« De plus en plus les sociétés coopératives deviennent de plus en plus des sociétés et de moins en moins des coopératives » : Jacques Mestre, Marie-Eve Pancrazi, Isabelle Arnaud-Grossi, Laure Merland et Nancy Tagliarino-Vignal, Droit commercial / Droit interne et aspect de droit international, 29ème édition, n°650, éditeur L.G.D.J.. Construite pendant des siècles en opposition aux modes traditionnels entrepreneuriat, la société coopérative suit en effet depuis quelques années le chemin inverse et glisse progressivement vers les sociétés que l’on peut qualifier de « classiques » ; sociétésanonymes, sociétés par actions simplifiées ou bien encore sociétés à responsabilité limitée notamment. Néanmoins s’agissant du principe « un homme, une voix », qui veut que chaque associé dispose d’une seule et unique voix et cela quel que soit son apport, composant si ce n’est essentiel en tout cas totalement indispensable de l’originalité des sociétés coopératives celui-ci reste omniprésent. Aussi bien dans la loi du 10 septembre 1947 formant le statut général de la coopération que dans les plus importants types de sociétés coopératives, sociétés coopératives agricoles, banques coopératives, sociétés coopératives de commerçants détaillants entre autres le principe « un homme, une voix » reste la règle sur laquelle s’appuie la répartition des voix dans les sociétés coopératives et ce même si celui-ci n’est plus toutseul… / « More and more cooperative societies become more and more societies and less and less cooperatives » : Jacques Mestre, Marie-Eve Pancrazi, Isabelle Arnaud-Grossi, Laure Merland et Nancy Tagliarino-Vignal, Droit commercial / Droit interne et aspect de droit international, 29th edition, n° 650, L.G.D.J. editor. Built during centuries in opposition to the traditional modes of entrepreneurship, the cooperative society indeed follows since a few years the inverse way and slides gradually towards the societies which we can qualify as « classics » ; sociétés anonymes, sociétés par actions simplifiées either still sociétés à responsabilité limitée in particular. Nevertheless as regards the principle « a man, a voice », which wants that every partner has only one voice and it whatever is his contribution, component if it is not essential in any case totally essential of the originality of cooperative societies this one remains omnipresent. However in the law of September 10th, 1947 forming the general status of the cooperation in the most important structure of cooperative societies, sociétés coopératives agricoles, banques coopératives, sociétés coopératives de commerçants détaillants among others things the principle « a man, a voice » stays the rule on which leans the distribution of the voices in cooperative societieseven if this one is not alone any more …

Abstract There is a broad consensus in the software engineering (SE) research community that understanding system desiderata and design creativity is critical for the success of software projects. This has motivated a plethora of research in SE to improve requirements engineering (RE) processes. However, little research has investigated the relationship between the way desiderata are presented (i.e., framed) and creative design performance. This dissertation, therefore, examines the effects of more formal presentations of desiderata on design creativity. The research was conducted in three phases. The first consisted of summarizing the available literature on cognitive biases in SE to build a comprehensive body of knowledge, understand the current state of research, and identify the relevant literature to position and delineate subsequent investigations involving the framing effect and fixation. This research phase also investigated how creativity is conceptualized (i.e., understood, assessed and improved) in SE by exploring the perceptual differences and similarities between SE researchers and practitioners. In the second phase, two controlled experiments were conducted to investigate the impact of framing desiderata first as requirements (in general) and then as prioritized requirements on design creativity (i.e., the originality and practicality of a design). The third phase involved a protocol study to explore the underlying cognitive mechanisms that may explain why framing desiderata as formal requirements affects creativity. The empirical evidence from the second and