The bi-annual meeting of the World Intellectual Property Organization (WIPO) Standing Committee on Copyright and Related Rights (SCCR) took place last week in Geneva. Teresa Nobre and Alek Tarkowski participated in the meeting on behalf of Communia, which has observer status. We were particularly interested in the debate on exceptions for education.
As Communia, we have until now focused our policy work on the European Union (albeit we were present at WIPO, as observers, briefly for debates on the public domain in 2012). We decided to start attending SCCR meetings in order to address the issue of good copyright for education also at global level. We hope that we can contribute to set out a global education exception.
In Geneva, we joined a broad coalition of civil society organizations and groups, and representatives of public interest institutions such as libraries or archives that have been participating in these meetings. Our particular focus is on education, an issue that until now has not been strongly represented by civil society observers at WIPO. We are hoping to change this situation. Delia Browne, who represented Creative Commons as a representative of Creative Commons Australia, joined us at the meeting.
The issue of exceptions and limitations to copyright has been on the WIPO agenda for years. In 2013, the Marrakesh Treaty was signed, requiring all WIPO members to provide a domestic copyright exception that allows the creation of accessible versions of books and other copyrighted works for visually impaired persons. The exception secured by the treaty is an important win, and a clear evidence that a global copyright standard that supports public interest can be established through the WIPO process.Continue reading
Last week the CJEU handed down another judgement dealing with digital activities of libraries (see our take on the e-lending decision from 2 weeks ago here). In its judgement in the Doke & Soulier case (C 301/15) the court ruled that the French law on out-of-print books, which allows French publishers to publish digital editions of out-of-print books, violates the exclusive rights of authors as established by the InfoSoc directive. This means that the French scheme for making out-of-print books available (reLire) will either need to be modified or scrapped.
The judgement does not come entirely unexpected as it is largely in line with the Advocate General opinion from earlier this year. As we have already noted in our analysis of the AG opinion, the case has the potential to undermine Extended Collective Licensing (ECL), which is currently held as the solution for the issue of out-of-commerce works.
At this point it is unclear how the Doke & Soulier judgement relates to the EU Commission’s proposal for dealing with out-of-commerce works in the collections of cultural heritage institutions—currently a part of the proposal for a Copyright in the Digital Single Market directive. Regardless, the judgement casts a shadow of doubt over ECL arrangements such as the one at the center of the Commission’s proposal. This is mainly due to the fact that through this decision the court has established stringent criteria that national measures would need to fulfil. The fact that according to the court “every author must actually be informed of the future use of his work by a third party and the means at his disposal to prohibit it if he so wishes” (para 38) seems to contradict the very purpose of Extended Collective Licensing arrangements, which is to circumvent the need to clear rights on a per-work (or per-rightsholder) basis.
Can ECL still provide a solution for out-of-commerce works?
Looking at the reasoning of the court, it becomes evident that the judgement is not so much concerned with the operation of of ECL as a legal mechanism, but rather with the question of whether EU member states can limit the ability of authors to exercise their exclusive rights in ways other than those foreseen by the EU legislator. The court answers this with a resounding “no” and then goes on to examine whether the French system respects the ability of authors to object to the use of their out-of-print works. The court comes to the conclusion that it does not, because authors are neither individually informed about future uses of their works, and because their ability to opt out of such uses is limited. In summary, the court does not declare ECL in general incompatible with the InfoSoc directive, but has ruled, that the French ECL implementation does not sufficiently respect the authors’ exclusive rights. Continue reading
Yesterday the Court of Justice of the European Union delivered good news in a case that that eagerly watched by Librarians across the Europeana Union. In its judgement in the case VOB vs Stichting Leenrecht (C-174/15 – press release here) the court ruled that rental right and lending right directive also covers e-lending. This is good news for libraries and their users as this means that (within certain limits) libraries can lend out e-books on the same legal basis as they lend out paper books. Prior to this judgement it was generally assumed that e-lending was not included in the scope of the rental right and lending right directive and as a result public libraries wishing to lend out e-books had to conclude licenses with publishers in order to do so.
Yesterday’s judgement came out of a reference to the CJEU in the context of proceedings brought by the Association of Dutch Public Libraries (VOB) which held the view that libraries are entitled to lend e-books included in their collections according to the principle “one copy one user”. This view was not shared by the Dutch government which has passed legislation based on the premises that the digital lending of electronic books does not come within the scope of the exception provided by the rental right and lending right directive.
