L’uso come marchio di certificazione non costituisce uso come segno distintivo della provenienza (e cioè come marchio individuale)

Marcel Pemsel su IPKat segnala l’interessante Trib. UE 6 settembr 2023, T-774/21, DPG Deutsche Pfandsystem GmbH c. EUIPO-Užstato sistemos administratorius VšĮ

L’ultima chiede la registrazione del segno seguente:

La DPG fa valere l’anteriorità seguente:

.

Però di fronte alla richiesta di prova del genuine use (da noi art. 178.4 cpi; in UE art. 47.2 reg. 1001 del 2017) , la DPG non vi riesce.

Essa sovraintende al sistema tedesco di riciclo di bottiglie e packaging : per cui l’ampia prova della presenza del segno sui prodotti degli associati non vale prova del suo uso, dato che l’aveva chiesto e ottenuto come marchio individuale e non di certificazione.

<<41  That being said, it is appropriate to examine whether, beyond that function of certifying such goods, the earlier sign also fulfilled, in the light of the evidence adduced by the applicant, the function of identifying the commercial origin of the services covered by that sign.

42 In that connection, the applicant maintains that when business consumers saw the earlier sign on the terms and conditions of participation in the DPG system, on the invoices and on its website, they perceived it as an individual mark indicating the commercial origin of the services covered by that sign.

43 As a preliminary point, it must be stated that the applicant’s line of argument relates only to the nature of use of the earlier sign in relation to the services covered by that sign, that is, the services referred to in paragraph 7 above.

44 Regarding, first, the nature of use of the earlier sign on the terms and conditions of participation in the DPG system, it is true that all the pages of that document are marked with the sign.

45 However, the graphic elements of that sign such as the bottle, the can and the curving arrow pointing to the left are symbols used throughout the European Union to denote the recycling process or recycling services and are placed on items to be recycled (see, to that effect, judgment of 11 April 2019, Užstato sistemos administratorius v EUIPO – DPG Deutsche Pfandsystem (Representation of a bottle and an arrow), T‑477/18, not published, EU:T:2019:240, paragraphs 32 to 34).

46 Accordingly, when such a sign is affixed to a legal document such as the terms and conditions of participation in the DPG system, it will in all likelihood be understood as referring, on the part of business consumers, to the recycling process in itself and to the fact that certain goods are subject to a specific recycling system, that is, the DPG system, and not as indicating the commercial origin of the services covered by the earlier sign.

47 That perception is borne out by the wording of those terms and conditions of participation because, as noted by the Board of Appeal, those terms and conditions present the earlier sign systematically as a marking element of disposable drinks packaging for the purposes of certifying that those goods are covered by the DPG system.

48 Accordingly, inter alia, Article 1.2 of Part I of the terms and conditions of participation in the DPG system, which is part of the section entitled ‘Fundamental Principles of the DPG System and functions of the System Participants’, specifies that the earlier sign serves as a ‘symbol’ for the mandatory deposit. Similarly, Article 1.1 of Section 1 of Part II of those terms and conditions provides that the packaging concerned must be marked in such a way as not to impair the meaning of the earlier sign, that is, that that packaging is ‘subject to the mandatory deposit’.

49 Likewise, where Annex 1 to the terms and conditions of participation in the DPG system in its 2013 version – which does not differ substantially from the 2016 version – describes the characteristics of the earlier sign, it does not do so in relation to the services covered by that sign. That annex, entitled ‘Specifications for First Distributors regarding the Marking of DPG Packaging’, merely sets out the various components of the earlier sign in order to assist first distributors in marking disposable drinks packaging. The way in which the earlier sign is presented within that annex thus refers to its function of certifying that the goods concerned are subject to the DPG system.

50 Further, the terms and conditions of participation in the DPG system associate the earlier sign more closely with the activities of the professionals participating in the DPG system than with the services covered by that sign. In particular, according to Article 2 of Section 1 of Part V of those terms and conditions, collectors are encouraged to display the sign in the context of their operations in order to ‘disclose [their] participation in the DPG System’. From that perspective, the earlier sign serves to indicate that certain operators specialising in the collection, treatment and recycling of waste contribute to the implementation of the DPG system as collectors rather than to designate the services concerned.

