L`e c`adden_e o^ aut`orÌs ri_`t hrotection an\ suhhort T h e creat ive indu st ries mak e a u niq u e prot ect ion for int ellect u al propert y in É At oidd be a don_ uh`idd cont rib u t ion t o t h e economic and cu lt u ral Ch ina. T h is w as essent ial, said t h e du o, stru__de to ensure t`e w ell- b eing of nat ions and individu als. “ if t h e nat ion w ant s t o creat e more of At t h e h eart of t h ese indu st ries — w h ich it s ow n online cont ent . ” T h ey added: re_udation o^ cudturad generat e U S $ 2 , 2 5 0 b of revenu es and “ Improving copy righ t prot ect ion w ill h elp _oo\s an\ t`e `edh o^ creat e 2 9 million j ob s — are t h e creat ors. Ch inese companies develop a mat u re As cont ent increasingly moves online, b u siness model for videos, mu sic and t`e hubdic sector to t h e not ion of “ free access” is spreading, animat ion. ” suhhort neo tadents hroeoted Zy t`oke o`o Zenefit W h at is t ru e for Ch ina is t ru e for t h e rest commercially from providing free access. of t h e w orld, t oo. P roper prot ect ion for docaddq&Ê B u t for au t h ors and creat ors t o cont inu e creat ive cont ent is needed every w h ere. creat ing cu lt u re and promot ing cu lt u ral Collect ive management of righ t s is a diversit y , t h ey mu st b e compensat ed sy st em t h at allow s creat ors t o devot e Artist, Ivory Coast fairly for t h e u se of t h eir w ork s. t ime t o creat ion, w it h t h e gu arant ee t h at O t h erw ise, creat ing w ill again b ecome a even t h e most modest u se of t h eir w ork leisu re act ivit y rest rict ed t o t h ose w h o w ill b e t rack ed and fairly remu nerat ed. already h ave t h e means t o h ou se and O n t op of t h is general recommendat ion, feed t h eir families. it ik clear t`at keveral khecific initiativek “ F air u se” is not fair t o t h e creat ors if are needed t o b et t er prot ect au t h ors’ t h ey are not get t ing paid for t h is u se. ri_`tk& An t`e emkic field$ t`e >air Lrade “ F air” means t h at creat ors sh ou ld b e M u sic init iat ive is look ing at b ringing paid — fairly — for t h eir w ork . Creat ors many digit al services t o t h e t ab le, t o depend on b eing paid in order t o mak e ident ify and agree “ fair t rade” condit ions a living. W h en ot h er people go t o w ork , for creat ors. T h e visu al art s sect or is creat ors go t o t h e colors and canvas; b u ilding a coalit ion of creat ors arou nd t h e t o t h e pen and paper; t o t h e recording w orld t o su pport t h e art ist resale righ t ktmdio3 to t`e file ket or to yet anot`er and lob b y for an int ernat ional t reat y . F or demanding, ex h au st ing, and even painfu l au diovisu al, a proj ect t h at look s at t h e reh earsal in search of performance inalienab le righ t of remu nerat ion h as j u st perfect ion. If t h ey cannot get paid for b een lau nch ed, w h ich w ou ld h ave maj or doing w h at t h ey do, t h ey w ill h ave t o do rehercmkkionk for creatork in t`e field$ somet h ing else inst ead of creat ing — and especially in cou nt ries w h ere no su ch all of societ y w ill lose. righ t is recogniz ed. If art ist s st op creat ing, w h at w ill b e t h e T h e “ U niversal D eclarat ion of H u man w ort h of free cont ent ? Any one can see R igh t s, ” adopt ed b y t h e U nit ed N at ions’ t h e difference b et w een q u alit y j ou rnalism G eneral Assemb ly in 1 9 4 8 , st at es t h at b y t rained and rigorou s minds, and “ E very one h as t h e righ t t o t h e prot ect ion t h e freely aired viru lence of cou nt less of t h e moral and mat erial int erest s b loggers. T h ose w h o w ant free access rekmltin_ froe any kcientific$ literary or and t h ose w h o mak e money from art ist ic produ ct ion of w h ich h e is t h e providing free access are free- riders on au t h or. ” T oday , t h at is far from b eing t h e t h e effort of t h ose w h ose cont ent t h ey case. T h e failu re t o ach ieve it is limit ing access or give aw ay . T oday , w e h ave revenu es of t h e CCI, and t h erefore reach ed a crit ical sit u at ion. U nless it is h olding b ack t h eir grow t h and ab ilit y pu t righ t , creat ivit y it self is in danger. t o h ire. T w o of Ch ina’ s most prominent creat ive and cu lt u ral ent repreneu rs, J ack M a, t h e b illionaire fou nder of Alib ab a, and P ony M a, t h e ow ner of T encent , w h ich operat es social net w ork s and w eb port als, last y ear pleaded for st ronger | 8 8 Cultural times L`e Õrst _dobad eah o^ cudturad an\ creatine in\ustries