdf
It's located in Canada, i agree, but i think they are kinda valuable in 
france too 

On a 15.39$ Disc :
4.29$ to the Editors
1.41$ to musicians
0.84$ to author and compositor
1.44$ for the manufacture
2.96$ to the retailer
1.83$ to the under distributor
2.55$ to the main distributor"

http://www.sorbonne-av.edu/ancien_site_dess/fonds/synthese_filiere/synthese_filiere.html
Details about the artistic fields 


Now, we can try to generalise our information to the EU, and maybe 
later to the world :

Valuable information about the intellectual property can be found here:
http://www.ipr-helpdesk.org/t_fr/home.asp

Go here to access information about each country : 
http://www.ipr-helpdesk.org/t_en/p_001_en.asp
	
http://www.assemblee-nat.fr/2/sae/rap-info/i1965.pdf
On the pdffed report of the national assembly, we have a nice table that sum 
up for us the legal rate in some EU countries on page 27.
Here are some extracts :

France :  rate : 3%   thresold : 100FF  | managing of the 
rights by a society or individually
Belgium :rate : 4%   thresold : 50 000FB
Espana : rate : 3%   thresold : 300.000 Pesetas
Sweden :rate : 5% (...)

For the USA, a good start could be  the <a 
href="US Copyright Office Homepage

To sum up, there are multiples way to distribute artistic works, but 
few gives more that 10% on the sales to the author.
The artistic field is far too long :)
I believe the power of Internet's going to help the mutation of this 
field. Authors can promote and sell their book themselves on the net. No 
need to use Editors, Distributors etc ..

To point out that believe, i give you some links 'bout that mutation :
Authors Rights and New Technology (Monique Léger) : 
http://www.temps-reels.net/dossiers/dtsaut/leger.htm
"Key notions about author right with the test of networks" : 
http://www.multimania.com/mifr/recht/jurinfo/memoire/mem_noframe.htm
Copyleft and destabilisation of the Intellectual Property : 
http://perso.club-internet.fr/geraudd/4/preambule.html
Internet and author right : a problem : 
http://www.internetactu.com/archives/dossiers/edition/grenouille.html

These are in french ... my targeted country. I'm sure it'll easy to 
find international page related to that debate

1. How easy (or difficult) was it to figure out the correct approach?
2. Was the formulation adequate to help you plan your search?
3. Which search-approaches and strategies did you choose?
4. Did you use any "classical" search engine? If so which ones?
5. Did you use any "special" search engine? If so which ones?
6. How many results did you retrieve?
7. What proportion of the results were relevant to your perceived information requirements?
8. How current were the results? How many 404s?
9. Was the amount of detail displayed with the results enough to allow you tho evaluate?
10. Was the order in which the results were displayed evident or apparently illogical?
11. What other features contribute to (or detract from) the utility of the tools and approaches you choosed?
12. Did you time your query?

Feedback, critics, suggestions, ameliorations... welcome!

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