51 In those circumstances, there is nothing to suggest that business consumers will perceive the marking of the earlier sign on the terms and conditions of participation in the DPG system, irrespective of its certification function, as an indication of the commercial origin of the services covered by that sign.

52 Regarding, second, the invoices submitted by the applicant, it must first be stated that they are marked by the earlier sign on the top right and that sign is juxtaposed with the applicant’s business name, that is, ‘DPG Deutsche Pfandsystem GmbH’, which is set out in large underlined letters in bold type on the top left.

53 As is apparent from paragraphs 45 and 46 above, the elements making up the earlier sign are not designed to refer, on the part of business consumers, to the commercial origin of a specific category of services, but rather to the fact that certain goods are subject to a specific recycling system, that is, the DPG system.

54 Moreover, the applicant submits that, according to case-law, the use of the earlier sign together with the business name of its proprietor on invoices does not, in principle, preclude that sign from being able to refer to the commercial origin of the services covered by that sign.

55 In that connection, it must be stated that, in paragraphs 74 and 77 of the contested decision, the Board of Appeal did not assert that the earlier sign marking the invoices was not perceived as indicating the commercial origin of the services covered by that sign on the ground that it was used together with the applicant’s business name.

56 Regarding the content of the invoices, they display the amount of the participation fees payable by the participants in the DPG system. The invoices thus stated that those fees are calculated according to the approximate amount of items of DPG packaging that the first distributor intends to put into circulation on the German market. Having regard to that wording, the invoicing of the services provided by the applicant and, moreover, covered by the earlier sign have a merely indirect link to that sign, as the sign was associated more closely with the activity of the first distributors and thereby with its use of certifying that the packaging concerned is covered by the DPG system.

57 Having regard to the foregoing, the applicant, which bears the burden of proof, has not shown that, in addition to the earlier sign’s primary function of certification, business consumers perceived the affixing of that sign to the invoices as an indication of commercial origin of the services covered by that sign.

58 Third, the use of the earlier sign on the applicant’s website is similarly not sufficient to show that the relevant public perceives the sign as referring to the commercial origin of the services designated by that sign.

59 As considered by the Board of Appeal, on the applicant’s website, the services which it provides and which are, moreover, designated by the earlier sign are associated, inter alia, with the applicant’s business name, that is, ‘DPG Deutsche Pfandsystem GmbH’. By contrast, the earlier sign is present only at the top left of that website, with the result that business consumers are not guided on the applicant’s website by any element that is sufficiently clear to enable them to associate the services concerned with that sign.

60 What is more, that site states in its FAQ that, in essence, in order to comply with regulatory requirements concerning marking of disposable drinks packaging, it is necessary to display the earlier sign on the packaging in question. Thus, the sign is presented as being a marking element used for the purposes of certifying that the packaging concerned was part of the DPG system.

61 In those circumstances, there is nothing to suggest that, in addition to the earlier sign’s primary function of certifying that the packaging concerned is part of the DPG system, business consumers perceived the use of that sign on the applicant’s website as an indication of commercial origin of the services covered by that sign.

62 Having regard to all the foregoing, the Court holds that the applicant has not submitted sufficient evidence to establish that the earlier sign has been put to genuine use in accordance with the essential function of individual marks within the European Union in respect of the services for which it was registered>>.

MOL incrementale per la determinazione degli utili da contraffazione di modello + tutela cautelare dei segreti ex art. 98 c.p.i.

Sentenza  Trib. Firenze n° 2143/2023 del 13 luglio 2023, rel. Calvani,  RG 16947/2018 che , per la chiarezza e concisione espositiva (come spessa capita ai maestri di lingua di quella città) e per il vasto  numero di questioni affrontate (sostanziali e processuali) ,  è un ottimo caso-scuola.

