[LAB2]: NOT YET FULLY OPERATIVE
(February 2001, last updated January 2002)

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Examples of possible solutions

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DO NOT READ THESE SOLUTIONS unless you really have DEFINITELY retired from the Lab!
Leave NOW: Lab2 entrance is [here]

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[1) SARAH: copyrights galore]   [2) SCHOUMNUS: how many idiots click?]
[3) MELCHOM: stalking politicians and powerful puppeteers]   [4) MAGRAD: images, as different as snowflakes]

Loki, february 2001
First attempt to answer to challenge [1 : SARAH] of the seachal2.htm
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My targeted country for this challenge is France. I'm not 
an experienced seeker, and in term of evaluation the fact 
that the language used is my mother's one has done 50% of 
the job for me :)

I used the lexicon from ipr-helpdesk
in order to translate the "intellectual property" related terms the 
better i could.
First of all i have build a "pool" of sites that seemed related 
to our subject.

I used for that the meta search engine surfwax, 
the directory of search engines L'indicateur, the SE 
Google for his new hability to search inside 
PDF, and the librarian's index to the internet
All sites were collected in 2 hours (if i remember it right)
You can consult my draft on the attached file : lokipool.txt

The first step of our travel is law-perusing. In France when the 
intellectual property is concerned, we refeer to the Intellectual Property 
Rights.
You can find a copy of it here : http://www.rabenou.org/cpil.html

To sum up, here is defined what is an artistic work, the patrimonial 
right of the author, the moral rights etc ... all kind of author rights.
Note that compilations and translation are artistic works.

Let's have a deeper look at that part : Article L.131-1 - Article 
L.131-8 : Exploitation des droits

Article L.131-4 :
La cession par l'auteur de ses droits sur son úuvre peut être totale ou 
partielle. Elle doit comporter au profit de l'auteur la participation 
proportionnelle aux recettes provenant de la vente ou de l'exploitation.
Toutefois, la rémunération de l'auteur peut être évaluée 
forfaitairement dans les cas suivants:

1° La base de calcul de la participation proportionnelle ne peut être 
pratiquement déterminée;
2° Les moyens de contrôler l'application de la participation font 
défaut;
3° Les frais des opérations de calcul et de contrôle seraient hors de 
proportion avec les résultats à atteindre;
4° La nature ou les conditions de l'exploitation rendent impossible 
l'application de la règle de la rémunération proportionnelle, soit que la 
contribution de l'auteur ne constitue pas l'un des éléments essentiels 
de la création intellectuelle de l'úuvre, soit que l'utilisation de 
l'úuvre ne présente qu'un caractère accessoire par rapport à l'objet 
exploité;
5° (Loi N° 94-361 du 10 mai 1994) En cas de cession des droits portant 
sur un logiciel;
6° Dans les autres cas prévus au présent Code.</PRE>


In other words, the author can make a transfer of right, full or 
partial.  But this transfer gots to have a proportional remuneration to the 
author. Proportional to what ? The selling or the exploitation of the 
work.
The listed cases define some exeption to this law : instead of a 
proportional remuneration, you can have a contractual remuneration.

The articles from L.132-1 to L.132-17 are related to the contracts.
We have in the L.132-6 Article another case where contractual 
remuneration could be choose instead of proportional one. 
For a first edition of Scientifics Abstracts, Encyclopedia, 
Illustrations of a book, prayer books (!!!), cheap book for childrens etc ... 
It's the same for the journalism

That's for the Edition contract. There are other ones, you can have a 
presentation of them one the 
CALCRE site.
With these contracts, you can find an alternate way of editing your 
works, because, as the CALCRE said, and as we'll see it later, with the 
classical edition contract : 
"Soit que le pourcentage de droits d’auteur devienne scandaleusement 
bas, soit que l’éditeur pratique une rémunération forfaitaire là où elle 
n’est pas justifiée, soit enfin qu’il profite de certaines ambiguïtés 
juridiques pour minorer l’assiette des droits d’auteur (c’est-à-dire 
leur base de calcul)."
The alternates can let all the rights to the authors. The distributors 
are seen there as they'd have to be seen : as a SERVICE
	
