Artificial Intelligence and the use of a deceased person's image and voice By Mariana Valverde August 16, 2023 Mariana-Valverde-2-e1692215342270

ARTICLE: ARTIFICIAL INTELLIGENCE AND THE USE OF THE IMAGE AND VOICE OF Deceased PEOPLE 2023 AUGUST 14 *By Mariana Valverde, lawyer, specialist in Intellectual Property With the advance of resources involving Artificial Intelligence, it is already possible to produce advertising content using the image and voice of deceased people. In Brazil, we recently experienced this type of production in an automobile brand's television commercial involving the image and voice of singer Elis Regina, who died in 1982. This innovation has brought up discussions about the protection of the personality rights of deceased persons, especially with regard to their use after death and through artificial intelligence resources. Currently, the use of a deceased person's image must be authorized by their heirs, spouse, ascendant and/or descendant, as provided for in article 20 of the Civil Code. However, the authorizations commonly granted were for the use of old photographs and/or videos, and until then it was unthinkable to create new images, videos and audios containing the deceased. With a view to protecting privacy and preserving the dignity of the individual after death, Senator Rodrigo Cunha (Podemos/AL) presented Bill 3592 of 2023, which aims to establish guidelines for the use of images and audios of deceased people by means of artificial intelligence. The bill initially consists of just eight articles, which, in short, state that: - The use of the deceased person's image by means of AI requires the prior consent of the living person or, in their absence, of the next of kin; - Consent must be specific and set out the purposes for which the image or audio will be used; - Heirs may refuse the use of the image via AI even if consent has previously been given; - The expression expressed in life prohibiting the use of the image after death via AI must be respected; - The use of the image and voice by means of AI for legal purposes, such as criminal investigations and legal proceedings, can be used, as long as authorized by the competent authorities; - Advertising campaigns that use an image or audio produced by AI must contain the message "Advertising with the Use of Artificial Intelligence". The regulation is indeed necessary and urgent, but the bill needs to be supplemented to fill in gaps and provide security for its application, especially with regard to the revocation of authorizations expressed in life and the definition of the line of succession for authorization. *Mariana Valverde, lawyer, specializing in Intellectual Property, partner at Moreau Valverde Advogados

Artificial Intelligence and the Use of a Deceased Person's Image and Voice By edition August 14, 2023 With the advance of resources involving Artificial Intelligence, it is already possible to produce advertising content using the image and voice of deceased people. In Brazil, we recently experienced this type of production in an automobile brand's television commercial involving the image and voice of singer Elis Regina, who died in 1982. This innovation has brought up discussions about the protection of the personality rights of deceased persons, especially with regard to their use after death and through artificial intelligence resources. Currently, the use of a deceased person's image must be authorized by their heirs, spouse, ascendant and/or descendant, as provided for in article 20 of the Civil Code. However, the authorizations commonly granted were for the use of old photographs and/or videos, and until then it was unthinkable to create new images, videos and audios containing the deceased. With a view to protecting privacy and preserving the dignity of the individual after death, Senator Rodrigo Cunha (Podemos/AL) presented Bill 3592 of 2023, which aims to establish guidelines for the use of images and audios of deceased people by means of artificial intelligence. The bill initially consists of just eight articles, which, in short, state that: - The use of the deceased person's image by means of AI requires the prior consent of the living person or, in their absence, of the next of kin; - Consent must be specific and set out the purposes for which the image or audio will be used; - Heirs may refuse the use of the image via AI even if consent has previously been given; - The expression expressed in life prohibiting the use of the image after death via AI must be respected; - The use of the image and voice by means of AI for legal purposes, such as criminal investigations and legal proceedings, can be used, as long as authorized by the competent authorities; - Advertising campaigns that use an image or audio produced by AI must contain the message "Advertising with the Use of Artificial Intelligence". The regulation is indeed necessary and urgent, but the bill needs to be supplemented to fill in gaps and provide security for its application, especially with regard to the revocation of authorizations expressed in life and the definition of the line of succession for authorization. Author: Mariana Valverde, lawyer, specialist in Intellectual Property, partner at Moreau Valverde Advogados

Artificial Intelligence and the Use of the Image and Voice of a Deceased Person By Mariana Valverde, lawyer, specialist in Intellectual Property, partner at Moreau Valverde Advogados. Source: Mariana Valverde Comments: (0) With the advance of resources involving Artificial Intelligence, it is already possible to produce advertising content using the image and voice of deceased people. In Brazil, we recently experienced this type of production in an automobile brand's television commercial involving the image and voice of singer Elis Regina, who died in 1982. This innovation has brought up discussions about the protection of the personality rights of deceased persons, especially with regard to their use after death and through artificial intelligence resources. Currently, the use of a deceased person's image must be authorized by their heirs, spouse, ascendant and/or descendant, as provided for in article 20 of the Civil Code. However, the authorizations commonly granted were for the use of old photographs and/or videos, and until then it was unthinkable to create new images, videos and audios containing the deceased. With a view to protecting privacy and preserving the dignity of the individual after death, Senator Rodrigo Cunha (Podemos/AL) presented Bill 3592 of 2023, which aims to establish guidelines for the use of images and audios of deceased people by means of artificial intelligence. The bill initially consists of just eight articles, which, in short, state that: - The use of the deceased person's image by means of AI requires the prior consent of the living person or, in their absence, of the next of kin; - Consent must be specific and set out the purposes for which the image or audio will be used; - Heirs may refuse the use of the image via AI even if consent has previously been given; - The expression expressed in life prohibiting the use of the image after death via AI must be respected; - The use of the image and voice by means of AI for legal purposes, such as criminal investigations and legal proceedings, can be used, as long as authorized by the competent authorities; - Advertising campaigns that use an image or audio produced by AI must contain the message "Advertising with the Use of Artificial Intelligence". The regulation is indeed necessary and urgent, but the bill needs to be supplemented to fill gaps and provide security for its application, especially with regard to the revocation of authorizations expressed while alive and the definition of the line of succession for authorization.

Artificial Intelligence and the Use of the Image and Voice of a Deceased Person By: Ricardo Krusty Date: 14/08/2023 With the advance of resources involving Artificial Intelligence, it is already possible to produce advertising content using the image and voice of deceased people. In Brazil, we recently experienced this type of production in an automobile brand's television commercial involving the image and voice of singer Elis Regina, who died in 1982. The innovation has brought up discussion about the protection of the personality rights of deceased persons, especially with regard to their use after death and through artificial intelligence resources. Currently, the use of a deceased person's image must be authorized by their heirs, spouse, ascendant and/or descendant, as provided for in article 20 of the Civil Code. However, the authorizations commonly granted were for the use of old photographs and/or videos, and until then it was unthinkable to create new images, videos and audios containing the deceased. With a view to protecting privacy and preserving the dignity of the individual after death, Senator Rodrigo Cunha (Podemos/AL) presented Bill 3592 of 2023, which aims to establish guidelines for the use of images and audios of deceased people by means of artificial intelligence. The bill initially consists of just eight articles, which, in short, state that: - The use of the deceased person's image by means of AI requires the prior consent of the living person or, in their absence, of the next of kin; - Consent must be specific and set out the purposes for which the image or audio will be used; - Heirs may refuse the use of the image via AI even if consent has previously been given; - The expression expressed in life prohibiting the use of the image after death via AI must be respected; - The use of the image and voice by means of AI for legal purposes, such as criminal investigations and legal proceedings, can be used, as long as authorized by the competent authorities; - Advertising campaigns that use an image or audio produced by AI must contain the message "Advertising with the Use of Artificial Intelligence". The regulation is indeed necessary and urgent, but the bill needs to be supplemented to fill gaps and provide security for its application, especially with regard to the revocation of authorizations expressed while alive and the definition of the line of succession for authorization.

Artificial Intelligence and the use of a deceased person's image and voice Woman with long hair Automatically generated description By Mariana Valverdeon August 7, 2023 - 2:10 pm Share: Logo FacebookLogo GoogleLogo TwitterLogo Linkedinemail With the advance of resources involving Artificial Intelligence, it is already possible to produce advertising content using the image and voice of deceased people. In Brazil, we recently experienced this type of production in an automobile brand's television commercial involving the image and voice of singer Elis Regina, who died in 1982. This innovation has brought up discussions about the protection of the personality rights of deceased persons, especially with regard to their use after death and through Artificial Intelligence resources. Currently, the use of a deceased person's image must be authorized by their heirs, spouse, ascendant and/or descendant, as provided for in article 20 of the Civil Code. However, the authorizations commonly granted were for the use of old photographs and/or videos, and until then it was unthinkable to create new images, videos and audios containing the deceased. With a view to protecting privacy and preserving the dignity of the individual after death, Senator Rodrigo Cunha (Podemos/AL) presented Bill 3592 of 2023, which aims to establish guidelines for the use of images and audios of deceased people by means of artificial intelligence. The bill initially consists of just eight articles, which, in short, state that: The use of the deceased person's image by means of AI requires the prior consent of the living person or, in their absence, the next of kin; Consent must be specific and set out the purposes for which the image or audio will be used; Heirs may refuse the use of the image via AI even if consent has previously been given; The expression expressed in life prohibiting the use of the image after death via AI must be respected; The use of the image and voice by means of AI for legal purposes, such as criminal investigations and legal proceedings, can be used, as long as authorized by the competent authorities; Advertising campaigns that use an image or audio produced by AI must contain the message "Advertising with the Use of Artificial Intelligence". The regulation is indeed necessary and urgent, but the bill needs to be complemented to fill in gaps and provide security for its application, especially with regard to the revocation of authorizations expressed in life and the definition of the line of succession for authorization. By Mariana Valverde, partner at Moreau Valverde Advogados.

Artificial Intelligence and the use of a deceased person's image and voice By Redação 16:45 - July 31, 2023 image.png With the advance of resources involving Artificial Intelligence, it is already possible to produce advertising content using the image and voice of deceased people. In Brazil, we recently experienced this type of production in an automobile brand's television commercial involving the image and voice of singer Elis Regina, who died in 1982. This innovation brought up discussions about the protection of the personality rights of deceased persons, especially with regard to post-mortem use and the use of artificial intelligence resources. Currently, the use of a deceased person's image must be authorized by their heirs, spouse, ascendant and/or descendants, as provided for in article 20 of the Civil Code. However, the authorizations commonly granted were for the use of old photographs and/or videos, and until then it was unthinkable to create new images, videos and audios containing the deceased. With a view to protecting privacy and preserving the dignity of the individual after death, Senator Rodrigo Cunha (Podemos/AL) presented Bill 3592 of 2023, which aims to establish guidelines for the use of images and audio made by artificial intelligence of deceased persons. The bill initially consists of just eight articles, which, in short, state that: - The use of the deceased person's image by means of AI requires the prior consent of the living person or, in their absence, the next of kin. - Consent must be specific and set out the purposes for which the image or audio will be used. - Heirs can refuse the use of the image via AI, even if consent has been given previously. - The expression expressed in life prohibiting the use of post-mortem images via AI must be respected. - The use of the image and voice via AI for legal purposes, such as criminal investigations and legal proceedings, can be used, provided it is authorized by the competent authorities. - Advertising campaigns that use images or audio produced by AI must contain the message "Advertising Using Artificial Intelligence". The regulation is indeed necessary and urgent. However, the bill needs to be supplemented in order to fill in gaps and provide certainty for its application, especially with regard to revoking authorizations expressed while alive and defining the line of succession for authorization. Mariana Valverde is a lawyer specializing in Intellectual Property and a partner at Moreau Valverde Advogados.

Artificial Intelligence and the Use of a Deceased Person's Image and Voice 31/07/2023 at 17:53 image.png By Mariana Valverde, lawyer, specialist in Intellectual Property, partner at Moreau Valverde Advogados With the advance of resources involving Artificial Intelligence, it is already possible to produce advertising content using the image and voice of deceased people. In Brazil, we recently experienced this type of production in an automobile brand's television commercial involving the image and voice of singer Elis Regina, who died in 1982. This innovation has brought up discussions about the protection of the personality rights of deceased persons, especially with regard to their use after death and through artificial intelligence resources. Currently, the use of a deceased person's image must be authorized by their heirs, spouse, ascendant and/or descendant, as provided for in article 20 of the Civil Code. However, the authorizations commonly granted were for the use of old photographs and/or videos, and until then it was unthinkable to create new images, videos and audios containing the deceased. With a view to protecting privacy and preserving the dignity of the individual after death, Senator Rodrigo Cunha (Podemos/AL) presented Bill 3592 of 2023, which aims to establish guidelines for the use of images and audios of deceased people by means of artificial intelligence. The bill initially consists of just eight articles, which, in short, state that: - The use of the deceased person's image by means of AI requires the prior consent of the living person or, in their absence, of the next of kin; - Consent must be specific and set out the purposes for which the image or audio will be used; - Heirs may refuse the use of the image via AI even if consent has previously been given; - The expression expressed in life prohibiting the use of the image after death via AI must be respected; - The use of the image and voice by means of AI for legal purposes, such as criminal investigations and legal proceedings, can be used, as long as authorized by the competent authorities; - Advertising campaigns that use an image or audio produced by AI must contain the message "Advertising with the Use of Artificial Intelligence". The regulation is indeed necessary and urgent, but the bill needs to be supplemented to fill gaps and provide security for its application, especially with regard to the revocation of authorizations expressed in life and the definition of the line of succession for authorization.

Artificial Intelligence and the use of a deceased person's image and voice BLOG Blog do Fausto Macedo By Mariana Valverde 30/07/2023 | 05h00 2 minde leitura Mariana Valverde. With the advance of resources involving Artificial Intelligence, it is already possible to produce advertising content using the image and voice of deceased people. In Brazil, we recently experienced this type of production in an automobile brand's television commercial involving the image and voice of singer Elis Regina, who died in 1982. This innovation has brought up discussions about the protection of the personality rights of deceased persons, especially with regard to their use after death and through artificial intelligence resources. Currently, the use of a deceased person's image must be authorized by their heirs, spouse, ascendant and/or descendant, as provided for in article 20 of the Civil Code. However, the authorizations commonly granted were for the use of old photographs and/or videos, and until then it was unthinkable to create new images, videos and audios containing the deceased. With a view to protecting privacy and preserving the dignity of the individual after death, Senator Rodrigo Cunha (Podemos/AL) presented Bill 3592 of 2023, which aims to establish guidelines for the use of images and audios of deceased people by means of artificial intelligence. The bill initially consists of just eight articles, which, in short, establish that: - the use of the deceased person's image by means of AI requires the prior consent of the living person or, in the absence of such consent, of the next of kin; - consent must be specific and set out the purposes for which the image or audio will be used; - heirs may refuse the use of the image via AI even if consent has previously been given; - the expression expressed in life prohibiting the use of the image after death via AI must be respected; - the use of the image and voice by means of AI for legal purposes, such as criminal investigations and legal proceedings, can be used, as long as authorized by the competent authorities; - advertising campaigns that use an image or audio produced by AI must contain the message "Advertising with the Use of Artificial Intelligence". The regulation is indeed necessary and urgent, but the bill needs to be supplemented to fill in gaps and provide security for its application, especially with regard to the revocation of authorizations expressed in life and the definition of the line of succession for authorization. *Mariana Valverde, lawyer specializing in Intellectual Property, partner at Moreau Valverde Advogados

Artificial Intelligence and the Use of a Deceased Person's Image and Voice By Channel 360º August 7, 2023 Mariana Valverde is a lawyer specializing in Intellectual Property and a partner at Moreau Valverde Advogados With the advance of resources involving Artificial Intelligence, it is already possible to produce advertising content using the image and voice of deceased people. In Brazil, we recently experienced this type of production in an automobile brand's television commercial involving the image and voice of singer Elis Regina, who died in 1982. This innovation has brought up discussions about the protection of the personality rights of deceased persons, especially with regard to their use after death and through artificial intelligence resources. Currently, the use of a deceased person's image must be authorized by their heirs, spouse, ascendant and/or descendant, as provided for in article 20 of the Civil Code. However, the authorizations commonly granted were for the use of old photographs and/or videos, and until then it was unthinkable to create new images, videos and audios containing the deceased. With a view to protecting privacy and preserving the dignity of the individual after death, Senator Rodrigo Cunha (Podemos/AL) presented Bill 3592 of 2023, which aims to establish guidelines for the use of images and audios of deceased people by means of artificial intelligence. The bill initially consists of just eight articles, which, in short, establish that: - the use of the deceased person's image by means of AI requires the prior consent of the living person or, in the absence of such consent, of the next of kin; - the consent must be specific and set out the purposes for which the image or audio will be used; - the heirs may refuse the use of the image via AI even if consent has previously been given; - the expression expressed in life prohibiting the use of the image after death via AI must be respected; - the use of the image and voice by means of AI for legal purposes, such as criminal investigations and legal proceedings, can be used, as long as authorized by the competent authorities; - advertising campaigns that use an image or audio produced by AI must contain the message "Advertising with the Use of Artificial Intelligence". The regulation is indeed necessary and urgent, but the bill needs to be supplemented to fill in gaps and provide security for its application, especially with regard to the revocation of authorizations expressed in life and the definition of the line of succession for authorization.

Metaverse and digital meetings, cooperation and risks By Mariana Valverde and Gabriela Cardoso The possibility of public companies also holding their meetings in virtual and augmented reality environments, such as Metaverse, is heating up discussions about the application of innovations in the business world. During the pandemic, the CVM allowed hybrid or exclusively digital meetings and avoided postponing important decisions. The practice has been well accepted. Recently, a Spanish company held its first shareholders' meeting in the immersive space of the Metaverse. Thus, combining the benefits of the practice with the constant advance of technology, a trend was created to optimize decision-making. With this in mind, Abrasca asked the CVM about holding this type of meeting in the Metaverse. The answer came in technical opinion 146, which formalized the understanding that, respecting the legal requirements of traditional meetings, companies can use the technology. The process should function normally, with meetings recorded, shareholders' attendance and votes recorded. Those who choose can start using the format immediately, as there is no need for the company to have its registered office in the immersive Metaverse space. In this way, even families whose investments are regulated by the CVM through publicly traded family companies, where managers tend to treat them as an extension of their family assets, will be able to approve and disapprove issues much more easily and quickly. However, just as in the physical face-to-face rite, it is necessary to adopt a series of procedures and precautions to hold the meeting, its transfer to virtual reality will require an important amount of guarantees so that they are not invalidated. It is also important to guarantee the security and preservation of digital data. *Mariana Valverde and Gabriela Cardoso, respectively partner and member of Moreau Valverde Advogados.

The possibility of publicly traded companies also holding their meetings in virtual and augmented reality environments, such as Metaverse, is heating up discussions about the application of innovations in the business world. In 2020, due to social isolation, the Brazilian Securities and Exchange Commission (CVM) allowed hybrid or exclusively digital meetings to be held through CVM Instruction 622. This provision represented progress and innovation and avoided the postponement of important decisions. The practice was well accepted and generated a number of benefits, which sparked interest in maintaining it, even in the post-pandemic period. Recently, a Spanish company held its first remote shareholders' meeting, only this time in the immersive space of the Metaverse. Thus, combining the benefits of the practice with the constant advance of technology, which makes it possible to represent the real world in digital form, has created a trend that is sure to be here to stay and optimize decision-making. With this in mind, the Brazilian Association of Listed Companies (Abrasca), following the transition to holding meetings in the digital environment, consulted the CVM about holding this type of meeting in the Metaverse. In response to Abrasca's query, CVM, in technical opinion 146, formalized its understanding that, as long as the legal requirements that apply to traditional meetings are respected, companies can use the technology. In this way, as is already the case in other segments, Metaverse becomes a technology available for a specific procedure, without excluding previous formats. It is important to note that, in order to hold a digital meeting, the process will have to function normally, with recorded meetings, a record of shareholder attendance and votes. Companies that choose to do so can start using the format immediately, since there is no need for the company to have its registered office in the immersive space of the metaverse. In this way, even families who have their investments regulated by the CVM, through publicly traded family companies, in which managers tend to treat them as an extension of their family assets, will be able to approve and disapprove issues much more easily and quickly. Once again, technology is improving to make our lives easier in all areas. However, just as in the physical face-to-face rite it is necessary to adopt a series of procedures and precautions to hold the meeting, its transfer to virtual reality will require an important amount of guarantees so that they are not invalidated. In addition, it is important to guarantee the security and preservation of digital data. That said, the use of this resource to hold meetings must be accompanied by trained professionals equipped with the necessary mechanisms to guarantee security and not turn progress into a burden. Mariana Valverde and Gabriela Cardoso are, respectively, partner and member of Moreau Valverde Advogados.

The possibility of publicly traded companies also holding their meetings in virtual and augmented reality environments, such as Metaverse, is heating up discussions about the application of innovations in the business world. In 2020, due to social isolation, the Brazilian Securities and Exchange Commission (CVM) allowed hybrid or exclusively digital meetings to be held through CVM Instruction 622. This provision represented progress and innovation and avoided the postponement of important decisions. The practice was well accepted and generated a number of benefits, which sparked interest in maintaining it, even in the post-pandemic period. Recently, a Spanish company held its first remote shareholders' meeting, only this time in the immersive space of the Metaverse. Thus, by combining the benefits of the practice with the constant advance of technology, which makes it possible to represent the real world in digital form, a trend has been created that is certainly here to stay and optimize decision-making. With this in mind, Abrasca (Brazilian Association of Publicly Traded Companies), following the transition to holding meetings in the digital environment, consulted the CVM (Securities and Exchange Commission) about holding this type of meeting in the Metaverse. In response to Abrasca's query, CVM, in technical opinion 146, formalized its understanding that, as long as the legal requirements that apply to traditional meetings are respected, companies can use the technology. In this way, as already happens in other segments, Metaverse becomes a technology available for a particular procedure, without excluding previous formats. It is important to note that, in order to hold a digital meeting, the process will have to function normally, with recorded meetings, a record of shareholder attendance and votes. Companies that choose to do so can start using the format immediately, since there is no need for the company to have its registered office in the immersive space of the metaverse. In this way, even families who have their investments regulated by the CVM, through publicly traded family companies, in which managers tend to treat them as an extension of their family assets, will be able to approve and disapprove issues much more easily and quickly. Once again, technology is improving to make our lives easier in all areas. However, just as in the physical face-to-face rite it is necessary to adopt a series of procedures and precautions to hold the meeting, its transfer to virtual reality will require an important amount of guarantees so that they are not invalidated. In addition, it is important to guarantee the security and preservation of digital data. That said, the use of this resource to hold meetings must be accompanied by trained professionals equipped with the necessary mechanisms to guarantee security and not turn progress into a burden. *Mariana Valverde and Gabriela Cardoso, respectively partner and member of Moreau Valverde Advogados.

The possibility of publicly traded companies also holding their meetings in virtual and augmented reality environments, such as Metaverse, is heating up discussions about the application of innovations in the business world. In 2020, due to social isolation, the Brazilian Securities and Exchange Commission (CVM) allowed hybrid or exclusively digital meetings to be held through CVM Instruction 622. This provision represented progress and innovation and avoided the postponement of important decisions. The practice was well accepted and generated a number of benefits, which sparked interest in maintaining it, even in the post-pandemic period. Recently, a Spanish company held its first remote shareholders' meeting, only this time in the immersive space of the Metaverse. Thus, by combining the benefits of the practice with the constant advance of technology, which makes it possible to represent the real world in digital form, a trend has been created that is certainly here to stay and optimize decision-making. With this in mind, Abrasca (Brazilian Association of Publicly Traded Companies), following the transition to holding meetings in the digital environment, consulted the CVM (Securities and Exchange Commission) about holding this type of meeting in the Metaverse. In response to Abrasca's query, CVM, in technical opinion 146, formalized its understanding that, as long as the legal requirements that apply to traditional meetings are respected, companies can use the technology. In this way, as already happens in other segments, Metaverse becomes a technology available for a particular procedure, without excluding previous formats. It is important to note that, in order to hold a digital meeting, the process will have to function normally, with recorded meetings, a record of shareholder attendance and votes. Companies that choose to do so can start using the format immediately, since there is no need for the company to have its registered office in the immersive space of the metaverse. In this way, even families who have their investments regulated by the CVM, through publicly traded family companies, in which managers tend to treat them as an extension of their family assets, will be able to approve and disapprove issues much more easily and quickly. Once again, technology is improving to make our lives easier in all areas. However, just as in the physical face-to-face rite it is necessary to adopt a series of procedures and precautions to hold the meeting, its transfer to virtual reality will require an important amount of guarantees so that they are not invalidated. In addition, it is important to guarantee the security and preservation of digital data. That said, the use of this resource to hold meetings must be accompanied by trained professionals equipped with the necessary mechanisms to guarantee security and not turn progress into a burden. *Mariana Valverde and Gabriela Cardoso, respectively partner and member of Moreau Valverde Advogados.

By Mariana Valverde, lawyer specializing in intellectual property law and partner at Moreau Valverde Advogados Imagine the image of the perfect person according to the physical characteristics you most admire. The mouth of a famous actress, with the hair you saw on a hairdresser's social network, the eyes of a model, the hands of an influencer and so on. The result: a new image created from the combination of other images, a digital image of a virtual person, an avatar or character. This "creation" is already within everyone's reach thanks to a powerful series of applications and artificial intelligence resources, which make it possible to access any virtual image. This virtual image can be used to identify a product, a service or a brand. The arguments for increasing the use of these technologies range from creating a unique image that can be linked to the brand you want to promote, to saving money on hiring a real person for the job. Some are already calling this practice the "Frankenstein 5.0 era", where filters and applications of image parts predominate. Curiously, the same questions are asked about whether: Is this virtual image covered by image rights?; How does image rights look in this scenario?; Who owns the image rights to this "new image"? According to the Federal Constitution, people's privacy, private life, honor and image are inviolable, and the right to compensation for material or moral damage resulting from their violation is guaranteed. The concept of the "Image of Persons" contained in the text of the law and protected by it, covers not only a person's countenance or the whole of their body, but also different parts of their body, such as hands, eyes, hair. In this way, any kind of use of part or parts of a person's image depends on their express authorization, even if it is to be combined or inserted with other images. It is necessary, I emphasize, to obtain permission to use the image of a person's hand, their hair or even their nails. We recently had a case in which a brand had to compensate a model for the improper use of the image of her buttocks to advertise jeans. The advance of Web 3.0 and the use of images created through technological means for publicity, advertising and marketing of products and services is increasing the risk and the number of discussions involving the misuse and infringement of third party rights. Thus, it cannot be forgotten, in any way, that the benefits brought by the virtual world do not nullify and/or authorize disrespect for the individual rights advocated. For those who counter-argue by pointing to the evolution of the times, it should be understood that innovation is not a free pass to steal the rights of others.

By Mariana Valverde, a lawyer specializing in intellectual property law and partner at Moreau Valverde Advogados. Imagine the image of the perfect person according to the physical characteristics you most admire. The mouth of a famous actress, with the hair you saw on a hairdresser's social network, the eyes of a model, the hands of an influencer and so on. The result: a new image created from the combination of other images, a digital image of a virtual person, an avatar or character. This "creation" is already within everyone's reach thanks to a powerful series of applications and artificial intelligence resources, which make it possible to access any virtual image. This virtual image can be used to identify a product, a service or a brand. The arguments for the increased use of these technologies range from the creation of a unique image, which can be linked to the brand you want to promote, to the savings in hiring a real person for the job. Some are already calling this practice the "Frankenstein 5.0 era", where filters and applications of image parts predominate. Curiously, the same questions are asked about whether: Is this virtual image covered by image rights?; How does image rights look in this scenario?; Who owns the image rights to this "new image"? According to the Federal Constitution, people's privacy, private life, honor and image are inviolable, and the right to compensation for material or moral damage resulting from their violation is guaranteed. The concept of the "Image of Persons" contained in the text of the law and protected by it, covers not only a person's countenance or the whole of their body, but also different parts of their body, such as hands, eyes, hair. In this way, any kind of use of part or parts of a person's image depends on their express authorization, even if it is to be combined or inserted with other images. It is necessary, I emphasize, to obtain permission to use the image of a person's hand, their hair or even their nails. We recently had a case in which a brand had to compensate a model for the improper use of the image of her buttocks to advertise jeans. The advance of Web 3.0 and the use of images created through technological means for publicity, advertising and marketing of products and services is increasing the risk and the number of discussions involving the misuse and infringement of third party rights. Thus, it cannot be forgotten, in any way, that the benefits brought by the virtual world do not nullify and/or authorize disrespect for the individual rights advocated. For those who counter-argue by pointing to the evolution of the times, it should be understood that innovation is not a free pass to steal the rights of others.