Qui riporto solo il breve passaggio sul MOL:

<<Passando alla determinazione degli utili, si ritiene che il criterio basato sul
MOL incrementale sia da considerare il più corretto quando si quantificano gli
utili del contraffattore, perché i costi strutturali o comunque svincolati dalla
contraffazione sarebbero stati sostenuti dalla concorrente anche se non avesse
compiuto l’illecito (TI Milano 10/7/2018).

Ma, se si devono determinare quelli del soggetto danneggiato dalla contraffazione, essi devono scontare tutti i costi, anche fissi, che l’imprenditore sostiene proprio per svolgere la sua attività tipica e che avrebbe sostenuto anche se la concorrenza sleale non fosse stata mai posta in essere>>.

* * * *

Lo stesso relatore poi ha emesso un’ordinanza in altra causa che spiega bene i presupposti di tutela dei segreti aziendali ex art. 98 cpi ed in particolare lo stato di secretazione cui vanno soggette le informazioni.

Si tratta di Trib. Firenze ord. 06.02.2023, RG 14188/2022.

Anche qui stante la chiarezza espositiva e l’analitico esame fattuale il provvedimeo costuisce valida guida per casi analoghi futuri circa il concetto di “misure di secretazione” ex art. 98 c.1 lett. c cpi.

Plagio di lettera da parte di un breve saggio: “The Kindest” in Larson v. Dorland Perry

La corte del Massachussets 14.09.2023 n. Case 1:19-cv-10203-IT, larson v. Dorland Perry, (segnalato e linkato dal prof. Edward Lee su X ).

Qui la peculiarità fattuale è che il lavoro plagiario si è evoluto in tre versioni, sempre più lontane dal lavoro originale.

Sulla substantial similarity : <<“Substantial similarity is an elusive concept, not subject to precise definition.” Concrete Mach. Co. v. Classic Lawn Ornaments, Inc., 843 F.2d 600, 606 (1st Cir. 1988). The inquiry is a “sliding scale”: If there are many ways to express a particular idea, then the burden of proof on  the plaintiff to show substantial similarity is lighter. Id. at 606-07. Here, there are many ways to write a letter, even one dealing specifically with kidney donations. Larson Mem. SJ, Ex. 8 [Doc. No. 189-8] (examples of sample letters from organ donors/family members of organ donors to recipients); Id., Ex. 1 ¶ 7 (Larson Aff.) [Doc. No. 189-1]>>.

Sulle parti non originali:

<<However, “[n]o infringement claim lies if the similarity between two works rests necessarily on non-copyrightable aspects of the original—for example, ‘the underlying ideas, or expressions that are not original with the plaintiff.’” TMTV, Corp. v. Mass. Prods., Inc., 645 F.3d 464, 470 (1st Cir. 2011) (internal citation omitted). “[I]t is only when ‘the points of dissimilarity not only exceed the points of similarity, but indicate that the remaining points of similarity are (within the context of plaintiff’s work) of minimal importance either quantitatively or qualitatively, [that] no infringement results.’” Segrets, Inc., 207 F.3d at 66. “‘The test is whether the accused work is so similar to the plaintiff’s work that an ordinary reasonable person would conclude that the defendant unlawfully appropriated the plaintiff’s protectible expression by taking material of substance and value.’” Id. at 62. “While summary judgment for a plaintiff on these issues is unusual,” it may be warranted based on the factual record. Id.; accord T-Peg, Inc. v. Vt. Timber Works, Inc., 459 F.3d 97, 112 (1st Cir. 2006)>>.

Sui dati fattuali sostenenti il giudizio di accertato plagio nella prima versione:

<<The 2016 Brilliance Audio Letter.8 As Larson concedes, the undisputed evidence mandates a conclusion that the 2016 Letter is substantially similar to the Dorland Letter. The Dorland Letter is approximately 381 words long, Dorland Mem. SJ, Ex. C [Doc. No. 181-3]; of those 381 words, the 2016 Letter copies verbatim approximately 100, and closely paraphrases approximately 50 more, Larson Mem. SJ, Appendix I [Doc. No. 193-1]. Many of these verbatim or near-verbatim lines gave the Dorland Letter its particular character, including: “My gift…trails no strings”; “I [focused/channeled] [a majority of] my [mental] energ[y/ies] into imagining and celebrating you”; “I accept any level of involvement,…even if it is none”; “To me the suffering of strangers is just as real”; and “I [wasn’t given/didn’t have] the opportunity to form secure attachments with my family of origin.” Id. The 2016 Letter also follows an identical structure to the Dorland Letter: a paragraph introducing the donor, including information on race, age, and gender; a paragraph explaining how the donor discovered the need for kidney donation; a paragraph explaining the donor’s traumatic childhood; a paragraph expressing the donor’s focus on the future recipient; a paragraph wishing the recipient health and happiness; and a concluding paragraph expressing a desire to meet. Id. Based on the documents before the court, the 2016 Letter took “material of substance and value” from the Dorland Letter in such a quantity and in such a manner that the points of similarity outweigh the points of dissimilarity. See Segrets, Inc., 207 F.3d at 62, 66.>>

Con analitico esame ravvisa comunque fair use.

Il giudice esclude tortiuous interference nelle continue dichiaraizoni dell’asserito plagiato verso le contriopati contrattiuali dell’asserito plagiante

Esclude anche che ricorra diffamazione.

Marchio denominativo anticipato da marchio complesso

Trib. ue 13.09.2023, T-167/22, Transformers Manufacturing Company Pty Ltd c. EUIPO – H&F srl, decide la tra i seguenti segni (prodotti quasi uguali):

segno denominativo TMC TRANSFORMERS , chiesto in registrazione;

marchio anteriore azionato dall’opponente

Il Trib conferma le decisioni amministrative che danno ragione all’opponente: il secondo marchio crea confondibilità.

Centrale è l’espressione TMc in entrambi, la quale a sua volta è sufficientemente distintiva.

C’è somiglianza fonetica e visiva, non concettuale

Approvata dal parlamento la bozza di regolamento UE sulla protezione di indicazioni geografiche per prodotti artigianali e industriali

Il Parlamento UE approva la <<Risoluzione legislativa del Parlamento europeo del 12 settembre 2023 sulla proposta di regolamento del Parlamento europeo e del Consiglio relativo alla protezione delle indicazioni geografiche per i prodotti artigianali e industriali, che modifica i regolamenti (UE) 2017/1001 e (UE) 2019/1753 del Parlamento europeo e del Consiglio e la decisione (UE) 2019/1754 del Consiglio (COM(2022)0174 – C9-0148/2022 – 2022/0115(COD))>> (link diretto qui).

Ora tocca al Consiglio ma non si vedono ostacoli all’orizzonte per  l’approvaizone.

La novità è decisamente importante: la tutela (è una privativa sui nomi) prevista per l’agroalimentare ora si estende ai prodotti artigianali e industriali.

Riporto solo questi ultimi due cocnetti come definiti dal reg.:

art. 4.1) << “prodotti artigianali e industriali”: prodotti
a) realizzati interamente a mano, oppure con l’ausilio di strumenti manuali o digitali, o mediante mezzi meccanici, con il contributo manuale ▌ che costituisce una componente importante del prodotto finito; oppure
b) realizzati in modo standardizzato, compresa la produzione in serie e mediante l’uso di macchine;>>

Complicata (doppia, locale e europea) procedura di reguistrazione.

Cenno alla possibilità di intese sulla sostenibilità (art. 40.2.c): che costituisce deroga al divieto di intese restrittive della concorrenza.

La tutela sta nel titolo III, art. 40 ss. Vedi spt art. 40 di cui riporto il § 1:

