Bibliographie sélective OHADA

This study examines and critiques New Zealand intellectual property protection for industrial designs, taking into account that many New Zealand industrial design owners outsource manufacture of their designs to China. Industrial design, which refers to improving the aesthetics of products to increase their marketability, is evolving conceptually and practically. In New Zealand, copyright and registered design laws each protect, respectively, the visual expression and the “eye appeal” of an original design. As design practices evolve with advances in technology however, it is increasingly evident that industrial design is about more than just visual expression or “eye appeal”. Many designers are not focusing solely on product stylisation and decoration, but on the provision of a more holistic product experience for the consumer. The development process of industrial designs from concept to marketable product is also changing, with many New Zealand industrial design owners employing increasingly efficient design development strategies. The fast-paced, cost-effective infrastructure of China is often utilised by New Zealand businesses for the manufacture of industrial designs. This study therefore sought to determine how to appropriately protect New Zealand industrial designs, in light of: a. foreseeable advances in technology; and b. the fact that many New Zealand industrial designs are manufactured in China. To answer these questions, this study examined and analysed New Zealand’s copyright and registered design laws, taking into account not only existing protections, but also factors that are likely to be of significant relevance in the future, such as the impact on industrial design from developments in 3D printing and virtual reality. The Chinese intellectual property regime for industrial designs was also examined because China is a major trading partner and often, as noted, the locus of manufacture. The study included an empirical investigation, in the form of interviews with designers and design academics as well as legal practitioners specialising in intellectual property law. The input of the interviewees, together with the legal analysis, informed a series of suggestions and recommendations for New Zealand policy and its law-makers regarding how industrial design protection can be improved. A key finding of this study was that existing legal protections do not appropriately protect increasingly holistic designs, as well as new types of designs emerging from developing fields such as virtual reality. In assessing the appropriateness of protection, the interests of industrial design owners were balanced against the public interest in protecting the public domain. It is suggested that to achieve equilibrium copyright law should be expanded to protect design expressions for all senses. Moreover, new categories of copyright protected works should be introduced to accommodate emerging design. The definition of design in registered design law should also be reconceptualised in order to acknowledge new types of designs and evolving design practices. Industrial design owners who outsource manufacturing to China can protect their designs via copyright as well as design patent. However, enforcement of intellectual property protection is unsatisfactory in many areas of China. Therefore, New Zealand industrial design owners should also employ non-legal protection strategies. Interviews with successful businesses, in the course of the empirical investigation for this study, revealed that the leveraging of existing relationships of those with already established operations in China, and intentionally splitting an industrial design’s component parts for manufacture among several factories in different locations, are useful strategies to employ.

Le Code civil égyptien connaît depuis sa promulgation en 1949 la révision pour imprévision. Le texte est rédigé en termes limpides et a fait l’objet de maints arrêts de la Cour de cassation. Un demi-siècle plus tard, le droit d’auteur a consacré cette question dans un texte dont les termes ambigus confondent lésion et imprévision et auquel la jurisprudence reste réticente. Cette étude essaie d’aborder l’imprévision en droit commun et son articulation avec le droit d’auteur, une telle articulation pouvant révéler la nécessité d’une réforme du texte spécial. The Egyptian Civil Code, since its enactment in 1949, recognizes the revision for unpredictability. The text is written in clear terms and it is the subject of numerous decisions of the Court of Cassation. Half a century later, copyright law has enshrined this issue in a statute whose ambiguous terms confuse substantive inequality and impracticability of contract caused by un event unpredictable and to which case law remains reluctant. This study tries to shed the lights on the unpredictability in civil law and its articulation with copyright. Such an articulation could reveal the need for a reform of the special text.

The internet and digital technologies have irreversibly changed the way we find and consume news. Legacy news organisations, publishers of newspapers, have moved to the internet. In the online news environment, however, they are no longer the exclusive suppliers of news. New digital intermediaries have emerged, search engines and news aggregators in particular. They select and display links and fragments of press publishers’ content as a part of their services, without seeking the news organisations’ prior consent. To shield themselves from exploitation by digital intermediaries, press publishers have begun to seek legal protection, and called for the introduction of a new right under the umbrella of copyright and related rights. Following these calls, the press publishers’ right was introduced into the EU copyright framework by the Directive on Copyright in the Digital Single Market in 2019.