Redação 15:51 - 12 De Dezembro De 2022 The first step to be taken is to define the model that the venue will apply Hosting a World Cup is a premium moment in the events sector, both in Brazil and abroad. For the event in Qatar, between November 20 and December 18, there is unusual excitement and expectations. After all, it will be the first super-event in which millions of people will be able to socialize indoors, at the same time and in all the country's cities, without any health restrictions, at least significant ones. As a result, the events sector, bars and restaurants are already planning and organizing their spaces to welcome fans, broadcast the games and promote their products. However, the possibility of exploiting the broadcasting of World Cup matches to attract an audience has rules that need to be met very well if establishments are to avoid notifications, lawsuits and legal costs. This is because actions involving the broadcasting of World Cup matches require consents and licenses from FIFA. The first step to be taken is to define the model that the venue will apply: Commercial Public Viewing Event or a Non-Commercial Public Viewing Event. The Commercial Event will be characterized by charging a direct or indirect admission fee to enter the venue, or when it is backed by sponsorship or other commercial rights of association exploited. In short, a Commercial Public Viewing Event will be considered such when there is a commercial benefit (e.g. a ticket charge). Public Viewing Events in commercial establishments such as bars and restaurants are considered Non-Commercial Events, as long as the broadcasting of the matches is within the normal course of business and no additional commercial activity takes place, such as the charging of entrance fees or sponsorships involved. Therefore, anyone who intends to organize an event where the consumer will pay admission and/or has sponsorship shares must apply for a Commercial Public Viewing Event License from FIFA, which must authorize and collect the value of this license. It is of the utmost importance, even if the License is granted, that the use of the signal of the broadcaster(s) holding the right to broadcast the World Cup is respected. In addition, several obligations must be respected by the companies that carry out the commercial broadcast, such as the coverage, which must only be live through a clean reproduction, in its entirety, without any edits, and cannot have any link to a related political event, party or candidate. It is essential to comply with the legal prohibition on the use of competition symbols and trademarks such as the emblem, title and official logos of the Qatar 2022 World Cup, including the mascot and trophy. In this way, all the copyright and intellectual property rights that remain relating to the World Cup, associated with the Competition Marks, are the exclusive property of Fifa and protected by law. The only exception to this provision would be the use of the title of the World Cup, which is "Fifa World Cup Qatar 2022 T", as long as it is not connected to shopping malls, sports retail stores, hotels, breweries, restaurant chains, airports and cinemas/theaters, under penalty of Fifa considering a prohibited association created by the use, which may be editorial or not. The title of the event, in addition to the related location requirements, may also only be used in standard font for the sole editorial purpose of informing the public of other details such as the timetable of a Public Viewing Event provided. In this sense, according to article 31 of the Code of Advertising Self-Regulation (CBAP), undue and illegitimate advertising profits arising from "hitchhiking" or "ambush", through the use of any artifice or without a legal basis based on a regular contract concluded between legitimate parties to the rights involved, are condemned. Unfortunately, many organizers are still unaware of the rules regarding the use of brands in actions involving the World Cup and fail to apply for and obtain authorization from FIFA in the correct manner, which can result in heavy losses not only for them but also for any sponsors involved. Mariana Valverde and Ingrid Diniz, respectively partner and member of Moreau Valverde Advogados.

Once again, technology is improving to make our lives easier in all areas Caption: Partner and member of Moreau Valverde Advogados The possibility of publicly traded companies also holding their meetings in virtual and augmented reality environments, such as the Metaverse, is heating up discussions about the application of innovations in the business world. In 2020, due to social isolation, the Brazilian Securities and Exchange Commission (CVM) allowed hybrid or exclusively digital meetings to be held through CVM Instruction 622. This provision represented progress and innovation and avoided the postponement of important decisions. The practice was well accepted and generated a number of benefits, which sparked interest in maintaining it, even in the post-pandemic period. Recently, a Spanish company held its first remote shareholders' meeting, only this time in the immersive space of the Metaverse. Thus, by combining the benefits of the practice with the constant advance of technology, which makes it possible to represent the real world in digital form, a trend has been created that is certainly here to stay and optimize decision-making. With this in mind, Abrasca (Brazilian Association of Publicly Traded Companies), following the transition to holding meetings in the digital environment, consulted the CVM (Securities and Exchange Commission) about holding this type of meeting in the Metaverse. In response to Abrasca's query, CVM, in technical opinion 146, formalized its understanding that, as long as the legal requirements that apply to traditional meetings are respected, companies can use the technology. In this way, as is already the case in other segments, Metaverse becomes a technology available for a specific procedure, without excluding previous formats. It is important to note that, in order to hold a digital meeting, the process will have to function normally, with recorded meetings, a record of shareholder attendance and votes. Companies that choose to do so can start using the format immediately, since there is no need for the company to have its registered office in the immersive space of the metaverse. In this way, even families who have their investments regulated by the CVM, through publicly traded family companies, in which managers tend to treat them as an extension of their family assets, will be able to approve and disapprove issues much more easily and quickly. Once again, technology is improving to make our lives easier in all areas. However, just as in the physical face-to-face rite it is necessary to adopt a series of procedures and precautions to hold the meeting, its transfer to virtual reality will require an important amount of guarantees so that they are not invalidated. In addition, it is important to guarantee the security and preservation of digital data. That said, the use of this resource to hold meetings must be accompanied by trained professionals who are equipped with the necessary mechanisms to guarantee security and not turn progress into a burden.

Celebridades como Gisele Bündchen e Tom Brady colocaram suas marcas pessoais na divulgação da exchange de criptoativos FTX. A exchange requereu sua reorganização por meio do chamado “Chapter 11” e é ré em processos de falência – deixando no prejuízo pelo menos um milhão de clientes e credores. Em casos assim, qual é o limite da responsabilidade do divulgador de um produto, projeto ou investimento, quando desnecessária uma autorização específica por parte do regulador? Autoridades do mercado de valores mobiliários dos EUA informam ter investigações em curso sobre o assunto, envolvendo figuras públicas que divulgaram oportunidades de negócios. Há também relatos de processos judiciais indenizatórios em face das mesmas celebridades contratadas para aparecerem nos anúncios. Nessas hipóteses, as pessoas que aparecem nas campanhas publicitárias são apontadas como participantes de possível esquema de pirâmide financeira e acusadas de incentivar potenciais investimentos regulados pelas autoridades estatais sem a devida autorização, com o objetivo de supostamente atrair e enganar investidores. No caso especificamente da corretora FTX, a discussão passa pela tese de que as contas com rendimento abertas nessa exchange eram valores mobiliários não registrados (que teriam sido vendidos ilegalmente segundo a legislação dos EUA). Acusa-se que a divulgação se deu mediante cometimento de fraude, prestação de informações falsas e conduta intencionalmente enganosa. As celebridades envolvidas são vistas em anúncios comerciais com ostensiva recomendação de investimento em contas remuneradas por meio da plataforma digital da FTX. Essas mesmas celebridades, segundo alegam as autoridades e os autores das ações, seriam detentores de participação acionária na FTX, o que lhes alteraria a condição de mero divulgador do produto. O cerne das acusações é que as contas remuneradas são ativos que exigem autorizações estatais específicas, o que não teria sido providenciado pela FTX. O caso lembra a celeuma que envolveu o ator Antônio Fagundes – destaque na novela ‘O Rei do Gado’ (jun. 1996 – fev. 1997), da TV Globo – que fazia a divulgação dos investimentos das Fazendas Reunidas Boi Gordo. Fagundes também foi acusado de incentivar a aquisição de valores mobiliários, o que inclusive levou ao aperfeiçoamento da legislação de regência da matéria, especialmente sobre os anúncios publicitários. A legislação passou a regular os chamados “contratos de investimento coletivo” (CICs), como Medida Provisória n.º 1.637/1998, convertida na Lei Federal n.º 10.198/2001. O CONAR também se envolveu, autorregulando os limites e condições da publicidade de produtos financeiros. Em ambos os casos, FTX e Boi Gordo, a discussão passa necessariamente pela interpretação da legislação em vigor e sua eventual aplicabilidade aos fatos concretos, isto é, é preciso determinar se os produtos divulgados são ativos financeiros sujeitos a regulação estatal. Há inclusive quem se aproveite do episódio para conclamar pela regulamentação do mercado brasileiro de criptoativos – está em tramitação o Projeto de Lei 4401/2021, na Câmara dos Deputados. Uma possível medida para recuperar a confiança do investidor seria tornar obrigatória a segregação do patrimônio da exchange de criptoativos do saldo de seus clientes, o que já é feito por algumas corretoras desse mercado. Não se encontra na legislação nacional qualquer hipótese de responsabilização da figura pública contratada para determinado anúncio, até mesmo porque aquele que presta serviços publicitários não tem qualquer ingerência sobre a administração das empresas que comercializam os produtos e serviços anunciados. No entanto, nos casos em que há regulamentação governamental, é possível discutir a responsabilidade das pessoas contratadas para agregarem sua imagem a um produto, quando se verificar que tais personalidades sabiam comprovadamente da ilicitude da divulgação nos moldes em que proposta pela parte contratante. Obviamente, essa constatação depende de uma profunda análise da documentação relativa à contratação e, apesar de existir uma boa dose de subjetivismo nessa questão, trata-se na verdade de expressão da exigência de “objeto lícito” como requisito de validade de qualquer negócio jurídico (art. 104 do Código Civil), da boa-fé objetiva que matiza a interpretação das relações contratuais (arts. 113 e 187 do Código Civil), assim como da impossibilidade de se alegar o desconhecimento para se escusar de cumprir a lei (art. 3º da Lei de Introdução às Normas do Direito Brasileiro). Nos casos em que autorizações estatais específicas não são necessárias, e que demonstrado que a pessoa contratada realizou averiguações razoáveis quanto à licitude da contratação, deve-se colocar um freio na responsabilidade dos envolvidos na divulgação dos produtos. Isso se mostra necessário especialmente quando se contrata figuras públicas apenas para a participação em anúncios (e outros veículos equivalentes, como realização de eventos, shows, palestras etc.). Isso vale mesmo quando remunerados, total ou parcialmente, com participações societárias ou outros ativos que poderiam, em uma análise superficial e descolada da documentação concreta, dar uma falsa impressão de que a pessoa contratada possui interesse no sucesso do produto ou serviço anunciado. Vale lembrar que a imagem é protegida pela Constituição Federal (art. 5º, X e XXVIII). Seu uso indevido caracteriza crime (art. 218-C do Código Penal) e sujeita o infrator ao pagamento de indenização ao titular da imagem utilizada sem autorização (arts. 11, 20, 186 e 927 do Código Civil, e Súmula n.º 403 do STJ). Nesse cenário, não há como confundir a responsabilidade dos anunciantes com a das celebridades, que cedem o uso da sua imagem e se limitam ao empréstimo da sua fama, bom nome e prestígio, nesse mercado que movimenta cerca de R$ 1 bilhão por ano, praticamente se utilizando dos direitos da personalidade como insumo na chamada “indústria da fama”, o que apenas reforça a importância das questões aqui trazidas. Pierre Moreau é advogado, sócio de Moreau Valverde Advogados. O autor agradece ao colega Renato Xavier da Silveira Rosa, que colaborou com este artigo.

Architectural projects and the fine line between inspiration and copying Mariana Valverde 11/10/2022 at 18:45 Architectural works are protected by the Copyright Law, regardless of registration. In addition, it is possible to deposit the work before the Council of Architecture and Urbanism or the Copyright Office of the National Library. The release of a ruling by the São Paulo State Court of Justice, in an appeal that discussed the occurrence of possible plagiarism in an architectural project, deepens the discussion on one aspect: the fine line between inspiration and copying. The court upheld the lower court's decision, which dismissed the case. The decision, like the lower court ruling, was based on expert evidence that did not identify any originality in the work that was the subject of the alleged plagiarism. Without going into the details of the specific case mentioned above, it is worth reflecting on the reasons for the increase in discussions on the subject and alternatives to avoid conflicts of this kind. In a world where inspiration drives markets and defines social groups, especially in Brazil where trends are followed to the letter, the challenge is how to differentiate between inspiration and copying. This differentiation is not simple, nor is it obvious, but the main point is to analyze the originality of the work and the elements that make up the novelty capable of differentiating it from what has already been created. In the case of architectural works, these are protected by the Copyright Law, regardless of registration, as set out in article 7, item X, which states that intellectual works are protected creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, such as projects, sketches and plastic works concerning geography, engineering, topography, architecture, landscaping, scenography and science. In addition to the protection established by the legislation in force, it is possible to deposit the work with the Council of Architecture and Urbanism, as provided for in Resolution 67/2013 of the said council, as well as with the Copyright Office of the National Library. It is important to note that the deposit processes mentioned above are intended to formalize the content and date of creation of the project, and neither the Council of Architecture and Urbanism nor the Copyright Office analyse the originality and novelty of the deposited works. This is not to say that prior deposits have no practical effect, quite the contrary, when well instructed and documented, they can even contain the sources of inspiration, which is perfect for aligning inspiration with novelty capable of differentiating it from the ordinary. The process of determining originality and novelty in a dispute is more complex, and in most conflicts is carried out through technical expertise. Forensics in these cases tends to analyze elements and details of the project, ranging from shapes, colors and style to the construction techniques used, as well as the previous existence of a similar set. In short, the creative process and inspiration must go hand in hand, innovating and creating the individual nuances that enable them to differentiate and guarantee authorship. The creative process therefore requires time, research and construction, conflicting with the current trend towards immediacy, the expectation of rapid delivery of services and the pressure to reduce costs. This conflict certainly hampers the creative process and may be fostering the copy industry. About the author Mariana Valverde Professor and lawyer specializing in intellectual property, partner at Moreau Valverde Advogados

Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and more. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or invented in the future. The trademark and design protection recommended by the Intellectual Property Law are also applied to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. As a result, the first conflicts involving the protection of these virtual creations have begun to emerge. At the end of last year, Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes handbag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top. Mariana Valverde is a professor and lawyer specializing in intellectual property, partner at Moreau Valverde Advogados.

Architectural projects and the fine line between inspiration and copying October 13, 2022, 4:17 pm By Mariana Valverde The release of a ruling by the São Paulo State Court of Justice in an appeal that discussed the occurrence of possible plagiarism in an architectural project deepens the discussion on one aspect: the fine line between inspiration and copying. The court upheld the lower court's decision, which dismissed the case. The decision, like the lower court ruling, was based on expert evidence that did not identify any originality in the work that was the subject of the alleged plagiarism. Reperoduction Without going into the details of the specific case mentioned above, it is worth reflecting on the reasons for the increase in discussions on the subject and alternatives to avoid conflicts of this kind. In a world where inspiration drives markets and defines social groups, especially in Brazil where trends are followed to the letter, the challenge is how to differentiate between inspiration and copying. This differentiation is not simple, nor is it obvious, but the main point is to analyze the originality of the work and the elements that make up the novelty capable of differentiating it from what has already been created. In the case of architectural works, these are protected by the Copyright Law, regardless of registration, as set out in article 7, item X, which states that intellectual works are protected creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, such as projects, sketches and plastic works concerning geography, engineering, topography, architecture, landscaping, scenography and science. In addition to the protection established by the legislation in force, it is possible to deposit the work with the Council of Architecture and Urbanism, as provided for in Resolution 67/2013 of the said council, as well as with the Copyright Office of the National Library. It is important to note that the deposit processes mentioned above are intended to formalize the content and date of creation of the project, and neither the Council of Architecture and Urbanism nor the Copyright Office analyse the originality and novelty of the deposited works. This is not to say that prior deposits have no practical effect, quite the contrary, when well instructed and documented, they can even contain the sources of inspiration, which is perfect for aligning inspiration with novelty capable of differentiating it from the ordinary. The process of determining originality and novelty in a dispute is more complex, and in most conflicts is carried out through technical expertise. Forensics in these cases tends to analyze elements and details of the project, ranging from shapes, colors and style to the construction techniques used, as well as the previous existence of a similar set. In short, the creative process and inspiration must go hand in hand, innovating and creating the individual nuances that enable them to differentiate and guarantee authorship. The creative process therefore requires time, research and construction, conflicting with the current trend towards immediacy, the expectation of rapid delivery of services and the pressure to reduce costs. This conflict certainly hampers the creative process and may be fostering the copy industry. Mariana Valverde is a lawyer specializing in intellectual property law and a partner at Moreau Valverde Advogados.

While Metaverse is building its augmented reality, presenting the access devices and giving clues as to how it plans to operate, hundreds of companies in every country are trying to mark out territory and announce that they are already there. This profile of the pioneer who rushes to wherever "Gold!" is shouted is part of the entrepreneurial culture. As with all Internet waves, their main merit lies in identifying risks and predicting solutions that will be shaped by the succession of problems they expose. The idea is that the fastest and most planned will stand out and prosper. Exactly 30 years ago, in 1992, commercial use of the Internet began. All the learning from this period will be applied to the Metaverse, which is itself the result of the mistakes and successes of the countless "virtual universes" that try to digitally replicate human interaction. In the current context, there are repeated questions ranging from simple ones about how it works, its scope and usefulness, to more complex ones such as the legislation to be applied, forms of protection and conflict resolution. In the Metaverse, the challenge regarding the applicable legal system is greater than many might think at the moment. International organizations are already looking into the issue. While there is already discussion about what to do in cases of sexual harassment, racist attacks and various forms of intolerance, the movement is focusing more effectively on those who already have a concrete notion of being present in this "land mirror" but have yet to define when, in what form and to what extent. They are only certain that they will be dealing with the same kind of replicants that the intelligence of copies produces in series in asymmetric economic processes. So the central question is: how can intellectual property assets be protected and an entry into the metaverse programmed? The first line of defense is trademark protection. The registration of a trademark, currently carried out in Brazil, has national validity and can be replicated in other countries through signed protocols. However, in many cases, the same trademark has different owners in different countries. So the questions here are: how does this trademark look when operating in a universal Metaverse environment? How can broad protection be established? How should conflicts be resolved in this environment? These are simple, real examples and conflicts in this regard are likely to increase, implying a burden for those who do not plan for this incursion. Therefore, if a company intends to enter the Metaverse, even in the medium term, it is of the utmost importance to make a prior plan for protecting intellectual property assets. This plan includes mapping current assets, registrations and forms of protection and must be linked to the business's future actions, taking into account the consequences of the Metaverse. The projects to prepare for this moment can be recognized as "dig in", in which, in a resolute and intense way, lines of defence are established, legal trenches, in anticipation of competitive attacks at various levels. This action lists all intellectual property assets, software, copyrights, trademarks, trade dress, patents, industrial designs, the current situation, investments and projections. Each projection will make it possible to anticipate and plan protection, minimize future costs and risks and, above all, define what is essential. More than just being there, positioning to develop businesses where billions of people intend to be at some point.

Professor and lawyer specializing in intellectual property and fashion law, partner at Moreau Valverde Advogados The protection of copyright in films, series, photographic images and software, especially with regard to actions focused on combating piracy, has been widely debated. Every day, thousands of people receive extrajudicial notices in their inboxes informing them that they have violated the rights of third parties, usually through the use of torrent file sharing applications. A detailed analysis of what is happening reveals legitimate cases, opportunists, who take advantage of gray areas in the law to make a profit, and even scammers, who impersonate rightsholders in order to gain a pecuniary advantage. Frequent reports since 2020 have dealt with copyright trolls, the name given to actions considered to be aggressive and opportunistic in order to collect money for alleged copyright infringement. One example is threatening notices charging astronomical amounts for copyright infringement, without proof of ownership or misuse. Most of these notices deal with the misuse of software, films downloaded without authorization and the use of images on websites. What is surprising and worrying is that the majority of the reports treat any out-of-court collection action relating to the misuse of copyright works as a copyright troll, without differentiating between legitimate and illegitimate actions. Without the proper distinction, those who receive the notification end up ignoring these missives. They believe they are all a "scam" applied to obtain a pecuniary advantage. But that's not all that's happening. Yes, there are undue charges, with no basis or proof of ownership. This should really be ignored and can also be the subject of a reverse action to stop the charge and obtain compensation for undue charging. But there are legitimate charges. After all, software, photographs, films, music and other goods from this industry are assets protected by the Copyright Law and must be used with the proper authorization from the owner. When this doesn't happen, it's up to the owner or their attorney-in-fact to claim that the use be refrained from and the corresponding compensation, which is an action supported by the legislation that regulates the matter. The entertainment industry already has the technical means to track down illegal downloads, to assess whether the form of use is chargeable, and to intensively tighten the use of asymmetric resources. Therefore, before ignoring and treating any notification as a copyright troll, the person notified should seek help to verify whether it really is a troll or whether there has been an illegal act and the copyright holder is merely claiming their right legally. In this case, once the legitimacy and ownership of the right has been established, it is up to the infringer to try to reach an agreement to avoid further damage. Ignoring a legitimate copyright claim can result in major losses, which are not limited to compensation for material and moral damages, but also criminal sanctions. To avoid this problem, the recommendation is to use licensed products. The entertainment industry has developed to the point where it is possible to significantly reduce the cost of access, including many forms at no cost to the user. In any case, if for some reason you need or choose to use non-legal resources, you should be prepared to be charged. From the resource provider, who will use your equipment and data for their own interests. And from the rights holder, who already has the means to get to your machine and identify, by legal means, who the owner is.

Notices deal with improper use of software, films and images The protection of copyright in films, series, photographic images and software, especially with regard to actions focused on combating piracy, has been widely debated. Every day, thousands of people receive extrajudicial notices in their inboxes informing them that they have violated the rights of third parties, usually through the use of torrent file-sharing applications. A detailed analysis of what is happening reveals legitimate cases; opportunists, who take advantage of gray areas in the law to make a profit; and even scammers, who impersonate rightsholders in order to gain a pecuniary advantage. Frequent reports since 2020 have dealt with copyright trolls, the name given to actions considered to be aggressive and opportunistic in order to collect money for alleged copyright infringement. One example is threatening notices charging astronomical amounts for copyright infringement, without proof of ownership or misuse. Most of these notices deal with the misuse of software, films downloaded without authorization and the use of images on websites. What is surprising and worrying is that the majority of the reports treat any out-of-court collection action relating to the misuse of copyright works as a copyright troll, without differentiating between legitimate and illegitimate actions. Without the proper distinction, those who receive the notification end up ignoring these missives. They believe they are all a "scam" applied to obtain a pecuniary advantage. But that's not all that's happening. Yes, there are undue charges, with no basis or proof of ownership. This should really be ignored and can also be the subject of a reverse action to stop the charge and obtain compensation for undue charging. But there are legitimate charges. After all, software, photographs, films, music and other goods from this industry are assets protected by the Copyright Act and must be used with the proper authorization from the owner. When this doesn't happen, it's up to the owner or their attorney-in-fact to claim that the use be refrained from and the corresponding compensation, which is an action supported by the legislation that regulates the matter. The entertainment industry already has the technical means to track down illegal downloads, to assess whether the form of use is chargeable, and to intensively tighten the use of asymmetric resources. Therefore, before ignoring and treating any notification as a copyright troll, the person notified should seek help to check whether it really is a troll or whether there has been an illegal act and the copyright holder is merely claiming their right legally. In this case, once the legitimacy and ownership of the right has been established, it is up to the infringer to try to reach an agreement to avoid further damage. Ignoring a legitimate copyright claim can result in major losses, which are not limited to compensation for material and moral damages, but also criminal sanctions. To avoid this problem, the recommendation is to use licensed products. The entertainment industry has developed to the point where it is possible to significantly reduce the cost of access, including many forms at no cost to the user. In any case, if for some reason you need or choose to use non-legal resources, you should be prepared to be charged. From the resource provider, who will use your equipment and data for their own interests. And from the rights holder, who already has the means to get to your machine and identify, by legal means, who the owner is. Mariana Valverde is a teacher and lawyer, partner at Moreau Valverde Advogados.

Hosting a soccer World Cup is a premium moment in the events sector, both in Brazil and abroad. For the event in Qatar, between November 20 and December 18, there is unusual excitement and expectations. After all, it will be the first super event in which millions of people will be able to socialize indoors, at the same time and in all the country's cities, without any health restrictions, at least significant ones. As a result, the events sector, bars and restaurants are already planning and organizing their spaces to welcome fans, broadcast the games and promote their products. However, the possibility of exploiting the broadcasting of World Cup matches to attract an audience has rules that need to be met very well if establishments are to avoid notifications, lawsuits and legal costs. This is because actions involving the broadcast of World Cup matches require consents and licenses from FIFA. The first step to be taken is to define the model that the venue will apply: Commercial Public Viewing Event or a Non-Commercial Public Viewing Event. The Commercial Event will be characterized by charging a direct or indirect admission fee to enter the venue, or when it is backed by sponsorship or other commercial rights of association exploited. In short, a Commercial Public Viewing Event will be considered such when there is a commercial benefit (e.g. a ticket charge). Public Viewing Events in commercial establishments such as bars and restaurants are considered Non-Commercial Events, as long as the broadcasting of the matches is within the normal course of business and no additional commercial activity takes place, such as the charging of entrance fees or sponsorships involved. Therefore, anyone who intends to organize an event where the consumer will pay admission and/or has sponsorship shares, must apply for a Commercial Public Viewing Event License from FIFA, which must authorize and collect the value of this license. It is of the utmost importance, even if the License is granted, that the use of the signal of the broadcaster(s) holding the right to broadcast the World Cup is respected. In addition, a number of obligations must be respected by the companies that carry out the commercial broadcast, such as the coverage, which must only be live through a clean reproduction, in its entirety, without any edits, and must not be linked to any related political event, party or candidate. It is essential to comply with the legal prohibition on the use of competition symbols and trademarks such as the emblem, title and official logos of the Qatar 2022 World Cup, including the mascot and trophy. In this way, all copyright and intellectual property rights that subsist in relation to the World Cup, associated with the Competition Marks, are the exclusive property of FIFA and protected by law. The only exception to this provision would be the use of the title of the World Cup, which is "FIFA World Cup Qatar 2022 T", provided that it is not connected to shopping malls, sports retail stores, hotels, breweries, restaurant chains, airports and cinemas/theaters, failing which FIFA would consider a prohibited association created by the use, whether editorial or not. The title of the event, in addition to the related location requirements, may also only be used in standard font for the sole editorial purpose of informing the public of other details such as the timetable of a Public Viewing Event provided. In this sense, according to article 31 of the Code of Advertising Self-Regulation (CBAP), undue and illegitimate advertising profits arising from "hitchhiking" or "ambush", through the use of any artifice or without a legal basis based on a regular contract concluded between legitimate parties to the rights involved, are condemned. Unfortunately, many organizers are still unaware of the rules regarding the use of brands in actions involving the World Cup and fail to apply for and obtain authorization from FIFA in the correct manner, which can result in heavy losses not only for them but also for any sponsors involved. Mariana Valverde and Ingrid Diniz, partner and member of Moreau Valverde Advogados, lawyers specializing in intellectual property law

The protection of copyright in films, series, photographic images and software, especially with regard to actions to combat piracy, has been widely debated. Every day, thousands of people receive extrajudicial notices in their inboxes informing them that they have violated the rights of third parties, usually through the use of torrent file-sharing applications. A detailed analysis of what is happening reveals legitimate cases, opportunists, who take advantage of gray areas in the law to make a profit, and even scammers, who impersonate rightsholders in order to gain a pecuniary advantage. Frequent reports since 2020 have dealt with copyright trolls, the name given to actions considered to be aggressive and opportunistic in order to collect money for alleged copyright infringement. One example is threatening notices charging astronomical amounts for copyright infringement, without proof of ownership or misuse. Most of these notices deal with the misuse of software, films downloaded without authorization and the use of images on websites. What is surprising and worrying is that the majority of the reports treat any out-of-court collection action relating to the misuse of copyright works as a copyright troll, without differentiating between legitimate and illegitimate actions. Without the proper distinction, those who receive the notification end up ignoring these missives. They believe they are all a "scam" applied to obtain a pecuniary advantage. But that's not all that's happening. Yes, there are undue charges, with no basis or proof of ownership. This should really be ignored and can also be the subject of a reverse action to stop the charge and obtain compensation for undue charging. But there are legitimate charges. After all, software, photographs, films, music and other goods from this industry are assets protected by the Copyright Act and must be used with the proper authorization from the owner. When this doesn't happen, it's up to the owner or their attorney-in-fact to claim that the use be refrained from and the corresponding compensation, which is an action supported by the legislation that regulates the matter. The entertainment industry already has the technical means to track down illegal downloads, to assess whether the form of use is chargeable, and to intensively tighten the use of asymmetric resources. Therefore, before ignoring and treating any notification as a copyright troll, the person notified should seek help to check whether it really is a troll or whether there has been an illegal act and the copyright holder is simply claiming their right legally. In this case, once the legitimacy and ownership of the right has been established, it is up to the infringer to try to reach an agreement to avoid further damage. Ignoring a legitimate copyright claim can result in major losses, which are not limited to compensation for material and moral damages, but also criminal sanctions. To avoid this problem, the recommendation is to use licensed products. The entertainment industry has developed to the point where it is possible to significantly reduce the cost of access, including many forms at no cost to the user. In any case, if for some reason you need or choose to use non-legal resources, you should be prepared to be charged. From the resource provider, who will use your equipment and data for their own interests. And from the rights holder, who already has the means to get to your machine and identify, by legal means, who the owner is.

