In the European Strategy for Data, the European Commission highlighted the EU’s ambition to acquire a leading role in the data economy. At the same time, the Commission conceded that the EU would have to increase its pools of quality data available for use and re-use. In the creative industries, this need for enhanced data quality and interoperability is particularly strong. Without data improvement, unprecedented opportunities for monetising the wide variety of EU creative and making this content available for new technologies, such as artificial intelligence training systems, will most probably be lost. The problem has a worldwide dimension. While the US have already taken steps to provide an integrated data space for music as of 1 January 2021, the EU is facing major obstacles not only in the field of music but also in other creative industry sectors. Weighing costs and benefits, there can be little doubt that new data improvement initiatives and sufficient investment in a better copyright data infrastructure should play a central role in EU copyright policy. A trade-off between data harmonisation and interoperability on the one hand, and transparency and accountability of content recommender systems on the other, could pave the way for successful new initiatives.

Collective management of copyright and related rights is an important element of the copyright system. First and foremost, it can ensure that rightholders reap greater rewards. By exploiting economies of scale and network effects, collective management can also make markets for copyright licences more efficient, to benefit users and other stakeholders. This study examines two central aspects of collective management of copyright and related rights in Europe. Part I documents the development of multi-territorial licensing of online rights in musical works in the European Economic Area (EEA) under Title III of Directive 2014/26/EU on Collective management of copyright and related rights and multi-territorial licensing of rights in musical works for online use in the internal market (CRM Directive). It highlights the consequences of legal and regulatory reform, based on pervasive quantitative and qualitative data – produced in surveys, interviews and a workshop with stakeholders – and collected among collective management organisations (CMOs), rightholders, online music service providers, and national competent authorities. Part II examines national mechanisms of collective licensing with an extended effect and their main elements in EEA Member States. It is based on extensive input by a comprehensive network of national experts, complemented by surveys of CMOs, as well as interviews with national competent authorities. The present study provides a legal and economic analysis that can serve as input for the European Commission to draft the reports required by Article 40 of the CRM Directive and Article 12(6) of the Directive 2019/790/EU on copyright and related rights in the Digital Single Market (DSM Directive).

De Wet Auteurscontractenrecht (Wet ACR), die op 1 juli 2015 in werking is getreden, heeft ten doel de contractuele positie van auteurs en uitvoerende kunstenaars ten opzichte van de exploitanten van hun werk te verstevigen. Een nevendoel, dat vooral tot uitdrukking komt in de door de wet toegekende vergoedingsrechten, is het versterken van de verdienmogelijkheden van zelfstandige makers en uitvoerend kunstenaars wanneer werken succesvol worden geexploiteerd. Bij de parlementaire behandeling van het wetsvoorstel is door de regering toegezegd dat de wet vijf jaar na inwerkingtreding wordt geevalueerd.De algemene onderzoeksvraag van deze evaluatie is derhalve: Wat zijn tot op heden de effecten van de invoering van de Wet ACR op de contractpraktijk, en welke knelpunten en onduidelijkheden hebben zich bij de toepassing van de wet tot op heden voorgedaan?

Over time, patent abolition has been the subject of fierce academic debate. However, no country in the world has ever abolished patents, except for one. Between 1869 and 1912, the Netherlands officially abandoned patents. This unique case is often mentioned in the literature on patent abolition, but the accounts drawn up so far present an incomplete and somewhat obscure image of the motives behind the decision of the Dutch government to eliminate patents. This paper fills this gap by conducting a full analysis of the various – legal, economic, practical, and political – arguments that have inspired the Dutch to abolish patents. By so doing, it sketches a striking picture of the circumstances that gave rise to the exceptional Dutch case. Translating this to today’s reality, which is so entirely different, it seems unlikely that we will soon witness another case where all the necessary ingredients will so neatly coincide as they did in the Netherlands in the late 1860s. Therefore, another real-life example of a developed country abolishing patents appears far away.