That intellectual property is the creation of ideas in the form of new discoveries, literary works, and works of art, symbols, names and images used in trade. Of course, intellectual property is closely related to the world of commerce because its emergence is triggered by the desires of the members of the World Intellectual Property Organization who want to protect their economies in the era of free trade. In this case how the form of protection of intellectual property rights in the perspective of international trade, it can be seen that basically the laws and or regulations in every country in the world are different and each country has the right to implement its own legal rules in the jurisdiction of their country.

Le juge togolais a rendu une intéressante décision sur la contrefaçon en cas de cumul des droits, notamment de brevet et de marque, sur un produit. D’un côté, quant à l’appréciation de la contrefaçon de brevet d’invention, ne constitue pas une contrefaçon, la mise sur le marché d’une invention dont le mécanisme a une double fonction distincte de l’unique fonction de l’invention protégée. De l’autre, l’apposition de la marque d’autrui sur les emballages et l’étiquette du prix d’un produit constitue un comportement gênant et troublant susceptible de donner lieu à une réparation du dommage subi par le propriétaire de la marque. La portée de la décision dépasse de loin les seules conséquences de la contrefaçon. Elle implique également que, la propriété intellectuelle étant fille de la liberté de commerce et de l’industrie, l’appréciation de la contrefaçon ne puisse oblitérer l’aspect concurrentiel de ces droits. La liberté de commerce et de l’industrie peut donc aussi bien intervenir pour soutenir les titulaires de droit de propriété intellectuelle que pour encadrer leurs pratiques.

Les États membres de l’OAPI forment un espace d’harmonisation du droit d’auteur en Afrique. Cette harmonisation est encore inachevée. Les règles conventionnelles relatives au contrat d’édition en témoignent. Aussi, enquêter sur le contrat d’édition dans l’espace OAPI nécessite un examen tant du texte de l’Accord de Bangui que des lois nationales des dix-sept États membres, dont il faut relever quelques différences sans éluder la question d’éventuels conflits de lois.

بعد بدايات بروز الحماية القانونية للحق الفكري في القرون الوسطى كان لابد من ايجاد الوسائل والتنظيمات القانونية لجمع هذه الاعمال الفكرية بمعية جهاز متخصص لحفظها ووقايتها لما تكوَنه من التراث الثقافي الوطني، فقد ظهرت عدة أنظمة لإيداع الأعمال الفكرية على اختلاف اعتباراتها، فمنها من نظر إليها كوسيلة للحماية والمحافظة وحصر العمل الفكري، ومنها من اعتبرها كشرط للحصول على الأرباح التجارية أو بصورة أخرى كإجراء ضروري من أجل عرضها على الجمهور، وتماشيا مع ذلك بدأت القوانين الدولية والوطنية في تنظيم هذه المسائل التي تؤطر إجراءات الإيداع وحماية الأعمال الفكرية. سار النظام التشريعي في الجزائري على غرار باقي التشريعات لتنظيم عملية الايداع القانوني للأعمال الفكرية حيث يرجع بدايات العمل بنظام الإيداع في الجزائر للقوانين الموجودة في فرنسا وتطبيقها في الجزائر فنظمت عملية الايداع بموجب أوامر الجنرال كافينياك في 13 مارس 1848و استمر العمل بنظام الإيداع القانوني على جملة من القوانين الفرنسية إلى غاية سنة 1996 أين تم إقرار قانون الإيداع الوطني الجزائري بموجب الأمر رقم 96-16 مؤرخ في 02 يوليو 1996 لوضع حد للتجاوزات والانتهاكات للموروث الفكري الوطني. After the beginnings of the Legal protection of intellectual right in the Middle Ages, that make it necessary to find the means and legal regulations to collect these intellectual works, With a specialized apparatus To save and protect them, As it forms a national cultural heritage. There have been several systems for filing intellectual works of different considerations, some of them viewed it as a means of protection, preservation and confinement of intellectual work, and some consider it a condition for commercial profit or otherwise necessary for public viewing, In line with this, the international and national laws have begun to regulate these issues, which frame deposit procedures and the protection of intellectual work. The legislative system in Algeria and the others legislations regulate the legal deposit of intellectual works, so the introduction of the deposit system in Algeria is due to the laws in France and their application in Algeria, the deposit was organized by General Caviniac's orders on March 13, 1848, that the legal deposit system continued on a number of French laws until 1996, the Algerian National Deposit Act was adopted by Order No. 96-16 dated 02 July 1996, to end abuses and violations of the national intellectual heritage.

