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Commons:Copyright rules by territory/Switzerland

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Copyright rules: Switzerland
Shortcut: COM:SWITZERLAND
Flag of Switzerland
Map of Switzerland
Durations
Standard Life + 70 years
Anonymous Publish + 70 years
Other
Freedom of panorama Yes
Terms run to year end Yes
Common licence tags {{PD-old-auto}}
{{PD-Switzerland-official}}
{{PD-Switzerland-photo-non-individual-50-years}}
ISO 3166-1 alpha-3 CHE
Treaties
Berne convention 5 December 1887
Univ. Copyright Convention 30 March 1956
WTO member 1 July 1995
URAA restoration date‌* 1 January 1996
WIPO treaty 1 July 2008
*‌A work is usually protected in the US if it is a type of work copyrightable in the US, published after 31 December 1928 and protected in the country of origin on the URAA date.

This page provides an overview of copyright rules of Switzerland relevant to uploading works into Wikimedia Commons. Note that any work originating in Switzerland must be in the public domain, or available under a free license, in both Switzerland and the United States before it can be uploaded to Wikimedia Commons. If there is any doubt about the copyright status of a work from Switzerland, refer to the relevant laws for clarification.

Governing laws

Switzerland has been a member of the Berne Convention since 5 December 1887, the World Trade Organization since 1 July 1995 and the WIPO Copyright Treaty since 1 July 2008.[1]

As of 2024 the World Intellectual Property Organization (WIPO), an agency of the United Nations, listed Federal Act of October 9, 1992, on Copyright and Related Rights (status as of January 1, 2022) as the main copyright law enacted by the legislature of Switzerland (and holds an unofficial English translation of the text of this law in their WIPO Lex database[2]).[1] The Bundesrat (Federal Council) also holds an unofficial and updated English translation of the law (2023),[3] in addition to the official versions in German, French, Italian and Romansh.[4][5][6][7]

General rules

Under the Federal Act on Copyright and Related Rights (Copyright Act, CopA) of 9 October 1992 (Status as of 1 July 2023),

  • In general a work is protected by copyright as soon as it is created, irrespective of whether it has been fixed on a physical medium.[1992-2023 Art.29(1)]
  • Protection expires a. in the case of computer programs, 50 years after the death of the author; abis. 50 years after production for photographic depictions and depictions of three-dimensional objects produced by a process similar to that of photography if the depictions do not have individual character; b. in the case of all other works, 70 years after the death of the author.[1992-2023 Art.29(2)]
  • Where it is has to be assumed that the author has been dead for more than 50 or 70 years respectively, protection no longer applies.[1992-2023 Art.29(3)]
  • Where two or more persons have participated in the creation of a work, protection expires a. in the case of computer programs, 50 years after the death of the last surviving joint author; b. in the case of all other works, 70 years after the death of the last surviving joint author.[1992-2023 Art.30(1)]
  • Where the individual contributions may be separated, protection for each contribution expires 50 or 70 years respectively after the death of the respective author.[1992-2023 Art.30(2)]
  • In the case of films and other audio-visual works, the calculation of the term of protection is based solely on the date of the death of the director.[1992-2023 Art.30(3)]
  • [The three aforementioned provisions] do not apply to photographic depictions and depictions of three-dimensional objects produced by a process similar to that of photography if the depictions do not have individual character.[1992-2023 Art.29(3)]
  • In the case of films and other audio-visual works, the calculation of the term of protection is based solely on the date of the death of the director.[1992-2023 Art.30(3)]
  • Where the author of a work is unknown, protection for that work expires 70 years after it has been published or, if it has been published in instalments, 70 years after the final instalment.[1992-2023 Art.31(1)]
  • If the identity of the person who has created the work becomes publicly known before the expiry of the aforementioned term, protection for the work expires: a. in the case of computer programs, 50 years after the death of the author; b. in the case of all other works, 70 years after the death of the author.[1992-2023 Art.31(2)]
  • The term of protection is calculated from 31 December of the year in which the event determining the calculation occurred.[1992-2023 Art.32]