Articles from L.321-1 to L.321-12 tells us that author can use Society 
of Authors to recieve their due. These one are often choose for 
musical, multimedia, computer programs authors
It's not the case for the book :
En d'autres termes, l'éditeur, sauf exception, ne paye pas directement 
l'auteur mais il partage la rémunération en provenance de la société 
d'auteur. Au contraire, dans la matière de l'édition littéraire, c'est 
bien l'éditeur qui verse directement à l'auteur ses redevances. Il en est 
ainsi parce que les éditeurs et les auteurs compositeurs, membres de 
sociétés d'auteur ont donné à celles-ci l'autorisation de gérer leurs 
droits. C'est donc, dans la plupart des cas, ces sociétés elles seules qui 
perçoivent la rémunération pour l'exploitation de l’œuvre et la 
rétrocèdent ensuite aux ayants droit.
http://www.chanson.ca/musiconseils/documentation/editionmusicale.html

So, we now have a first small representation of the general "artistic 
field" in France :

             transfer of rights
Authors -----------------------------> Editors
    ^                    		   ^ 
    | royalties                            |             
    Editors does a transfer of rights to the Society of Authors too
    |                     royalties        |
 Society of Authors -----------------------  

To finish with the law, you can find here an information report from 
the French National Assembly to the EU about the opening of the european 
art market 
http://www.assemblee-nat.fr/2/sae/rap-info/i1965.pdf
I haven't read it in detail, but it could be usefull for the next part
(internationalisation of our data ) 

So ... at that time we know that authors can suscribe to a Society of 
Authors. Who are they ?

SACEM: Music
http://www.sacem.fr/percevoir/conditions.html
5% on TV exploitation, 6% on Radio exploitation

	"La plupart des auteurs d'oeuvres de l'esprit ont confié à une société 
de gestion collective, notamment la SACD, la SACEM, la SCAM..., le soin 
de délivrer en leur nom les autorisations pour la représentation et la 
reproduction de leurs oeuvres. Ces sociétés d'auteur se sont regroupées 
dans la SDRM pour gérer spécifiquement le droit de reproduction 
mécanique."

Most authors have entrusted society of authors to deliver in 
their name the authorisation for representation and reproduction of their 
works. These society groups under the 
SDRM (La Société pour 
l'Administration du Droit de Reproduction Mécanique des Auteurs, 
Compositeurs et Editeurs ) to  manage the copyright of their works.
	On the SDRM site, we can find the wanted percentage that was our target:	
http://www.sacem.fr/percevoir/sdrm/prod5.html
"Le pourcentage est de 8 % sur le prix de vente au détail ou, à 
défaut, de 11 % sur le prix de gros publié aux détaillants (PPD)."
		
8% on the detail selling price, 11% for wholesale price. But there 
are abatements (a nice CD pocket reduce the percentage for exemple )
There's also a table for the minimum royalties on a CD.
		
SCAM : Documentary
http://www.scam.fr/ 

SACD : Fiction, theater, dance
http://www.sacd.fr/

For the cinema, we have here a
http://www.sacd.fr/Contrats_AV/cin%C3%A9ma%20mixte.pdf
typical contract. "Proportional royalties : ..... %"

ADAGP : Graphical Arts
http://www.adagp.fr/
http://www.adagp.fr/edition/fr/ju_drre.htm
A lawsuit beetween Frédéric Rossif, writer and realizer of "From 
Nuremberg to Nuremberg" and his editor.
Here, the percentage is at 3 % on a sale of a videotape.
	


Let's have a look now from the side of the editors 

http://www.calcre.com/
The edition world
http://www.calcre.com/res/sto/tomate.htm
Editors you need to avoid

Here you can download a guide on how to build Edition Contracts 
http://www.culture.fr/culture/mrt/numerisation/fr/documents/guide_elaboration_contrats.pdf

Here is a contract edition, but not with percentage, this one uses the 
method of "contractual remuneration"
http://landric.multimania.com/maitrise/animation/module4/contratedition.htm
	
Some books editors : 

Cylibris
They offer : 5% to 15% to authors, 50% on multimedia exploitation

Couleur Locale
"For a book of 150 pages, published in 200 specimens, sold 100 FF (French Francs )
- Print Cost : 15 to 30 FF 
- Librarian Stroke : from 30 to 50 % 
- the rest for the promotion
This last point exceed generally the others.
In consequence, the author owns rarely something (...)" (my poor 
translation of the interesting part)

now, the point of view of some authors on that subject

http://www.ac-nantes.fr/peda/disc/cdi/animlect/mayenne/elevhono.htm
10% for this one

http://ftp.univ-lyon1.fr/faq/by-name/fr/loisirs/bd
FAQ de fr.rec.arts.bd
8% to 12% for comics

