Posted on 09/Jul/2015
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There is no argument that the legal framework protecting copyright needs an update for the information age. The new Commission’s proposal, which will be launched in the beginning of 2016, should strike a balance between the interests of service users, distributors and copyright holders, and make sure that Europe’s cultural landscape remain innovative while artists receive due compensation for their work.

Do you remember the time, not so long ago, when one would jab a pencil or a pen in, manually rewinding cassette tapes to save a little battery power? Or how some of us would spend hours compiling and copying mixtapes of our favourite songs to share with friends and loved ones?

Many among us don’t. They have grown up with the privilege of access to digital files, to music and news freely available on all of their devices, all of the time. They have no concept of the long path we’ve travelled to get where we are today.

Copying data is a simple process these days – it takes literally a few seconds. Roughly 130 000 video clips are being uploaded to YouTube any moment and online content is being generated by over 83 million users a day in the EU alone. And that’s with the so-called ‘app’ economy still firmly in its infancy.

It is a fundamentally different world to the one we know from 2001, when the EU Copyright Directive was first introduced. There is no argument that the legal framework protecting copyright needs an update for the information age, and this is exactly what the European Commission’s most recent proposal for a EU-wide digital single market strives to achieve.

The Commission’s proposal will be launched in the beginning of 2016 and it is the own-initiative report by German MEP Julia Reda (Green/EFA) that will be voted on during July’s plenary that is giving important insight of what the future of EU copyright might look like.

The forthcoming legislation should aim at three priorities. Firstly, it should strike a balance between the interests of service users, distributors and copyright holders.

Secondly, it should reflect the fact that in 2015 it is the ‘service user’ that plays the key role in shaping the digital single market.

Thirdly, we should not forget that it is through the creation of value that Europe’s cultural landscape continues to develop and diversify, and it is our duty to ensure it has the means and space to remain innovative, and that artists receive due reward and compensation for their work.

The rapid expansion of information technology now allows for easier, more cost-effective purchases of high-quality music as opposed to illegally downloading inferior pirated files. It is important for users to know what they are paying for and who benefits from the charges.

The European Commission should also play a part in the implementation of its ideas. It has devised several plans of action, one of which – ‘Follow the Money’ – employs a number of different strategies to identify and target pirate companies and the advertisers financing them.

Examples of good practice from the UK and France, where the government is working together with various businesses (including content and internet providers), will be taken on board and scaled up to combat the illegal distribution of intellectual property.

It has been established, for instance, that 90% of those looking for illegal downloads such as movies or music, use mainstream search engines. France is therefore working directly with those companies to find ways to limit access to pirated content and prioritise legal ways of acquiring the requested files.

And yet, progress waits for no (wo)man – the same generation that can still remember cassette tapes, CDs and mp3s, is now being courted into moving on to cloud and streaming services. Replacing local storage and, in fact, the very concept of ownership of digital media, with convenient access to data stored online, is growing increasingly popular.

Streaming companies such as Spotify (for music) or Netflix (for movies) are enjoying rapid growth and development thanks to this new environment.

Their increasingly globalised user base, however, now demands to be allowed to enjoy the service they have paid for regardless of their geographical location, especially within Europe. German football fans, for example, want to be able to watch games from the Bundesliga even when lounging by the pool in Bulgaria, and European legislature and companies’ own policies need to reflect that.

My suggestion would be to concentrate on our aims and on the challenges we face in the 21st Century. Europe has the potential to be a leader in the world’s digital makeover – we have some of the most well-educated specialists and relatively high-quality internet access. Disregarding copyright should not be allowed to jeopardise that – instead, intellectual property legislation should serve as a catalyst for innovative ideas.

Last week, we proved that it is possible to have a roaming-free Europe. I am convinced that we can also boost the potential of a digital Europe with a robust and balanced copyright protection.

That way, instead of spending hours rewinding cassette tapes with a pencil, we would soon be driving in automated cars, swaying to our favourite music in expertly-curated mixes.


Photo credits: Yassin Moustahfid
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