Os regimes da propriedade intelectual enfrentam problemas de adaptação no cenário contemporâneo. O surgimento da Economia Criativa, de um lado, e a evolução do próprio conceito de arte, de outro, provocaram uma aproximação entre artigos industriais e obras artísticas, passando estas a serem produzidas também dentro de uma lógica comercial. Essas mudanças não foram acompanhadas pelo Direito, resultando em institutos jurídicos que hoje não se aplicam apropriadamente, ao tutelarem excessivamente bens considerados como artísticos (tais quais esculturas, desenhos, fotografias e filmes), ao mesmo tempo em que dispensam tratamento menos restritivo para produtos semelhantes, de setores econômicos em ascensão, como artigos de design. Este trabalho confirma a hipótese de que tal descompasso se deve à manutenção da divisão histórica das categorias da propriedade intelectual (a propriedade industrial e os direitos autorais), engessando a visão clássica da separação entre arte e indústria. Como solução, propomos uma série de diretrizes para orientar eventuais reformas legislativas, como também a doutrina e a jurisprudência, visando a reduzir a defasagem tanto entre os dois regimes jurídicos, quanto entre sua fundamentação original e a realidade atual de sua tutela.

This work is concerned with an analysis of the copyright protection of musical works. Musical works form part of the categories of works protected under copyright law. It would be easy to dismiss musical works as not warranting a serious study, as would for example, be warranted for “industrial property” rights such as patents and geographical indicators, or more “serious” copyrights such as architectural works and computer software. Such a perspective would however, not be cognisant of the significant contribution that the music industry, as part of the broader cultural and creative industries makes to the global economy. It has, for example, been shown that in 2013, the global cultural and creative industries contributed some US$2,250b, employing some 29,5 million people, with the music industry being one of the top three employers and with its revenues exceeding those of radio.1 A single successful musician can earn in excess of US$100m per annum,2 making the industry ripe for litigious claims. For this reason therefore a consideration of the legal rules that apply to the protection of musical works is crucial. There is currently no clear exposition and systematic analysis of the legal principles applicable to the field of music copyright and no work devoted to the in-depth delineation of the rights and sub-rights relating to musical copyright protection. This study seeks to address this research and knowledge gap by providing a historical and contextual analysis of the protection of musical works. The aim is to provide a complete picture of the milieu of music copyright protection to enable the reader to feel empowered in dealing with the subject-matter. This the writer does by mapping the historical development of music copyright protection in particular from eighteenth century England when the first copyright legislation was enacted, until the enactment of the British Copyright Act of 1911, which signalled the emergence of the “common law” copyright system. The writer then shows how this enactment shaped the development of modern music copyright law, and concludes by presenting a contextual consideration of the current South African law of music copyright and highlighting the challenges it is faced with.

L’évolution d’une économie industrielle vers une économie de la connaissance et du savoir a propulsé la propriété intellectuelle sur le devant de la scène. Désormais les droits intellectuels s’intègrent à tous les domaines de la vie moderne. De ce fait, le besoin de les protéger efficacement par des règles juridiques appropriées et d’inciter en conséquence les créateurs à produire de nouvelles créations est devenu une nécessité de premier ordre. Cependant, la spécificité de la nature de l’œuvre protégée par la propriété intellectuelle exige la prise en considération de multiples intérêts antagonistes. C’est pourquoi le législateur a cherché, au nom de l’intérêt général, à créer un juste équilibre interne entre les principaux intérêts présents au sein du régime de la propriété intellectuelle. Or, l’exercice des prérogatives octroyées par le régime de propriété intellectuelle effectué par le titulaire de droit a généré une importante expansion de ses intérêts au détriment des autres intérêts concurrents – présents dans la matière. Cette situation a provoqué, en conséquence, une rupture de l’équilibre interne de ce système, préétabli en amont par le législateur. Or, l’intérêt général peut jouer un rôle central dans le rétablissement d’un équilibre en la matière. Dans cette perspective, le juge peut, grâce à son pouvoir créateur de règles jurisprudentielles, se servir de l’intérêt général comme d’une ligne directrice servant à rétablir ce juste équilibre dans le système de la propriété intellectuelle. L’intérêt général justifie donc, tout autant que les limites intrinsèques aux droits de la propriété intellectuelle, les limites extrinsèques à ces droits

