Copyright 21.2.

2002 16:40 Page 1

ART’S A WASTE OF TIME!

JUST FORGET
ABOUT IT!

ARCO
WANTS TO
STUDY MUSIC,
BUT HIS
PARENTS ARE
AGAINST
THE IDEA
…

IT’S NOT FAIR! WHAT’S UP, MARCO?

WHY SHOULDN’T I BE
AN ARTIST? MY PARENTS SAY…
THAT I’M BOUND TO STARVE!

THEY’VE GOT IT WRONG! LET’S SEE WHY!

Copyright 21.2.2002 16:40 Page 2

THEY’VE GOT MY UNCLE AND AUNT MADE FUN OF ME, THEY STUCK
TOO, WHEN I SAID I WANTED TO BE BY ME
NO RESPECT
AN ARTIST…
FOR ME!

IS THAT
RIGHT? WHAT
ABOUT YOUR
PARENTS?

LUCKY YOU!

MY DAD CAN YOU IMAGINE A WORLD BOOKS MUSIC

ASKED WITHOUT ARTISTS?
THEM…

FILM THEATER

ART DANCE

TELEVISION SCUL

ACTUALLY... IT WOULD BE BORING! IT WOULDN’T

BE LIFE!

G R IM!
Copyright 21.2.2002 16:40 Page 3

WITHOUT THE ARTS, HUMAN BEINGS THERE ARE PEOPLE WHO DON’T
WOULD BE… LESS HUMAN, MORE LIKE CONSIDER ART TO BE WORK, SO THEY
ANIMALS IN THE WILD… HAVE NO IDEA OF THE RESPECT THAT
AUTHORS DESERVE.

BUT STILL…

THAT’S IT! THAT’S JUST HOW MY PARENTS ARE! YOU’RE GOING TO STARVE,
MUSIC MAN, YOU’LL SEE…
BOOKSTORE

WRONG, BECAUSE I ALREADY KNOW HOW

HO, HO, HO! TO EARN RESPECT!

R U B B I SH!
THAT’S JUST TALK!
Copyright 21.2.2002 16:40 Page 4

WHAT A SURPRISE
HI! WHAT’S GOING ON? HI, CHULI!
TO SEE YOU HERE!

WE’RE TALKING ABOUT HOW I CAN MAKE A LIVING

FROM MY ART.

THINK, MARCO:
CAN COPYRIGHT HELP ME MAKE
WELL, THAT’S A LIVING FROM MY ART?
YOU’RE WALKING
E A SY! DOWN THE
STREET…
JUST CLAIM
COPYRIGHT.

OF COURSE NOT, SILLY!

AND YOU SEE A HOUSE OR A CAR THAT YOU LIKE… ONLY IF IT’S MINE…
CAN YOU JUST TAKE IT?

OR IF THE OWNER
LETS ME.
Copyright 21.2.2002 16:40 Page 5

THAT’S IT: IF YOU COMPOSE A SONG OR WRITE A BOOK, WHAT ARE

EVERYONE KNOWS THAT, YOU IN RELATION TO IT?
R I G HT? SO…

WELL… THE AUTHOR!

TO DO THAT HE WORKED HARD, INVESTING TIME, EFFORT,

WELL, THE AUTHOR’S TALENT, AND OFTEN HIS OWN MONEY.
THE OWNER OF HIS
WORK; IT’S HIS BECAUSE
HE CREATED IT. OK.

AND NO ONE CAN TAKE AWAY PROPERTY

WITHOUT THE OWNER’S PERMISSION.

THE ONLY ONE WHO CAN DISPOSE OF A WORK, BY SELLING OR HIRING IT, ALLOWING IT TO BE
REPRODUCED, LICENSING IT AND SO ON, IS THE AUTHOR.
Copyright 21.2.2002 16:40 Page 6

SO… IF I CREATE OF COURSE, AND

THEN YOUR PARENTS THE DIFFERENCE IS THAT
A WORK, CAN I HOUSES AND CARS ARE
MAKE MONEY WILL LEAVE YOU
IN PEACE. THINGS YOU CAN TOUCH…
OUT OF IT?