I have collected some good documents, abstracts and other texts that 
discuss the subject of the author remuneration in France

http://www.u-paris2.fr/dess-dmi/articles/pla/artremaut.htm          
If you speak french, i recommand you to read that article from a 
student in DESS of Intellectual Property.
I've extract two interesting sentences, wich i'll try to explain :

"Le taux de la rémunération proportionnelle : L’art. L 131.4 ne donne 
aucune directive : le choix du taux est donc libre, en distinguant selon 
les modes d’exploitation. Cependant contrôle du caractère non dérisoire 
du taux : un pourcentage de 2.5/100 pour la rédaction de la 
quasi-totalité des textes ne peut apparaître comme sérieux et s’apparente 
nécessairement à une fraude à la loi (TGI PARIS 16.5.1969 D 1969.630). "
It is said that the choosing of a rate for the proportional 
remuneration is free .. but there is a minus, under 2.5% it is consider as 
"ridiculous" and is liable to the law.
(on verra que le recours au forfait devient de plus en plus fréquent 
sous l’influence des nouvelles technologies). 
The use of the contractual remuneration is more and more frequent under 
the influence of new technologies

Articles from http://www.u-paris2.fr/dess-dmi/articles/plaart.htm are 
indeed of great interest ! The newest one is an abstract about the 
Artistic License and the copyleft.


We have now some percentages on the domain of : Music, Books, Films and 
their derived
But there is some particular case. For exemple, the journalism. How 
much is paid a news authors ? Is it a contractual remuneration, or a 
percentage ?
You can access here to the site of the Journalists Trade Union where it 
is discussed

I think we have now a good base about the author remuneration in 
France. We can go a bit further trying to understand better the "artistic 
field" as we did a little above
A simple search on google with "filière du disque" gives interesting 
results :

www.sodec.gouv.qc.ca/etudes/pdf/ind_disque.pdf
It's located in Canada, i agree, but i think they are kinda valuable in 
france too 

On a 15.39$ Disc :
4.29$ to the Editors
1.41$ to musicians
0.84$ to author and compositor
1.44$ for the manufacture
2.96$ to the retailer
1.83$ to the under distributor
2.55$ to the main distributor"

http://www.sorbonne-av.edu/ancien_site_dess/fonds/synthese_filiere/synthese_filiere.html
Details about the artistic fields 


Now, we can try to generalise our information to the EU, and maybe 
later to the world :

Valuable information about the intellectual property can be found here:
http://www.ipr-helpdesk.org/t_fr/home.asp

Go here to access information about each country : 
http://www.ipr-helpdesk.org/t_en/p_001_en.asp
	
http://www.assemblee-nat.fr/2/sae/rap-info/i1965.pdf
On the pdffed report of the national assembly, we have a nice table that sum 
up for us the legal rate in some EU countries on page 27.
Here are some extracts :

France :  rate : 3%   thresold : 100FF  | managing of the 
rights by a society or individually
Belgium :rate : 4%   thresold : 50 000FB
Espana : rate : 3%   thresold : 300.000 Pesetas
Sweden :rate : 5% (...)

For the USA, a good start could be  the <a 
href="US Copyright Office Homepage

To sum up, there are multiples way to distribute artistic works, but 
few gives more that 10% on the sales to the author.
The artistic field is far too long :)
I believe the power of Internet's going to help the mutation of this 
field. Authors can promote and sell their book themselves on the net. No 
need to use Editors, Distributors etc ..

To point out that believe, i give you some links 'bout that mutation :
Authors Rights and New Technology (Monique Léger) : 
http://www.temps-reels.net/dossiers/dtsaut/leger.htm
"Key notions about author right with the test of networks" : 
http://www.multimania.com/mifr/recht/jurinfo/memoire/mem_noframe.htm
Copyleft and destabilisation of the Intellectual Property : 
http://perso.club-internet.fr/geraudd/4/preambule.html
Internet and author right : a problem : 
http://www.internetactu.com/archives/dossiers/edition/grenouille.html

These are in french ... my targeted country. I'm sure it'll easy to 
find international page related to that debate

Well searching is - as Fravia puts it - all Lore.  
It definitely is no science.  
Well to start out the importance of searching is so evident now a days. 
You want to learn more about any subject;) its out there. 
With many diffrent views on the subject.
For instance with the SCHOUMNUS Lab exercise. 
Its just a series of questions that needed to 
be  answered. And as you'll see you will get many different 
answers that you will have to evaluate. 