third phases was interpreted together to propose a theoretical framework that explains the effect of specification formality on design creativity. While the results of the experiments show that specification formality is negatively related to design creativity (i.e., desiderata framed as requirements or prioritized requirements result in designs that are less creative), the findings from the protocol study indicate that the negative relationship between specification formality and design creativity is mediated by fixation (i.e., more formal presentation of desiderata induces fixation and hinders critical thinking). Overall, the results of this dissertation suggest that more formal and structured presentations of desiderata cause requirements fixation—the tendency to attribute undue confidence and importance to desiderata presented as formal requirements statements—that affects design creativity, and thus undermines software engineering success. / Tiivistelmä Ohjelmistotuotannon tutkijoiden keskuudessa on laaja yksimielisyys järjestelmän tarpeiden ja suunnittelun luovuuden ymmärtämisen kriittisyydestä ohjelmistoprojektien menestyksessä. Tämä on motivoinut monia ohjelmistotuotannon vaatimusmäärittelyprosessien parantamiseen liittyviä tutkimuksia. Harvassa on tarkasteltu tarpeiden esitystavan (eli muotoilun) ja luovan suunnittelun lopputuloksen välistä yhteyttä. Tässä väitöskirjassa tarkastellaan tarpeiden muodollisempien esitystapojen vaikutuksia suunnittelun luovuuteen. Tutkimus oli kolmivaiheinen. Ensin referoitiin ohjelmistotuotannossa kognitiivisiin harhoihin liittyvä kirjallisuus kartoittamaan nykytutkimuksen tila ja merkityksellinen kirjallisuus myöhempien, kehysvaikutuksen ja fiksaation sisältävien tutkimusten sijoittamiseen ja rajaamiseen. Lisäksi tarkasteltiin luovuuden käsitteellistämistä (eli ymmärrettävyyttä, arviointia ja parantamista) tutkimalla katsannollisia eroja ja yhtäläisyyksiä tutkijoiden ja ammattilaisten välillä. Toisessa vaiheessa tehtiin kaksi kontrolloitua koetta tarpeiden muotoilun vaikutuksien tutkimiseksi, ensin vaatimuksina (yleisesti) ja sitten tärkeysjärjestykseen laitettuina vaatimuksina suhteessa suunnittelun luovuuteen (eli omaperäisyyteen ja käytännöllisyyteen). Lopuksi, protokollatutkimuksella selvitettiin taustalla olevia kognitiivisia mekanismeja selittämään syitä muodollisina vaatimuksina esitettyjen tarpeiden vaikutuksista luovuuteen. Toisesta ja kolmannesta vaiheesta saatujen empiiristen aineistojen tulkittiin yhdessä muodostavan teoreettisen viitekehyksen, joka selittää määrittelyn muodollisuuden vaikutusta suunnittelun luovuuteen. Vaikka kokeiden tulokset osoittavat määrittelyjen muodollisuuden vaikuttavan negatiivisesti suunnittelun luovuuteen (eli tarpeiden muotoilu vaatimuksina tai priorisoituina vaatimuksina vähentää suunnitelmien luovuutta), protokollatutkimuksen tulokset viittaavat fiksaation vaikuttavan negatiiviseen yhteyteen määrittelyjen muodollisuuden ja suunnittelun luovuuden välillä (eli tarpeiden muodollisempi esitystapa aiheuttaa fiksaatiota ja vaikeuttaa kriittistä ajattelua). Kaiken kaikkiaan, väitöskirjan tulokset esittävät muodollisempien ja strukturoidumpien tarpeiden esitystapojen aiheuttavan vaatimusten fiksaatiota, taipumusta pitää luottamusta ja tärkeyttä tarpeiden muodollisten vaatimusten ilmaisun ansioina, joka vaikuttaa suunnittelun luovuuteen heikentäen ohjelmistotuotannon menestymisen mahdollisuutta.

The thesis focuses on problem of authorship of the Internet content. It considers the question whether we can analyze the artwork purely as a closed structure of the symbols or whether it is necessary to take work as a broader structure. The first part of the thesis shows the Internet in general and its specifics it as a medium. The second part is devoted to the problem of authorship. It explains traditional view of Nelson Goodman, who examined the authenticity of artwork with regard to the internal arrangement of the elements structure of the object. The third part shows the later theories inconsistent with the views of Nelson Goodman, views of different contemporary authors who present the changes of authorship aspects in the environment which is under constant development, quickly sharing ideas and resources. New theories suggest to look beyond the authorship of the artwork domain, apply broader focous. The conclusion provides a synthesis of these views.

