# articles

feed_id: https://creativecommons.org/?p=67816
title: CC’s #BetterSharing Collection | September: Open Is Beautiful
uri: CC-s-BetterSharing-Collection-September-Open-Is-Beautiful
url: https://creativecommons.org/2023/09/05/ccs-bettersharing-collection-september-open-is-beautiful/
content:
<figure id="attachment_66071" aria-describedby="caption-attachment-66071" style="width: 300px" class="wp-caption alignright"><img loading="lazy" class="wp-image-66071" src="media/5236c6ae.Tanya-Korniichuk-732x1024.png" data-original-source="https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-732x1024.png" alt="An illustration of a group of diverse people pulling on a line to peel back the blue background, revealing flowers underneath with the text: Open is Beautiful." width="300" height="420" srcset="https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-732x1024.png 732w, https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-214x300.png 214w, https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-768x1075.png 768w, https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-1097x1536.png 1097w, https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-1463x2048.png 1463w, https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-29x40.png 29w, https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-36x50.png 36w, https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-111x155.png 111w, https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk-1200x1679.png 1200w, https://creativecommons.org/wp-content/uploads/2022/11/Tanya-Korniichuk.png 1772w" sizes="(max-width: 300px) 85vw, 300px" /><figcaption id="caption-attachment-66071" class="wp-caption-text">“<a href="https://thegreats.co/artworks/open-is-beautiful">Open Is Beautiful</a>” by <a href="https://www.instagram.com/tanya.illustration/">Tetiana Korniichuk</a> for <a href="https://creativecommons.org/">Creative Commons</a> and <a href="https://fineacts.co/">Fine Acts</a> is licensed via <a href="https://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA 4.0</a>.</figcaption></figure>
<p><span style="font-weight: 400;">As part of our #20CC anniversary, last year we joined forces with Fine Acts to spark a global dialogue on what </span><i><span style="font-weight: 400;">better sharing</span></i><span style="font-weight: 400;"> looks like in action. Our </span><a href="https://creativecommons.org/2022/11/21/introducing-the-better-sharing-illustrations-a-creative-commons-fine-acts-collaboration/"><span style="font-weight: 400;">#BetterSharing collection</span></a><span style="font-weight: 400;"> of illustrations was the result — we gathered insights from 12 prominent open advocates around the world and tasked 12 renowned artists who embrace openness with transforming these perspectives into captivating visual pieces available under a CC license.</span></p>
<p><span style="font-weight: 400;">Each month throughout 2023, we will be spotlighting a different CC-licensed illustration from the collection on our social media headers and the CC blog. For September, we&#8217;re excited to showcase “Open Is Beautiful” by Ukrainian illustrator, Tanya Korniichuk. The piece, licensed under </span><a href="https://creativecommons.org/licenses/by-nc-sa/4.0/"><span style="font-weight: 400;">CC BY-NC-SA 4.0</span></a><span style="font-weight: 400;">, was inspired by a quote from </span><a href="https://twitter.com/cecillia"><span style="font-weight: 400;">Cecília Oliveira</span></a><span style="font-weight: 400;">, Executive Director of <a href="https://fogocruzado.org.br/">Fogo Cruzado</a>:</span></p>
<blockquote><p><span style="font-weight: 400;">“The powerful hide important data to prevent us from demanding change. This is true with armed violence in Brazil, but is also true where you live on issues that you care about. Find a way to use open data to make changes in your society.</span></p>
<p><span style="font-weight: 400;">To me, Better Sharing Brighter Future means… a city where people aren’t afraid of being shot. I created Fogo Cruzado because the authorities were not sharing important data, and they did it to prevent accountability. And, unfortunately, there were no institutions out there who were ready to fill in the gap. So I decided to do it myself. We had offers to make money off of selling our data, and we had others who were taking our data and using it poorly, but we knew that the ONLY way to make this situation better was to make our work open and free and easy to access for everyone. Our focus is armed violence, but really our mission is about fighting secrecy.”</span></p></blockquote>
<h2>Meet the artist:</h2>
<p><span style="font-weight: 400;"><img loading="lazy" class="size-medium wp-image-67817 alignleft" src="media/51f55283.504484d82b3b8594571475c49d6a74e3._thumbnail-300x278.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/504484d82b3b8594571475c49d6a74e3._thumbnail-300x278.png" alt="Tanya Korniichuk Headshot" width="300" height="278" srcset="https://creativecommons.org/wp-content/uploads/2023/09/504484d82b3b8594571475c49d6a74e3._thumbnail-300x278.png 300w, https://creativecommons.org/wp-content/uploads/2023/09/504484d82b3b8594571475c49d6a74e3._thumbnail-43x40.png 43w, https://creativecommons.org/wp-content/uploads/2023/09/504484d82b3b8594571475c49d6a74e3._thumbnail-50x46.png 50w, https://creativecommons.org/wp-content/uploads/2023/09/504484d82b3b8594571475c49d6a74e3._thumbnail-167x155.png 167w, https://creativecommons.org/wp-content/uploads/2023/09/504484d82b3b8594571475c49d6a74e3._thumbnail.png 500w" sizes="(max-width: 300px) 85vw, 300px" />Tanya is an illustrator from Kyiv, Ukraine, based in Vilnius, Lithuania. She gets her inspiration from simple things, people around her, her lovely dog. Through her expressive and bright style, she translates complex ideas into dynamic visuals, deftly encapsulating concepts. In her works she uses only standard shapes, so anyone can get inspired and recreate it.</span></p>
<p><span style="font-weight: 400;">Follow Tanya on Instagram:</span><a href="https://www.instagram.com/tanya.korn/"><span style="font-weight: 400;">@tanya.korn</span></a></p>
<p>&nbsp;</p>
<blockquote><p><span style="font-weight: 400;">The full #BetterSharing collection is available on </span><a href="https://thegreats.co/artworks?theme=better-sharing"><span style="font-weight: 400;">TheGreats.co</span></a><span style="font-weight: 400;"> to be enjoyed, used and adapted, and then shared again, by anyone, forever. </span><a href="https://thegreats.co/artworks?theme=better-sharing&amp;search="><span style="font-weight: 400;">View the full collection &gt;&gt;</span></a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/05/ccs-bettersharing-collection-september-open-is-beautiful/">CC’s #BetterSharing Collection | September: Open Is Beautiful</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67825
title: A Tale of Two Global Challenges: Climate research is not as open as COVID-19 research
uri: A-Tale-of-Two-Global-Challenges-Climate-research-is-not-as-open-as-CO
url:
https://creativecommons.org/2023/09/06/a-tale-of-two-global-challenges-climate-research-is-not-as-open-as-covid-19-research/

content:
<figure id="attachment_67826" aria-describedby="caption-attachment-67826" style="width: 840px" class="wp-caption aligncenter"><img loading="lazy" class="wp-image-67826 size-large" src="media/2cbbd44a.SDGs-vs-COVID-1024x364.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID-1024x364.png" alt="Two charts next to each other, one shows the percentage of open access for SDG-related research and the other shows the percentage of open access for COVID-related research papers. The charts show that there is significantly more open access to COVID-related research." width="840" height="299" srcset="https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID-1024x364.png 1024w, https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID-300x107.png 300w, https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID-768x273.png 768w, https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID-1536x545.png 1536w, https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID-113x40.png 113w, https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID-50x18.png 50w, https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID-270x96.png 270w, https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID-1200x426.png 1200w, https://creativecommons.org/wp-content/uploads/2023/09/SDGs-vs-COVID.png 1600w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /><figcaption id="caption-attachment-67826" class="wp-caption-text">Percentage of open access for SDG-related (left) and COVID-related (right) research papers, by open access type, 2000-2021. Much more COVID-19 research relative to SDG-related research is open access. Image from Contrasting the open access dissemination of COVID-19 and SDG research, Vincent Larivière, Isabel Basson, Jocalyn P. Clark. bioRxiv 2023.05.18.541286</figcaption></figure>
<p><span style="font-weight: 400;">In early 2020, something unusual happened in the academic community. A normally guarded community accustomed to holding their data and research papers close, began to adopt much more open practices. Researchers came in droves to preprint servers to post versions of their research papers &#8211; that had not yet been peer reviewed &#8211; to make their work freely and publicly available. New </span><a href="https://health.google.com/covid-19/open-data/"><span style="font-weight: 400;">data repositories</span></a><span style="font-weight: 400;"> emerged and pledges (</span><a href="https://wellcome.org/press-release/sharing-research-data-and-findings-relevant-novel-coronavirus-ncov-outbreak"><span style="font-weight: 400;">Wellcome</span></a><span style="font-weight: 400;">, </span><a href="https://science.gc.ca/site/science/en/office-chief-science-advisor/initiatives-covid-19/call-open-access-covid-19-publications"><span style="font-weight: 400;">Chief Science Advisors</span></a><span style="font-weight: 400;">) to make research open were signed. This demonstrable change in behavior was due to the recognition, including public and political pressure, that COVID-19 was a global threat to humanity. Biologists, geneticists, statisticians and others in biomedical fields came together to share their work; they realized in order to develop COVID-19 treatments and vaccines, the knowledge about the virus needed to be open and shared rapidly.</span></p>
<p><span style="font-weight: 400;">We now know over 90,000 preprints¹</span><span style="font-weight: 400;"> have been posted to various preprint servers since January 2020</span><span style="font-weight: 400;"> and a new preprint by </span><a href="https://www.biorxiv.org/content/10.1101/2023.05.18.541286v2"><span style="font-weight: 400;">Lariviére et al. (2023) </span></a><span style="font-weight: 400;">found that 79.9% of COVID-19 papers between January 2020² and December 2021 are open access. So if researchers recognized and responded to the need for rapid, open access to COVID-19 research, what about other global challenges?</span></p>
<p><span style="font-weight: 400;">The United Nations </span><a href="https://sdgs.un.org/goals"><span style="font-weight: 400;">Sustainable Development Goals</span></a><span style="font-weight: 400;"> (SDGs) are effectively 17 global challenges “for peace and prosperity for people and the planet.” Many of the world’s greatest challenges can be encapsulated in the SDGs. Lariviére et al. found that unlike COVID-19, only 55% of papers relating to one or more SDGs were open access for the same period or put another way, 45% of all research applicable to tackling humanity&#8217;s greatest challenges is closed. Research on climate change, arguably one of the world’s greatest challenges, had the second-lowest level of open access at just 55.5%. The contrast between open access of COVID-19 and climate research suggests that a sense of urgency and importance is elicited in one crisis but not the other. Why the disconnect?</span></p>
<p><span style="font-weight: 400;">It’s possible that publishers and climate researchers are simply subject to the many pressures and incentives against open access and that climate change research, while widely considered important, does not match the level of awareness, global solidarity and disruption that COVID-19 had on the world. In reality, climate change is an even bigger threat to humanity and is deserving of a higher sense of urgency.</span><span style="font-weight: 400;"><br />
</span><span style="font-weight: 400;"><br />
</span><span style="font-weight: 400;">The </span><a href="https://openclimatecampaign.org/"><span style="font-weight: 400;">Open Climate Campaign</span></a><span style="font-weight: 400;"> is a response to this lack of urgency and is working to make the open sharing of research the norm in climate science through global advocacy, one-on-one work with funders, national governments and environmental organizations; and partnerships with open projects and publishers. The Campaign recognizes that in order to generate solutions and mitigations to climate change, the knowledge (research papers, data, educational resources) about it must be open.</span></p>
<p><span style="font-weight: 400;">We are living through a climate crisis and a very real, effective action we can take is to make climate change research accessible. On our website you can find action kits detailing tools on what you can do to open climate research and how you can work with the Open Climate Campaign. Join us at </span><a href="http://www.openclimatecampaign.org"><span style="font-weight: 400;">openclimatecampaign.org</span></a><span style="font-weight: 400;"> or reach out at </span><a href="mailto:contact@openclimatecampaign.org"><span style="font-weight: 400;">contact@openclimatecampaign.org</span></a><span style="font-weight: 400;">.</span></p>
<p>¹ <span style="font-weight: 400;">A preprint is a version of a scholarly or scientific paper that precedes formal peer review and publication in a peer-reviewed scholarly or scientific journal (https://en.wikipedia.org/wiki/Preprint)</span></p>
<p>² https://github.com/nicholasmfraser/covid19_preprints</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/06/a-tale-of-two-global-challenges-climate-research-is-not-as-open-as-covid-19-research/">A Tale of Two Global Challenges: Climate research is not as open as COVID-19 research</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67857
title: Anya Kamenetz Será una Oradora Principal en la Cumbre Mundial CC 2023
uri: Anya-Kamenetz-Será-una-Oradora-Principal-en-la-Cumbre-Mundial-CC-2023
url:
https://creativecommons.org/2023/09/06/anya-kamenetz-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/

content:
<p style="text-align: right;">[<a href="https://creativecommons.org/2023/09/06/anya-kamenetz-to-keynote-cc-global-summit-2023/">read this post in English &gt;</a>]</p>
<figure id="attachment_67854" aria-describedby="caption-attachment-67854" style="width: 200px" class="wp-caption alignright"><img loading="lazy" class="size-medium wp-image-67854" src="media/6b9a5616.AnyaKamenetz-200x300.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-200x300.jpg" alt="A headshot of Anya Kamenetz, smiling and wearing a greenish top." width="200" height="300" srcset="https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-200x300.jpg 200w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-683x1024.jpg 683w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-768x1152.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-1024x1536.jpg 1024w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-1365x2048.jpg 1365w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-27x40.jpg 27w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-33x50.jpg 33w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-103x155.jpg 103w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-1200x1800.jpg 1200w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-scaled.jpg 1707w" sizes="(max-width: 200px) 85vw, 200px" /><figcaption id="caption-attachment-67854" class="wp-caption-text">“<a href="http://www.anyakamenetz.net/bio-photo/">Anya Kamenetz</a>” by Will O’Hare.</figcaption></figure>
<p>Tenemos un grupo increíble de personas preparadas para ser oradores principales en la Cumbre Global 2023, que se llevará a cabo del 3 al 6 de octubre en la Ciudad de México. En nuestro primer anuncio, damos la bienvenida a la escritora Anya Kamenetz, quien cerrará la Cumbre con un discurso de apertura que surge de su trabajo como periodista y ahora activista centrada en la educación climática para los niños.</p>
<p><a href="http://www.anyakamenetz.net/">Anya Kamenetz</a> habla, escribe y piensa sobre la justicia generacional y cómo los niños aprenden, crecen y prosperan en un planeta cambiante. Cubrió la educación como periodista durante muchos años, incluso para NPR, donde también cocreó el podcast Life Kit:Parenting en asociación con Sesame Workshop. Kamenetz es actualmente <a href="https://www.thisisplaneted.org/initiatives/climate-media-4-kids">asesor del Aspen Institute</a> y de la <a href="http://climatementalhealth.net/parents">Climate Mental Health Network</a> sobre nuevas iniciativas en la intersección de los niños y el cambio climático. Es autora de varios libros de no ficción aclamados: <em>Generation Debt</em> (Riverhead, 2006); <em>DIY U: Edupunks, Edupreneurs, and the Coming Transformation of Higher Education</em> (Chelsea Green, 2010) ; <em>The Test: Why Our Schools Are Obsessed With Standardized Testing, But You Don’t Have To Be</em> (Public Affairs, 2016); y <em>The Art of Screen Time: How Your Family Can Balance Digital Media and Real Life</em> (Public Affairs, 2018). Su último libro es <em>The Stolen Year: How Covid Changed Children’s Lives, And Where We Go Now</em> (Public Affairs, 2022). Kamenetz creció en Luisiana en una familia de escritores y místicos y se graduó en Yale University. Vive en Brooklyn con su marido y sus dos hijas y escribe el boletín <a href="https://thegoldenhour.substack.com/">The Golden Hour</a>.</p>
<p>Al igual que Anya, todos nuestros oradores principales se conectan directamente con las áreas de enfoque de CC, desde la creatividad contemporánea y el patrimonio cultural hasta los medios, la ciencia, la educación y el periodismo. Con el tema de la Cumbre sobre la IA y los bienes comunes, también esperamos enfrentar el desafío de perspectivas nuevas y renacidas que deberíamos considerar al pensar en la inteligencia artificial y su intersección con el conocimiento y la cultura abiertos. Todas los oradores principales de la Cumbre honrarán tanto la ubicación de la Cumbre en México como el alcance global de la comunidad CC.</p>
<p>¡Estén atentos para conocer a nuestros otros oradores principales! Te invitamos a unirte a nosotros en la Cumbre en la Ciudad de México para escuchar hablar a Anya y muchas otras voces diversas. Nuestra esperanza es que los oradores principales, el programa completo de la Cumbre y nuestras conexiones informales en la Ciudad de México y en línea se combinen para permitirnos a todos cultivar la estrategia de CC de <em><a href="https://creativecommons.org/2020/12/16/announcing-our-new-strategy-whats-next-for-cc/">compartir mejor</a></em>, un compartir que sea contextual, inclusivo, justo, equitativo, recíproco y sostenible.</p>
<blockquote><p><a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/">Regístrese para la Cumbre Global CC &gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/06/anya-kamenetz-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">Anya Kamenetz Será una Oradora Principal en la Cumbre Mundial CC 2023</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67851
title: Anya Kamenetz to Keynote CC Global Summit 2023
uri: Anya-Kamenetz-to-Keynote-CC-Global-Summit-2023
url: https://creativecommons.org/2023/09/06/anya-kamenetz-to-keynote-cc-global-summit-2023/
content:
<p style="text-align: right;">[<a href="https://creativecommons.org/2023/09/06/anya-kamenetz-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">lee esta entrada en español &gt;</a>]</p>
<figure id="attachment_67854" aria-describedby="caption-attachment-67854" style="width: 200px" class="wp-caption alignright"><img loading="lazy" class="size-medium wp-image-67854" src="media/6b9a5616.AnyaKamenetz-200x300.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-200x300.jpg" alt="A headshot of Anya Kamenetz, smiling and wearing a greenish top." width="200" height="300" srcset="https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-200x300.jpg 200w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-683x1024.jpg 683w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-768x1152.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-1024x1536.jpg 1024w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-1365x2048.jpg 1365w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-27x40.jpg 27w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-33x50.jpg 33w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-103x155.jpg 103w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-1200x1800.jpg 1200w, https://creativecommons.org/wp-content/uploads/2023/09/AnyaKamenetz-scaled.jpg 1707w" sizes="(max-width: 200px) 85vw, 200px" /><figcaption id="caption-attachment-67854" class="wp-caption-text">“<a href="http://www.anyakamenetz.net/bio-photo/">Anya Kamenetz</a>” by Will O’Hare.</figcaption></figure>
<p>We have an incredible group of people lined up to be keynote speakers at the 2023 CC Global Summit, to be held 3–6 October in Mexico City. In our first announcement, we welcome writer Anya Kamenetz, who will close the Summit with a keynote that grows out of her work as a journalist, and now, activist focused on climate education for children.</p>
<p><a href="http://www.anyakamenetz.net/">Anya Kamenetz</a> speaks, writes, and thinks about generational justice, and how children learn, grow and thrive on a changing planet. She covered education as a journalist for many years including for NPR, where she also co-created the podcast Life Kit:Parenting in partnership with Sesame Workshop. Kamenetz is currently <a href="https://www.thisisplaneted.org/initiatives/climate-media-4-kids">an advisor to the Aspen Institute</a> and the <a href="http://climatementalhealth.net/parents">Climate Mental Health Network</a> on new initiatives at the intersection of children and climate change. She’s the author of several acclaimed nonfiction books: <em>Generation Debt</em> (Riverhead, 2006); <em>DIY U: Edupunks, Edupreneurs, and the Coming Transformation of Higher Education</em> (Chelsea Green, 2010) ; <em>The Test: Why Our Schools Are Obsessed With Standardized Testing, But You Don’t Have To Be</em> (Public Affairs, 2016); and <em>The Art of Screen Time: How Your Family Can Balance Digital Media and Real Life</em> (Public Affairs, 2018). Her latest book is <em>The Stolen Year: How Covid Changed Children’s Lives, And Where We Go Now</em> (Public Affairs, 2022). Kamenetz grew up in Louisiana in a family of writers and mystics, and graduated from Yale University. She lives in Brooklyn with her husband and two daughters and writes the newsletter <a href="https://thegoldenhour.substack.com/">The Golden Hour</a>.</p>
<p>Like Anya, all our keynoters connect directly with CC’s areas of focus, from contemporary creativity and cultural heritage, to media, science, education, and journalism. With the Summit’s theme of AI and the commons, we also expect to be challenged with new and reborn perspectives that we should consider in thinking about artificial intelligence and its intersection with open knowledge and culture. All the Summit keynotes will honor both the Summit’s location in Mexico, and the CC community’s global scope.</p>
<p>Stay tuned to learn about our other keynote speakers! We invite you to join us at the Summit in Mexico City to hear Anya and many other diverse voices speak. Our hope is that the keynote addresses, the full Summit program, and our informal connections in Mexico City and online will combine to enable us all to cultivate CC’s strategy of <em><a href="https://creativecommons.org/2020/12/16/announcing-our-new-strategy-whats-next-for-cc/">better sharing</a></em>, sharing that is contextual, inclusive, just, equitable, reciprocal, and sustainable.</p>
<blockquote><p><a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/">Register for the CC Global Summit &gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/06/anya-kamenetz-to-keynote-cc-global-summit-2023/">Anya Kamenetz to Keynote CC Global Summit 2023</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67848
title: An Open Letter from Artists Using Generative AI
uri: An-Open-Letter-from-Artists-Using-Generative-AI
url: https://creativecommons.org/2023/09/07/an-open-letter-from-artists-using-generative-ai/
content:
<figure id="attachment_66492" aria-describedby="caption-attachment-66492" style="width: 300px" class="wp-caption alignright"><img loading="lazy" class="size-medium wp-image-66492" src="media/e500b2a4.BetterSharingWithAI-300x169.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-300x169.png" alt="A bluish surrealist painting generated by the DALL-E 2 AI platform showing a small grayish human figure holding a gift out to a larger robot that has its arms extended and a head like a cello." width="300" height="169" srcset="https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-300x169.png 300w, https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-1024x576.png 1024w, https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-768x432.png 768w, https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-1536x864.png 1536w, https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-71x40.png 71w, https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-50x28.png 50w, https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-270x152.png 270w, https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-440x250.png 440w, https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI-1200x675.png 1200w, https://creativecommons.org/wp-content/uploads/2023/02/BetterSharingWithAI.png 1600w" sizes="(max-width: 300px) 85vw, 300px" /><figcaption id="caption-attachment-66492" class="wp-caption-text">“<a href="https://creativecommons.org/2023/02/06/better-sharing-for-generative-ai/bettersharingwithai/">Better Sharing With AI</a>” by <a href="https://creativecommons.org/">Creative Commons</a> was generated by the DALL-E 2 AI platform with the text prompt “A surrealist painting in the style of Salvador Dali of a robot giving a gift to a person playing a cello.” CC dedicates any rights it holds to the image to the public domain via <a href="https://creativecommons.org/publicdomain/zero/1.0/">CC0</a>.</figcaption></figure>
<p>As part of Creative Commons’ ongoing <a href="https://creativecommons.org/tag/ai/">community consultation</a> on generative AI, CC has engaged with a wide variety of stakeholders, including artists and content creators, about how to help make generative AI work better for everyone.</p>
<p>Certainly, many artists have significant concerns about AI, and we continue to explore the many ways they might be addressed. Just last week, we <a href="https://creativecommons.org/2023/08/31/exploring-preference-signals-for-ai-training/">highlighted</a> the useful roles that could be played by new tools to signal whether an artist approves of use of their works for AI training.</p>
<p>At the same time, artists are not homogenous, and many others are benefiting from this new technology. Unfortunately, the debate about generative AI has too often become polarized and destructive, with artists who use AI facing harassment and even death threats. As part of the consultation, we also explored how to surface these artists&#8217; experiences and views.</p>
<p>Today, we’re publishing <a href="https://creativecommons.org/about/program-areas/policy-advocacy-copyright-reform/open-letter-artists-using-generative-ai-demand-seat-at-table-from-us-congress/">an open letter from over 70 artists</a> who use generative AI. It grew from conversations with an initial cohort of the full signatory list, and we hope it can help foster inclusive, informed discussions.</p>
<p>Signed by artists like <a href="https://www.nettricegaskins.com/">Nettrice Gaskins</a>, <a href="https://dadabots.com/">dadabots</a>, <a href="https://www.rob-sheridan.com/">Rob Sheridan</a>, <a href="https://www.charlieengman.com/">Charlie Engman</a>, <a href="https://lostbooks.gumroad.com/">Tim Boucher</a>, <a href="https://www.illustrata.ai/">illustrata</a>, <a href="https://makeitrad.xyz/">makeitrad</a>, <a href="https://jrdsctt.eth.co/">Jrdsctt</a>, <a href="https://greyowlaudio.ca/">Thomas K. Yonge</a>, <a href="https://blac.ai/">BLAC.ai</a>, <a href="https://twitter.com/delta_sauce">Deltasauce</a>, and <a href="https://cvalenzuelab.com/">Cristóbal Valenzuela</a>, the letter reads in part:</p>
<blockquote><p>“We write this letter today as professional artists using generative AI tools to help us put soul in our work. Our creative processes with AI tools stretch back for years, or in the case of simpler AI tools such as in music production software, for decades. Many of us are artists who have dedicated our lives to studying in traditional mediums while dreaming of generative AI’s capabilities. For others, generative AI is making art more accessible or allowing them to pioneer entirely new artistic mediums. Just like previous innovations, these tools lower barriers in creating art—a career that has been traditionally limited to those with considerable financial means, abled bodies, and the right social connections.”</p></blockquote>
<p>Read <a href="https://creativecommons.org/about/program-areas/policy-advocacy-copyright-reform/open-letter-artists-using-generative-ai-demand-seat-at-table-from-us-congress/">the full letter and list of signatories</a>. If you would like to have your name added to this list and are interested in follow-up actions with this group, please <a href="https://docs.google.com/forms/d/e/1FAIpQLSewdpe-W8IeRLyiToQtF4NeNWFN-dMUETe7GGB8ekCPGnlojw/viewform">sign our form</a>. You can share the letter with this shorter link: <strong>creativecommons.org/artistsailetter</strong></p>
<p>While the policy issues here are globally relevant, the letter is addressed to Senator Chuck Schumer and the US Congress in light of ongoing hearings and “Insight Fora” on AI hosted in the USA. Next week, Schumer is <a href="https://venturebeat.com/ai/senate-meeting-with-top-ai-leaders-will-be-closed-door-no-press-or-public-allowed/">hosting</a> one of these Fora, but the attendees are primarily from tech companies; the Motion Picture Association of America and the Writers Guild of America are invited, but there are no artists using generative AI specifically.</p>
<p>We also invited artists to share additional perspectives with us, some of which we’re publishing here:</p>
<p><strong>Nettrice Gaskins</strong> said: “Generative AI imaging is a continuation of creative practices I learned as a college student, in my computer graphics courses. It&#8217;s the way of the future, made accessible to us in the present, so don&#8217;t throw the baby out with the bathwater.”</p>
<p><strong>Elizabeth Ann West</strong> said: &#8220;Generative AI has allowed me to make a living wage again with my writing, allowing me to get words on the page even when mental and chronic health conditions made doing so nearly impossible. I published 3 books the first year I had access to Davinci 3. Generative AI allows me to work faster and better for my readers.&#8221;</p>
<p><strong>JosephC</strong> said: “There must be room for nuance in the ongoing discussion about machine-generated content, and I feel that the context vacuum of online discourse has made it impossible to talk and be heard when it comes to the important details of consent, the implications of regulation, and the prospects of making lives better. We need to ensure that consenting creatives can see their work become part of something greater, we need to ensure pioneering artists are free to express themselves in the medium that gives them voice, and we need to be mindful of the wishes of artists who desire to have their influence only touch the eyes and ears and minds of select other humans in the way they want. Opportunities abound; let us work together to realize them.”</p>
<p><strong>Tim Simpson</strong> said: “Generative AI is the photography of this century. It&#8217;s an incredible new medium that has immense potential to be leveraged by artists, particularly indie artists, to pursue artistic visions that would have been completely infeasible for solo artists and small teams just a year ago. Open source AI tools are immensely important to the development of this medium and making sure that it remains available to the average person instead of being walled off into monopolized corporate silos. Many of the regulatory schemes that are being proposed today jeopardize that potential, and I strongly urge congress to support measures that keep these tools open and freely available to all.&#8221;</p>
<p><strong>Rob Sheridan</strong> said: “As a 25 year professional artist and art director, I&#8217;ve adapted to many shifts in the creative industry, and see no reason to panic with regards to AI art technology itself….I fully understand and appreciate the concerns that artists have about AI art tools. With ANY new technology that automates human labor, we unfortunately live under a predatory capitalism where corporations are incentivized to ruthlessly cut human costs any way they can, and they&#8217;ve made no effort to hide their intentions with AI (how many of those intentions are realistic and how many are products of an AI hype bubble is a different conversation). But this is a systemic problem that goes well beyond artists; a problem that didn&#8217;t begin with AI, and won&#8217;t end with AI. Every type of workforce in America is facing this problem, and the solutions lie in labor organizing and in uniting across industries for major systemic changes like universal healthcare and universal guaranteed income. Banning or over-regulating AI art tools might plug one small hole in the leaky dam of corporate exploitation, but it closes a huge potential doorway for small creators and businesses.”</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/07/an-open-letter-from-artists-using-generative-ai/">An Open Letter from Artists Using Generative AI</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67883
title: Peter-Lucas Jones Será una Oradora Principal en la Cumbre Mundial CC 2023
uri: Peter-Lucas-Jones-Será-una-Oradora-Principal-en-la-Cumbre-Mundial-CC
url:
https://creativecommons.org/2023/09/11/peter-lucas-jones-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/