The way I see it there is five questions to answer
		1. How much money will media loose during the next year
		2. How much advertisment budget will be diverted toward the web
		3. Are people clicking more or less
		4. Visual tricks used to lure clicking
		5. How much does an advertisment campaign on the web cost

The next step is to figure out some keywords to begin with and then we 
will refine as we go.
		+banner* +advertisement
Well we've learned persuing Googles' archive that with the above 
keywords
		A. CPM= average banner cost per 1000 views
		B. Ad Click Rate= how often an ad gets clicked
		C. Theres an Internet Advertising Bureau
		
	Also some new keywords to look up
		+"internet statistics"
		+"market research"
		+advertising spending by media
		+internet and web revenue*
		+"advertising confidence index"
		+earning* report
		+revenue*

There! Now I think we're ready for the first question.
1. How much money will the media loose during the next year?
		Keywords- earnings report
			- revenues
			- media
			- "advertising confidence index"
  Here's some links that stand out:
  	myers.com/research/reports/me_confidence_pass.html
  	availme.com/boa4/market.index.jsp?x=market.industry23.html
  	availme.com/boa4.market.index.jsp?x=market.industry1.html
  	msdw.com/techresearch/inetad/
  	msdw.com/techresearch/inetad/iadc0222.pdf

Basicly even though a lot of "reports" say advertising budgets are 
going to increase for the year, the earning reports all say the same thing...
its getting tougher & tougher for media companies to make money. 
Advertising seditment is going down as well.

2. How much advertising budget will be diverted toward the web?
  		Keywords- market*
  			- advertis*
  			- budget*
  			- internet
  Here's some links that stand out:
  	webadvantage.net/tip_archive.cfm?tip_id=153&&a=1
  	webadvantage.net/tip_archive.cfm?tip_id=74&&a=1
  	thestandard.com.au/metrics/display/0,1283,978,00.html

There's not much reading between the lines with this one, 60-65% of 
revenues go toward marketing. With advertising spending being the number one 
expense.
This link is also very interesting; 
internetnews.com/IAR/article/0,,12_449801,00.html
this and many other articles that are all over the net about this issue
all say the same thing that, "shift away from relativey expensive TV 
advertising to online advertising and marketing. 

The percent of marketing budgets spent 
online increased to 59 percent in Q2 from 48 percent in Q1."

3. Are people clicking more or less?
		Keywords- "äverage click rate"
			- banner*
  Here's some links that stand out:
  	mrnews.com/12ts3ny/news/nnr-0401.html

Average click rates drop 37% to only a big 0.58%. That means for every 
200 ad impressions there is ONE click. Now thats real low and the follow 
through with the clicks is even lower meaning not everyone that clicks 
makes a purchase.

4. Visual tricks used to lure clicking.
		Keywords- advertis*
			- strategy
  Here's some links that stand out:
  	deca.org/7UPChallenge/webad.htm
  	webreference.com/dev/banners/research.html
  	adage.com/interactive/articles/19970113/article3.html
  	adage.com/interactive/articles/19960304/article1.html

So we see that there are many tricks to grap the users attention. There
are even contests to create "the greatest eye cathing banner".
Colours: Eye grabbing colours
Animation: Movement grabs users attention; frames
Frequency: A user must see the banner often
Placement: Banner gets more clicks next to the right scroll
	   @ the top & bottom of page
	   third of the page down etc.
Enticing Words: Free, Click Here, etc.

5. How much does an advertising campaign on the web cost?
		Keywords- CPM
			- advertis*
			- campaign
			- average
  Here's some links that stand out:
  	msdw.com/techresearch/inetad/inetad01.pdf  -->pg.38

All sites use CPM as a measure of how exspensive advertisng will be on 
their site. The average CPM is $30.00 dollars. 
The average marketing campaign will spend about $10,000 dollars 
on advertising "for the web" while a marketing campaign "on television" 
would cost - on average - $340,000 dollars.

