Keyword: Copyright
EU copyright law roundup – fourth trimester of 2025 external link
Annotatie bij HvJEU 24 oktober 2024 (Kwantum Nederland en Kwantum België) download
Abstract
Dit is een belangrijk arrest over de verhouding tussen het unierecht en het internationale auteursrecht. Volgens het Europese Hof van Justitie geldt de door Richtlijn 2001/29/EG (de ‘InfoSoc-richtlijn’) geharmoniseerde auteursrechtelijke bescherming voor alle werken ongeacht hun land van oorsprong en mogen de lidstaten van de Unie de reciprociteitsregel van art. 2 lid 7 van de Berner Conventie (‘BC’) daarom niet toepassen om werken van toegepaste kunst afkomstig uit de Verenigde Staten auteursrechtelijke bescherming te ontzeggen.
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Copyright
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Bibtex
Music Recommender Systems And the Copyright Blind Spot: Conceptualising the Right to Be Heard external link
Abstract
Digital music platforms project an image of unprecedented abundance, linguistic diversity, and borderless circulation, yet the infrastructures that organise musical discovery increasingly shape who is heard and who remains silent.
This paper argues that while EU copyright law effectively secures lawful availability, rights management, and remuneration, it remains structurally indifferent to the allocation of cultural attention. As musical discovery is now mediated primarily through algorithmic recommender systems, visibility has ceased to be a by-product of access and has become a function of metadata, optimisation, and design. The resulting condition of being represented but not heard exposes a doctrinal blind spot in the European copyright acquis and raises broader constitutional concerns relating to artistic freedom, freedom of expression, and cultural participation.
Against this backdrop the paper conceptualises a right to be heard as a relational and infrastructural dimension of cultural participation and explores whether prominence-based regulatory approach, inspired by the AVMS Directive, could offer a proportionate response to algorithmically mediated cultural exclusion in the internal market that is compatible with the freedom to conduct a business.
Copyright, music industry, recommender systems
RIS
Bibtex
The interface of rights to access public sector information and copyright: Opinion of the European Copyright Society external link
LAION Round 2: Machine-Readable but Still Not Actionable — The Lack of Progress on TDM Opt-Outs – Part 2 external link
LAION Round 2: Machine-Readable but Still Not Actionable — The Lack of Progress on TDM Opt-Outs – Part 1 external link
Author remuneration in the streaming age – exploitation rights and fair remuneration rules in the EU external link
Abstract
The shift from linear to on-demand consumption of copyright content on platforms like Spotify, Netflix and YouTube raises the question of whether authors and performers receive a fair share of streaming revenues. While industry rights holders have the opportunity to control access to protected content, it is often not the creators themselves who benefit from growing streaming revenue.
The issue is global. In the EU, debates over the 2019 Copyright Directive led to harmonized rules on fair author remuneration. In 2023, the Group of Latin American and Caribbean Countries urged the World Intellectual Property Organization to analyse creators’ earnings from digital content. South Africa followed suit with its Copyright Amendment Bill in 2024. Together, these regional, international and national initiatives underscore the central role of remuneration in today’s copyright and streaming debates.
This analysis focuses on the EU legal framework, which provides mechanisms to secure fair remuneration for authors and performers. These include rules for licensing agreements – such as contract adjustments, transparency obligations, revocation rights and jurisdiction norms – as well as a liability regime for user-generated content encouraging rights clearance. Mandatory collective licensing and remunerated copyright exceptions also help generate revenue for creators. Section I lays the groundwork for the discussion of these legal instruments. Section II reviews exclusive rights applicable to streaming. Section III describes the different legal mechanisms to ensure creators’ fair remuneration – from individual and mandatory collective licensing to remunerated copyright exceptions. Section IV explores producers’ bargaining power in streaming platform contexts, and Section V summarizes the results.
Copyright, EU, exploitation, remuneration, streaming services