Antonis plessas slide_show_presentation_ for_author_rights_in_the_digital_age_seminar

AUTHORS RIGHTS IN THE DIGITAL AGE:
A Fair Deal for Journalists

Presentation Antonis Plessas

Tuesday, December 14, 2010


Gernam newspaper Die Zeit recorded the two best years in its history.

sales up
60%

“... our success is due to the fact that the newspaper is carefully considering the needs
of its readers and completely ignores the views of «special advisors» for media.
Giovanni di Lorenzo (Die Zeit Editor-in-chief)

“...The future of the printed press, because in his opinion it has a future, is a journalism of «orientation and depth».
The Internet, he says, is just one of the causes of the crisis of the newspapers.
There are others, such as lack of reliability and quality”.

Giovanni di Lorenzo (Die Zeit Editor-in-chief)

Άρθρο στην Καθημερινή 28/11/2010 με τίτλο: Οι εφημερίδες μπορούν να έχουν μέλλον


Record Industry: The chronicle of a Death Foretold

The idea to force people to
pay becomes very difﬁcult in
Record industry
a networked society because
people now have alternatives.

You think you can stop a train?


Business as usual? Not any more!

Anybody that thinks we come out of this recession and get back
to business as usual is deeply mistaken

Don Tapscott (writer - thinker)

Technology
Technology is
constantly and
irreversibly changing
our culture and Human Behavior
habits, yet with very
different levels of
impact in different
regions around the Culture
globe, and at very
different speed.

Business



As a Authors’ Rights
Music Creator & owner

I experienced over the last 10 years some drastic changes
in my line of business.

and

the ﬁrst thing I want to share with you is that...

It’s time to re-examine our assumptions and standards.


My experiences as a creator
Lifelong learning.

That’s me today

But can I manage everything on my own?

Of course we need someone to help us with all the different things
during the process but not in the way it was done in the past.


Working independently can be a viable option.

prior to the digital revolution, the distribution
and sales of works by independent creators – producers
were characterized by limited options, high cost
and ineffectiveness

With new models of enterprise emerging through
internet services and the public, as a potential sponsor,
claiming a dominant role in the shaping of the music ﬁeld,
the independent production, for the ﬁrst time in history,
has all the necessary tools to allow it to claim its place in
the international music scene.



Recent years revolution in technology and telecommunications provided me access to:

a worldwide audience

and great tools to:

record and produce my music promote it and build an audience

distribute it and sell it


Competition at another level.



Attract interest

Sustain attention

Win trust

Where attention ﬂows money follows



In this highly competitive environment monetization of my investment
becomes more and more dependent from return on involvement.

Return On Investment.

Return
On
Involvement

reputation economy

Return on Involvement becomes Return on Investment.
In order to sell something you have to give something to get something.
i.e. proactive involvement and interaction of the creator with his audience.


As a creator and owner of Authors’ Rights

I believe in and support
the vital role the necessity of existence
of Authors’ Rights Societies!

for their

Transparency: distribution according to rules and auditing procedures which are open to all,
Equality and non discriminatory treatment for all members,
Certainty of repertoire,
Protection of Authors’ Rights / copyright,
Cultural diversity.


The Hellenic Society for the Protection of Intellectual Property (AEPI).

(AEPI), functions as a Collective Management Organization
on the basis of the regulations of Greek Law 2121/1993.

AEPI represents more than 11,000 Greeks as well as 2,200,000
foreign intellectual property owners who
entrusted her with their works and its management.

AEPI has concluded reciprocal agreements with
125 like companies in 181 territories.



Cultural Creation on the internet
Challenge or Threat ?

In Fall 2009 taking as a starting a proposal by IFPI/Grammo AEPI Organized and coordinated for the ﬁrst time
the gathering of 14 undersigned Organizations, which represent the totality of intellectual individuals
of the country, plus the rights of hundreds of thousands foreign rights holders represented in Greece.

Their initiative was a common attempt to brief, converge and communicate their positions, present
their propositions to the public and the State, the latter being called upon, through its ofﬁcers, to take
position for the protection of intellectual / neighboring / human rights on the internet.



In search of a solution.

Following the initiative a series of meetings were organized between several Greek internet service providers
and 15 categories of right-owners to seek a solution.

Service providers asked for a blanket license to be compensated with for a monthly fee per user.
These discussions brought no results, due to the lack of co-operation between the right-owners.


My experience as a creator and owner of Authors’ Rights

“A free customer is more valuable than a captive one”. Doc Searls

We must re-think permissions and standards, strike new balances
for a connected world and monetize usage and engagement.



To stay relevant we need to see -and experience-
the world in the same way as your customers.

Attempts at increasing control while the world keeps getting
more connected will fail spectacularly!



LICENCING?
What we need is
a collective, compulsory blanket licence
for music & media in the internet.

Bottom line:
the problem is not what consumers are doing - the problem is
that the music industry has not blessed it with a license yet!