The increase of the protection term from 50 to 70 years occurred in 1993 and was not retroactive, but since the change was more than 20 years ago, no works are in the public domain under the life+50 term that would not also be in the public domain under the current life+70 rule. However, this can be relevant with regard to URAA-restored copyrights in the US, as the protection of many works was already expired applying the 50 years term and protection was not restored for these works in 1993, as confirmed by the Swiss Federal Supreme Court in its "Sternheim" decision in 1998.[8] For example, Swiss aviation pioneer and photographer Walter Mittelholzer died in 1937. His works went into the public domain in Switzerland 50 years after his death on January 1, 1988. As the 1993 extension to 70 years did not restore already expired copyrights, Mittelholzer's photographs were still in the public domain in Switzerland on the URAA date of 1 January 1996, and therefore outside the scope of URAA copyright restorations.

Not protected

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See also: Commons:Unprotected works

Copyright does not protect: acts, ordinances, international treaties and other official enactments; means of payment; decisions, minutes and reports issued by authorities and public administrations; patent specifications and published patent applications. Copyright also does not protect official or legally required collections and translations of the [aforementioned] works [...].[1992-2023 Art.5]

To be eligible for copyright in the first place, works must be "literary and artistic intellectual creations with individual character, irrespective of their value or purpose".[1992-2023 Art.2] Exceptionally, photographs of three-dimensional objects are protected as works even in the absence of individuality (see Commons:Copyright rules by territory/Switzerland#TOO for details).

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See also: Commons:Copyright tags

In Switzerland copyright protection expires 70 years after the death of the author with the exception of computer programs, the protection of which ends 50 years after the death of the author.

Currency

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See also: Commons:Currency

  OK. Currency is not covered by copyright in Switzerland. Article 5(1)(b) of the Swiss copyright law from 1993 on works not subject to copyright explicitly excludes monetary items from copyright.

Reproduction of banknotes that may be confused with genuine bills is prohibited by article 243 of the Swiss Penal Code.[9] The Swiss National Bank has issued guidelines on how to reproduce banknotes in a way they believe are permissible.[10] Printing "Specimen" across the image and not reproducing the bills at their true size or in their true colors are recommendations.

{{PD-Switzerland-official}} can be used to tag images of Swiss currency.

Freedom of panorama

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See also: Commons:Freedom of panorama

  OK. {{FoP-Switzerland}}

Under Article 27 of the Copyright Act, a work permanently situated in a place accessible to the public may be depicted and the depiction offered, transferred, broadcast or otherwise distributed. The depiction must not be three-dimensional and it must not be possible to use the depiction for the same purpose as the original (in the German text of the Copyright Act: "nicht zum gleichen Zweck wie das Original verwendbar"). It is therefore, for example, not allowed to reproduce copyrighted paintings from a permanent outdoors exhibition and to use them for another exhibition.

Freedom of panorama does not apply to works located in interior spaces.

Accessible to the public

  • The place must be accessible to the public on a de facto basis. The legal ownership status of the place is irrelevant to the applicability of the provision.[11]
  • The depicted work itself does not have to be accessible to the public. Freedom of panorama also applies to a work on private (not publicly accessible) grounds provided it can be seen with the naked eye from a place accessible to the public.[12]
  • The place does not need to be accessible to the public all the time. If a park is closed during night hours, it may still be “accessible to the public” within the meaning of Article 27 provided the other criteria are met.[13]
  • Following the majority view in the legal literature, if the place is only accessible to certain categories of persons, such as pupils and high school staff, it is no longer “accessible to the public”.[14] Commentators do not agree whether charging entrance fees also makes the place "not public" and therefore not subject to Article 27.[15]
  • Following the majority view in the legal literature, freedom of panorama does not apply to interior spaces.[16] Hence Article 27 cannot be invoked for depictions produced in the staircase or the rooms of a building.[17] It is recognized in the literature that in some cases it can be difficult to determine what constitutes an “interior space”. Part of the literature suggests a differentiation of interior spaces from interior courtyards, with only the latter fulfilling the requirements of Article 27.[18] However, definition problems remain, for instance, in the case of station halls or shopping arcades which, consequently, are assessed differently by commentators.[19] It is generally held that the interior of a church cannot be depicted under Article 27.[20]
  • Commons opinion is that stained glass windows should be considered part of interior spaces.[21]

Permanently situated

  • A work is not “permanently situated” within the meaning of the law if it is only visible by accident (e.g. whilst being transported).[22]
  • It is controversial what is required to fulfill the feature “permanently situated”. According to one widespread view, this requires that the (objective) intent of the copyright holder is to indefinitely present the work in/at a publicly-accessible place.[23]A minority view holds that freedom of panorama can also apply to a work such as a sculpture otherwise located inside a museum that is accessible to the public as part of a temporary exhibition.[24] Whether Christo’s “wrapped works” can be depicted under Art. 27 is controversial.[25] Posters in public are not considered “permanently situated” by the literature.[26]
  • Works whose lifetime is restricted by natural conditions, such as ice sculptures or chalk paintings on streets, are nevertheless considered permanent.[27]

General

  • Applicability to all works: Article 27 applies to all categories of protected works.[28]
  • Modifications: Modifications of the work are not allowed (Art. 10 URG). Article 11 prohibits the distortion of the work. However, modifications required due to the reproduction method used are generally considered permitted.[29]

Stamps

See also: Commons:Stamps

  According to Article 5 of the Federal Act on Copyright and Related Rights, "copyright does not protect [...] means of payment". However, the prevailing view among legal commentators is that stamps are not considered means of payment and do not fall under any other exemption clause. They therefore enjoy copyright protection.[30]

Threshold of originality

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See also: Commons:Threshold of originality

Swiss copyright law defines works as "literary and artistic intellectual creations with individual character, irrespective of their value or purpose".[31] Such works are protected by copyright: "Up to 70 years after the death of the author (50 years for computer programs); 50 years from the taking of a photograph without individual character; 70 years from the performance/publication of a phonogram or audio-visual fixation; 50 years from the transmission of a broadcast."[32] This section discusses some types of subject matter.

Photographs: Photographs may be protected as works on the basis of their individual character (individual photographs). Some photographs that lack individual character may also enjoy protection (non-individual photographs).

  • Individual photographs: The individual character may manifest itself in a variety of ways, such as the choice of the depicted object, the decision on when the picture is taken, or the editing work done after the picture has been taken.[33] In a 2003 decision, the Federal Supreme Court of Switzerland held that a photo of Bob Marley taken at a concert by a spectator with a handheld camera was eligible for protection as a photographic work because it had the required individual character by virtue of the aesthetic appeal of the picture, combined with the orientation of the picture's components and the distribution of light and shadow. It also found that the photograph was a "creation of the mind" by being shot at a specific time during the singer's movement on the stage.[34] By contrast, in the 2004 case Blau Guggenheim v. British Broadcasting Corporation, the Court found that a photo (en:File:Christoph Meili 1997-nonfree.jpg), shot by a reporter to document Christoph Meili with the files he had taken from his employer, lacked individual character. It found that the scope of conceptual and technical possibilities was not exploited, and that the photograph did not distinguish itself in any way from what was common use.[35] The copyright in an individual photograph lasts for 70 years from the end of the calendar year in which the author died.[36]
  • Non-individual photographs: Effective 1 April 2020, Swiss law also protects certain non-individual photographs. Article 2(3bis) URG provides that "photographic depictions and depictions of three-dimensional objects produced by a process similar to that of photography are considered works, even if they do not have individual character". While no individuality is required, according to the official motives accompanying the (eventually adopted) revision draft, these photographs are still required to be "based on human actions", and thus "automatically created photographs such as radar pictures, pictures from surveillance cameras or camera traps" are ineligible for protection.[37] It should be noted that the new right also applies to photographs created before 1 April 2020 that had previously not been protected for failing the individuality test; however, if a particular use of a non-individual photograph was "begun prior to the commencement" of the new law, it "may be completed".[38] According to the official motives, this has the effect that "if non-individual photographs are used on a web page, the web page may be maintained after the entry into force of the protection of non-individual photographs. If, on the other hand, such photographs are included into an existing or a new web page after the entry into force of this protection, permission is required from the owner of the rights in the non-individual photographs."[39] The copyright in a non-individual photograph lasts for 50 years from the end of the calendar year in which the photo was taken.[40]

Data published by the Swiss Federal Office of Topography swisstopo

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  OK. {{Attribution-Swisstopo}}

Since March 1, 2021, the data publicly accessible on the website of the Swiss Federal Office of Topography swisstopo is freely usable, also commercially, but requires attribution to Swisstopo.

On April 3, 2020 the Federal Council amended the Geoinformation Ordinance of May 21, 2008[41][42] with effect on March 1, 2021.[43][44] According to the new article 28a of the Geoinformation Ordinance, the authorization to use Swisstopo data is deemed to have been given if it publishes such data in a freely-accessible manner, as open government data.[45] On March 1, 2021, Swisstopo did so, by publishing its data "free of charge and for open access use", within the framework of "Open Government Data".[46] According to the Swisstopo FAQ:[46]

  • May the data obtained be published and used commercially? Yes. The aim is the widest and most versatile usage of the available data.
  • Do fees have to be paid for the use of swisstopo geodata? No, no fees must be paid. The digital standard products are provided free of charge to everyone as a public service.
  • Is authorisation necessary to use swisstopo geodata? No, no authorisation is required. However, the source must be indicated upon use as “Source: Federal Office of Topography swisstopo” or “© swisstopo”.
  • Must the source be indicated when using swisstopo geodata? Yes. The Terms and Conditions provide free use for all purposes. However, they oblige the user to indicate the source as “Source: Federal Office of Topography swisstopo” or “© swisstopo”.

See also

Citations

  1. ↑ a b Switzerland Copyright and Related Rights (Neighboring Rights). WIPO: World Intellectual Property Organization (2018). Retrieved on 2018-11-13.
  2. ↑ Federal Act of October 9, 1992, on Copyright and Related Rights (status as of January 1, 2022). Switzerland (2022). Retrieved on 2024-05-04.
  3. ↑ Federal Act on Copyright and Related Rights (Copyright Act, CopA) of 9 October 1992 (Status as of 1 July 2023). Retrieved on 2024-05-04.
  4. ↑ Bundesgesetz über das Urheberrecht und verwandte Schutzrechte (Urheberrechtsgesetz, URG) vom 9. Oktober 1992 (Stand am 1. Juli 2023) (in German). Retrieved on 2024-05-04.
  5. ↑ Loi fédérale sur le droit d'auteur et les droits voisins (Loi sur le droit d'auteur, LDA) du 9 octobre 1992 (État le 1er juillet 2023) (in French). Retrieved on 2024-05-04.
  6. ↑ Legge federale sul diritto d'autore e sui diritti di protezione affini (Legge sul diritto d'autore, LDA) del 9 ottobre 1992 (Stato 1° luglio 2023) (in Italian). Retrieved on 2024-05-04.
  7. ↑ Lescha federala davart il dretg d'autur ed ils dretgs da protecziun parents (Lescha davart il dretg d'autur, LDAu) dals 9 d'october 1992 (versiun dal 1. da fanadur 2023) (in Romansh). Retrieved on 2024-05-04.
  8. ↑ BGE 124 III 266
  9. ↑ Reproduction of banknotes. Swiss National Bank. Retrieved on 2019-03-29.
  10. ↑ Instruction sheet on the reproduction of banknotes. Swiss National Bank (30 August 2017). Retrieved on 2019-03-29.
  11. ↑ Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (4); Rehbinder/Haas/Uhlig, URG, 4th ed. (2022), Art. 27 (7); Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (4); Cherpillod, Urheberrecht und verwandte Schutzrechte, 1995, p. 300; Dessemonet, La propriété intellectuelle et les contrats de licence, 2nd ed. (2011), marginal no. 153; Hilty, Urheberrecht, 2nd ed. (2020), para 489.
  12. ↑ Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (4); Cherpillod, Urheberrecht und verwandte Schutzrechte, 1995, p. 300; Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (5); Sandro Macciacchini: Die unautorisierte Wiedergabe von urheberrechtlich geschützten Werken in Massenmedien. In: sic! 1997, pp. 361–371, p. 369; Renold/Contel in Werra, Gilliéron, Propriété intellectuelle, 2013, LDA Art. 27 (11).