En 2016, un « nouveau Rembrandt » a été créé par intelligence artificielle dans le cadre du projet The Next Rembrandt. Grâce à la méthode d’apprentissage profond, un ordinateur a en effet permis la réalisation d’un tableau qui, selon les experts, aurait pu être créé par le maître hollandais. Ainsi, une création artistique a été conçue avec un programme d’intelligence artificielle, « en collaboration » avec des humains. Depuis, de nouvelles créations algorithmiques ont vu le jour, en minimisant chaque fois davantage l’empreinte créatrice humaine. Mais comment le droit d’auteur canadien encadre-t-il ou, le cas échéant, pourrait-il encadrer ce type de créations ? Voici la question générale à laquelle notre projet de recherche souhaite répondre. En dépit des récentes avancées technologiques et d’un certain abus de langage, l’intelligence artificielle n’est pas (encore) entièrement autonome (Chapitre liminaire). Il en résulte qu’un humain crée les dessous de l’œuvre, c’est-à-dire les règles dans le cadre duquel les créations sont produites. À l’heure actuelle, les créations « artificielles » sont donc issues d’un processus où l’algorithme agit comme simple outil. Partant, les principes classiques de droit d’auteur doivent s’appliquer à ces créations assistées par intelligence artificielle (Chapitre premier). En l’espèce, les critères d’originalité et d’autorat constituent les principaux obstacles à la protection de (certaines) créations algorithmiques. En outre, le processus collaboratif de création ne permet pas d’identifier systématiquement des co-auteurs faisant preuve « de talent et de jugement » (Chapitre deux). Dans ce contexte singulier, des juristes étrangers ont proposé des « solutions », afin de protéger les créations produites « artificiellement » par leurs régimes de droit d’auteur respectifs (Chapitre trois). La réception des propositions étrangères en sol canadien n’est toutefois pas souhaitable, car elle risque de fragiliser la cohérence interne de la Loi, ainsi que les fondements du régime. Dès lors, ces solutions ne permettent pas de résoudre la « problématique » des créations algorithmiques. Quelle devrait donc être la réponse canadienne ? Il s’agit de la question à laquelle nous répondons au Chapitre quatre. Afin de respecter l’intégrité du régime de droit d’auteur canadien, nous concluons que seules les créations répondant aux critères de la législation canadienne sur le droit d’auteur doivent être protégées. Les productions ne parvenant pas à respecter l’une ou l’autre des conditions de protection tomberaient, pour leur part, dans le domaine public. En dépit de ce constat, nous croyons que la constitution d’un régime sui generis, propre aux créations algorithmiques, pourrait être appropriée. Il appartiendra cependant au gouvernement canadien de décider si l’édification d’un tel régime est pertinente. Pour ce faire, il sera nécessaire d’obtenir des données probantes de la part des différentes parties prenantes. Il s’agit-là du dilemme auquel le Canada fait face. / In 2016, a « new Rembrandt » was created with artificial intelligence as part of The Next Rembrandt project. Thanks to the deep learning method, a computer has indeed made it possible to make a painting that, according to experts, could have been created by the Dutch Master. Thus, an artistic creation was designed with an artificial intelligence program, « in collaboration » with humans. Since then, new algorithmic creations have emerged, each time further minimizing the human creative footprint. But how does or could the Canadian copyright regime protect this type of creation ? This is the general question that our research project wishes to answer. Despite recent technological advances and a certain abuse of language, artificial intelligence is not (yet) autonomous (Preliminary Chapter). As a result, a human creates the underside of the work, that is, the rules within which the creations are produced. At present, « artificial » creations are therefore the result of a process where the algorithm acts as a simple tool. Therefore, the classical principles of copyright should apply to such creations produced with computer assistance (Chapter One). In the present case, the conditions of originality and authorship constitute the main obstacles to the protection of (certain) algorithmic creations. In addition, the collaborative creative process does not systematically allow the identification of coauthors (Chapter Two). In this singular context, foreign authors have proposed solutions to protect these creations by their respective copyright regimes (Chapter Three). However, the adoption of these proposals in Canada is not desirable, as it may weaken the internal scheme of the Canadian copyright regime, as well as its foundations. As such, these solutions do not solve the « problem » of algorithmic 5 creations. What should be the Canadian response ? This is the question we answer in Chapter Four. In order to protect the integrity of the Canadian copyright regime, we conclude that only creations that meet the criteria of the Copyright Act should be protected. Productions that fail to comply with any of these conditions should fall into the public domain. Despite this observation, we believe that the constitution of a sui generis regime specific to algorithmic creations could be appropriate. Yet, it will be up to the Canadian government to decide whether the creation of such a regime is pertinent. This will require gathering evidence from different stakeholders. This is the dilemma that Canada is facing.