Articolo 40
Protezione delle indicazioni geografiche
1. Le indicazioni geografiche iscritte nel registro dell’Unione ▌sono protette da:
a) qualsiasi uso commerciale diretto o indiretto dell’indicazione geografica per prodotti che non sono oggetto di registrazione, qualora questi ultimi siano paragonabili ai prodotti oggetto di registrazione o qualora l’uso di tale nome sfrutti, indebolisca, svigorisca o danneggi la reputazione dell’indicazione geografica protetta;
b) qualsiasi usurpazione, imitazione o evocazione del nome protetto come indicazione geografica, anche se la vera origine dei prodotti o servizi è indicata o se l’indicazione geografica protetta è una traduzione o è accompagnata da espressioni quali “genere”, “tipo”, “metodo”, “alla maniera”, “imitazione”, “gusto”, “fragranza”, “come” o un’espressione simile;
c) qualsiasi altra indicazione falsa o ingannevole relativa alla provenienza, all’origine, alla natura o alle caratteristiche essenziali del prodotto usata sulla confezione o sull’imballaggio, sui materiali pubblicitari, nei documenti o nelle informazioni fornite su interfacce online relative al prodotto, così come l’utilizzo, per il confezionamento del prodotto, di recipienti che possano indurre in errore quanto alla sua origine;
d) qualsiasi altra pratica che possa indurre in errore il consumatore quanto alla vera origine del prodotto.

Caramella a forma e sapore di fetta di anguria: marchio di forma negato dal 3° circuito d’appello usa

il 3 circuito d’appello usa 7 settembre n. 22-2821, Pim brands v. Haribo, giudice Arleo, conferma il primo grado (notizia e link da IPwatchdog)

La forma e i colori indicano il flavour del dolciume: quindi nessuna distintività.

<<The question is whether the candy’s colors alone signal its flavor or whether the colors and shape combined further that function. Though PIM disagrees, we think the two work together. (…)

As PIM notes, the shape and colors do not match exactly: The bottom could be more curved and have a thinner band of darker green. The wedge could be wider. The point could be sharper and a deeper red. There could be black seeds. But as PIM itself put it, because this candy is an impulse buy, it “do[es]n’t need to be the Mona Lisa.” Oral Arg. 13:15–19. To identify its flavor, the candy’s trade dress need not exactly copy watermelon, but just evoke it.
And the shape contributes to the overall effect. Some shapes for watermelon candies, such as sharks, ropes, and rib-bons, detract from (or at least add no information beyond) the colors. But the wedge shape contributes to the function. The colors alone could leave some ambiguity: Is it watermelon or strawberry? With the wedge shape, all ambiguity is gone—this candy is a wedge of watermelon.
In that vein, the wedge might or might not identify the fla-vor on its own or with other color schemes. That trade dress is not before us; the watermelon-colored wedge is. The registered trademark at issue defines the mark by both colors and shape. So does PIM’s complaint. Plus, when we look at the pictured candies, our eyes are drawn immediately to both their colors and their shape. We think of a slice of watermelon based on both its color scheme and its shape. And in this color scheme, the candy looks like a watermelon wedge. So we hold that the trade dress presented as a whole, colors and shape together, makes the watermelon candy more identifiable as a slice of wa-termelon. That is function enough>>.

DA noi la conclusione sarebbe verosimilmente uguale ex art. 9.c – 13.1.b) c.p.i.

La confondibilità dei marchi nel caso Jagermeister

Il secondo non è vero che sia dissimilar  dal primo: è similar,  anche se solo in parte.

Si noti l’evidente tentatico del secondo di porre una netta differenza nel nome, la cui rilevanza è duplicemente notevole all’interno di ciascun marchio: sia perchè il nome prevale sul disegno nella percezione cnsumeristica (lo stesso BoA lo ricorda) sia perchè è scritto assai ingrande nel caso specifico.

Quindi il rigetto dell’opposizione era ingiustificato e la procedura torna alla Opposition Division per vedere se ciò basta per un giudizio di confondibilità (essenzialmente data la rinomanza dell’anteriorità: <<It must be borne in mind, in particular, that, depending on the degree of recognition of the earlier trade mark, even a low degree of similarity between the signs may be sufficientfor the assumption of a link within the meaning of Article 8(5) EUTMR>>, § 25)

Così il 1 Board of appeal dell’ EUipo 20 giuigno 2023In Case R 1952/2022-1Mast-Jägermeister SE c. Tin Kakuszi (ungheria) (v pag. web euipo  e accouint del fascicolo nel database ove trovi trad. automat. dall’ioriginale tedesco)