BUT ALL GOODS, BOTH

INTELLECTUAL CREATIONS (SONGS, POEMS, SCREENPLAYS, PHYSICAL AND INTELLECTUAL,
DANCES, ETC.) ARE THINGS YOU CANNOT TOUCH. HAVE OWNERS WHOSE
RIGHTS SHOULD BE
RESPECTED.

THE MEDIUM
IS PHYSICAL
(PAPER, CD,
TAPE), THE
CREATION IS
INTELLECTUAL

SO, IF YOU WANT TO BE A PERFORMER AND MAKE A LIVING FROM YOUR CREATIVE
WORK, YOU NEED TO KNOW MORE ABOUT COPYRIGHT.
Copyright 21.2.2002 16:40 Page 7

HOW DO YOU KNOW SO MUCH

THEY GAVE ME THIS
ABOUT IT?
BROCHURE TELL US
ABOUT IT, THEN!

I WENT TO THE COPYRIGHT

OFFICE AND…

WE’VE SEEN THE VALUE OF CREATIVITY

THE MAIN
PART…

CREATIVITY MAKES THE WORLD

GO ROUND…

THE IMPORTANCE OF REMEMBERING WHICH GIVES HIM RIGHTS THAT

THAT THE AUTHOR IS THE OWNER OF HAVE TO BE RECOGNIZED AND
HIS WORK,… PROTECTED
Copyright 21.2.2002 16:40 Page 8

ONLY HUMAN BEINGS ARE CAPABLE OF PRODUCING INTELLECTUAL

WHO CAN BE WORKS, SO AN ANIMAL, MACHINE OR INSTITUTION CAN’T BE
AN AUTHOR? AN AUTHOR.

SORRY,
AURORA…

YOU ONLY MIMIC, YOU DON’T CREATE.

POOR LITTLE THING! YES, THERE’S ALSO…

BUT AREN’T THERE
OTHER KINDS OF
AUTHORSHIP? THE AUTHORSHIP OF AND THAT OF WORKS
JOINT AUTHORSHIP, CREATED FOR AN
PSEUDONYMOUS
WORKS (WRITTEN EMPLOYER.
UNDER AN ASSUMED
NAME),

THAT OF
ANONYMOUS
(UNSIGNED) WORKS...

AND WHAT IF THE TWO IT’S GENERALLY PRESUMED THAT THE RIGHTS IN WORKS
SIDES DON’T AGREE ON CREATED ON COMMISSION OR AS AN EMPLOYEE
A N Y T H I NG? HAVE BEEN ASSIGNED TO
THE EMPLOYER.

WELL,
Copyright 21.2.2002 16:40 Page 9

COPYRIGHT PROTECTS CREATIONS IN THE FORM OF LITERARY

SO…
AND ARTISTIC WORKS, WHATEVER THEIR NATURE,
MERIT OR PURPOSE.

SOCIOLOGY
POETRY

IT’S ALWAYS A GOOD IDEA SO IT’S NOT ESSENTIAL TO

DO YOU HAVE TO REGISTER A WORK, BUT REGISTER; THAT MAKES
TO REGISTER THE RIGHTS ACTUALLY COME COPYRIGHT DIFFERENT FROM
THE WORK TO FROM THE ACT OF CREATING T R A D E M A R K S…!
Q U A L I FY? THE WORK… RIGHT

COPYRIGHT IS IN THE CREATION, SAY YOU BUY A CD; YOU’RE ALLOWED TO LISTEN
LIKE MUSIC… AND THE RIGHTS OF TO IT, BUT NOT TO MARKET THE SONG…
THE BUYER ARE IN THE PHYSICAL
OBJECT, LIKE THE CD.

ER… SORRY?… RIGHT: I OWN THE CD, BUT THE

I DON’T GET IT AUTHOR OWNS THE CREATION.
Copyright 21.2.2002 16:40 Page 10

BUT IF I’M RUNNING A BUSINESS, ONLY IF YOU PAY FOR THE USE; REMEMBER:
CAN I PLAY THE SONG TO ATTRACT BUYING THE CD MEANS LISTENING TO IT IS
C U S T O M E RS? YOUR ONLY RIGHT.