This thesis is a comparative analysis of the provisions on the seller’s duty to deliver the goods free from any third-party intellectual property rights (IPRs) under the United Nations Conventions on the International Sale of Goods (CISG) and the UK Sale of Goods Act 1979 (SGA). As a consequence of technological advancement, there has been an increased observance of the interaction between intellectual property rights (IPRs), which are intangible property rights, and tangible goods. As a result of this interaction, growing numbers of goods, which are either subject to IPRs as a whole or that possess an IP-protected component, have become subject to sales agreements. The circulation of the goods around the world increases the likelihood that third-party IPRs over the goods will be infringed. This risk of infringement also raises the possibility that the application of IP law remedies will prevent the buyer from reselling or using the goods in question. This study is concerned with the question of how the sale of goods is affected by third-party IPRs, and it proposes to undertake a comparative analysis of the provisions that determine the seller’s liability when third-party IPRs arise in relation to goods that are sold under the CISG and the SGA. It seeks to determine which instrument offers sufficient protection that will benefit the buyer. In attempting to reveal the sufficient protection, it also undertakes a comparative analysis of the remedies that are available to the buyer under the CISG and the SGA when third-party IPRs over the goods are raised. With regard to the widely acceptance of the CISG by 89 states, and the dominant role of English law in commercial law and its preference as a governing law to most contracts, it is aimed to determine the differences and similarities between the CISG and the SGA, and the practical consequences of their application to the contracts when third-party IPRs over the goods arise. The thesis will seek to determine if the text of the relevant CISG articles can be improved and will accordingly formulate proposals that work towards this outcome.

How do we legislate for the unknown? This work tackles the question from the perspective of copyright, analysing the judicial practice emerging from case law on new uses of intellectual property resulting from technological change. Starting off by comparing results of actual innovation-related cases decided in jurisdictions with and without the fair use defence available, it delves deeper into the pathways of judicial reasoning and doctrinal debate arising in the two copyright realities, describing the dark sides of legal flexibility, the attempts to ‘bring order into chaos’ on one side and, on the other, the effort of judges actively looking for ways not to close the door on valuable innovation where inflexible legislation was about to become an impassable choke point. The analysis then moves away from the high-budget, large-scale innovation projects financed by the giants of the Internet era. Instead, building upon the findings of Yochai Benkler on the subject of networked creativity, it brings forth a type of innovation that brings together networked individuals, sharing and building upon each other’s results instead of competing, while often working for non-economic motivations. It is seemingly the same type of innovation, deeply rooted in the so-called ‘nerd culture’, that powered the early years of the 20th century digital revolution. As this culture was put on trial when Oracle famously sued Google for reuse of Java in the Android mobile operating system, the commentary emerging from the surrounding debate allowed to draw more general conclusions about what powers the digital evolution in a networked environment. Lastly, analysing the current trends in European cases, the analysis concludes by offering a rationale as to why a transformative use exception would allow courts to openly engage in the types of reasoning that seem to have become a necessity in cases on the fringes of copyright.

Over the last years, academics, practitioners and policy makers have focused their attention on an emerging technology: three-dimensional printing (“3DP”). 3DP is often portrayed as a game changer, showing the potential to disrupt established socioeconomic paradigms and exert profound implications in disparate areas of law. 3DP not only is well integrated in the manufacturing industry, but also increasingly adopted at consumer level. Recent developments have made it possible for ordinary people to take an active role in the production, customization and distribution of goods, and likewise paved the way for the proliferation of new market entrants, such as 3DP online platforms. Against this background, this thesis aims to shed some light on the implications that 3DP may have for Intellectual Property Law. In particular, this work attempts to predict and grasp the consequences that the digitization of real world things may carry in the area of IP law, both from the side of protection and infringement. This contribution is intended to create general awareness about the current state of the art and likewise delineate possible future scenarios in the 3DP ecosystem. The research question at the core of the analysis is whether the current legal framework of different IPRs already offers suitable means for regulating the thin dividing line between the digital and the analogue world, or rather needs to be amended, in order to cope with such a fascinating reality. To this end, the analysis contributes insights to the best legal treatment that CAD files shall receive, in case such files embed products protected by copyright, designs, patents and trademarks. Hence, it addresses right owners’ concern that the online transmission of CAD files, combined with the ease of converting such files into the final printout, will facilitate mass-scale and worldwide infringement of all IPRs.