Hosting a soccer World Cup is a premium moment in the events sector, both in Brazil and abroad. For the event in Qatar, between November 20 and December 18, there is unusual excitement and expectations. After all, it will be the first super event in which millions of people will be able to socialize indoors, at the same time and in all the country's cities, without any health restrictions, at least significant ones. As a result, the events sector, bars and restaurants are already planning and organizing their spaces to welcome fans, broadcast the games and promote their products. However, the possibility of exploiting the broadcasting of World Cup matches to attract an audience has rules that need to be met very well if establishments are to avoid notifications, lawsuits and legal costs. This is because actions involving the broadcast of World Cup matches require consents and licenses from FIFA. The first step to be taken is to define the model that the venue will apply: Commercial Public Viewing Event or a Non-Commercial Public Viewing Event. The Commercial Event will be characterized by charging a direct or indirect admission fee to enter the venue, or when it is backed by sponsorship or other commercial rights of association exploited. In short, a Commercial Public Viewing Event will be considered such when there is a commercial benefit (e.g. a ticket charge). Public Viewing Events in commercial establishments such as bars and restaurants are considered Non-Commercial Events, as long as the broadcasting of the matches is within the normal course of business and no additional commercial activity takes place, such as the charging of entrance fees or sponsorships involved. Therefore, anyone who intends to organize an event where the consumer will pay admission and/or has sponsorship shares, must apply for a Commercial Public Viewing Event License from FIFA, which must authorize and collect the value of this license. It is of the utmost importance, even if the License is granted, that the use of the signal of the broadcaster(s) holding the right to broadcast the World Cup is respected. In addition, a number of obligations must be respected by the companies that carry out the commercial broadcast, such as the coverage, which must only be live through a clean reproduction, in its entirety, without any edits, and must not be linked to any related political event, party or candidate. It is essential to comply with the legal prohibition on the use of competition symbols and trademarks such as the emblem, title and official logos of the Qatar 2022 World Cup, including the mascot and trophy. In this way, all copyright and intellectual property rights that subsist in relation to the World Cup, associated with the Competition Marks, are the exclusive property of FIFA and protected by law. The only exception to this provision would be the use of the title of the World Cup, which is "FIFA World Cup Qatar 2022 T", provided that it is not connected to shopping malls, sports retail stores, hotels, breweries, restaurant chains, airports and cinemas/theaters, failing which FIFA would consider a prohibited association created by the use, whether editorial or not. The title of the event, in addition to the related location requirements, may also only be used in standard font for the sole editorial purpose of informing the public of other details such as the timetable of a Public Viewing Event provided. In this sense, according to article 31 of the Code of Advertising Self-Regulation (CBAP), undue and illegitimate advertising profits arising from "hitchhiking" or "ambush", through the use of any artifice or without a legal basis based on a regular contract concluded between legitimate parties to the rights involved, are condemned. Unfortunately, many organizers are still unaware of the rules regarding the use of brands in actions involving the World Cup and fail to apply for and obtain authorization from FIFA in the correct manner, which can result in heavy losses not only for them but also for any sponsors involved.

The protection of copyright in films, series, photographic images and software, especially with regard to actions to combat piracy, is being widely debated on a daily basis. Thousands of people have received extrajudicial notices in their inboxes informing them that they have violated the rights of third parties, usually through the use of torrent file-sharing applications. If you look in detail at what is happening, you will find legitimate cases, opportunists who take advantage of gray areas in the law to make a profit, and scammers who impersonate rightsholders to gain pecuniary advantage. Frequent reports since 2020 have dealt with copyright trolls, the name given to actions considered to be aggressive and opportunistic in order to collect money for alleged copyright infringement. One example is threatening notices charging astronomical amounts for copyright infringement, without proof of ownership or misuse. Most of these notices deal with the misuse of software, films downloaded without authorization and the use of images on websites. What is surprising and worrying is that the majority of the reports treat any out-of-court collection action relating to the misuse of copyright works as a copyright troll, without differentiating between legitimate and illegitimate actions. Without the proper distinction, those who receive the notification end up ignoring these missives. They believe they are all a "scam" applied to obtain a pecuniary advantage. But that's not all that's happening. Yes, there are undue charges, with no basis or proof of ownership. This should really be ignored and can even be the subject of a reverse action to stop the charge and obtain compensation for undue charging. But there are legitimate charges. After all, software, photographs, films, music and other goods from this industry are assets protected by the Copyright Law and must be used with the proper authorization from the owner. When this doesn't happen, it's up to the owner or their attorney-in-fact to claim that the use be refrained from and the corresponding compensation, which is an action supported by the legislation that regulates the matter. The entertainment industry already has the technical means to track down illegal downloads, to assess whether the form of use is chargeable, and to intensively tighten the use of asymmetric resources. Therefore, before ignoring and treating any notification as a copyright troll, the person notified should seek help to check whether it really is a troll or whether there has been an illegal act and the copyright holder is merely claiming their right legally. In this case, once the legitimacy and ownership of the right has been established, it is up to the infringer to try to reach an agreement to avoid further damage. Ignoring a legitimate copyright claim can result in major losses, which are not limited to compensation for material and moral damages, but also criminal sanctions. To avoid this problem, the recommendation is to use licensed products. The entertainment industry has developed to the point where it is possible to significantly reduce the cost of access, including many forms at no cost to the user. In any case, if for some reason you need or choose to use non-legal resources, you should be prepared to be charged. From the resource provider, who will use your equipment and data for their own interests. And from the rights holder, who already has the means to get to your machine and identify, by legal means, who the owner is. SOURCE / REPRODUCTION: Convergência Digital News Portal / Opinion / By Editor: Mariana Valverde / Cover Photo: Reproduction / Internet - DMB Tecnologia

By Mariana Valverde* 26/08/2022 ... Digital Convergence The protection of copyright in films, series, photographic images and software, especially with regard to actions focused on combating piracy, has been widely debated on a daily basis. Thousands of people have received extrajudicial notices in their inboxes informing them that they have violated the rights of third parties, usually through the use of torrent file-sharing applications. If you look in detail at what is happening, you will find legitimate cases, opportunists who take advantage of gray areas in the law to make a profit, and scammers who impersonate rightsholders to gain pecuniary advantage. Frequent reports since 2020 have dealt with copyright trolls, the name given to actions considered to be aggressive and opportunistic in order to collect money for alleged copyright infringement. One example is threatening notices charging astronomical amounts for copyright infringement, without proof of ownership or misuse. Most of these notices deal with the misuse of software, films downloaded without authorization and the use of images on websites. What is surprising and worrying is that the majority of the reports treat any out-of-court collection action relating to the misuse of copyright works as a copyright troll, without differentiating between legitimate and illegitimate actions. Without the proper distinction, those who receive the notification end up ignoring these missives. They believe they are all a "scam" applied to obtain a pecuniary advantage. But that's not all that's happening. Yes, there are undue charges, with no basis or proof of ownership. This should really be ignored and can even be the subject of a reverse action to stop the charge and obtain compensation for undue charging. But there are legitimate charges. After all, software, photographs, films, music and other goods from this industry are assets protected by the Copyright Law and must be used with the proper authorization from the owner. When this doesn't happen, it's up to the owner or their attorney-in-fact to claim that the use be refrained from and the corresponding compensation, which is an action supported by the legislation that regulates the matter. The entertainment industry already has the technical means to track down illegal downloads, to ascertain whether the form of use is chargeable, and to intensively tighten up the use of asymmetric resources. Therefore, before ignoring and treating any notification as a copyright troll, the notified party should seek help to verify whether it really is a troll or whether there has been an illegal act and the copyright holder is merely claiming their right in a legal manner. In this case, once the legitimacy and ownership of the right has been established, it is up to the infringer to try to reach an agreement to avoid further damage. Ignoring a legitimate copyright claim can result in major losses, which are not limited to compensation for material and moral damages, but also criminal sanctions. To avoid this problem, the recommendation is to use licensed products. The entertainment industry has developed to the point where it is possible to significantly reduce the cost of access, including many forms at no cost to the user. In any case, if for some reason you need or choose to use non-legal resources, you should be prepared to be charged. From the resource provider, who will use your equipment and data for their own interests. And from the rights holder, who already has the means to get to your machine and identify, by legal means, who the owner is. Mariana Valverde is a professor and lawyer specializing in intellectual property and fashion law, and a partner at Moreau Valverde Advogados.

Este espaço já foi utilizado por mim para apontar que o acesso à informação é essencial para o mundo contemporâneo e que “a transparência deve ser alimentada e valorizada, aperfeiçoando-se constantemente seus padrões e métricas”, especialmente o âmbito do mercado de capitais (Migalhas do Saber, “Conhecimento é poder”, 03/12/2020). Mas não é só na atividade empresarial que a informação tem papel relevante, pois transmissão do conhecimento se revela como uma função intrínseca nas carreiras jurídicas, especialmente na advocacia, em que a experiência adquirida por um profissional não pode servir de aprendizado para outro senão a partir da visão da própria pessoa que a vivenciou. Recentemente, tive o prazer de ler o livro “Newton”, de Luís Francisco Carvalho Filho (Editora Fósforo), em que o advogado criminalista relata contos e crônicas que retratam sua experiência perante os tribunais pátrios. Aliás, o formato já havia sido utilizado pelo autor em seu “Nada mais foi dito nem perguntado”, de 2001 (Editora 34). Com um estilo de escrita preciso e sem rodeios, o autor auspiciosamente ensina aquilo de que de mais valioso se pode aprender no patrocínio de tantos casos de repercussão: que não existe apenas um jeito de fazer a coisa certa, e que boas doses de criatividade e de experiência são essenciais para o sucesso perante os tribunais. Esse estilo narrativo é muito agradável de ser lido e, na sua essência, revela um método bem-sucedido de apresentar episódios vividos pelo autor, ou por ele criados intencionalmente, com o objetivo de enriquecer os conhecimentos do leitor. Com similares características, tive oportunidade de organizar a obra “As Letras da Lei: contos” (Casa da Palavra, 2013), que traz capítulos assinados por personalidades do nosso meio, cuja pena apresenta agradáveis contos que também veiculam conhecimento em forma de prosa. Não é por acaso que grandes nomes da humanidade se valem da mesma técnica, desde os maiores nomes da filosofia grega, passando pelos grandes mestres das principais religiões do planeta, chegando aos famosos “casos práticos” do ensino jurídico moderno. Mais do que um mundo à parte, como é comum se ouvir popularmente, a realidade jurídica apresenta uma cultura própria, peculiar e às vezes até mesmo estranha para os não-iniciados nessa arte. Contudo, a verdade é que o hábito de lidar com a vida alheia requer técnicas próprias para “comparar o incomparável”, criando formas de abstrair e permitir dar aos iguais o mesmo tratamento, e distinguir os desiguais na exata medida das suas desigualdades, para tornar realidade concreta as garantias magnas que exprimem, por exemplo, que “todos são iguais perante a lei, sem distinção de qualquer natureza”, e que conceitos tão diversos como a “inviolabilidade do direito à vida, à liberdade, à igualdade, à segurança e à propriedade” deverão ser assegurados simultaneamente e em sua maior medida possível. Garantias similares constaram de todas as constituições federais: – Constituição de 1891 (art. 72, §2º): “Todos são iguais perante a lei. A República não admite privilégios de nascimento, desconhece foros de nobreza e extingue as ordens honoríficas existentes e todas as suas prerrogativas e regalias, bem como os títulos nobiliárquicos e de conselho.” – Constituição de 1934 (art. 113, §1º): “Todos são iguais perante a lei. Não haverá privilégios, nem distinções, por motivo, de nascimento, sexo, raça, profissões ou do país, classe social, riqueza, crença religiosas ou idéias políticas.” – Constituição de 1937 (art. 122, §1º): “Todos são iguais perante a lei.” – Constituição de 1946 (art. 141, §1º): “Todos são iguais perante a lei.” – Constituição de 1967 (art. 150, §1º): “Todos são iguais perante a lei, sem distinção, de sexo, raça, trabalho, credo religioso e convicções políticas. O preconceito de raça será punido pela lei.” – Emenda Constitucional n.º 1, de 1969 (art. 153, §1º): “Todos são iguais perante a lei, sem distinção de sexo, raça, trabalho, credo, religiosos e convicções políticas. Será punido pela lei o preconceito de raça.” – Constituição de 1988 (art. 5º, caput): “Todos são iguais perante a lei, sem distinção de qualquer natureza, garantindo-se aos brasileiros e aos estrangeiros residentes no País a inviolabilidade do direito à vida, à liberdade, à igualdade, à segurança e à propriedade, nos termos seguintes: […].” Uma cultura jurídica que se utiliza de abstrações jurídicas, conceitos indeterminados e cláusulas gerais etc., precisa de narrativas que apontem casos em que situações distintas devem ser consideradas como idênticas, para determinada finalidade legal, e casos em que as distinções merecem ser mantidas, por exemplo, como ocorre no âmbito dos estatutos que protegem as crianças e os adolescentes; os estrangeiros; os idosos; os índios, silvícolas e comunidades indígenas; os jovens; as microempresas e empresas de pequeno porte; as pessoas com câncer; as pessoas com deficiência; a população negra; os refugiados; os torcedores etc., muitos dos quais fundamentados exatamente na garantia do respeito à igualdade, dignidade, cidadania e inclusão social de tais grupos de pessoas físicas e jurídicas. É evidente que as pessoas não são iguais, e a proteção da individualidade de cada um é também uma forma de expressão do princípio da igualdade e da isonomia. Mas as desigualdades não podem servir de fundamento para qualquer forma de discriminação, diminuição da identidade, redução de direitos, distinção ilícita etc., sendo próprio do Direito assegurar que situações indesejadas sejam evitadas ou, quando o cumprimento da lei chegar tarde ao sujeito, ao menos a sua justa reparação material e moral, com a punição do ofensor. E é aí que a cultura jurídica se beneficia grandemente da técnica de transmitir conhecimento por meio de contos, crônicas, “casos”, pois algo se torna factível realizar algo tão difícil como conceituar padrões aceitáveis de distinção, que não configurem ilícita discriminação. Em razão dos apontamentos acima, deixo aqui o meu pedido para que mais obras desse tipo sejam publicadas, como forma de fomentar o crescimento da cultura jurídica e se valer de técnicas que ressoam tão bem com o público ávido por mais conhecimento, crítico e de boa qualidade. *** *Agradecimento especial ao advogado Renato Xavier da Silveira Rosa, que colaborou com o artigo. Para quem se interessar mais sobre o assunto: – Alexandre de Moraes, Direito Constitucional, São Paulo, Atlas. – José Afonso da Silva. Curso de direito constitucional positivo, São Paulo, Malheiros, e Aplicabilidade das normas constitucionais, São Paulo, Malheiros. – Luís Francisco Carvalho Filho, Newton, Editora Fósforo, e “Nada mais foi dito nem perguntado”, Editora 34, 2001. – Nelson Nery Júnior, Princípios do processo civil à luz da Constituição Federal, São Paulo, Revista dos Tribunais. – Pierre Moreau (org.), As letras da lei: contos, Casa da Palavra, 2013, e “Conhecimento é poder”, Migalha do Saber, 03/12/2020.

Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and more. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by the Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, ... The trademark and design protection recommended by the Intellectual Property Law also apply to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, the Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes handbag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top.

Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and more. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by the Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, ... The trademark and design protection recommended by the Intellectual Property Law also apply to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, the Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes handbag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top. (*) Mariana Valverde is a professor and lawyer specializing in intellectual property, a partner at Moreau Valverde Advogados. Source: Cleinaldo Simões, on 29.07.2022

Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and so on. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or invented in the future. Trademark and design protection under the Intellectual Property Law also applies to Skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, the Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes handbag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top.

Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and more. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or invented in the future. Trademark and design protection under the Intellectual Property Law also applies to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, the Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes handbag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top.

While Metaverse is building its augmented reality, presenting the access devices and giving clues as to how it plans to operate, hundreds of companies in every country are trying to mark out territory and announce that they are already there. This profile of the pioneer who rushes to wherever "Gold!" is shouted is part of the entrepreneurial culture. As with all Internet waves, their main merit lies in identifying risks and predicting solutions that will be shaped by the succession of problems they expose. The idea is that the fastest and most planned will stand out and prosper. Exactly 30 years ago, in 1992, commercial use of the Internet began. All the learning from this period will be applied to the Metaverse, which is itself the result of the mistakes and successes of the countless "virtual universes" that try to digitally replicate human interaction. In the current context, there are repeated questions ranging from simple ones about how it works, its scope and usefulness, to more complex ones such as the legislation to be applied, forms of protection and conflict resolution. In the Metaverse, the challenge regarding the applicable legal system is greater than many might think at the moment. International organizations are already looking into the issue. While there is already discussion about what to do in cases of sexual harassment, racist attacks and various forms of intolerance, the movement is focusing more effectively on those who already have a concrete notion of being present in this "land mirror" but have yet to define when, in what form and to what extent. They are only certain that they will be dealing with the same kind of replicants that the intelligence of copies produces in series in asymmetric economic processes. So the central question is: how can intellectual property assets be protected and an entry into the metaverse programmed? The first line of defense is trademark protection. The registration of a trademark, currently carried out in Brazil, has national validity and can be replicated in other countries through signed protocols. However, in many cases, the same trademark has different owners in different countries. So the questions here are: how does this trademark look when operating in a universal Metaverse environment? How can broad protection be established? How should conflicts be resolved in this environment? These are simple, real examples and conflicts in this regard are likely to increase, implying a burden for those who do not plan for this incursion. Therefore, if a company intends to enter the Metaverse, even in the medium term, it is of the utmost importance to make a prior plan for protecting intellectual property assets. This plan includes mapping current assets, registrations and forms of protection and must be linked to the business's future actions, taking into account the consequences of the Metaverse. The projects to prepare for this moment can be recognized as "dig in", in which, in a resolute and intense way, lines of defence are established, legal trenches, in anticipation of competitive attacks at various levels. This action lists all intellectual property assets, software, copyrights, trademarks, trade dress, patents, industrial designs, the current situation, investments and projections. Each projection will make it possible to anticipate and plan protection, minimize future costs and risks and, above all, define what is essential. More than just being there, positioning to develop businesses where billions of people intend to be at some point.

*Mariana Valverde The release of a ruling by the São Paulo State Court of Justice in an appeal that discussed the possible plagiarism of an architectural project deepens the discussion on one aspect: the fine line between inspiration and copying. The court upheld the lower court's decision, which dismissed the case. The decision, like the lower court ruling, was based on expert evidence that did not identify any originality in the work that was the subject of the alleged plagiarism. Without going into the details of the specific case mentioned above, it is worth reflecting on the reasons for the increase in discussions on the subject and alternatives to avoid conflicts of this kind. In a world where inspiration drives markets and defines social groups, especially in Brazil where trends are followed to the letter, the challenge is how to differentiate between inspiration and copying. This differentiation is not simple, nor is it obvious, but the main point is to analyze the originality of the work and the elements that make up the novelty capable of differentiating it from what has already been created. In the case of architectural works, these are protected by the Copyright Law, regardless of registration, as set out in article 7, item X, which states that intellectual works are protected creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, such as projects, sketches and plastic works concerning geography, engineering, topography, architecture, landscaping, scenography and science. In addition to the protection established by the legislation in force, it is possible to deposit the work with the Council of Architecture and Urbanism, as provided for in Resolution 67/2013 of the said council, as well as with the Copyright Office of the National Library. It is important to note that the deposit processes mentioned above are intended to formalize the content and date of creation of the project, and neither the Council of Architecture and Urbanism nor the Copyright Office analyse the originality and novelty of the deposited works. This is not to say that prior deposits have no practical effect, quite the contrary, when well instructed and documented, they can even contain the sources of inspiration, which is perfect for aligning inspiration with novelty capable of differentiating it from the ordinary. The process of determining originality and novelty in a dispute is more complex, and in most conflicts is carried out through technical expertise. Forensics in these cases tends to analyze elements and details of the project, ranging from shapes, colors and style to the construction techniques used, as well as the previous existence of a similar set. In short, the creative process and inspiration must go hand in hand, innovating and creating the individual nuances that enable them to differentiate and guarantee authorship. The creative process therefore requires time, research and construction, conflicting with the current trend towards immediacy, the expectation of rapid delivery of services and the pressure to reduce costs. This conflict certainly hampers the creative process and may be fostering the copying industry. *Mariana Valverde is a lawyer specializing in intellectual property law and a partner at Moreau Valverde Advogados.

A possibilidade de expansão sem fim da tecnologia desafia os profissionais dedicados ao direito de imagem e direitos autorais a atuarem de forma proativa na preservação do patrimônio intelectual criado e construído por seus clientes. Neste momento em que se mostram as possiblidades de uso de ambientes imersivos como os recém-apresentados por Meta (ex Facebook) e Microsoft, cabe atenção redobrada para esses processos que pretendem levar parte significativa de seus usuários (2,9 bilhões Facebook e 1,3 bilhão somente Windows 10) para mundos virtuais capazes de reproduzir experiências da vida real como nenhuma experiência anterior propiciou. Pode-se dizer que situações que demandaram este tipo de atenção ligadas à tecnologia teriam começado com o famoso Photoshop, aplicativo de edição de imagens da família Adobe, desenvolvido por Thomas Knoll e lançado na década de 90. O uso desse recurso, à época possível apenas por profissionais, passou a ser discutido vastamente pelo fato de, muitas vezes, desvirtuar a imagem original impactando até mesmo no não reconhecimento da pessoa fotografada. O recurso foi se aprimorando e hoje já são inúmeros os aplicativos que possibilitam a edição da imagem, tais como FaceApp, Snapseed, Pixlr, Cymera, entre outros, os quais podem ser operacionalizados facilmente por qualquer pessoa. Com o advento das redes sociais, comunicação virtual veloz e recursos cada vez mais avançados, os filtros aparecerem e o que era uma brincadeira que incluía orelhinhas de cachorro e carinha de borboleta em uma fotografia, passou a ser poderosa ferramenta para imagem instantânea. Hoje é possível que a pessoa edite e altere a imagem de tal forma que escolhe a versão que quer ser reconhecida e identificada, o que muitas vezes modifica a própria realidade. Dela, dos outros e de qualquer contexto que se deseje inserir e modificar. Por conta disso, um dos mais desafiadores segmentos – dentro todos envolvidos nestas ferramentas à disposição dos usuários – é a de aplicações dedicadas à relação virtual nas quais pessoas assumem figuras gráficas conhecidas por avatares para se conectarem entre si. Estas experiências foram desenvolvidas e são ainda vivenciadas em apps como Second Life, Habbo Hotel, IMVU, Club Penguin, Decentraland, Twintry, World of Warcraft e Red Light Center, para nos centrar nos mais utilizados por pessoas de todas as idades, credos e hábitos. Cada um destes apps têm ao menos 8 milhões de usuários, sendo que Warcraft é jogado mensalmente por 29 milhões de pessoas. Segundo a ONU, estima-se que 4,9 bilhões de pessoas do planeta acessaram a Internet em 2021. É dentro desse cenário em expansão que surge o Metaverso, espaço virtual que se propõe a conectar o mundo físico ao digital. Nele, é possível que o usuário seja representado por um avatar e realize diversas atividades do cotidiano, como ir a uma reunião, fazer compras, visitar um empreendimento imobiliário. Situações “virtuais” com efeitos práticos no mundo “real”. O Mesh da Microsoft de experiência holográficas compartilhadas com avatares de si mesmo está vindo com força e sua tecnologia de realidade aumentada pode tornar real o OASIS encenada em Ready Player One, filme roteirizado a partir do romance de Ernest Cline. Assim, cada usuário adota para si um avatar, que pode decorrer da própria imagem da pessoa editada ou de uma outra imagem, desenho, mutação, criada especialmente para navegar nesse novo universo, podendo o usuário escolher a imagem que gostaria de atribuir a si próprio na atividade a ser realizada num metaverso. Com essa possibilidade de mutação da imagem, dentre tantos impactos no âmbito jurídico que o Metaverso vem trazendo, uma questão bastante discutida é relativa à proteção jurídica dos avatares e sua relação com o direito de imagem e direitos autorais. Esses avatares seriam protegidos pelo direito de imagem ou pelos direitos autorais? Qual instituto melhor se aplicaria à questão? Não obstante a ausência de legislação e jurisprudência sobre o tema, não resta dúvida de que no caso do “avatar”, sua utilização deve respeitar o direito de imagem e dos direitos autorais. O Direito de Imagem é amparado pela Constituição Federal artigo 5º, inciso X e pelo Código Civil Brasileiro e protege a imagem de pessoas incluindo semblantes e partes distintas do corpo. Já as obras intelectuais artísticas, incluindo os programas de computador, são protegidas pela Lei de Direitos Autorais (Lei 9610/98). Assim, decorrendo o avatar da imagem original do usuário, sua utilização prescinde de autorização. Se não, para a utilização de qualquer outra forma de representação devem ser respeitadas as regras atinentes à utilização da imagem. Paralelamente, se considerarmos que a utilização das ferramentas na plataforma para mutação, transformação da imagem, passamos a aplicar também os direitos autorais daquele que transformou a imagem em uma obra artística. Aqui, para elucidarmos, cabe um exemplo do mundo analógico que é a utilização de caricaturas que depende da autorização do caricato e do desenhista. No mundo digital, os avatares muitas vezes são representações fidedignas das pessoas e em uma linha muito tênue com a aplicação dos recursos podem virar personagens. Desta forma é de suma importância que as plataformas deixem clara as regras no momento da criação do avatar, preservando o direito dos usuários e dos programadores que eventualmente promovam a mutação desejada, evitando assim discussões futuras.

The same brand can have different owners in different countries As the metaverse is building its augmented reality, presenting the access devices and exposing clues as to how it plans to work, hundreds of companies in each country are trying to mark out territory and announce that they are already there. This profile of the pioneer who rushes to where they shout "gold!" is part of the entrepreneurial culture. As with all internet waves, their main merit lies in spotting risks and predicting solutions that will be shaped by the succession of problems they expose. The idea is that the fastest and most planned will stand out and prosper. Exactly 30 years ago, in 1992, commercial use of the internet began. All the learning from this period will be applied to the metaverse, which is itself the result of the mistakes and successes of the countless "virtual universes" that try to digitally replicate human interaction. In the current context, there are repeated questions ranging from simple ones about how it works, its scope and usefulness, to more complex ones such as the legislation to be applied, forms of protection and conflict resolution. In the metaverse, the challenge regarding the applicable legal system is greater than many might think at the moment. International organizations are already looking into the issue. While there is already discussion about what to do in cases of sexual harassment, racist attacks and various forms of intolerance, the movement is focusing more effectively on those who already have a concrete notion of being present in this "land mirror", but have yet to define when, in what form and to what extent. They are only certain that they will be dealing with the same kind of replicants that the intelligence of copies produces in series in asymmetric economic processes. So the central question is: how can intellectual property assets be protected and an entry into the metaverse programmed? The first line of defense is trademark protection. The registration of a trademark, currently carried out in Brazil, has national validity and can be replicated in other countries through signed protocols. However, in many cases, the same trademark has different owners in different countries. So the questions here are: how does this trademark look when operating in a universal metaverse environment? How can broad protection be established? How should conflicts be resolved in this environment? These are simple, real examples and conflicts in this regard are likely to increase, implying a burden for those who do not plan for this incursion. Therefore, if a company intends to enter the metaverse, even in the medium term, it is of the utmost importance to make a prior plan for protecting intellectual property assets. This plan includes mapping current assets, registrations and forms of protection and must be linked to the business's future actions, taking into account the consequences of the metaverse. The projects to prepare for this moment can be recognized as "dig in", in which, in a resolute and intense way, lines of defence are established, legal trenches, in anticipation of competitive attacks at various levels. This action lists all intellectual property assets, software, copyrights, trademarks, trade dress, patents, industrial designs, the current situation, investments and projections. Each projection will make it possible to anticipate and plan protection, minimize future costs and risks and, above all, define what is essential. More than just being there, positioning to develop businesses where billions of people intend to be at some point. Mariana Valverde is a professor and lawyer specializing in intellectual property, partner at Moreau Valverde Advogados.