<<18. The earlier figurative mark likewise consists of a rectangular shape which resembles a-bottle label. On a dark-green background there is a white rectangle bordered by a green line followed by a white line. There is a horizontal banderolein orange in the middle of the Zei chens, which contains the text ‘Jägermeister’ in black stylised letters. Underneath it is the word element ‘SELECTED 56 BOTANICALS’ in considerably smaller lettering together with further details, which are barely legible on account of their even smaller font. Above the orange stripred is a white and golden green circle which is decorated with golden-coloured leaves on its underside. The stylised head of a stag with antlers in a jet-circle is depicted in the green circle. Above and framed by the anchor is a circle in a lighter green with a white Latin cross. For the above reasons, the most distinctive element of the earlier sign is the word element ‘Jägermeister’. Nevertheless, the brown targeted will not-neglect the graphic design as a whole and in particular the representation of a stag’s head on a green circle with a cross and the green and orange colour schema in the overall impression of the earlier trade mark.
19. Despite the differences that exist, in particular the differences in the most distinctive word components ‘ST. Joseph’ and ‘Jägermeister’ and in terms of the figurative elements (head of a man in contrast to the head of a deer), the opposing signs have a low degree of visual similarity, as theirgraphic arrangement is very similar overall. The signs are identical in terms of their colour schema (green, white, gold and orange/red), their basic rectangular shape, their construction and their essential graphic elements and their arrangement to one another (circular green element with a portraitsimilar strip above an orange-coloured/red banderole).
20. Both the earlier sign and the central left-hand part of the sign applied for consist of an inner (dark) white rectangle which is firstly bordered by a green, then a dark-green white line and then a dark green line. Both signs contain a red or orange band positioned in the centre with a black lettering above which a dark-and-white and golden green circle with a gold floral decoration is attached. In the dark green circle, there is in each case a stylised front view of a head (by a man in the contested sign and a stag in the earlier sign), which is surrounded by a jet circle in each case.
21. The signs under comparison therefore have a low degree of visual similarity.
22. The signs are aurally dissimilar, as the most distinctive word elements ‘ST. Joseph’ of the contested sign and ‘Jägermeister’ of the earlier sign un are pronounced differently-depending onthe different relevant languages.
23. The signs are conceptually dissimilar. Some of the consumers will understand the word element ‘ST. Joseph’ of the contested sign as a reference to the naked Josef. The word-element ‘Jägermeister’ of the earlier sign as a whole has no meaning. Nevertheless, the German-speaking consumer in any case immediately recognises therein thefact that the terms ‘Jäger’ and ‘Meister’ are combined, and therefore a meaning that differs from ‘ST. Joseph’. Furthermore, for all the consumers targeted, the signs differ in the meaning of the respective figurative elements, namely the depiction of a head of a man in the application, in contrast to the depiction of a head of a deer in the earlier trade mark.
24. Overall, the signs under comparison therefore have a low degree of similarity.
25. The Opposition Division considered the signs to be dissimilar and therefore, from their point of view, did not examine the further requirements ofthe asserted opposition. However, since, as stated above, the signs have a low degree of visual similarity, this must be remedied. It must be borne in mind, in particular, that, depending on the degree of recognition of the earlier trade mark, even a low degree of similarity between the signs may be sufficientfor the assumption of a link within the meaning of Article 8(5) EUTMR (-16/01/2018, 398/16, COFFEE ROCKS (fig.)/STARBUCKS COFFEE (fig.) et al., EU:T:2018:4, § 78)>>.

La componente denominativa prevale su quella grafica del marchio: conferma del trend

Trib. UE 6 settembre 2023 , T-576/22, Bora creation slk c. EUIPO-Truie Skincare:

Marchio posterioore: denouinativo TRUE SKIN

Marchio anteriore:

Classe 3: make up e simili

Rifl soggettivO: consumatore spagnolo.

Il trib. conerma che non c’è rischio di confuisione

<<69 A global assessment of the likelihood of confusion implies some interdependence between the factors taken into account and, in particular, between the similarity of the trade marks and that of the goods or services covered. Accordingly, a low degree of similarity between those goods or services may be offset by a high degree of similarity between the marks, and vice versa (judgments of 29 September 1998, Canon, C‑39/97, EU:C:1998:442, paragraph 17, and of 14 December 2006, VENADO with frame and others, T‑81/03, T‑82/03 and T‑103/03, EU:T:2006:397, paragraph 74).

