
Subject Matter of Intellectual Property
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Content
- Cover
- The Subject Matter of Intellectual Property
- Copyright
- Dedication
- Table of Contents
- Table of Cases
- Table of Legislation
- List of Abbreviations
- 1. Definitions and Intellectual Property Subject Matter
- 1. Definitions and Intellectual Property Subject Matter
- 2. Specific Definitional Aims and Methods
- 2.1 An Indicative (Nominal Word: Thing Definitional) Exercise
- 2.2 An Explicative and Reconstructive (Conceptual Definitional) Exercise
- 2.3 An Analytic and Synthetic (Definitional) Exercise that Proceeds in Three Stages
- 2.3.1 An Overview of the Nature, Aims, and Values of Intellectual Property Rights and Systems
- 2.3.2 A Theoretical Framework for Thinking about Intellectual Property and Related Definitional Questions
- 2.3.3 Defining the Terms in Question
- 3. Definitions of 'Invention', 'Authorial Work', 'Trade Mark', and 'Design', etc
- 3.1 'Invention': An Idea for a Product or Process that Is Technical (Europe) or Technically Inventive (UK), and that May (But Need Not) be
- 3.2 'Plant Variety': A Type of Invention in the European Conception
- 3.3 'Authorial Work': An Expressive Object that Has a Certain Expressive Form and History of Production (Conceived Differently by European and UK Legal Officials)
- 3.4 'Trade Mark': An Expressive Object Intended and Suitable for Use to Distinguish Goods or Services
- 3.5 'Designation of Origin' and 'Geographical Indication': A Trade Mark
- 3.6 'Goodwill': An 'Attractive Force Which Brings in Custom'
- 3.7 'Design': A Type of Authorial Work that (in the Conception of Unregistered UK Design Law) Has a Different History of Production
- 3.8 The Method by which Each Subject Matter Is Individuated within Intellectual Property
- 3.9 The Relationship between Each Subject Matter and Its Tokens
- 3.10 Establishing the Existence of Each Subject Matter and Its Tokens
- 4. Conclusions
- 2. An Overview of Intellectual Property Rights and Systems
- 1. Introduction
- 2. Intellectual Property Law in England and France before the 1880s
- 3. Early Deontological and Instrumentalist Arguments for Intellectual Property
- 4. The Great (Paris and Berne) Conventions of the 1880s
- 5. Intellectual Property Law in Europe and the United Kingdom Today
- 5.1 Constitutional Values and Intellectual Property
- 5.1.1 Europe
- 5.1.2 The United Kingdom
- 5.2 European Commission Policies and Intellectual Property
- 5.3 Intellectual Property Legislation
- 5.3.1 Copyright and Related Rights
- 5.3.2 Industrial Property Rights
- 5.3.2.1 Patents
- 5.3.2.2 Trade Marks
- 5.3.2.3 Designs, Plant Variety Rights, and Trade Secrets
- 5.4 Conclusion
- 6. Distinctions of Importance to Intellectual Property Rights
- 6.1 The Distinction between Industrial, Authorial, and Other Species of Intellectual Property
- 6.2 The Distinction between Registered and Unregistered Intellectual Property Rights
- 6.3 The Distinction between Intellectual Property Rights and Legislation
- 6.4 The Distinction between Intellectual Property Rights and Subject Matter
- 7. Conclusion
- 3. A Framework for Thinking about Intellectual Property Subject Matter
- 1. Introduction
- 2. Intellectual Property Subject Matter as Artifacts
- 2.1 Intellectual Property Subject Matter as Intangible Objects
- 2.2 Intellectual Property Subject Matter as Intellectual Creations
- 3. Intellectual Property Subject Matter as Types
- 4. Categories of Intellectual Property Subject Matter
- 5. Properties of Intellectual Property Subject Matter
- 6. Conclusion
- 4. The Invention and Plant Variety
- 1. Patents for Inventions, and Plant Variety Rights for Plant Varieties
- 2. Inventions in Europe: Subject Matter that Solves a Technical Problem Using Particular Technical Means
- 2.1 Patents for Products
- 2.2 The Statutory Categories of Non-?inventions
- 2.2.1 Discoveries, Scientific Theories and Mathematical Methods, Schemes, Rules and Methods for Performing Mental Acts, and Presentations of Information as Such
- 2.2.2 Aesthetic Creations as Such
- 2.2.3 Schemes, Rules, and Methods for Playing Games and Doing Business, and Programs for Computers as Such
- 2.3 Public Policy Exclusions from Patentability
- 2.3.1 Plant and Animal Varieties, and Essentially Biological Processes for the Production of Plants and Animals
- 2.3.2 Inventions the Commercial Exploitation of which Would be Contrary to Ordre Public or Morality, and Medical and Veterinarian Methods
- 2.4 Conclusion
- 3. Inventions in the United Kingdom: Subject Matter that Make a Technical Contribution to the Art
- 4. Plant Varieties in Europe (Including the United Kingdom)
- 4.1 Introduction
- 4.2 The Nature of the Plant Variety
- 5. Entitlement
- 5.1 Patents are for Inventors
- 5.2 Plant Variety Rights are also for Inventors (Referred to as 'Breeders')
- 6. Conclusions
- 6.1 Introduction
- 6.2 Inventions as Artifact Types Having Certain Properties and Arranged in Categories that Express and Reflect those Properties
