Translation with SYSTRAN Links

Edinburgh, from May 17th to May 19th - the digital one with the program of the 45e meeting of the European authorities of audio-visual regulation (EPRA)

Publication date: Friday, June 2, 2017


Logo EPRA Edinburgh

Organized byOfcom, the British counterpart of the CSA, the 45E meeting of the European Platform of the authorities of regulation - EPRA (European Platform of Regulatory Authorities) - gathered in Edinburgh delegated from May 17th to May 19th, 160 representing 49 authorities members of which the French CSA.

With the menu of these meetings, contents at the era of digital, and challenges to take up for the audio-visual regulation.

Around the topic information at the era of digital, the first plenary meeting is thus leaning on the problems of the reliability of information (phenomenon of the fake news), the discussions of the second plenary meeting, to which the CSA contributed, directing itself towards the impact of the recommendations personalized on diversity to answer the heading “ promises and challenges of digital disruption ”.

After the introduction of Professeure Natali Helberger of the University of Amsterdam/IViR, a panel made up of Martine Coquet, director of the European and international business of the CSA, Judith Möller, University of Amsterdam, and Anne Schuth, start-up Blendle Dutchwoman, exchanged on the threat or the opportunity which the filters and the algorithms for the diversity of the offer made by the media pose.

Whereas the consumption of audio-visual contents was never also easy, how to answer the risk which the digital uses imply for diversity? 

It is with this question that the CSA, within the framework of his international action, wished to bring brief replies before the assembly of the EPRA while being based on the first work of CSALab.

CSALab, think tank devoted to the digital questions, produced in January 2017, a report entitled the role of the data and algorithms

A typology of the algorithms used in the audio-visual sector is put there compared to the broad goals of public policy of a durable digital development: cultural diversity and consumer protection.

The French protection of cultural diversity answers three requirements: 

  • to guarantee to the televiewers and to the listeners an offer of contents rich and various; 
  • to preserve, in a competitive context, a diversity of actors of all sizes; 
  • to promote French and European creation.

Today they are still 44% of the French hearths which receive on their principal station, television via terrestrial network1.  

However, the development of linear and nonlinear television on the networks of the cable, the satellite and from now on Internet makes it possible to a majority of citizens to have an access geared down to audio-visual contents.

If this very offer can support diversity, there exist two principal risks all the same: 

  • a mislaying of the televiewer in front of an abundant offer of contents; 
  • a concentration of the offer and consumption around some works.

 The algorithms can facilitate the discovery of works to which the televiewer would not intuitively have turned, but they can also lock up the individuals in a repetitive consumption. 79% of the people indeed follow the recommendations of the video services to request2.

Beyond the principle of the recommendation by an algorithm, three questions appear: 

  • how to guarantee that the suggestions result from the expressed or supposed tastes of the user and not of a commercial partnership? 
  • does one have to integrate in the algorithms a criterion allowing the promotion of European or national works or an obligation of random suggestions? 
  • quid of the possibility of opening personalized publicity (prohibited in France on the linear services)?

Vis-a-vis these questions, the regulator must develop more flexible modes of intervention, information and sensitizing. Whereas these actors distributed on Internet are freed from the constraints of the borders, the answer must be total grace, inter alia, with a closer cooperation between European authorities of regulation but also with partners external with the European Union. It is in this direction also that the CSA, in Edinburgh, pointed out significance which he attaches to work, beyond those of the ERGA, the networks of regulators such as the EPRA but also the RIRM.

Created in 1995, the European Platform of the authorities of regulation (EPRA) meets the need for a closer cooperation between regulatory authorities in Europe. With its 20 years of experiment and its solid network of contacts at the operational level, the EPRA is the most important senior and of the networks of authorities of regulation in the audio-visual sector and thus constitutes the framework privileged for the information exchange and of good practices between regulators of audio-visual in Europe.

52 authorities of regulation of audio-visual the exits of 46 countries are currently members of the EPRA. The European Commission, the Council of Europe, the European Observatory of audio-visual and the Office of the Representative of the OSCE for the freedom of the media are permanent observers within the platform.

 

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