[45183] in linux-announce channel archive
The Lost Frontier Handbook
daemon@ATHENA.MIT.EDU (Frontier Penicillin)
Thu Mar 21 08:13:50 2024
Date: Thu, 21 Mar 2024 13:13:47 +0100
From: "Frontier Penicillin" <FrontierPenicillin@patriotpowergeneratorx.best>
Reply-To: "Frontier Penicillin" <FrontierPenicillin@patriotpowergeneratorx.best>
To: <linuxch-announce.discuss@charon.mit.edu>
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The Lost Frontier Handbook
http://patriotpowergeneratorx.best/HoFyrDjSlvh3dnx7LEL6rSiIWro03u1teH5Uvk-b6AXDUNdt
http://patriotpowergeneratorx.best/D8_JxXN9qsZQeYPzqyF7WkFHmj0XNqpSvFBtHe2DSq0T3JZVNw
theories. First, the court held that the composers did not have a right of privacy under New York law because those who use public domain works may publish them along with the names of their authors. Second, assuming that it had the authority to issue an injunction for libel under New York law, the court rejected the defamation claim because the composers had failed to prove that the use of their music implied that they supported the message of the film. Specifically, the court held that, unlike copyrighted works—for which the public expects that their authors have consented to their use, probably in exchange for being paid—there cannot be an implication of support when a work is in the public domain and available for use by all.
The court addressed the composers' third and fourth claims together, concluding that their theory of injury "leads inescapably to the Doctrine of Moral Right". The court, assuming moral rights existed in United States law and recognizing that a court could grant a moral rights claim, held that the composers had not shown such a violation because there was no clear standard of adjudication. The court asked: "Is the standard to be good taste, artistic worth, political beliefs, moral concepts or what is it to be?" The court concluded that there was insufficient legal precedent to determine (1) whether moral rights existed, (2) how they interacted with the righ
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<title>Newsletter</title>
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<span style="color:#FFFFFF;font-size:10px;">theories. First, the court held that the composers did not have a right of privacy under New York law because those who use public domain works may publish them along with the names of their authors. Second, assuming that it had the authority to issue an injunction for libel under New York law, the court rejected the defamation claim because the composers had failed to prove that the use of their music implied that they supported the message of the film. Specifically, the court held that, unlike copyrighted works—for which the public expects that their authors have consented to their use, probably in exchange for being paid—there cannot be an implication of support when a work is in the public domain and available for use by all. The court addressed the composers' third and fourth claims together, concluding that their theory of injury "leads inescapably to the Doctrine of Moral Right". The court, assuming moral rights existed in United States law and recognizing that a court could grant a moral rights claim, held that the composers had not shown such a violation because there was no clear standard of adjudication. The court asked: "Is the standard to be good taste, artistic worth, political beliefs, moral concepts or what is it to be?" The court concluded that there was insufficient legal precedent to determine (1) whether moral rights existed, (2) how they interacted with the righ</span></center>
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