Text · Report parliamentary committee draft
On the cultural and creative sectors in the age of AI
Document CULT-PR-786971 · 2025/2180(INI)
- Kind
- Report parliamentary committee draft CULT-PR-786971
- Date
- 9 September 2026
- Committee
- Committee on Culture and Education
- Rapporteur
- Hélder Sousa Silva
- Dossier
- 2025-2180
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- Official page PDF Word
- Subject matter
- CULT
- Reference
- 2025/2180(INI)
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Motion for a european parliament resolution
–having regard to the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, adopted on 20 October 2005,
–having regard to Regulation (EU) 2024/1689 of the European Parliament and of the Council of 13 June 2024 laying down harmonised rules on artificial intelligence and amending Regulations (EC) No 300/2008, (EU) No 167/2013, (EU) No 168/2013, (EU) 2018/858, (EU) 2018/1139 and (EU) 2019/2144 and Directives 2014/90/EU, (EU) 2016/797 and (EU) 2020/1828 (Artificial Intelligence Act)1,
–having regard to the Commission proposal of 19 November 2025 for a regulation of the European Parliament and of the Council amending Regulations (EU) 2024/1689 and (EU) 2018/1139 as regards the simplification of the implementation of harmonised rules on artificial intelligence (Digital Omnibus on AI) (COM(2025)0836),
–having regard to Directive 2010/13/EU of the European Parliament and of the Council of 10 March 2010 on the coordination of certain provisions laid down by law, regulation or administrative action in Member States concerning the provision of audiovisual media services (Audiovisual Media Services Directive)2, as amended by Directive (EU) 2018/1808 of the European Parliament and of the Council of 14 November 2018 amending Directive 2010/13/EU on the coordination of certain provisions laid down by law, regulation or administrative action in Member States concerning the provision of audiovisual media services (Audiovisual Media Services Directive) in view of changing market realities3,
–having regard to Regulation (EU) 2021/818 of the European Parliament and of the Council of 20 May 2021 establishing the Creative Europe Programme (2021 to 2027) and repealing Regulation (EU) No 1295/20134,
–having regard to Regulation (EU) 2022/1925 of the European Parliament and of the Council of 14 September 2022 on contestable and fair markets in the digital sector and amending Directives (EU) 2019/1937 and (EU) 2020/1828 (Digital Markets Act)5,
–having regard to Regulation (EU) 2022/2065 of the European Parliament and of the Council of 19 October 2022 on a Single Market For Digital Services and amending Directive 2000/31/EC (Digital Services Act)6,
–having regard to Directive (EU) 2019/790 of the European Parliament and of the Council of 17 April 2019 on copyright and related rights in the Digital Single Market and amending Directives 96/9/EC and 2001/29/EC7,
–having regard to Directive 2001/29/EC of the European Parliament and of the Council of 22 May 2001 on the harmonisation of certain aspects of copyright and related rights in the information society8,
–having regard to its resolution of 10 March 2026 on copyright and generative artificial intelligence – opportunities and challenges9,
–having regard to the Commission proposal of 16 July 2025 for a regulation of the European Parliament and of the Council establishing the ‘AgoraEU’ programme for the period 2028-2034, and repealing Regulations (EU) 2021/692 and (EU) 2021/818 (COM(2025)0550),
–having regard to the Commission communication of 8 October 2025 entitled ‘Apply AI Strategy’ (COM(2025)0723),
–having regard to its resolution of 17 January 2024 on cultural diversity and the conditions for authors in the European music streaming market10,
–having regard to its resolution of 20 October 2021 on the situation of artists and the cultural recovery in the EU12,
–having regard to its resolution of 19 May 2021 on artificial intelligence in education, culture and the audiovisual sector13,
–having regard to its resolution of 20 October 2020 on intellectual property rights for the development of artificial intelligence technologies14,
A.whereas artificial intelligence (AI) is already used across the cultural and creative sectors (CCS), including in creation, production, distribution and discoverability;
B.whereas AI technologies are evolving faster than existing regulatory and market responses, continually giving rise to new applications, risks and challenges for the CCS that are difficult to anticipate and that call for a robust, technological, neutral assessment of the adequacy of the EU framework;
C.whereas AI can contribute to safeguarding tangible and intangible cultural heritage by supporting efforts to combat illicit trafficking of cultural goods and through digital preservation, authorship attribution, and the transcription and documentation of endangered oral traditions and performance practices;
D.whereas the opportunities and challenges arising from AI vary significantly across the different CCS, including the music, audiovisual, book, publishing, cultural heritage and news media sectors, requiring tailored sector-specific responses alongside horizontal measures;
E.whereas the proliferation of AI-powered tools raises serious concerns related to deepfakes, manipulation and fraud, which may undermine public confidence in cultural and creative content;
F.whereas automated programs that systematically browse websites and collect the content they find, known as web crawlers, scrapers or bots, are widely used both to develop the datasets on which generative AI models are trained and to retrieve content in real time in response to user queries; whereas website operators and rights holders can, at present, only restrict such collection through voluntary technical protocols, notably the robots exclusion protocol, which crawlers are under no obligation to respect; whereas rights holders frequently cannot establish which crawlers have visited their sites, on whose behalf they were acting or for what purpose the content was collected; whereas reservations of rights, therefore, can be neither verified nor enforced in practice;
