Post by xyz2900 on Feb 11, 2024 5:58:57 GMT -5
Corroborating the famous “Moore's Law”, which states that every 18 months the technological capacity of devices and digital artifacts available on the market doubles, the entertainment and show business market has never demonstrated so much vigor and capacity for revival. After the economic debacle caused by what became known as the “Napster effect” [1] in the year 2000, the music industry, although still shaken by the unexpected change, seems to be beginning to move towards taking advantage of the paradigmatic moment to its benefit, as After all, it always has since the advent of the fabulous phonograph, invented by Thomas Edison at the end of the 19th century.
The venerable long-playing vinyl phonographic record, known worldwide as Long-Playing Record or simply LP, took the music market by storm, replacing the hitherto untouchable 78 RPM (rotations per minute) compact disc, a “disgrace” technology that only played on one side and produced more noise than actual musical sounds, but dominated the phonographic market for more Belize Email List than 30 years at the beginning of the 20th century. The LP reigned irreplaceable until the threshold of the 80s, when the Digital Era introduced itself to the market, with the advent of the compact disc with optical laser reading [ 2] compact disk or CD, definitively burying the contact between surfaces (the reading needle with the face of the discs) and inaugurating the optical reading phase.
Since then, technology has continued to be the absolute master of the developments experienced by the global entertainment market, leaving the legal community in an uproar – keen to protect copyright holders, guaranteeing them the receipt of legitimate financial compensation for the economic exploitation of his intellectual creations – and making computer users around the world happy, in possession of an infallible and free tool to access all the musical works of his veneration. However, with each new attempt to create legal safeguards, technological advances have erased the legal effort. This dizzying evolution of technology is unprecedented in the history of humanity and launches all of us, jurists, lawyers and legal scholars on an endless crusade to achieve the best method of control and administration of intellectual rights generated by the evolution of contemporary society.
The venerable long-playing vinyl phonographic record, known worldwide as Long-Playing Record or simply LP, took the music market by storm, replacing the hitherto untouchable 78 RPM (rotations per minute) compact disc, a “disgrace” technology that only played on one side and produced more noise than actual musical sounds, but dominated the phonographic market for more Belize Email List than 30 years at the beginning of the 20th century. The LP reigned irreplaceable until the threshold of the 80s, when the Digital Era introduced itself to the market, with the advent of the compact disc with optical laser reading [ 2] compact disk or CD, definitively burying the contact between surfaces (the reading needle with the face of the discs) and inaugurating the optical reading phase.
Since then, technology has continued to be the absolute master of the developments experienced by the global entertainment market, leaving the legal community in an uproar – keen to protect copyright holders, guaranteeing them the receipt of legitimate financial compensation for the economic exploitation of his intellectual creations – and making computer users around the world happy, in possession of an infallible and free tool to access all the musical works of his veneration. However, with each new attempt to create legal safeguards, technological advances have erased the legal effort. This dizzying evolution of technology is unprecedented in the history of humanity and launches all of us, jurists, lawyers and legal scholars on an endless crusade to achieve the best method of control and administration of intellectual rights generated by the evolution of contemporary society.