1 Abstract A monograph on Jan Kotík (1916-2002) introduces both his art and theoretical work, it deals with a historical and cultural context of the now-defunct Czechoslovakia. Kotík's - an artist's, theoretician's, published author's, educator's - artwork enjoys a prominent position in the context of Czech art of the second half of 20th century. An art-historical assessment of artwork was based on Kotik's artwork inventory and on all the documentation on Kotik's life and art work archived in the Documentation Department of the Institute of Art History of the Academy of Sciences of the CR and in private archives in the CR and Berlin. The study is based on a method of organic combination of biographical data and art-historical data with quotation of Kotik's theoretical texts. An evolution of artist's work is demonstrated chronologically with the context to Czech and world art. The monograph includes chapters: "Father Pravoslav's Art Studio and Study Years", "Art Group 42", "Possibilities of Applied Art", "Painting-Object", "Stay in Berlin", "Returns".

No description available.

In the age of digitalizarion several new ways of creating immaterial property have sprung up due to the resurgence of artificial intelligence (AI). This has paved the way for different kinds of tech including the assistance of AI in a more normalized way. A prominent variation of this tech is called "deepfake". Deepfakes are a technology that essentially places your face, likeness, mannerisms, and voice onto new situations that the creator then steers to make the deepfake do or say things that the person whose deepfake is based on hasn't done or said. This technology has been used in a myriad of ways, all from humourous content to extorsion and revenge porn. The aim of this master thesis is to analyse how immaterial law protection is achieved through current Swedish immaterial law principles and how these fit within the context of heavily based AI-tech such as deepfakes. This is done through a dogmatic lens, meaning that a systematization and mapping of both Swedish and EU-based laws and praxis are done as well as discussing the current thoughts on AI-assistance throughout the creative process. Another subject that is touched upon is the parody exception in immaterial law and the concept of adaptation and how these work with and apply to AI-based creations. Part of the problems that we face right now is that we have no existing legal parameters to solve the problem of larger AI-involvement in creative processes, this is certainly going to change how we view copyright law today. When comparing and using EU as well as Swedish praxis to analyze the AI-problem a common denominator is that all copyright law and praxis is based around the presumption that there needs to be a human involved in the majority of the creative process. AI already exists as a part of many creative processes today without any questions asked, however when the AI-part is more significant in the process the question becomes complicated when paired with traditional copyright law perspectives. However, some discussions have been going on in both Swedish and EU legal spheres, mostly in the EU who are going to legislate more in the field of AI. In Sweden there have been no legislative processes when it comes to AI in copyright law however there have been some governmental organisations and essays that have shed a light on the matter. I conclude this master thesis by writing about the findings of each question as has been mentioned above, namely that AI becomes a significant factor in deciding if a deepfake achieves copyright protection or not and the same can be said about parodies. After this I make a concluding analysis of the urgency of a need for laws that tackle AI in the area of immaterial laws listing other areas that might need it more than immaterial laws as has been explored throughout this thesis as well and that Sweden needs to take part in every discussion about this to form a sustainable legal framework for AIs in the context of immaterial laws. This will open up for a clear framework when assessing different technologies that use AI like deepfakes as well.