G.whereas the European book and publishing sector, which has an estimated market value of EUR 39 billion, is seeing AI-driven innovation, including text-to-speech tools to improve accessibility for persons with print disabilities and predictive analytics to align print runs with demand and reduce overproduction;
H.whereas documented practices associated with the development of AI systems have involved the destructive digitisation of physical cultural material, including the dismantling, cutting or alteration of original works and copies in order to render their content machine-readable; whereas the development and deployment of AI must not result in the irreversible destruction, degradation or loss of tangible cultural works, collections or heritage assets; whereas digitisation for AI-related purposes should be carried out in a manner that safeguards the integrity, preservation and continued accessibility of the original material for future generations;
I.whereas the European audiovisual market generated revenues of around EUR 142 billion in 2024 and is increasingly deploying AI across its value chain from development and production to distribution;
J.whereas recorded music revenues in the EU reached EUR 5.7 billion in 2024, with paid streaming accounting for 77.4 % of revenue growth, and streaming services increasingly using AI-driven recommendation systems that affect artists’ discoverability and listeners’ access to new music;
K.whereas the integration of AI is altering the work dynamics in the CCS, including content creation and editing, which may reduce entry-level opportunities through the automation of tasks, thereby requiring the development of new skills and reshaping career pathways;
L.whereas AI technologies make it increasingly possible to replicate the voice, image and likeness of performers and other creators without their knowledge or consent, raising serious concerns about personality rights, economic interests and artistic integrity, which are not comprehensively addressed under the existing EU legal framework;
M.whereas news media and journalism face specific AI-related challenges, including risks to media pluralism, editorial integrity, economic sustainability and the disintermediation of publishers from their audiences as AI-powered answer engines can satisfy users’ information needs, without direct access to original journalistic content;
N.whereas the development of generative AI (GenAI) relies on vast amounts of data, including cultural and creative content used as training data, raising structural questions concerning the conditions for rights holders’ authorisation and control over such use, the transparency and traceability of training datasets, the identification and attribution of works and rights holders, remuneration and the distribution of value and bargaining power across the value chain;
O.whereas AI can widen public access to cultural heritage, including through virtual and immersive tours, interactive guides and improved accessibility for persons with disabilities, allowing more people to engage with collections and sites irrespective of their location; whereas such applications also carry risks, in particular where AI-generated reconstructions and interpretations are presented without a clear indication of their interpretative or hypothetical character, where digital experiences come to be treated as a substitute for, rather than a complement to, direct contact with authentic works and sites, and where cultural heritage institutions lose control over the digitised representations of their own collections;
P.whereas AI is already used in video game development for content creation, animation, sound and music, natural-language processing, quality control, testing and online safety, including the moderation of player communications and the detection of toxic behaviour; whereas it has potential to automate repetitive tasks, improve development workflows, support safer online experiences and enhance the player experience;
1.Stresses that the ethical and human-centred use of AI can support and enhance, rather than replace, human creativity and can create opportunities across the creative and cultural value chain, from research and creative development to production, distribution and monetisation;
2.Acknowledges that AI plays distinct roles across the CCS, supporting the creation of works, the promotion, distribution and discoverability of content, and the emergence of new forms of artistic and creative expression;
3.Calls on the Commission to ensure that the announced AI strategy for the CCS is ambitious, delivered without delay, accompanied by a clear implementation roadmap and measurable sector-specific objectives, and developed in close consultation with creators, performers, cultural institutions, small and medium-sized enterprises, technology providers and the consumer; stresses that the strategy should foster innovation, competitiveness, human creation, cultural diversity, the discoverability of European works and wide public access to culture;
4.Emphasises that AI-driven tools can enhance the discoverability of European cultural and creative content, increase the universal visibility of artists and creators and support more diverse cultural consumption;
5.Recognises that AI-enabled tools can lower barriers to entry, enabling independent creators and smaller cultural and creative enterprises to use capabilities that previously required substantial technical and financial resources, thereby contributing to a greater diversity of European cultural content;