The VOB wants libraries to allow users to download an electronic copy of a work included in the collection of a library while ensuring that – as long as that user can access that copy – it is not possible for other library users to download another copy. At the end of the e-lending period, the copy downloaded by the first user would become inaccessible, and as a result another lender can download a separate copy. Continue reading
The debate whether the copyright reform in a proposed shape would be beneficial for Europe or not is now a key topic for digital rights organizations. But what do measures suggested by the European Commission actually mean? COMMUNIA and EDRi have jointly developed a Copyright reform guideline to the “legalese” of the draft directive. We present key issues and solutions that should be taken into consideration by the Members of the European Parliament (MEPs) who will soon discuss the proposal.
We believe that the current reform is a chance to empower users across Europe to access culture in ways that have been proved not to undermine authors’ revenues. This would boost the creation of new business models that will support authors, creators and journalists, and not only powerful intermediaries such as book publishers and record companies.
The copyright reform should also safeguard freedom of expression and privacy by curbing the surveillance capacity of filtering technologies. The Commission’s proposal fails to take advantage of these opportunities to secure a better future for Europe and European culture.
Can we make copyright serve users better? We asked several copyright policy experts from civil society organisations for their view on the current copyright reform: what are the biggest hopes, the biggest fears and their concrete plans to improve the current copyright regime to fit our digital society? Film maker Sebastiaan ter Burg created the video below to share their answers:
The video was recorded during the event Copyright Reform: Unlocking copyright for users co-organised by COMMUNIA and EDRi and co-hosted by MEPs Therese Comodini Cachia and Carlos Zorrinho.
We would like to thank Diego Naranjo (Edri), Raegan MacDonald (Mozilla), Dimitar Parvanov Dimitrov (Wikimedia), Ruth Coustick-Deal (OpenMedia), Till Kreutzer (IGEL) and Gwen Franck (Creative Commons) for their contribution to this video.
This week COMMUNIA founding member Kennisland launched CopyrightExceptions.eu, a website that collects information related to the national implementation of 22 exceptions and limitations to copyright in the EU Member States. CopyrightExceptions.eu provides much needed clarity of the current patchwork state of implementations of the exceptions open to Member States.
Exceptions represent the user rights in EU copyright
While over the years a number of studies have been undertaken to provide insight into the state of implementation of the possible exceptions, there was no easily accessible, up-to-date information resource about user rights across the European Union. In the past few months Kennisland collected and combined the information it could find from multiple sources and had the results reviewed by national experts. Information was gathered about whether an exception is implemented and whether the exception requires remuneration. The tool also includes links to national acts and any other comments on the specifics of the implementation.
User rights are not looking good
While the Commission, based on the recently leaked impact assessment and dito draft directive, aims to solve parts of this non-user friendly patchwork, it is not looking good. The draft directive provides for only a limited TDM exception that will scare away data start ups, and strange licensing requirements in a new additional exception for education. It also doesn’t do much to harmonise important exceptions for the daily lives of citizens (such as freedom of panorama), or cultural heritage institutions (to make out-of-commerce works available). We don’t feel that the forthcoming directive will at all champion a true ‘Digital Single European Market’.
Kennisland, and COMMUNIA with them, believes that a single market means that we need to ensure that all participants in that market have the same rights: rights of creators and rights of the user, and equal in all member states. The directives unfortunately do not require the same harmonisation for user rights as it provides to rights holders.
We need a better harmonised copyright for users in Europe, and we urge you to use CopyrightExceptions.eu to experience for yourself how diverse the landscape of exceptions is, and how far we still have to go.
In the copyright reform process, according to MEP Therese Comodini Cachia, the European Parliament is not looking for polarized stakeholder opinions. Instead, it is looking for data and evidence. On September 8 in Brussels we delivered on the latter by showing there is still a chance to unlock the copyright for users. As to what MEPs don’t need, polarization may be difficult to avoid as long as legitimate users’ interests are considered to harm traditional copyright revenue streams.
Our event “Copyright reform – unlocking copyright for users?”—which we organized together with EDRi and hosted by MEPs Comodini Cachia (EPP) and Carlos Zorrinho (S&D)—gathered a full house in the European Parliament on a sunny afternoon. Representatives of digital rights’ organizations, creative industries, publishers, collecting societies, and artists were eager to talk about the future of copyright in the light of the imminent publication of the Commission’s copyright reform proposals.