By Mariana Valverde, lawyer specializing in intellectual property law and partner at Moreau Valverde Advogados Source: Mariana Valverde Comments: (0) Architectural projects and the fine line between inspiration and copying The release of a ruling by the São Paulo State Court of Justice in an appeal that discussed the possible occurrence of plagiarism in an architectural project deepens the discussion on one aspect: the fine line between inspiration and copying. The court upheld the lower court's decision, which dismissed the case. The decision, like the lower court ruling, was based on expert evidence that did not identify any originality in the work that was the subject of the alleged plagiarism. Without going into the details of the specific case mentioned above, it is worth reflecting on the reasons for the increase in discussions on the subject and alternatives to avoid conflicts of this kind. In a world where inspiration drives markets and defines social groups, especially in Brazil where trends are followed to the letter, the challenge is how to differentiate between inspiration and copying. This differentiation is not simple, nor is it obvious, but the main point is to analyze the originality of the work and the elements that make up the novelty capable of differentiating it from what has already been created. In the case of architectural works, these are protected by the Copyright Law, regardless of registration, as set out in article 7, item X, which states that intellectual works are protected creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, such as projects, sketches and plastic works concerning geography, engineering, topography, architecture, landscaping, scenography and science. In addition to the protection established by the legislation in force, it is possible to deposit the work with the Council of Architecture and Urbanism, as provided for in Resolution 67/2013 of the said council, as well as with the Copyright Office of the National Library. It is important to note that the deposit processes mentioned above are intended to formalize the content and date of creation of the project, and neither the Council of Architecture and Urbanism nor the Copyright Office analyse the originality and novelty of the deposited works. This is not to say that prior deposits have no practical effect, quite the contrary, when well instructed and documented, they can even contain the sources of inspiration, which is perfect for aligning inspiration with novelty capable of differentiating it from the ordinary. The process of determining originality and novelty in a dispute is more complex, and in most conflicts is carried out through technical expertise. Forensics in these cases tends to analyze elements and details of the project, ranging from shapes, colors and style to the construction techniques used, as well as the previous existence of a similar set. In short, the creative process and inspiration must go hand in hand, innovating and creating the individual nuances that enable them to differentiate and guarantee authorship. The creative process therefore requires time, research and construction, conflicting with the current trend towards immediacy, the expectation of rapid delivery of services and the pressure to reduce costs. This conflict certainly hampers the creative process and may be fostering the copy industry.

By Mariana Valverde, partner at Moreau Valverde Advogados The release of a ruling by the São Paulo State Court of Justice, in an appeal that discussed the occurrence of possible plagiarism in an architectural project, deepens the discussion on one aspect: the fine line between inspiration and copying. The court upheld the lower court's decision, which dismissed the case. The decision, like the lower court ruling, was based on expert evidence that did not identify any originality in the work that was the subject of the alleged plagiarism. Without going into the details of the specific case mentioned above, it is worth reflecting on the reasons for the increase in discussions on the subject and alternatives to avoid conflicts of this kind. In a world where inspiration drives markets and defines social groups, especially in Brazil where trends are followed to the letter, the challenge is how to differentiate between inspiration and copying. This differentiation is not simple, nor is it obvious, but the main point is to analyze the originality of the work and the elements that make up the novelty capable of differentiating it from what has already been created. In the case of architectural works, these are protected by the Copyright Law, regardless of registration, as set out in article 7, item X, which states that intellectual works are protected creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, such as projects, sketches and plastic works concerning geography, engineering, topography, architecture, landscaping, scenography and science. In addition to the protection established by the legislation in force, it is possible to deposit the work with the Council of Architecture and Urbanism, as provided for in Resolution 67/2013 of the said council, as well as with the Copyright Office of the National Library. It is important to note that the deposit processes mentioned above are intended to formalize the content and date of creation of the project, and neither the Council of Architecture and Urbanism nor the Copyright Office analyse the originality and novelty of the deposited works. This is not to say that prior deposits have no practical effect, quite the contrary, when well instructed and documented, they can even contain the sources of inspiration, which is perfect for aligning inspiration with novelty capable of differentiating it from the ordinary. The process of determining originality and novelty in a dispute is more complex, and in most conflicts is carried out through technical expertise. Forensics in these cases tends to analyze elements and details of the project, ranging from shapes, colors and style to the construction techniques used, as well as the previous existence of a similar set. In short, the creative process and inspiration must go hand in hand, innovating and creating the individual nuances that enable them to differentiate and guarantee authorship. The creative process therefore requires time, research and construction, conflicting with the current trend towards immediacy, the expectation of rapid delivery of services and the pressure to reduce costs. This conflict certainly hampers the creative process and may be fostering the copy industry.

A possibilidade de expansão sem fim da tecnologia desafia os profissionais dedicados ao direito de imagem e direitos autorais a atuarem de forma proativa na preservação do patrimônio intelectual criado e construído por seus clientes. Neste momento em que se mostram as possiblidades de uso de ambientes imersivos como os recém-apresentados por Meta (ex Facebook) e Microsoft, cabe atenção redobrada para esses processos que pretendem levar parte significativa de seus usuários (2,9 bilhões Facebook e 1,3 bilhão somente Windows 10) para mundos virtuais capazes de reproduzir experiências da vida real como nenhuma experiência anterior propiciou. Pode-se dizer que situações que demandaram este tipo de atenção ligadas à tecnologia teriam começado com o famoso Photoshop, aplicativo de edição de imagens da família Adobe, desenvolvido por Thomas Knoll e lançado na década de 90. O uso desse recurso, à época possível apenas por profissionais, passou a ser discutido vastamente pelo fato de, muitas vezes, desvirtuar a imagem original impactando até mesmo no não reconhecimento da pessoa fotografada. O recurso foi se aprimorando e hoje já são inúmeros os aplicativos que possibilitam a edição da imagem, tais como FaceApp, Snapseed, Pixlr, Cymera, entre outros, os quais podem ser operacionalizados facilmente por qualquer pessoa. Com o advento das redes sociais, comunicação virtual veloz e recursos cada vez mais avançados, os filtros aparecerem e o que era uma brincadeira que incluía orelhinhas de cachorro e carinha de borboleta em uma fotografia, passou a ser poderosa ferramenta para imagem instantânea. Hoje é possível que a pessoa edite e altere a imagem de tal forma que escolhe a versão que quer ser reconhecida e identificada, o que muitas vezes modifica a própria realidade. Dela, dos outros e de qualquer contexto que se deseje inserir e modificar. Por conta disso, um dos mais desafiadores segmentos – dentro todos envolvidos nestas ferramentas à disposição dos usuários – é a de aplicações dedicadas à relação virtual nas quais pessoas assumem figuras gráficas conhecidas por avatares para se conectarem entre si. Estas experiências foram desenvolvidas e são ainda vivenciadas em apps como Second Life, Habbo Hotel, IMVU, Club Penguin, Decentraland, Twintry, World of Warcraft e Red Light Center, para nos centrar nos mais utilizados por pessoas de todas as idades, credos e hábitos. Cada um destes apps têm ao menos 8 milhões de usuários, sendo que Warcraft é jogado mensalmente por 29 milhões de pessoas. Segundo a ONU, estima-se que 4,9 bilhões de pessoas do planeta acessaram a Internet em 2021. É dentro desse cenário em expansão que surge o Metaverso, espaço virtual que se propõe a conectar o mundo físico ao digital. Nele, é possível que o usuário seja representado por um avatar e realize diversas atividades do cotidiano, como ir a uma reunião, fazer compras, visitar um empreendimento imobiliário. Situações “virtuais” com efeitos práticos no mundo “real”. O Mesh da Microsoft de experiência holográficas compartilhadas com avatares de si mesmo está vindo com força e sua tecnologia de Realidade Aumentada pode tornar real o OASIS encenada em Ready Player One, filme roteirizado a partir do romance de Ernest Cline. Assim, cada usuário adota para si um avatar, que pode decorrer da própria imagem da pessoa editada ou de uma outra imagem, desenho, mutação, criada especialmente para navegar nesse novo universo, podendo o usuário escolher a imagem que gostaria de atribuir a si próprio na atividade a ser realizada num metaverso. Com essa possibilidade de mutação da imagem, dentre tantos impactos no âmbito jurídico que o Metaverso vem trazendo, uma questão bastante discutida é relativa à proteção jurídica dos avatares e sua relação com o direito de imagem e direitos autorais. Esses avatares seriam protegidos pelo direito de imagem ou pelos direitos autorais? Qual instituto melhor se aplicaria à questão? Não obstante a ausência de legislação e jurisprudência sobre o tema, não resta dúvida de que no caso do “avatar”, sua utilização deve respeitar o direito de imagem e dos direitos autorais. O Direito de Imagem é amparado pela Constituição Federal artigo 5º, inciso X e pelo Código Civil Brasileiro e protege a imagem de pessoas incluindo semblantes e partes distintas do corpo. Já as obras intelectuais artísticas, incluindo os programas de computador, são protegidas pela Lei de Direitos Autorais (Lei 9610/98). Assim, decorrendo o avatar da imagem original do usuário, sua utilização prescinde de autorização. Se não, para a utilização de qualquer outra forma de representação devem ser respeitadas as regras atinentes à utilização da imagem. Paralelamente, se considerarmos que a utilização das ferramentas na plataforma para mutação, transformação da imagem, passamos a aplicar também os direitos autorais daquele que transformou a imagem em uma obra artística. Aqui, para elucidarmos, cabe um exemplo do mundo analógico que é a utilização de caricaturas que depende da autorização do caricato e do desenhista. No mundo digital, os avatares muitas vezes são representações fidedignas das pessoas e em uma linha muito tênue com a aplicação dos recursos podem virar personagens. Desta forma é de suma importância que as plataformas deixem clara as regras no momento da criação do avatar, preservando o direito dos usuários e dos programadores que eventualmente promovam a mutação desejada, evitando assim discussões futuras. Por Mariana Valverde, advogada especializada em propriedade intelectual, sócia de Moreau Valverde Advogados

While Metaverse is building its augmented reality, presenting access devices and giving clues as to how it plans to operate, hundreds of companies in every country are trying to mark out territory and announce that they are already there. This profile of the pioneer who rushes to wherever "Gold!" is shouted is part of the entrepreneurial culture. As with all Internet waves, their main merit lies in spotting risks and predicting solutions that will be shaped by the succession of problems they expose. The idea is that the fastest and most planned will stand out and prosper. Exactly 30 years ago, in 1992, commercial use of the Internet began. All the lessons learned during this period will be applied to the Metaverse, which in itself is the result of the mistakes and successes of the countless "virtual universes" that try to digitally replicate human interaction. In the current context, there are repeated questions ranging from simple ones about how it works, its scope and usefulness, to more complex ones such as the legislation to be applied, forms of protection and conflict resolution. In the Metaverse, the challenge regarding the applicable legal system is greater than many might think at the moment. International organizations are already looking into the matter. While there is already discussion about what to do in cases of sexual harassment, racist attacks and various forms of intolerance, the movement is focusing more effectively on those who already have a concrete notion of being present in this "land mirror" but have yet to define when, in what form and to what extent. They are only certain that they will be dealing with the same kind of replicants that the intelligence of copies produces in series in asymmetric economic processes. So the central question is: how can intellectual property assets be protected and an entry into the metaverse programmed? The first line of defense is trademark protection. The registration of a trademark, currently carried out in Brazil, has national validity and can be replicated in other countries through signed protocols. However, in many cases, the same trademark has different owners in different countries. So the questions here are: how does this trademark look when operating in a universal Metaverse environment? How can broad protection be established? How should conflicts be resolved in this environment? These are simple, real examples and conflicts in this regard are likely to increase, implying a burden for those who do not plan for this incursion. Therefore, if a company intends to enter the Metaverse, even in the medium term, it is of the utmost importance to make a prior plan for protecting intellectual property assets. This plan includes mapping current assets, registrations and forms of protection and must be linked to the business's future actions, taking into account the consequences of the Metaverse. Projects to prepare for this moment can be recognized as "dig in", in which, in a resolute and intense way, lines of defence are established, legal trenches, in anticipation of competitive attacks at various levels. This action lists all intellectual property assets, software, copyrights, trademarks, trade dress, patents, industrial designs, the current situation, investments and projections. Each projection will make it possible to anticipate and plan protection, minimize future costs and risks and, above all, define what is essential. More than just being there, positioning to develop businesses where billions of people intend to be at some point. *Mariana Valverde is a professor and lawyer specializing in intellectual property, partner at Moreau Valverde Advogados.

While Metaverse is building its augmented reality, presenting access devices and giving clues as to how it plans to operate, hundreds of companies in every country are trying to mark out territory and announce that they are already there. This profile of the pioneer who rushes to wherever "Gold!" is shouted is part of the entrepreneurial culture. As with all Internet waves, their main merit lies in spotting risks and predicting solutions that will be shaped by the succession of problems they expose. The idea is that the fastest and most planned will stand out and prosper. Exactly 30 years ago, in 1992, commercial use of the Internet began. All the lessons learned during this period will be applied to the Metaverse, which in itself is the result of the mistakes and successes of the countless "virtual universes" that try to digitally replicate human interaction. In the current context, there are repeated questions ranging from simple ones about how it works, its scope and usefulness, to more complex ones such as the legislation to be applied, forms of protection and conflict resolution. In the Metaverse, the challenge regarding the applicable legal system is greater than many might think at the moment. International organizations are already looking into the issue. While there is already discussion about what to do in cases of sexual harassment, racist attacks and various forms of intolerance, the movement is focusing more effectively on those who already have a concrete notion of being present in this "land mirror" but have yet to define when, in what form and to what extent. They are only certain that they will be dealing with the same kind of replicants that the intelligence of copies produces in series in asymmetric economic processes. So the central question is: how can intellectual property assets be protected and an entry into the metaverse programmed? The first line of defense is trademark protection. The registration of a trademark, currently carried out in Brazil, has national validity and can be replicated in other countries through signed protocols. However, in many cases, the same trademark has different owners in different countries. So the questions here are: how does this trademark look when operating in a universal Metaverse environment? How can broad protection be established? How should conflicts be resolved in this environment? These are simple, real examples and conflicts in this regard are likely to increase, implying a burden for those who do not plan for this incursion. Therefore, if a company intends to enter the Metaverse, even in the medium term, it is of the utmost importance to make a prior plan for protecting intellectual property assets. This plan includes mapping current assets, registrations and forms of protection and must be linked to the business's future actions, taking into account the consequences of the Metaverse. Projects to prepare for this moment can be recognized as "dig in", in which, in a resolute and intense way, lines of defence are established, legal trenches, in anticipation of competitive attacks at various levels. This action lists all intellectual property assets, software, copyrights, trademarks, trade dress, patents, industrial designs, the current situation, investments and projections. Each projection will make it possible to anticipate and plan protection, minimize future costs and risks and, above all, define what is essential. More than just being there, positioning to develop businesses where billions of people intend to be at some point.

While Metaverse is building its augmented reality, presenting the access devices and giving clues as to how it plans to operate, hundreds of companies in every country are trying to mark out territory and announce that they are already there. This profile of the pioneer who rushes to wherever "Gold!" is shouted is part of the entrepreneurial culture. As with all Internet waves, their main merit lies in identifying risks and predicting solutions that will be shaped by the succession of problems they expose. The idea is that the fastest and most planned will stand out and prosper. Exactly 30 years ago, in 1992, commercial use of the Internet began. All the learning from this period will be applied to the Metaverse, which is itself the result of the mistakes and successes of the countless "virtual universes" that try to digitally replicate human interaction. In the current context, there are repeated questions ranging from simple ones about how it works, its scope and usefulness, to more complex ones such as the legislation to be applied, forms of protection and conflict resolution. In the Metaverse, the challenge regarding the applicable legal system is greater than many might think at the moment. International organizations are already looking into the issue. While there is already discussion about what to do in cases of sexual harassment, racist attacks and various forms of intolerance, the movement is focusing more effectively on those who already have a concrete notion of being present in this "land mirror" but have yet to define when, in what form and to what extent. They are only certain that they will be dealing with the same kind of replicants that the intelligence of copies produces in series in asymmetric economic processes. So the central question is: how can intellectual property assets be protected and an entry into the metaverse programmed? The first line of defense is trademark protection. The registration of a trademark, currently carried out in Brazil, has national validity and can be replicated in other countries through signed protocols. However, in many cases, the same trademark has different owners in different countries. So the questions here are: how does this trademark look when operating in a universal Metaverse environment? How can broad protection be established? How should conflicts be resolved in this environment? These are simple, real examples and conflicts in this regard are likely to increase, implying a burden for those who do not plan for this incursion. Therefore, if a company intends to enter the Metaverse, even in the medium term, it is of the utmost importance to make a prior plan for protecting intellectual property assets. This plan includes mapping current assets, registrations and forms of protection and must be linked to the business's future actions, taking into account the consequences of the Metaverse. The projects to prepare for this moment can be recognized as "dig in", in which, in a resolute and intense way, lines of defence are established, legal trenches, in anticipation of competitive attacks at various levels. This action lists all intellectual property assets, software, copyrights, trademarks, trade dress, patents, industrial designs, the current situation, investments and projections. Each projection will make it possible to anticipate and plan protection, minimize future costs and risks and, above all, define what is essential. More than just being there, positioning to develop businesses where billions of people intend to be at some point. About the author Mariana Valverde Professor and lawyer specializing in intellectual property, partner at Moreau Valverde Advogados

Avatares no Metaverso serão protegidos por direito de imagem? Por Mariana Valverde* 13/04/2022 … Convergência Digital As possiblidades de uso de ambientes imersivos como os recém-apresentados por Meta (ex Facebook) e Microsoft compreendem processos que pretendem levar parte significativa de seus usuários (2,9 bilhões Facebook e 1,3 bilhão somente Windows 10) para mundos virtuais capazes de reproduzir experiências da vida real como nenhuma experiência anterior propiciou. A existência desse mundo paralelo de realidade aumentada desafia profissionais dedicados ao direito de imagem e direitos autorais a atuarem de forma proativa na preservação do patrimônio intelectual criado e construído por seus clientes. Nos anos 90, com a invenção e aplicação do Photoshop para edição de imagens da família Adobe, recurso acessível e usado apenas por profissionais, as discussões foram vastas pelo fato de, muitas vezes, se desvirtuar a imagem original impactando até mesmo no não reconhecimento de alguém fotografado, por exemplo. O aprimoramento de seu conceito de uso e edição foi emulado e hoje já são inúmeros os aplicativos que possibilitam a edição da imagem, tais como FaceApp, Snapseed, Pixlr, Cymera, entre outros. E qualquer um pode ser operado facilmente por qualquer pessoa. Com o advento das redes sociais, comunicação virtual veloz e recursos cada vez mais avançados, os filtros aparecerem e o que se vendeu como uma forma de brincadeira para inserir orelhinhas de cachorro e carinha de borboleta em imagens se tornou poderosa ferramenta para captação, edição e difusão instantânea. Hoje é possível que se edite e altere a imagem na forma que bem-quiser modificando a própria realidade, dos outros e de qualquer contexto. Por conta disso, um dos mais desafiadores segmentos – dentro todos envolvidos nestas ferramentas à disposição dos usuários – é a de aplicações dedicadas à relação virtual nas quais pessoas assumem figuras gráficas conhecidas por avatares para se conectarem entre si. Estas experiências foram desenvolvidas e são ainda vivenciadas em apps como Second Life, Habbo Hotel, IMVU, Club Penguin, Decentraland, Twintry, World of Warcraft e Red Light Center, para nos centrar nos mais utilizados por pessoas de todas as idades, credos e hábitos. Cada um destes apps têm ao menos 8 milhões de usuários, sendo que Warcraft é jogado mensalmente por 29 milhões de pessoas. Segundo a ONU, estima-se que 4,9 bilhões de pessoas do planeta acessaram a Internet em 2021. É dentro desse cenário em expansão que surge o Metaverso, espaço virtual que se propõe a conectar o mundo físico ao digital. Nele, é possível que o usuário seja representado por um avatar e realize diversas atividades do cotidiano, como ir a uma reunião, fazer compras, visitar um empreendimento imobiliário. Situações “virtuais” com efeitos práticos no mundo “real”. O Mesh da Microsoft de experiência holográficas compartilhadas com avatares de si mesmo está vindo com força e sua tecnologia de realidade aumentada pode tornar real o OASIS encenada em Ready Player One, filme roteirizado a partir do romance de Ernest Cline. Assim, cada usuário adota para si um avatar, que pode decorrer da própria imagem da pessoa editada ou de uma outra imagem, desenho, mutação, criada especialmente para navegar nesse novo universo, podendo o usuário escolher a imagem que gostaria de atribuir a si próprio na atividade a ser realizada num metaverso. Com essa possibilidade de mutação da imagem, dentre tantos impactos no âmbito jurídico que o Metaverso vem trazendo, uma questão bastante discutida é relativa à proteção jurídica dos avatares e sua relação com o direito de imagem e direitos autorais. Esses avatares seriam protegidos pelo direito de imagem ou pelos direitos autorais? Qual instituto melhor se aplicaria à questão? Não obstante a ausência de legislação e jurisprudência sobre o tema, não resta dúvida de que no caso do “avatar”, sua utilização deve respeitar o direito de imagem e dos direitos autorais. O Direito de Imagem é amparado pela Constituição Federal artigo 5º, inciso X e pelo Código Civil Brasileiro e protege a imagem de pessoas incluindo semblantes e partes distintas do corpo. Já as obras intelectuais artísticas, incluindo os programas de computador, são protegidas pela Lei de Direitos Autorais (Lei 9610/98). Assim, decorrendo o avatar da imagem original do usuário, sua utilização prescinde de autorização. Se não, para a utilização de qualquer outra forma de representação devem ser respeitadas as regras atinentes à utilização da imagem. Paralelamente, se considerarmos que a utilização das ferramentas na plataforma para mutação, transformação da imagem, passamos a aplicar também os direitos autorais daquele que transformou a imagem em uma obra artística. Aqui, para elucidarmos, cabe um exemplo do mundo analógico que é a utilização de caricaturas que depende da autorização do caricato e do desenhista. No mundo digital, os avatares muitas vezes são representações fidedignas das pessoas e em uma linha muito tênue com a aplicação dos recursos podem virar personagens. Desta forma é de suma importância que as plataformas deixem clara as regras no momento da criação do avatar, preservando o direito dos usuários e dos programadores que eventualmente promovam a mutação desejada, evitando assim discussões futuras. Mariana Valverde é advogada especializada em propriedade intelectual, sócia de Moreau Valverde Advogados

A possibilidade de expansão sem fim da tecnologia desafia os profissionais dedicados ao direito de imagem e direitos autorais a atuarem de forma proativa na preservação do patrimônio intelectual criado e construído por seus clientes. Neste momento em que se mostram as possiblidades de uso de ambientes imersivos como os recém-apresentados por Meta (ex Facebook) e Microsoft, cabe atenção redobrada para esses processos que pretendem levar parte significativa de seus usuários (2,9 bilhões Facebook e 1,3 bilhão somente Windows 10) para mundos virtuais capazes de reproduzir experiências da vida real como nenhuma experiência anterior propiciou. Pode-se dizer que situações que demandaram este tipo de atenção ligadas à tecnologia teriam começado com o famoso Photoshop, aplicativo de edição de imagens da família Adobe, desenvolvido por Thomas Knoll e lançado na década de 90. O uso desse recurso, à época possível apenas por profissionais, passou a ser discutido vastamente pelo fato de, muitas vezes, desvirtuar a imagem original impactando até mesmo no não reconhecimento da pessoa fotografada. O recurso foi se aprimorando e hoje já são inúmeros os aplicativos que possibilitam a edição da imagem, tais como FaceApp, Snapseed, Pixlr, Cymera, entre outros, os quais podem ser operacionalizados facilmente por qualquer pessoa. Com o advento das redes sociais, comunicação virtual veloz e recursos cada vez mais avançados, os filtros aparecerem e o que era uma brincadeira que incluía orelhinhas de cachorro e carinha de borboleta em uma fotografia, passou a ser poderosa ferramenta para imagem instantânea. Hoje é possível que a pessoa edite e altere a imagem de tal forma que escolhe a versão que quer ser reconhecida e identificada, o que muitas vezes modifica a própria realidade. Dela, dos outros e de qualquer contexto que se deseje inserir e modificar. Por conta disso, um dos mais desafiadores segmentos – dentro todos envolvidos nestas ferramentas à disposição dos usuários – é a de aplicações dedicadas à relação virtual nas quais pessoas assumem figuras gráficas conhecidas por avatares para se conectarem entre si. Estas experiências foram desenvolvidas e são ainda vivenciadas em apps como Second Life, Habbo Hotel, IMVU, Club Penguin, Decentraland, Twintry, World of Warcraft e Red Light Center, para nos centrar nos mais utilizados por pessoas de todas as idades, credos e hábitos. Cada um destes apps têm ao menos 8 milhões de usuários, sendo que Warcraft é jogado mensalmente por 29 milhões de pessoas. Segundo a ONU, estima-se que 4,9 bilhões de pessoas do planeta acessaram a Internet em 2021. É dentro desse cenário em expansão que surge o Metaverso, espaço virtual que se propõe a conectar o mundo físico ao digital. Nele, é possível que o usuário seja representado por um avatar e realize diversas atividades do cotidiano, como ir a uma reunião, fazer compras, visitar um empreendimento imobiliário. Situações “virtuais” com efeitos práticos no mundo “real”. O Mesh da Microsoft de experiência holográficas compartilhadas com avatares de si mesmo está vindo com força e sua tecnologia de realidade aumentada pode tornar real o OASIS encenada em Ready Player One, filme roteirizado a partir do romance de Ernest Cline. Assim, cada usuário adota para si um avatar, que pode decorrer da própria imagem da pessoa editada ou de uma outra imagem, desenho, mutação, criada especialmente para navegar nesse novo universo, podendo o usuário escolher a imagem que gostaria de atribuir a si próprio na atividade a ser realizada num metaverso. Com essa possibilidade de mutação da imagem, dentre tantos impactos no âmbito jurídico que o Metaverso vem trazendo, uma questão bastante discutida é relativa à proteção jurídica dos avatares e sua relação com o direito de imagem e direitos autorais. Esses avatares seriam protegidos pelo direito de imagem ou pelos direitos autorais? Qual instituto melhor se aplicaria à questão? Não obstante a ausência de legislação e jurisprudência sobre o tema, não resta dúvida de que no caso do “avatar”, sua utilização deve respeitar o direito de imagem e dos direitos autorais. O Direito de Imagem é amparado pela Constituição Federal artigo 5º, inciso X e pelo Código Civil Brasileiro e protege a imagem de pessoas incluindo semblantes e partes distintas do corpo. Já as obras intelectuais artísticas, incluindo os programas de computador, são protegidas pela Lei de Direitos Autorais (Lei 9610/98). Assim, decorrendo o avatar da imagem original do usuário, sua utilização prescinde de autorização. Se não, para a utilização de qualquer outra forma de representação devem ser respeitadas as regras atinentes à utilização da imagem. Paralelamente, se considerarmos que a utilização das ferramentas na plataforma para mutação, transformação da imagem, passamos a aplicar também os direitos autorais daquele que transformou a imagem em uma obra artística. Aqui, para elucidarmos, cabe um exemplo do mundo analógico que é a utilização de caricaturas que depende da autorização do caricato e do desenhista. No mundo digital, os avatares muitas vezes são representações fidedignas das pessoas e em uma linha muito tênue com a aplicação dos recursos podem virar personagens. Desta forma é de suma importância que as plataformas deixem clara as regras no momento da criação do avatar, preservando o direito dos usuários e dos programadores que eventualmente promovam a mutação desejada, evitando assim discussões futuras. *Mariana Valverde, advogada especializada em propriedade intelectual, sócia de Moreau Valverde Advogados

Mariana Valverde* October 03, 2022 | 06h00 Mariana Valverde. PHOTO: DIVULGAÇÃO The release of a ruling by the São Paulo State Court of Justice, in an appeal that discussed the occurrence of possible plagiarism in an architectural project, deepens the discussion on one aspect: the fine line between inspiration and copying. The court upheld the lower court's decision, which dismissed the case. The decision, like the lower court ruling, was based on expert evidence that did not identify any originality in the work that was the subject of the alleged plagiarism. Without going into the details of the specific case mentioned above, it is worth reflecting on the reasons for the increase in discussions on the subject and alternatives to avoid conflicts of this kind. In a world where inspiration drives markets and defines social groups, especially in Brazil where trends are followed to the letter, the challenge is how to differentiate between inspiration and copying. This differentiation is not simple, nor is it obvious, but the main point is to analyze the originality of the work and the elements that make up the novelty capable of differentiating it from what has already been created. In the case of architectural works, these are protected by the Copyright Law, regardless of registration, as set out in article 7, item X, which states that intellectual works are protected creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, such as projects, sketches and plastic works concerning geography, engineering, topography, architecture, landscaping, scenography and science. In addition to the protection established by the legislation in force, it is possible to deposit the work with the Council of Architecture and Urbanism, as provided for in Resolution 67/2013 of the said council, as well as with the Copyright Office of the National Library. It is important to note that the deposit processes mentioned above are intended to formalize the content and date of creation of the project, and neither the Council of Architecture and Urbanism nor the Copyright Office analyse the originality and novelty of the deposited works. This is not to say that prior deposits have no practical effect, quite the contrary, when well instructed and documented, they can even contain the sources of inspiration, which is perfect for aligning inspiration with novelty capable of differentiating it from the ordinary. The process of determining originality and novelty in a dispute is more complex, and in most conflicts is carried out through technical expertise. Forensics in these cases tends to analyze elements and details of the project, ranging from shapes, colors and style to the construction techniques used, as well as the previous existence of a similar set. In short, the creative process and inspiration must go hand in hand, innovating and creating the individual nuances that enable them to differentiate and guarantee authorship. The creative process therefore requires time, research and construction, conflicting with the current trend towards immediacy, the expectation of rapid delivery of services and the pressure to reduce costs. This conflict certainly hampers the creative process and may be fostering the copying industry. *Mariana Valverde, lawyer specializing in intellectual property law and partner at Moreau Valverde Advogados

03/08/2022 08:00 - Updated 03/08/2022 08:00 Protection of Skins in the Metaverse Users and players of virtual games are already familiar with the famous skins. Those products, intangible goods, that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories, among others. Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and so on. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or invented in the future. Trademark and design protection under the Intellectual Property Law also applies to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes bag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top.