6.Calls on the Commission to assess the real impact of AI on the job opportunities and income of authors and performers across the CCS and to evaluate, as part of the upcoming AI strategy for CCS, AI literacy and upskilling needs across these sectors, thus ensuring that AI supports, rather than replaces, human creativity;
7.Stresses that transparency, respect for exclusive rights, contractual freedom, informed and voluntary licensing, clear liability rules and the effective enforcement of existing legislation are essential to enable rights holders to authorise or prohibit the use of their works and provide the necessary flexibility to foster a sustainable and innovative creative economy;
8.Calls for the full, consistent and effective implementation and enforcement of the AI Act’s transparency obligations for AI-generated and manipulated content, taking due account of the related Code of Practice on Transparency of AI-Generated Content; calls on the Commission not to limit its response to the application of the existing horizontal legal framework, but to take further action at EU level to address the specific challenges arising from the use of AI in the CCS; considers that such action should complement the existing EU framework through targeted, sector-specific measures that safeguard human creativity, ensure meaningful transparency and accountability throughout the AI value chain, protect the diversity and visibility of European cultural and creative works, and preserve the conditions necessary for sustainable creative careers and a diverse European cultural ecosystem;
9.Acknowledges that algorithmic recommendation systems have an increasing influence on visibility, which may create challenges, including, but not limited to, the suppression of emerging, independent or minority-language creators and the opaque prioritisation of certain works; calls on the Commission to ensure the effective enforcement of existing obligations and evaluate the need for further measures to safeguard discoverability and exposure to European works;
10.Invites the Commission to assess the feasibility of a mandatory identification and registration mechanism for web crawlers used for AI training or data exploitation, in order to enable effective oversight, enhance transparency, thus allowing for increased understanding of cultural representation, and ensure accountability throughout their data-collection and processing activities;
11.Calls for standardised, machine-readable formats, potentially managed and listed by the European Union Intellectual Property Office, enabling rights holders to exclude their works from AI training, which would provide legal certainty for rights holders and AI providers;
12.Calls for EU safeguards protecting performers and other creators from the unauthorised replication of their voice, image or likeness by AI systems, and for accessible and effective remedies;
13.Recalls that Article 50 of the AI Act creates marking and disclosure obligations for the providers and deployers of AI systems generating synthetic content, but that those obligations do not follow the content along the chain through which it reaches the public; calls, therefore, for these obligations to be complemented by requirements for distributors, aggregators and platform operators to preserve and clearly display markings and provenance information, and for the development of common, workable and technologically neutral criteria to give practical effect to the boundary between AI generation and meaningful human creative input, with proportionate implementation for small and medium-sized enterprises; calls for platforms to make available the possibility of self-labelling fully AI-generated content at the point of delivery by creators, and for distributors to apply and enforce consistent and transparent policies to that effect;
14.Calls for fair remuneration and effective value distribution for rights holders whose works are used in AI systems, and for meaningful transparency, including on training data, to enable rights holders to exercise their rights and obtain remuneration; to that end, calls on the Commission to strengthen the Model Documentation Form under the General-Purpose AI Code of Practice by improving the traceability of the origin, composition and licensing status of training data and to revise, without delay, the Commission Template for the Public Summary of Training Content, required under Article 53(1)(d) of the AI Act, so that public summaries enable rights holders to identify relevant training data sources and effectively exercise and enforce their rights;
15.Calls on the Commission and the Member States to complement horizontal AI and copyright rules with tailored sector-specific policies and support measures addressing the distinct realities of the music, audiovisual, book and publishing, cultural heritage and news media sectors;
16.Recognises that AI tools can enhance the discoverability of European music and connect listeners with new artists; reminds the Commission of the request made by Parliament, in its resolution on cultural diversity and the conditions for authors in the European music streaming market, for action to be taken at EU level to guarantee the visibility and accessibility of European musical works, considering the overwhelming, and constantly growing, amount of content on music streaming platforms and the lack of EU rules to regulate these streaming platforms in a harmonised manner;
17.Calls for all fully AI-generated tracks on streaming platforms to carry a clear and visible label and for this to be done in a timely manner, regardless of whether the tracks qualify as deepfakes; calls for platforms to be required to ensure that such labelling is consistently displayed and effectively enforced on their services;
