Un enfoque de derecho contractual para la censura privada del arte en plataformas de redes sociales

Article Sidebar

PDF (English) ePUB (English)

Main Article Content

Gabriel Ernesto Melian Pérez
Universitat Pompeu Fabra
Nausikaä El-Mecky
Universitat Pompeu Fabra

La censura a los artistas en las redes sociales afecta a su libertad de expresión y a su capacidad para monetizar e interactuar con su público. Además, esto fomenta un proceso de estandarización cultural. Se han planteado varios argumentos legales contra la censura artística en plataformas de redes sociales, principalmente basados en derecho público; sin embargo, no son eficaces en todas las jurisdicciones, como demuestra la jurisprudencia estadounidense. El objetivo de este artículo es cambiar el foco de atención y aportar soluciones desde una perspectiva del derecho privado, concretamente desde el derecho de contratos. El principal argumento aquí es que los tribunales deberían abandonar su enfoque bilateral/vertical tradicional y adoptar uno más matizado que refleje mejor la complejidad de las relaciones que tienen lugar en las redes sociales. Esto daría a los afectados acceso a recursos contractuales concretos y permitiría un mayor control sobre el proceso de moderación de contenidos.

Palabras clave
censura algorítmica, moderación de contenidos, derecho contractual, redes contractuales

Article Details

Cómo citar
Melian Pérez, Gabriel Ernesto; y El-Mecky, Nausikaä. «Un enfoque de derecho contractual para la censura privada del arte en plataformas de redes sociales». IDP. Revista de Internet, Derecho y Política, n.º 41, pp. 1-12, doi:10.7238/idp.v0i41.423101.
Derechos
Creative Commons License

Esta obra está bajo una licencia Creative Commons Reconocimiento-SinObraDerivada 3.0 Unported.

(c) Gabriel Ernesto Melian Pérez, Nausikaä El-Mecky, 2024


Derechos de autor

Los contenidos publicados en IDP están bajo una licencia de Reconocimiento-Sin obras derivadas 3.0 España de Creative Commons, cuyo texto completo se puede consultar en http://creativecommons.org/licenses/by-nc-nd/3.0/es/deed.es. Así pues, se permite la copia, distribución y comunicación pública siempre y cuando se cite el autor del texto, la revista (IDP. Revista de Internet, Derecho y Política y la institución que los publica (UOC), tal como consta en la citación recomendada que aparece en cada artículo. No se pueden hacer obras derivadas.

Es responsabilidad de los autores obtener los permisos necesarios de las imágenes que estén sujetas a copyright.

 

Cesión de derechos de propiedad intelectual

El autor cede sin exclusiva a los editores de la revista los derechos de explotación (reproducción, distribución, comunicación pública y transformación) para explotar y comercializar la obra, entera o en parte, en todos los formatos y modalidades de explotación presentes o futuros, en todos los idiomas, por todo el periodo de vida de la obra y por todo el mundo.

El autor debe declarar que es el autor original de la obra. Los editores quedan, por lo tanto, exonerados de cualquier obligación o responsabilidad por cualquier acción legal que pueda suscitarse derivada de la obra depositada por la vulneración de derechos de terceros, sean de propiedad intelectual o industrial, de secreto comercial o cualquier otro.

Biografía del autor/a

Gabriel Ernesto Melian Pérez, Universitat Pompeu Fabra

Is a predoctoral fellow at Universitat Pompeu Fabra, Barcelona. His doctoral research focuses on approaches to countering hate speech and extremism in social networks through content moderation. He teaches in the degrees of Economics, Business Administration and Management, and Labor Relations. He holds an LLM in IP and IT from the University of Göttingen and graduated in Law with honors from the University of Havana. He is currently a member of the UPF consolidated research group Dret Patrimonial - Property Law - (2021 SGR 00946); of the national project Responsabilidad contractual y extracontractual de las plataformas en línea – Contractual and non-contractual liability of online platforms – (PID2021-126354OB-I00/MICIN/AEI/10.13039/501100011033/FEDER); and of the CAIS Bochum Working Group Fund – Taste of the Algorithm.

Nausikaä El-Mecky, Universitat Pompeu Fabra

Is a tenure track professor in History of Art & Visual Culture at Universitat Pompeu Fabra, Barcelona, specializing in historical and contemporary attacks on art, focusing on their unexpected and self-contradictory aspects, from prehistory until today.  Nausikaä was a member of the Die Junge Akademie, as one of Germany’s outstanding young academics, from 2017-2022 and was awarded the Maria Gräfin von Linden award for unusual contributions to the humanities. She is currently an advisory board member of the Berlin Brandenburg Academy for its Immanuel Kant-related enlightenment team, leads the Taste of the Algorithm international working group (funded by the Center for Advanced Internet Studies) and is the founder of the international platform for cutting-edge education Rebellious Teaching.

Citas

ARE, Carolina (2022). “The Shadowban Cycle: an autoethnography of pole dancing, nudity and censorship on Instagram”. Feminist Media Studies, vol. 22, no. 8, pp. 2002-2019. DOI: https://doi.org/10.1080/14680777.2021.1928259

BARTH, Stefanie (2023, 18 January). “Content Moderation and Freedom of Expression – Digital Society Blog”. HIIG [online]. Retrieved from: https://www.hiig.de/en/content-moderation-on-digital-platforms/. [Accessed: 4 April 2023].

BENNETT, Isabel (2017, 12 November ). “Artist’s ‘sexual’ robin redbreast Christmas cards banned by Facebook”. The Guardian [online]. Retrieved from: https://www.theguardian.com/technology/2017/nov/12/artists-sexual-robin-redbreast-christmas-cards-banned-by-facebook. [Accessed: 16 August 2023].

BEN-SHAHAR, Omri; HOFFMAN, David A.; HWANG, Cathy (2022). “Nonparty Interests in Contract Law”. University of Virginia School of Law, Public Law and Legal Theory Research Paper Series 2022-17. DOI: https://doi.org/10.2139/ssrn.4038584

BREITENBACH, Dagmar (2018). “Facebook apologizes for censoring prehistoric figurine”. Deutsche Welle [online]. Retrieved from: https://www.dw.com/en/facebook-apologizes-for-censoring-prehistoric-figurine-venus-of-willendorf/a-42780200. [Accessed: 16 August 2023].

CAFAGGI, Fabrizio (2011). “Contractual networks and contract theory: a research agenda for European contract law”. Contractual networks, Inter-Firm Cooperation and Economic growth. Cheltenham, UK: Edward Elgar Publishing. DOI: https://doi.org/10.4337/9781849809696.00010

CANO, María Jesús Sánchez; MATUTE, Yeray Romero (2021). “El régimen jurídico de las redes sociales y los retos que plantea el acceso a dichas plataformas”. Cuadernos de derecho transnacional, vol. 13, no. 1, pp. 1139-1148. DOI: https://doi.org/10.20318/cdt.2021.6023

DUFFY, Brooke Erin; MEISNER, Colten (2023). “Platform governance at the margins: Social media creators’ experiences with algorithmic (in) visibility”. Media, Culture & Society, vol. 45, no. 2, pp. 285-304. DOI: https://doi.org/10.1177/01634437221111923

DUGUAY, Stefanie; BURGESS, Jean; SUZOR, Nicolas (2020). “Queer women’s experiences of patchwork platform governance on Tinder, Instagram, and Vine”. Convergence, vol. 26, no. 2, pp. 237-252. DOI: https://doi.org/10.1177/1354856518781530

ELKIN-KOREN, Niva; DE GREGORIO, Giovanni; PEREL, Maayan (2021). “Social Media as Contractual Networks: A Bottom Up Check on Content Moderation”. Iowa L. Rev, vol. 107, p. 987.

ETZIONI, Amitai (2019). “Should We Privatize Censorship?”. Issues in Science and Technology, vol. 36, no. 1, pp. 19-22.

FAUST, Gretchen (2017). “Hair, blood and the nipple”. In: FRÖMMING, U. et. al., Digital environments: ethnographic perspectives across global online and offline spaces, pp. 159-170. Bielefeld: transcript Verlag. DOI: https://doi.org/10.115/9783839434970-012

GERRARD, Ysabel; THORNHAM, Helen (2020). “Content moderation: Social media’s sexist assemblages”. New Media & Society, vol. 22, no. 7, pp. 1266-1286. DOI: https://doi.org/10.1177/1461444820912540

HOFFMAN, David A.; HWANG, Cathy (2021). “The social cost of contract”. Columbia Law Review, vol. 121, no. 3, pp. 979-1016.