La détention et l’exploitation de l’information apparaissent au cœur du développement de l’économie contemporaine, faisant de l’identification ainsi que de la protection de l’information des enjeux permanents pour les opérateurs économiques. Mais toutes les informations ne se valent pas. Seules celles bénéficiant d’une protection directe ou indirecte et conférant un avantage concurrentiel font l’objet d’un contrôle attentif des entreprises et des autorités de concurrence. Dans ce contexte, les libertés économiques, circonscrites à la liberté contractuelle, la liberté d’entreprendre et la libre concurrence, constituent, alternativement, un guide, un support ou une limite à la divulgation de l’information protégée. Justifiant l’absence de divulgation de certaines informations protégées, les libertés économiques consacrent le respect des secrets d’affaires. A l’inverse, elles peuvent imposer une divulgation et en dicter les modalités. Suivant un mouvement de balancier, les conditions de divulgation de l’information protégée, au sein d’échanges informels, dans le cadre d’opérations de normalisation, ou dans une optique de libre mise à disposition, influencent à leur tour les libertés économiques qui s’en trouvent contraintes, renforcées ou renouvelées. Au regard de ces interactions constantes dessinant un cadre évolutif, il importe de s’interroger sur la réalité de l’autonomie de la volonté des opérateurs économiques dans la gestion de leurs informations protégées.

En el presente trabajo se propone estudiar al arbitraje en materia de propiedad intelectual desde una perspectiva procesal, con miras a contribuir a la eficiencia y eficacia de su procedimiento. La especial idoneidad del arbitraje como mecanismo de resolución de estas controversias, muestra la fuerte conexión entre los derechos de propiedad intelectual y el arbitraje. Sin embargo, del estudio empírico realizado se revela una disonancia entre el desarrollo de los derechos de propiedad intelectual y la evolución del arbitraje en la materia. A partir de esta primera constatación, se profundiza en la identificación de tres obstáculos clave en el funcionamiento del arbitraje y se sugiere recurrir al derecho procesal como método de solución de los mismos. Finalmente, se proporcionan herramientas concretas de solución en materia de arbitrabilidad, intervención de terceros y efectos del laudo. Todo lo anterior con el objetivo de consolidar al arbitraje como un mecanismo de resolución de disputas en materia de la propiedad intelectual.

La "gratuité" trouve à s’accorder avec le droit d’auteur et ce, de différentes manières.Il est ainsi possible, d’une part, d’envisager la « gratuité » en droit d’auteur sous l’angle de l’auteur en l’appréhendant comme étant le « moteur » de la gratuité en lui reconnaissant la faculté de réaliser des actes de cession ou de mise à disposition à titre gratuit. Néanmoins, si le Code de la propriété intellectuelle vient reconnaître cette faculté, il ne vient pas encadrer ces actes pour lesquels il peut ressortir, de la part de l'auteur, des attentes qui dépassent la notion même de « gratuité » dans son aspect premier. En ce sens, il est alors important de comprendre comment la "gratuité" peut être présente dans des actes qui, par définition, pourraient être qualifiés d’actes à titre onéreux.D’autre part, il est possible d’envisager la "gratuité" sous le champ de l’usage. En effet, la spécificité du droit d’auteur faisant que ce dernier englobe une partie des notions de droit public, notamment dans la recherche d’un équilibre entre intérêt privé et public, il apparaît opportun de s’arrêter sur ce pan de la "gratuité" qui se retrouve dans l’usage à titre gratuit au profit du public. Si la recherche de cet équilibre entre propriété privée et intérêt général profite au public, cette gratuité d’usage prévue par les textes voit son encadrement être modifié par l’évolution des usages. De plus, l'appréhension de la "gratuité" d'usage des biens culturels organisée économiquement dans l’environnement numérique ramène sensiblement la "gratuité marchande" à ce qu’elle était à l’origine : une stratégie commerciale. Ainsi, la notion d’usage "commercial" ou "non commercial" est corrélée à celui de l’usage à titre gratuit et tend même à encadrer ce dernier.