content:
<p style="text-align: right;">[<a href="https://creativecommons.org/2023/09/11/peter-lucas-jones-to-keynote-cc-global-summit-2023/">read this post in English &gt;</a>]</p>
<figure id="attachment_67881" aria-describedby="caption-attachment-67881" style="width: 300px" class="wp-caption alignright"><img loading="lazy" class="size-medium wp-image-67881" src="media/26f3a2c8.PeterLucasJones-300x300.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-300x300.png" alt="A headshot of Peter-Lucas Jones, smiling and wearing a rust top and tan jacket." width="300" height="300" srcset="https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-300x300.png 300w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-150x150.png 150w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-40x40.png 40w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-50x50.png 50w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-155x155.png 155w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones.png 350w" sizes="(max-width: 300px) 85vw, 300px" /><figcaption id="caption-attachment-67881" class="wp-caption-text">“<a href="https://www.whakaatamaori.co.nz/board-of-directors/peter-lucas-jones">Peter-Lucas Jones</a>” used by permission.</figcaption></figure>
<p>Tenemos un grupo increíble de personas preparadas para ser oradores principales en la Cumbre Global 2023, que se llevará a cabo del 3 al 6 de octubre en la Ciudad de México. Recientemente anunciamos a <a href="https://creativecommons.org/2023/09/06/anya-kamenetz-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">Anya Kamenetz</a> y ahora, en nuestro segundo anuncio, damos la bienvenida a Peter-Lucas Jones, quien va a pronunciar un discurso a la Cumbre que surge de su trabajo como figura destacada en los medios Māori y sus colaboraciones para honrar el conocimiento y la cultura local y tradicional en un contexto global.</p>
<p><a href="https://www.whakaatamaori.co.nz/board-of-directors/peter-lucas-jones">Peter-Lucas Jones</a> (Te Aupōuri, Ngāi Takoto, Ngāti Kahu) es el director ejecutivo de <a href="https://tehiku.nz/">Te Hiku Media</a> y un gobernador experimentado en el ecosistema de medios Māori. Actualmente es presidente de <a href="https://iwi.radio/">Te Whakaruruhau o ngā Reo Irirangi Māori</a>, vicepresidente de <a href="https://www.whakaatamaori.co.nz/">Whakaata Māori</a> y presidente de <a href="https://teaupouri.iwi.nz/">Te Rūnanga Nui o Te Aupōuri</a>. Como kaitiaki (guardián) de confianza de los datos Māori, Peter-Lucas negocia la responsabilidad de proteger los datos iwi (tribales) y Māori, al mismo tiempo que satisface las necesidades de los financiadores y las expectativas de los iwi y hapū (subtribus). Peter-Lucas tiene experiencia en transmisión terrestre y digital trabajando con kaumātua (ancianos) y marae (lugar de reunión Māori sagrado) para grabar contenido y brindar acceso a te reo ā-iwi (variación del lenguaje tribal), tikanga ā-iwi (variación cultural tribal), kōrero tuku iho (tradiciones orales) e historia iwi. Es un locutor de radio en idioma Māori galardonado que se centra en asuntos políticos y temas de actualidad. Esta experiencia ha visto el desarrollo de <a href="https://github.com/TeHikuMedia/Kaitiakitanga-License/">una licencia Kaitiakitanga</a> para Te Hiku Media que proporciona un marco para guiar el uso de datos Māori desde una perspectiva haukāinga (gente de origen de marae). Te Hiku Media utiliza ahora estos datos para desarrollar herramientas de NLP y NLU para te reo Māori.</p>
<p>Al igual que Peter-Lucas, todos nuestros oradores principales se conectan directamente con las áreas de enfoque de CC, desde la creatividad contemporánea y el patrimonio cultural hasta los medios, la ciencia, la educación y el periodismo. Con el tema de la Cumbre sobre la IA y los bienes comunes, también esperamos enfrentar el desafío de perspectivas nuevas y renacidas que deberíamos considerar al pensar en la inteligencia artificial y su intersección con el conocimiento y la cultura abiertos. Todas los oradores principales de la Cumbre honrarán tanto la ubicación de la Cumbre en México como el alcance global de la comunidad CC.</p>
<p>¡Estén atentos para conocer a nuestros otros oradores principales! Te invitamos a unirte a nosotros en la Cumbre en la Ciudad de México para escuchar hablar a Peter-Lucas y muchas otras voces diversas. Nuestra esperanza es que los oradores principales, el programa completo de la Cumbre y nuestras conexiones informales en la Ciudad de México y en línea se combinen para permitirnos a todos cultivar la estrategia de CC de <em><a href="https://creativecommons.org/2020/12/16/announcing-our-new-strategy-whats-next-for-cc/">compartir mejor</a></em>, un compartir que sea contextual, inclusivo, justo, equitativo, recíproco y sostenible.</p>
<blockquote><p><a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/">Regístrese para la Cumbre Global CC &gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/11/peter-lucas-jones-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">Peter-Lucas Jones Será una Oradora Principal en la Cumbre Mundial CC 2023</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67879
title: Peter-Lucas Jones to Keynote CC Global Summit 2023
uri: Peter-Lucas-Jones-to-Keynote-CC-Global-Summit-2023
url: https://creativecommons.org/2023/09/11/peter-lucas-jones-to-keynote-cc-global-summit-2023/
content:
<p style="text-align: right;">[<a href="https://creativecommons.org/2023/09/11/peter-lucas-jones-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">lee esta entrada en español &gt;</a>]</p>
<figure id="attachment_67881" aria-describedby="caption-attachment-67881" style="width: 300px" class="wp-caption alignright"><img loading="lazy" class="size-medium wp-image-67881" src="media/26f3a2c8.PeterLucasJones-300x300.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-300x300.png" alt="A headshot of Peter-Lucas Jones, smiling and wearing a rust top and tan jacket." width="300" height="300" srcset="https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-300x300.png 300w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-150x150.png 150w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-40x40.png 40w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-50x50.png 50w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones-155x155.png 155w, https://creativecommons.org/wp-content/uploads/2023/09/PeterLucasJones.png 350w" sizes="(max-width: 300px) 85vw, 300px" /><figcaption id="caption-attachment-67881" class="wp-caption-text">“<a href="https://www.whakaatamaori.co.nz/board-of-directors/peter-lucas-jones">Peter-Lucas Jones</a>” used by permission.</figcaption></figure>
<p>We have an incredible group of people lined up to be keynote speakers at the 2023 CC Global Summit, to be held 3–6 October in Mexico City. Recently we announced <a href="https://creativecommons.org/2023/09/06/anya-kamenetz-to-keynote-cc-global-summit-2023/">Anya Kamenetz</a>, and now in our second announcement, we welcome Peter-Lucas Jones, who will address the Summit with a keynote that grows out of his work as a leading figure in Māori media and his collaborations to honor local and traditional knowledge and culture in a global context.</p>
<p><a href="https://www.whakaatamaori.co.nz/board-of-directors/peter-lucas-jones">Peter-Lucas Jones</a> (Te Aupōuri, Ngāi Takoto, Ngāti Kahu) is the CEO of <a href="https://tehiku.nz/">Te Hiku Media</a> and an experienced governor in the Māori media ecosystem. He is currently the Chair of <a href="https://iwi.radio/">Te Whakaruruhau o ngā Reo Irirangi Māori</a>, Deputy Chair of <a href="https://www.whakaatamaori.co.nz/">Whakaata Māori</a> and Chairman of <a href="https://teaupouri.iwi.nz/">Te Rūnanga Nui o Te Aupōuri</a>. As a trusted kaitiaki (guardian) of Māori data, Peter-Lucas negotiates the responsibility of protecting iwi (tribal) and Māori data while meeting the needs of funders and the expectations of iwi and hapū (sub-tribes). Peter-Lucas has terrestrial and digital broadcasting experience working with kaumātua (elders) and marae (sacred Māori meeting place) to record content and provide access to te reo ā-iwi (tribal language variation), tikanga ā-iwi (tribal cultural variation), kōrero tuku iho (oral traditions) and iwi history. He is an award winning Māori language radio broadcaster with a focus on political affairs and topical issues. This experience has seen the development of a <a href="https://github.com/TeHikuMedia/Kaitiakitanga-License/">Kaitiakitanga License</a> for Te Hiku Media that provides a framework to guide the use of Māori data from a haukāinga (home people of marae) perspective. This data is now used by Te Hiku Media to develop NLP and NLU tools for te reo Māori.</p>
<p>Like Peter-Lucas, all our keynoters connect directly with CC’s areas of focus, from contemporary creativity and cultural heritage, to media, science, education, and journalism. With the Summit’s theme of AI and the commons, we also expect to be challenged with new and reborn perspectives that we should consider in thinking about artificial intelligence and its intersection with open knowledge and culture. All the Summit keynotes will honor both the Summit’s location in Mexico, and the CC community’s global scope.</p>
<p>Stay tuned to learn about our other keynote speakers! We invite you to join us at the Summit in Mexico City to hear Peter-Lucas and many other diverse voices speak. Our hope is that the keynote addresses, the full Summit program, and our informal connections in Mexico City and online will combine to enable us all to cultivate CC’s strategy of <em><a href="https://creativecommons.org/2020/12/16/announcing-our-new-strategy-whats-next-for-cc/">better sharing</a></em>, sharing that is contextual, inclusive, just, equitable, reciprocal, and sustainable</p>
<blockquote><p><a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/">Register for the CC Global Summit &gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/11/peter-lucas-jones-to-keynote-cc-global-summit-2023/">Peter-Lucas Jones to Keynote CC Global Summit 2023</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67442
title: Fred Saunderson — Open Culture VOICES, Season 2 Episode 24
uri: Fred-Saunderson-Open-Culture-VOICES-Season-2-Episode-24
url: https://creativecommons.org/2023/09/12/fred-saunderson-open-culture-voices-season-2-episode-24/
content:
<div class="jetpack-video-wrapper"><iframe title="Fred Saunderson — Open Culture VOICES, Season 2 Episode 24" width="840" height="473" src="https://www.youtube.com/embed/OUdA4hwMeXU?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></div>
<p>“New content thrives on reuse and remixing of old content which is increased when you have an open approach to culture.” Fred believes that open culture simplifies many aspects of culture preservation, sharing, and creation by making things clearer and easier to manage for institutions and individuals and that open culture solves challenges for future generations by making information accessible.</p>
<p>Open Culture VOICES is a series of short videos that highlight the benefits and barriers of open culture as well as inspiration and advice on the subject of opening up cultural heritage. Fred is the Rights and Information Manager at the Library of Scotland where he works to make the vast collections of Scotland accessible to the world.</p>
<p><strong>Fred responds to the following questions:</strong></p>
<ol>
<li>What are the main benefits of open GLAM?</li>
<li aria-level="1">What are the barriers?</li>
<li aria-level="1">Could you share something someone else told you that opened up your eyes and mind about open GLAM?</li>
<li aria-level="1">Do you have a personal message to those hesitating to open up collections?</li>
</ol>
<p><strong><em>Closed captions are available for this video</em></strong>, you can turn them on by clicking the CC icon at the bottom of the video. A red line will appear under the icon when closed captions have been enabled. Closed captions may be affected by Internet connectivity — if you experience a lag, we recommend watching the videos directly on YouTube.</p>
<blockquote><p>Want to hear more insights from Open Culture experts from around the world? <a href="https://creativecommons.org/category/open-culture-voices/">Watch more episodes of Open Culture VOICES</a> <a href="https://creativecommons.org/category/open-culture-voices/">here &gt;&gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/12/fred-saunderson-open-culture-voices-season-2-episode-24/">Fred Saunderson — Open Culture VOICES, Season 2 Episode 24</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67904
title: Generative AI and Creativity: New Considerations Emerge at CC Convenings
uri: Generative-AI-and-Creativity-New-Considerations-Emerge-at-CC-Convenin
url:
https://creativecommons.org/2023/09/15/generative-ai-and-creativity-new-considerations-emerge-at-cc-convenings/

