Guide Linas Weg ins Licht (German Edition)

Free download. Book file PDF easily for everyone and every device. You can download and read online Linas Weg ins Licht (German Edition) file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Linas Weg ins Licht (German Edition) book. Happy reading Linas Weg ins Licht (German Edition) Bookeveryone. Download file Free Book PDF Linas Weg ins Licht (German Edition) at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Linas Weg ins Licht (German Edition) Pocket Guide.

Yes, dear! Since noone forced them to sign a contract with the collecting societies! Believe me…. Things are not the same for a creator in Greece and a creator in the United Kingdom. Trying to globalize everthing is not always the best idea. Certainly not in the case of intellectual property. If it is already a very hard work for a local national collecting society to handle the cases of dozens of thousands of its members, imagine how chaotic it would be to have one — Europa controlled — collecting society. A single European market is — except from utopic — an idea that has been proven in many cases to be non-functional and dangerous.

As a creator I want my work to be protected and secured by people who belong to the same market with me. I need the organization that represents me and my intellectual rights to be as close to me as possible. Same goes for any creator in any country, Julia. Have no doubts about it. A centralized organization controlled by European technocrats is not what a creator needs! Not robots! Creators want a close relation to the people who represent them.

Browse By Title: W

Not any employee of the European Community who will be just a receiver of my emails! Anyone who wants to use or play my music is obliged to ask for my authorization. I really cannot understand how people like you demand that OUR own creations should be given to anyone to change them? Would you ever give your own child to a stranger to change the way it talks, the way it thinks, the way it communicates, the way YOU raised it to be??????? Users want broad access to information and an end to the criminalization of their everyday behaviour. Creators often find themselves caught in the middle.

Programme 1988

There are creators who are professionals and create for a living. These creators are proud members of their respective collecting societies and need their work to be protected. There are also creators who are amateurs, who have no access to the markets and create for them, their girlfriends and their parents to be proud of them. You are not allowed to make the mistake of mixing those two different categories! When you refer to laws, collecting societies, intellectual rights, EU rules, legislations, copyrights etc.

Neue Kunst. Hahnenstraße 6. D-50667 Köln

For example, a person who writes lyrics and has never published his work, has never participated in a CD, has never been a part of the musical industry in any way, does not give a damn about laws, rules, societies, rights and the rest! Thus, asking for the opinion of creators I believe you should make clear that you are referring to professional creators. The ones who invest years of their lives for musical studies. The ones who invest money on producing and distributing their works. The ones who NEED to be members of national collecting societies!

The ones who cannot afford to share their creations without securing them first! Cause creators need to be paid for their work to live. Cause creators cannot allow others to alter or steal their creations…. What concrete problems do you as a creator face in your everyday work under the current copyright regime?

Rest assured that we creators have our collecting societies to discuss all these matters with! There is no need for European creators to discuss their concerns with Pirates of the EU Parliament or anyone else! To sum up. It is my national collecting society AEPI. Because AEPI has been protecting Greek creators for years with loyalty, professionalism and — above all — in an effective way.

There is absolutely no need for replacing the society that cares about me and my work. And whatever I need to discuss concerning my creations or my rights as a creator, I do it with the appropriate departments of AEPI. No need for Pirates to interfer with my work. Simple as that…. Do not shoot at the creators and the artists!

  • Zakka Handmades:24 Projects Sewn from Natural Fabrics to Help Organize, Adorn, and Simplify Your Life.
  • Die Hawthorne-Experimente (German Edition);
  • | Berlinale | Archive | Annual Archives | | Programme!
  • List of entries in the Eurovision Song Contest - Wikipedia.
  • Zirner, August 1959-.
  • Netherlands in the Eurovision Song Contest 2004.

We demand not to reduce, but to strengthen the rights of creators to authorize and be remunerated for any use of our works online. The artists are already remunerated with the crumbs falling from the tables of those who live rich taking advantage economically the creations of the artists. An artist exists for as long as he owns exclusively the rights of his creations. Could you be more specific which of the proposed measures you take issue with?

EPLAN Data Portal - Parts list - Filter: SEN

Schon in dieser Frage klingt an, was sich wie ein Roter Faden durch alle Ihre Fragen, aber auch durch die altbekannten Piraten-Positionen zieht: absolute Ignoranz in Bezug auf den Prozess, in dem Urheber ihre medialen Werke heute realisieren. Eines gibt es ohne das andere nicht. Fragen Sie doch einfach mal die Beteiligten. Da bin ich leidenschaftslos, liebe Frau Reda. Aber Sie und ich sollten zumindest zur Kenntnis nehmen, dass die Finanzierung und Refinanzierung z. Das kann nicht im Interesse der Urheber sein.

Melilla: Europe's Trapped Child Refugees

Mir nicht. Ohne dass der Urheber etwas davon hat — wenn z. Wir sprechen als Liedermacher ueber 30 Jahre, motiviert durch Logik und also Gefuehl , anstatt technokratischen Analysen..


In your report you indicate a few times that you made sure you have spoken to all parties that are affected by the report. One would think, it makes sense to ask, because in the report you only refer to single creators. Therefore you refer to experiences and opinions of single persons that are not even representative for a small group of stakeholders.

So yes, it makes sense to actively ask in public. And obviously you already got some very profound answers in the comments of this site and on your facebook page.

fraugerlach › Lina Bo Bardi , Book

But allow me to point out some questions raised through the procedure itself and your introductory statement:. Did you speak with professional creators associations beforehand?

  • Study No. 20.
  • The Small Rooms of Paris.
  • LA PALESTRA DELL’ANIMA - MARZO (Italian Edition);
  • 69th Locarno Film Festival?
  • Ethical Dimensions of the Economy: Making Use of Hegel and the Concepts of Public and Merit Goods (Ethical Economy).
  • Archiv der besten Plakate.
  • ¡Vamos a Libérarnos!.

So have you offered that help beforehand? Sometimes you refer to creators, sometimes to artists. Sometimes you refer to the music industry, sometimes to E-books, sometimes to photography, sometimes to private amateur creation. Unfortunately you never explain why or how you come to this conclusion. A detailed analyze of the published list shows, that just a fractional amount of your time was used by collecting societies or groups associated to them you call them cmos.

So at least in your own report one can find no proof at all for your statement. So the question is: Is this statement based on facts or on personal belief some might call it ideological? The questions you are asking in your introductory statement were lengthy and eleborately answered in some of the former comments.