18.Calls on platforms to take effective action against infringing content and streaming fraud, by excluding notably fraudulent streams from monetisation and revenue-allocation mechanisms; calls for meaningful aggregate reporting on anti-fraud measures and their results, cooperation with rights holders and competent authorities, and accessible appeal procedures for affected artists, labels and distributors;
19.Recognises AI’s contribution across the audiovisual value chain, from pre-production to distribution; is concerned that performers face pressure to grant broad and open-ended rights for AI training and for the creation and exploitation of digital replicas and synthetic performances, notably in dubbing and video games;
20.Recognises that AI can support audiovisual creation and production, including documentary research, pre-visualisation, editing, visual effects, restoration, translation, dubbing and localisation; stresses that legitimate AI-assisted uses that support and enhance human creativity must be distinguished from the unauthorised use of protected films, programmes and archive material for AI training or in AI-generated outputs;
21.Calls on the Commission, to clarify the application of the current EU legal framework to player-generated content created through generative AI tools provided or integrated by games companies, particularly where such content infringes third-party rights or may affect a publisher’s ability to rely on existing hosting protections; stresses that any guidance should ensure legal certainty and avoid disproportionate obligations;
22.Recognises AI’s contribution to accessibility, including through text-to-speech tools for persons with print disabilities; is concerned by the unauthorised and exploitative large-scale use of copyright-protected books for AI training where such authorisation is required under EU law, and by the proliferation of unlabelled, fully AI-generated books, including publications attributed to fictitious human authors, which may mislead readers;
23.Calls on the Commission, following the initial application of Article 50 of the AI Act, to assess the effectiveness, interoperability, robustness and reliability of the machine-readable marking, detection and labelling requirements for synthetic text used in publications, which are to be extended beyond AI developers to online booksellers, distributors and self-publishing platforms; calls on those intermediaries to provide clear labelling and filtering mechanisms for fully AI-generated publications and to take effective action against unlawful use of content, AI-generated imitations and misleading attribution involving identifiable authors;
24.Recognises the growing role of AI in the restoration, virtual reconstruction, preservation and accessibility of cultural heritage; warns that AI systems used to describe, curate and facilitate access to digital cultural heritage may reproduce or amplify biases in datasets and metadata, thereby reducing the visibility of under-represented collections, minority languages and less-represented cultures;
25.Stresses the need to support the responsible uptake of AI by museums and other cultural institutions, accompanied by adequate funding, capacity building and human oversight; warns that large-scale AI models and recommender systems may contribute to cultural homogenisation and reduce the visibility and discoverability of European works, minority-language content and less-represented cultures;
26.Calls for common EU standards and guidance on metadata quality, AI ethics, intellectual property and data governance in cultural heritage, including on the clear identification of AI-generated reconstructions and interpretations and on preserving the control of cultural heritage institutions over the digitised representations of their collections, with a view to facilitating broader access and research while fostering diversity and creativity across Europe;
27.Calls for investment in the development and curation of high-quality, rights-compliant and culturally and linguistically diverse datasets, with particular attention to under-represented European languages and cultures; calls on the Commission to develop methodologies and indicators to assess the representation of European cultural and linguistic diversity in AI training datasets;
28.Notes with concern the acute AI-related challenges facing news media and journalism, including risks to media pluralism, editorial integrity and economic sustainability, as AI systems increasingly retrieve and synthesise journalistic content within their own interfaces, often without adequate attribution or prominent links to the original sources, thereby disintermediating newsrooms and their editorial rigour from their audiences;
29.Calls on the Commission to ensure effective and continuous enforcement of obligations for very large online search engines under the Digital Services Act, specifically in relation to AI-generated overviews; calls for meaningful transparency regarding the selection of these sources and clear attribution and prominent links to original sources, thus potentially reducing the spread of misinformation;
30.Calls on providers of AI systems and services that base their training on retrieved journalistic content to comply with the applicable EU legal framework; supports voluntary, market-based licensing and fair remuneration where applicable; asks the Commission to address the practical situation whereby publishers may lose control and remuneration if they permit access to their content, but may lose visibility in general searches if they reserve their rights;
Back matter, 2
Parts that accompany the text rather than belong to it: explanatory statement, annexes, opinions appended by other committees. Collapsed.