The Metaverse is a universal environment that lacks its own common legislation. As a result, the first conflicts involving the protection of skins have begun to emerge. Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and so on. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by Copyright Law 9.610/98, which states: "Art. 7 - The creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or invented in the future, are protected intellectual works". Trademark and design protection under the Intellectual Property Law also applies to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes bag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated in the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out ahead. (*) Professor and lawyer specializing in intellectual property, partner at Moreau Valverde Advogados /

Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and more. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by the Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, ... The trademark and design protection recommended by the Intellectual Property Law also apply to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, the Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes handbag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top.

The commercialization of skins in games generates approximately US$ 10 billion a year, according to data from Globe Commerce. - By Mariana Valverde Lawyer and professor By Mariana Valverde Professor and lawyer specializing in intellectual property, partner at Moreau Valverde Advogados Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and so on. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or invented in the future. Trademark and design protection under the Intellectual Property Law also applies to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, the Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes handbag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top.

Skins Protection in the Metaverse Mariana Valverde 02/08/2022 at 20:40 Skins Protection in the Metaverse by Mariana Valverde Users and players of virtual games are already familiar with the famous skins. Those products, intangible goods, that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories, among others. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by the Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or to be invented in the future, ... The trademark and design protection recommended by the Intellectual Property Law also apply to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, the Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes handbag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top.

DIGITAL LAW PUBLISHED BY THE EDITOR AUGUST 2, 2022 The Metaverse is a universal environment that lacks its own common legislation. As a result, the first conflicts involving the protection of skins have begun to emerge. Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and so on. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by Copyright Law 9.610/98, which states: "Art. 7 - The creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or invented in the future, are protected intellectual works". Trademark and design protection under the Intellectual Property Law also applies to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes bag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated in the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out ahead. (*) Professor and lawyer specializing in intellectual property, partner at Moreau Valverde Advogados

By Mariana Valverde* Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and more. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or invented in the future. Trademark and design protection under the Intellectual Property Law also applies to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes bag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top.

Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and so on. The sale of skins. August 1, 2022 / Updated: August 1, 2022 at 14:18 By Mariana Valverde Professor and lawyer specializing in intellectual property, partner at Moreau Valverde Advogados Users and players of virtual games are already familiar with the famous skins. These are intangible goods that can be purchased in the virtual environment to enhance and decorate avatars, such as clothes, shoes, accessories and so on. The sale of skins in games is worth approximately US$10 billion a year, according to data from Globe Commerce.com, and is growing exponentially every day. With an eye on this new era, the big brands are already starting to launch their products and collections in the Metaverse in the form of skins. One example is Nike, which has even announced the purchase of TFKT, a leading company in the development and production of digital creations. Just as happens in real life with luxury goods and objects of desire, on Web 3.0 users are beginning to identify and differentiate themselves by their skins. As with any asset that is being valued, and considering the new environment of the Metaverse, we began to discuss the protection mechanisms applicable to it. Skins are protected by Copyright Law 9610/98, which states: "Art. 7 Protected intellectual works are creations of the mind, expressed by any means or fixed in any medium, tangible or intangible, known or invented in the future. Trademark and design protection under the Intellectual Property Law also applies to skins and must be respected by users. However, although these regulations can and should be applied by those seeking protection, we must not forget that the Metaverse is a universal environment that lacks its own common legislation. Thus, the first conflicts involving the protection of these virtual creations began to emerge. At the end of 2021, Metabirkin was launched and everyone understood that it was the entry into Web 3.0 of the legendary and coveted Hermes bag. The thing is, Metabirkin wasn't launched by Hermes, which led the brand to start one of the first disputes in this universe. The misuse of skins has also been debated by the Brazilian Free Fire League (LBFF), which punished Meta gaming for misusing skins. This is just the beginning of a new era that will certainly lead to discussions and debates, but there is no doubt that those who invest in protection will come out on top.

Os depoimentos do Fora da Curva 3 nos fazem lembrar que trabalhar pode ser um prazer (Getty Images/Reprodução) Por Florian Bartunek, Pierre Moreau e Ariane Abdallah O Brasil encerrou o mês de agosto de 2021 somando 20 unicórnios – empresas que valem mais de US$ 1 bilhão. Assim como os fundadores dessas empresas, existem muitos empreendedores desenvolvendo iniciativas que transformam o mercado em nosso país. No entanto, estamos mais familiarizados com figuras como Elon Musk (Tesla), Jeff Bezos (Amazon) e Mark Zuckerberg (Facebook) do que com os criadores por trás das mais bem sucedidas start-ups brasileiras. Nossa sensação é que exaltamos pouco os marinheiros que se aventuram pelos mares de cá. Por não conhecer essas jornadas – sempre fascinantes – deixamos de inspirar muitos jovens, com boas ideias e vontade de inovar, e de ajudá-los a acreditar que é possível construir no Brasil negócios tão disruptivos e impactantes quanto os que são construídos lá fora (ou, por que não, até mais?). Essa lacuna na literatura sobre empreendedores nacionais foi um dos fatores que nos inspirou a escrever o Fora da Curva 3: unicórnios e start-ups de sucesso. O livro traz depoimentos em primeira pessoa de 12 brasileiros e brasileiras, como os criadores de empresas como Ebanx, Vtex, QuintoAndar, 99 e Movile (dona do Ifood). Outra motivação para fazer uma edição sobre start-ups – o Fora da Curva 1 e 2, co-organizados pela jornalista Giuliana Napolitano, haviam sido sobre investidores do mercado financeiro – foi a mudança do perfil e das aspirações dos jovens. Uma pesquisa publicada pela EY em parceria com a Junior Achievement, organização que prepara os jovens para empreender, entrevistou mais de 6 mil pessoas nascidas entre 1997 e 2007. Mais da metade delas (53%) espera abrir seu próprio negócio na próxima década. Se antigamente a maior parte das novas gerações sonhava em encontrar um emprego estável, com bom salário, essa não é mais a realidade. E esses jovens se interessam pelas histórias de empreendedores que têm uma idade mais próxima da sua e passaram por situações que desejam um dia viver. Até alguns anos atrás, era o máximo ouvir o que um grande empresário de sucesso tinha a dizer. Hoje, as referências são os garotos e garotas à frente de start-ups, que estão definindo o futuro do mercado de trabalho. A vontade de incentivar empreendedores é tão grande que toda a nossa renda com a publicação está sendo revertida para a Fundação Estudar, criada há 20 anos por Jorge Paulo Lemann. A organização apoia e incentiva a educação por meio de bolsas de estudo. Felizmente, esse projeto ao qual nos dedicamos vai chegar a ainda mais gente nos próximos meses. Além de livro, o Fora da Curva 3 agora também virou temporada de podcast. O Atitude Empreendedora, criado pela nossa co-organizadora Ariane, lançou uma série especial com as entrevistas em formato de áudio, o que ajudará as histórias a inspirar ainda mais pessoas – nesse caso, ouvintes. Algumas entrevistas foram regravadas, mas a maior parte dos episódios traz trechos das conversas de bastidores que deram origem aos depoimentos do livro. Ouvindo novamente os empreendedores, ficamos com a sensação de que, apesar de perfis tão diferentes, há muito em comum entre as pessoas que criaram empresas bem-sucedidas. Reunimos abaixo algumas das lições – Tenha prazer no que você faz e apaixone-se pelo problema Os depoimentos do Fora da Curva 3 nos fazem lembrar que trabalhar pode ser um prazer. Os empreendedores são apaixonados por seus negócios e suas áreas de atuação. Fazem o que gostam ou são tão comprometidos com o problema que decidiram transformar a carreira em sua causa. Por mais dificuldades que encontrem pelo caminho, possuem um propósito claro e tendem a se realizar com o trabalho independentemente do contexto. Anderson Ferminiano, por exemplo, conta que desde que entrou em seu primeiro emprego como programador, o dia a dia do trabalho se confundia com o que fazia para se divertir em casa. “É um estilo de vida que tento manter até hoje, fazer o que me diverte. Me sinto tão feliz trabalhando quanto jogando videogame”, conta. Duda Falcão, do grupo de educação Eleva, diz que seu objetivo principal vai muito além do sucesso financeiro: “Construí um sonho, uma paixão, um grupo de longo prazo.” – Escolha um foco e concentre-se nele O foco e a obsessão são tão presentes que muitos dos personagens do Fora da Curva não possuem um plano B caso o negócio não dê certo – é tudo ou nada. Não dividem sua atenção com atividades paralelas ou com oportunidades que possam parecer mais tentadoras do que seus empreendimentos. Assim, evitam distrações e fazem o possível (e às vezes o impossível) para realizar o que vislumbram. André Penha, fundador da plataforma de aluguel e venda de imóveis QuintoAndar, teve sua ideia rejeitada por um investidor em uma de suas primeiras apresentações sobre o negócio, quando ainda era estudante em Stanford. A justificativa: ele não colocaria dinheiro no negócio porque achava que os empreendedores aceitariam a primeira proposta de salário que aparecesse depois do MBA. Naquele momento, André e seu sócio fizeram um acordo: seria tudo ou nada, independentemente da possiblidade de serem contratados por alguém que pagasse a dívida do curso. “Minha dívida estudantil nos Estados Unidos era de 200 mil dólares. Mas apostávamos de verdade no negócio. Por isso, tomamos a decisão de não responder nenhuma oferta que aparecesse no LinkedIn. Se há algo que você realmente quer fazer na vida, não tenha plano B, porque a tentação de agarrar a alternativa nos dias difíceis é enorme”, conta. – Evolução constante Quem já fundou ou participou do início de uma empresa sabe que o time inteiro precisa fazer tudo para que o negócio deslanche, do RH ao financeiro, sem esquecer do core business. Os personagens do Fora da Curva passaram por essa fase, mas foram capazes de amadurecer e assumir novos papéis conforme seus negócios evoluíam. Eles entenderam o momento de deixar de ser um generalista para ser o especialista na gestão financeira ou liderar a empresa numa posição de CEO. Depois de vender a 99, o empreendedor Paulo Veras assumiu outro papel, trocando a liderança da empresa para atuar como investidor, apoiando empresas a solucionar problemas por meio da tecnologia. – Teoria e prática A maior parte dos empreendedores, apesar de sua paixão pelo fazer, tiveram excelentes experiências, em boas universidades. Mesmo em um universo onde a prática é tão importante, eles nunca deixam de buscar conhecimento – seja lendo, fazendo cursos, estudando uma nova disciplina ou conversando com especialistas. Henrique Dubugras, fundador da Brex, desistiu da graduação em Stanford no meio do curso, mas reconhece que a passagem pela instituição lhe deixou lições úteis. Fabricio Bloisi, da Movile, dona de plataformas como o iFood, usou seu mestrado na FGV para estudar empresas de tecnologia com modelos de crescimento acelerado. Depois de uma pesquisa que durou dois anos e exigiu a leitura de mais de 150 livros, Bloisi encontrou referências que foram fundamentais para melhorar seu negócio. Acreditamos que ouvir ou ler essas histórias pode ajudar qualquer profissional dentro de uma empresa, jovem ou tradicional, a refletir sobre sua carreira e as oportunidades de fazer diferente, todos os dias. Construir do zero empresas que hoje valem milhões ou bilhões de dólares e perpetuar culturas autênticas resulta em muitas lições – para os empreendedores e para quem dedica um tempo a compreender suas trajetórias.

With the announcement of Bernard Madoff's death, many countries around the world, including Brazil, have published reports and good articles on the antics of the scheme that harmed renowned individuals and foundations all over the planet, calculating an estimated loss of 65 billion dollars (17.5 billion confirmed). There are those dedicated to explaining the workings of the pyramid in minute detail; there are those that exuberantly show the profile of its most famous victims. There are also series and feature films that fictionalize the facts and even an (almost complete) list of those who have believed their hoaxes, which can be checked name by name on Wikipedia. A second wave of texts, also interesting, reveals the psychology of those who fell for the scam. The articles issue warnings, show examples and hint at the typical modus operandi of the probable scams available on the market. On this subject, I want to present the point of view of those who were actually in the eye of the hurricane, I want to look at it from the point of view of the Brazilians who were harmed by Madoff Investment Securities LLC and the companies that represented it in various countries, including ours. Another fundamental scale of the damage is the estimated 3 million people severely harmed by the pyramid. To understand what happened, it is necessary to accept the human condition of being influenced by financial market illusionists, which only exists in a permissive environment, where forms of surveillance are loosened by poorly designed regulations. In general, the financial market is subject to very clear rules about what can and cannot be done, and especially by whom. Many fraudsters claim to have lost money in risky activities when in fact it was fraud. Beware. When making investments, there is a whole raft of procedures for checking the suitability of the financial agent, in addition to the market watchdogs, such as the SEC in the United States, ESMA in the European Union and the CVM in Brazil. A good example that we can illustrate is the processes at the CVM. According to the newspaper Valor Econômico, when a target is not met at the CVM, the area responsible has to justify itself. Data shows that 382 cases were judged between 2016 and 2020, out of a total of 271 accusations, of which only 74% generated some kind of penalty - fines predominated in 76% of them. But there were also disqualifications, suspensions, bans or warnings. Acquittals accounted for 26% of the total. If the real financial market draws its strength from the hard work of agents who work to guarantee decent profit margins for those who entrust their funds, we unfortunately have to live with those who develop techniques to deceive with tricks that rely on the speed and agility of arguments. They present exceptional gains obtained by those who have made investments in an exclusive, wonderful place, open only to people like those covered in this story. Madoff and the network of companies that colluded with him formed the most insidious type of fraudster, whether it was the way in which the illicit advantage was obtained or the way in which the losses were caused. In the work I did before the courts in New York, Luxembourg, Geneva, among others, in partnership with local offices, one of the most important tasks was to demonstrate the verifiable losses and the lawfulness of the origin of the funds. Bernie's magic pyramid has shown that many ordinary investors are distanced from their investments. Being aware of the structures invested in is fundamental to taking extra care. Other "Madoffs" are out there. It's important to watch out for unrealistic gains from anything. There are many magicians on the market, but - unfortunately - there is no such thing as magic. What does exist is a lot of care, work and patience. Pierre Moreau, lawyer at Moreau Valverde Advogados MOREAU, Pierre. The magic of the Madoff case . Portal Jurídico Investidura, Florianópolis/SC, 18 Jun. 2021. Available at: investidura.com.br/biblioteca-juridica/artigos/sociedade/338471-a-magica-do-caso-madoff-. Accessed on: 25 Jun. 2021

O que significa para o Brasil a nova regulação para startups Domingo, 20 de junho de 2021 * Por Mariana Hamar Valverde e Juliana Zanotto Quando o presidente Jair Bolsonaro sancionar o Projeto de Lei Complementar 146/19 que institui o marco legal das startups, o Brasil se alinhará internacionalmente entre os países que fomentam empreendimentos que se focam em ideias inovadoras. Para muitos, isso pode até significar pouco se a perspectiva for a partir da realidade do Vale do Silício, Londres ou mesmo de recém países formados nos Balcãs quando a cultura de conexão digital já era realidade. As intenções pouco comentadas para trazer à tona uma normativa voltada ao ecossistema de startups são mais abrangentes e includentes, mesmo que se localizem, aqui e ali, defeitos que poderão ser revistos a partir da aplicação da norma. A lei é a regulamentação que faltava e reclamada por muitos empresários do setor. O crescimento exponencial de empresas voltadas a atividades inovadoras no Brasil carecia de diretrizes que, de certa maneira, equilibrassem o jogo, garantindo acesso a recursos de modo a minimizar riscos aos investidores, abrindo ampla frente de negócios no setor público, área ainda extremamente carente de aplicações voltadas ao atendimento de demandas da sociedade, seja na educação, na saúde, segurança e tantos outros segmentos essenciais da prestação de serviços à sociedade. Por outro prisma, como tais empresas se diferenciam de outras pela natureza inovadora e por operarem em ambiente de elevada incerteza, apresentando, em contrapartida, alta probabilidade de crescimento relevante em curto espaço de tempo, vinham sendo, de certa maneira, discriminadas. Investimentos na área, embora atrativos, afastam potenciais interessados por apresentar altos riscos. Enfrentava-se, portanto, um tipo de barreira para que a inovação via startups se impusesse em melhor escala. O mindset conservador que ainda domina muitos campos de negócios tece elogios, mas tem ressalvas na medida em que a formalização e consecução necessitam de procedimentos mais ágeis, já que a inovação ocorre em grande velocidade. Daí depreende-se mais uma mudança significativa trazida pelo novo mecanismo legal: segurança jurídica e maior agilidade como elementos basilares para o desenvolvimento de negócios e captação de investimentos. As previsões criadas no marco legal não serão somente aplicadas às empresas criadas a partir de sua promulgação. Empresas de operação recente (com até 10 anos de inscrição no CNPJ), cuja atuação caracteriza-se pela inovação aplicada a modelo de negócios, produtos ou serviços ofertados, também poderão se enquadrar. O empresário individual, a empresa individual de responsabilidade limitada, as sociedades empresárias, as sociedades cooperativas e as sociedades simples poderão se valer das novas disposições legais, desde que não tenham receita bruta superior a R$ 16.000.000,00 no ano anterior. Um requisito importante consiste na obrigatoriedade de a empresa ter como atividade principal a utilização de negócios inovadores para a geração de produtos ou serviços ou estar enquadrada no Inova Simples, regime especial que fixa um rito sumário para abertura e fechamento de empresas. Dentre as inovações promovidas pelo Projeto de Lei, destacamos as seguintes: INVESTIDORES-ANJO O ‘Investidor-Anjo’ passa a ser formalmente reconhecido, sendo que os investimentos poderão ser realizados tanto por pessoas físicas quanto pessoas jurídicas. Como consequência, as startups poderão contar com aporte de recursos financeiros, sem que os investidores necessariamente participem do quadro societário. Isso gera maior proteção e segurança ao investidor, que não terá de responder por qualquer dívida da empresa, inclusive em casos de recuperação judicial (a não ser em hipóteses que o investidor agiu com dolo ou cometeu fraude ou simulação). Em contrapartida, o investidor não tem direito de gerência ou voto na administração, podendo, contudo, participar de deliberações de forma consultiva e ter acesso a todas as informações financeiras e contábeis da empresa. Caso o titular do investimento, eventualmente, tenha interesse em participar ativamente na empresa, poderá converter o instrumento de aporte em efetiva e formal participação societária. PARTICIPAÇÃO VIA FUNDOS Outro importante fator trazido pelo PL para a captação de recursos é a possibilidade de que empresas que sejam obrigadas a investir em pesquisa e desenvolvimento possam fazer isso em relação às startups via fundos patrimoniais ou fundos de investimento em participação (FIP) nas categorias capital semente, empresas emergentes e com produção econômica intensiva em pesquisa, desenvolvimento e inovação. LICITAÇÕES O marco legal confere uma modalidade de licitação especial para as startups criarem e testarem soluções inovadoras. O processo administrativo será mais simples e por ser aberto somente a startups, permitirá que empresas menores ganhem espaço e encontrem novas respostas aos problemas do país. AMBIENTE REGULATÓRIO Visando fomentar a inovação, o PL destrava as regulações às quais a startup estará sujeita. Referido processo é conhecido como sandbox regulatório, muito comum no exterior. O sandbox permite que a administração pública afaste a incidência de normas regulatórias, não configurando, contudo, uma desregulação geral, visto que não alcançará todas as empresas. Pelo sandbox, a administração pública poderá afastar a incidência de certas normas, estabelecendo critérios diferenciados para seleção ou qualificação de empresas que se enquadrem como startups, bem como a duração e o alcance da suspensão das normas. Diante das mudanças acima apontadas, o PL, uma vez sancionado, representará grande avanço ao setor das startups no Brasil, mediante a criação de um ambiente favorável ao fomento e crescimento destas empresas e, consequentemente, do mercado voltado aos produtos e serviços inovadores. Isso mostra a excelente intenção do legislador em seguir a tendência mundial de se garantir maior segurança jurídica e agilidade ao universo das startups, o que provoca aumento no volume de investimentos e na geração de tecnologias e soluções inovadoras. ________________________________________ * Mariana Hamar Valverde, sócia, e Juliana Zanotto, advogada, de Moreau¦Valverde Advogados.

Quando o presidente Jair Bolsonaro sancionar Projeto de Lei Complementar 146/19 que institui o marco legal das startups, o Brasil se alinhará internacionalmente entre os países que fomentam empreendimentos que se focam em idéias inovadoras. Para muitos, isso pode até significar pouco se a perspectiva for a partir da realidade do Vale do Silício, Londres ou mesmo de recém países formados nos Balcãs quando a cultura de conexão digital já era realidade. As intenções pouco comentadas para trazer à tona uma normativa voltada ao ecossistema de startups são mais abrangentes e includentes, mesmo que se localizem, aqui e ali, defeitos que poderão ser revistos a partir da aplicação da norma. LEIA TAMBÉM O investidor-anjo no Marco Legal das Startups A lei é a regulamentação que faltava e reclamada por muitos empresários do setor. O crescimento exponencial de empresas voltadas a atividades inovadoras no Brasil carecia de diretrizes que, de certa maneira, equilibrassem o jogo, garantindo acesso a recursos de modo a minimizar riscos aos investidores, abrindo ampla frente de negócios no setor público, área ainda extremamente carente de aplicações voltadas ao atendimento de demandas da sociedade, seja na educação, na saúde, segurança e tantos outros segmentos essenciais da prestação de serviços à sociedade. Por outro prisma, como tais empresas se diferenciam de outras pela natureza inovadora e por operarem em ambiente de elevada incerteza, apresentando, em contrapartida, alta probabilidade de crescimento relevante em curto espaço de tempo, vinham sendo, de certa maneira, discriminadas. Investimentos na área, embora atrativos, afastavam potenciais interessados por apresentar altos riscos. Enfrentava-se, portanto, um tipo de barreira para que a inovação via startups se impusesse em melhor escala. O mindset conservador que ainda domina muitos campos de negócios tece elogios, mas tem ressalvas na medida em que a formalização e consecução necessitam de procedimentos mais ágeis, já que a inovação ocorre em grande velocidade. Daí depreende-se mais uma mudança significativa trazida pelo novo mecanismo legal: segurança jurídica e maior agilidade como elementos basilares para o desenvolvimento de negócios e captação de investimentos. As previsões criadas no marco legal não serão somente aplicadas às empresas criadas a partir de sua promulgação. Empresas de operação recente (com até 10 anos de inscrição no CNPJ), cuja atuação caracteriza-se pela inovação aplicada a modelo de negócios, produtos ou serviços ofertados, também poderão se enquadrar. O empresário individual, a empresa individual de responsabilidade limitada, as sociedades empresárias, as sociedades cooperativas e as sociedades simples poderão se valer das novas disposições legais, desde que não tenham receita bruta superior a R$ 16.000.000,00 no ano anterior. Um requisito importante consiste na obrigatoriedade de a empresa ter como atividade principal a utilização de negócios inovadores para a geração de produtos ou serviços ou estar enquadrada no Inova Simples, regime especial que fixa um rito sumário para abertura e fechamento de empresas. Dentre as inovações promovidas pelo Projeto de Lei, destacamos as seguintes: INVESTIDORES-ANJO O ‘Investidor-Anjo’ passa a ser formalmente reconhecido, sendo que os investimentos poderão ser realizados tanto por pessoas físicas quanto pessoas jurídicas. Como consequência, as startups poderão contar com aporte de recursos financeiros, sem que os investidores necessariamente participem do quadro societário. Isso gera maior proteção e segurança ao investidor, que não terá de responder por qualquer dívida da empresa, inclusive em casos de recuperação judicial (a não ser em hipóteses que o investidor agiu com dolo ou cometeu fraude ou simulação). Em contrapartida, o investidor não tem direito de gerência ou voto na administração, podendo, contudo, participar de deliberações de forma consultiva e ter acesso a todas as informações financeiras e contábeis da empresa. Caso o titular do investimento, eventualmente, tenha interesse em participar ativamente na empresa, poderá converter o instrumento de aporte em efetiva e formal participação societária. PARTICIPAÇÃO VIA FUNDOS Outro importante fator trazido pelo PL para a captação de recursos é a possibilidade de que empresas que sejam obrigadas a investir em pesquisa e desenvolvimento possam fazer isso em relação às startups via fundos patrimoniais ou fundos de investimento em participação (FIP) nas categorias capital semente, empresas emergentes e com produção econômica intensiva em pesquisa, desenvolvimento e inovação. LICITAÇÕES O marco legal confere uma modalidade de licitação especial para as startups criarem e testarem soluções inovadoras. O processo administrativo será mais simples e por ser aberto somente a startups, permitirá que empresas menores ganhem espaço e encontrem novas respostas aos problemas do país. AMBIENTE REGULATÓRIO Visando fomentar a inovação, o PL destrava as regulações às quais a startup estará sujeita. Referido processo é conhecido como sandbox regulatório, muito comum no exterior. O sandbox permite que a administração pública afaste a incidência de normas regulatórias, não configurando, contudo, uma desregulação geral, visto que não alcançará todas as empresas. Pelo sandbox, a administração pública poderá afastar a incidência de certas normas, estabelecendo critérios diferenciados para seleção ou qualificação de empresas que se enquadrem como startups, bem como a duração e o alcance da suspensão das normas. Diante das mudanças acima apontadas, o PL, uma vez sancionado, representará grande avanço ao setor das startups no Brasil, mediante a criação de um ambiente favorável ao fomento e crescimento destas empresas e, consequentemente, do mercado voltado aos produtos e serviços inovadores. Isso mostra a excelente intenção do legislador em seguir a tendência mundial de se garantir maior segurança jurídica e agilidade ao universo das startups, o que provoca aumento no volume de investimentos e na geração de tecnologias e soluções inovadoras. *Mariana Hamar Valverde, sócia, e Juliana Zanotto, advogada, de Moreau¦Valverde Advogados