  13. ↑ Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (4); Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (4); Cherpillod, Urheberrecht und verwandte Schutzrechte, 1995, p. 300; Hilty, Urheberrecht, 2nd ed. (2020), para 490.
  14. ↑ Cherpillod, Urheberrecht und verwandte Schutzrechte, 1995, p. 300; Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (4); Fanny Ambühl and Stephan Beutler: Fotografieren verboten! – Zum Spannungsverhältnis von Urheber- und Eigentumsrecht im Fotografiebereich. In: recht. 2011, pp. 14–19, p. 17; Rolf H. Weber, Roland Unternährer and Rena Zulauf: Schweizerisches Filmrecht. Schulthess, Zürich 2003, p. 147.
  15. ↑ In favor: Cherpillod, Urheberrecht und verwandte Schutzrechte, 1995, p. 300. No limitation to a particular category of persons but merely a general restriction that applies to anyone: Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (4); Fanny Ambühl and Stephan Beutler: Fotografieren verboten! – Zum Spannungsverhältnis von Urheber- und Eigentumsrecht im Fotografiebereich. In: recht. 2011, pp. 14–19, p. 17.
  16. ↑ Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (4); Cherpillod, Urheberrecht und verwandte Schutzrechte, 1995, p. 300; Fanny Ambühl and Stephan Beutler: Fotografieren verboten! – Zum Spannungsverhältnis von Urheber- und Eigentumsrecht im Fotografiebereich. In: recht. 2011, pp. 14–19, p. 17; Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (6); Daniel Csoport: Rechtsschutz für Kunstschaffende im schweizerischen und internationalen Urheberrecht. Dissertation, University of St. Gallen, 2008, Internet http://www1.unisg.ch/www/edis.nsf/wwwDisplayIdentifier/3498, accessed on 1 February 2014, p. 25. Dissenting: Wittweiler: Zu den Schrankenbestimmungen im neuen Urheberrechtsgesetz. In: AJP. Nr. 5, 1993, pp. 588 et seq., p. 591; Auf der Maur: Multimedia: Neue Herausforderungen für das Urheberrecht. In: AJP. Nr. 4, 1995, pp. 435 et seq., p. 439.
  17. ↑ Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (4).
  18. ↑ Fanny Ambühl and Stephan Beutler: Fotografieren verboten! – Zum Spannungsverhältnis von Urheber- und Eigentumsrecht im Fotografiebereich. In: recht. 2011, pp. 14–19, p. 18; Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (6); see also Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (4).
  19. ↑ Against applicability to station halls: Rehbinder/Haas/Uhlig, URG, 4th ed. (2022), Art. 27 (7). In favor: Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (6) (also to “park pavilions, shopping arcades and malls”); Fanny Ambühl and Stephan Beutler: Fotografieren verboten! – Zum Spannungsverhältnis von Urheber- und Eigentumsrecht im Fotografiebereich. In: recht. 2011, pp. 14–19, p. 18 (also to shopping arcades for both “do not constitute an interior space in the current language”).
  20. ↑ Cherpillod, Urheberrecht und verwandte Schutzrechte, 1995, p. 300; Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (6); Sandro Macciacchini: Die unautorisierte Wiedergabe von urheberrechtlich geschützten Werken in Massenmedien. In: sic! 1997, pp. 361–371, p. 369; Fanny Ambühl and Stephan Beutler: Fotografieren verboten! – Zum Spannungsverhältnis von Urheber- und Eigentumsrecht im Fotografiebereich. In: recht. 2011, pp. 14–19, p. 18; Rehbinder/Haas/Uhlig, URG, 4th ed. (2022), Art. 27 (7); Hilty, Urheberrecht, 2nd ed. (2020), para 490.
  21. ↑ https://commons.wikimedia.org/w/index.php?title=Commons:Village_pump/Copyright&oldid=678860856#Swiss_FoP_and_stained_glass_windows_-_outdoor_vs._indoor_views