Explanatory statement 26 blocks
Artificial Intelligence (AI) is transforming the cultural and creative sectors at a pace no previous technology has matched. According to Eurostat, close to half of European enterprises (with at least 10 employees) in the cultural and creative sectors (CCS) have already adopted at least one AI technology, while that figure remains below one in five across the economy as a whole.
The CCS are not ordinary industries. They are carriers of identity, language and shared memory. They mold how our societies understand themselves and evolve over time, and they shaped the European project itself, which grew out of a shared cultural inheritance long before it started drafting laws that affect millions of people. A deep transformation of cultural production is therefore a transformation of society itself.
Change in itself is neither new nor unwelcome. Printing, photography, sound recording, radio, cinema, television and the digital shift each altered how culture was made, reproduced and shared, and European culture emerged renewed from every one of them. What distinguishes the present moment is not only the speed of the change but its source. For the first time, cultural content can be produced at scale without passing through a human mind. This is why the current transformation cannot be treated as one more step in a familiar sequence, and why the conditions under which it takes place call for a political and regulatory answer rather than for confidence in the sector alone.
The question before the Committee on Culture and Education is not simply how a new technology affects a market: it is who shapes cultural production in the age of AI, under what conditions and with which intention.
AI offers real opportunities across the creative value chain: wider access to culture, greater accessibility for persons with disabilities, the restoration and reconstruction of heritage, better discoverability of European works and new forms of artistic expression. At the same time, its current development and its easy and massified use, places the CCS under unprecedented structural pressure. Protected works were and are being used at large scale without authorisation. Revenue is thus diverted from those who create or perform. Visibility is increasingly dictated by systems whose criteria are not transparent, and finally, consumers are rarely informed about these practices and their implications.
The challenge of this report is not to choose between technology and culture. It is to evaluate their intersection and ensure that the use of AI will not exploit or rewrite the soul of our European culture or further prejudice those who depend on it.
The conviction that such conditions must be set does not belong to any one of this Parliament, nor indeed to politics alone. In May 2026, Pope Leo XIV devoted the first encyclical of his pontificate, Magnifica Humanitas, to safeguarding the human person in the time of artificial intelligence, placing the dignity of the human person as the fundamental criterion by which technological process should be guided, and recalling the dignity of human work as a priority in all future developments.
Article 167 of the Treaty on the Functioning of the European Union (TFEU) commits the Union to foster the flourishing of the Member States’ culture by respecting their national and regional diversity and by bringing their common cultural heritage to the forefront. The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, to which the Union is a party, carries obligations of its own. These provisions define a responsibility borne by the Union, and AI now tests it.
The sectors concerned employ around eight million people and account for approximately four per cent of the Union’s value added. They are overwhelmingly composed of small and micro enterprises, individual creators and freelancers, which are precisely the actors least able to negotiate with and verify the conduct of the largest technology companies in the world. Beyond their economic weight, these sectors sustain linguistic diversity, media pluralism and serve as amulets of democratic discourse.
The Union’s responsibility is also practical, as the conditions under which AI meets European culture are set largely at Union level, through the Artificial Intelligence Act, the Digital Services Act, the Digital Market Act, the copyright framework, the Audiovisual Media Services Directive and the European Media Freedom Act. The CCS’s experience of this technology will depend on how those horizontal instruments are implemented, and what the Union does when they fall short. Pressing times sharpens that responsibility. The Commission has announced, under the Culture Compass for Europe, an AI Strategy for the cultural and creative sectors for early 2027. With this report, Parliament sets out its position while the Commission’s strategy is still being developed rather than responding only once it has been finalised.