The magic of the Madoff case By Pierre Moreau, lawyer at Moreau Valverde Advogados. Source: Pierre Moreau Comments: (0) Reproduction: Pixabay.com With the announcement of Bernard Madoff's death, many countries around the world, including Brazil, have been following reports and good articles about the antics of the scheme that harmed renowned individuals and foundations all over the planet, calculating an estimated loss of 65 billion dollars (17.5 billion confirmed). There are those dedicated to explaining the workings of the pyramid in detail; there are those that exuberantly show the profile of its most famous victims. There are also series and feature films that fictionalize the facts and even an (almost complete) list of those who have believed their hoaxes, which can be checked name by name on Wikipedia. A second wave of texts, also interesting, reveals the psychology of those who fell for the scam. The articles issue warnings, show examples and hint at the typical modus operandi of the probable scams available on the market. On this subject, I want to present the point of view of those who were actually in the eye of the hurricane, I want to look at it from the point of view of the Brazilians who were harmed by Madoff Investment Securities LLC and the companies that represented it in various countries, including ours. Another fundamental scale of the damage is the estimated 3 million people severely harmed by the pyramid. To understand what happened, it is necessary to accept the human condition of being influenced by financial market illusionists, which only exists in a permissive environment, where forms of surveillance are loosened by poorly designed regulations. In general, the financial market is subject to very clear rules about what can and cannot be done, and especially by whom. Many fraudsters claim to have lost money in risky activities when in fact it was fraud. Beware. When making investments, there is a whole raft of procedures for checking the suitability of the financial agent, in addition to the market watchdogs, such as the SEC in the United States, ESMA in the European Union and the CVM in Brazil. A good example that we can illustrate is the processes at the CVM. According to the newspaper Valor Econômico, when a target is not met at the CVM, the area responsible has to justify itself. Data shows that 382 cases were judged between 2016 and 2020, out of a total of 271 accusations, of which only 74% generated some kind of penalty - fines predominated in 76% of them. But there were also disqualifications, suspensions, bans or warnings. Acquittals accounted for 26% of the total. If the real financial market draws its strength from the hard work of agents who work to guarantee decent profit margins for those who entrust their funds, we unfortunately have to live with those who develop techniques to deceive with tricks that rely on the speed and agility of arguments. They present exceptional gains obtained by those who have made investments in an exclusive, wonderful place, open only to people like those covered in this story. Madoff and the network of companies that colluded with him formed the most insidious type of fraudster, whether it was the way in which the illicit advantage was obtained or the way in which the losses were caused. In the work I did before the courts in New York, Luxembourg, Geneva, among others, in partnership with local offices, one of the most important tasks was to demonstrate the verifiable losses and the lawfulness of the origin of the funds. Bernie's magic pyramid has shown that many ordinary investors are distanced from their investments. Being aware of the structures invested in is fundamental to taking extra care. Other "Madoffs" are out there. It's important to watch out for unrealistic gains from anything. There are many magicians on the market, but - unfortunately - there is no such thing as magic. What does exist is a lot of care, work and patience. Author: Pierre Moreau, lawyer at Moreau Valverde Advogados

With the announcement of Bernard Madoff's death, many countries around the world, including Brazil, have published reports and good articles on the antics of the scheme that harmed renowned individuals and foundations all over the planet, calculating an estimated loss of 65 billion dollars (17.5 billion confirmed). There are those dedicated to explaining the workings of the pyramid in minute detail; there are those that exuberantly show the profile of its most famous victims. There are also series and feature films that fictionalize the facts and even an (almost complete) list of those who have believed their hoaxes, which can be checked name by name on Wikipedia. A second wave of texts, also interesting, reveals the psychology of those who fell for the scam. The articles issue warnings, show examples and hint at the typical modus operandi of the probable scams available on the market. On this subject, I want to present the point of view of those who were actually in the eye of the hurricane, I want to look at it from the point of view of the Brazilians who were harmed by Madoff Investment Securities LLC and the companies that represented it in various countries, including ours. Another fundamental scale of the damage is the estimated 3 million people severely harmed by the pyramid. To understand what happened, it is necessary to accept the human condition of being influenced by financial market illusionists, which only exists in a permissive environment, where forms of surveillance are loosened by poorly designed regulations. In general, the financial market is subject to very clear rules about what can and cannot be done, and especially by whom. Many fraudsters claim to have lost money in risky activities when in fact it was fraud. Beware. When making investments, there is a whole raft of procedures for checking the suitability of the financial agent, in addition to the market watchdogs, such as the SEC in the United States, ESMA in the European Union and the CVM in Brazil. A good example that we can illustrate is the processes at the CVM. According to the newspaper Valor Econômico, when a target is not met at the CVM, the area responsible has to justify itself. Data shows that 382 cases were judged between 2016 and 2020, out of a total of 271 accusations, of which only 74% generated some kind of penalty - fines predominated in 76% of them. But there were also disqualifications, suspensions, bans or warnings. Acquittals accounted for 26% of the total. If the real financial market draws its strength from the hard work of agents who work to guarantee decent profit margins for those who entrust their funds, we unfortunately have to live with those who develop techniques to deceive with tricks that rely on the speed and agility of arguments. They present exceptional gains obtained by those who have made investments in an exclusive, wonderful place, open only to people like those covered in this story. Madoff and the network of companies that colluded with him formed the most insidious type of fraudster, whether it was the way in which the illicit advantage was obtained or the way in which the losses were caused. In the work I did before the courts in New York, Luxembourg, Geneva, among others, in partnership with local offices, one of the most important tasks was to demonstrate the verifiable losses and the lawfulness of the origin of the funds. Bernie's magic pyramid has shown that many ordinary investors are distanced from their investments. Being aware of the structures invested in is fundamental to taking extra care. Other "Madoffs" are out there. It's important to watch out for unrealistic gains from anything. There are many magicians on the market, but - unfortunately - there is no such thing as magic. What does exist is a lot of care, work and patience.

Ao longo da minha trajetória de relacionamento com repórteres, editores e diretores de redação, por diversos motivos e razões, acabei conhecendo, estreitando laços, além de, claro, discordando – algo que acontecia frequentemente. Exponho abaixo 10 pontos de atenção para relacionamento profissional entre advogados e jornalistas. 1) Ao vir a público, independente da situação, é necessário ter em mente, sobretudo, zelo pela imagem do cliente e a pela sua própria imagem, inclusive para o escritório em que atua. As mídias podem ser veículos para estratégias jurídicas, sempre respeitando o sigilo do cliente e as demais regras estabelecidas junto ao Regulamento Geral do Estatuto da Advocacia e da OAB e Código de Ética e Disciplina da OAB, uma vez que o advogado é porta-voz dos casos judiciais que cuida e quando se comunica na imprensa deve agir com parcimônia e cuidado. 2) Bem ou mal, quando um advogado dá sua voz para se expor por um cliente em frente às câmaras, está ali pela paridade de armas, para que, mesmo minimamente, um argumento de defesa ganhe atenção. Mesmo que a opinião pública seja influenciada para ter visão turva sobre a advocacia, deve-se ter claro que a responsabilidade é para com o direito de acesso à justiça e o direito de defesa. 3) É comum falar coisas certas da forma errada, permitindo que o trecho selecionado das declarações seja o que menos interessa ao caso. O tempo para entrevista é comprimido pelos fatos e pressa da mídia. Se de um lado isso sinaliza que o advogado precisa estar mais bem capacitado para entrevistas, demonstra possível problema no foco da cobertura e isso precisa ser administrado nessa relação. 4) Suspeitas são mostradas como fatos e evidências, como provas insofismáveis. Sem tempo para checar a lógica do que se apresenta, embarca-se numa linha de acusação. São excepcionais as situações em que teses de culpabilidade são checadas e têm revistas as informações apresentadas ao público. A imprensa é usada como cadafalso de sumária execução pública. Para o direito de defesa, a cobertura em grande escala da imprensa de casos rumorosos nos últimos anos, demonstra deterioração da capacidade de apurar informações, limitando-se em reproduzir o modus narrandi de uma “fonte oficial”. 5) Casos de grande repercussão atendidos por um advogado muitas vezes interessam à imprensa. Nesses casos, os cuidados devem ser redobrados, por tratarem de disputas entre partes, mudando apenas o grau de interesse do público. Quando existe público, existe nível de audiência potencial e é isso que o repórter fareja. Se você estiver com um desses casos, os profissionais encarregados de cobrir o assunto farão de tudo para estarem contigo. 6) Esta condição de fonte natural deve ser sempre lembrada. Mesmo que criem laços de amizade, antes de ser seu amigo, ele é jornalista. Se por acaso ele já era seu amigo e depois virou jornalista, pior, ele te conhece e sabe do que você gosta. Tem perfeita noção dos seus pontos fracos. E se ele for jornalista de verdade, vai usar isso a favor do próprio trabalho. 7) O repórter pergunta o que precisa ser perguntado, a fim de apurar muito bem o que vai ser informado aos seus leitores. O advogado sempre vai expor o que precisa ser argumentado no caso em que atua. 8) Nas entrevistas, independente de formato e do grau de tensão – se estiver em meio a caso rumoroso -, existem três regras que devemos sempre lembrar. A primeira está neste adágio do político Hubert Humphrey: “Há sempre um risco ao falar com a imprensa, ela certamente reproduzirá o que você diz”. A segunda: Dar entrevista é transferir a propriedade da informação. E por fim, a terceira e ainda mais importante: Nunca use off-the-record com jornalistas – jamais conte algo que não é para ser publicado. 9) Válidos esses três pilares, como conduzir uma necessária e desejável relação com imprensa? Por que se deve fazer isso? A resposta é pragmática. Por ser inevitável. Apesar das informações sobre desertos de notícias em nosso país, das pressões de mercado que reduzem oficinas de notícias, plataformas digitais se multiplicam e as pessoas se tornam mídias na medida em que têm público (seguidores) que acompanha o que escrevem. Como é impossível adaptar discurso para tantos formatos de mídia, você deve estar preparado sobre o que não fazer e o que deve ser feito antes, durante e depois da conversa com jornalistas. 10) Sucessão de longos grandes escândalos dos últimos 20 anos e a intensificação de disputas entre corporações por via assimétrica de inteligência corporativa também indicam que devemos ter cuidado com profissionais da imprensa que podem estar com um advogado corporativo para – através até de entrevista simulada – apurar muito mais do que vai publicar. Ter a orientação de profissionais experientes, independente das grandes corporações, pode minimizar este problema.

O que significa para o Brasil a nova regulação para startups jun 8,2021 Quando o presidente Jair Bolsonaro sancionar Projeto de Lei Complementar 146/19 que institui o marco legal das startups, o Brasil se alinhará internacionalmente entre os países que fomentam empreendimentos que se focam em idéias inovadoras. Para muitos, isso pode até significar pouco se a perspectiva for a partir da realidade do Vale do Silício, Londres ou mesmo de recém países formados nos Balcãs quando a cultura de conexão digital já era realidade. As intenções pouco comentadas para trazer à tona uma normativa voltada ao ecossistema de startups são mais abrangentes e includentes, mesmo que se localizem, aqui e ali, defeitos que poderão ser revistos a partir da aplicação da norma. A lei é a regulamentação que faltava e reclamada por muitos empresários do setor. O crescimento exponencial de empresas voltadas a atividades inovadoras no Brasil carecia de diretrizes que, de certa maneira, equilibrassem o jogo, garantindo acesso a recursos de modo a minimizar riscos aos investidores, abrindo ampla frente de negócios no setor público, área ainda extremamente carente de aplicações voltadas ao atendimento de demandas da sociedade, seja na educação, na saúde, segurança e tantos outros segmentos essenciais da prestação de serviços à sociedade. Por outro prisma, como tais empresas se diferenciam de outras pela natureza inovadora e por operarem em ambiente de elevada incerteza, apresentando, em contrapartida, alta probabilidade de crescimento relevante em curto espaço de tempo, vinham sendo, de certa maneira, discriminadas. Investimentos na área, embora atrativos, afastavam potenciais interessados por apresentar altos riscos. Enfrentava-se, portanto, um tipo de barreira para que a inovação via startups se impusesse em melhor escala. O mindset conservador que ainda domina muitos campos de negócios tece elogios, mas tem ressalvas na medida em que a formalização e consecução necessitam de procedimentos mais ágeis, já que a inovação ocorre em grande velocidade. Daí depreende-se mais uma mudança significativa trazida pelo novo mecanismo legal: segurança jurídica e maior agilidade como elementos basilares para o desenvolvimento de negócios e captação de investimentos. As previsões criadas no marco legal não serão somente aplicadas às empresas criadas a partir de sua promulgação. Empresas de operação recente (com até 10 anos de inscrição no CNPJ), cuja atuação caracteriza-se pela inovação aplicada a modelo de negócios, produtos ou serviços ofertados, também poderão se enquadrar. O empresário individual, a empresa individual de responsabilidade limitada, as sociedades empresárias, as sociedades cooperativas e as sociedades simples poderão se valer das novas disposições legais, desde que não tenham receita bruta superior a R$ 16.000.000,00 no ano anterior. Um requisito importante consiste na obrigatoriedade de a empresa ter como atividade principal a utilização de negócios inovadores para a geração de produtos ou serviços ou estar enquadrada no Inova Simples, regime especial que fixa um rito sumário para abertura e fechamento de empresas. Dentre as inovações promovidas pelo Projeto de Lei, destacamos as seguintes: INVESTIDORES-ANJO O ‘Investidor-Anjo’ passa a ser formalmente reconhecido, sendo que os investimentos poderão ser realizados tanto por pessoas físicas quanto pessoas jurídicas. Como consequência, as startups poderão contar com aporte de recursos financeiros, sem que os investidores necessariamente participem do quadro societário. Isso gera maior proteção e segurança ao investidor, que não terá de responder por qualquer dívida da empresa, inclusive em casos de recuperação judicial (a não ser em hipóteses que o investidor agiu com dolo ou cometeu fraude ou simulação). Em contrapartida, o investidor não tem direito de gerência ou voto na administração, podendo, contudo, participar de deliberações de forma consultiva e ter acesso a todas as informações financeiras e contábeis da empresa. Caso o titular do investimento, eventualmente, tenha interesse em participar ativamente na empresa, poderá converter o instrumento de aporte em efetiva e formal participação societária. PARTICIPAÇÃO VIA FUNDOS Outro importante fator trazido pelo PL para a captação de recursos é a possibilidade de que empresas que sejam obrigadas a investir em pesquisa e desenvolvimento possam fazer isso em relação às startups via fundos patrimoniais ou fundos de investimento em participação (FIP) nas categorias capital semente, empresas emergentes e com produção econômica intensiva em pesquisa, desenvolvimento e inovação. LICITAÇÕES O marco legal confere uma modalidade de licitação especial para as startupscriarem e testarem soluções inovadoras. O processo administrativo será mais simples e por ser aberto somente a startups, permitirá que empresas menores ganhem espaço e encontrem novas respostas aos problemas do país. AMBIENTE REGULATÓRIO Visando fomentar a inovação, o PL destrava as regulações às quais a startupestará sujeita. Referido processo é conhecido como sandbox regulatório, muito comum no exterior. O sandbox permite que a administração pública afaste a incidência de normas regulatórias, não configurando, contudo, uma desregulação geral, visto que não alcançará todas as empresas. Pelo sandbox, a administração pública poderá afastar a incidência de certas normas, estabelecendo critérios diferenciados para seleção ou qualificação de empresas que se enquadrem como startups, bem como a duração e o alcance da suspensão das normas. Diante das mudanças acima apontadas, o PL, uma vez sancionado, representará grande avanço ao setor das startups no Brasil, mediante a criação de um ambiente favorável ao fomento e crescimento destas empresas e, consequentemente, do mercado voltado aos produtos e serviços inovadores. Isso mostra a excelente intenção do legislador em seguir a tendência mundial de se garantir maior segurança jurídica e agilidade ao universo das startups, o que provoca aumento no volume de investimentos e na geração de tecnologias e soluções inovadoras.

With the announcement of Bernard Madoff's death, many countries around the world, including Brazil, have published reports and articles on the antics of the scam that harmed renowned individuals and foundations all over the planet, calculating an estimated loss of US$65 billion (US$17.5 billion confirmed). There are those dedicated to explaining how the pyramid works in minute detail; there are those that exuberantly show the profile of its most famous victims. There are also series and feature films that fictionalize the facts and even an (almost complete) list of those who have believed their hoaxes, which can be checked name by name on Wikipedia. A second wave of texts, also interesting, reveals the psychology of those who fell for the scam. The articles issue warnings, show examples and hint at the typical modus operandi of the probable scams available on the market. I want to give the point of view of those who were actually in the eye of the hurricane. I want to look at it from the point of view of the Brazilians who were harmed by Madoff Funding Securities LLC and the companies that represented it in various countries, including our own. Another basic measure of the damage is the estimated 3 million people severely harmed by the pyramid. To understand what happened, it is necessary to accept the human condition of being influenced by financial market illusionists, which only exists in a permissive environment, where forms of surveillance are loosened by poorly designed regulations. In general, the financial market is subject to very clear rules about what can and cannot be done, and especially by whom. Many fraudsters claim to have lost money in risky activities when in fact it was fraud. Beware. When making investments, there is a whole raft of other procedures for checking the suitability of the financial agent, in addition to the market watchdogs, such as the SEC in the United States, ESMA in the European Union and the CVM in Brazil. A good example that we can illustrate is the processes at the CVM. According to the newspaper Valor Econômico, when a target is not met at the CVM, the area responsible has to justify itself. Data shows that 382 cases were judged between 2016 and 2020, out of a total of 271 accusations, of which only 74% generated some kind of penalty - fines predominated in 76% of them. But there were also disqualifications, suspensions, bans or warnings. Acquittals accounted for 26% of the whole. If the current financial market draws its strength from the hard work of agents who work to guarantee decent margins of gain for those who entrust their resources, we unfortunately have to live with those who develop techniques to deceive with tricks that depend on the speed and agility of arguments. They present exceptional gains obtained by those who have invested in an exclusive, wonderful native, open only to people like those covered in this story. Madoff and the network of companies that colluded with him formed the most insidious type of fraudster, whether it was the way in which they obtained an illicit advantage or the way in which the losses were caused. In the work I did before the courts in New York, Luxembourg, Geneva, among others, in partnership with local offices, one of the most important tasks was to demonstrate the verifiable losses and the lawfulness of the origin of the funds. Bernie's magic pyramid has shown that many ordinary investors are distanced from their investments. Being aware of the structures invested in is the basis for increased caution. Other "Madoffs" are out there. It's important to watch out for unrealistic gains from anything. There are many magicians on the market, but - unfortunately - there is no such thing as magic. What does exist is a lot of care, work and patience.

With the announcement of Bernard Madoff's death, many countries around the world, including Brazil, have published reports and articles on the antics of the scam that harmed renowned individuals and foundations all over the planet, calculating an estimated loss of US$65 billion (US$17.5 billion confirmed). There are those dedicated to explaining how the pyramid works in minute detail; there are those that exuberantly show the profile of its most famous victims. There are also series and feature films that fictionalize the facts and even an (almost complete) list of those who have believed their hoaxes, which can be checked name by name on Wikipedia. A second wave of texts, also interesting, reveals the psychology of those who fell for the scam. The articles issue warnings, show examples and hint at the typical modus operandi of the probable scams available on the market. On this subject, I want to present the point of view of those who were actually in the eye of the hurricane, I want to look at it from the point of view of the Brazilians who were harmed by Madoff Investment Securities LLC and the companies that represented it in various countries, including ours. Another fundamental scale of the damage is the estimated 3 million people severely harmed by the pyramid. To understand what happened, it is necessary to accept the human condition of being influenced by financial market illusionists, which only exists in a permissive environment, where forms of surveillance are loosened by poorly designed regulations. In general, the financial market is subject to very clear rules about what can and cannot be done, and especially by whom. Many fraudsters claim to have lost money in risky activities when in fact it was fraud. Beware. When making investments, there is a whole raft of procedures for checking the suitability of the financial agent, in addition to the market watchdogs, such as the SEC in the United States, ESMA in the European Union and the CVM in Brazil. A good example that we can illustrate is the processes at the CVM. According to the newspaper Valor Econômico, when a target is not met at the CVM, the area responsible has to justify itself. Data shows that 382 cases were judged between 2016 and 2020, out of a total of 271 accusations, of which only 74% generated some kind of penalty - fines predominated in 76% of them. But there were also disqualifications, suspensions, bans or warnings. Acquittals accounted for 26% of the total. If the real financial market draws its strength from the hard work of agents who work to guarantee decent profit margins for those who entrust their funds, we unfortunately have to live with those who develop techniques to deceive with tricks that rely on the speed and agility of arguments. They present exceptional gains obtained by those who have made investments in an exclusive, wonderful place, open only to people like those covered in this story. Madoff and the network of companies that colluded with him were the most insidious type of fraudster, whether it was the way in which they obtained an illicit advantage or the way in which the losses were caused. In the work I did before the courts in New York, Luxembourg, Geneva, among others, in partnership with local offices, one of the most important tasks was to demonstrate the verifiable losses and the lawfulness of the origin of the funds. Bernie's magic pyramid has shown that many ordinary investors are distanced from their investments. Being aware of the structures invested in is fundamental to taking extra care. Other "Madoffs" are out there. It's important to watch out for unrealistic gains from anything. There are many magicians on the market, but - unfortunately - there is no such thing as magic. What does exist is a lot of care, work and patience.

With the announcement of Bernard Madoff's death, many countries around the world, including Brazil, have published reports and good articles on the antics of the scheme that harmed renowned individuals and foundations all over the planet, calculating an estimated loss of 65 billion dollars (17.5 billion confirmed). There are those dedicated to explaining the workings of the pyramid in minute detail; there are those that exuberantly show the profile of its most famous victims. There are also series and feature films that fictionalize the facts and even an (almost complete) list of those who have believed their hoaxes, which can be checked name by name on Wikipedia. A second wave of texts, also interesting, reveals the psychology of those who fell for the scam. The articles issue warnings, show examples and hint at the typical modus operandi of the probable scams available on the market. On this subject, I want to present the point of view of those who were actually in the eye of the hurricane, I want to look at it from the point of view of the Brazilians who were harmed by Madoff Investment Securities LLC and the companies that represented it in various countries, including ours. Another fundamental scale of the damage is the estimated 3 million people severely harmed by the pyramid. To understand what happened, it is necessary to accept the human condition of being influenced by financial market illusionists, which only exists in a permissive environment, where forms of surveillance are loosened by poorly designed regulations. In general, the financial market is subject to very clear rules about what can and cannot be done, and especially by whom. Many fraudsters claim to have lost money in risky activities when in fact it was fraud. Beware. When making investments, there is a whole raft of procedures for checking the suitability of the financial agent, in addition to the market watchdogs, such as the SEC in the United States, ESMA in the European Union and the CVM in Brazil. A good example that we can illustrate is the processes at the CVM. According to the newspaper Valor Econômico, when a target is not met at the CVM, the area responsible has to justify itself. Data shows that 382 cases were judged between 2016 and 2020, out of a total of 271 accusations, of which only 74% generated some kind of penalty - fines predominated in 76% of them. But there were also disqualifications, suspensions, bans or warnings. Acquittals accounted for 26% of the total. If the real financial market draws its strength from the hard work of agents who work to guarantee decent profit margins for those who entrust their funds, we unfortunately have to live with those who develop techniques to deceive with tricks that rely on the speed and agility of arguments. They present exceptional gains obtained by those who have made investments in an exclusive, wonderful place, open only to people like those covered in this story. Madoff and the network of companies that colluded with him formed the most insidious type of fraudster, whether it was the way in which the illicit advantage was obtained or the way in which the losses were caused. In the work I did before the courts in New York, Luxembourg, Geneva, among others, in partnership with local offices, one of the most important tasks was to demonstrate the verifiable losses and the lawfulness of the origin of the funds. Bernie's magic pyramid has shown that many ordinary investors are distanced from their investments. Being aware of the structures invested in is fundamental to taking extra care. Other "Madoffs" are out there. It's important to watch out for unrealistic gains from anything. There are many magicians on the market, but - unfortunately - there is no such thing as magic. What does exist is a lot of care, work and patience. *Pierre Moreau, of Moreau Valverde Advogados https://politica.estadao.com.br/blogs/fausto-macedo/a-magica-do-caso-madoff/

With the announcement of Bernard Madoff's death, many countries around the world, including Brazil, have published reports and good articles on the antics of the scheme that harmed renowned individuals and foundations all over the planet, calculating an estimated loss of 65 billion dollars (17.5 billion confirmed). There are those dedicated to explaining the workings of the pyramid in minute detail; there are those that exuberantly show the profile of its most famous victims. There are also series and feature films that fictionalize the facts and even an (almost complete) list of those who have believed their hoaxes, which can be checked name by name on Wikipedia. A second wave of texts, also interesting, reveals the psychology of those who fell for the scam. The articles issue warnings, show examples and hint at the typical modus operandi of the probable scams available on the market. On this subject, I want to present the point of view of those who were actually in the eye of the hurricane, I want to look at it from the point of view of the Brazilians who were harmed by Madoff Investment Securities LLC and the companies that represented it in various countries, including ours. Another fundamental scale of the damage is the estimated 3 million people severely harmed by the pyramid. To understand what happened, it is necessary to accept the human condition of being influenced by financial market illusionists, which only exists in a permissive environment, where forms of surveillance are loosened by poorly designed regulations. In general, the financial market is subject to very clear rules about what can and cannot be done, and especially by whom. Many fraudsters claim to have lost money in risky activities when in fact it was fraud. Beware. When making investments, there is a whole raft of procedures for checking the suitability of the financial agent, in addition to the market watchdogs, such as the SEC in the United States, ESMA in the European Union and the CVM in Brazil. A good example that we can illustrate is the processes at the CVM. According to the newspaper Valor Econômico, when a target is not met at the CVM, the area responsible has to justify itself. Data shows that 382 cases were judged between 2016 and 2020, out of a total of 271 accusations, of which only 74% generated some kind of penalty - fines predominated in 76% of them. But there were also disqualifications, suspensions, bans or warnings. Acquittals accounted for 26% of the total. If the real financial market draws its strength from the hard work of agents who work to guarantee decent profit margins for those who entrust their funds, we unfortunately have to live with those who develop techniques to deceive with tricks that rely on the speed and agility of arguments. They present exceptional gains obtained by those who have made investments in an exclusive, wonderful place, open only to people like those covered in this story. Madoff and the network of companies that colluded with him formed the most insidious type of fraudster, whether it was the way in which the illicit advantage was obtained or the way in which the losses were caused. In the work I did before the courts in New York, Luxembourg, Geneva, among others, in partnership with local offices, one of the most important tasks was to demonstrate the verifiable losses and the lawfulness of the origin of the funds. Bernie's magic pyramid has shown that many ordinary investors are distanced from their investments. Being aware of the structures invested in is fundamental to taking extra care. Other "Madoffs" are out there. It's important to watch out for unrealistic gains from anything. There are many magicians on the market, but - unfortunately - there is no such thing as magic. What does exist is a lot of care, work and patience.

The Coronavirus pandemic has led to a series of changes in the daily lives of people who have quickly adapted to a new reality, the so-called 'new normal'. This was no different in the corporate world. Faced with the need for social distancing, companies were forced to change protocols and find technological solutions in the face of an exceptional situation, with the aim of continuing their activities without accumulating backlogs and reducing productivity. In this challenging scenario, not only have companies and corporate practices modernized in a short space of time, but regulatory and registration bodies have also started to consolidate alternatives and new procedures, thus allowing the market to adapt to the new normal. On the one hand, we are faced with the publication of CVM Instruction 622/2020, which authorized publicly traded companies to hold general meetings partially or completely digitally, and on the other, commercial registries have implemented developments in the registration of corporate acts with the aim of offering 100% digital processes. Throughout this pandemic year in Brazil, and in the face of continuing social distancing measures, technology has become a 'sine qua non' tool in the business world, leading not only to a leap in the evolution of virtual communication programs and applications, but also to a need to adapt the legal framework. In this context, the Civil Code and Law No. 6,404/1976 were amended to expressly allow shareholders' meetings and general meetings to be held remotely, either as a hybrid or entirely virtually. This innovation was brought about by Law No. 14.030/2020, which included Art. 1.080-A in the Civil Code and amended Art. 121 of Law No. 6.404/1976. If at the beginning of 2020 it was believed that the intensification of virtual relations would be a palliative and temporary measure, today we know that it is more definitive. Meetings and gatherings, which used to take place mostly in person, have quickly migrated to the digital world, which has expanded the communication channel between investors, shareholders and corporate law professionals, and brought more dynamism to corporate governance relations. Along with the benefits generated by this virtual boom have come challenges, most of them arising from technical issues and the need for human beings to adapt. At the same time as we are faced with a reality that has narrowed the channels of communication between partners/shareholders, making company meetings more inclusive and reducing costs, we are also faced with a totally new universe, susceptible to incorrect handling, lack of culture, connection problems and instability of the virtual platform. This can be detrimental to some participants, who are unable, for example, to fully present their considerations or follow the progress of the meeting. Hence the importance of the so-called 'hybrid' model, where everyone can participate in a meeting or assembly in the way that best suits them, whether remotely or in person. In an era of constant adaptation to new technologies, there must be flexibility to accommodate the preferences of each investor, manager or partner, respecting each one's profile. In the words of business law specialist Leonardo Barém Leite: "We believe that the ideal is the hybrid model, covering investors of all types and profiles, who will choose the format that best suits them. It is important that preferences and choices are accepted and respected." Naturally, with the growing improvement of communication technologies, the trend is for corporate relations to increasingly take place virtually. However, we can't expect the migration to be immediate and total, requiring a period of adaptation to this new digital culture and resolution, or at least mitigation, of the challenges it poses. When used well, technologies boost human relations and enable more effective and dynamic communication, as well as helping to improve corporate governance practices. It is therefore expected that 2021 will be a crucial year, in which the evolution of the new normal will be in the 'hybrid' format of corporate communications, which will bring entrepreneurs closer to the benefits of the virtual universe in a more natural way.

