A History of Intellectual Property in 50 Objects最新文献_第5页

Paper Print 纸打印

A History of Intellectual Property in 50 Objects Pub Date : 2019-06-20 DOI: 10.1017/9781108325806.018

Claudy Op den Kamp

引用次数: 0

Tempesta Map of Rome 罗马的Tempesta地图

A History of Intellectual Property in 50 Objects Pub Date : 2019-06-20 DOI: 10.1017/9781108325806.005

J. Ginsburg

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Oscar Wilde Portrait 奥斯卡·王尔德肖像

A History of Intellectual Property in 50 Objects Pub Date : 2019-06-20 DOI: 10.1017/9781108325806.014

M. Richardson

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Wi-Fi Router

A History of Intellectual Property in 50 Objects Pub Date : 2019-06-01 DOI: 10.1017/9781108325806.047

T. Healy

{"title":"Wi-Fi Router","authors":"T. Healy","doi":"10.1017/9781108325806.047","DOIUrl":"https://doi.org/10.1017/9781108325806.047","url":null,"abstract":"EVEN THE CHEAPEST laptop no longer needs a cable to access the internet; you just walk into a place and, somehow, magically, the device you are carrying connects automatically with a Wi-Fi hot spot. This happens in cafes, at home, on a train, on a plane. Wi-Fi routers are everywhere, to the point where it feels odd when you find a spot where you actually can't find a Wi-Fi hot spot to watch movies, stream music, search the internet, or do emails. The name “Wi-Fi” is the trademarkpopularized by the Wi-Fi Alliance to describe radio systems used to access the internet, with billions of devices now connected and growing. Wi-Fi uses a set of industry standards adopted by the Institute of Electrical and Electronics Engineers or “IEEE,” a body that not only promulgates standards, but also records patents relevant to Wi-Fi. By now Wi-Fi-related patent families number a few hundred; but one stands out. This is the story of the core patent, the one that showed how to make fast and efficient Wi-Fi. The patent journey took 25 years, and it took many twists and turns. In the end, it is a tale about how much hard work is involved in taking a great idea to market, how long it takes, and how, often, obtaining a patent may be merely the first salvo in a long war of attrition. The story began with a small group of scientists in Australia, working in the esoteric field of radio astronomy. They were searching for gravitational waves associated with exploding black holes. That research lead to the filing in August 1987 of a patent application for “A Transform Processing Circuit,” for a semiconductor chip that could perform two types of signal processing on data streams: Fast Fourier Transforms (FFT) and Inverse Fast Fourier Transforms (IFFT). The inventors were employees of CSIRO, Australia's primary scientific research body. It's not clear whether the researchers who were named on the patent ever thought that the invention would be significant in communications, but a few years later one ofthose researchers,John O'Sullivan, was involved in a commercialization project at CSIRO.","PeriodicalId":259734,"journal":{"name":"A History of Intellectual Property in 50 Objects","volume":"261 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132604615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Player Piano Roll 钢琴卷

A History of Intellectual Property in 50 Objects Pub Date : 2019-06-01 DOI: 10.1017/9781108325806.019

M. Borghi

{"title":"Player Piano Roll","authors":"M. Borghi","doi":"10.1017/9781108325806.019","DOIUrl":"https://doi.org/10.1017/9781108325806.019","url":null,"abstract":"THE PLAYER PIANO ALSO known as the “Pianola” or the “Aeolian Pianola,” from the brand of the leading manufacturer in the early 1900s—is a mechanical instrument capable of automatically playing music scores converted into perforated paper rolls. It was the first technology for mechanical reproduction of music that was mass-produced and had widespread application and success. It fundamentally changed the way that we experience music; and the copyright battle that the technology generated was the beginning of a war over the control of music and content that is being fought to this day. In the course of the 19th century, music performance increasingly became an activity played not only in theaters, concert halls, and other public places, but also in the intimacy of private homes. Parlor music—music written to be performed in the parlors of bourgeois homes by amateur singers and pianists—gained immense popularity among a rapidly expanding middle-class in industrialized countries. The sale of arrangements for piano became the core of the business of musical publishers such as Casa Ricordi, Boosey & Sons, Chappell & Co., and Novello. On the back of a flourishing industry of mass-produced pianos, manufacturers started developing systems to automate the playing of music scores. Early prototypes were a feature of the Universal Exposition of 1876 in Philadelphia. An example of the innovations of the era can be found in the patent applications of Edwin Scott Votey, who invented a semi-automatic player piano mechanism, powered by air suction generated by foot treadles. The keyboard was activated by an ingenious system of valves that opened corresponding to the holes punched in a paper roll which moved over a pickup bar with 88 openings, one for each key of the piano. The sequence of unevenly spaced holes in the roll “translated” a musical score into instructions for the mechanically assisted piano. This invention meant that virtually every piece for piano could be made automatically playable, with just a little human intervention.","PeriodicalId":259734,"journal":{"name":"A History of Intellectual Property in 50 Objects","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128909273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Mike Tyson Tattoo 泰森纹身