So in conclusion if it cost $30 dollars to make 1000 people see an ad 
(CPM) that means 5 people will end up clicking that ad (Ad click rate). 
Thats 5 potential customers for only $30 dollars. A big cost difference 
in comparison to the old way - that used to be 'the only way' - television.  
Which probably explains why this avenue of advertising is so interesting 
for the advertisers and why they pour so much money into learning how to 
make it work.

1. Ray MacSharry 
http://www.google.com/search?q=cache:NfDJrmSuB-M:www.rte.ie/millennia/people/macsharryray.html+%2B%22ray+macsharry%22&hl=en
2. Franz Fischier
3. John Gummer -gummerj@parliament.uk , 
http://politics.guardian.co.uk/person/biography/0,9312,-2109,00.html
4. Kenneth Clarke
5. Kenneth Calman
6. Donald Acheson
7. Douglas Hogg
8. John MacGregor
9. Richard Packer
10. Ray Bradley -r.bradley@vla.maff.gov.uk , raybradley@btinternet.com
11. William Howard Rees 
-http://www.bseinquiry.gov.uk/files/ws/s126f.pdf
12. Keith Meldrum
13. Gilbert Castille
14. Southwood Members- 
http://www.bseinquiry.gov.uk/pdf/volume4/Whoswho.pdf 
(I completely forgot to talk about these guys :( sorry.)
15. http://www.quechoisir.org/dossiers/esb/deuxiemenote/gbnote.html
16. http://www.bseinquiry.gov.uk/files/ws/s145b.pdf -Don Curry
17. http://www.beef2000.co.uk/breed_societies/ -cattle breed societies
18. http://www3.mistral.co.uk/cgs/breeders.htm -another list of cattle 
breeders
19. http://www.farminguk.co.uk/breeders.htm -beef breeders
20. http://www.fooduk.com/list.asp?Cat=34&Start=101 -beef producers
21. http://www.ledu-ni.gov.uk/leduweb/Product.asp?CATID=330&type=4 
-companies using animal by products
22. http://www.bseinquiry.gov.uk/report/volume5/chapte62.htm -early 
warnings 
about breeding
23. http://www.bseinquiry.gov.uk/files/ws/s147.pdf -Colin Maclean
24. http://www.bseinquiry.gov.uk/files/ws/s510.pdf -Kate Timms
25. http://www.bseinquiry.gov.uk/files/ws/s511.pdf -David Durie
26. http://www.bseinquiry.gov.uk/files/ws/s487.pdf -MLC Statement
27. http://www.bseinquiry.gov.uk/files/yb/1994/02/25005001.pdf -letter 
to R. 
Steichen
28. http://www.channel4.com/news/home/20001026/Story01.htm -channel 4
29. http://europa.eu.int/comm/index_en.htm
30. 
http://www.health.fgov.be/WHI3/krant/krantarch2000/kranttekstnov/001123m14eu.htm
31. http://www.mad-cow.org/~tom/coverup_memo.html

http://directory.google.com/Top/Business/Resources/Directories/Europe/United_Kingdom/,
switchboard.com, bigfoot.com, http://ciir2.cs.umass.edu/Govbot/, 
Infospace.com, people.yahoo.com, home.wizard.com/wwpr.html, 
worldpages.com/reshome.html, worldmail.com/wede4.shtml, who-me.com, 
whowhere.com, bt.com/phonenetuk/, tis.telekom.si, phonebook.com.sg, 
samoa.co.uk/phone.html, one7.com, whitepages.co.nz, 
telefoungids.ptt.telecom.al, www2.hkt.com/hkt/dqi/, infobel.be, 
whitepages.com.au, anywho.com, infophil.com/World/Alumni/, kadima.com, 
aol.com/netfind/emailfinder.adp, aol.com/netfind/yellowpages.html blah 
blah 
blah

1. How easy (or difficult) was it to figure out the correct approach?
2. Was the formulation adequate to help you plan your search?
3. Which search-approaches and strategies did you choose?
4. Did you use any "classical" search engine? If so which ones?
5. Did you use any "special" search engine? If so which ones?
6. How many results did you retrieve?
7. What proportion of the results were relevant to your perceived information requirements?
8. How current were the results? How many 404s?
9. Was the amount of detail displayed with the results enough to allow you tho evaluate?
10. Was the order in which the results were displayed evident or apparently illogical?
11. What other features contribute to (or detract from) the utility of the tools and approaches you choosed?
12. Did you time your query?

Feedback, critics, suggestions, ameliorations... welcome!

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