A fine line separates contribution from appropriation. Non-consensual training on protected works crosses that line, as value flows out of the European cultural ecosystem without authorisation, transparency or remuneration. Protected works have been used at very large scale to train generative systems, and the systems built on them now compete with the very creativity they were trained on.
The reservation of rights provided for in Union law has proven insufficient in practice, especially for individual creators who lack the technical and legal capacity to exercise it. Rights holders cannot establish whether their works have been used, which makes rights unenforceable in fact even where they are clear in law. On the supply side, fully AI-generated output has grown to the point where, on one major streaming service, it exceeds half of the new music delivered on peak days, while attracting only a marginal share of actual listening, a divergence indicating that much of this volume is directed at royalty pools rather than at audiences.
Some challenges are common to all CCS. The first concerns transparency which has two distinct dimensions, that should be clearly distinguished: transparency regarding the content used by AI systems, and transparency regarding their outputs, notably through, the labelling of AI-generated content. The former underpins the effective exercise of rights and the functioning of licensing markets while the latter is essential to maintaining public trust.
A second challenge concerns individuals themselves, as voice, image and likeness can now be convincingly replicated without their consent, as these attributes are not comprehensively protected under Union law. A third challenge concerns the impact on careers in the CCS. The tasks most readily automated are also those that have traditionally provided young professionals with an entry point into these sectors and enabled them to develop their skills. Their automation therefore risks undermining the long-term renewal and transmission of European creative expertise.
The direction taken in this report rests on five choices. First, the human-centric principle is treated as an operating rule. The stakes are substantial: without clear safeguards, the deployment of AI risks displacing human creative activity rather than supporting it. A meaningful and identifiable human creative contribution therefore serves as the reference point applied consistently throughout the report, from labelling to public funding.
Second, existing horizontal rules are necessary but not sufficient. CCS differ significantly in their value chains, licensing practices and exposure to AI related challenges. The report therefore complements Union-wide measures with sector-specific responses for music, audiovisual and video games, books and publishing, cultural heritage, and news media.
Third, creators must retain effective control over their works. Such control must be meaningful in practice and exercised through genuine choice, clearly defined: rights and effective voluntary licensing mechanisms, adapted to the realities of each sector. These are essential conditions for a fair and well-functioning European market operating at the intersection of AI and culture.
Fourth, public trust depends on the ability to distinguish human-created content from content generated by AI. Fully AI-generated content should be clearly and consistently labelled, with transparency obligations accompanying that content throughout the distribution chain rather than ending at the point of generation, or resting solely with AI developers.
Fifth, protection must go hand in hand with the capacity to act. The report calls for investment in AI literacy and skills across CCS, for access to European computing capacity and to high-quality, rights-compliant and linguistically diverse datasets, for trustworthy European tools including open-source solutions, and for common standards enabling cultural heritage institutions to adopt these technologies responsibly. Europe’s cultural and linguistic diversity must be represented in the systems themselves, not merely protected from their effects.
The question is not whether Europe will adapt to AI. It is whether Europe will shape the conditions under which AI enters its cultural and creative ecosystems. If it fails to do so, the consequences will not be limited to individual works or professions: they risk weakening the very foundations on which European cultural creation depends on: human authorship, cultural and linguistic diversity, and the capacity of new generations to enter, sustain and renew these sectors.
When synthetic generation progressively displaces human creative expression, cultural forms may endure while the voices, experiences and communities that give them meaning are marginalised. This report is Parliament’s contribution to ensuring that Europe sets those conditions, so that AI strenghtens rather than erodes its cultural ecosystem and serves the people who create, sustain and transmit it.
