本報告は，大学教育においてデータサイエンス教育が普及することを前提に，データサイエンス教育と知財 (創造) 教育の相互連携を図る教育実践を紹介している．具体的には，価値デザインを実現する人材育成を，帝京大学八王子キャンパスで開講されている共通教育科目である「社会情報論Ⅰ」「社会情報論Ⅱ」「法学Ⅰ」「法学Ⅱ」の4科目を使って実践した結果報告である．

　本研究は，着メロから着うた・着うたフルへと日本の有料音楽配信サービス市場が転換する局面に着目し，ネオ制度派組織論を起点とするメガマーケティング概念を活用して，組織フィールドにおける多主体の制度的実践について分析を行った．定性分析からは，複数の制度的実践による揺さぶりが明らかになり，得られた分析結果をもとに，定量分析によって市場の断絶と創造における制度的実践の成果について検証を行った．

 The aim of this paper is to indicate that structure of recording industry based on analogue sound recording technology has transformed as a consequence of digitization, a technological innovation. In this study, it is considered that digitization in sound recording technology has formed two paths: the one is a way to strengthen existing market of recording industry and to form prosperity, the other is a way to expand Do-It-Yourself music production and “prosumer” related with diffusion of computer, ICT and the like. Both paths of digitization have been accelerating in the mid-1990s. In the latter half of 1990s, digitization in music creation has enabled to reduce production cost and to integrate industrial organizations: record production, artist management, and music publishing. It used to be reasonable for music companies to divide and assign property rights of their music into mass media companies, and each music copyright used to be joint-ownership in many cases.

 “The fourth step” of recording industry evolution is shown as mixed situation with both digitization paths. This study relies on the evolutionary model developed by Kabashima (2009) that explains transformations of content industry. Furthermore, this research attempts to improve on the model. “The fourth step” is added to the three steps of the content industry’s evolutionary theory shown by previous study. “The fourth step” of recording industry is characterized by things as follows: partial integration in industrial organization, creation by consumers, and shift of platform. It is suggested that digitization has led the change of recording industry system since around 1995 in this study. Thus, it is possible to perceive dynamics of recording industry by indicating “the fourth step” of the evolutionary model.

The expectation for Blockchain technology has been continued, although its social implementation has not so widely progressing yet. Blockchain is thought as a general-purpose technology, it has been expanded with being subdivided. Art market is expecting especially for the robustness in falsify in characteristics of Blockchain technology. They hope its early implementation in the art market and activation of the market.

コロナ禍における経済支援を目的に2020年にスタートしたEPAD（Emergency Performing Arts Archive and Digital Theatre）。3年が経過し、アフターコロナを迎え、事業の取り組みと展望を述べる。舞台芸術のインフラ整備事業として、舞台芸術映像をデジタル化し、専門家が配信可能化の権利処理をサポートすることで、上演団体の収益力向上に寄与すること、そして、舞台芸術を文化遺産として可能な限り残し社会全体で享受できること、結果的に次のクリエイションにつなげられるようなエコシステムを目指している。

 The aim of this study is to demonstrate the transformations of socio-economic systems that orig- inated from technologies. For instance, media and content industries can be conceptually explained as socio-economic complex systems that were constructed from technologies, rules, institutions, markets, and culture. Accordingly, this paper identifies these constituents and patterns of the systems in the abovementioned industries. These industries developed after the inventions of reproduction technol- ogies, and technological characteristics have contributed to the development of certain standardized patterns for these industries, such as content reproductions and the copyright business. Defining such patterns would help in conducting quantitative analyses regarding micro structural changes within the systems. The patterns would be transformed if the dominant technologies of the systems would change. The whole system is emergent and indecomposable; therefore, each element of the system is indicated conceptually in this paper. This approach would contribute as an explanation for the transformation of the whole complex system both deductively and empirically.

劇作家、演出家、舞台美術・衣装・照明・音響スタッフ、音楽家、振付家、俳優（実演家）など実に多くの者が制作に関与する舞台芸術公演の収録・アーカイブ・利活用においては、その権利関係を整理することは欠かせない。ここではEPAD事業や実務の経験を踏まえ、観客が劇場で体験した「なま」の公演そのものを保存することはできないという特徴を有する舞台芸術のアーカイヴィングにとって、最も重要な資料の一つと考えられる公演映像の保存・利活用のための権利処理を念頭におき、「権利の固まり」ともいえる公演映像に特有の権利の壁と、それを乗り越える上で有益と思われる視点を示したい。