70 In the present case, the Board of Appeal concluded that, in the light of the identity of the goods at issue, the average degree of inherent distinctiveness of the earlier mark, the below-average degree of visual similarity and the average degree of phonetic similarity of the signs at issue as well as the finding that the conceptual comparison remained neutral or that there were no relevant conceptual differences that could help to distinguish between the signs at issue, there was a likelihood of confusion on the part of the Spanish-speaking public which did not understand English, the level of attention of which was average.

71 In that regard, first, the applicant submits that the earlier mark is not essentially perceived as the word mark ‘true’, but that it is the figurative representation of that mark which makes it distinctive because, if that were not the case, that mark could not have been registered on account of the descriptiveness of the term ‘true’ for the English-speaking public. However, it must be pointed out that that argument is similar to that set out in paragraph 46 above and must therefore, for the reasons already stated in that paragraph, be rejected.

72 Secondly, as regards the conceptual comparison, which the Board of Appeal incorrectly found to be neutral, whereas the signs at issue are conceptually different, it must be held that that error of assessment does not have any consequences in the context of the analysis of the likelihood of confusion. As the Board of Appeal pointed out and as the Court has held in paragraph 67 above, the concept is conveyed by one of the two word elements in the mark applied for, namely the element ‘skin’, which is understood as referring to the skin and which is, at best, weakly distinctive with regard to the goods at issue, with the result that the conceptual dissimilarity cannot counteract the overall similarity between the signs at issue.

73 Consequently, in spite of the error of assessment which was made as regards the conceptual comparison of the signs at issue and although there are certain differences between those signs, it must be held that, following a global assessment, the Board of Appeal was right in finding that there was a likelihood of confusion, within the meaning of Article 8(1)(b) of Regulation 2017/1001, on the part of the relevant public>>.

Arriva la sentenza di appello in Sony Music v. eredi Lucio Battisti in tema di diritti del produttore fonografico

App. Milano n. 2597/2023 del 5 settembre 2023, Rg 3103/2021, rel. Orsenigo, conferma il rigetto delle domande di Sony pur correggendo (giustamente) la motivaizone.

Sony  , produttore fonografico ex art. 72 l. aut., lamentava l’illegititmo rifuto di autorizzare ( o direttamente o tramito mandato a Siae) la distribuzione on line e la sincronizzazione.

Ma o queste erano prevista nei contratti  alla base della realizzazione dei dischi oppure no. Nel secondo caso non c’è modo per riconoscere a Sony diritti che non ha ; nè può lametnarsi di revoca del mandato a SIae, che è liberissimo in capo al’autore o ai suoi eredi o aventi casua. Nel primo caso allora Sony avrebbe potuto procedere e poi resistere ad eventuali domande degli eredi Battisti.

Il vero punto allora è se i contratti iniziali (quando le facoltà desiderate da Sony  tecnocologicamente non esistevano) potevano essere interpretati evolutivamente: nel senso di far rientarre nelle facolà acquisite da Sony pure quelle che tecnologcamente avrebbeero potuto venir eventualmente scoperte in futuro.

La risposta positiva è difficile, parrebbe: ma sarebbe stato bene riproatare in setnenza uil testo eatto dei poatti pertinenti.

Giustamente rigettata la (incomprensibile) domanda di danno basata su contatto sociale tra Battisti e le case editrici musicali (il contratto per la produzione del dischi era stato sottoscritto da Battisti personalmente): non c’era alcun affidamento di Sony da tutelare in essi.

Palese infondatezza pure nella domanda verso gli amministratori delle due società ex art. 2476 c. 6 (ora c. 7) c.c.  come danno diretto al terzi

Altro stop amministrativo alla tutela da copyright del disegno creato con AI

Da ringraziare Franklin Graves che su Linkedin dà notizia del provv. USCO-Review Board 5 settembre 2023, nel caso “Théâtre D’opéra Spatial” di Jason M. Allen (qui link al documento , da lui offerto).