Annex: declaration of input 4 blocks
Pursuant to Article 8 of Annex I to the Rules of Procedure, the rapporteur declares that he included in his report input on matters pertaining to the subject of the file that he received, in the preparation of the draft report, from the following interest representatives falling within the scope of the Interinstitutional Agreement on a mandatory transparency register1, or from the following representatives of public authorities of third countries, including their diplomatic missions and embassies:
| 1. Interest representatives falling within the scope of the Interinstitutional Agreement on a mandatory transparency register |
| Sony Pictures Entertainment (SPE), Sony Music Entertainment, Getty Images, Adobe, BEUC - The European Consumer Organisation, Confédération internationale des sociétés d'auteurs et compositeurs (CISAC), Creativity Works!, Digital AI Action Group, European Composer & Songwriter Alliance (ECSA), EU Strategy, EUROCINEMA, European Centre for International Political Economy (ECIPE), European Coalitions for Cultural Diversity,European Creative Content Exchange (ECCE), European Visual Artists (EVA), European Writers Council (EWC), Europeana, Europa Nostra, Common European Data Space for Cultural Heritage, International Federation of the Phonographic Industry (IFPI), Federation of European Screen Directors (FERA), IMPALA, News Media Europe, European Magazine Media Association (EMMA), European Newspaper Publishers’ Association (ENPA), RELX, Society of Audiovisual Authors (SAA), Videogames Europe, STM, SyncLodge, Adami – French collective management organisation for performers’ rights, BAM! Popauteurs – Artist & Songwriter Organisation from the Netherlands, Creo – Norwegian union for arts and culture, Dansk Musiker Forbund – Danish Musicians’ Union, De Muziekgilde – Association of musicians and producing DJ’s residing in the Dutch speaking part of Belgium, FACIR – Belgian Federation of authors, composers and performers, Musikerförbundet – Swedish Musicians’ Union, Ntb/Kunstenbond – Dutch Musicians’ Union, PlayRight – Belgian collective management society of neighbouring rights for performing artists, Spedidam – French collective management organisation for performers’ rights, SPPF – French collective management organisation for independent producers, European Music Managers Alliance, Music Artists Coalition (USA), SONA - Songwriters of North America (USA), NITO - National Independent Talent Organisation (USA), IAO - International Artists Organisation, Artists Rights Alliance (USA), Black Music Action Coalition (USA), Association of Artist Managers (Australia), Music Managers Forum Aotearoa (New Zealand), Music Managers Forum Canada, Featured Artists Coalition (UK), The Ivors Academy (UK), Performex (Denmark), Dansk Artist Forbund (Denmark), La Guilde des Artistes de la Musique (France), Finnish Musicians Union (Finland), The Musicians Union (UK) ,AFEM - Association For Electronic Music, Amazon, ACT, MPA, GESAC - European Grouping of Societies of Authors and Composers, AEPO-ARTIS - Association of European Performers’ Organisations, ICMP – International Confederation of Music Publishers, EBU - European Broadcasting Union, CEPI - European Audiovisual Production, EFAD - European Film Agencies, AAPA – Audiovisual Anti-Piracy Alliance, FEP - Federation of European Publishers, EPC – European Publishers Council, European Arts and Entertainment Alliance (EAEA), Cloudfare, Youtube, Spotify, EuroISPA- European Internet Service Providers Association and NEMO |
Where natural persons are identified in the list by their name, by their function or by both, the rapporteur declares that he has submitted to the natural persons concerned the European Parliament’s Data Protection Notice No 484 (https://www.europarl.europa.eu/data-protect/index.do), which sets out the conditions applicable to the processing of their personal data and the rights linked to that processing.
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European Parliament (2026). “DRAFT REPORT on the cultural and creative sectors in the age of AI”. Text, 9 September 2026. docId CULT-PR-786971. EU Parl Watch Research. https://news.eu-parl.st-solutions.dev/texts/CULT-PR-786971 (retrieved 25 September 2026). Data: EP Open Data API: document record, https://data.europarl.europa.eu/api/v2/documents/CULT-PR-786971 (CC BY 4.0).
BibTeX
@misc{epw-text-cult-pr-786971,
author = {{European Parliament}},
title = {{DRAFT REPORT on the cultural and creative sectors in the age of AI}},
year = {2026},
date = {2026-09-09},
howpublished = {\url{https://news.eu-parl.st-solutions.dev/texts/CULT-PR-786971}},
url = {https://news.eu-parl.st-solutions.dev/texts/CULT-PR-786971},
urldate = {2026-09-25},
publisher = {EU Parl Watch Research},
note = {Text. docId CULT-PR-786971. Data: EP Open Data API: document record (CC BY 4.0)}
}