  22. ↑ Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (5); Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (9); Renold/Contel in Werra, Gilliéron, Propriété intellectuelle, 2013, LDA Art. 27 (6); Rehbinder/Haas/Uhlig, URG, 4th ed. (2022), Art. 27 (6) («erkennbar nach seiner Bestimmung dauerhaft an oder auf öffentlich zugänglichem Grund»).
  23. ↑ Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (9) («Werke, die sich für unbestimmte Zeit an dem für sie bestimmten Ort befinden [...] Massgeblich ist die zeitliche und örtliche Bestimmung [...] aufgrund der objektiv erkennbaren Widmung durch den Rechtsinhaber»); Rehbinder/Haas/Uhlig, URG, 4th ed. (2022), Art. 27 (6) («[...] erkennbar nach seiner Bestimmung dauerhaft an oder auf öffentlich zugänglichem Grund»); similar though apparently based on subjective intent: Dessemonet, La propriété intellectuelle et les contrats de licence, 2nd ed. (2011), marginal no. 153 («A notre sens, le critère décisif est l’intention de laisser l’oeuvre en question durablement sur la voie publique»); Hilty, Urheberrecht, 2nd ed. (2020), para 490 («unbestimmte Dauer»).
  24. ↑ Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (5); possibly Fanny Ambühl and Stephan Beutler: Fotografieren verboten! – Zum Spannungsverhältnis von Urheber- und Eigentumsrecht im Fotografiebereich. In: recht. 2011, pp. 14–19, p. 18.
  25. ↑ In favor: Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (5); Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (9) (because they are temporary in nature as the creators intentionally limited the duration of their public presentation to a level below their ordinary life expectancy); Fanny Ambühl and Stephan Beutler: Fotografieren verboten! – Zum Spannungsverhältnis von Urheber- und Eigentumsrecht im Fotografiebereich. In: recht. 2011, pp. 14–19, p. 18. Ineligible: Rehbinder/Haas/Uhlig, URG, 4th ed. (2022), Art. 27 (8); Hilty, Urheberrecht, 2nd ed. (2020), para 490 (because the artist’s intent is the temporary display); Mosimann in Mosimann/Renold/Raschér, Kultur. Kunst. Recht, 2009, p. 596.
  26. ↑ Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (9) (because it is well-known that they are replaced/removed on a regular basis); Dessemonet, La propriété intellectuelle et les contrats de licence, 2nd ed. (2011), marginal no. 153 (posters presented for one or two weeks); Cherpillod, Urheberrecht und verwandte Schutzrechte, 1995, p. 299.
  27. ↑ Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (5) (snow and ice sculptures); Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (9) (chalk paintings on streets or the sculpture ‚A WAY‘ by Simone Zaugg that was made of sugar); Hilty, Urheberrecht, 2nd ed. (2020), para 490 (chalk paintings).
  28. ↑ Uncontested, see e.g. Rehbinder/Haas/Uhlig, URG, 4th ed. (2022), Art. 27 (2).
  29. ↑ Macciacchini/Oertli, Handkommentar Urheberrechtsgesetz, 2nd ed. (2012), Art. 27 (13a); Barrelet/Egloff, Das neue Urheberrecht, 4th ed. (2020), Art. 27 (5); more restrictive: Cherpillod, Urheberrecht und verwandte Schutzrechte, 1995, p. 300 (depiction must not modify the original work).
