Works on Intellectual Property

The specific conditions in which civil society is formed in Russia are due to a long history, during which the people almost never possessed subjectivity, and the values of freedom, personal autonomy and responsibility, civic solidarity, etc. were not formed in the mass consciousness. Nevertheless, the author comes to the paradoxical, at first glance, conclusion that it is the pace and nature of the formation of a truly civil society depend on the State. However, there is no paradox here. On the one hand, Russia will not develop sustainably outside the democratic system. On the other hand, democracy, at least stable democracy, is impossible without a genuine civil society, without its developed institutions. At the same time, since society lacks the skills of civic solidarity, the skills of citizens’ demands on the state, etc., the process of creating a civil society can take many decades. But Russia does not have such a resource of time. In these circumstances, it is the state that must assume the role of a “caring gardener.” Of course, there is a danger of “nationalization” of civil society institutions. To prevent this from happening, the state itself must be properly organized, and this will become the basis for its interest in turning from subjects into citizens, in the emergence of a developed civil society, in changing stereotypes of consciousness and behavior not only of the active part of the people, but also of the relatively passive majority.

The article examines the patterns of digital transformation of society and dramatic changes occurring with a person in the digital world, affecting the problems of digital preservation of cultural heritage and knowledge of mankind. The extensive long-term experience in digital preservation of the cultural heritage of Russia and the USSR is summarized, the principles and issues of the “Preserved Culture” project are considered. An analysis of numerous examples of social cooperation of individuals in preserving heritage is given, a classification and brief analysis of social and legal problems in digital preservation of cultural heritage are given. Using the example of recommendation technologies and issues of development of the “Preserved Culture” project, the need to expand the concept of “heritage preservation” is substantiated and directions for the development of Russian legislation are proposed.

The article analyzes the patterns of teaching and development of scientific research in the field of information (digital) law in higher education in the post-Soviet space based on the materials of the Russian Federation and the Kyrgyz Republic. It is noted that in modern conditions, without high-quality information and legal training of undergraduate students, it is impossible to count on the successful implementation of relevant legal master’s programs. At the same time, the author proceeds from the fact that in order to deploy an effective master’s program at the relevant law university or at the law faculty of the university, there must be a scientific school formed, whose representatives will ensure the proper level of its implementation. Special attention is paid to the consideration of the issue of consolidating the main priority areas of information legal research.

The article provides the outcomes of the experiments on the reaction of target audience towards the visualization of the narratives in the songwriting art of three indie artists of Media Sharks record label founded at NRU HSE’s Faculty of Creative Industries. The categories for evaluating the neural network generated visualization in the music videos are described on examples of Kandinsky and Genmo in terms of tools for extra monetization for the streamed music audiovisual products for the benefit of indie artists. The research optics applied for determination of social value of generative visualization neural networks combines the tools of bibliometric analysis, historical-genetic analysis and case studies of the precedents of pioneering AI-generated music videos for the artists of Russian and global popular music stage. The experimental model for calculation of the additional profits for the streamed music artists from posting the AI-generated music videos as supplements to original streamed music products at YouTube video hosting is proposed for future broader academic discussion.

With the development of digital technologies, the familiarization of the public with works and related rights objects is facilitated by the placement of these objects on various information resources in information and telecommunication networks. Recently, information resources providing access to a significant number of materials, including those protected by copyright and related rights, have begun to be called digital platforms and online services. At the same time, the legislation to date does not clearly distinguish between these information resources and highlight the features of using materials on them. The article considers some elements of the interaction of authors and other rightholders with the owners of digital platforms, online services and other information resources, and also raises the issue of the possibility of liability of information resource owners in connection with the illegal use of copyright and related rights objects on these digital platforms.

The article explores the challenges posed by the emergence of generative artificial intelligence to copyright law, particularly regarding traditional concepts of authorship and creative works. The author examines the complexities of how the legal system might respond to works created by units of artificial intelligence, suggesting that significant regulatory changes are necessary. Special attention is given to the need for reassessing the legal paradigm in light of the increasing role of artificial intelligence in creating literary, musical, and visual works. The article highlights key issues such as the exponential growth of AI-generated content, which could overwhelm traditional creative markets and reduce human creativity. This could have far-reaching effects on intellectual property protection and the future of cultural production. In response, the author proposes several regulatory approaches, including shortening the protection term for works created by artificial intelligence and introducing limited protection for content created without significant human involvement. The author argues that these measures could help balance innovation with the protection of human creators’ interests, ensuring that copyright law keeps pace with technological progress. This approach would help the legal system better preserve the value of human creativity in a world increasingly dominated by automation. It will require a comprehensive review and possible overhaul of existing copyright laws to account for the unique characteristics of works created by units of artificial intelligence.