Complain, and then move forward
From the perspective of COMMUNIA and EDRi the leaked drafts of the Commission’s proposal presents a grim picture, where all ambitious attempts to adjust copyright to the challenges of the digital economy were replaced by a focus on propping up existing revenue streams. If the leaked proposals are measured against EDRi’s list of copyfails, almost none of the points identified as necessary to address are covered by the draft legislation. Those that are addressed are only superficial fixes to the existing state of affairs. The leaked proposal is like the new ACTA, as EDRi’s Diego Naranjo put it. Continue reading
In anticipation of the EU Commission’s copyright reform proposal (and just in time for the confirmation that the Commission’s plans will be everything but forward-looking), our friends at Mozilla have launched a new copyright reform campaign. They are taking this step because “it’s time our laws caught up with our technology.”
The campaign focusses on issues which have traditionally been dear to Mozilla, such as online learning, creative expression and innovation. Therefore, the three main strands where Mozilla wants to see an update of the current EU copyright rules (our summary) are:
- Update EU copyright law for the 21st century The EU’s current copyright laws were passed in 2001, before most of us had smartphones. We need to update and harmonise the rules to create room to tinker, create, share, and learn on the Internet. Education, parody, panorama, remix, and analysis shouldn’t be unlawful.
- Build in openness and flexibility to foster innovation and creativity Copyrighted works are remixed, reimagined, and reused in new and creative ways every day. These elements build on existing ideas in a way that breathes new meaning into old content.
- Don’t break the Internet Some people are calling for licensing fees and restrictions on Internet companies for basic things like creating hyperlinks or uploading content. Others are calling for new laws that would mandate monitoring and filtering online. These changes would establish gatekeepers and barriers to entry online, and would risk undermining the Internet as a platform for economic growth and free expression.
Sign the petition!
All of these issues are ignored by the leaked Commission’s Impact Assessment. This makes Mozilla’s campaign timely and relevant. We fully agree with Mozilla’s efforts to update and fix copyright and urge you to take a look at the Mozilla Campaign and sign the petition.
On April 26—World Intellectual Property Day—the original, Dutch-language version of The Diary of Anne Frank was published online at annefrank.centrumcyfrowe.pl. With the publication of the original version of the diary, we wanted to highlight the absurdly long copyright terms in the EU. In addition, we wanted to point out that, contrary to the general assumption, the duration of copyright is still not unified across the EU. This leads to the troubling practice of geo-blocking which creates artificial boundaries online. Our posting of the diary online attempts to show the complicated copyright framework for this and similar works, and champions freedom to access to cultural heritage works in the public domain for creators as well as users. But our campaign appeared to convey an even stronger message.
The campaign raised various concerns with regard to copyright terms and access to culture. We’ve already examined the differences between the three versions of the diary, so we won’t go into that in depth here. Without a doubt, versions A and B did not enter into public domain in the Netherlands due to specific copyright regulations (This is due to a transitional rule in the Dutch copyright act which states that works posthumously published before 1995 will retain copyright — in this case large parts of the original writings will only expire in 2037).
The article was written by Marcin Serafin, the head of public policy team in Centrum Cyfrowe.
The Poles and French will probably fight for the next few centuries over whether Frederic (or Fryderyk) Chopin was of Polish or French nationality. Both nations view Chopin as a national treasure, and preserve his memory and heritage. And there is no doubt that in both countries copyrights to his work have expired. Contrary to the case of Little Prince, there is absolutely no doubt about this, as Chopin died almost 170 years ago. This is why we were shocked to learn that the National Institute of Fryderyk Chopin (NIFC) not only issued an ordinance protecting his name and public image, but also filed an application to register two trademarks with the European Union Intellectual Property Office (EUIPO) for all possible classes of products and services using the word “Chopin”. With that, no more “Chopin Hotels”, “Chopin chocolates”, composition of flowers named “Chopin bouquet” or any other product without a license, is possible.
First, let’s understand the facts. The EUIPO database holds 26 trademarks and 4 designs (some registered, some refused or rejected) with the “Chopin” element. Two of the trademarks have been filed on behalf of the NIFC for a wide variety of products and services. Also, NIFC has drafted a long list of terms and conditions users will need to agree to in order be able to use their Chopin trademark. Applications are reviewed by a board and if approve – the licensing fees are imposed. The board sets the rules to which a license may be obtained for use of the trademark. There are 8 applicable licensed uses, including “music with patriotic messaging”, “European high culture”, “high esthetical value”, and “mastership or highest quality.”Continue reading