The digital age and corporate relations: the importance of the hybrid model Pierre Moreau and Juliana Zanotto* March 29, 2021 | 04h00 Pierre Moreau and Juliana Zanotto. PHOTO: DIVULGAÇÃO The pandemic caused by the Coronavirus has led to a series of changes in the daily lives of people who have quickly adapted to a new reality, the so-called new normal. This has been no different in the corporate world. Faced with the need for social distancing, companies were forced to change protocols and find technological solutions in the face of an exceptional situation, with the aim of continuing their activities without accumulating backlogs and reducing productivity. In this challenging scenario, not only have companies and corporate practices modernized in a short space of time, but regulatory and registration bodies have also started to consolidate alternatives and new procedures, thus allowing the market to adapt to the new normal. On the one hand, we are faced with the publication of CVM Instruction 622/2020, which authorized publicly traded companies to hold general meetings partially or completely digitally, and on the other, commercial registries have implemented developments in the registration of corporate acts with the aim of offering 100% digital processes. Throughout this pandemic year in Brazil, and in the face of continuing social distancing measures, technology has become a sine qua non tool in the business world, leading not only to a leap in the evolution of virtual communication programs and applications, but also to a need to adapt the legal framework. In this context, the Civil Code and Law No. 6,404/1976 gained legal provisions expressly allowing shareholders' meetings and general meetings to be held remotely, either as a hybrid or entirely virtually. This innovation was brought about by Law No. 14.030/2020, which included Art. 1.080-A in the Civil Code and amended Art. 121 of Law No. 6.404/1976. If at the beginning of 2020 it was believed that the intensification of virtual relations would be a palliative and temporary measure, today we know that it is more definitive. Meetings and gatherings, which used to take place mostly in person, have quickly migrated to the digital world, which has expanded the communication channel between investors, shareholders and corporate law professionals, and brought more dynamism to corporate governance relations. Along with the benefits generated by this virtual boom have come challenges, most of them arising from technical issues and the need for human beings to adapt. At the same time as we are faced with a reality that has narrowed the channels of communication between partners/shareholders, making company meetings more inclusive and reducing costs, we are also faced with a totally new universe, susceptible to incorrect handling, lack of culture, connection problems and instability of the virtual platform. This can be detrimental to some participants, who are unable, for example, to fully present their considerations or follow the progress of the meeting. Hence the importance of the so-called hybrid model, where everyone can participate in a meeting or assembly in the way that best suits them, whether remotely or in person. In an era of constant adaptation to new technologies, there must be flexibility to accommodate the preferences of each investor, manager or partner, respecting each one's profile. In the words of business law specialist Leonardo Barém Leite: "We believe that the ideal is the hybrid model, covering investors of all types and profiles, who will choose the format that best suits them. It is important that preferences and choices are accepted and respected." Naturally, with the growing improvement of communication technologies, the trend is for corporate relations to increasingly take place virtually. However, we can't expect the migration to be immediate and total, requiring a period of adaptation to this new digital culture and resolution, or at least mitigation, of the challenges it poses. When used well, technologies boost human relations and enable more effective and dynamic communication, as well as helping to improve corporate governance practices. It is therefore expected that 2021 will be a crucial year, in which the evolution of the new normal will be in the hybrid format of corporate communications, which will bring entrepreneurs closer to the benefits of the virtual universe in a more natural way. *Pierre Moreau and Juliana Zanotto, of Moreau Valverde Advogados

As startups surgiram e revolucionaram o setor de inovação e tecnologia. Algumas delas evoluíram, viraram serviços essenciais e atualmente existe um movimento neste segmento que só tende a crescer. Marcel Telles, economista e empresário, assinou o prefácio da terceira edição do livro da série Fora da Curva 3: Unicórnios e Startups, que será lançada agora em março de 2021. Em entrevista para a revista Infomoney, Telles disse que acredita que o empreendedor é uma pessoa abusada, alguém que acredita que seu sonho é possível, mesmo quando todos ao seu redor dizem o contrário. No livro, cujo sou um dos organizadores junto com Florian Batunek e Ariane Abdallah, e ainda Luciano Huck (posfácio), há relatos em primeira pessoa de fundadores de startups que descrevem como o empreendedorismo e a tecnologia deram as mãos para o desenvolvimento das empresas. São elas: VTEX, Wildlife Studios, Stone, 99, Movile/Ifood, eBanx, Voxus, Gera Capital, Trinus, Mastertech, Quinto Andar e Brenx. Especialmente com relação às startups, acredito que a principal característica de um empreendedor é a perseverança, vejo que aqueles que se saem melhor, são os que aprendem a conviver bem com o próprio erro e isso é uma característica que enxergo predominantemente nos mais jovens. “Lembro-me de quando meus sócios e eu éramos jovens, nos tempos do Garantia, ou quando começamos a comprar empresas. Não nos convencíamos de que não dava para fazer o que vislumbrávamos e, apesar de muitas improbabilidades, seguimos em frente, realizando, mudando as regras do jogo, transformando o Brasil e ganhando o mundo. Hoje, são as novas gerações que me provocam a ver o presente e o futuro sob lentes inusitadas; que me apresentam riscos diferentes daqueles que eu estava habituado a correr; que me encorajam a investir em vários deles com o entusiasmo que conecta os empreendedores em qualquer tempo”, diz Telles (à Infomoney) sobre empreendedorismo na juventude. Empreender em startups é algo que parece arriscado para quem não entende muito sobre tecnologia, mas de modo geral, são elas que resolvem grande parte dos problemas da população e trazem soluções práticas para impasses do cotidiano. Veja abaixo algumas dicas de empreendedores que participaram do livro Fora da Curva 3 que foi publicada na revista Exame. 1. Simplifique a História – Alphonse Voigt, cofundador do Ebanx – Se você consegue explicar seu trabalho para seu avô, provavelmente tem uma vantagem competitiva. A simplicidade e a capacidade de explicar uma ideia sem confundir o interlocutor ajudam as pessoas a entender seu propósito e decidir se vão apostar ou não em seu negócio. 2. Saia da rotina – Anderson Ferminiano, fundador da Voxus – Reservo uma parte de meu tempo para viajar. Gosto de encontrar e conhecer pessoas e organizações inspiradoras, que me ajudem a ter novas ideias para o negócio. Para pensar no longo prazo, é preciso se afastar do dia a dia de vez em quando. 3. Não tenha plano B – André Penha – cofundador do Quinto Andar – Se você tem um sonho, um projeto que deseja profundamente tirar do papel, não crie um plano B. Vá para o tudo ou nada e só pense em qual será sua alternativa quando der errado – não antecipe o fracasso. 4. Programação é o novo inglês – Camila Achutti, fundadora da Mastertech – Assim como falar inglês no passado era um diferencial, acredito que a programação seja hoje. Toda pessoa deveria ter noções básicas de tecnologia para usufruir e se proteger do potencial dela. 5. Respeite o tempo da maturação – Diego Siqueira, cofundador e CEO da TG Core Não sofra se você demorar mais do que o planejado para atingir seu objetivo. As travas encontradas pelo caminho são decisivas para o empreendedor criar negócios mais sólidos. 6. Concilie eficiência com inovação – Duda Falcão, fundadora do Gera Capital – Continue construindo seu negócio principal, buscando sempre eficiência operacional e crie uma agenda relevante de inovação atenta a novas tecnologias que vão mudar o seu e todos os negócios. 7. Abrace as oportunidades – Geraldo Thomaz, cofundador da Vtex – Na primeira década da Vtex, aceitamos diversos tipos de trabalho. Mesmo que fossem distantes do nosso sonho, sabíamos que cada projeto renderia um aprendizado. 8. Estude sempre e muito – Fabricio Biosi, fundador do Grupo Movile – Sempre me inspirei em Bill Gates porque queria construir algo grande como a Microsoft. Percebi que, para isso, precisava ter uma formação multidisciplinar. Depois na Unicamp, estudei na FGV, em Stanford, em Harvard e sempre penso no próximo passo. 9. Peça ajuda – Henrique Dubugras, cofundador da Brex – Temos diversos mentores para quem ligamos quando precisamos de ajuda para lidar com uma situação ou problema. Eu sempre soube pedir ajuda, e isso fez com que eu aprendesse com a experiência dos outros. 10. Ganhe experiência – Paulo Veras, fundador da 99 e conselheiro – Pode ser mais rico e certeiro buscar experiências em empresas que o capacitem antes de apostar alto e tomar riscos. 11. O negócio também importa – Thiago Piau, sócio da StoneCo – Não adianta ter pessoas excepcionais e um negócio ruim. Uma empresa é sobre seu cliente, não só sobre sua estratégia. 12. Escolha um mercado novo – Victor Lazarte, fundador da Wildlife Studios Identificar uma tendência que pode mudar o comportamento das pessoas é um caminho para ser grande no longo prazo. Para quem se interessar mais sobre o assunto: Marcel Telles, do 3G, compartilha lições para criar um grande negócio no prefácio do livro “Fora da curva 3”. Revista Exame. Fora da Curva 3.

Nos anos 90, iniciou-se a primeira onda de abreviação dos nomes das sociedades de advogados, influenciada pela nova tendência do marketing: o Branding. Como exemplo disso e para sustentar essa mudança, placas dos escritórios de advocacia com diversos sobrenomes foram substituídos por abreviações, ou outro exemplo, para dar mais charme à expressão, a palavra “advogados” foi substituída pela palavra law. Década e meia atrás, a evolução da agilidade de informações via smartphones e o boom das mídias sociais gerou um probleminha de thinking design com sociedades de nomes robustos. Pelo que pude acompanhar, as soluções baseadas nas necessidades, desejos, problemas e anseios do cliente desencadeavam em uma breve pesquisa no Google, o que facilitou o enxugamento da marca na porta. Assim, escritórios de advocacia passaram a denominar diversos nomes. As múltiplas fusões e cisões de bancas têm mostrado um tipo de jogo indefinido. Há quem opte por sobrenomes e há quem prefira suas iniciais nas redes sociais, além de um design rebuscado para o logotipo dos escritórios instagramáveis. Diante deste cenário, uma provocação que me fiz foi a seguinte: – Se eu fosse procurar um escritório de advocacia sem precedentes ou indicações, procuraria algum que carregasse um nome de peso, uma história por trás dos nomes que aparecem na placa do escritório. E se esses nomes estiverem agrupados numa sigla XPTO? Como conseguir vislumbrar quem são os profissionais por trás daquele codinome? Na advocacia, nome traz credibilidade, inspira confiança. Em nosso país temos sociedades de advogados centenárias, algumas das quais em atividade desde o século XIX. A envergadura jurídica é um ativo inestimável. Mas vejamos essa discussão do ponto de vista normativo. De acordo com a legislação, a sociedade de advogados, ou a sociedade unipessoal de advocacia, adquire personalidade jurídica com o registro aprovado dos seus atos constitutivos. Mas a Ordem dos Advogados do Brasil é clara: não são admitidos registros, nem podem funcionar as sociedades de advogados que apresentem formas ou características de sociedade empresarial; que adotem denominação de fantasia; que realizem atividades estranhas à advocacia, tampouco que incluam como sócio ou titular pessoa não inscrita como advogado ou totalmente proibida de exercer a função. Ou seja, o nome usado em uma sociedade tem um valor inestimável, em especial para as marcas de profissionais liberais. Por conseguinte, um fenômeno cresce a cada ano, e pode ser observado em algumas das maiores bancas de advocacia do país: o registro de suas nomenclaturas societárias no INPI, para proteção legal de suas marcas. Dentre estes nomes podemos citar Machado Meyer Advogados, Pinheiro Neto, Mattos Filho Advogados, dentre outros escritórios renomados que mantém o patrimônio nominal em suas marcas. Utilização póstuma de nome Faço um corte para entrar em outro aspecto, pois tudo que parece bom tem algo de contrariedade. Para que o descrito acima seja possível, há uma questão imponderável e que não pode ser excluída no ato da constituição ou da alteração do contrato da sociedade. É a que diz respeito à possibilidade de utilização póstuma do nome do sócio, conforme determina o primeiro parágrafo do artigo 16 do Estatuto da OAB. Ou seja, se não houver, no contrato da sociedade, possibilidade de manutenção do nome do sócio falecido na razão social, isto não poderá acontecer. Este impedimento pode resultar uma perda significativa para a sociedade de advogados. Em contrapartida, manter o usufruto do nome e da memória do sócio falecido na razão social da sociedade, além de agregar valor à marca do escritório, representa justa homenagem àquele que dedicou toda uma vida ao escritório e à advocacia. Para que isso funcione, é preciso virar a página e entender o que também é muito importante: os sucessores do falecido precisam estar confortáveis com a decisão de manter o nome do familiar na sociedade, além de acreditar que o escritório zelará sua memória com credibilidade ao invés de feri-la. Na prática, o mais indicado é a adoção de uma regra de transição que atenda ambas as partes (sociedade e sucessores do falecido). Exemplo disso, é autorizar o uso do nome do ex-sócio por prazo determinado, com deliberação posterior sobre a continuidade. Outro é manter o nome do falecido apenas enquanto o quadro social se mantiver inalterado. Cada sociedade encontrará a melhor forma de fazê-lo. Enfim, existem várias possibilidades que podem e devem ser discutidas, sempre acompanhadas do nosso melhor conselheiro: o bom senso. Recentemente, o Órgão Especial do Conselho Federal da OAB reafirmou o previsto no provimento 112: o nome do sócio afastado permanentemente da sociedade por aposentadoria ou por qualquer outra circunstância pode ser mantido na razão social. Com isso, mais um avanço no sentido da proteção à marca das sociedades de advogados foi conquistado: o de perpetuar a história daqueles que mereçam ser perenes. Esta discussão adquire outra dimensão relevante se entendermos que entre nomes e letras, na advocacia prevalece quem constrói confiança. E a disrupção desta atividade profissional está centrada muito mais na valorização de sua essência do que em acessórios para o exercício profissional.

DECLARAÇÃO DE CAPITAIS BRASILEIROS NO EXTERIOR (DCBE) As is the case every year, the deadline for submitting the Central Bank's Declaration of Brazilian Capital Abroad (DCBE) for the 2020 base year begins on February 15 and ends at 6 p.m. on April 5. All individuals or legal entities resident, domiciled or headquartered in the country, who hold assets abroad, whose values total equal to or greater than the equivalent of US$ 1,000,000.00 (one million dollars) on December 31, 2020, are obliged to declare. Until last year, the declaration was mandatory for amounts equal to or greater than US$ 100,000.00 (one hundred thousand dollars), on September 1, 2020, the amount was changed based on CMN Resolution 4,841/20. Failure to provide the required information or the provision of false, incomplete, incorrect or untimely information will subject violators to a fine of up to R$250,000.00 (two hundred and fifty thousand reais). We remain at your disposal to provide any clarification. Pierre MOREAU pierre@moreau.com.br +55 11 98586-7727 Gabriela CARDOSO gabriela.cardoso@moreau.com.br +55 11 98965-9397 Jean Pierre MOREAU jean@moreau.com.br +55 11 982779 9695

Tive a oportunidade de participar de diversas conversas, palestras e reportagens. Algumas vezes como entrevistado, outras como entrevistador. Quando era entrevistado, percebia que nem sempre o roteiro seguia fielmente o que a pauta determinava. Alguns assuntos surgiam e outros vinham à tona após determinada pergunta. No entanto, suspeito que esses entrevistadores haviam se preparado muito para a entrevista e para que ela gerasse o resultado esperado, seja em uma reportagem, ou em um evento. Larry King, o ícone norte-americano das entrevistas – que faleceu recentemente – foi extremamente criticado por diversos jornalistas – com diploma ou não – pelo fato de exercer suas perguntas aos entrevistados de forma breve e sucinta, além de deixa-los livres para pautar qualquer tema. Larry admitiu que não fazia muita pesquisa a respeito do entrevistado, e também que nunca quis ser visto como jornalista: “Meu dever é ser um condutor, não estou lá para fazer conclusão, tento apresentar alguém da melhor maneira”, declarou certa vez King. E assim fez sua brilhante carreira, batendo papo inteligente com chefes de Estado e celebridades. Levantou assuntos polêmicos, relevantes, como por exemplo em 2014 onde perguntou ao Dalai Lama o que ele pensava sobre o casamento gay. Em Paraty, participei de uma entrevista na Casa Folha FLIP 2017 para falar sobre o lançamento do livro Grandes Crimes. Enquanto a jornalista Patrícia Campos Mello me entrevistava, percebi que diversos autores do livro estavam na plateia. Não tive dúvida, franqueei a palavra a todos os autores presentes. Patrícia entendeu e riu. Experiente que é, deixou a entrevista fluir. Foi maravilhoso. Em outra ocasião, quando entrevistei o apresentador Luciano Huck na Casa do Saber, o roteiro foi completamente alterado. Na mesma manhã, Huck havia participado de uma palestra com o presidente americano Barack Obama, e transformou a minha conversa com ele em algo mais enriquecedor. Mas com um pequeno e insignificante detalhe: ele não me avisou. Ingenuidade minha achar que iria conduzir a conversa com um dos maiores entrevistadores do Brasil. Mesmo sendo inexperiente, deixei o papo rolar. Deixar se levar pelo roteiro pré-determinado pode tornar a entrevista engessada demais, e, por outro lado, devemos sempre seguir uma linha de raciocínio para transmitir a mensagem correta. Márcio Thomaz Bastos, advogado e ministro da justiça no governo Lula, certa vez me agradeceu por ter levado a entrevista que fiz com ele na Casa do Saber de forma leve, que posteriormente se transformou em um dos temas do livro Grandes Advogados. Naquela ocasião, Bastos teve a oportunidade de descrever sua infância e sua história de forma espontânea, pautada em sua trajetória jurídica. Me relatou ter sido alvo de questões duras e perguntas difíceis por parte de entrevistadores do CPDOC da Fundação Getúlio Vargas que tentavam, de certa forma e cumprindo seus papeis, encontrar paradoxos de sua trajetória através de suas respostas. Assim como Larry King, eu na Casa do Saber não era um jornalista e sim um mediador. Portanto, mediar uma conversa, permitir a linha de raciocínio do entrevistado e não determinar as escalas dos limites da fala e do contexto eram primordiais. O humorista Jô Soares também relatou o porquê de ser tão duro com alguns entrevistados. Ele afirmou que se preparava meticulosamente àquilo, escolhia a dedo o tema daquela entrevista e qual mensagem gostaria de passar para o telespectador, portanto quando algum entrevistado saía da pauta que havia sido combinada previamente, era como se o propósito daquela conversa tivesse se perdido. Isso pode ser aplicado no ambiente acadêmico e em outros lugares, quando temos um take-home value, combinado previamente com quem nos fez o convite. Então eu recomendo que você entrevistado ou entrevistador, prepare-se: vai acontecer tudo diferentemente do que você planejou. Mas se você estiver preparado tudo vai dar certo. Para quem quiser se aprofundar mais no assunto: https://www.youtube.com/watch?v=pjvvvsr8e2m http://cpdoc.fgv.br/sites/default/files/campo_juridico/marcio_thomaz_bastos/transcricaomarciothomazbastos_entrevista2.pdf https://www.youtube.com/watch?v=da1mloxrslu https://www.amazon.com.br/grandes-crimes-pierre-moreau/dp/8568493394 https://www.amazon.com.br/grandes-advogados-pierre-moreau/dp/8577341666 COORDENAÇÃO https://migalhas.uol.com.br/res/img/coluna/colunista/PierreMoreau.jpg Pierre Moreau é sócio-fundador da Moreau | Valverde Advogados (1991) e da Casa do Saber (2004), ex conselheiro fiscal do Hospital Sírio Libanês, árbitro de diversas câmaras de arbitragem. Professor do Insper e professor visitante na Universitat St. Gallen, organizou e escreveu diversos livros como Fora da Curva II (Portfolio-Penguin, 2020), A Nova Geração de CEOs (Portfolio-Penguin, 2018), Grandes Crimes (Três Estrelas, 2017), Fora da Curva (Portfolio-Penguin, 2016), Grandes Advogados (Casa da Palavra, 2011 e O Financiamento da Seguridade Social na União Europeia e no Brasil (Quartier Latin, 2005). É mestre e doutor em Direito pela PUC/SP. Cursou Harvard Law School e Harvard Business School.

The legislative power has modulated the effects of the massive breakdown in consumer relations in the tourism and culture sectors caused by the Coronavirus pandemic. It was necessary to interfere in consumer relations in order to safeguard collective rights and prevent further damage. Law 14.046 of August 24, 2020 was published in the Federal Official Gazette, which provides for the postponement and cancellation of reservations and events in the tourism and culture sectors, as a result of the state of public calamity recognized due to the COVID-19 pandemic. Extremely important for the tourism and events sectors, this legal provision balances the relationship with consumers, establishing deadlines and rules to enable companies to fulfill what they have contracted and have time to recover their financial strength. The measure also provides comfort for the professionals controlled by these companies, who have found themselves on the verge of having to return amounts already received for work that could not be carried out. As soon as the state of calamity was declared, companies working in these areas received numerous requests from end consumers to cancel purchases and reservations. Certainly, the demand for immediate return and reimbursement would have led to the closure of many of these companies, causing greater damage to the community. According to Law 14.046/2020, service providers or companies operating in the areas of tourism and culture will not be obliged to reimburse the amounts paid by the consumer as long as they ensure, without any additional fee (I) the rebooking of services, reservations and events, available from the respective companies; (II) the availability of credit for use or reduction in the purchase of other services, reservations and events, available from the respective companies. The credit generated in favor of the consumer may be used within 12 months and the rebooking may be carried out within 18 months, both counting from the date of the end of the state of public calamity. If the company or provider does not make one of the above operations available to the consumer, they must reimburse the consumer within 12 months, also from the date of the end of the state of public calamity. The rules set out in the legislation will also apply to any refunds already received by cultural producers or artists, preventing these professionals who have already been affected by the shutdown from having to return the amounts they have already received immediately. The law covers not only events and bookings acquired before the state of calamity and which could not be held, but also those acquired during it and which had to be canceled for the same reason. With this provision, I estimate that 80% of cases will be dealt with properly. It will be up to the courts to deal with the most serious cases, as they have in fact already been called upon to do, especially in cases where even these measures were unable to sustain the company's survival during such a long period of paralysis.

Scientia potentia est; O conhecimento é poder: O aforismo do século XVII retrata as turbulências no método de solução de conflitos do século XXI. Sem acesso à informação, estaria o poder de decisão realmente nas mãos do acionista-quotista? Quais são os limites da sobreposição do dever de informar e o direito ao sigilo no processo arbitral? E como solucioná-los? Na era da IoT (internet das coisas), big data, e web 4.0, a informação tem papel cada vez mais relevante na sociedade. Seja em decisões triviais, condução de negócios ou alocação de investimentos, estamos constantemente buscando, cruzando e contrapondo informações. Na essência da busca incessante por informação temos, em verdade, o intuito da mensuração de riscos, que, uma vez identificados, são alocados entre as partes de qualquer negócio, expressamente, por contrato ou norma, ou de forma reservada. No mundo contemporâneo, o que se denota é que as informações estão disponíveis de forma cada vez mais ampla, acessível, abundante e descentralizada. Naturalmente a busca por informações, no contexto da alocação de riscos, não tem como foco qualquer informação. A informação relevante é aquela inserida no meio adequado, permeada de uma rede ou estrutura de confiabilidade, onde podemos distinguir as opiniões dos fatos, atestando sua veracidade e qualidade, conforme juízo do interlocutor. Assim, no processo de tomada de decisões, as informações se complementam, confirmam ou contrapõem. Não por acaso temos a intuição de que quanto mais informação disponível, melhor serão as decisões tomadas. A informação amplamente disponível é a base das relações comerciais, e sua primazia viabiliza mercados como de capitais, à exemplo das bolsas de valores e mercados de balcão. Nos mercados de ações, o acesso às informações é minuciosamente tutelado pela legislação e órgãos de fiscalização, materializado nos deveres de lealdade e informação, aplicáveis aos administradores de sociedades anônimas (artigos 155 e 157 da lei 6.404/1976 – “Lei das S.A.”), bem como nas Instruções CVM no 480/09 (art. 21, II e Anexo 24, itens 4.3 e 4.5) e 358/02 (art. 2, parágrafo único, XXII). Nestes mercados, o direito ao acesso às informações é a regra a ser cumprida, e deve ser interpretado como um direito instrumental, capaz de garantir o exercício de outros direitos patrimoniais ou extrapatrimoniais. Há, contudo, importantes limites ao acesso à informação e dever de informar, fundados no direito à privacidade das pessoas jurídicas1 (Constituição Federal, art. 5o, X e Código Civil, art. 52), bem como a necessidade de proteção a determinados conhecimentos ou segredos. Dentre algumas categorias de informações tipicamente protegidas do acesso pelo público, podemos citar segredos comerciais, contratos protegidos sob cláusulas de confidencialidade, segredo de justiça, e direitos de propriedade intelectual. Não se nega que informações relativas a qualquer das categorias citadas seriam de grande utilidade ao público em geral, corrigindo assimetrias de informação importantes. Contudo, em detrimento da publicidade e ganhos à sociedade como um todo, os proprietários daqueles segredos são merecedores de proteção legal, de forma que a confidencialidade de seus segredos merece respaldo. Dentre as zonas de conflito entre o dever de informar e o direito à privacidade, tem se destacado, em especial, as contendas adjacentes aos procedimentos arbitrais envolvendo companhias listadas em bolsa de valores. É intrínseco à qualidade de sócio o direito ao acesso à informação, seja para fundamentar votos, tutelar as minorias ou como forma de fiscalizar a administração. O direito à informação do sócio possui como seu correlato o dever de informar da sociedade, exercido através da figura de seus administradores. Nas sociedades abertas, no entanto, esse direito/dever assume contornos especiais, sendo, em ultima instância, a própria fundação do mercado de ações em si, um instrumento de confiança e legitimação. Essa rede ou estrutura de confiabilidade propicia ganhos elevados ao mercado como um todo, agindo como uma externalidade positiva. Empresas captadoras de recursos no mercado de ações procuram beneficiar-se deste efeito favorável, culminando em iniciativas como o lançamento de segmentos de mercado categorizados pelo grau de aplicação do dever de informar. O mais notório em âmbito nacional sendo o “Novo Mercado”, da B3. Ocorre que, ao aderir ao segmento do Novo Mercado (bem como aos mercados Nível 2, Bovespa Mais e Bovespa Mais Nível), as companhias estão obrigadas à inserção de cláusula de foro arbitral em seus Estatutos Sociais, com eleição da Câmara de Arbitragem do Mercado – CAM/B3 para julgar quaisquer conflitos. Em prática quase uníssona às grandes câmaras arbitrais empresariais2, o regulamento da CAM/B3 prevê, como regra, o sigilo de todo e qualquer procedimento arbitral (art. 9.1). Nos deparamos, então, com aparente conflito de normas, que tem gerado repercussões na mídia e nos meios empresariais. Por um lado, as companhias aderentes ao Novo Mercado estão obrigadas a um elevado grau de divulgação de informações; por outro, suas disputas litigiosas de maior relevância tramitam necessariamente sob confidencialidade. É certo que a normatização da CVM exemplifica como fato relevante, passível de divulgação ao mercado, a propositura de procedimento arbitral que “possa vir a afetar a situação econômico-financeira da companhia” (ICVM no 358/02, art. 2, parágrafo único, XXII). Todavia, o que se verifica, na prática, é uma leitura excessivamente literal do dispositivo, resultando em divulgações tardias, ineficientes ou contraproducentes de fatos relevantes relacionados a procedimentos arbitrais. Recentemente tivemos caso emblemático desta problemática, envolvendo a Petrobrás. Após vazamento de decisão arbitral, a CVM questionou à Petrobrás a razão da não divulgação de fato relevante. A diretoria da Petrobras defendeu-se alegando a confidencialidade do procedimento e o caráter recorrível da decisão vazada3. Atualmente, a normatização concede à diretoria das companhias abertas um certo grau de discricionariedade acerca do enquadramento de evento ocorrido em processo arbitral como fato relevante. Certo é que há necessidade, no caso concreto, de contemporizar o conflito entre as normas. A legislação nacional é inequívoca ao prever que a confidencialidade arbitral não é direito absoluto, conforme entendimento pacífico na doutrina e jurisprudência, refletido na Lei de Arbitragem4. A mitigação dos efeitos da confidencialidade é tema amplamente discutido na doutrina nacional5. No mesmo sentido, a CVM já se manifestou em procedimento administrativo, ao afirmar que o direito dos acionistas à informação não pode ser prejudicado pela confidencialidade da maioria dos procedimentos arbitrais6. Em manifestações mais recentes, esta posição foi reiterada pelo presidente da CVM, Marcelo Barbosa7, reforçando as pretensões da autarquia de alterar as normas atualmente vigentes8. Manifestações recentes de autoridades e órgãos públicos sugerem um movimento do regulador no sentido de ampliar diretrizes para divulgação de fatos ocorridos em arbitragens confidenciais. Em estudo9 realizado de forma conjunta pela CVM, OCDE (Organização para Cooperação e Desenvolvimento Econômico) e SPE (Secretaria de Política Econômica), intitulado “Fortalecimento dos meios de tutela reparatória dos direitos dos acionistas no mercado de capitais brasileiro”, o grupo de trabalho identificou a necessidade de modernização da legislação relativa à arbitragem, para melhor comportar disputas relativas a direitos coletivos. A lacuna, ainda segundo o estudo, reside na divergência entre a Lei da Arbitragem – que prevê a competência arbitral para resolução de litígios sobre direitos patrimoniais disponíveis – e a Lei das S.A. – que não faz distinção quanto às matérias que podem ser submetidas à arbitragem. Essa lacuna, por vezes, produz conflitos entre o processo que tramita estritamente inter-partes, regra dos processos litigiosos, mas que resulta em efeito erga omnes, entendida a coletividade como os acionistas e o mercado como um todo. Essa discrepância pode ser acentuada pelos efeitos da sobreposição da confidencialidade ao direito de informação/dever de informar. O cerne da questão, portanto, reside na assincronia entre o conhecimento do fato relevante e a percepção de seus efeitos. É de se esperar o aprofundamento da normatização relativa ao conflito aqui apresentado. São diversas as abordagens possíveis à controvérsia, assim como os direitos e interesses a serem tutelados. Sendo o Brasil o único país de tradição Civil Law a regulamentar o uso da arbitragem em disputas envolvendo companhias abertas, o conflito há de ser decifrado de forma igualmente inovadora. Dentre as recomendações constantes do estudo publicado pela CVM, OCDE e SPE, é de se destacar dois interessante mecanismo de legitimação da extensão dos efeitos erga omnes de uma decisão arbitral a terceiros: “garantir que todas as partes afetadas tenham conhecimento (i) do início de um procedimento arbitral (isto é, tornando possível sua participação ativa na formação do tribunal e na discussão dos direitos) ou (ii) da decisão proferida (isto é, permitindo que as partes afetadas reivindiquem seus direitos, conforme delimitado na decisão).” O que não se pode perder de vista é a essencialidade do acesso à informação, que deve ser sempre o norte da conduta dos administradores, frente à hipótese excepcional do sigilo, da não divulgação. A transparência deve ser alimentada e valorizada, aperfeiçoando-se constantemente seus padrões e métricas. A necessidade de maior transparência tem levantado discussões em câmaras arbitrais das mais relevantes, as quais tem passado a divulgar seu repertório jurisprudencial, uma excelente medida de orientação e parametrização. Também os participantes e reguladores do mercado tem de seguir avançando, caminhando para solidificar a cultura da transparência e acesso à informação. O acesso pleno à informação é uma jornada utópica, que sempre esbarrará nos conflitos de interesse que permeiam a realidade. O valor desta utopia, contudo, reside justamente na jornada, a contínua busca pelo aprimoramento das regras e práticas de mercado, em benefício da coletividade. O fortalecimento do mercado de capitais no Brasil depende de nossa capacidade de maturar e evoluir seus parâmetros de confiabilidade. A manutenção do crescimento do número de participantes da bolsa dependerá da confiança que o investidor aspira. A diminuição das barreiras de desconfiança é crucial para a evolução do mercado, que trará benefícios a todos os seus participantes. O conhecimento é poder. *Agradecimento especial ao advogado Fábio Baum que colaborou com o artigo. Para quem tiver interesse e quiser se aprofundar no assunto: Fortalecimento dos meios de tutela reparatória dos direitos dos acionistas no mercado de capitais brasileiro. Processo Administrativo CVM nº RJ 2008/0713. Direito à Informação nas Sociedades Comerciais. A relativização da confidencialidade na arbitragem; companhias abertas. Confidencialidade é regra geral na arbitragem. A Confidencialidade na Arbitragem e o Dever de Informação nas Companhias Listadas no Novo Mercado. SEREC, Fernando Eduardo; COES Eduardo Rabelo Kent. Confidencialidade de arbitragem é relativizada. Dever de Informar x Dever de guardar sigilo. Para CVM, sigilo da arbitragem não exime empresas de divulgarem fatos relevantes. Para CVM, há dúvida se sigilo de arbitragens é praticado de forma adequada.

