9ut`orÌs ri_`ts are t`e return on creatine innesteent L aurent P etitgirard, mu sic composer and condu ct or, F rance As a composer, my professional life relies ensu res fairness and su st ains repert oires on a favorab le environment for creat ion. t h at are more fragile, less ex posed. As Au t h ors and composers, lik e me, are creat ors, w e are st rongly at t ach ed t o t h is in a posit ion t h at can b e and oft en is collect ive model for t w o main reasons: precariou s: t h e ret u rn on invest ment on firkt$ Zecamke it _ivek mk È individmal t h e t ime spent creat ing is u ncert ain and creat ors — “ st rengt h in nu mb er” in at b est middle t erm, especially in t h e order t o get proper remu nerat ion for cont emporary mu sic w orld. T o collect t h e ou r w ork s; and second b ecau se w e are fru it of ou r lab or w e h ave t o rely on many t h e decision- mak ers in ou r CM O s. At actork in t`e creative c`ain È firkt of all$ S acem for inst ance, t h e B oard — made ou r pu b lish ers, b u t also record produ cers u p of creat ors and pu b lish ers — convenes and art ist ic programmers — so t h at ou r 5 0 t imes per y ear t o manage ou r societ y . creat ion w ill b e sh ow n t o au diences and O f cou rse, au t h or’ s righ t s are not u su ally w ill may b e encou nt er su ccess, depending t h e only sou rce of revenu e of many on t h e pu b lic’ s favors. W e even oft en creat ors, and most of u s h old ot h er © J . B . M illot need t o b ecome ou r ow n produ cer. j ob s. B u t t h is is b y no means new : B ach Au t h or’ s righ t s and collect ive w as a mat h emat ics t each er, Lisz t and management give u s some st ab ilit y . M endelssoh n w ere virt u oso pianist s and O u r collect ive management societ ies condu ct ors, F au ré w as direct or of t h e are h ere t o insu re t h at w h en ou r w ork s P aris Conservat ory … H ow ever, t h is does are b roadcast , b e it on t h e radio, on t h e not mean t h at ou r au t h or’ s righ t s are int ernet , on t elevision or in a concert not crmcial for mk2 t`ey are a ki_nificant h all, ou r au t h or’ s righ t s are collect ed part of ou r revenu es, and t h ey are t h e and du ly redist rib u t ed. S acem, for ret u rn on ou r creat ive invest ment . T h at inst ance, redist rib u t es 8 0 % of righ t s is w h y creat ors are alw ay s vigilant ab ou t “ w ork b y w ork , ” on t h e b asis of report s t h e evolu t ion of t h e legal environment of made b y b roadcast ers. T h is precision int ellect u al propert y righ t s. :uid\in_ a de_ad ^raeeoork to _uarantee ^air reoar\s ^or creators J an S ardi, screenw rit er, Au st ralia Au st ralia’ s cu lt u ral and creat ive indu st ries W it h t h e rapid ex pansion of plat forms in cont rib u t e U S $ 8 6 b annu ally ( 7 % ) t o t h e t h e digit al age, w e are det ermined t o see nat ional economy , and w rit ers simply Au st ralian copy righ t law s b rou gh t int o need t o h ave t h e righ t t o sh are in t h e t h e 2 1 st cent u ry and in h armony w it h ret u rns of t h e int ellect u al propert y t h ey int ernat ional b est pract ice. F u rt h ermore, creat e. Au st ralian w rit ers h ave long b een t h e b u siness models digit al t ech nologies disadvant aged b y a cont ract - b y - cont ract req u ire mean t h at collect ive management t reat ment of copy righ t and secondary of eq u it ab le remu nerat ion for creat ors roy alt ies, one w h ich oft en demands all is t h e only opt ion, t o ensu re t h ey are righ t s assignment s. rew arded for t h e ongoing ex ploit at ion of t h eir w ork . © J an S ardi | Cultural times L`e Õrst _dobad eah o^ cudturad an\ creatine in\ustries )(1