A History of Intellectual Property in 50 Objects Pub Date : 2019-06-01 DOI: 10.1017/9781108325806.050

M. Hadley

{"title":"Mike Tyson Tattoo","authors":"M. Hadley","doi":"10.1017/9781108325806.050","DOIUrl":"https://doi.org/10.1017/9781108325806.050","url":null,"abstract":"MIKE TYSON's FACIAL tattoo has been described as one of the most distinctive tattoos in North America. It has attracted controversy as an example of the cultural appropriation of ta moko , the sacred culturally embedded tattooing practice of the Maori people of Aotearoa/New Zealand. It has also attracted much media attention for its place at the heart of Whitmill v. Warner Bros ., a rare litigated instance of a tattooist enforcing their copyright in a tattoo design. More than this, though, Tyson's tattoo is an excellent example of the tensions that emerge over the protection of traditional knowledge, and the difhculty of claiming one truth in an intellectual property world that was born in the Western philosophical tradition, and is only now beginning to come to terms with its colonial heritage. Mike Tyson's “warrior” tattoo was inked by Las Vegas tattooist S. Victor Whitmill in 2003. From the time of Tyson's firstpublic appearance with the tattoo, Maori activists and scholars were critical of it as a cultural appropriation of ta moko . Tyson's tattoo is monochrome, curvilinear, features two spiral shapes, and was placed around his left eye. Whitmill has described the “flow”: of Maori art as a design influence, and he created it after showing Tyson pictures of Maori moko . In Maori culture, facial moko is a privilege reserved for respected cultural insiders, and it represents and embodies the wearer's sacred genealogy and social status. Appropriating an individual's moko is profoundly offensive and akin to identity theft. But the controversy from the original tattoo wasn't the last of it. In THE HANGOVER PART II an exact copy of Tyson's tattoo was featured on the face of actor Ed Helms as part of a humorous plot device. Whitmill was outraged, and claimed copyright over his tattoo. In 2011 he sued Warner, arguing that they had violated his exclusive right to authorize derivative works. Whitmill's decision to sue stirred lingering resentments in Aotearoa/New Zealand around the tattoo's cultural content: in response to the litigation, Maori politician Tau Henare tweeted that it was a “a bit rich” that Tyson's tattooist was claiming someone had stolen the design, given that he had copied it from Maori without permission.","PeriodicalId":259734,"journal":{"name":"A History of Intellectual Property in 50 Objects","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117116155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Chanel 2.55 香奈儿2.55

A History of Intellectual Property in 50 Objects Pub Date : 2019-06-01 DOI: 10.1017/9781108325806.031