HOLZNAGEL, Daniel (2021, 9 December ). “Enforcing the Rule of Law in Online Content Moderation: How European High Court decisions might invite reinterpretation of CDA § 230”. Business Law Today [online]. Retrieved from: https://businesslawtoday.org/2021/12/rule-of-law-in-online-content-moderation-european-high-court-decisions-reinterpretation-cda-section-230/. [Accessed: 30 March 2023].

IQBAL, Nosheen (2020, 9 August). “Instagram ‘censorship’ of black model’s photo reignites claims of race bias”. The Guardian/Observer [online]. Retrieved from: https://www.theguardian.com/technology/2020/aug/09/instagrams-censorship-of-black-models-photo-shoot-reignites-claims-of-race-bias-nyome-nicholas-williams. [Accessed: 16 August 2023].

KELLER, Daphne (2019). “Who Do You Sue? ”. Hoover Institution Aegis Series Paper, no. 19002.

KETTEMANN, Matthias C.; KLAUSA, Torben (2021, 20 September). “Regulating Online Speech: Ze German Way”. Lawfare [online]. Retrieved from: https://www.lawfareblog.com/regulating-online-speech-ze-german-way. [Accessed: 30 March 2023]. DOI: https://doi.org/10.14763/2020.2.1484

KETTEMANN, Matthias C.; TIEDEKE, Anna Sophia (2020). “Back up: Can users sue platforms to reinstate deleted content?”. Internet Policy Review, vol. 9, no. 2, pp. 1-20.

KLEINMAN, Zoe (2016, 9 September). “Fury over Facebook ‘Napalm girl’ censorship”. BBC News [online]. Retrieved from: https://www.bbc.com/news/technology-37318031. [Accessed: 11 August 2023].

MOLLOY, Mark (2016, January). “Facebook accused of censoring photo of Copenhagen’s Little Mermaid statue”. The Telegraph [online]. Retrieved from: https://www.telegraph.co.uk/news/worldnews/europe/denmark/12081589/Copenhagen-Little-Mermaid-statue-Facebook-accused-of-censoring-photo.html. [Accessed: 21 August 2023].

PARELLA, Kishanthi (2021). “Protecting third parties in contracts”. American Business Law Journal, vol. 58, no. 2, pp. 327-386. DOI: https://doi.org/10.1111/ablj.12184

RICCIO, Piera et al. (2022). “Algorithmic Censorship of Art: A Proposed Research Agenda”. ICCC, pp. 359-363.

SCHULZE, Reiner; STAUDENMAYER, Dirk (2020). EU Digital Law: Article-by-article Commentary. Nomos Verlag. DOI: https://doi.org/10.5040/9781509923588

SHAPIRO, Emma (2022a, 18 April). “Censorship on social media not only limits artists’ online reach—it can prevent future opportunities, too”. The Art Newspaper [online]. Retrieved from: https://www.theartnewspaper.com/2022/04/18/censorship-on-social-media-not-only-limits-artists-online-reachit-can-prevent-future-opportunities-too. [Accessed: 12 August 2023].

SHAPIRO, Emma (2022b, 19 January). “Is Instagram censorship changing art itself?”. The Art Newspaper [online]. Retrieved from: https://www.theartnewspaper.com/2022/01/19/is-instagram-censorship-changing-art-itself. [Accessed: 12 August 2023].

TEUBNER, Gunther (2011). Networks as connected contracts. (Edited with an introduction by Hugh Collins, translated by Michelle Everson). Hart Publishing.

THEIL, Stefan (2022). “Private censorship and structural dominance: Why social media platforms should have obligations to their users under freedom of expression”. The Cambridge Law Journal, vol. 81, no. 3, pp. 645-672. DOI: https://doi.org/10.1017/S0008197322000484

TOFTE, Brenda L. (1998). “Baby, It’s cold outside: The chilling effect of the decency clause on the arts in the aftermath of National Endowment for the Arts v. Finley”. Hamline L. Rev, vol. 22, p. 303.

TRAKMAN, Leon E. (2016). “Public Responsibilities Beyond Consent: Rethinking Contract Theory”. Hofstra L. Rev, vol. 45, p. 217.

VENTURINI, Jamila et al. (2016). Terms of service and human rights: An analysis of online platform contracts. Editora Revan.

WITT, Alice; SUZOR, Nicolas; HUGGINS, Anna (2019). “The rule of law on Instagram: An evaluation of the moderation of images depicting women’s bodies”. University of New South Wales Law Journal, vol. 42, no. 2, pp. 557-596. DOI: https://doi.org/10.53637/IPMC9544