AND FOR
WHAT ABOUT SOMEONE WHO CREATES THE WHOLE OF THE AUTHOR’S
COMPUTER SOFTWARE? HOW LONG IS LIFE AND 50 YEARS AFTER HIS
A WORK DEATH
P R O T E C T ED?

IT COUNTS AS A LITERARY
WORK; IT’S THE RESULT OF HUMAN IN MANY COUNTRIES
IT CAN BE AS MUCH AS 70 YEARS
INGENUITY

AND FOR SO IT GOES INTO THE PUBLIC DOMAIN, AND

OK, SO AN ARTIST LONG! REPRODUCTION IS FREE
ACTUALLY CAN MAKE BUT THEN
A LIVING FROM WHAT? WHAT IF
HIS WORK…! SOMEONE ELSE
THEN SAYS THE
WORK’S HIS?

HE CAN’T. THE AUTHOR’S MORAL RIGHTS

(HIS AUTHORSHIP AND CONTROL OVER THE WORK)
GO ON FOREVER.
Copyright 21.2.2002 16:40 Page 11

PIRACY IS UNAUTHORIZED REPRODUCTION, SALE, HIRING OR

OTHER USE OF THE WORK. IN ANY FORM.

R E A DY?
PLUNDER AWAY,
ME HEARTIES!

AND WE DON’T EVEN

HAVE TO PAY!

PLAGIARISM IS THE DISTRIBUTION OF SOMEONE ELSE’S BOTH ARE INFRINGEMENTS

WORK AFTER COPYING IT WORD FOR WORD OR PARAPHRASING
IT, AND ASCRIBING AUTHORSHIP TO ANOTHER PERSON. OF COPYRIGHT, AND THAT’S
A CRIME!
YOUR WORK? BUT I’VE ALREADY
READ THIS BY ANOTHER
AUTHOR!

ER, UM… WELL,

HOW ABOUT
THAT?

BUT YOU CAN SOMETIMES USE A WORK THAT’S RIGHT, FOR INSTANCE WHEN
WITHOUT ASKING THE AUTHOR FOR WE LISTEN TO MUSIC AT HOME FOR
PERMISSION. ENJOYMENT...
Copyright 21.2.2002 16:40 Page 12

OR WHEN ART AND LITERATURE ARE TAUGHT AND YOU CAN REPRODUCE SMALL
IN SCHOOL FOR EDUCATIONAL PURPOSES. FRAGMENTS OF A WORK TO CLARIFY
AN IDEA.

BACK IN THE 18 TH
CENTURY...

RIGHT AGAIN: THAT’S THE RIGHT OF QUOTATION;

YOU MENTION THE AUTHOR AND THE SOURCE.

THANKS, YOU TWO.

THAT’S GIVEN ME SOME OF COURSE! SO NOW WE CREATORS HAVE
ARGUMENTS TO PUT THEN THEY’LL RESPECT A FUTURE AFTER ALL…
TO MY PARENTS. YOU AS A CREATOR AND
OWNER OF RIGHTS.

A PRESENT AND A FUTURE!

MMMYES…
SO, VAN DALUS…? I HAVE TO ADMIT
THAT YOUR PARENTS
HAVEN’T GOT IT
RIGHT; COME TO
THINK OF IT, YOU
MAY JUST HAVE
A FUTURE AS
AN ARTIST.

COPYRIGHT. Lima, October 2001. Published by agreement between the National Institute for the Defense of Competition and
Protection of Intellectual Property (INDECOPI) and the World Intellectual Property Organization (WIPO) • Scenario and Artwork:
Juan Acevedo / Design: Germán Luna, Jorge Llahuala / Color: María Elena Sialer / Translation: WIPO • Correspondence:
WIPO, 34 chemin des Colombettes, 1211 Geneva 20 (Switzerland). E-Mail: wipo.mail@wipo.int. INDECOPI: Calle de la Prosa 138,
San Borja, Lima 41 (Peru). E-mail: postmaster@indecopi.gob.pe