content:
<figure id="attachment_67905" aria-describedby="caption-attachment-67905" style="width: 300px" class="wp-caption alignright"><img loading="lazy" class="size-medium wp-image-67905" src="media/7c9c784b.GenerativeAIAndTheCreativeCyclePanel-300x169.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-300x169.png" alt="People seated at table in a conference room watch a panel of four speak on stage below a slide with an image of a robot painting at an empty easel, saying: Creative Commons, Engleberg Center on Innovation Law &amp; Policy, this event sponsored by Akin, gratitude for additional support to Morrison Foerster." width="300" height="169" srcset="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-300x169.png 300w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-1024x576.png 1024w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-768x432.png 768w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-1536x864.png 1536w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-71x40.png 71w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-50x28.png 50w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-270x152.png 270w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-440x250.png 440w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel-1200x675.png 1200w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanel.png 1600w" sizes="(max-width: 300px) 85vw, 300px" /><figcaption id="caption-attachment-67905" class="wp-caption-text">“<a href="https://creativecommons.org/?attachment_id=67905">Generative AI &amp; the Creative Cycle Panel</a>” by <a href="https://creativecommons.org/author/jennryncreativecommons-org/">Jennryn Wetzler</a> for <a href="&quot;https://creativecommons.org/">Creative Commons</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<p>This week, Creative Commons (CC) convened 100+ participants during two events in New York City to discuss the important issues surrounding generative artificial intelligence (AI), copyright, and creativity.</p>
<p>For many years, we at CC have been examining the interplay between copyright and generative AI, exploring ways in which this technology can foster creativity and <em><a href="https://creativecommons.org/2020/12/16/announcing-our-new-strategy-whats-next-for-cc/">better sharing</a></em>, i.e. sharing that is inclusive, equitable, reciprocal, and sustainable — and it is through this lens that we strive to tackle some of the most critical questions regarding the potential of generative AI tools for creators, cultural heritage institutions, and the general public.</p>
<p>In search of answers we have been holding community <a href="https://creativecommons.org/2023/07/20/update-and-next-steps-on-ccs-ai-community-consultation/">consultations</a> over the past months to consider how best to maximize the public benefits of AI, to address concerns with how AI systems are trained and used, and to probe how AI will affect the commons. These two NYC events come within the scope of these wider consultations aimed at assisting us in taking action with informed intention.</p>
<p>On 12 September, we ran a workshop at the offices of Morrison Foerster to unpack the multiple issues that arise once generative AI enters the creativity cycle. If all creativity remixes the past — which needs to be responsibly preserved and cared for — is generative AI a game changer? This was the question an interdisciplinary mix of participants approached with insight and empathy throughout the afternoon’s dynamic sessions. History teems with examples of how humans dealt with technological disruptions in the past (from the printing press and oil painting to photography), yet many participants pointed to the need to think differently and imagine new structures for AI to deliver on its promise to enhance the commons. Issues around attribution, bias, transparency, agency, artistic identity and intent, democratization of AI, and many others, peppered the discussions in small and large groups. While no definite pathways emerged, participants embraced the uncertainty and relished the prospect of generative AI being used for the common good.</p>
<p>The conversations flowed through the following day’s symposium, <a href="https://creativecommons.org/2023/08/08/nyc-symposium-generative-ai-the-creativity-cycle/">Generative AI and the Creativity Cycle</a>, at the Engelberg Center at New York University. 100 participants attended the event, which brought together experts from various fields — including law, the arts, cultural heritage, and AI technology — speaking on seven panels covering a wide range of issues at the nexus of creativity, copyright, and generative AI.</p>
<p>Running like red threads across the panels, here are some of the key themes that surfaced throughout the day’s lively conversations:</p>
<ul>
<li><strong> Transparency</strong>: This requirement was often cited as a precondition for society to build trust in generative AI. Transparency was deemed essential in the datasets, algorithms and models themselves, as well as in AI systems in general. Similarly, a focus on the ways users of AI content could be transparent about their processes was also needed. This tied closely to notions of attribution and recognizing machine input into creative processes.</li>
<li><strong> Attribution</strong> (or similar notions of recognition, credit, or acknowledgement): This feature reflects CC’s emphasis on better sharing: nurturing a fair and equitable sharing ecosystem that celebrates and connects creators.</li>
<li><strong> Bias</strong>: The problem of bias in AI models as well as the inequalities they perpetuate and compound came up in most if not all sessions. The imperative to address bias was raised alongside calls for greater diversity and inclusion, as is already undertaken in data decolonization efforts.</li>
<li><strong> Economic fairness</strong>: Several discussions pointed to a need for fair remuneration, distributive justice, and a universal basic income, as well as employment protection for creators.</li>
<li><strong> Copyright issues</strong> (both on the input/training and output levels): While some speakers suggested a sense of loss of control due to a lack of copyright-based permission or consent, others reiterated the fundamental right for anyone to read and absorb knowledge including through machine-automated means.</li>
<li><strong> A multi-pronged approach</strong>: Given the multifaceted nature of the challenges raised by generative AI, many speakers highlighted the need to engage on multiple levels to ensure responsible developments in AI. This tied in with the need for adequate incentives and support for open sharing, a sustainable open infrastructure, culture as a public good, sharing in the public interest, all in order to prevent further enclosures of the commons.</li>
<li><strong> Collaboration</strong>: Collaborative creation with machines as well as with other humans could give rise to a “remix culture 2.0,” where generative AI as a tool could assist in the emergence of new forms of creativity through “amalgamated imagination.”</li>
</ul>
<p>Although the above summary does not do justice to the depth and thoughtfulness of the event’s discussions, it does give a flavor of the topics at stake and should help inform those thinking about AI development, regulation, and its role in supporting better sharing of knowledge and culture in our shared global commons.</p>
<p>A special thank you to our workshop participants and symposium speakers and moderators. We are grateful to have had the opportunity to connect with many of you and share diverse perspectives on this complex topic. We are grateful to <a href="https://www.mofo.com/" target="_blank" rel="noopener noreferrer">Morrison Foerster</a> for supporting the workshop, donating space and resources. We’d also like to thank our lead symposium sponsor <a href="https://www.akingump.com/" target="_blank" rel="noopener noreferrer">Akin Gump</a> as well as the <a href="https://www.nyuengelberg.org/" target="_blank" rel="noopener noreferrer">Engelberg Center on Innovation Law &amp; Policy</a> for publicly hosting these important conversations.</p>
<p>A video recording of the entire symposium will be made available. <a href="https://mail.creativecommons.org/subscribe">Subscribe to CC’s email newsletter</a> to stay informed about all our work with AI, culture and creativity, and more.</p>
<blockquote><p>Continue the discussion on AI and the commons at the <a href="https://summit.creativecommons.org/">CC Global Summit during 3–6 Oct 2023 in Mexico City &gt;</a></p></blockquote>
<p>Check out these images from different panels during the symposium!</p>
<figure id="attachment_67908" aria-describedby="caption-attachment-67908" style="width: 768px" class="wp-caption aligncenter"><a href="media/a2f40542.GenerativeAIAndTheCreativeCyclePanelA-scaled.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-scaled.jpg"><img loading="lazy" class="size-large wp-image-67908" src="media/59103a8d.GenerativeAIAndTheCreativeCyclePanelA-768x1024.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-768x1024.jpg" alt="A panel of four people seated at a table on stage below a slide with an image of a robot painting at an empty easel, saying: Creative Commons, Engleberg Center on Innovation Law &amp; Policy, this event sponsored by Akin, gratitude for additional support to Morrison Foerster." width="768" height="1024" srcset="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-768x1024.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-225x300.jpg 225w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-1152x1536.jpg 1152w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-1536x2048.jpg 1536w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-30x40.jpg 30w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-38x50.jpg 38w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-116x155.jpg 116w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-1200x1600.jpg 1200w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelA-scaled.jpg 1920w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 984px) 61vw, (max-width: 1362px) 45vw, 600px" /></a><figcaption id="caption-attachment-67908" class="wp-caption-text">“<a href="https://creativecommons.org/?attachment_id=67908">Generative AI &amp; the Creative Cycle Panel A</a>” by <a href="https://creativecommons.org/author/annacreativecommons-org/">Anna Tumadóttir</a> for <a href="&quot;https://creativecommons.org/">Creative Commons</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<figure id="attachment_67909" aria-describedby="caption-attachment-67909" style="width: 840px" class="wp-caption aligncenter"><a href="media/5ef97b16.GenerativeAIAndTheCreativeCyclePanelB-scaled.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-scaled.jpg"><img loading="lazy" class="size-large wp-image-67909" src="media/f843984c.GenerativeAIAndTheCreativeCyclePanelB-1024x768.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-1024x768.jpg" alt="A panel of five people seated at a table on stage below a slide with an image of a robot painting at an empty easel, saying: Creative Commons, Engleberg Center on Innovation Law &amp; Policy, this event sponsored by Akin, gratitude for additional support to Morrison Foerster." width="840" height="630" srcset="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-1024x768.jpg 1024w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-300x225.jpg 300w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-768x576.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-1536x1152.jpg 1536w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-2048x1536.jpg 2048w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-53x40.jpg 53w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-50x38.jpg 50w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-207x155.jpg 207w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelB-1200x900.jpg 1200w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></a><figcaption id="caption-attachment-67909" class="wp-caption-text">“<a href="https://creativecommons.org/?attachment_id=67909">Generative AI &amp; the Creative Cycle Panel B</a>” by <a href="https://creativecommons.org/author/brigittevezina/">Brigitte Vézina</a> for <a href="&quot;https://creativecommons.org/">Creative Commons</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<figure id="attachment_67910" aria-describedby="caption-attachment-67910" style="width: 840px" class="wp-caption aligncenter"><a href="media/dfd66903.GenerativeAIAndTheCreativeCyclePanelC-scaled.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-scaled.jpg"><img loading="lazy" class="size-large wp-image-67910" src="media/e6068e15.GenerativeAIAndTheCreativeCyclePanelC-1024x768.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-1024x768.jpg" alt="A panel of five people seated at a table on stage below a slide with an image of a robot painting at an empty easel, saying: Creative Commons, Engleberg Center on Innovation Law &amp; Policy, this event sponsored by Akin, gratitude for additional support to Morrison Foerster." width="840" height="630" srcset="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-1024x768.jpg 1024w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-300x225.jpg 300w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-768x576.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-1536x1152.jpg 1536w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-2048x1536.jpg 2048w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-53x40.jpg 53w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-50x38.jpg 50w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-207x155.jpg 207w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelC-1200x900.jpg 1200w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></a><figcaption id="caption-attachment-67910" class="wp-caption-text">“<a href="https://creativecommons.org/?attachment_id=67910">Generative AI &amp; the Creative Cycle Panel C</a>” by <a href="https://creativecommons.org/author/brigittevezina/">Brigitte Vézina</a> for <a href="&quot;https://creativecommons.org/">Creative Commons</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<figure id="attachment_67911" aria-describedby="caption-attachment-67911" style="width: 840px" class="wp-caption aligncenter"><a href="media/5d9c29ae.GenerativeAIAndTheCreativeCyclePanelD-scaled.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-scaled.jpg"><img loading="lazy" class="size-large wp-image-67911" src="media/850df60b.GenerativeAIAndTheCreativeCyclePanelD-1024x768.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-1024x768.jpg" alt="A panel of four people seated at a table on stage below a slide with an image of a robot painting at an empty easel, saying: Creative Commons, Engleberg Center on Innovation Law &amp; Policy, this event sponsored by Akin, gratitude for additional support to Morrison Foerster." width="840" height="630" srcset="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-1024x768.jpg 1024w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-300x225.jpg 300w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-768x576.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-1536x1152.jpg 1536w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-2048x1536.jpg 2048w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-53x40.jpg 53w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-50x38.jpg 50w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-207x155.jpg 207w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelD-1200x900.jpg 1200w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></a><figcaption id="caption-attachment-67911" class="wp-caption-text">“<a href="https://creativecommons.org/?attachment_id=67911">Generative AI &amp; the Creative Cycle Panel D</a>” by <a href="https://creativecommons.org/author/brigittevezina/">Brigitte Vézina</a> for <a href="&quot;https://creativecommons.org/">Creative Commons</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<figure id="attachment_67912" aria-describedby="caption-attachment-67912" style="width: 840px" class="wp-caption aligncenter"><a href="media/975901a9.GenerativeAIAndTheCreativeCyclePanelE-scaled.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-scaled.jpg"><img loading="lazy" class="size-large wp-image-67912" src="media/2332da50.GenerativeAIAndTheCreativeCyclePanelE-1024x768.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-1024x768.jpg" alt="A panel of four people seated at a table on stage below a slide with an image of a robot painting at an empty easel, saying: Creative Commons, Engleberg Center on Innovation Law &amp; Policy, this event sponsored by Akin, gratitude for additional support to Morrison Foerster." width="840" height="630" srcset="https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-1024x768.jpg 1024w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-300x225.jpg 300w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-768x576.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-1536x1152.jpg 1536w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-2048x1536.jpg 2048w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-53x40.jpg 53w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-50x38.jpg 50w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-207x155.jpg 207w, https://creativecommons.org/wp-content/uploads/2023/09/GenerativeAIAndTheCreativeCyclePanelE-1200x900.jpg 1200w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></a><figcaption id="caption-attachment-67912" class="wp-caption-text">“<a href="https://creativecommons.org/?attachment_id=67912">Generative AI &amp; the Creative Cycle Panel E</a>” by <a href="https://creativecommons.org/author/brigittevezina/">Brigitte Vézina</a> for <a href="&quot;https://creativecommons.org/">Creative Commons</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/15/generative-ai-and-creativity-new-considerations-emerge-at-cc-convenings/">Generative AI and Creativity: New Considerations Emerge at CC Convenings</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67446
title: Jennie Rose Halperin — Open Culture VOICES, Season 2 Episode 25
uri: Jennie-Rose-Halperin-Open-Culture-VOICES-Season-2-Episode-25
url:
https://creativecommons.org/2023/09/19/jennie-rose-halperin-open-culture-voices-season-2-episode-25/

content:
<div class="jetpack-video-wrapper"><iframe title="Jennie Rose Halperin — Open Culture VOICES, Season 2 Episode 25" width="840" height="473" src="https://www.youtube.com/embed/dTc-9w1HPRo?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></div>
<p>Jennie says “one thing that I love about the internet is that it has allowed us to do things we weren’t able to in the past.” In this episode we learn about the differences between digital and physical collections and what it means to be open to the public online as well as in real life when the mission of the institution is to serve the public interest and share cultural heritage.</p>
<p>Open Culture VOICES is a series of short videos that highlight the benefits and barriers of open culture as well as inspiration and advice on the subject of opening up cultural heritage. Jennie Rose Halperin is the Director at the Library Futures project at NYU Engelberg<span style="font-weight: 400;">.</span></p>
<p><strong>Jennie responds to the following questions:</strong></p>
<ol>
<li>What are the main benefits of open GLAM?</li>
<li aria-level="1">What are the barriers?</li>
<li aria-level="1">Could you share something someone else told you that opened up your eyes and mind about open GLAM?</li>
<li aria-level="1">Do you have a personal message to those hesitating to open up collections?</li>
</ol>
<p><strong><em>Closed captions are available for this video</em></strong>, you can turn them on by clicking the CC icon at the bottom of the video. A red line will appear under the icon when closed captions have been enabled. Closed captions may be affected by Internet connectivity — if you experience a lag, we recommend watching the videos directly on YouTube.</p>
<blockquote><p>Want to hear more insights from Open Culture experts from around the world? <a href="https://creativecommons.org/category/open-culture-voices/">Watch more episodes of Open Culture VOICES</a> <a href="https://creativecommons.org/category/open-culture-voices/">here &gt;&gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/19/jennie-rose-halperin-open-culture-voices-season-2-episode-25/">Jennie Rose Halperin — Open Culture VOICES, Season 2 Episode 25</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67983
title: CC Defends Better Sharing and the Commons in WIPO Conversation on Generative AI
uri: CC-Defends-Better-Sharing-and-the-Commons-in-WIPO-Conversation-on-Gene
url:
https://creativecommons.org/2023/09/22/cc-defends-better-sharing-and-the-commons-in-wipo-conversation-on-generative-ai/

content:
<figure id="attachment_67986" aria-describedby="caption-attachment-67986" style="width: 300px" class="wp-caption alignright"><img loading="lazy" class="size-medium wp-image-67986" src="media/c726bf1d.BrigitteVezinaWIPO21092023-300x169.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-300x169.jpg" alt="A World Intellectual Property Organization title slide saying Ms. Brigitte Vézina, Director, Policy and Open Culture, Creative Commons, decorated with purple and green abstract shapes and a large, gray number 8, next to a screen capture of Brigitte Vézina smiling and wearing earbuds." width="300" height="169" srcset="https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-300x169.jpg 300w, https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-1024x576.jpg 1024w, https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-768x432.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-1536x864.jpg 1536w, https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-71x40.jpg 71w, https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-50x28.jpg 50w, https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-270x152.jpg 270w, https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-440x250.jpg 440w, https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023-1200x675.jpg 1200w, https://creativecommons.org/wp-content/uploads/2023/09/BrigitteVézinaWIPO21092023.jpg 1600w" sizes="(max-width: 300px) 85vw, 300px" /><figcaption id="caption-attachment-67986" class="wp-caption-text">“This modified screen capture of video from <a href="https://webcast.wipo.int/video/OTHER_WIPO_CONVERSATION_1_2023-09-21_PM_120521?startTime=7842">WIPO Conversation on Intellectual Property (IP) and Frontier Technologies Eighth Session</a>” by <a href="https://www.wipo.int/tools/en/disclaim.html#open_access">WIPO</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<p>Today Creative Commons (CC) delivered a statement to the World Intellectual Property Organization (WIPO) <a href="https://www.wipo.int/meetings/en/details.jsp?meeting_id=78188">Conversation on Generative AI and Intellectual Property</a>, as part of our engagement in global policy discussions around the important issues raised by these new technologies and their impact on creativity, the commons, and <em><a href="https://creativecommons.org/2020/12/16/announcing-our-new-strategy-whats-next-for-cc/">better sharing</a></em>, i.e. sharing that is inclusive, equitable, reciprocal, and sustainable. In this blog post, we share the statement as delivered by Brigitte Vézina, CC’s Director of Policy and Open Culture.</p>
<blockquote><p><a href="https://webcast.wipo.int/video/OTHER_WIPO_CONVERSATION_1_2023-09-21_PM_120521?startTime=7842" target="_blank" rel="noopener noreferrer">Watch the video of CC’s remarks &gt;</a></p></blockquote>
<p><em>Thank you Chair for giving me the floor on behalf of Creative Commons, the organization behind the eponymous copyright licenses that have released more than 2,5 billion works into the commons to date.</em></p>
<p><em>At CC we know generative AI, without proper guardrails, runs the risk of being exploitative and damaging the commons, yet it also has the potential to enhance it like never before. This conundrum leaves us with many hard questions:</em></p>
<ul>
<li aria-level="1"><em>How can creators be fairly rewarded for building our shared commons?</em></li>
<li aria-level="1"><em>How can we support the new forms of creativity enabled by AI?</em></li>
<li aria-level="1"><em>How do we support creators through these unprecedented technological developments?</em></li>
</ul>
<p><em>In search of answers we held community <a href="https://creativecommons.org/2023/07/20/update-and-next-steps-on-ccs-ai-community-consultation/">consultations</a> over the past months (including a <a href="https://creativecommons.org/2023/09/15/generative-ai-and-creativity-new-considerations-emerge-at-cc-convenings/">symposium in New York City</a> last week). As one would expect, we garnered a wide variety of views:</em></p>
<ul>
<li aria-level="1"><em>Some creators are very concerned about AI and perceive it as a serious threat to their livelihood — at the same time many artists are relishing the new possibilities offered by AI as it pushes the boundaries of human creative expression and can make creativity more equitably accessible, for example, for people with disabilities. We just published <a href="#footnote01">an open letter from over 70 artists*</a> who use generative AI to help surface their experiences and views.</em></li>
<li aria-level="1"><em>Some developers want unbridled freedom to build their model — but some are looking forward to working with opt-outs, i.e. respecting the wishes of creators who do not want to have their content trained upon, or to train on openly licensed content. We are already seeing efforts to help creators signal their preferences and norms and standards are emerging through community practice and portend fresh and innovative approaches.</em></li>
</ul>
<p><em>In this context, WIPO should help develop norms and practices that are flexible and that will work to increase transparency and empower creators with choices that reflect their values and aspirations. WIPO should approach this with fairness and sustainability in mind — instead of promoting an expansion of copyright, it should ascertain its intrinsic balance and promote the commons on which all creativity depends. In particular, since all creativity builds on the past, copyright needs to continue to leave room for people to study, analyze and learn from previous works to create new ones, including by analyzing past works using automated means.</em></p>
<p><em>Mr. Chair, copyright is only one lens through which to consider generative AI. Copyright is a rather blunt tool that often leads to black-and-white solutions that fall short of harnessing all the diverse possibilities that generative AI offers for human creativity. Copyright is not a social safety net, an ethical framework, or a community governance mechanism — and yet we know that regulating generative AI needs to account for these important considerations if we want to support our large community of creators who want to contribute to enriching a commons that truly reflects the world’s diversity of creative expressions.</em></p>
<p><em>Thank you, Mr. Chair and to WIPO for hosting this important conversation.</em></p>
<blockquote><p><a href="https://mail.creativecommons.org/subscribe">Subscribe to CC’s email newsletter</a> to stay informed about all our work with AI, culture and creativity, and more, and continue the discussion on AI and the commons at the <a href="https://summit.creativecommons.org/">CC Global Summit during 3–6 Oct 2023 in Mexico City</a>.</p></blockquote>
<p><a name="footnote01"></a><em>* The <a href="https://creativecommons.org/about/program-areas/policy-advocacy-copyright-reform/open-letter-artists-using-generative-ai-demand-seat-at-table-from-us-congress/">Open Letter: Artists Using Generative AI Demand Seat at Table from US Congress</a> is currently signed by over 180 artists and continues to add more.</em></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/22/cc-defends-better-sharing-and-the-commons-in-wipo-conversation-on-generative-ai/">CC Defends Better Sharing and the Commons in WIPO Conversation on Generative AI</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67992
title: Marina Núñez Bespalova Será una Oradora Principal en la Cumbre Mundial CC 2023
uri: Marina-Núñez-Bespalova-Será-una-Oradora-Principal-en-la-Cumbre-Mund
url:
https://creativecommons.org/2023/09/23/marina-nunez-bespalova-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/