  30. ↑ W Egloff in D Barrelet and W Egloff (eds), Das neue Urheberrecht (4th edn, Stämpfli 2020) art 5 para 5 («da sie keine Zahlungsmittel sind und auch sonst unter keine Ausnahmebestimmung fallen»); R von Büren and MA Meer in R von Büren and L David (eds), Urheberrecht und verwandte Schutzrechte (3rd edn, Helbing & Lichtenhahn 2014) para 379 («es handelt sich bei ihnen nämlich nicht um offizielle Zahlungsmittel, da sie keinen gesetzlichen Kurs haben und nicht in Zahlung genommen werden müssen»); I Cherpillod in BK Müller and R Oertli (eds), Urheberrechtsgesetz (URG) (2nd edn, Stämpfli 2012) art 5 para 3; RM Hilty, Urheberrecht (2nd edn, Stämpfli 2020) para 254 («zumal der im Vorentwurf von 1987 enthaltene Schutzausschluss im Rahmen des bundesrätlichen Entwurfs wieder gestrichen worden war»); P Gilliéron in J de Werra and P Gilliéron (eds), Propriété intellectuelle (Helbing & Lichtenhahn 2013) art 5 LDA para 9; M Rehbinder, L Haas, and K-P Uhlig (eds), URG (4th edn, Orell Füssli 2022) art 5 para 7 (departing from the view expressed in the previous edition).
  31. ↑ Federal Act on Copyright and Related Rights, art 2(1). SR 231.1 Bundesgesetz über das Urheberrecht und verwandte Schutzrechte. Government of Switzerland. Retrieved on 12 September 2020.
  32. ↑ Envisioned. Created. Protected. – A Concise Guide to Trade Marks, Patents & Co.. Swiss Federal Institute of Intellectual Property (April 2020). Retrieved on 22 August 2021.
  33. ↑ Cf BGE 130 III 168, 173 – Bob Marley.
  34. ↑ X. gegen Y. AG, decision of the Swiss Federal Supreme Court of September 5, 2003; BGE 130 III 168.
  35. ↑ Blau Guggenheim gegen British Broadcasting Corporation BBC, decision of the Swiss Federal Supreme Court of April 19, 2004; BGE 130 III 714.
  36. ↑ Art 29(2) lit b URG.
  37. ↑ Bundesrat, "Botschaft zur Änderung des Urheberrechtsgesetzes sowie zur Genehmigung zweier Abkommen der Weltorganisation für geistiges Eigentum und zu deren Umsetzung", BBl 2018 591, 620. See also W Egloff in D Barrelet and W Egloff (eds), Das neue Urheberrecht (4th edn, Stämpfli 2020) art 2 para 35.
  38. ↑ Art 80(2) URG. W Egloff in D Barrelet and W Egloff (eds), Das neue Urheberrecht (4th edn, Stämpfli 2020) art 2 para 38; P Mosimann and Y Hostettler, "Zur Revision des Urheberrechtsgesetzes" (2018) 36 recht 123, 126; Bundesrat, "Botschaft zur Änderung des Urheberrechtsgesetzes sowie zur Genehmigung zweier Abkommen der Weltorganisation für geistiges Eigentum und zu deren Umsetzung", BBl 2018 591, 620 («In Verbindung mit Artikel 80 Absatz 1 URG führt die Erweiterung des Schutzumfangs auf Fotografien ohne individuellen Charakter dazu, dass der Urheberrechtsschutz solche Fotografien auch dann erfassen wird, wenn sie vor seinem Inkrafttreten dieser Teilrevision geschaffen wurden.»).
  39. ↑ Bundesrat, "Botschaft zur Änderung des Urheberrechtsgesetzes sowie zur Genehmigung zweier Abkommen der Weltorganisation für geistiges Eigentum und zu deren Umsetzung", BBl 2018 591, 621.
  40. ↑ Art 29(2) lit abis, 29(4) URG.
  41. ↑ Ordonnance sur la géoinformation (OGéo) du 21 mai 2008 (Etat le 1er mars 2021) (in French). Retrieved on 2021-03-08.
  42. ↑ Verordnung über Geoinformation (Geoinformationsverordnung, GeoIV) vom 21. Mai 2008 (Stand am 1. März 2021) (in German). Retrieved on 2021-03-08.
  43. ↑ RO 2021 37: Ordonnance sur la géoinformation (OGéo), Modification du 3 avril 2020 (in French). Retrieved on 2021-03-08.
  44. ↑ AS 2021 37: Verordnung über Geoinformation (Geoinformationsverordnung, GeoIV), Änderung vom 3. April 2020 (in French). Retrieved on 2021-03-08.
  45. ↑ (in german) (December 2019) Gesetzgeberische Umsetzung von OGD im Bereich der Geoinformation: Erläuterungen zu den Revisionen der ■ Geoinformationsverordnung (GeoIV) ■ Verordnung des VBS über die Gebühren des Bundesamtes für Landestopografie (GebV-swisstopo) (PDF), p. 8
  46. ↑ a b Free basic geodata (OGD). Retrieved on 8 March 2021.
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