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This academic statement was released in anticipation of the plenary vote in the European Parliament on the Copyright in the Digital Single Market Directive, scheduled for 5 July, 12:00. This latest statement attempted to address directly some of the misinformation circulating in a heavily lobbied environment. The statement rejected the following four claims as false: False: The proposals will increase legal certainty False: The Internet will not be filteredFalse: There is no problem relating to freedom of expression False: Memes will not be affected The statement also assessed the following claims as misleading: Misleading: Complaint and redress mechanisms will protect the interests of users Misleading: Authors will receive an increased share of copyright remuneration

Het regime van de Eenvormige Beneluxwet inzake tekeningen en modellen (BTMW) ligt al ver achter ons, maar de vraag of het auteursrecht op modellen waarvoor in het verleden geen ‘instandhoudingsverklaring’ is afgelegd, geacht moet worden blijvend te zijn vervallen of te zijn herleefd houdt de gemoederen nog altijd bezig. Dit artikel analyseert aan de hand van de Montis/Goossens-jurisprudentie of het oude vereiste van een instandhoudingsverklaring in overeenstemming is met internationaal en Europees recht, welke implicaties dat heeft voor het kunnen inroepen van auteursrechtelijke bescherming in Nederland en op welke termijn van bescherming de betrokken werken dan aanspraak hebben. Geconcludeerd wordt dat de lijn die thans in de jurisprudentie is ingezet onverenigbaar is met internationaal recht.

Het is alweer zes jaar geleden dat de laatste kroniek over het Nederlands auteursrecht in Auteurs & Media is gepubliceerd. Hoog tijd dus om de draad op te pakken en de stok van mijn illustere voorganger over te nemen. Deze kroniek bespreekt de belangrijkste ontwikkelingen op het gebied van auteursrechtwetgeving en -beleid in Nederland in de afgelopen zes jaren, waaronder de introductie van het auteurscontractenrecht, de afschaffing van geschriftenbescherming, de versterking van het toezicht op collectieve beheersorganisaties en de implementatie van de Richtlijnen 2012/28/EU (verweesde werken) en 2011/77/EU (verlenging beschermingsduur naburige rechten). Door deze nieuwe wetgeving is de Nederlandse Auteurswet (Aw) en Wet op de naburige rechten (Wnr) op diverse plaatsen aangepast.

The author refers to the objectives that inspired the reintroduction of copyright formalities, pointing to two specific objectives, facilitate the acquisition of copyrights and to improve the flow of information to increase public domain. Both would help achieve the overall objective of creating legal certainty about the authorship, property and terms of protection of works. Determined these objectives, the author examines how and what kind of formalities, in the light of the requirements of the Berne Convention, could help achieve those objectives. He concludes that currently could only be introduced formalities in order to facilitate the acquisition of rights, unless the prohibition against formalities of the Berne Convention is changed.

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De 'extended collective license' (ECL) - ofwel de 'verruimde' collectieve licentieovereenkomst - staat in Nederland en elders ter wereld al enkele jaren sterk in de belangstelling, met name als wettelijk instrument om de rights clearance voor massadigitaliseringsprojecten van erfgoedinstellingen te vergemakkelijken. Naar aanleiding van een gezamenlijke brief van de Nederlandse erfgoedinstellingen en de Federatie Auteursrechtbelangen heeft het Ministerie van OCW door het IViR onderzoek laten verrichten naar het ECL-model en daarover een seminar met belanghebbenden georganiseerd. In de zomer van 2015 wordt een standpuntbepaling van het kabinet inzake ECL verwacht. In dit artikel worden de belangrijkste bevindingen van het onderzoek samengevat. Welke voor- en nadelen zou een ECLregeling bieden ten opzichte van het huidige Nederlandse model van vrijwillige collectieve licenties die zonder ondersteunende wettelijke maatregelen tot stand komen?

This study analyses the current situation regarding the level of remuneration paid to authors and performers in the music and audio-visual sectors. We compare, from both a legal and economic perspective, the existing national systems of remuneration for authors and performers and identify the relative advantages and disadvantages of those systems for them. We also explore the need to harmonise mechanisms affecting the remuneration of authors and performers, and to identify which ones are the best suited to achieve this. Their potential impact on distribution models and on the functioning of the Internal Market is also examined. Finally, the study outlines a series of policy recommendations based on the analysis conducted.

Copyright laws are important regulators of cultural expression, because they grant extensive rights to control the reproduction, adaptation and communication of ‘literary’ and ‘artistic’ works. The twin concepts of authorship and original work are central to copyright laws the world over; their interpretation driven by economic and technological concerns. In this collection of essays contributors from various academic disciplines query what diverse disciplines in the humanities ‒ including literary studies, aesthetics, film studies, and the philosophy of art ‒ have to offer law, in a quest to establish a more nuanced and useful conception of copyright and authorship. This volume brings together scholars from a range of disciplines to explore the challenges inherent in translating aesthetics and creativity studies to concepts of copyright.