- 6.3 Plant Varieties as Artifact Types Having Certain Properties and Arranged in Categories that Express and Reflect those Properties
- 5. The Authorial Work
- 1. Copyright Protects Authorial Works and Related Rights Protect Other Expressive Productions
- 1.1 Copyright Protects Authorial Works
- 1.2 Related Rights Protect Other Expressive Productions
- 2. Authorial Works in Europe: Works that Express an Author's Own (Literary or Artistic) Intellectual Creation
- 2.1 Introduction
- 2.2 Authorial Works Have a Certain Expressive Form
- 2.3 Authorial Works Have a Certain History of Production
- 2.3.1 Authorial Works are of a Type that Leaves Scope for Creative Freedom in their Production
- 2.3.2 Authorial Works Reflect their Creators' Exploitation of the Scope they Leave for Creative Freedom
- 2.4 Conclusion
- 3. Authorial Works in the United Kingdom: Works Created by the Exercise of Independent (Literary, Dramatic, Musical, or Artistic) Skill and Labour
- 3.1 Introduction
- 3.2 Authorial Works Have a Certain Expressive Form
- 3.2.1 LDMA Works and Ideas-?The Idea/?Expression Distinction
- 3.2.2 LDM Works and their Material Fixations
- 3.2.2.1 LDM Works Must Be Recorded to Be Protected by Copyright
- 3.2.3 Artistic Works and their Material Fixations
- 3.2.4 Records of LDMA Works
- 3.2.4.1 Walter v Lane and the Question of Literary Copyright in Literary Transcripts
- 3.2.4.2 Walter v Lane Today
- 3.3 Authorial Works Have a Certain History of Production
- 3.3.1 Authorial Works are Intended by their Creator and/?or Regarded by Society to Exist as Such
- 3.3.1.1 Not Every Collection of Letters is a Literary Work
- 3.3.1.2 Not Every Scribble, Painted Surface, or Handmade Three-?dimensional Object is an Artistic Work
- 3.3.1.3 Not Every Collection of Sounds or Movements is a Musical or Dramatic Work
- 3.3.1.4 Words and Short Phrases, and Other Trivial Subject Matter: The De Minimis Principle
- 3.3.1.5 Conclusion
- 3.3.2 Authorial Works are Original, ie the Product of Independent Skill and Labour
- 3.3.2.1 The Applicability of the Common Law and EU Law Tests of Originality
- 3.3.2.2 The Common Law Test of Originality: The Requirement for Independent Labour and Skill in the Creation of a Work
- 3.4 Conclusion
- 4. Entitlement: Copyright Is for Authors
- 5. Conclusions: Authorial Works as Artifact Types Having Certain Properties and Arranged in Categories that Express and Reflect those Properties
- 6. The Trade Mark, Other Product Designations, and Goodwill
- 1. Registered Protection for Trade Marks and Other Product Designations, and Unregistered Protection for Goodwill
- 1.1 Registered and Unregistered Protection for Trade Marks
- 1.2 Registered Protection for Other Product Designations
- 2. Trade Marks and Other Product Designations in Europe (Including the United Kingdom): Purpose-?limited Signs the Protection of which Does Not Undermine Other Intellectual Property Regimes
- 2.1 Trade Marks
- 2.1.1 Introduction
- 2.1.2 Trade Marks are Signs
- 2.1.3 . . . That are Capable of Distinguishing and Intended for Use to Distinguish Certain Goods or Services
- 2.1.4 . . . That are Capable of Representation
- 2.1.5 . . . That are Not Comprised Exclusively of Functional, Technical, or Aesthetic Characteristics of Goods
- 2.1.6 Conclusion
- 2.2 Other
- 2.2.1 Introduction
- 2.2.2 Designations of Origin and Geographical Indications
- 3. Goodwill in England and Wales: 'The Attractive Force Which Brings in Custom'
- 4. Entitlement
- 4.1 Registered Trade Mark Protection is for Registrants
- 4.2 Passing Off Protection is for those who Develop Goodwill
- 5. Conclusions
- 5.1 Trade Marks as Artifact Types Having Certain Properties and Arranged in Categories that Express and Reflect those Properties
- 5.2 Goodwill as an Extrinsic Property of a Person
- 7. The Design
- 1. Registered and Unregistered Protection for Designs
- 2. The Registered and Unregistered Design in Europe, and the Registered Design in the United Kingdom: An Original Appearance of the Whole or Part of a Product
- 2.1 A Design Is the Appearance of the Whole or Part of a Product
- 2.2 . . . Excluding Any Features Dictated Solely by Technical Function or Interoperability Requirements
- 2.3 . . . To the Extent that It Has Individual Character
- 2.4 Conclusion
- 3. The Unregistered Design in the United Kingdom: An Original Appearance of the Whole or Part of an Article
- 3.1 Introduction
- 3.2 A Design Is the Shape or Configuration (whether Internal or External) of the Whole or Part of an Article
- 3.3 . . . Excluding any Method or Principle of Construction, Must-?fit or Must-?match Features of Shape or Configuration, and Surface Decoration
- 3.4 . . . That Is Original, Including Not Commonplace
- 3.5 Conclusion
- 4. Entitlement: Registered and Unregistered Design Rights are for Designers (ie for Authors)
- 5. Conclusions: Registered and Unregistered Designs as Artifact Types Having Certain Properties and Arranged in Categories that Express and Reflect those Properties
- Index
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