This WIPO toolkit offers a practical approach to the collective management of copyright and related rights.

What does the Coen Brothers’ Barton Fink have in common with Norman McLaren’s Synchromy? Or with audiovisual sculpture? Or contemporary music video? Composing Audiovisually interrogates how the relationship between the audiovisual media in these works, and our interaction with them, might allow us to develop mechanisms for talking about and understanding our experience of audiovisual media across a broad range of modes. Presenting close readings of audiovisual artefacts, conversations with artists, consideration of contemporary pedagogy and a detailed conceptual and theoretical framework that considers the nature of contemporary audiovisual experience, this book attempts to address gaps in our discourse on audiovisual modes, and offer possible starting points for future, genuinely transdisciplinary thinking in the field.

In Inner Sound, author Jonathan Weinel traverses the influence of altered states of consciousness on audio-visual media, explaining how our subjective realities may change during states of dream, psychedelic experience, meditation, and trance.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Recent years have witnessed a true technological revolution with a global impact upon all areas of society, from entertainment to education. Technology, changing and evolving at increasing speed, undoubtedly shapes ways of seeing the world, something which requires profound reflection in terms of how reality is understood. It is undeniable that in this audiovisual world music plays a leading and prominent role. This is particularly notable when considering the importance of music in relation to the way it is featured on mobile devices and as manifested in terms of other communication technologies, its impact on new narrative forms and the prominence of audiovisual fiction in advertising, and the new ways of creating, receiving and disseminating music on the Internet. This book is divided into two sections, “New Media, New Audiences” and “Music, Cinema and Audiovisual Practices: New Approaches”, and the sixteen essays brought together here are the work of an international group of scholars who deal with different geographical and cultural contexts. One of the highlights of this volume is its interdisciplinary re-reading of a complex phenomenon that is undoubtedly a fundamental part of contemporary culture. As such, this collection will be of particular interest to both scholars and non-specialist readers.

This third edition of Collective Management of Copyright and Related Rights presents an in-depth revision with invaluable updates on the different systems, legislative options and best practices of CMOs worldwide. As with previous editions, the book is written to reach a wide audience, with a special focus on questions that might emerge for governments as they prepare, adopt and apply collective management norms and regulations. The edition also sheds light on new copyright and related rights developments, including digital, technological and business trends, from all over the world. Additionally, there is detailed discussion on topics such as aspects of competition, national treatment, and different models of collective management.