The sudden loss of three very close people in a short space of time has made me reflect on how much each of them has contributed to the construction of who I believe I am. In different ways, they all gave me knowledge to tame my restless ego, which is very common in lawyers. Listening and having the ability to interpret the message received are fundamental in life, because there is a chasm between the message we receive and the message people want to give us. I should have listened and heard more. I think it's essential to develop the ability to understand the complexity of people, and how wrong those who envision legal science only through artificial intelligence are. The cases we deal with involve people and listening to them is fundamental. When I decided to open Moreau Advogados, I received a kind letter from my uncle, J. Renato Corrêa Freire, a lawyer with whom I was working, in which he emphasized: "Think, read and write, always look at the competition and, although the client comes first, don't confuse this with establishing a privileged hierarchy for any of them." One of the people who profoundly influenced me in this respect passed away in October, businessman Osmar Amaral, who left me one of the greatest lessons I've had in my life: learning to listen and speak at the right time. In many meetings, Osmar essentially gave me the message: "Listen, pay attention to what people are saying. Often what people need is to be heard rather than listened to. Listen, and the moment you have an opening, put forward your point of view". Before we went into a meeting, he would always warn me: "While the other person is talking, analyze their body language and try to see if people are willing to listen to your message or not. When I think it's appropriate, I'll give you the signal and you can put our point of view across". In other words, he taught me the timing of listening and speaking. With Zuza Homem de Mello, another departed friend, I learned that listening is also an art. Zuza taught me not only how to listen to words, but also how to pay full attention to them and extract their melodic and meaningful art. One evening, in a delightful conversation with Zuza, he told me about his academic experience in the United States, and how his mentors influenced his training: "The important thing is that you listen. I won't teach you to play music, I'll teach you to listen to music". Zuza taught me while telling me what he had learned. This made me think about how I should control the impulse of my speech and how I could be a better person and a better professional. Recently, I lost my sister Helena. Helena had been an attentive listener since childhood. One of the projects she took part in with her childhood friend Carla Pilon was the wonderful Senta Aqui. Conversa Comigo, a collective that promotes the meeting of people in public spaces. Helena took part in the meetings constantly, talking to everyone and listening with affection. Through the art of listening, the three of them, although different from each other, were my great teachers. Listening when your ears are in tune is extremely pleasurable, whether in the family, professional or cultural world. I have a lot to thank them for: Zuza, Osmar and Helena. I don't know if I was a good student, I feel I should have listened more and talked less.

A realização de promoções comerciais sempre foi um impasse para os profissionais de marketing e publicidade. Acostumados com a criação e execução, o custo e a burocracia para realização de qualquer ação que implicasse em distribuição gratuita de prêmios sempre foi um fator limitador. Reguladas por uma legislação que advém da década de 70, as ações envolvendo promoções comerciais, devem ser submetidas a procedimento de autorização específico. De acordo com a Lei nº 5.768/71, de 20 de dezembro de 1971, esse tipo de ação requer a autorização do Ministério da Fazenda e deve ser enquadrado nos limites da legislação. Além disso, implicam no pagamento de Taxa de Fiscalização calculada de acordo com o valor dos prêmios a serem distribuídos, que vai de R$ 27,00 para prêmios de até R$ 1000,00 a R$ 66.667,00 para prêmios acima de R$ 1.667.000,01. Para evitar o pedido de autorização, muitos profissionais de criação tentavam adaptar a promoção para desvirtuar o cunho comercial e focar no cultural, realizando concursos para apresentação de textos, frases, artigos entre outros. Isso porque o artigo 3º da referida Lei exclui essa espécie de concurso do rol de promoções que devem ser submetidas ao processo de autorização. Tal artificio, entretanto, sempre foi um risco, uma vez que o simples fato de um concurso ser utilizado para promoção específica de um produto ou serviço já desvirtua a conotação cultural. Nesse sentido, a Portaria nº 422 de 18 de julho de 2013 determina de forma taxativa quais elementos que descaracterizam o concurso exclusivamente artístico, cultural, desportivo ou recreativo: I – propaganda da promotora ou de algum de seus produtos ou serviços, bem como de terceiros, nos materiais de divulgação em qualquer canal ou meio, ressalvada a mera identificação da promotora do concurso; II – marca, nome, produto, serviço, atividade ou outro elemento de identificação da empresa promotora, ou de terceiros, no material a ser produzido pelo participante ou na mecânica do concurso, vedada, ainda, a identificação no nome ou chamada da promoção; III- subordinação a alguma modalidade de álea ou pagamento pelos concorrentes, em qualquer fase do concurso; IV – vinculação dos concorrentes ou dos contemplados com premiação à aquisição ou uso de algum bem, direito ou serviço; V – exposição do participante a produtos, serviços ou marcas da promotora ou de terceiros, em qualquer meio; VI – adivinhação; VII – divulgação do concurso na embalagem de produto da promotora ou de terceiros; VIII – exigência de preenchimento de cadastro detalhado, ou resposta a pesquisas, e de aceitação de recebimento de material publicitário de qualquer natureza; IX – premiação que envolve produto ou serviço da promotora; X- realização de concurso em rede social, permitida apenas sua divulgação no referido meio; XI – realização de concurso por meio televisivo, mediante participação onerosa; XII – vinculação a eventos e datas comemorativas, como campeonatos esportivos, Dia das Mães, Natal, Dia dos Namorados, Dia dos Pais, Dia das Crianças, aniversário de Estado, de Município ou do Distrito Federal e demais hipóteses congêneres; XIII – efetuadas por meio de ligações telefônicas ou de serviço de mensagens curtas (em inglês, “Short Message Service – SMS”) oferecido por operadora de telefonia denominada móvel (“celular”); XIV – subordinadas à adimplência com relação a produto ou serviço ofertado pela promotora ou terceiros; ou XV – exclusivas para clientes da promotora ou de terceiros. Em época de mídias sociais em alta e divulgação dos produtos e serviços online, os sorteios e concursos passaram a ser realizados comumente, a maioria de forma irregular, o que pode implicar na abertura de procedimento administrativo e aplicação de multa de até 100% o valor dos prêmios prometidos além de sanção como a proibição de realização de promoções por 2 a 3 anos dependendo do caso. Não obstante o texto da lei original não tenha sido modificado como um todo, o que é pleiteado por muitos profissionais que atuam no setor, e apenas sofrido pequenas modificações ao logo desses anos, a verdade é que, atualmente, a obtenção de autorização para essa espécie de promoção é bem mais rápida e menos burocrática. A partir da Lei nº 13.756 de 12 de dezembro de 2018, as emissões de autorização e a fiscalização das promoções que envolvem distribuição gratuita de prêmios que anteriormente passaram a ser de competência da Secretaria de Avaliação, Planejamento, Energia e Loteria (SECAP). O sistema eletrônico para abertura dos processos de autorização também foi modificado o que proporcionou maior agilidade e clareza na análise dos processos. Dentre alguns dos benefícios dessa alteração, podemos citar: análise dos processos vem sendo realizada em até 6 (seis) dias uteis (anteriormente o processo levava em média 30 a 40 dias); documentos que instruem o processo não precisam mais de reconhecimento de firma em cartório das assinaturas; possibilidade de impressão de peças publicitárias sem o número da autorização, apenas indicando onde tal número poderá ser encontrado. Muitos processos atrasavam, pois, as peças só poderiam ser produzidas após a concessão da autorização; confecção eletrônica do regulamento; Considerando os custos envolvidos, a maior agilidade no processo de autorização e acima de tudo os riscos na realização de uma promoção de forma irregular é, sem dúvida, a hora de regularizar a prática e evitar a aplicação de sanções decorrentes da realização das campanhas de distribuição gratuita de prêmios sem autorização.

Em 2005, fui surpreendido por um telefonema de um cliente que solicitou nossos trabalhos para o trâmite de desocupação do imóvel que, por muitos anos, serviu como sede da instituição financeira Banco Santos em São Paulo. Essa operação, com certeza, não seria trivial. Antes de mais nada, era necessário que o locatário – representado por seu liquidante – agisse com muita cautela, por se tratar sobretudo, da retirada do acervo de obras de arte de valores altíssimos que pertenceram à Cid Collection e ao acervo da Escrita da Memória, cuja exposição eu tive a chance de visitar, e que estava sendo exibida naquela mesma época. A exposição Escrita da Memória por si só, já era algo grandioso. Leandro Karnal com a sua curadoria, trouxe aos visitantes uma deliciosa viagem ao tempo de 5 mil anos, com centenas de objetos e documentos que nos levaram do berço dos registros humanos, antes mesmo da escrita propriamente dita ter sido criada, até os dias atuais. Só de imaginar em desmontar todo esse acervo já era complexo, desocupar o edifício com obras e móveis valiosos, era um desafio extra. Parte do acervo da Cid Collection estava no edifício sede do Banco Santos. Uma logística delicada foi elaborada e deveria funcionar com praticidade: milhares de peças que estavam no imóvel foram transportadas para um depósito onde o Banco Santos, em liquidação, guardou todos os itens. Diversos profissionais estavam empenhados em proteger o patrimônio e transportá-lo de forma segura. A coleção era importante e com relevância nacional e internacional. Foi algo extraordinário e inesquecível. Ainda lembro da cena com dezenas de caminhões e guindastes que circulavam pela Marginal Pinheiros. Foi uma combinação de logística e estratégia que não podia falhar. De acordo com Vânio Aguiar, liquidante do Banco Santos, as primeiras obras da coleção que foram alienadas estavam no exterior. Um fato serviu de exemplo para mostrar a grandiosidade dos acontecimentos narrados por aqui: a venda do quadro Hannibal, do artista norte americano Jean-Michel Basquiat (1960-1988), foi leiloada pela Sothebys em 2016, e vendida pelo valor de 10.565 milhões de libras esterlinas, após não ter recebido nenhum lance no leilão anterior realizado em 2015. A venda do Hannibal foi fundamental para a análise criteriosa das obras que estavam sendo periciadas aqui no Brasil, antes de serem valoradas para os leilões que viriam a seguir. Como nada é simples – muito menos neste caso – vendas de bens apreendidos em falências e recuperações judiciais não são processos ágeis. No entanto, uma ajuda muito bem-vinda propiciou a rapidez das vendas: a implementação da lei 11.101/2005, que regula a recuperação judicial, a extrajudicial e a falência do empresário e da sociedade empresária, que acelerou o processo de liberação da penhora para ressarcimento de credores antes da finalização do pedido de falência. Após o pedido de falência, a Justiça Federal apreendeu o acervo e nomeou alguns museus como depositários. Em seguida, a massa falida do Banco Santos recorreu ao STJ e solicitou que a ação fosse devolvida à esfera estadual. As obras então foram catalogadas, registradas e armazenadas pelo MAC – Museu de Arte Contemporânea. As obras compunham um acervo particular, portanto a destinação dos recursos provenientes da venda deveria permanecer no âmbito privado, e não no âmbito público. Dessa forma, coerentemente, a verba das vendas necessitava ser destinada aos credores, e não à União. Durante os últimos quinze anos, o acervo permaneceu no MAC, e de acordo com informações do museu, teria custado aproximadamente 20 milhões de reais. Em 2016 aconteceu o primeiro leilão no Brasil. O hotel Unique, em São Paulo, foi o palco do pregão sob o comando de Aloísio Cravo. No evento, lances certeiros como a venda de Vestal Reclinada com Pássaro, de Victor Becheret, arrematado por 2,7 milhões de reais deu o tom de que o jogo estava apenas começando. A quantia total arrecadada neste leilão rendeu 12 milhões de reais. Finalmente, um dos leilões mais aguardados com o restante do acervo foi organizado por James Lisboa em São Paulo e esquentou mais ainda este mercado. Quase duas mil peças já foram arrematadas online e por telefone, que causou a aceleração do uso da tecnologia no mercado de venda e compra de obras de arte. Mesmo com a tentativa de Edemar Cid Ferreira impedir judicialmente a venda das peças e solicitar a doação das mesmas para os museus em questão – Edemar entrou com uma ação, mas não obteve êxito – o leilão foi um sucesso de lances e vendas, mesmo porque, seus valores não haviam sofrido nenhum reajuste desde sua avaliação há 15 anos. Nomes como Frank Stella, Tarsila do Amaral e Tunga passaram por lá, e quem diria, foram arrematados através de uma plataforma digital. O estudo da obra Operários de Tarsila do Amaral teve como lance inicial a quantia de 32 mil reais e foi arrematada por 1,2 milhão de reais. Um dos sinais evidentes que o mercado aqueceu e que o colecionador de arte não perde uma boa oportunidade. Este leilão foi um avanço para os que ainda temiam em fazer lances online. Foi um divisor de águas nesse aspecto e salientou as transações virtuais no ambiente de arte. Em breve teremos a ArtRio, que acontecerá no Rio de Janeiro em outubro de forma dupla: vendas presenciais e online. Será uma boa oportunidade para avaliar se essa mudança de hábito consolidará neste mercado.

Nos anos 90, iniciou-se a primeira onda de abreviação dos nomes das sociedades de advogados, influenciada pela nova tendência do marketing: o Branding. Como exemplo disso e para sustentar essa mudança, placas dos escritórios de advocacia com diversos sobrenomes foram substituídos por abreviações, ou outro exemplo, para dar mais charme à expressão, a palavra “advogados” foi substituída pela palavra law. Década e meia atrás, a evolução da agilidade de informações via smartphones e o boom das mídias sociais gerou um probleminha de thinking design com sociedades de nomes robustos. Pelo que pude acompanhar, as soluções baseadas nas necessidades, desejos, problemas e anseios do cliente desencadeavam em uma breve pesquisa no Google, o que facilitou o enxugamento da marca na porta. Assim, escritórios de advocacia passaram a denominar diversos nomes. As múltiplas fusões e cisões de bancas têm mostrado um tipo de jogo indefinido. Há quem opte por sobrenomes e há quem prefira suas iniciais nas redes sociais, além de um design rebuscado para o logotipo dos escritórios instagramáveis. Diante deste cenário, uma provocação que me fiz foi a seguinte: – Se eu fosse procurar um escritório de advocacia sem precedentes ou indicações, procuraria algum que carregasse um nome de peso, uma história por trás dos nomes que aparecem na placa do escritório. E se esses nomes estiverem agrupados numa sigla XPTO? Como conseguir vislumbrar quem são os profissionais por trás daquele codinome? Na advocacia, nome traz credibilidade, inspira confiança. Em nosso país temos sociedades de advogados centenárias, algumas das quais em atividade desde o século XIX. A envergadura jurídica é um ativo inestimável. Mas vejamos essa discussão do ponto de vista normativo. De acordo com a legislação, a sociedade de advogados, ou a sociedade unipessoal de advocacia, adquire personalidade jurídica com o registro aprovado dos seus atos constitutivos. Mas a Ordem dos Advogados do Brasil é clara: não são admitidos registros, nem podem funcionar as sociedades de advogados que apresentem formas ou características de sociedade empresarial; que adotem denominação de fantasia; que realizem atividades estranhas à advocacia, tampouco que incluam como sócio ou titular pessoa não inscrita como advogado ou totalmente proibida de exercer a função. Ou seja, o nome usado em uma sociedade tem um valor inestimável, em especial para as marcas de profissionais liberais. Por conseguinte, um fenômeno cresce a cada ano, e pode ser observado em algumas das maiores bancas de advocacia do país: o registro de suas nomenclaturas societárias no INPI, para proteção legal de suas marcas. Dentre estes nomes podemos citar Machado Meyer Advogados, Pinheiro Neto, Mattos Filho Advogados, dentre outros escritórios renomados que mantém o patrimônio nominal em suas marcas. Utilização póstuma de nome Faço um corte para entrar em outro aspecto, pois tudo que parece bom tem algo de contrariedade. Para que o descrito acima seja possível, há uma questão imponderável e que não pode ser excluída no ato da constituição ou da alteração do contrato da sociedade. É a que diz respeito à possibilidade de utilização póstuma do nome do sócio, conforme determina o primeiro parágrafo do artigo 16 do Estatuto da OAB. Ou seja, se não houver, no contrato da sociedade, possibilidade de manutenção do nome do sócio falecido na razão social, isto não poderá acontecer. Este impedimento pode resultar uma perda significativa para a sociedade de advogados. Em contrapartida, manter o usufruto do nome e da memória do sócio falecido na razão social da sociedade, além de agregar valor à marca do escritório, representa justa homenagem àquele que dedicou toda uma vida ao escritório e à advocacia. Para que isso funcione, é preciso virar a página e entender o que também é muito importante: os sucessores do falecido precisam estar confortáveis com a decisão de manter o nome do familiar na sociedade, além de acreditar que o escritório zelará sua memória com credibilidade ao invés de feri-la. Na prática, o mais indicado é a adoção de uma regra de transição que atenda ambas as partes (sociedade e sucessores do falecido). Exemplo disso, é autorizar o uso do nome do ex-sócio por prazo determinado, com deliberação posterior sobre a continuidade. Outro é manter o nome do falecido apenas enquanto o quadro social se mantiver inalterado. Cada sociedade encontrará a melhor forma de fazê-lo. Enfim, existem várias possibilidades que podem e devem ser discutidas, sempre acompanhadas do nosso melhor conselheiro: o bom senso. Recentemente, o Órgão Especial do Conselho Federal da OAB reafirmou o previsto no provimento 112: o nome do sócio afastado permanentemente da sociedade por aposentadoria ou por qualquer outra circunstância pode ser mantido na razão social. Com isso, mais um avanço no sentido da proteção à marca das sociedades de advogados foi conquistado: o de perpetuar a história daqueles que mereçam ser perenes. Esta discussão adquire outra dimensão relevante se entendermos que entre nomes e letras, na advocacia prevalece quem constrói confiança. E a disrupção desta atividade profissional está centrada muito mais na valorização de sua essência do que em acessórios para o exercício profissional. Para quem se interessar e quiser se aprofundar no assunto, clique aqui.

Ainda não vi nesses tempos de stalking digital versão para um mantra de falta de humildade. Se diz que grande parte dos “doutores”, se pudesse, compraria cobertura triplex para acomodar, em cada pavimento, a si mesmo, seus títulos e o ego. Ácida, a crítica contém carapuça nos que colocam a titulação acadêmica como um fim em si e não meio de desenvolvimento profissional e, sobretudo, pessoal. Tocar nesse assunto é sempre importante. Especialmente agora que baixou a poeira do caso do professor Carlos Alberto Decotelli. Este foi um entre tantos. Apenas o mais visível e explorado neste ano. E escrevo no intuito de sugerir – aos que se dispuserem a dar importância, claro – atitudes e conselhos que sirvam como poções contra os venenos do ego e permitam um tipo de auto teste para exposição equilibrada de conhecimentos. Isso é importante porque a titulação acadêmica precisa ser entendida naquilo que representa de fato: marco na vida profissional do indivíduo que se dispôs a dedicar tempo razoável em estudos e pesquisas, muitas em campo, para colaboração no avanço de um determinado campo de conhecimento. O primeiro passo, ou poção, é a compreensão dos fundamentos que levam ao crescimento na profissão agregada pela especialização na academia. Estudos refletem práticas. Essa premissa é muito relevante para que a experiência profissional não seja deturpada e muito menos posta de lado, como se valor não tivesse. Muito pelo contrário. A primeira coisa a ser destacada na vida profissional é a atividade no front. O conjunto de vivências permite rica coleta de dados, reflexões e base para análises consistentes de sua capacidade, especialmente no mundo acadêmico. Consistência de trabalhos. Na medida em que se trabalhe num determinado campo profissional, será determinante a consistência na atuação. Conhecer detidamente atividades significa buscar, por si próprio, entender e dominar as temáticas com quais lida. Com foco, desprovido o máximo possível de distrações. Como Will Durant nos ensina ao decifrar Sócrates: “Nós somos o que repetidamente fazemos. A excelência, então, não é um ato, mas um hábito”. Qualidade de resultados. Essa é parte que há anos me incomoda por toda a carga de subjetividade que envolve. Na medida em que alguém se propõe a trabalhar em algo, deve focar nisso, pois precisa entregar algo para alguém (e a si próprio num ato de satisfação), a qual chamamos de resultado. Feita a entrega, o receptor do produto ou serviço inicia processo de avaliação da qualidade. Em todas as situações, esta análise é um juízo de valor de quem recebe, jamais de quem faz. A satisfação de um nada tem a ver com a do outro. Mesmo que digam que sim. É a constatação deste incômodo, repetidas vezes, que nos leva à curiosidade acadêmica. Curiosidade Acadêmica. O maior valor da ciência acadêmica é a sua estrutura contínua de desafios. Em cada campo do conhecimento, desbravadores e seus discípulos deixam temas em aberto. São munição para aríetes intelectuais que tentam superar as muralhas do saber humano. Assim, o que vale é a busca para entender o que se construiu de uma área até o momento e ver quais pontos foram lançados às gerações futuras para serem assumidos e desenvolvidos. Autodidatismo como razão de viver. Um verdadeiro curioso pelo conhecimento tem olhar arguto sobre a academia e o tema que lhe interessa. A curiosidade o leva para a busca de informações, a apuração da lógica entre as teses, a comparação com a realidade prática, à dualidade complementar da prática com a teoria. Antes de procurar ser, detém os princípios elementares do saber do autodidata. Ao compreender que tanto sabe, sente-se apto para ser orientado para subir a novo patamar. Stricto Sensu e Lato Sensu. A paixão nos leva a desafios que começam por tomadas de decisão importantes. E estas, na medida em que se desenvolvam, precisarão estar bem claras nos currículos. Afinal, uma coisa é você se aplicar para desenvolver conhecimentos acadêmicos numa pós-graduação stricto sensu e outra é cuidar do aprimoramento de habilidades e atualização numa determinada área por meio de pós-graduação lato sensu. Ambas são importantes, mas de percepção distinta para quem olha seu currículo. Dentro do contexto exposto somos todos profissionais atuantes e de alguma forma titulados. Mestres e doutores. Especialistas. Professores Visitantes. Detentores de notório saber. Somos às vezes mais, outras vezes menos, reconhecidos do que merecemos ou precisamos. Mas o importante é estar ali, na boa causa, na boa luta. Escrito isso, trilhado o caminho – nunca fácil – mostrado acima, pode-se indicar as normas objetivas para que uma pessoa se mostre ética nas informações sobre si mesmo e respeitoso para com o mundo acadêmico e profissional: 1. Honestidade intelectual nos dados Mostre o que você é. A soma de tudo o que descreve é você. Não pré-julgue. Tendemos a ser tão críticos sobre nós mesmos que damos importância maior ao que entendemos como defeitos do que às nossas habilidades. 2. Precisão na exposição dos títulos Exponha de forma objetiva o que fez, em qual instituição, o resultado desse esforço, a contribuição intelectual proposta, as conclusões e seus desdobramentos, como publicação do estudo, artigos, livros, palestras etc. 3. Permitir rápida checagem de conhecimentos Informe sobre seus orientadores e a forma como esses dados podem ser vistos em detalhes e compartilhados, quando possível. Diversas entidades têm bancos de teses consultáveis. 4. Estar indexado à Plataforma Lattes, se cabível Uma referência importante, embora não seja a única. Neste espaço as pessoas com interesse em melhores dados encontram parâmetros adequados. Com estes cuidados, evitam-se exageros, más interpretações, mal-entendidos e constrangimentos desnecessários. Ao se impor um forte nível de auto-respeito, de imediato poderá exigir que seja respeitado por quem quer que seja, independente do cargo, função e títulos que a outra pessoa tenha. Os sem mestrados e doutorados não são menos inteligentes, menos importantes. Têm capacidades distintas que exigem ser reconhecidas e valorizadas. Nos ensina a biografia de Vivien Theodore Thomas, encanador que demonstrou ser possível tornar efetiva a técnica inovadora para correção da Síndrome do Bebê Azul teorizada por Alfred Blalock, um dos maiores cirurgiões cardíacos da história da medicina. Thomas, que enfrentou a pobreza e o racismo (inclusive para acessar os laboratórios que permitiriam desenvolver sua técnica), foi professor dos que viriam a se tornar os maiores cirurgiões cardíacos norte-americanos por décadas. Em 1976 obteve o título de Doutor Honorário na Universidade John Hopkins. Essa história pode ser lida no artigo “Something the Lord Made”, escrito por Katie McCabe e publicado no Washingtonian e assistida no filme Quase Deuses, de 2004, disponível nos principais streamings de vídeo.