Current copyright and patent systems on both sides of the Atlantic discourage innovation and prevent inventions and creations from entering the marketplace. A lack of dialogue between creators, rights holders, service providers and users continues to hamper development of legal methods of copyrighted content distribution. Reduced competition in innovative services, combined with increasing vertical concentrations in the cultural sector, raise concerns in terms of freedom of choice for both artists and consumers. Who is more entitled to speak in the name of creative communities than creators themselves? Who is more aware of what could make the display of protected content even more accessible and successful than content users and consumers? How could these interests be brought together to find common solutions for the benefit of the chain of creativity and innovation?

This is the spirit of the Paris Accord, which was first initiated by The TransAtlantic Consumer Dialogue (TACD) in 2006. The 2009 Accord gathered together creator and consumer representatives to propose concrete and positive solutions to challenge the defensive agenda pushed by a majority of right holders and policy-makers. The Paris Accord aims to establish a new kind of relationship between creative individuals and communities, with the final product being reflective of negotiations and agreement between all stakeholders. This initiative is the occasion to voice constructive consumer-based views, while acknowledging and addressing the needs of creative communities.

The Accord encompasses the creative community at large, including the public as creative community. The scope of the discussions is broad enough to address a wide variety of issues, ranging from new models for funding medical research to alternative remuneration schemes for music or software rights owners. The Accord should serve as an assertion of shared principles, and provide inspiration for policies that stimulate access and innovation.

A first draft of the Paris Accord was established in June 2006, and covered as its primary topics Medical Research and Development; Software; the Public as Creative Community; Films, Video and Art (Filmakers, Artists, Actors, and the Viewing Public); Recorded Music (Songwriters, Performers, and Listening Public); and Scholarly Publishing (Authors and Readers).

The 2006 draft text for the Paris Accord was far from final. It has, however, provided a starting point for the 2009 negotiations: the Paris Accord, Round II.

The 2009 meeting of the Paris Accord took place on October 23-24, 2009 in Paris (France), at the Institut National d’Histoire de l’Art (INHA).

2006 Paris Accord – TACD Workshop – June 19-20, 2006, Paris

The 2006 workshop aimed to bring people together to examine relations between creative communities and the public, seeking to identify common interests and new opportunities to collaborate. Discussions explored new and existing social and business models that connect creative communities and consumers. The meeting looked at models and relationships that recognise the importance of creative community earning a living, the interest of the public in obtaining affordable access to works, and the interests of both parties in supporting an environment for creativity and innovation. Here is the June 17, 2006 draft of the Paris Accord:

• English  (pdf) (odt) (doc)
• French  (pdf) (odt) (doc)