The variety of copyright regimes in the 28 EU Member States – in the lack of an ‘EU copyright title’ – require researchers and scholars to get engaged with the differences and similarities of those regulatory frameworks. The European Union Intellectual Property Office Observatory provides here valuable expertise on interpreting the national laws and regulations in place.
An analysis conducted by EnDOW researchers in three countries (UK, Italy and Netherlands) reveals that the national implementations of the directive across Europe do not provide the much needed solution for the problem of orphan works.
The Report on “Requirements for Diligent Search in the United Kingdom, the Netherlands, and Italy” can be found here.
“According to the IFPI 2016 Report, the global music market achieved a key milestone in 2015 when digital became the primary revenue stream for recorded music, overtaking sales of physical formats for the first time. In 2016 total industry revenues grew 3.2 per cent to US$ 15.0 billion, leading to the industry’s first significant year-on-year growth in nearly two decades. However, representatives of artists and of labels claim, that this explosion in consumption is not returning a fair remuneration to them because of a market distortion resulting in a “value gap“. (The reiterated “value gap“ is in their view about the gross mismatch between music being enjoyed by consumers and the revenues being returned to the music community, as streaming services and in particular by the rapidly-growing use of user upload platforms such as YouTube, are profiting more of the revenues than the right-holders.)
Behind the „value gap“ phenomena lies a long contested policy matter, namely the protection of delivery platforms (intermediaries) by so-called “safe harbour” rules that were established in both US and European legislation in the early days of the internet, limiting their liabilities for copyright infringements. Right-holders claim, that the “safe harbour” regime should no longer be used to exempt user upload services that distribute music online from the normal conditions of music licensing. Since the publishing of the visions to modernise EU copyright rules of the European Commission many are looking forward how European policy-makers intend to face these issues and reflect them in the new copyright rules to be adopted in 2016.”
What’s the difference between creativity and innovation? Are artists also innovators? As countries increasingly work to foster environments that unlock human potential, a new WIPO paper looks at whether current innovation measurements are capturing less easily defined notions of creativity
At a time when the copyright public policy debate tends to focus exclusively on enforcement, we believe that it is time for a discussion in the European institutions on how to ensure that copyright fully supports innovation, creativity, competition, and the public interest. Now is the time for a constructive policy agenda to ensure copyright meets the needs of the 21st century.
Main idea: “Although the directive was meant to adapt copyright to the digital age, in reality it is blocking the exchange of knowledge and culture across borders today.”
“The International Federation of Arts Councils and Culture Agencies (IFACCA) is the global network of national agencies arts funding. Created in December 2000, its purpose is to improve the capacity and effectiveness of government agencies arts funding in order to benefit society through networking, advocacy and research arts.
To meet its objectives, IFACCA has initiated various projects. One of them is the World Summit on Culture and the Arts triennial event whose purpose is to provide national arts councils, ministries of culture and other agencies, the opportunity to discuss key issues of public support for the arts and creativity.
The 6th World Summit will be organized jointly with the National Council of Culture and Arts of Chile (CNCA) and will take place in Santiago, Chile, from 13 to January 16, 2014. The theme of this Summit, which takes place for the first time in Latin America, will be Creative Times: new models of cultural development.”
The programme and summaries of the contents discussed during the 6th Artsummit can be found here: