And yes, the networks that survived are small, and not making money, which is the correct outcome for a network built on wide-scale abuse of copyright. Your response backs up my point, about how the media goes after large scale infringers, rather than worrying about small-time offenses.
That the over-policing of copyright will cast a chilling effect on independent media creation, that it will affect fair use and transformative works, and that the EU copyright laws will cause all online providers to err on the side of false positives. If you think automated takedowns, de-monetization, and capricious account bans are bad now, just wait until platforms are put in the untenable position of facing either huge fines for under policing, or lesser punishments for over policing.
I already told you that distributed networks have been taken down by concerted government action. Torrent sites have been shutdown. People have been charged during the Napster-era for hundreds of thousands of $$$ for songs on their hard drive. Here, how does this back up your point: https://www.theguardian.com/technology/2012/sep/11/minnesota...
As I pointed out, my ISP, Comcast, is already deep packet scanning network traffic and automatically flagging what it things are pirate activity.
You continually confuse real piracy, like someone uploading a whole movie or album, duped from pristine original source -- what I'd call bootleg copies, with stuff like a kid uploading a dance video to a backing track and going viral. Do you really think someone singing karaoke or dancing to a 30 year old song means that person should have their video taken down?
Even song covers, some girl or guy practicing singing, and and playing music on their own piano or guitar, gets taken down. I think that's absurd, especially for music decades old that was released before the singer was born. Artists being sued for sampling or chord sequences, against, a travesty. I've a big fan of Kirby Ferguson's _Everything is a Remix_, which points out that some of the biggest complainers of infringement of their work, are in fact, thieves themselves.
If YouTube becomes too hard for Europeans to publish on, because it turns into a hyper-curated nanny state, my point is, people may turn to TikTok, Bilibili, or others which will happily host the same content, but whose government cares little about helping to enforce foreign government ideas about IP. The end result of this law will be that it will be ineffectual in reducing piracy, but will be very effectual in casting a chilling effect on actual indie producers, and make it incredibly hard for competitors to YouTube start up in Europe.
Limit copyright to 14 years, the original duration (28 with renewable). That was the law for the first 180 years of copyright. Given the hyper-speed of internet time, if anything, copyright duration should be SHORTER not the century long disaster it is now. If you limited copyright to a much shorter term, I might be convinced to buy into your overly restrictionist stance, but as it is, lifetime+ copyright + orwellian enforcement mechanisms is a bridge too far.
Also, you do realize that most of the people concerned about losing the most money to copyright infringement are big international media companies and guilds, like Disney, or MPAA, RIAA, GEMA, etc and that you're essentially defending Disney Corp's right, whether you realize it or not, to block Star Wars parodies and fan films. Or GEMA's right to block your daughter's violin cover. Unless you think algorithm filters are going to magically determine 'fair use' between a kid cover, or a fan film, and a true bootleg, the end result is going to be platforms over-filtering.
I'll also point out that Max Schrems, whose strongly campaigns for GPDR and against Google and Facebook, actually is vehemently against Article 13, and backs mine and EFF's position.