content:
<p style="text-align: right;">[<a href="https://creativecommons.org/2023/09/23/marina-nunez-bespalova-to-keynote-cc-global-summit-2023/">read this post in English &gt;</a>]</p>
<figure id="attachment_67989" aria-describedby="caption-attachment-67989" style="width: 258px" class="wp-caption alignright"><img loading="lazy" class="size-medium wp-image-67989" src="media/94482382.MarinaNunezBespalova-258x300.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-258x300.jpg" alt="A headshot of Marina Núñez Bespalova, speaking at a microphone and wearing a light top and dark suit jacket." width="258" height="300" srcset="https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-258x300.jpg 258w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-881x1024.jpg 881w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-768x893.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-34x40.jpg 34w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-43x50.jpg 43w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-133x155.jpg 133w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova.jpg 929w" sizes="(max-width: 258px) 85vw, 258px" /><figcaption id="caption-attachment-67989" class="wp-caption-text">Used by permission from the <a href="https://www.gob.mx/cultura/">Ministry of Culture of Mexico</a>.</figcaption></figure>
<p>Tenemos un grupo increíble de personas preparadas para ser oradores principales en la Cumbre Global 2023, que se llevará a cabo del 3 al 6 de octubre en la Ciudad de México. En nuestros primeros anuncios, dimos la bienvenida a la escritora <a href="https://creativecommons.org/2023/09/06/anya-kamenetz-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">Anya Kamenetz</a> y al líder de medios Māori <a href="https://creativecommons.org/2023/09/11/peter-lucas-jones-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">Peter-Lucas Jones</a>. Ahora nos sentimos profundamente honrados de anunciar que el discurso de apertura de la Cumbre estará a cargo de Marina Núñez Bespalova, Subsecretaría de Desarrollo Cultural de México, quien hablará sobre la cultura global desde la perspectiva profundamente arraigada de México y América Latina.</p>
<p><a href="https://www.gob.mx/cultura/estructuras/marina-nunez-bespalova">Marina Núñez Bespalova</a> es subsecretaria de Desarrollo Cultural de la Secretaría de Cultura de México desde agosto de 2019. Doctorada en Filología Hispánica, Marina es editora y gestora cultural con casi dos décadas de servicio público en el sector cultural. Anteriormente ha sido Directora General de Publicaciones de Conaculta (el Consejo Nacional para la Cultura y las Artes), la Secretaría de Cultura y del Archivo General de la Nación, y estuvo a cargo de la concepción de la plataforma LibrosMéxico. También ha sido encargada del programa Salas de Lectura y del Plan Nacional de Lectura de 2016 a 2018, de la expansión de diversos programas infantiles y juveniles, así como de programas específicos sobre intervención cultural en situaciones de crisis y trabajo con población migrante, entre otros cargos públicos. Ha formado parte del grupo que promovió diversas iniciativas de ley en materia cultural. Ha sido docente en universidades globales en las que, además, ha tenido estancias de investigación, como la Queen Mary University of London, la Complutense de Madrid o la Sapienza de Roma. Recibió apoyos del Ministerio de Educación de España para realizar su tesis doctoral y participar en un grupo de investigación sobre la Edad Media y la cultura laica a través del mecenazgo. Ha participado ampliamente en foros nacionales e internacionales, ha enseñado numerosos cursos y seminarios y ha sido autora de obras en publicaciones académicas y literarias.</p>
<p>Al igual que Marina, todos nuestros oradores principales se conectan directamente con las áreas de enfoque de CC, desde la creatividad contemporánea y el patrimonio cultural hasta los medios, la ciencia, la educación y el periodismo. Con el tema de la Cumbre sobre la IA y los bienes comunes, también esperamos enfrentar el desafío de perspectivas nuevas y renacidas que deberíamos considerar al pensar en la inteligencia artificial y su intersección con el conocimiento y la cultura abiertos. Todas los oradores principales de la Cumbre honrarán tanto la ubicación de la Cumbre en México como el alcance global de la comunidad CC.</p>
<p>¡Estén atentos para conocer a nuestros otros oradores principales! Te invitamos a unirte a nosotros en la Cumbre en la Ciudad de México para escuchar hablar a Marina y muchas otras voces diversas. Nuestra esperanza es que los oradores principales, el programa completo de la Cumbre y nuestras conexiones informales en la Ciudad de México y en línea se combinen para permitirnos a todos cultivar la estrategia de CC de <em><a href="https://creativecommons.org/2020/12/16/announcing-our-new-strategy-whats-next-for-cc/">compartir mejor</a></em>, un compartir que sea contextual, inclusivo, justo, equitativo, recíproco y sostenible.</p>
<blockquote><p><a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/">Regístrese para la Cumbre Global CC &gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/23/marina-nunez-bespalova-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">Marina Núñez Bespalova Será una Oradora Principal en la Cumbre Mundial CC 2023</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67988
title: Marina Núñez Bespalova to Keynote CC Global Summit 2023
uri: Marina-Núñez-Bespalova-to-Keynote-CC-Global-Summit-2023
url: https://creativecommons.org/2023/09/23/marina-nunez-bespalova-to-keynote-cc-global-summit-2023/
content:
<p style="text-align: right;">[<a href="https://creativecommons.org/2023/09/23/marina-nunez-bespalova-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">lee esta entrada en español &gt;</a>]</p>
<figure id="attachment_67989" aria-describedby="caption-attachment-67989" style="width: 258px" class="wp-caption alignright"><img loading="lazy" class="size-medium wp-image-67989" src="media/94482382.MarinaNunezBespalova-258x300.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-258x300.jpg" alt="A headshot of Marina Núñez Bespalova, speaking at a microphone and wearing a light top and dark suit jacket." width="258" height="300" srcset="https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-258x300.jpg 258w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-881x1024.jpg 881w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-768x893.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-34x40.jpg 34w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-43x50.jpg 43w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova-133x155.jpg 133w, https://creativecommons.org/wp-content/uploads/2023/09/MarinaNúñezBespalova.jpg 929w" sizes="(max-width: 258px) 85vw, 258px" /><figcaption id="caption-attachment-67989" class="wp-caption-text">Used by permission from the <a href="https://www.gob.mx/cultura/">Ministry of Culture of Mexico</a>.</figcaption></figure>
<p>We have an incredible group of people lined up to be keynote speakers at the 2023 CC Global Summit, to be held 3–6 October in Mexico City. In our first announcements, we welcomed writer <a href="https://creativecommons.org/2023/09/06/anya-kamenetz-to-keynote-cc-global-summit-2023/">Anya Kamenetz</a> and Māori media leader <a href="https://creativecommons.org/2023/09/11/peter-lucas-jones-to-keynote-cc-global-summit-2023/">Peter-Lucas Jones</a>. We are now deeply honored to announce that the Summit’s opening keynote will be from Marina Núñez Bespalova, Mexico’s Undersecretary of Cultural Development, speaking on global culture from the deeply rooted perspective of Mexico and Latin America.</p>
<p><a href="https://www.gob.mx/cultura/estructuras/marina-nunez-bespalova">Marina Núñez Bespalova</a> is the undersecretary of Cultural Development in Mexico’s Ministry of Culture, starting in August 2019. With her doctorate in Spanish philology, Marina is an editor and cultural manager with almost two decades of public service in the cultural sector. She has previously been General Director of Publications of Conaculta (National Council for Culture and the Arts), the Ministry of Culture, and the National Archive, and was in charge of the conception of the platform LibrosMéxico. She also led the Reading Rooms program, the National Reading Plan from 2016 to 2018, and the expansion of various children and youth programs, as well as specific programs on cultural intervention in crisis situations and work with migrant populations, among other public charges. She has been part of the group that promotes various cultural law initiatives. She has been a teacher at global universities where she has also had research stays, such as the Queen Mary University of London, the Complutense of Madrid, and the Sapienza of Rome. She received support from the Spanish Ministry of Education to carry out her doctoral thesis and participate in a research group on the Middle Ages and secular culture through patronage. She has participated widely in national and international forums, taught many courses and seminars, and authored works in both academic and literary publications.</p>
<p>Like Marina, all our keynoters connect directly with CC’s areas of focus, from contemporary creativity and cultural heritage, to media, science, education, and journalism. With the Summit’s theme of AI and the commons, we also expect to be challenged with new and reborn perspectives that we should consider in thinking about artificial intelligence and its intersection with open knowledge and culture. All the Summit keynotes will honor both the Summit’s location in Mexico, and the CC community’s global scope.</p>
<p>We invite you to join us at the Summit in Mexico City to hear Marina and many other diverse voices speak. Our hope is that the keynote addresses, the full Summit program, and our informal connections in Mexico City and online will combine to enable us all to cultivate CC’s strategy of <em><a href="https://creativecommons.org/2020/12/16/announcing-our-new-strategy-whats-next-for-cc/">better sharing</a></em>, sharing that is contextual, inclusive, just, equitable, reciprocal, and sustainable.</p>
<blockquote><p><a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/">Register for the CC Global Summit &gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/23/marina-nunez-bespalova-to-keynote-cc-global-summit-2023/">Marina Núñez Bespalova to Keynote CC Global Summit 2023</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67450
title: Christy Henshaw — Open Culture VOICES, Season 2 Episode 26
uri: Christy-Henshaw-Open-Culture-VOICES-Season-2-Episode-26
url: https://creativecommons.org/2023/09/26/christy-henshaw-open-culture-voices-season-2-episode-26/
content:
<div class="jetpack-video-wrapper"><iframe title="Christy Henshaw — Open Culture VOICES, Season 2 Episode 26" width="840" height="473" src="https://www.youtube.com/embed/2FBtueQGx90?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></div>
<p>“Open access means that we’re able to reach more people in a more equitable fashion.” Christy explains how the Wellcome Collection has been using Open Access to increase the engagement and shared value of an art and culture collection in a private foundation. Christy also shares some insight about the benefits of leveraging existing tools, such as CC Licenses and platforms like Wikicommons, to have a greater positive impact on society.</p>
<p>Open Culture VOICES is a series of short videos that highlight the benefits and barriers of open culture as well as inspiration and advice on the subject of opening up cultural heritage. Christy is the Digital Production Manager at the Wellcome Collection which is a museum and library that is part of the Wellcome Trust, one of the largest trusts in the world dedicated to improving health outcomes globally. The Wellcome Collection has made 300,000 pieces from the collection available online, including procedures and software through Github repositories.</p>
<p><strong>Christy responds to the following questions:</strong></p>
<ol>
<li>What are the main benefits of open GLAM?</li>
<li aria-level="1">What are the barriers?</li>
<li aria-level="1">Could you share something someone else told you that opened up your eyes and mind about open GLAM?</li>
<li aria-level="1">Do you have a personal message to those hesitating to open up collections?</li>
</ol>
<p><strong><em>Closed captions are available for this video</em></strong>, you can turn them on by clicking the CC icon at the bottom of the video. A red line will appear under the icon when closed captions have been enabled. Closed captions may be affected by Internet connectivity — if you experience a lag, we recommend watching the videos directly on YouTube.</p>
<blockquote><p>Want to hear more insights from Open Culture experts from around the world? <a href="https://creativecommons.org/category/open-culture-voices/">Watch more episodes of Open Culture VOICES</a> <a href="https://creativecommons.org/category/open-culture-voices/">here &gt;&gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/26/christy-henshaw-open-culture-voices-season-2-episode-26/">Christy Henshaw — Open Culture VOICES, Season 2 Episode 26</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=68000
title: Explore the 2023 CC Global Summit Program
uri: Explore-the-2023-CC-Global-Summit-Program
url: https://creativecommons.org/2023/09/26/explore-the-2023-cc-global-summit-program/
content:
<p style="text-align: right;">[<a href="https://creativecommons.org/2023/09/26/explorar-el-programa-de-la-cumbre-mundial-cc-2023/">lee esta entrada en español &gt;</a>]</p>
<figure id="attachment_67772" aria-describedby="caption-attachment-67772" style="width: 300px" class="wp-caption alignright"><a href="media/1004d137.SomosElBienComun-scaled.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-scaled.jpg"><img loading="lazy" class="size-medium wp-image-67772" src="media/99c9bc8d.SomosElBienComun-300x209.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-300x209.jpg" alt="A colorful illustration of a wall of windows, each showing a different figure, including an axolotl and humans engaged in various activities, one wearing a blue luchador mask, and others holding a slender blue line hung with a light blue CC Global Summit banner, all surrounded by butterflies, birds, vines, and flowering plants." width="300" height="209" srcset="https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-300x209.jpg 300w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-1024x715.jpg 1024w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-768x536.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-1536x1072.jpg 1536w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-2048x1429.jpg 2048w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-57x40.jpg 57w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-50x35.jpg 50w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-222x155.jpg 222w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-1200x837.jpg 1200w" sizes="(max-width: 300px) 85vw, 300px" /></a><figcaption id="caption-attachment-67772" class="wp-caption-text">“<a href="https://creativecommons.org/somoselbiencomun/">Somos El Bien Común</a>” by <a href="https://www.erendiraderbez.com/">Eréndira Derbez</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<p>The CC Global Summit is now just one week away! As we make the final preparations for this first opportunity to gather in person at a Summit in several years, we are excited to unveil the program that will take place 3–6 October in Mexico City. Since 2006, the CC Global Summit has brought together thousands of CC community members, activists, creators, advocates, librarians, educators, lawyers, and technologists from around the world to discuss, collaborate, and take action to make our global culture more open and collaborative.</p>
<p>We must begin by honoring the very special Summit venue, the <a href="https://tlatelolco.unam.mx/">Centro Cultural Universitario Tlatelolco</a>, next to the <a href="https://mexicocity.cdmx.gob.mx/venues/plaza-de-las-tres-culturas/">Plaza de las Tres Culturas</a>. As we gather to collaborate on the future of the open commons, we will be surrounded by rich culture from Mexico’s history. Bringing these cultural themes together is “<a href="https://creativecommons.org/2023/08/06/we-are-the-commons-2023-cc-global-summit/">We Are the Commons</a>,” the illustration commissioned specially for the Summit by Mexican artist Eréndira Derbez.</p>
<p>You can now explore <a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/schedule">the 100s of panels, community sessions, workshops, and networking opportunities scheduled in the program</a>, all of which connect to the Summit’s main theme, <a href="https://creativecommons.org/2023/06/02/2023-cc-global-summit-registration-call-for-proposals-and-scholarships-now-open/">AI &amp; the commons</a>, and/or one of the general topics on which the CC community often collaborates: better internet, contemporary creativity, culture &amp; heritage, education, journalism, and scholarship &amp; science.</p>
<p>We are especially honored to welcome the Summit’s three keynote speakers, who have been invited to challenge us with new and reborn perspectives about open knowledge and culture, and to honor both the Summit’s location in Mexico and our community’s global scope.</p>
<ul>
<li aria-level="1"><a href="https://creativecommons.org/2023/09/23/marina-nunez-bespalova-to-keynote-cc-global-summit-2023/">Marina Núñez Bespalova</a>, Mexico’s Undersecretary of Cultural Development, who will open the Summit speaking on global culture from the deeply rooted perspective of Mexico and Latin America.</li>
<li aria-level="1"><a href="https://creativecommons.org/2023/09/11/peter-lucas-jones-to-keynote-cc-global-summit-2023/">Peter-Lucas Jones</a>, whose keynote on day two draws from his work as a leading figure in Māori media and his collaborations to honor local and traditional knowledge and culture in a global context.</li>
<li aria-level="1"><a href="https://creativecommons.org/2023/09/06/anya-kamenetz-to-keynote-cc-global-summit-2023/">Anya Kamenetz</a>, who will close the Summit with a keynote that grows out of her work as a journalist, writer, and now, activist focused on climate education for children.</li>
</ul>
<blockquote><p><a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/register#start">Register now for the CC Global Summit in Mexico City &gt;</a></p></blockquote>
<h2>Virtual participation</h2>
<p>If you can’t make it to Mexico City, there are several opportunities to engage with the Summit virtually. First, take a moment to register for free virtual access to make sure you get all the information about how you can participate in the Summit at a distance and at different times, including:</p>
<ul>
<li aria-level="1">the sessions that will be livestreamed</li>
<li aria-level="1">the pre-recorded video sessions you can watch on demand</li>
<li aria-level="1">the informal connection sessions CC is organizing with <a href="https://virtuallyconnecting.org/">Virtually Connecting</a></li>
<li aria-level="1">the opportunity to connect with participants in Mexico and around the world in the CC community slack</li>
<li aria-level="1">and the opportunity to meet Summit presenters and participants in virtual gatherings after the Summit in Mexico is over</li>
</ul>
<blockquote><p><a href="https://www.classy.org/event/cc-global-summit-virtual-participation/e510612">Register now for virtual Summit participation &gt;</a></p></blockquote>
<h2>Thanks to all those who made the Summit possible</h2>
<p>Bringing hundreds of people together for a rich program in a world capital like Mexico City is a challenge CC could not have undertaken without a lot of support from many sources.</p>
<p>We are deeply grateful to the team at <a href="https://mx.creativecommons.net/">CC Mexico</a> — especially Irene Soria, Iván Martínez, and the team of volunteers they brought together — for their dedicated assistance large and small to make the Summit happen in their city.</p>
<p>We also thank the volunteers around the world who gave their time and energy on <a href="https://creativecommons.org/2023/08/04/meet-ccs-2023-global-summit-committee-members/">the Summit program and scholarship committees</a>. The overwhelming interest in this year’s Summit generated big challenges for these people who stepped up to help shape a Summit that we hope is diverse, enriching, and practical. Another heartfelt thank you goes out to our friends at <a href="https://mx.wikimedia.org/wiki/P%C3%A1gina_principal">Wikimedia Mexico</a> who are sponsoring a group of volunteers to help out during the event. We are grateful for this partnership and looking forward to meeting everyone next week!</p>
<p>Beyond all the essential community effort powering the Summit, we especially thank the sponsors who contributed financial support to make it possible to offer the scholarships that enable people from all over the world to attend the Summit and to ensure this ambitious gathering will be rewarding and successful.</p>
<p>CC Global Summit 2023 Sponsors: <a href="https://www.macfound.org/">John D. and Catherine T. MacArthur Foundation</a>, <a href="https://www.microsoft.com/">Microsoft Corporation</a>, <a href="https://ffdweb.org/">Filecoin Foundation for the Decentralized Web</a>, <a href="https://www.akingump.com/">Akin</a>,<a href="https://www.anthropic.com/"> Anthropic</a>, <a href="https://foundation.mozilla.org/">Mozilla Foundation</a>, <a href="https://20mm.org/">The Michelson 20MM Foundation</a>, <a href="https://www.curationist.org/">MHz Curationist</a>, <a href="https://www.frontiersin.org/">Frontiers Media</a>, <a href="https://www.arnoldporter.com/en">Arnold &amp; Porter</a>, <a href="https://www.crowell.com/">Crowell</a>, <a href="https://ccemx.org/">Centro Cultural de España</a>.</p>
<figure id="attachment_68002" aria-describedby="caption-attachment-68002" style="width: 840px" class="wp-caption alignnone"><img loading="lazy" class="size-large wp-image-68002" src="media/15d69247.CCGlobalSummit2023Sponsors-1024x780.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-1024x780.png" alt="Logos from sponsors for the 2023 CC Global Summit, including: From top to bottom and left to right: John D. and Catherine T. MacArthur Foundation, Microsoft Corporation, Akin, Filecoin Foundation for the Decentralized Web, Anthropic, Mozilla Foundation, The Michelson 20MM Foundation, MHz Curationist, Frontiers Media, Crowell, Centro Cultural de España, Arnold &amp; Porter." width="840" height="640" srcset="https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-1024x780.png 1024w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-300x229.png 300w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-768x585.png 768w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-1536x1170.png 1536w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-2048x1560.png 2048w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-53x40.png 53w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-50x38.png 50w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-203x155.png 203w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-1200x914.png 1200w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /><figcaption id="caption-attachment-68002" class="wp-caption-text">Logos used by permission from sponsoring organizations.</figcaption></figure>
<blockquote><p>Are you interested in sponsoring CC Global Summit 2023? Please contact us at <a href="mailto:development@creativecommons.org">development@creativecommons.org</a>.</p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/26/explore-the-2023-cc-global-summit-program/">Explore the 2023 CC Global Summit Program</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=68001
title: Explorar el Programa de la Cumbre Mundial CC 2023
uri: Explorar-el-Programa-de-la-Cumbre-Mundial-CC-2023
url: https://creativecommons.org/2023/09/26/explorar-el-programa-de-la-cumbre-mundial-cc-2023/
content:
<p style="text-align: right;">[<a href="https://creativecommons.org/2023/09/26/explore-the-2023-cc-global-summit-program/">read this post in English &gt;</a>]</p>
<figure id="attachment_67772" aria-describedby="caption-attachment-67772" style="width: 300px" class="wp-caption alignright"><a href="media/1004d137.SomosElBienComun-scaled.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-scaled.jpg"><img loading="lazy" class="size-medium wp-image-67772" src="media/99c9bc8d.SomosElBienComun-300x209.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-300x209.jpg" alt="A colorful illustration of a wall of windows, each showing a different figure, including an axolotl and humans engaged in various activities, one wearing a blue luchador mask, and others holding a slender blue line hung with a light blue CC Global Summit banner, all surrounded by butterflies, birds, vines, and flowering plants." width="300" height="209" srcset="https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-300x209.jpg 300w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-1024x715.jpg 1024w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-768x536.jpg 768w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-1536x1072.jpg 1536w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-2048x1429.jpg 2048w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-57x40.jpg 57w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-50x35.jpg 50w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-222x155.jpg 222w, https://creativecommons.org/wp-content/uploads/2023/08/SomosElBienComún-1200x837.jpg 1200w" sizes="(max-width: 300px) 85vw, 300px" /></a><figcaption id="caption-attachment-67772" class="wp-caption-text">“<a href="https://creativecommons.org/somoselbiencomun/">Somos El Bien Común</a>” by <a href="https://www.erendiraderbez.com/">Eréndira Derbez</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<p>¡Falta solo una semana para la Cumbre Mundial CC! Mientras hacemos los preparativos finales para esta primera oportunidad de reunirnos en persona en una Cumbre en varios años, estamos entusiasmados de presentar el programa que se llevará a cabo del 3 al 6 de octubre en la Ciudad de México. Desde 2006, la Cumbre Global CC ha reunido a miles de miembros de la comunidad CC, activistas, creadores, defensores, bibliotecarios, educadores, abogados y tecnólogos de todo el mundo para discutir, colaborar y tomar medidas para hacer que nuestra cultura global sea más abierta y colaborativa.</p>
<p>Debemos comenzar honrando la sede tan especial de la Cumbre, el <a href="https://tlatelolco.unam.mx/">Centro Cultural Universitario Tlatelolco</a>, junto a la <a href="https://mexicocity.cdmx.gob.mx/venues/plaza-de-las-tres-culturas/">Plaza de las Tres Culturas</a>. Mientras nos reunimos para colaborar en el futuro de los bienes comunes abiertos, estaremos rodeados de la rica cultura de la historia de México. Uniendo estos temas culturales es “<a href="https://creativecommons.org/2023/08/06/somos-el-bien-comun-cumbre-global-cc-2023/">Somos Los Comunes</a>”, la ilustración encargada especialmente para la Cumbre por la artista mexicana Eréndira Derbez.</p>
<p>Ahora puede explorar <a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/schedule">los cientos de paneles, sesiones comunitarias, talleres y oportunidades de networking en el programa</a>, todos los cuales se conectan con el tema principal de la Cumbre, <a href="https://creativecommons.org/2023/06/02/2023-cumbre-global-cc-registro-convocatoria-de-propuestas-y-solicitudes-de-becas-ahora-abiertas/">IA y los bienes comunes</a>, y/o uno de los temas generales en los que la comunidad CC colabora a menudo: mejor internet, creatividad contemporánea, cultura y patrimonio, educación, periodismo, investigación y ciencia.</p>
<p>Nos sentimos especialmente honrados de dar la bienvenida a los tres oradores principales de la Cumbre, quienes han sido invitados a desafiarnos con perspectivas nuevas y renacidas sobre el conocimiento y la cultura abiertos, y a honrar tanto la ubicación de la Cumbre en México como el alcance global de nuestra comunidad.</p>
<ul>
<li aria-level="1"><a href="https://creativecommons.org/2023/09/23/marina-nunez-bespalova-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">Marina Núñez Bespalova</a>, Subsecretaría de Desarrollo Cultural de México, quien abrirá la Cumbre hablando sobre la cultura global desde la perspectiva profundamente arraigada de México y América Latina.</li>
<li aria-level="1"><a href="https://creativecommons.org/2023/09/11/peter-lucas-jones-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">Peter-Lucas Jones</a>, cuyo discurso de apertura del segundo día se basa en su trabajo como figura destacada en los medios Māori y sus colaboraciones para honrar el conocimiento y la cultura local y tradicional en un contexto global.</li>
<li aria-level="1"><a href="https://creativecommons.org/2023/09/06/anya-kamenetz-sera-una-oradora-principal-en-la-cumbre-mundial-cc-2023/">Anya Kamenetz</a>, quien cerrará la Cumbre con un discurso que surge de su trabajo como periodista, escritora y ahora activista centrada en la educación climática para los niños.</li>
</ul>
<blockquote><p><a href="https://site.pheedloop.com/event/EVEWHNCWWDNEG/">Regístrese ahora para la Cumbre Global CC en la Ciudad de México &gt;</a></p></blockquote>
<h2>Participación virtual</h2>
<p>Si no puede asistir a la Ciudad de México, existen varias oportunidades para participar virtualmente en la Cumbre. Primero, tómate un momento para registrarse para obtener acceso virtual gratuito y asegurarte de obtener toda la información sobre cómo puedes participar en la Cumbre a distancia y en diferentes horarios, incluyendo:</p>
<ul>
<li aria-level="1">las sesiones que serán transmitidas en vivo</li>
<li aria-level="1">las sesiones de vídeo pregrabadas que puedes ver cuando quiera</li>
<li aria-level="1">las sesiones informales de conexión que CC está organizando con <a href="https://virtuallyconnecting.org/">Virtually Connecting</a></li>
<li aria-level="1">la oportunidad de conectarse con participantes en México y alrededor del mundo en el slack de la comunidad CC</li>
<li aria-level="1">y la oportunidad de conocer a los presentadores y participantes de la Cumbre en reuniones virtuales una vez finalizada la Cumbre en México</li>
</ul>
<blockquote><p><a href="https://www.classy.org/event/cc-global-summit-virtual-participation/e510612">Regístrese ahora para participar en la Cumbre virtual &gt;</a></p></blockquote>
<h2>Gracias a todos los que hicieron posible la Cumbre</h2>
<p>Reunir a cientos de personas para un rico programa en una capital mundial como la Ciudad de México es un desafío que CC no podría haber emprendido sin mucho apoyo de muchas fuentes.</p>
<p>Estamos profundamente agradecidos al equipo de <a href="https://mx.creativecommons.net/">CC México</a>, especialmente a Irene Soria, Iván Martínez y el equipo de voluntarios que reunieron, por su dedicada ayuda, grandes y pequeñas, para que la Cumbre se llevará a cabo en su ciudad.</p>
<p>También agradecemos a los voluntarios de todo el mundo que brindaron su tiempo y energía en <a href="https://creativecommons.org/2023/08/04/conozca-a-los-miembros-del-comite-de-la-cumbre-global-de-cc-2023/">los comités de programa y de becas de la Cumbre</a>. El interés abrumador en la Cumbre de este año generó grandes desafíos para estas personas que dieron un paso al frente para ayudar a dar forma a una Cumbre que esperamos sea diversa, enriquecedora y práctica. Otro aprecio de todo corazón para nuestros amigos de <a href="https://mx.wikimedia.org/wiki/P%C3%A1gina_principal">Wikimedia México</a> que patrocinan a un grupo de voluntarios para ayudar durante el evento. ¡Estamos agradecidos por esta asociación y esperamos conocerlos a todos la próxima semana!</p>
<p>Más allá de todo el esfuerzo comunitario esencial que impulsó la Cumbre, agradecemos especialmente a los patrocinadores que contribuyeron con apoyo financiero para hacer posible ofrecer becas que permitan a personas de todo el mundo asistir a la Cumbre y garantizar que esta ambiciosa reunión sea gratificante y exitosa.</p>
<p>Patrocinadores de la Cumbre Global CC 2023: <a href="https://www.macfound.org/">John D. and Catherine T. MacArthur Foundation</a>, <a href="https://www.microsoft.com/">Microsoft Corporation</a>, <a href="https://ffdweb.org/">Filecoin Foundation for the Decentralized Web</a>, <a href="https://www.akingump.com/">Akin</a>,<a href="https://www.anthropic.com/"> Anthropic</a>, <a href="https://foundation.mozilla.org/">Mozilla Foundation</a>, <a href="https://20mm.org/">The Michelson 20MM Foundation</a>, <a href="https://www.curationist.org/">MHz Curationist</a>, <a href="https://www.frontiersin.org/">Frontiers Media</a>, <a href="https://www.arnoldporter.com/en">Arnold &amp; Porter</a>, <a href="https://www.crowell.com/">Crowell</a>, <a href="https://ccemx.org/">Centro Cultural de España</a>.</p>
<figure id="attachment_68002" aria-describedby="caption-attachment-68002" style="width: 840px" class="wp-caption alignnone"><img loading="lazy" class="size-large wp-image-68002" src="media/15d69247.CCGlobalSummit2023Sponsors-1024x780.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-1024x780.png" alt="Logos from sponsors for the 2023 CC Global Summit, including: From top to bottom and left to right: John D. and Catherine T. MacArthur Foundation, Microsoft Corporation, Akin, Filecoin Foundation for the Decentralized Web, Anthropic, Mozilla Foundation, The Michelson 20MM Foundation, MHz Curationist, Frontiers Media, Crowell, Centro Cultural de España, Arnold &amp; Porter." width="840" height="640" srcset="https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-1024x780.png 1024w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-300x229.png 300w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-768x585.png 768w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-1536x1170.png 1536w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-2048x1560.png 2048w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-53x40.png 53w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-50x38.png 50w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-203x155.png 203w, https://creativecommons.org/wp-content/uploads/2023/09/CCGlobalSummit2023Sponsors-1200x914.png 1200w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /><figcaption id="caption-attachment-68002" class="wp-caption-text">Logos used by permission from sponsoring organizations.</figcaption></figure>
<p>¿Está interesado en patrocinar la CC Global Summit 2023? Por favor contáctenos en development@creativecommons.org.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/09/26/explorar-el-programa-de-la-cumbre-mundial-cc-2023/">Explorar el Programa de la Cumbre Mundial CC 2023</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74254
title: CC’s Key Insights from WIPO’s Meeting on Copyright
uri: CC-s-Key-Insights-from-WIPO-s-Meeting-on-Copyright
url:
https://creativecommons.org/2023/11/09/cc-key-insights-wipo-meeting-on-copyright/?utm_source=rss&utm_medium=rss&utm_campaign=cc-key-insights-wipo-meeting-on-copyright

