英文摘要 |
Digital creators used the Blockchain technology to create a whole new art scene and Non Fungible Tokens (NFTs) are now rapidly going mainstream. When Beeple’s “Everydays – The First 5,000 Days” sold at Christie’s for a hallucinatory $69.3 million on March 11, 2021, all kinds of NFT applications including NFT artwork have caught people’s attention. NFTs offer the ability to proving ownership and authenticity of the underlying asset, thus, it is necessary to discuss the “underlying asset” and “NFT itself” separately when we discussing the legal issues of NFTs in Copyright Act. The underlying assets of the NFT artworks may be originals, copies or other derivative concepts of the work. Consider the variety of licensing terms, whether the purchaser has obtained relevant copyrights or not must be confirmed on a case-by-case basis. There is no consistent view on the legal status of NFT itself so far and some argue that NFT itself is not creative and does not constitute the work as defined by Copyright Act. The author holds that NFT itself has three possible interpretations: 1. regarded as a record of the underlying asset; 2. regarded as the same property right represented by underlying asset; and 3. defined as new types of rights. Where there is a possibility of being regarded as a work or a copy of a work, people began to discuss whether NFTs apply the Exhaustion Doctrine or not. The author thinks the application object of the Exhaustion Doctrine should be expanded from physical copies to digital copies based on specific technologies, such as NFTs based on Blockchain. |