Cette étude cherche à appréhender la place qu’avaient occupée les Conflits et les Amours mythiques dans la mosaïque de l’Afrique Proconsulaire au Bas-Empire (fin du IIIème - début du Vème siècle). Aussi, savoir la nature des sujets, les modalités d’assimilation figurative, l’évolution des concepts, ainsi que les rapports qu’auraient eus les mosaïstes ou les commanditaires avec une culture considérée comme étrangère. Pour chaque mosaïque sont mis en évidence les apports respectifs de l’iconographie et de la littérature. Les composantes structurelles et conjoncturelles de chaque image, à savoir le cadre de l’action, les personnages, les modèles et les formules iconographiques, ainsi que les modalités de mise en scène, sont examinés de plus prés. s’interrogeant sur l’insistance des empreints, l’interchangeabilité entre thèmes, nous remettons en question des idées devenues avec le temps comme des dogmes, telle la totale dépendance de la mosaïque de l’Afrique Proconsulaire aux tendances artistiques de l’époque et son incapacité à se détacher de l’hégémonie des arts dits majeurs, et nous montrons que les mosaïstes africains ne sont pas de simples imitateurs, mais de véritables novateurs. D’autres approches sont nécessaires pour mettre nos mosaïques dans leurs contextes architecturaux et décoratifs d’origines. Ceci permettant d’aborder les problématiques liées aux relations sémantiques, vise à connaître les modalités d’insertions utilisées dans le reste de l’Empire, mais aussi de s’interroger sur la validité de certaines idées, comme l’existence d’une codification régissant les scènes représentées et les contextes architecturaux.Enfin le replacement de la mosaïque, et à l’intérieur d’une production artistique englobant toutes les autres disciplines, et la prise en considération de toutes les particularités, géographiques, historiques, sociales et culturelles de l’Afrique romaine au Bas-Empire, montre qu’il est difficile, voire impossible, de mesurer le rapport exact entre fonction administrative, statut financier et niveau culturel des commanditaires. Au lieu de continuer de parler de l’existence d’une même et une seul culture élitiste à laquelle adhère tous les aristocrates de l’Empire, il serait nécessaire de surpasser certains a priori et parler de diversités et de différences que de ressemblances. / The object of this thesis is the review of the conflicts and mythological love endeavors depicted in the Africa Proconsularis mosaics in the Late Antiquity period. In the meantime, one of the main aims is the study of the subject of the mosaics, the manners of the figurative assimilation, the evolution of the concept, and also the relation between the mosaic makers and a culture considered as a foreign one.For each mosaic are highlighted the respective contributions of the iconography and literature. The structural and conjectural components of each image, meaning the setting of the actions, the characters, the models and the iconographic formulas, and the methods of the production are examined more narrowly; questioning the insistence of imprints, interchange- ability between subjects. We are putting into question theories which has become over time as a dogma, such as the total dependence of the mosaic of Africa Proconsularis to the artistic trends of the time and the inability to separate from the hegemony of the arts alias the major; and we will try to demonstrate that the African mosaic makers were not mere imitators, but truly innovators.Moreover, other approaches are needed to put the mosaics within their architectural and decorative context. These approaches will allow addressing issues related to semantic relations, aiming to find out the modality of the insertion in the rest of the Empire, but also to investigate the validity of certain theories, such as the existence of a codification as a regulator linking the scenes presented and the architectural contexts.Finally, the replacement of the mosaic, in the artistic production encompassing all the other disciplines, taking into consideration all the geographical, historical, social particularities, and the cultural aspects of Roman Africa during the Late Antiquity, which give evidence that it is difficult or impossible to measure the exact relationship between administrative function, financial status and cultural level of the elite sponsors. Instead of, continuing to discuss about the existence of only an elitist culture that adheres to all the aristocracy of the Empire, it would need to exceed some a priori and talk about diversity and differences rather than only similarities.