Si tratta di una prima immagine creata con l’AI di Midjourney , poi ritoccata con Adobe Photoshop e Ggiapixel AI.

immmagine creata inizialmente (sx) e immgine finale dopo adobe Photoshop e Gigapixel AI (dx)

Ne aveva chiesto protezione senza menzionare la modalità creativa.

Anche l’organo amministrativamente gerarchico rigetta perchè l’opera creata da AI non contiene creatività umana nè l’istante, pur invitato, ha distinto ciò che è creato da AI e ciò che è da lui creato.

Il lavoro fatto dall’istante era questo:

<<Because the Work here contains AI-generated material, the Board starts with an analysis
of the circumstances of the Work’s creation, including Mr. Allen’s use of an AI tool. According
to Mr. Allen, the Work was created by 1) initially generating an image using Midjourney (the
“Midjourney Image”), 2) using Adobe Photoshop to “beautify and adjust various cosmetic
details/flaws/artifacts, etc.” in the Midjourney Image, and 3) upscaling the image using Gigapixel AI>>.

Decisum conseguente:

<<In his Second Request, Mr. Allen asserts a number of arguments in support of his claim.
He argues that his use of Midjourney allows him to claim authorship of the image generated by
the service because he provided “creative input” when he “entered a series of prompts, adjusted
the scene, selected portions to focus on, and dictated the tone of the image.” Id. at 4. As
explained in his correspondence, Mr. Allen created a text prompt that began with a “big picture
description” that “focuse[d] on the overall subject of the piece.” Allen Sept. Creation
Explanation. He then added a second “big picture description” to the prompt text “as a way of
instructing the software that Mr. Allen is combining two ideas.” Id. Next, he added “the overall
image’s genre and category,” “certain professional artistic terms which direct the tone of the
piece,” “how lifelike [Mr. Allen] wanted the piece to appear,” a description of “how colors
[should be] used,” a description “to further define the composition,” “terms about what style/era
the artwork should depict,” and “a writing technique that Mr. Allen has established from
extensive testing” that would make the image “pop.” Id. He then “append[ed the prompt] with
various parameters which further instruct[ed] the software how to develop the image,”7 resulting
in a final text prompt that was “executed . . . into Midjourney to complete the process” and
resulted in the creation of the Midjourney Image above. Id.8
In the Board’s view, Mr. Allen’s actions as described do not make him the author of the
Midjourney Image because his sole contribution to the Midjourney Image was inputting the text
prompt that produced it. Although Mr. Allen describes “input[ing] numerous revisions and text
prompts at least 624 times” before producing the Midjourney Image, Allen Sept. Creation
Explanation, the steps in that process were ultimately dependent on how the Midjourney system
processed Mr. Allen’s prompts. According to Midjourney’s documentation, prompts “influence”
what the system generates and are “interpret[ed]” by Midjourney and “compared to its training
data.”9 As the Office has explained, “Midjourney does not interpret prompts as specific
instructions to create a particular expressive result,” because “Midjourney does not understand grammar, sentence structure, or words like humans.”10 It is the Office’s understanding that,
because Midjourney does not treat text prompts as direct instructions, users may need to attempt
hundreds of iterations before landing upon an image they find satisfactory. This appears to be
the case for Mr. Allen, who experimented with over 600 prompts before he “select[ed] and
crop[ped] out one ‘acceptable’ panel out of four potential images … (after hundreds were
previously generated).” Allen Sept. Creation Explanation. As the Office described in its March
guidance, “when an AI technology receives solely a prompt from a human and produces
complex written, visual, or musical works in response, the ‘traditional elements of authorship’
are determined and executed by the technology—not the human user.” AI Registration
Guidance, 88 Fed. Reg. at 16,192. And because the authorship in the Midjourney Image is more
than de minimis, Mr. Allen must exclude it from his claim. See id. at 16,193. Because Mr. Allen
has refused to limit his claim to exclude its non-human authorship elements, the Office cannot
register the Work as submitted.>>