content:
<p>From 6 to 8 November 2023, Creative Commons (CC) participated remotely in the <a href="https://www.wipo.int/meetings/en/details.jsp?meeting_id=78391">44th session</a> of the World Intellectual Property Organization (WIPO) Standing Committee on Copyright and Related Rights (SCCR). In this blog post, we look back on the session’s highlights on broadcasting, exceptions and limitations, and generative AI, from CC’s perspective.</p>
<p>As in previous sessions, our main objective was to drive copyright reform towards better sharing of copyright content in the public interest and in tune with the sharing possibilities of the digital environment. In this short session, we addressed the proposed <a href="https://www.wipo.int/meetings/en/doc_details.jsp?doc_id=619971">broadcasting treaty</a> and exceptions and limitations in our opening statement, as reported in the​​ <a href="media/d8f42676.sccr_44_inf_statements.pdf" data-original-source="https://www.wipo.int/edocs/mdocs/copyright/en/sccr_44/sccr_44_inf_statements.pdf">“Statements” information document (SCCR/44/INF/STATEMENTS)</a>.</p>
<p>We also <a href="https://docs.google.com/document/d/1c0BS9XNtkji57pKxCsCKy9DKuIMnE0D5C8Zvdm-H7Sg/edit?usp=sharing">offered views on exceptions and limitations for cultural heritage institutions</a>, i.e. libraries, archives and museums; you can <a href="https://webcast.wipo.int/video/SCCR_44_2023-11-07_PM_121070?startTime=4423">watch our intervention</a> on the WIPO webcast. These views are in line with our <a href="https://creativecommons.org/about/program-areas/arts-culture/">Open Culture Program</a>’s recently launched initiative <em>Towards a Recommendation on Open Culture</em> (TAROC) which aims to develop policy to recognize the role of open culture to reach wider policy goals notably in relation to copyright and access and use of cultural heritage — see our TAROC Two-Pager in <a href="media/0efa9db2.Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf">English</a>, <a href="media/aead2578.94-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager-1.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Albanian-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager-1.pdf">Shqip</a>, <a href="media/9616ea28.94-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager-1.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/French-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager-1.pdf">français</a>, <a href="media/89d0e337.94-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager-1.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Spanish-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager-1.pdf">Español</a>, <a href="media/10894afb.94-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager-2.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Japanese-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager-2.pdf">日本語</a>, <a href="media/9b2979b7.8094-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Turkish-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager.pdf">Türkçe</a>, <a href="media/053a28d8.8094-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/11/Italian-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager.pdf">italiano</a>, <a href="media/47ef0efa.8094-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/11/Arabic-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager.pdf">عربي</a>.</p>
<p>Overall, we are rather satisfied with the session’s outcomes. On broadcasting, we remain concerned that discussions on the draft broadcasting treaty are being maintained on the agenda despite evidence of a clear stalemate in the discussions; we are nonetheless heartened by the acknowledged need to work towards a balanced approach on exceptions and limitations in the draft treaty.</p>
<p>On exceptions and limitations, we are pleased that the SCCR Secretariat has undertaken to prepare a detailed implementation plan for the Work Program on Exceptions and Limitations; in CC’s views, this plan should provide for open and transparent engagement opportunities and wide participation from civil society of which CC is a leading voice. It should notably allow for real progress on substantive issues to support meaningful access and use of cultural heritage for preservation and other legitimate purposes.</p>
<p>We also welcome the organization of a virtual panel discussion on cross-border uses of copyright works in the educational and research sectors open to all member states as well as observers. As an accredited observer, CC places high value on broad and inclusive participation to ensure balanced and diverse perspectives can be brought to the table for a constructive debate. We recall that licensing falls short of addressing the problems that libraries, museums, archives, educational and research institutions, as well as persons with disabilities, face on a daily basis. Licensing is not a substitute for robust, flexible, mandatory exceptions and limitations to empower those who teach, learn and research, those who share in and build upon cultural heritage, and people with disabilities.</p>
<p>We note Group B’s <em>Proposal Information Session on Generative AI and Copyright</em> (SCCR/44/8) and look forward to the Secretariat organizing an open, inclusive, and balanced session at the next SCCR under the item of Copyright in the Digital Environment. As <a href="https://creativecommons.org/2023/09/22/cc-defends-better-sharing-and-the-commons-in-wipo-conversation-on-generative-ai/">we have stated</a> at the WIPO <a href="https://www.wipo.int/meetings/en/details.jsp?meeting_id=78188">Conversation on Generative AI and Intellectual Property</a> last September, generative AI raises important issues and is having an enormous impact on creativity, the commons, and <a href="https://creativecommons.org/2020/12/16/announcing-our-new-strategy-whats-next-for-cc/">better sharing</a>, i.e., sharing that is inclusive, equitable, reciprocal, and sustainable. Our consultations on the matter have revealed a wide variety of views among creators, AI developers, and other stakeholders in the commons. They have also shed light on the fact that copyright is but one lens through which to consider generative AI; what is more, it is a rather blunt tool that often leads to black-and-white solutions that fall short of harnessing all the diverse possibilities that generative AI offers for human creativity. Our interventions on copyright and generative AI in the <a href="https://creativecommons.org/2023/11/07/cc-responds-to-the-united-states-copyright-office-notice-of-inquiry-on-copyright-and-artificial-intelligence/?utm_source=rss&amp;utm_medium=rss&amp;utm_campaign=cc-responds-to-the-united-states-copyright-office-notice-of-inquiry-on-copyright-and-artificial-intelligence">United States</a> and the <a href="https://creativecommons.org/tag/eu/">European Union</a> contexts attest to those nuanced views. We thus call on the Secretariat to ensure the session will offer a balanced and representative set of perspectives.</p>
<p>We look forward to participating in the Committee’s next session, to take place from April 15 to 19, 2024, and to bring our expertise on copyright, better sharing of cultural heritage, and generative AI in order to help create a fairer and more balanced international copyright system in the public interest.</p>
<p>→ To stay informed about our policy and open culture work:</p>
<ul>
<li aria-level="1"><a href="https://creativecommons.org/blog/">Visit our blog</a> for regular updates on our work on AI</li>
<li aria-level="1">Sign up for our open culture <a href="https://groups.google.com/a/creativecommons.org/g/cc-open-culture">mailing list</a></li>
<li aria-level="1">Join the <a href="https://network.creativecommons.org/cc-openculture-platform/">open culture platform</a></li>
<li aria-level="1">Join the <a href="https://network.creativecommons.org/cc-copyright-platform/">copyright platform</a></li>
<li aria-level="1">Visit our <a href="https://creativecommons.org/about/program-areas/arts-culture/">website on open culture</a></li>
</ul>
<p>Sign up for our <a href="https://mail.creativecommons.org/cc-open-culture-matters">Open Culture Matters newsletter &gt;</a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/11/09/cc-key-insights-wipo-meeting-on-copyright/">CC’s Key Insights from WIPO&#8217;s Meeting on Copyright</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74216
uri: CC-Responds-to-the-United-States-Copyright-Office-Notice-of-Inquiry-on
title:
CC Responds to the United States Copyright Office Notice of Inquiry on Copyright and Artificial Intelligence

url:
https://creativecommons.org/2023/11/07/cc-responds-to-the-united-states-copyright-office-notice-of-inquiry-on-copyright-and-artificial-intelligence/?utm_source=rss&utm_medium=rss&utm_campaign=cc-responds-to-the-united-states-copyright-office-notice-of-inquiry-on-copyright-and-artificial-intelligence

content:
<p>In August, the <a href="https://www.copyright.gov/">United States Copyright Office</a> issued a <a href="media/3c05fb78.-Register-Document-Artificial-Intelligence-and-Copyright-NOI.pdf" data-original-source="https://www.copyright.gov/ai/docs/Federal-Register-Document-Artificial-Intelligence-and-Copyright-NOI.pdf">Notice of Inquiry</a> seeking public responses to 34 questions (and several sub-questions) about the intersection of <a href="https://www.copyright.gov/ai/">copyright law and artificial intelligence.</a> The comment period closed on 30 October with over <a href="https://www.regulations.gov/docket/COLC-2023-0006/comments">10,000 individuals and organizations responding</a>, representing a broad spectrum of interests on how copyright should apply in relation to generative AI. <a href="https://www.regulations.gov/comment/COLC-2023-0006-8735">CC joined in the conversation</a> to provide our own thoughts on copyright and AI to the copyright office.</p>
<p>Since our founding, we have sought out ways that new technologies can serve the public good, and we believe that generative AI can be a powerful tool to enhance human creativity and to benefit the commons. At the same time, we also recognize that it carries with it the risk of bringing about significant harm. We used this opportunity to explain to the Copyright Office why we believe that the proper application of copyright law can guide the development and use of generative AI in ways that serve the public and to highlight what <a href="https://creativecommons.org/2023/09/15/generative-ai-and-creativity-new-considerations-emerge-at-cc-convenings/">we have learned from our community</a> through the <a href="https://creativecommons.org/2023/07/20/update-and-next-steps-on-ccs-ai-community-consultation/">consultations we have held throughout 2023</a> and at our recent <a href="https://creativecommons.org/2023/10/07/making-ai-work-for-creators-and-the-commons/">Global Summit</a> about both the risks and opportunities that generative AI holds.</p>
<p>In this post we summarize the key point of our submission, namely:</p>
<ul>
<li aria-level="1">AI training generally constitutes fair use</li>
<li aria-level="1">Copyright should protect AI outputs with significant human creative input</li>
<li aria-level="1">The substantial standard similarity should apply to Infringement by AI outputs</li>
<li aria-level="1">Creators should be able to express their preferences</li>
<li aria-level="1">Copyright cannot solve everything related to generative AI</li>
</ul>
<h2>AI training generally constitutes fair use</h2>
<p>We believe that, in general, <a href="https://creativecommons.org/2023/02/17/fair-use-training-generative-ai/">training generative AI constitutes fair use under current U.S. law</a>. Using creative works to train generative AI fits with the long line of cases that has found that non-consumptive, technological uses of creative works in ways that are unrelated to the expressive content of those works are transformative fair uses, such as <a href="https://scholar.google.com/scholar_case?case=2220742578695593916">Authors Guild v. Google</a> and <a href="https://scholar.google.com/scholar_case?case=13767420941977220880">Kelly v. Arriba Soft</a>. Moreover, the most recent Supreme Court ruling on fair use, <a href="https://en.wikipedia.org/wiki/Andy_Warhol_Foundation_for_the_Visual_Arts,_Inc._v._Goldsmith">Andy Warhol Foundation v. Goldsmith</a>, supports this conclusion. As <a href="https://creativecommons.org/2023/05/18/warhol-v-goldsmith/">we commented</a> upon the decision’s release, the Warhol case focus on the specific way a follow-on use compares with the original use of a work indicates that training generative AI on creative works is transformative and should be fair use. This is because the use of copyrighted works for AI training has a fundamentally different purpose from the original aesthetic purposes of those works.</p>
<h2>Copyright protection for AI outputs subject to significant human creative input</h2>
<p><a href="https://creativecommons.org/2023/02/21/this-is-not-a-bicycle-human-creativity-and-generative-ai/">We believe that creative works produced with the assistance of generative AI tools should only be eligible for protection where they contain a significant enough degree of human creative input to justify protection</a>, just like when creators use any other mechanical tools in the production of their works. The Supreme Court considered the relationship between artists and their tools vis-a-vis copyright over 100 years ago in <a href="https://scholar.google.com/scholar_case?case=17794409671595926696">Burrow-Giles v. Sarony</a>, holding that copyright protects the creativity that human artists’ incorporate into their works, not the work of machines. While determining which parts of a work are authored by a human when using generative AI will not always be clear, this issue is not fundamentally different from any other situation where we have to determine the authorship of individual parts of works that are created without AI assistance.</p>
<p>Additionally, we believe that developers of generative AI tools should not receive copyright protection over the outputs of those tools. Copyright law already provides enough incentives to encourage development of these tools by protecting code, and extending protection to their outputs is unnecessary to encourage innovation and investment in this space.</p>
<h2>Infringement should be determined using the substantial similarity test</h2>
<p>We believe that the <a href="https://creativecommons.org/2023/03/23/the-complex-world-of-style-copyright-and-generative-ai/">substantial similarity standard</a> that already exists in copyright law is sufficient to address where AI outputs infringe on other works. The debate about how copyright should apply to generative AI has often been cast in all-or-nothing terms — does something infringe on pre-existing copyrights or not? The answer to this question is certainly that generative AI can infringe on other works, but just as easily it may not. As with any other question about the substantial similarity between two works, these issues will be highly fact specific, and we cannot automatically say whether works produced by generative AI tools infringe or not.</p>
<h2>Creators should be able to express their preferences</h2>
<p>In general, we believe there is <a href="https://creativecommons.org/2023/08/31/exploring-preference-signals-for-ai-training/">value in methods that enable individuals to to signal their preferences</a> for how their works are shared in the context of generative AI. In our community consultations, we heard general support for preference signals, but there was no consensus in how best to do this. Opt-ins and opt-outs may be one way, but we do not believe they need to be required by US copyright law; instead, we would like to see voluntary schemes, similar to approaches to web scraping, which allow for standardized expression of these preferences without creating strict barriers to usage in cases where it may be appropriate.</p>
<h2>Transparency is necessary to build trust — Copyright is only one lens through which to consider AI regulation</h2>
<p>We urge caution and flexibility in any approach to regulating generative AI through copyright. We believe that copyright policy can guide the development of generative AI in ways that benefit all, but that overregulation or inappropriate regulation can hurt both the technology and the public. For example, measures that improve transparency into AI models can build trust in AI models by allowing outside observers to “look under the hood” to investigate how they work. But these measures should not be rooted in copyright law. Copyright is just one lens through which we can view generative AI, and it is ill equipped to deal with many of the social harms that concern us and many others. Attempting to use copyright to solve all of these issues may have unintended consequences and ultimately do more harm than good.</p>
<p>We are happy to see the Copyright Office seeking out guidance on these many difficult questions. We will have to wait to see what comes from this, but we will hope for the best, and continue to engage our community so we can more fully understand what role generative AI should play in building the commons and serving the public good.</p>
<p><a href="https://www.regulations.gov/comment/COLC-2023-0006-8735">Read CC’s full submission to the Copyright Office &gt;</a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/11/07/cc-responds-to-the-united-states-copyright-office-notice-of-inquiry-on-copyright-and-artificial-intelligence/">CC Responds to the United States Copyright Office Notice of Inquiry on Copyright and Artificial Intelligence</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67474
title: Kyle K. Courtney — Open Culture VOICES, Season 2 Episode 32
uri: Kyle-K-Courtney-Open-Culture-VOICES-Season-2-Episode-32
url:
https://creativecommons.org/2023/11/07/kyle-k-courtney-open-culture-voices-season-2-episode-32/?utm_source=rss&utm_medium=rss&utm_campaign=kyle-k-courtney-open-culture-voices-season-2-episode-32