Neelie Kroes Commissioner for Digital Agenda recently reported:

“It is a common assumption that the existing legal framework should be changed as soon as
possible because it doesn’t serve well any party - nor the artists neither the companies or users”.

Paradigm
shift required

the digital music (r)evolution clearly poses a myriad of
business and socio-cultural problems that require us to
devise a new social contract that legalizes what people
actually do, and then build new business models around it.

Gerd Leonhand (media futurist)



Here are from our experience some of the reasons that resolution
through licensing has not reached the desired solution:

In the European Commission there are several Directorates-General with contradictory points of view.

The basic aim of the Commission regarding competition among Collective Management Organizations
favors the Societies that represent international repertories such as Anglo-Saxon-American and operates
against national small repertories, such as Greek, Portuguese, etc.

The "Commission Recommendation of 2005 on Collective Cross-Border Management of Copyright and
Related Rights for legitimate online music services", encouraged the major Music Publishers (EMI, SONY,
WARNER, UNIVERSAL, BMG) to withdraw their repertories from CMOs as regards online licensing.
This resulted in the authorization process for users to worsen and there in many cases the users don’t know
to whom they should address themselves for licensing.



Here are from our experience some of the reasons that resolution
through licensing has not reached the desired solution:

Radio and Television Organizations.
Private Radio and TV Broadcasters on the one hand, featuring the German RTL, are in favor of negotiations
with each creator or rights-owner separately and not through CMOs.
Public Radio and TV Broadcasters on the other hand, featuring EBU (European Broadcasters Union), are in
favor of the maintenance of the present system of collective management.

BUY – OUT practices:
R/TV Organizations, the producers of audiovisual works, the record companies, press creators for a complete
buy-out of their rights, leading them to their absolute isolation.

Behavior of companies providing services through the internet.
Due to the chaotic situation created based on the facts I described several companies went ahead and
launched their operation without the necessary licenses and royalty payments for the use of music.



Today's situation.

There are complex problems concerning the licensing of providers of music services on-line, due to
interventions and pressures by the European Commission on the following issues:
a) Which CMO(s) will be entitled to license the provider
b) For which repertories
c) For which territory

There is a general belief the European Commission either does not wish or is not able to effectively solve
the issue, under the lobbying of serious stakeholders.

In France, the Law HADOPI (of threes strikes) was activated with difﬁculties in summer of 2010. Its
ﬁnancial cost is immense and therefore, its future uncertain.


But wait!

I also consider myself an empowered user (formerly known as consumer)

and I want to share with you the following:

People pay when the see real value, when the price is right
and when the process it’s easy

$40 for 12 weeks will offer:
• A minimum of 5 updates from the studio per week.
• Updates would be posted in a less-than-24-hour consistency.
• Each update would be a minimum of 5 minutes in length.
• There is a possibility of live streaming video content in addition to
what has been presented above.
• The updates will ultimately be part of a substantial "art ﬁlm."


My needs as a empowered media buyer - user.

BUT

I want you to provide
me access from:

Anywhere

Anytime (24/7/365)

Any device



to personalized services

personalized offers,

real meaning,

solid relevance,

timeliness,

transparency

and truthfulness.


with many different products for all kinds of needs.

2009

2007

Number of products per album release 100 +
Justin Timberlake “Future Sex/Love Sounds”
Only 20% of 19 million sales were CD..

2003

Number of products per album release with the CD being the dominant format ≤10



for which I’ll also remunerate you with my attention by

forwarding a link,
rating a site,
commenting on a blog,
twittering,
sharing bookmarks,
allowing cookies on my computer,
sharing my location,
liking something on Facebook
and many more things that
creates meta-content,
i.e. content around content.



...so before you blame me as being responsible (user, customer, participant, consumer)



for your businesses decline...



Start with a great story, sift through its data,

slice and dice it, move it around,

make it useful, clear its legal and fair use,

present it in all kind of useful formats and prices,

and you have my attention, payment and devotion.


My thoughts as a empowered media buyer - user.

In other
words

Drastic user empowerment means businesses must collaborate... or perish.

Networked individuals
Large companies & brands

Now

Networked individuals

Large companies & brands Used to be


Epilogue
“Tomorrow never knows” The Beatles

Understandably everyone is wondering:
What will work in place of the old model?

Is there a general model that will replace
what it dissolves before our eyes?

Any experiment designed to provide new models of interaction
and creativity will be an improvement compared with
denial of reality, especially at a time when for most
the unthinkable future is already past.


AUTHORS RIGHTS IN THE DIGITAL AGE.

Thank you for your time

Blog: www.plessasmusic.com

email: aplessas@otenet.gr - aplessas@aepi.gr


AUTHORS RIGHTS IN THE DIGITAL AGE.

Photo Credits

newspaper photo

national geographic photo

wired magazine

Graphics on slides 6,9 & 32 used under permission from Media Futurist Gerd Leonhard.


Antonis plessas slide_show_presentation_ for_author_rights_in_the_digital_age_seminar

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