Esta tese tem como objetivo investigar os limites constitucionais ao emprego de normas tributárias extrafiscais, contribuindo, de maneira original, com o desenvolvimento de métodos que possibilitem que estes instrumentos sejam controlados de modo mais preciso pelo Poder Judiciário. Para a consecução deste objetivo central, trabalhou-se a partir de quatro blocos de investigação. Primeiro, a pesquisa centrou-se em discutir a importância de segregação das normas tributárias entre fiscais e extrafiscais, analisando as diversas propostas de métodos para a separação entre estas. Ao final, a tese sugere que as normas tributárias extrafiscais devem ser identificadas a partir das suas finalidades, conforme venha a ser interpretado pelo aplicador da norma. Superada a questão, passa-se à investigação dos fundamentos constitucionais que legitimam o emprego das normas tributárias extrafiscais, quando se debate em que sentido normativo se pode falar em neutralidade tributária. Em um terceiro módulo de investigação, as normas tributárias extrafiscais são contrapostas às limitações constitucionais ao poder de tributar, ao conflito entre competência regulatória e competência tributária, ao conceito constitucional de tributo, bem como aos limites ínsitos às espécies tributárias previstas pela Constituição Federal. Por fim, apresenta-se um modelo de protocolo decisório que pode ser utilizado para fins de controlabilidade das normas tributárias extrafiscais pelo Poder Judiciário, colocando-se em destaque os princípios da igualdade e da proporcionalidade. / The main goal of this thesis is to investigate the constitutional limits on the use of non-fiscal purpose tax laws, contributing, with originality, to the development of methods that allow a more precise control of these instruments by the Judiciary Branch. To achieve such goal, the thesis was divided into four parts. The first part focuses in discussing the importance of segregation of tax laws in two groups: fiscal and non-fiscal, and analyzes the numerous methods proposed for such classification. The thesis suggests that non-fiscal purpose tax laws must be identified by their purpose, as interpreted by those responsible for applying the law. The second part investigates the constitutional basis that legitimates the use of non-fiscal purpose tax laws and discusses to what normative extent one can speak of tax neutrality. In the third part, the non-fiscal purpose tax laws are compared to the constitutional limits on taxation, to the conflict between regulatory competence and fiscal competence, to the constitutional concept of tax, as well as to the limits involving the tax species provided by the Federal Constitution. Finally, a model of decision making protocol is presented for use a mean of control by the Judiciary Branch of the non-fiscal purpose tax, highlighting the principles of equality and proportionality.

時尚設計師出面控訴快時尚品牌抄襲的新聞層出不窮，不乏設計師出面指稱現行法規對其保護不足，而時尚設計、服裝設計領域近期不斷以新穎之技術、手法融入設計當中，呈現出更多以往不可能呈現的造型，使得服裝設計越來越像藝術品，並不單單只是為了使人穿著，進而引發是否有必要將服裝設計與傳統藝術作品區別保護之爭辯。 根據美國國會2016年的報告顯示，全球時尚產業每年產值約1.75兆美金，過去曾有紡織王國美稱的台灣，也開始從過去的委託製造（OEM）致力轉型於委託設計製造（ODM），至今努力發展自有品牌（OBM），如何成功打入國際為本土品牌未來應努力之方向。歐盟地區有歐盟共同體設計規定，予以服裝設計周全之設計權保護；美國則長期受制於實用性物品原則之可分離性判斷，而長期無法提供服裝設計之著作權保護；我國雖未明文不予服裝設計著作權保護，但也長期處於不明確之狀態。對設計師而言，不明確之保護即為一不確定風險，將阻礙具創意的新設計之出現，此為台灣推行文化創意產業、將本土品牌推向國際、培育新一代設計師所需解決之問題。 本研究主要分為五章，除第一章為緒論外，第二章為時尚設計產業與國際保護現況之概述，第三章主要論述美國著作權法基本結構且以服裝設計為重心，並就前述基礎由實務案例加以歸納評析美國實務對於服裝設計著作權保護之態度，第四章主要論述我國著作權法基本結構且以服裝設計為重心，並就前述基礎藉由實務案例加以歸納評析我國實務對於服裝設計著作權保護之態度，第五章提出本研究之結論與建議。 經研究發現著作權法並非全然對於服裝設計不予以保護，僅係因立法政策與解釋論上之不穩定見解，導致保護的不確定性，希望透過此篇論文能夠提供我國主管機關解釋上之建議。 / Nowadays, copycat, knock-off accusements appear frequently within fashion design industry. Some of the scholars, industrial representors comment that fashion design is not copyrightable and shall not be protected. However, it is indisputable that fashion is an innovative and orginal form of art. Furthermore, fahion design consists of artisic expression and other unique features. Thus fashion designers and other kind of artists shall not be treated unfairly. This study focuses on copyright protection both in Taiwan and United States. And discuss to what extent shall we protect garment design and how we can seafeguard talented fashion desingers’s creative works. The study is divided into five parts. The first part is the introduction part. The second part is talking about the featues of fashion design industry and international rules which are related to fashion design. The third part focuses on copright law, domestic theoretical legal analysis and cases on garment design infringement lawsuits in the United States. The fourth part focuses on copright law, domestic theoretical legal analysis and cases on garment design infringement lawsuits in Taiwan. In the end, this study provides several suggestions for the Taiwanese adminstrtion agencies and juditial authorities.