content:
<p>https://www.youtube.com/watch?v=oamKexFbTYc</p>
<p>Kyle believes that “the artistic and creative expressions of humanity is the best way to experience our human efforts” and open GLAM makes this a reality for much more than what you can see on a given day in a museum. Open GLAM also helps drive more digitization of collections around the world in an effort to make institutions more known.</p>
<p>Open Culture VOICES is a series of short videos that highlight the benefits and barriers of open culture as well as inspiration and advice on the subject of opening up cultural heritage. Kyle is a copyright advisor at Harvard library and helps people understand how material can be used in the library and online for users.</p>
<p><strong>Kyle responds to the following questions:</strong></p>
<ol>
<li>What are the main benefits of open GLAM?</li>
<li aria-level="1">What are the barriers?</li>
<li aria-level="1">Could you share something someone else told you that opened up your eyes and mind about open GLAM?</li>
<li aria-level="1">Do you have a personal message to those hesitating to open up collections?</li>
</ol>
<p><strong><em>Closed captions are available for this video</em></strong>, you can turn them on by clicking the CC icon at the bottom of the video. A red line will appear under the icon when closed captions have been enabled. Closed captions may be affected by Internet connectivity — if you experience a lag, we recommend watching the videos directly on YouTube.</p>
<blockquote><p>Want to hear more insights from Open Culture experts from around the world? <a href="https://creativecommons.org/category/open-culture-voices/">Watch more episodes of Open Culture VOICES</a> <a href="https://creativecommons.org/category/open-culture-voices/">here &gt;&gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/11/07/kyle-k-courtney-open-culture-voices-season-2-episode-32/">Kyle K. Courtney — Open Culture VOICES, Season 2 Episode 32</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74181
title: Announcing CC’s Open Infrastructure Circle
uri: Announcing-CC-s-Open-Infrastructure-Circle
url:
https://creativecommons.org/2023/11/03/cc-open-infrastructure-circle/?utm_source=rss&utm_medium=rss&utm_campaign=cc-open-infrastructure-circle

content:
<figure id="post-74175 media-74175" class="align-right"><img decoding="async" class="alignright" src="media/3147f663.ccoic_720-300x169.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/11/ccoic_720-300x169.png" alt="A black and white Creative Commons icon and logo above " /></figure>
<p>CC Licenses make it possible to share content legally and openly. Over the past 20 years, they have unlocked approximately 3 billion articles, books, research, artwork, and music. They’re a global standard and power open sharing on popular platforms like Wikipedia, Flickr, YouTube, Medium, Vimeo, and Khan Academy.</p>
<p><strong>CC’s Legal Tools are a free and reliable public good. Yet most people are unaware that their infrastructure and stewardship takes a lot of money and work to maintain. </strong></p>
<p>We need to secure immediate and long term funding for the CC licenses and CC0 public domain tool, which are key to building a healthy commons. We’re facing many challenges and threats to the commons–libraries are under attack, misinformation is rampant, and climate change threatens us all. CC is one of the few nonprofit, mission-driven organizations fighting to ensure we have a sound legal infrastructure backing open ecosystems, so that culture and knowledge are shared in order to foster understanding and find equitable solutions to our world’s most pressing challenges.</p>
<p>We need support from like-minded funders to champion sharing practices and tools that oppose the enclosure of the commons.</p>
<p><strong>That’s why we’re launching the <a href="https://creativecommons.org/support-cc/open-infrastructure-circle/" target="_blank" rel="noopener">Open Infrastructure Circle (OIC)</a> — an initiative to obtain annual or multi-year support from foundations, corporations, and individuals for Creative Commons&#8217; core operations and license infrastructure.</strong></p>
<p>With consistent funding, we can resolve “technical debts” (years of work we’ve had to put on hold due to underfunding!) and make the CC Licenses more user-friendly and accessible to our large, global community. The world has changed a lot since the CC Licenses were first created in 2002, and we want to ensure they stay relevant and easy to use going forward.</p>
<p>We are grateful to our early <a href="https://creativecommons.org/support-cc/open-infrastructure-circle/" target="_blank" rel="noopener">Open Infrastructure Circle supporters</a>, including the <a href="https://hewlett.org/" target="_blank" rel="noopener">William + Flora Hewlett Foundation</a>, <a href="https://www.gatesfoundation.org/" target="_blank" rel="noopener">Bill &amp; Melinda Gates Foundation</a>, <a href="https://www.rwjf.org/" target="_blank" rel="noopener">Robert Wood Johnson Foundation</a>, and Paul and Iris Brest.</p>
<p><strong>Sign up to <a href="https://www.classy.org/give/514926/#!/donation/checkout" target="_blank" rel="noopener">join OIC with a recurring gift</a>! Or reach out to us for more information about OIC at development@creativecommons.org.</strong></p>
<p>Thank you for considering joining the Open Infrastructure Circle and contributing to the legal infrastructure of the open web.</p>
<figure id="post-74175 media-74175"></figure>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/11/03/cc-open-infrastructure-circle/">Announcing CC’s Open Infrastructure Circle</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74153
title: CC’s #BetterSharing Collection | November: Shared Knowledge, Shared Future
uri: CC-s-BetterSharing-Collection-November-Shared-Knowledge-Shared
url:
https://creativecommons.org/2023/11/02/ccs-bettersharing-collection-november-shared-knowledge-shared-future/?utm_source=rss&utm_medium=rss&utm_campaign=ccs-bettersharing-collection-november-shared-knowledge-shared-future

content:
<figure id="post-66066 media-66066" class="align-none"><img decoding="async" class="alignright" src="media/df719fb8.Luisa-Brando-213x300.png" data-original-source="https://creativecommons.org/wp-content/uploads/2022/11/Luisa-Brando-213x300.png" alt="A collage of photos of various objects — bird, flower, hand, etc — and various icons all interconnected by bright yellow lines with occasional dots, like a circuit board, all on a light blue background with the text: Shared knowledge Shared future." /><figcaption class="attribution">“<a href="https://thegreats.co/artworks/shared-knowledge-shared-future">Shared Knowledge, Shared Future</a>” by <a href="https://www.instagram.com/luisa.brando/?hl=en">Luisa Brando</a> for <a href="https://creativecommons.org/">Creative Commons</a> and <a href="https://fineacts.co/">Fine Acts</a> is licensed via <a href="https://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA 4.0</a>.</figcaption></figure>
<p>As part of our #20CC anniversary, last year we joined forces with Fine Acts to spark a global dialogue on what better sharing looks like in action. Our <a href="https://creativecommons.org/2022/11/21/introducing-the-better-sharing-illustrations-a-creative-commons-fine-acts-collaboration/"><span style="font-weight: 400;">#BetterSharing collection</span></a><span style="font-weight: 400;"> of illustrations was the result — we gathered insights from 12 prominent open advocates around the world and tasked 12 renowned artists who embrace openness with transforming these perspectives into captivating visual pieces available under a CC license.</span></p>
<p>Each month throughout 2023, we will be spotlighting a different CC-licensed illustration from the collection on our social media headers and the CC blog. For November, we&#8217;re excited to showcase “Shared Knowledge, Shared Future” by Colombian illustrator, Luisa Brando. The piece, licensed under <a href="https://creativecommons.org/licenses/by-sa/4.0/"><span style="font-weight: 400;">CC BY-SA 4.0</span></a><span style="font-weight: 400;">, was inspired by a quote from </span><a href="https://en.wikipedia.org/wiki/Molly_Shaffer_Van_Houweling"><span style="font-weight: 400;">Molly Van Houweling</span></a><span style="font-weight: 400;">, former chair of CC’s Board of Directors:</span></p>
<blockquote><p>“Better sharing for a brighter future means that the world is wrapped in a living connective tissue of shared knowledge, culture, and insights that spread joy and alleviate suffering.”</p></blockquote>
<h2>Meet the artist:</h2>
<figure id="post-74154 media-74154" class="align-none"><img decoding="async" class="alignright" src="media/c5225870.44d701b1cf585cc0421bfa24e46280f0._thumbnail-295x300.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/11/44d701b1cf585cc0421bfa24e46280f0._thumbnail-295x300.jpg" alt="Headshot of Luisa Brando" width="209" height="213" /><figcaption class="attribution">“Luisa Brando” used by permission of “<a href="https://thegreats.co/">TheGreats.co.</a>”</figcaption></figure>
<p>Luisa Brando is dedicated to producing visual art and architecture projects sensitive to heritage conservation and dichotomies between nature and culture, tradition and development. Brando currently teaches at Universidad de los Andes (Bogotá), coordinates a Master Plan in Ibague, and continues her artistic work on the geopolitics, images and imaginations of water and other living beings.</p>
<p>Follow Luisa on Instagram: <a href="https://www.instagram.com/luisa_brando_art/">@luisa_brando_art</a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/11/02/ccs-bettersharing-collection-november-shared-knowledge-shared-future/">CC’s #BetterSharing Collection | November: Shared Knowledge, Shared Future</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67470
title: Maarten Zeinstra — Open Culture VOICES, Season 2 Episode 31
uri: Maarten-Zeinstra-Open-Culture-VOICES-Season-2-Episode-31
url:
https://creativecommons.org/2023/10/31/maarten-zeinstra-open-culture-voices-season-2-episode-31/?utm_source=rss&utm_medium=rss&utm_campaign=maarten-zeinstra-open-culture-voices-season-2-episode-31

content:
<p><iframe title="Maarten Zeinstra — Open Culture VOICES, Season 2 Episode 31" width="500" height="281" src="https://www.youtube.com/embed/vSGzV2V6h_w?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></p>
<p>&nbsp;</p>
<p>Maarten believes that “Open GLAM is a necessity of a disbalanced copyright framework.” Maarten talks about how open access policies help institutions achieve their public missions. Open access policies in instutions provides good evidence that society and communities need access to cultural heritage to flourish.</p>
<p>Open Culture VOICES is a series of short videos that highlight the benefits and barriers of open culture as well as inspiration and advice on the subject of opening up cultural heritage. Maarten is an independent consultant and intellectual property lawyer who works with GLAM institutions on open access policies and implementing open information management systems.</p>
<p><strong>Maarten responds to the following questions:</strong></p>
<ol>
<li>What are the main benefits of open GLAM?</li>
<li aria-level="1">What are the barriers?</li>
<li aria-level="1">Could you share something someone else told you that opened up your eyes and mind about open GLAM?</li>
<li aria-level="1">Do you have a personal message to those hesitating to open up collections?</li>
</ol>
<p><strong><em>Closed captions are available for this video</em></strong>, you can turn them on by clicking the CC icon at the bottom of the video. A red line will appear under the icon when closed captions have been enabled. Closed captions may be affected by Internet connectivity — if you experience a lag, we recommend watching the videos directly on YouTube.</p>
<blockquote><p>Want to hear more insights from Open Culture experts from around the world? <a href="https://creativecommons.org/category/open-culture-voices/">Watch more episodes of Open Culture VOICES</a> <a href="https://creativecommons.org/category/open-culture-voices/">here &gt;&gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/10/31/maarten-zeinstra-open-culture-voices-season-2-episode-31/">Maarten Zeinstra — Open Culture VOICES, Season 2 Episode 31</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74099
title: Sorry: This video does not exist. CC’s Open VIdeo Blocked by Automatic Copyright Robots
uri: Sorry-This-video-does-not-exist-CC-s-Open-VIdeo-Blocked-by-Automat
url:
https://creativecommons.org/2023/10/26/sorry-this-video-does-not-exist/?utm_source=rss&utm_medium=rss&utm_campaign=sorry-this-video-does-not-exist

content:
<figure id="post-74104 media-74104" class="align-right"><img decoding="async" class="alignright" src="media/f9057e4a.SorryThisVideoDoesNotExist.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/SorryThisVideoDoesNotExist.png" alt="Screenshot of the Creative Commons home webpage, showing a missing video replaced with the text “Sorry! This video does not exist.”" /><figcaption class="attribution">“Sorry! This video does not exist.” by <a href="https://creativecommons.org/">Creative Commons</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<p>Visitors to the CC  home webpage recently were welcomed by a big black box and the message “Sorry: This video does not exist.” In the spot where CC was showcasing <a href="https://vimeo.com/777912896">a custom video made last year for CC’s 20th anniversary</a>, there was now a stark error message, making it look like the CC website was broken.</p>
<p>After some investigation, CC learned that the copy of the video we had hosted on the Vimeo platform had been tagged with an automated copyright violation takedown notice. Anyone who has had this experience knows that typically a service will stop delivering content that automated processes have identified as violating copyright, and then it’s up to you as the account holder to prove you have rights to share the work, or modify it so it no longer triggers automated filters. Meanwhile, your content is missing and your website may look broken.</p>
<p>Almost a week later, Vimeo approved CC’s detailed appeal of the takedown and the video was back on our home webpage. It’s not always easy to figure out how to file an appeal for a takedown like this — in fact Vimeo’s appeal button led to a dead link, so it actually took us at CC extra time to even figure out how to file an appeal with Vimeo.</p>
<p>Robot justice may be blind, but there was plenty of irony in this takedown notice, delivered to an organization like CC that knows a bit about people’s freedom to share. Irony on top of irony: the specific content flagged for copyright infringement was a sample of a musical track from <a href="https://en.wikipedia.org/wiki/The_Wired_CD">The Wired CD</a>, perhaps the most famous collection of openly licensed music ever published.</p>
<p>Fortunately, CC had taken great care in the production of the video, carefully tracking attributions for every sound and image. In another dose of irony, there is no good way to display the rather lengthy attributions for this video on Vimeo, and so one must look to a different host — <a href="https://www.flickr.com/photos/creativecommons/52543574218/">like Flickr</a> — for the video to display the full attribution statement.</p>
<p>The internet may not have missed this specific version of a short video for a few days, but this small example demonstrates the <a href="https://creativecommons.org/2022/03/22/cc-opposes-mandatory-copyright-filters-as-well-as-using-cc-to-justify-them/">stakes of automated systems</a> that put the interests of big copyright ahead of everyone else’s. Even with the black and white “Sorry,” the message that “this video does not exist” betrays a vision of a world where copyright reigns supreme with little to no space left for uses based on fundamental freedoms, like the freedom of expression. Because the video does indeed still exist, not only on Vimeo, where it was merely locked in private mode, awaiting appeal, but also anywhere else it might live, like on Flickr, the <a href="https://archive.org/details/cc-20.-brand-video.-16x-9.-high-resolution">Internet Archive</a>, <a href="media/c195e760.FileTwenty_Years_of_Creative_Commons_in_Sixty_Seconds.ogg" data-original-source="https://commons.wikimedia.org/wiki/File:Twenty_Years_of_Creative_Commons_(in_Sixty_Seconds).ogg">Wikimedia Commons</a>, YouTube (which also has the video in private mode, pending CC’s appeal), or — if you have the resources — on your own internet hosting infrastructure.</p>
<p>CC was embedding the version of this video hosted on Vimeo on our home webpage because Vimeo embedding has some technical advantages, but one lesson here is never to put all your web hosting eggs in a single basket — if you have the time and resources to share open content in multiple places, your content is less likely to “not exist” due to the whims of any one host.</p>
<p>Another lesson is that good attribution practices are not only important to meet the requirements of open licensing — giving credit to upstream creators and guidance to downstream users — but also as a record of the multiple layers of rights and permissions within your  work, ready for you to use when you get that unexpected copyright takedown notice or legal challenge. Because CC had taken such care with the attributions for this video, we were well-equipped to file a successful appeal with Vimeo.</p>
<p>Why wait for your next takedown notice? Brush up your skills in making good attributions via <a href="https://wiki.creativecommons.org/wiki/Recommended_practices_for_attribution">CC’s online guidance</a> or go deeper with our <a href="https://certificates.creativecommons.org/">CC Certificate program &gt;</a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/10/26/sorry-this-video-does-not-exist/">Sorry: This video does not exist. CC’s Open VIdeo Blocked by Automatic Copyright Robots</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67466
title: Marike van Roon — Open Culture VOICES, Season 2 Episode 30
uri: Marike-van-Roon-Open-Culture-VOICES-Season-2-Episode-30
url:
https://creativecommons.org/2023/10/24/marike-van-roon-open-culture-voices-season-2-episode-30/?utm_source=rss&utm_medium=rss&utm_campaign=marike-van-roon-open-culture-voices-season-2-episode-30

content:
<p><iframe title="Marike van Roon — Open Culture VOICES, Season 2 Episode 30" width="500" height="281" src="https://www.youtube.com/embed/RSCh_OYlP8c?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></p>
<p>Marike van Roon shares that “the main benefit of open culture is accessibility” because if you are not fortunate enough to be part of organization that pays for you to have access to collections and you don’t live in city with public collections it’s almost impossible to access a lot of cultural heritage. In this episode we learn about the institutions that support opening up collections in the Netherlands and how detrimental copyright laws and pay walls are to open culture around the world.</p>
<p>Open Culture VOICES is a series of short videos that highlight the benefits and barriers of open culture as well as inspiration and advice on the subject of opening up cultural heritage. Marike van Roon is currently an independent art historian and has been part of the cultural heritage sector in the nNetherlands for more than 30years. She is also a Wikipedian and was a member of the board of Wikimedia Nederland.</p>
<p><strong>Marike responds to the following questions:</strong></p>
<ol>
<li>What are the main benefits of open GLAM?</li>
<li aria-level="1">What are the barriers?</li>
<li aria-level="1">Could you share something someone else told you that opened up your eyes and mind about open GLAM?</li>
<li aria-level="1">Do you have a personal message to those hesitating to open up collections?</li>
</ol>
<p><strong><em>Closed captions are available for this video</em></strong>, you can turn them on by clicking the CC icon at the bottom of the video. A red line will appear under the icon when closed captions have been enabled. Closed captions may be affected by Internet connectivity — if you experience a lag, we recommend watching the videos directly on YouTube.</p>
<blockquote><p>Want to hear more insights from Open Culture experts from around the world? <a href="https://creativecommons.org/category/open-culture-voices/">Watch more episodes of Open Culture VOICES</a> <a href="https://creativecommons.org/category/open-culture-voices/">here &gt;&gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/10/24/marike-van-roon-open-culture-voices-season-2-episode-30/">Marike van Roon — Open Culture VOICES, Season 2 Episode 30</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74058
title: CC and Communia Statement on Transparency in the EU AI Act
uri: CC-and-Communia-Statement-on-Transparency-in-the-EU-AI-Act
url:
https://creativecommons.org/2023/10/23/cc-and-communia-statement-on-transparency-in-the-eu-ai-act/?utm_source=rss&utm_medium=rss&utm_campaign=cc-and-communia-statement-on-transparency-in-the-eu-ai-act