Jeannie Suk Gersen

{"title":"Chanel 2.55","authors":"Jeannie Suk Gersen","doi":"10.1017/9781108325806.031","DOIUrl":"https://doi.org/10.1017/9781108325806.031","url":null,"abstract":"FREUD SAID THE purse was a symbol of female anatomy, a receptacle for the mysterious and hidden. A woman who went out into society carrying one was clutching her womb, so to speak. The Chanel 2.55 bag—timeless object of purse-envy—was a kind of rebirth. It was not the first bag created by Coco Chanel. Her first, in 1929, caused scandal. Having become “fed up with holding my purses in my hands and losing them,” and inspired by military satchels, she sewed on an extended strap to allow women to carry the bag hands-free and over the shoulder. Making a shoulder bag socially acceptable for ladies offered new freedom of movement and a nod to sexual liberation in Jazz Age Paris. Chanel was famous for many things, including her romantic liaisons with the likes of Stravinsky and British royalty. Her 2.55 bag, named for its appearance in February 1955, had a secret zippered compartment in its front flap for keeping love letters. The bag's long shoulder straps were made of linked metal chains, and its quilted leather body resembled the pattern on jockey jackets. Its inner lining was the burgundy color of Chanel's childhood Catholic-school uniforms. Inspired by her girlhood impressions of horses’ bridles and harnesses, and of the keychains of the caretakers at her orphanage, the bag expressed both freedom and restraint, mastery and submission. As Vogue noted in 2013, “The genius of the Chanel bag can be found in its versatility—it has managed to be the perfect accessory, be its wearer in jeans or black-tie, artfully disheveled or painstakingly put together, for more than half a century, invading not only our wardrobes but our cultural consciousness as well.” The bag was part of Coco Chanel's fraught 1950s comeback, 15 years after she closed her business as World War II began. It proved to be an emblem of Chanel's own ability to rise again, unscathed, after her wartime collaboration with the Nazis. In a social set in which anti-Semitism was pronounced, Chanel had been a secret agent for the Germans and mistress to a German intelligence officer.","PeriodicalId":259734,"journal":{"name":"A History of Intellectual Property in 50 Objects","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126743824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Oral Contraceptive Pill 口服避孕药

A History of Intellectual Property in 50 Objects Pub Date : 2019-06-01 DOI: 10.1017/9781108325806.028

Melanie Brown

{"title":"Oral Contraceptive Pill","authors":"Melanie Brown","doi":"10.1017/9781108325806.028","DOIUrl":"https://doi.org/10.1017/9781108325806.028","url":null,"abstract":"IN THE CENTURY since women were finally granted the right to vote, the women's liberation movement has continued to demand equality between the sexes. The recent “Time's Up” and #MeToo campaigns highlight that these issues are still far from resolved, but it was in the 1960s that the single biggest revolution for women occurred. It transformed women's lives across the globe, and was central to the revolutionary gains that women made throughout the 1960s, 1970s, and 1980s. It was, ofcourse, the development ofthe Pill. The first Version ofthe Pill, Enovid, was licensed as a contraceptive in the United States in 1960. Itcontains artificial versions of estrogen and progesterone, hormones that occur naturally in women. It mimics the effects of pregnancy by preventing ovulation, thickening cervical mucus to create a barrier to prevent sperm from reaching the womb, and by thinning the lining of the womb, which lowers the chance of a fertilized egg implanting itself. These combined effects mean that a woman has only a 1 percent chance of becoming pregnant when using the pill as intended. This success rate drops slightly when used imperfectly, but is still more successful than other contraceptives. The social campaign for contraception arguably started with the social activist Margaret Sanger, who had been campaigning for women's rights to contraception for a long time before the Pill was invented. In 1916, she opened the first birth control clinic in the United States, and for a number of years, she was repeatedly arrested andjailed for maintaining a “public nuisance”; but she reopened the clinic each time she was released. The political push for better birth control operated in conjunction with medical and pharmaceutical research. Progesterone was identified as the vital hormone for preventing ovulation in the 1930s. Methods for extracting progesterone from yams were developed, but the dosage had to be extremely high to work as a contraceptive. Progestin could be derived from progesterone, and could be given as a contraceptive in much smaller doses. Various individuals sought to invent a contraceptive pill using a synthetic progestin, but it was the Mexican chemist Luis Miramontes who led the way. Using yams, he generated a semi-synthesis of the hormone progesterone, a progestin called norethindrone. In conjunction with his co-inventors at Laboratorios Syntex SA, Carl Djerassi and George Rosenkranz, he filed a patent application for the invention in Mexico in 1951.","PeriodicalId":259734,"journal":{"name":"A History of Intellectual Property in 50 Objects","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129890447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

PH-Lamp PH-Lamp

A History of Intellectual Property in 50 Objects Pub Date : 1900-01-01 DOI: 10.1017/9781108325806.022

Stina Teilmann-Lock

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