content:
<figure id="post-65965 media-65965" class="align-right"><img decoding="async" class="alignright" src="media/dfa38dd7.EUAI-300x169.png" data-original-source="https://creativecommons.org/wp-content/uploads/2022/10/EUAI-300x169.png" alt="An abstract European Union flag of diffused gold stars linked by golden neural pathways on a deep blue mottled background." /><figcaption class="attribution">&#8220;EU Flag Neural Network&#8221; by Creative Commons was cropped from an image generated by the DALL-E 2 AI platform with the text prompt &#8220;European Union flag neural network.&#8221; CC dedicates any rights it holds to the image to the public domain via <a href="https://creativecommons.org/publicdomain/zero/1.0/">CC0</a>.</figcaption></figure>
<p>The European Union’s Artificial Intelligence (AI) Act will be discussed at a key trilogue meeting on 24 October 2023 — a trilogue is a meeting bringing together the three bodies of the European Union for the last phase of negotiations: the European Commission, the European Council and the European Parliament. CC collaborated with Communia to summarize our views emphasizing the importance of a balanced and tailored approach to regulating foundation models and of transparency in general. Additional organizations that support public interest AI policy have also signed to support these positions.</p>
<h2>Statement on Transparency in the AI Act</h2>
<p>The undersigned are civil society organizations advocating in the public interest, and representing knowledge users and creative communities.</p>
<p>We are encouraged that the Spanish Presidency is considering how to tailor its approach to foundation models more carefully, including an emphasis on transparency. We reiterate that copyright is not the only prism through which reporting and transparency requirements should be seen in the AI Act.</p>
<h3>General transparency responsibilities for training data</h3>
<p>Greater openness and transparency in the development of AI models can serve the public interest and facilitate better sharing by building trust among creators and users. As such, we generally support more transparency around the training data for regulated AI systems, and not only on training data that is protected by copyright.</p>
<h3>Copyright balance</h3>
<p>We also believe that the existing copyright flexibilities for the use of copyrighted materials as training data must be upheld. The 2019 Directive on Copyright in the Digital Single Market and specifically its provisions on text-and-data mining exceptions for scientific research purposes and for general purposes provide a suitable framework for AI training. They offer legal certainty and strike the right balance between the rights of rightsholders and the freedoms necessary to stimulate scientific research and further creativity and innovation.</p>
<h3>Proportionate approach</h3>
<p>We support a proportionate, realistic, and practical approach to meeting the transparency obligation, which would put less onerous burdens on smaller players including non-commercial players and SMEs, as well as models developed using FOSS, in order not to stifle innovation in AI development. Too burdensome an obligation on such players may create significant barriers to innovation and drive market concentration, leading the development of AI to only occur within a small number of large, well-resourced commercial operators.</p>
<h3>Lack of clarity on copyright transparency obligation</h3>
<p>We welcome the proposal to require AI developers to disclose the copyright compliance policies followed during the training of regulated AI systems. We are still concerned with the lack of clarity on the scope and content of the obligation to provide a detailed summary of the training data. AI developers should not be expected to literally list out every item in the training content. We maintain that such level of detail is not practical, nor is it necessary for implementing opt-outs and assessing compliance with the general purpose text-and-data mining exception. We would welcome further clarification by the co-legislators on this obligation. In addition, an independent and accountable entity, such as the foreseen AI Office, should develop processes to implement it.</p>
<h3>Signatories</h3>
<ul>
<li aria-level="1"><a href="https://creativecommons.org/">Creative Commons</a></li>
<li aria-level="1"><a href="https://communia-association.org/">Communia Association</a></li>
<li aria-level="1"><a href="https://meta.wikimedia.org/wiki/Wikimedia_Europe">Wikimedia Europe</a></li>
</ul>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/10/23/cc-and-communia-statement-on-transparency-in-the-eu-ai-act/">CC and Communia Statement on Transparency in the EU AI Act</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74034
title: A Year in the Open Climate Campaign
uri: A-Year-in-the-Open-Climate-Campaign
url:
https://creativecommons.org/2023/10/23/a-year-in-the-open-climate-campaign/?utm_source=rss&utm_medium=rss&utm_campaign=a-year-in-the-open-climate-campaign

content:
<figure id="post-74048 media-74048" class="align-none"><img decoding="async" class="alignright" src="media/2b15f8c6.River-Banner-300x169.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/River-Banner-300x169.png" alt="A black and white aerial view of a river landscape, with a network of blue lines connecting blue icons representing the locations of potential open climate speakers." /><figcaption class="attribution">&#8220;River Banner&#8221; by <a href="https://www.impactmedialab.com/">Impact Media Lab</a> for <a href="https://creativecommons.org/">Creative Commons</a> is licensed via <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>.</figcaption></figure>
<p>If we are going to solve climate change, the knowledge about it must be open. Only 47% of research papers on climate change are open. That means less than half of all climate research can be read by the public, researchers, journalists, educators, policy makers, students and others seeking to mobilize this knowledge in mitigations and solutions for climate change. One year ago, Creative Commons and our partners — SPARC &amp; EIFL with the guidance of the <a href="https://openclimatecampaign.org/about-us/">Steering Committee</a> — launched the Open Climate Campaign to address the lack of access to climate change research. Comprising <a href="https://openclimatecampaign.org/">11 goals</a>, the Open Climate Campaign’s mission is to make the open sharing of research the norm in climate science.</p>
<p>The Campaign was <a href="https://creativecommons.org/2022/08/30/cc-partners-with-sparc-and-eifl-to-launch-a-4-year-open-climate-campaign/">successfully launched</a> on 30 August 2022 and was covered by the <a href="https://council.science/current/blog/open-science-round-up-october-2022/">International Science Council</a>, <a href="https://www.infodocket.com/2022/08/30/creative-commons-sparc-and-eifl-announce-a-new-4-year-4-million-usd-grant-from-arcadia-fund-to-fund-the-open-climate-campaign/">Infodocket</a>, Research Information, <a href="https://www.nature.com/articles/d41586-022-03418-9?utm_medium=So">Nature</a>, and Axios Brief. We began by developing campaign materials — for our target audiences — to advertise the Campaign and to persuade researchers, librarians, national governments, environmental organizations and funders the free and open sharing of the research they create and fund is key to addressing climate change. We leveraged these materials to organize and present at 39 events to connect with our target audiences. We partnered with the <a href="https://openknowledge.community/">Curtin Open Knowledge Initiative </a>to secure open access benchmark data for climate change publications, and drafted a report on the legal and policy barriers to open access; both activities helped the Campaign understand the landscape of open access in climate change research.</p>
<p>In Year One, the Campaign began working with National Governments and partnered with the <a href="https://www.orfg.org/">Open Research Funder’s Group</a> to offer a policy development program for funders of climate change research. The Campaign secured <a href="https://openclimatecampaign.org/endorsements/">endorsements</a> from several organizations including, but not limited to, PLOS, Wildlife Conservation Society, and the Digital Public Goods Alliance.</p>
<p>In keeping with the global focus of the Campaign, we also began recruiting for a working group of open access and climate change experts — in the global south — to ensure inclusive outcomes throughout the campaign. Finally, we made progress on the Campaign’s unbinding work by beginning to form relationships with publishers and open access tools to facilitate the opening of past climate change publications.</p>
<p>The Open Climate Campaign is looking forward to leveraging this success and progress into Year 2 as the Campaign continues to work on developing open access policies with national governments, funders, and environmental organizations in service of changing the culture of sharing in climate change research.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/10/23/a-year-in-the-open-climate-campaign/">A Year in the Open Climate Campaign</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=67639
title: Dave Hansen — Open Culture VOICES, Season 2 Episode 33
uri: Dave-Hansen-Open-Culture-VOICES-Season-2-Episode-33
url:
https://creativecommons.org/2023/11/14/dave-hansen-open-culture-voices-season-2-episode-33/?utm_source=rss&utm_medium=rss&utm_campaign=dave-hansen-open-culture-voices-season-2-episode-33

content:
<p>https://www.youtube.com/watch?v=H14Krmn9QOM</p>
<p>Dave talks about how many “institutions are on a mission to expose their collections to the world and make them available for everyone.” Dave sees this as a major evolution from a time not too long ago when it was only those with means who could access collections in any way.</p>
<p>Open Culture VOICES is a series of short videos that highlight the benefits and barriers of open culture as well as inspiration and advice on the subject of opening up cultural heritage. Dave is the Executive Director at Authors Alliance which is a non-profit focused on sharing work broadly with the public together with authors in the US.</p>
<p><strong>Dave responds to the following questions:</strong></p>
<ol>
<li>What are the main benefits of open GLAM?</li>
<li aria-level="1">What are the barriers?</li>
<li aria-level="1">Could you share something someone else told you that opened up your eyes and mind about open GLAM?</li>
<li aria-level="1">Do you have a personal message to those hesitating to open up collections?</li>
</ol>
<p><strong><em>Closed captions are available for this video</em></strong>, you can turn them on by clicking the CC icon at the bottom of the video. A red line will appear under the icon when closed captions have been enabled. Closed captions may be affected by Internet connectivity — if you experience a lag, we recommend watching the videos directly on YouTube.</p>
<blockquote><p>Want to hear more insights from Open Culture experts from around the world? <a href="https://creativecommons.org/category/open-culture-voices/">Watch more episodes of Open Culture VOICES</a> <a href="https://creativecommons.org/category/open-culture-voices/">here &gt;&gt;</a></p></blockquote>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/11/14/dave-hansen-open-culture-voices-season-2-episode-33/">Dave Hansen — Open Culture VOICES, Season 2 Episode 33</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74265
title: Open Culture Live Webinar: Changing the Subject & Respectful Terminologies
uri: Open-Culture-Live-Webinar-Changing-the-Subject-Respectful-Terminolo
url:
https://creativecommons.org/2023/11/15/open-culture-live-webinar-changing-the-subject-respectful-terminologies/?utm_source=rss&utm_medium=rss&utm_campaign=open-culture-live-webinar-changing-the-subject-respectful-terminologies

content:
<p>We are excited to host the second installment of <a href="https://creativecommons.org/2023/08/17/back-to-basics-open-culture-for-beginners/">Open Culture Live</a> with our next conversation:</p>
<p>&nbsp;</p>
<p><strong>Changing the Subject &amp; Respectful Terminologies</strong></p>
<figure id="post-74267 media-74267" class="align-none"><img decoding="async" src="media/0462c6b0.Open-Culture-Live-300x169.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/11/Open-Culture-Live-300x169.png" alt="A detail from the painting showing a scene of Indian princesses gathered around a fountain with multi-colored dresses, overlaid with the CC Open Culture logo and Open Culture Live wordmark, and text saying “Changing the Subject &amp; Respectful Technologies 29 November 2023 | 4:00 PM UTC” and including an attribution for the image: “Princesses Gather at a Fountain, ca. 1770 Source: The Metropolitan Museum of Art.”" /><figcaption class="attribution">“<a href="https://www.metmuseum.org/art/collection/search/454054">Princesses Gather at Fountain</a>”, ca. 1770, shown slightly cropped. The Metropolitan Museum of Art. Public Domain.</figcaption></figure>
<p>For centuries, cultural heritage institutions have been undertaking the work to document and catalog objects in their collections — sometimes this work suffers from a legacy of colonialism and discrimination in the way their collections are labeled and categorized. Some institutions are working to update these labels with more respectful terminology. Hear more from some of the changemakers working to update labels and metadata with more respectful terminologies during this CC panel.</p>
<p>&nbsp;</p>
<p>As CC’s Open Culture team works to promote <a href="https://creativecommons.org/mission/">better sharing</a>, we think it is important to address some of the key challenges and concerns that come along with promoting open access to cultural heritage. These challenges are not always simple to address, but they are important to ensuring that open access policies and practices go hand in hand with harm reduction, and do not perpetuate or amplify historic injustices.</p>
<p>&nbsp;</p>
<p>Learn from the experts involved in addressing harmful labels in cultural heritage institutions in this conversation. We will ask the experts if any institutions serve as a good model for rethinking their labels, acknowledging that many are in the process of ongoing work. We will discuss where to start, how to think about some of the challenging decisions, why and how to preserve historical metadata, and how digital archival practices can support this work. We hope that this will provide a guide of some of the ways you might consider adopting better metadata practices and using more respectful terminologies in your collections.</p>
<p>&nbsp;</p>
<p>The panel will feature:</p>
<ul>
<li aria-level="1">Jill Baron, Dartmouth College</li>
<li aria-level="1">Marco Rendina, European Fashion Heritage Association</li>
<li aria-level="1">Oscar Ruben Cornejo Casares, Ph.D. Candidate in the Department of Sociology at Northwestern University</li>
<li aria-level="1">Amanda Figueroa, Platform Director, MHz Foundation</li>
<li aria-level="1">Ilham Nurwansah, Wikimedian in Residence</li>
</ul>
<p>&nbsp;</p>
<p>With introductory remarks from Brigitte Vézina and moderation by Jocelyn Miyara.</p>
<p>&nbsp;</p>
<p><a href="https://us06web.zoom.us/meeting/register/tZcscu-trzkqE9PaaMPscTjFxcD2v6vw0VrR">Register here to attend &gt;</a></p>
<p>&nbsp;</p>
<p><strong>→ To stay informed about our open culture work:</strong></p>
<ul>
<li aria-level="1"><strong>Join the <a href="https://network.creativecommons.org/cc-openculture-platform/">open culture platform</a></strong></li>
<li aria-level="1"><strong>Join our <a href="https://network.creativecommons.org/">global network</a></strong></li>
<li aria-level="1"><strong>Visit our <a href="https://creativecommons.org/about/program-areas/arts-culture/">website on open culture</a></strong></li>
<li aria-level="1"><strong>Sign up for our <a href="https://mail.creativecommons.org/cc-open-culture-matters">Open Culture Matters newsletter</a></strong></li>
</ul>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/11/15/open-culture-live-webinar-changing-the-subject-respectful-terminologies/">Open Culture Live Webinar: Changing the Subject &#038; Respectful Terminologies</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74319
title: CC Global Summit 2023: Reflections
uri: CC-Global-Summit-2023-Reflections
url:
https://creativecommons.org/2023/12/01/cc-global-summit-2023-reflections/?utm_source=rss&utm_medium=rss&utm_campaign=cc-global-summit-2023-reflections

content:
<p style="text-align: right;">[<a href="#espanol">lee esta entrada en español &gt;</a>]</p>
<p>We want to share a message regarding some learnings obtained after the 2023 Creative Commons Global Summit and meeting with our Mexican organizing committee and members of the local community.</p>
<p>Financial decisions related to the CC Summit were made by the CC team and not by the local Mexican Chapter. Specifically the cost of entry to the event, which proved to be high in relation to the contextual conditions of Mexico. Due to difficult fundraising conditions for many nonprofits in 2023, the CC team decided to keep the entrance fee higher, offer discounted rates, and scholarships for attendees. We wish to learn from this experience for future events, as it is clear that if we want to continue our value of global inclusion, it is necessary to create a new formula to eliminate access barriers for those who wish to attend our events.</p>
<p>Initially, the estimated cost for simultaneous translation provided to us was above our budget. For this reason, we hired <a href="https://www.syncwords.com/">SyncWords</a> to provide live subtitles, human and automatic translations for each of the sessions and panels in the main auditorium. The translations could be accessed through the QR code that we had published in various places (this code provided access to a SyncWords page that displayed the subtitles and the translation). We also offered translation (English/Spanish) according to the needs of our attendees, with bilingual people available in each room and in the auditorium. However, as we began the event we recommended that it was imperative to have simultaneous audio translation to encourage dialogue and follow our value of global inclusion. We especially thank the Tlatolli Ollin Professional Interpretation and Translation Services cooperative, which won the challenge by providing excellent service in a short time.</p>
<p>No one in our Mexican Chapter should be held responsible for any decision, nor should their reputation be tarnished by decisions made during the Summit. After such big events, there are always lessons to be learned and one of them is how CC, as a small global non-profit, which has to raise funds every year to survive, can better support our local chapters that provide so much wisdom and experience.</p>
<p>I want to personally thank everyone involved in the CC Summit and we will continue to work to create a world where knowledge and creativity are accessible to everyone.</p>
<p>Sincerely,<br />
Catherine</p>
<h2 id="espanol">Español</h2>
<p>Queremos compartir un mensaje referente a algunos aprendizajes obtenidos después de la Cumbre Global Creative Commons 2023 y de reunirnos con nuestro comité organizador mexicano y miembros de la comunidad local.</p>
<p>Las decisiones financieras relacionadas con la Cumbre CC fueron tomadas por el equipo de CC y no por el Capítulo Mexicano local. Específicamente el costo de la entrada al evento, el cual se consideró alto en relación a las condiciones contextuales de México. Debido a las difíciles condiciones de recaudación de fondos para muchas organizaciones sin fines de lucro en 2023, el equipo de CC decidió mantener la tarifa de entrada más alta, ofrecer tarifas con descuento, y becas para los asistentes. Deseamos aprender de esta experiencia para eventos futuros, ya que está claro que si queremos seguir nuestro valor de inclusión global, es necesario crear una nueva fórmula para eliminar barreras de acceso para aquellos que deseen asistir a nuestros eventos.</p>
<p>Inicialmente, el costo estimado para traducción simultánea se nos proporcionó por encima de nuestro presupuesto. Por tal motivo contratamos a <a href="https://www.syncwords.com/">SyncWords</a> para realizar subtítulos, traducciones humanas y automáticas en vivo para cada una de las sesiones y paneles en el auditorio principal. Se podía acceder a las traducciones a través del código QR que habíamos publicado en varios lugares (dicho código proveía acceso a una página de SyncWords que mostraba los subtítulos y la traducción). También ofrecimos traducción (inglés/español) según las necesidades de nuestros asistentes, con personas bilingües disponibles en cada sala y en el auditorio. Sin embargo, al comenzar el evento decidimos que era imperativo contar con traducción de audio simultánea para fomentar el diálogo y seguir nuestro valor de inclusión global. Agradecemos especialmente a la cooperativa Tlatolli Ollin Servicios Profesionales de Interpretación y Traducción que aceptó el desafío brindando un excelente servicio en poco tiempo.</p>
<p>Nadie en nuestro Capítulo Mexicano debe ser responsabilizado por ninguna decisión, ni su reputación debe verse empañada por las decisiones tomadas durante la Cumbre. Después de eventos tan grandes, siempre hay lecciones que aprender y una de ellas es cómo CC, como una pequeña organización global sin fines de lucro, que tiene que recaudar fondos cada año para sobrevivir, puede apoyar mejor a nuestros capítulos locales que brindan tanta riqueza, sabiduría y experiencia.</p>
<p>Quiero agradecer personalmente a todos los involucrados en la Cumbre CC y continuaremos trabajando para crear un mundo donde el conocimiento y la creatividad sean accesibles para todos.</p>
<p>Atentamente,<br />
Catherine</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/01/cc-global-summit-2023-reflections/">CC Global Summit 2023: Reflections</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74324
title: Highlights from GLAM Wiki by the CC Open Culture Team
uri: Highlights-from-GLAM-Wiki-by-the-CC-Open-Culture-Team
url:
https://creativecommons.org/2023/12/05/highlights-from-glam-wiki-by-the-cc-open-culture-team/?utm_source=rss&utm_medium=rss&utm_campaign=highlights-from-glam-wiki-by-the-cc-open-culture-team

content:
<p>From 16 to 18 November, members of the Creative Commons (CC) Open Culture and Learning and Training teams attended <a href="https://meta.wikimedia.org/wiki/GLAM_Wiki_2023">GLAM Wiki</a> in Montevideo Uruguay. In this blog post we look back at the event’s highlights from CC’s perspective.</p>
<p>GLAM Wiki is an extraordinary international gathering that brings together cultural heritage professionals (from Galleries, Libraries, Archives, Museums, etc.) with the vibrant Wikimedia communities. More than 150 <a href="https://meta.wikimedia.org/wiki/GLAM_Wiki_2023/List_of_participants">participants</a> from all over the word came together with the <a href="https://meta.wikimedia.org/wiki/GLAM_Wiki_2023/FAQ">goals</a> to:</p>
<ul>
<li aria-level="1">Identify strategic priorities for the GLAM Wiki communities that promote knowledge equity, diversity and inclusion.</li>
<li aria-level="1">Exchange and build capacity around GLAM Wiki tools, outreach and collaborations.</li>
<li aria-level="1">Reflect, discuss and think of new roadmaps for our existing tools and platforms.</li>
<li aria-level="1">Reconnect after the pandemic, network and discuss the future of GLAM Wiki.</li>
</ul>
<p>The <a href="https://meta.wikimedia.org/wiki/GLAM_Wiki_2023/Program">program</a> was rich and diverse and included four sessions organized by CC, summarized as follows.</p>
<h2><strong>Creative Commons sessions’ highlights</strong></h2>
<p><strong>1. Remixing Open Culture: Get Creative with Creative Commons</strong></p>
<p>In this session, we provided a short presentation about remixing open culture. ALL culture is a remix, and everything we create draws inspiration from the art we have seen and been inspired by. We asked participants to think about why open culture is important to them as an individual. Using public domain images, attendees created “propaganda” for open culture, openly licensing their new creations, as in the example below. The CC licensed works have been uploaded to Wikimedia Commons under the category: <a href="https://commons.wikimedia.org/wiki/Category:Open_Culture_Remix_Posters">Open Culture Remix Posters</a>. Create your own poster to promote open culture and upload it to Wiki Commons with the category &#8220;Open Culture Remix Posters&#8221;.</p>
<figure id="post-74327 media-74327" class="align-none"><img decoding="async" fetchpriority="high" class="aligncenter" src="media/c62414b4.Screenshot-2023-12-05-at-10.24.15-AM-237x300.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/12/Screenshot-2023-12-05-at-10.24.15-AM-237x300.png" alt="This vibrant orange and pink image has " width="359" height="454" /><figcaption class="attribution">“Cultura es Remezcla” created using Tiger in the Jungle by Paul Elie Ranson, CC0. Licensed CC0.</figcaption></figure>
<p><strong>2. Towards a Recommendation on Open Culture &#8211; What, When, How?</strong></p>
<p>In this session, we presented an overview of our work around the <a href="media/0efa9db2.Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf">TAROC</a> initiative and invited participants from the audience — coming from Chile, Morocco, India, Finland, Mexico, Serbia and Portugal —  to share their open culture experiences in order to inform this international, community-focused initiative. Some of the topics raised include: the notion of culture is much broader than fine art or even “the arts”; open culture raises specific questions in the context of heritage preservation during armed conflict, where the risk of looting is heightened; better sharing might imply “conditional” sharing in certain contexts; the control over access and use of cultural heritage might be shared by a multitude of stakeholders; open culture raises financial challenges that must be addressed; and more.</p>
<p>This served as a continuation of our ongoing community consultation, after a session on Values at the CC Summit in October, where we polled the audience to learn more about some of the core principles that underpin the movement’s aspirations. These consultations will continue in-person and online with the <a href="https://network.creativecommons.org/cc-openculture-platform/">Open Culture Platform</a>.</p>
<p><strong>3. Open Culture on Wikipedia</strong></p>
<p>In this collaborative session, participants worked together to draft and publish the first Wikipedia articles dedicated to open culture. In one hour we managed to publish pages in <a href="https://en.wikipedia.org/wiki/Open_Culture">English</a>, <a href="https://fr.wikipedia.org/wiki/Culture_ouverte">French</a>, and <a href="https://es.wikipedia.org/wiki/Cultura_abierta">Spanish</a>, which are now open for anyone to edit and contribute to. We started articles in Finnish and Swedish as well.</p>
<p><strong>4. The CC Certificate for GLAM: learn about it by becoming part of a human sculpture collection</strong></p>
<p>This workshop highlighted considerations from the <a href="https://certificates.creativecommons.org/">CC Certificate for Open Culture</a>, a professional development training that builds expertise in open licensing and open practices for cultural heritage professionals. With participants, we put the teaching into practice by creating an exhibit of human sculptures, “digitizing” the works, then evaluating the ethical, cultural, logistical, and copyright considerations around the digitized collection.</p>
<h2><strong>GLAM Wiki and the broader open culture context</strong></h2>
<p>In running our Open Culture Program, we strive to hold space for conversations about the complexities of openness and the practical implementation of better sharing, our strategic north star — sharing that is contextual, inclusive, just, equitable, reciprocal, and sustainable.</p>
<p>As we engage with diverse stakeholders around the globe and as the landscape of the internet continues to evolve, we face new and important questions around how culture should be shared in a variety of contexts. For example, how can we envision exploration, and not exploitation, of the commons in the age of AI? What does equity look like in a global context where not all GLAMs have the resources for digitization? How can we think of “open” as a means to support wider cultural policy ambitions, not just an end in and of itself?</p>
<p>Our participation in GLAM Wiki was a way to tackle these questions and continue some of the exciting conversations we have had in the past months, including at the CC Summit, on TAROC, traditional knowledge and Indigenous cultural heritage, <a href="https://creativecommons.org/2023/09/15/generative-ai-and-creativity-new-considerations-emerge-at-cc-convenings/">open culture and generative artificial intelligence (AI)</a>, and the future of the open movement.</p>
<p>We will continue to explore these complex topics to gain fresh perspectives in our <a href="https://creativecommons.org/2023/07/11/introducing-open-culture-live-a-webinar-series/">Open Culture Live webinars</a>, publications, <a href="https://network.creativecommons.org/cc-openculture-platform/">Open Culture Platform</a> calls and activities, and at in-person events where we can connect with the open culture community.</p>
<p>For more information on how to get involved, including in translations of our <a href="https://creativecommons.org/about/arts-culture/open-culture-resources/">Open Culture resources</a>:</p>
<ul>
<li aria-level="1">Join the <a href="https://network.creativecommons.org/cc-openculture-platform/">Open Culture Platform</a></li>
<li aria-level="1">Sign up for our <a href="https://mail.creativecommons.org/cc-open-culture-matters">Open Culture Matters</a> newsletter</li>
<li aria-level="1">Register for the CC <a href="https://certificates.creativecommons.org/">Open Culture Certificate</a></li>
<li aria-level="1">Write to us at <a href="mailto:info@creativecommons.org">info@creativecommons.org</a></li>
</ul>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/05/highlights-from-glam-wiki-by-the-cc-open-culture-team/">Highlights from GLAM Wiki by the CC Open Culture Team</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74357
title: On Openness & Copyright, EU AI Act Final Version Appears to Include Promising Changes
uri: On-Openness-Copyright-EU-AI-Act-Final-Version-Appears-to-Include-Pr
url:
https://creativecommons.org/2023/12/11/on-openness-copyright-eu-ai-act-final-version-appears-to-include-promising-changes/?utm_source=rss&utm_medium=rss&utm_campaign=on-openness-copyright-eu-ai-act-final-version-appears-to-include-promising-changes

content:
<p>Throughout the last year, Creative Commons has actively engaged in the EU’s development of an AI Act. We welcomed its overall approach, focused on ensuring high-risk systems that use AI are trustworthy and safe. At the same time, we had concerns about the way it might impede better sharing and collaboration on the development of AI systems, and we<a href="https://creativecommons.org/2023/07/26/supporting-open-source-and-open-science-in-the-eu-ai-act/"> joined</a> with a coalition of AI developers and advocates offering suggestions for how to improve it. Rather than advocating for blanket exemptions, we supported a graduated, tailored approach – differentiating merely creating, sharing, and doing limited testing of new tools, versus offering a commercial service or otherwise putting powerful AI models into service, particularly at broad scale and impact.</p>
<p>We also <a href="https://creativecommons.org/2023/10/23/cc-and-communia-statement-on-transparency-in-the-eu-ai-act/">raised concerns</a> about late additions to the text related to copyright. While we generally support more transparency around the training data for regulated AI systems, the Parliament’s text included an unclear and impractical obligation to provide information specifically about use of copyrighted works.</p>
<p>This week, the EU’s political institutions announced that they have reached a tentative final agreement. We’re still awaiting a final text, and there are many other issues at stake related to the specific regulations on high-risk systems; a number of civil society organizations have raised concerns with, for example, changes to rules around predictive policing and biometric recognition, among other things.</p>
<p>At the same time, from the initial reported details (including <a href="media/794d2f97.231206GPAI_Compromise_proposalv4.pdf" data-original-source="https://www.openfuture.eu/wp-content/uploads/2023/12/231206GPAI_Compromise_proposalv4.pdf">this draft compromise text published by POLITICO</a>), the final agreement appears promising relative to the recent Parliament text and from the perspective of supporting open source, open science, as well as on copyright. The devil is in the details, and we will update our views based on further review of the final text.</p>
<h2>Open Source &amp; Open Science</h2>
<p>Consistent with our advocacy, the final version appears to clarify that merely providing and collaborating on AI systems under an open license is not covered by the Act, unless they are an AI system regulated by the Act (e.g., a defined “high-risk” system) that is commercially available or put into service.</p>
<p>As the AI Act progressed, focus shifted from particular high-risk systems to general purpose AI models (GPAI), sometimes referred to in terms of “foundation models.” This is a tricky issue, because it could have unintended consequences for a wide variety of beneficial uses of AI. In light of the Parliament&#8217;s proposed inclusion of these models, we had advocated for a tiered approach, requiring transparency and documentation of all models while reserving stricter requirements for commercial deployments and those put into service at some level of broad scale and impact.</p>
<p>On the one hand,  the final Act also takes a tiered approach, reserving the strict requirements for models of “high impact” and “systemic risk.” On the other hand, the initial tiering is based on an <a href="https://crfm.stanford.edu/2023/11/18/tiers.html">arbitrary technical threshold, which at best only has a limited relationship to measuring actual real-world impact</a>. Fortunately, it appears this tiering can be updated by regulators in the to-be-created AI Office in the future based on other quantitative and qualitative measures, and we hope that the final rules also appropriately distinguish between development of the pre-trained model, and follow-on, third party developers “fine-tuning” a model.</p>
<p>Interestingly, the draft text will exempt models that do not have “systemic risk” and are “made accessible to the public under a free and open-source license whose parameters, including the weights, the information on the model architecture, and the information on model usage,” with the exception of certain transparency requirements around training data and respect for copyright (see below). This provides further breathing room for open source developers, although it is worth noting that the definition of what constitutes an “open source license” in this context is still a matter of some debate. We hope those <a href="https://blog.opensource.org/open-source-ai-establishing-a-common-ground/">continuing discussions</a> will help ensure these protections in the law are applied to those models that, by virtue of their openness, do provide critical transparency that facilitates robust accountability and trustworthy systems.</p>
<p>The exact rules will continue to evolve as the AI Act is implemented in the coming years, and other countries are also considering the role of openness. For instance, the U.S. Department of Commerce is soliciting input on “dual-use foundation models with widely available weights,” pursuant to the White House’s recent <a href="https://www.whitehouse.gov/briefing-room/presidential-actions/2023/10/30/executive-order-on-the-safe-secure-and-trustworthy-development-and-use-of-artificial-intelligence/">Executive Order</a>.</p>
<p>As AI development and regulation continue to evolve next year, we will continue to work with a broad coalition to ensure better support for open source and open science. This fall, we were proud to join with a wide range of organizations and individuals in an additional<a href="https://open.mozilla.org/letter/"> joint statement</a> emphasizing the importance of openness and transparency in AI – not only because it helps make the technology more accessible, but also because it can support trust, safety and security. We look forward to continuing to work with all stakeholders to make this a reality.</p>
<h2>Copyright &amp; Transparency</h2>
<p>The final Act appears to take a more flexible approach to transparency around use of training data. Rather than expecting GPAI providers to list every specific work used for training and determine whether it is under copyright, it instead indicates that a summary of the collections and sources of data is enough (for example,  it might be sufficient to state that one uses data from the web contained in Common Crawl’s dataset). The AI Office will create a template for meeting these transparency requirements. We welcome the new wording, which clarifies that the transparency requirement applies to any training data — not only to copyright-protected works. We will continue to engage on this topic to ensure it takes a flexible, proportionate approach, free of overreaching copyright restrictions.</p>
<p>The Act also requires that foundation model providers have policies in place to adhere to the copyright framework. It’s unclear exactly what this means besides restating that they must comply with existing law, including the opt-out stipulated in Article 4(3) of the DSM Directive. If that’s the intent, then it is an appropriate approach. As we said previously:</p>
<p style="padding-left: 40px;">“We also believe that the existing copyright flexibilities for the use of copyrighted materials as training data must be upheld. The 2019 Directive on Copyright in the Digital Single Market and specifically its provisions on text-and-data mining exceptions for scientific research purposes and for general purposes provide a suitable framework for AI training. They offer legal certainty and strike the right balance between the rights of rightsholders and the freedoms necessary to stimulate scientific research and further creativity and innovation.”</p>
<p>The draft does create some uncertainty here, however. It states that models must comply with these provisions if put into service in the EU market, even if the training takes place elsewhere. On the one hand, the EU wants to avoid situations of “regulatory arbitrage,” where models are trained in a more permissive jurisdiction and then brought into the EU, without complying with EU rules. On the other hand, this threatens to create a situation where most restrictive rules set a global standard; to the extent that simply putting a model into service on a globally accessible website could put a provider in legal jeopardy, it could create uncertainty for developers.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/11/on-openness-copyright-eu-ai-act-final-version-appears-to-include-promising-changes/">On Openness &#038; Copyright, EU AI Act Final Version Appears to Include Promising Changes</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74349
title: CC Certificate Translations in Slovak, Bengali, and localized French
uri: CC-Certificate-Translations-in-Slovak-Bengali-and-localized-French
url:
https://creativecommons.org/2023/12/13/cc-certificate-translations-in-slovak-bengali-and-localized-french/?utm_source=rss&utm_medium=rss&utm_campaign=cc-certificate-translations-in-slovak-bengali-and-localized-french

content:
<figure id="post-74352 media-74352" class="align-none"><img decoding="async" class="alignright" src="media/1394e4a5.Anina-Takeff-Poster-text-214x300.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/12/Anina-Takeff-Poster-text-214x300.png" alt="Drawing of people in a circle with their hands on each other’s shoulders. " /><figcaption class="attribution">Side by Side, by Anina Takeff, licensed Creative Commons-Attribution-NonCommercial-ShareAlike 4.0 International (CC-BY-NC-SA)</figcaption></figure>
<p><span style="font-weight: 400;">As we end 2023, we want to showcase the incredible work of CC community members to translate the</span><a href="https://certificates.creativecommons.org/"><span style="font-weight: 400;"> CC Certificate</span></a><span style="font-weight: 400;"> content. Thanks to 21 volunteers this year and numerous volunteers in the past, the reading content of our CC Certificate training is now available in 10 languages. This makes our fundamental open licensing and open advocacy training more accessible to over one billion people in their native languages. </span></p>
<p><span style="font-weight: 400;">The CC Certificate program offers in-depth courses about copyright, CC licenses, open practices and the ethos of our global, shared commons. CC Certificate courses target (1) Academic Librarians, (2) Educators and (3) Open Culture advocates, but are open to everyone. Learn more about the </span><a href="https://creativecommons.org/about/training-and-consulting/training/"><span style="font-weight: 400;">CC Certificate and other professional learning opportunities</span></a><span style="font-weight: 400;">, then </span><a href="https://www.classy.org/event/2024-cc-certificate-course-registration/e500320/register/new/select-tickets"><span style="font-weight: 400;">register for a Certificate course today</span></a><span style="font-weight: 400;">. If you are a CC Certificate graduate and would like to translate course content in 2024, please contact certificate administrators on the alumni listserv. </span></p>
<h2><span style="font-weight: 400;">Slovak</span></h2>
<p><span style="font-weight: 400;">The Slovak Centre of Scientific and Technical Information contacted CC in 2022, noting the need for CC Certificate content in Slovak. Thanks to Gabriela Fišová, Judita Takačová, Jakub Klech, and Barbora Bieliková, who translated content earlier this year, the Centre now has a complete translation. </span></p>
<p><a href="https://drive.google.com/drive/folders/1uBQ4srayiuWpLFgtxkovNYAvDfZAmqVC?usp=sharing"><span style="font-weight: 400;">Download the Slovak translation files</span></a><span style="font-weight: 400;">, view them on the </span><a href="https://certificates.creativecommons.org/about/translations/"><span style="font-weight: 400;">CC Certificate translations webpage</span></a><span style="font-weight: 400;">, or </span><span style="font-weight: 400;">on </span><a href="https://zenodo.org/records/8344376"><span style="font-weight: 400;">Zenodo</span></a><span style="font-weight: 400;">. </span></p>
<h2><span style="font-weight: 400;">Bengali</span></h2>
<p><span style="font-weight: 400;">Bangladesh Open University (BOU) faculty, Sadia Afroze Sultana and Mostafa Azad Kamal, translated the CC Certificate content to make open licensing training more accessible to the 184+ million Bengali-speakers worldwide. Sadia is a CC Certificate alumna and facilitator; Mostafa is the CC Bangladesh Chapter Representative and also a CC Certificate alumnus. CC thanks Mostafa and Sadia; CC also thanks BOU faculty Asma Akter Shelly and Ananya Laboni, and graduate students Aminul Islam Rana and Mir Khadija Tahera for reading the translated copies and providing feedback. </span></p>
<p><a href="https://drive.google.com/drive/folders/1sfeSJZETY-i7yYP3tsnJD63j_sglRmYi?usp=sharing"><span style="font-weight: 400;">Download the Bengali translation files</span></a><span style="font-weight: 400;">, or view them on the </span><a href="https://certificates.creativecommons.org/about/translations/"><span style="font-weight: 400;">CC Certificate translations webpage</span></a><span style="font-weight: 400;">.</span></p>
<h2><span style="font-weight: 400;">French 2.0</span></h2>
<p><span style="font-weight: 400;">Building on last year’s French Translation, a community of volunteers from seven countries embarked on a two-week French translation 2.0 sprint, to increase the accessibility of the French translation for different francophone audiences. Nicolas Simon, a CC community member who provided the original French translation supported the sprint, and reviewed the final draft. Adou Jean-Constant Atta, Aman Ado, Emmanuelle Guebo Kakou, Fawaz Tairou, Karen Ferreira-Meyers, Kamel Belhamel, Nyirahabihirwe Clementine, Touré Kahou, Namon Moussa Traore, and Yao Hippolyte Bondouho added local contextual considerations such as recommended links. </span></p>
<p><a href="https://drive.google.com/drive/folders/1DRAo8vnkuHfMRJwfHAhKV6b2rW1xdpdA?usp=sharing"><span style="font-weight: 400;">Download the French translation files</span></a><span style="font-weight: 400;">, or view them on the </span><a href="https://certificates.creativecommons.org/about/translations/"><span style="font-weight: 400;">CC Certificate translations webpage</span></a><span style="font-weight: 400;">.</span></p>
<p><span style="font-weight: 400;">With these translations, the CC Certificate reading content is accessible in 10 languages: Arabic, Bengali, Burmese, English, French, Italian, Spanish, Slovak, Turkish, and Yoruba. The latest translations make our open licensing training more accessible than ever before and we thank open community members for making that possible. </span></p>
<p>&nbsp;</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/13/cc-certificate-translations-in-slovak-bengali-and-localized-french/">CC Certificate Translations in Slovak, Bengali, and localized French</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74367
title: Celebrating Two Years of CC’s Open Culture Voices
uri: Celebrating-Two-Years-of-CC-s-Open-Culture-Voices
url:
https://creativecommons.org/2023/12/15/celebrating-two-years-of-ccs-open-culture-voices/?utm_source=rss&utm_medium=rss&utm_campaign=celebrating-two-years-of-ccs-open-culture-voices

content:
<p><iframe title="Open Culture VOICES Series" width="500" height="281" src="https://www.youtube.com/embed/videoseries?list=PLPDjhzarwzCi_nKnIKGyX-nqUZDaeElnB" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></p>
<p>&nbsp;</p>
<p><span style="font-weight: 400;">Today we conclude the Open Culture Voices series, which over two years has showcased more than 65 open culture experts and practitioners from around the world. Over these two years we have had the privilege of engaging with remarkable individuals, each bringing their unique insights and stories to our community.</span></p>
<p><span style="font-weight: 400;">As we bid farewell to this enriching series, we want to take a moment to express our heartfelt gratitude to the interviewees who made this series possible. Your willingness to share your time, expertise, and experiences has left an indelible mark on our collective narrative. This journey has been more than a collection of interviews; it has been a tapestry of diverse stories that have inspired, educated, and connected us all. Your openness and authenticity have fostered a sense of community that goes beyond the digital realm: your perspectives are gathered in the CC report “</span><a href="https://creativecommons.org/2022/07/22/what-are-the-barriers-to-open-culture-heres-what-the-cc-community-has-to-say/"><span style="font-weight: 400;">What are the Barriers to Open Culture?</span></a><span style="font-weight: 400;">” and several other resources which will continue to provide guidance and advice to the community.</span></p>
<p><strong>Here are some of the experts’ insights:</strong></p>
<p><span style="font-weight: 400;">“Standardized licenses support interoperability and compatibility with other collections. All of this means that users are able to find, access and use our content with fewer barriers and less friction, and this makes it easier for them to learn, share their learning, to create and innovate.” — Christy Henshaw</span></p>
<p><span style="font-weight: 400;">“When done right, the greatest advantage for open cultural heritage is digital equity. Removing paywalls means that more people can afford to access these materials. We live in a wildly inequitable world, and access to our culture should not contribute to this.” — Nicole Kang Ferraiolo</span></p>
<p><span style="font-weight: 400;">“Open culture is kind of a key building block for positive interaction and social inclusion” — Nkem Osigwue</span></p>
<p><span style="font-weight: 400;">“Weʼll often find that the benefits of being open with the collections outweigh the level of investment and cost, and the profit eventually made from generating income, selling, and controlling the use of collections.” — Dafydd Tudur</span></p>
<p><span style="font-weight: 400;"><strong>15</strong>, which ran from January 2022 to November 2023, the videos had more than 20,000 views on YouTube and more than 30,000 engagements here on the CC Blog. </span></p>
<p><span style="font-weight: 400;">Thank you everyone who has watched and learned from these videos already. We hope they continue to be a valuable resource for the blossoming open culture community.</span></p>
<p><span style="font-weight: 400;">All episodes can be watched from the </span><a href="https://creativecommons.org/tag/open-culture-voices/"><span style="font-weight: 400;">Creative Commons Blog</span></a><span style="font-weight: 400;">. The videos are licensed CC BY 4.0 to be easily adapted, reused and shared across the web.</span></p>
<p><span style="font-weight: 400;">To stay up-to-date on all things Open Culture, subscribe to the Creative Commons </span><a href="https://mail.creativecommons.org/cc-open-culture-matters"><span style="font-weight: 400;">Open Culture Matters</span></a><span style="font-weight: 400;"> newsletter and join the </span><a href="https://network.creativecommons.org/cc-openculture-platform/"><span style="font-weight: 400;">Open Culture Platform</span></a><span style="font-weight: 400;"> today! </span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/15/celebrating-two-years-of-ccs-open-culture-voices/">Celebrating Two Years of CC’s Open Culture Voices</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74390
title: Open Climate Campaign at UNFCCC Conference of the Parties 28
uri: Open-Climate-Campaign-at-UNFCCC-Conference-of-the-Parties-28
url:
https://creativecommons.org/2023/12/18/open-climate-campaign-at-unfccc-conference-of-the-parties-28/?utm_source=rss&utm_medium=rss&utm_campaign=open-climate-campaign-at-unfccc-conference-of-the-parties-28

content:
<p style="font-weight: 400;"><span style="font-weight: 400;">The complexity of climate change is on display at the United Nations Framework Convention on Climate Change (UNFCCC) Conference of the Parties (COP). The conference is arranged into two major zones, blue and green, with the former accessible only by parties  with UNFCCC accreditation. The green zone is a landscape dotted by venues with booths inside representing  different climate change stakeholders. Each booth delves into a different dimension of climate change &#8211; energy transition, the role of mangrove forests in carbon capture and climate education just to name a few. </span></p>
<figure id="post-74391 media-74391" class="align-none"><img decoding="async" class="alignleft" src="media/055daf60.IMG_1656-300x225.jpeg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/12/IMG_1656-300x225.jpeg" alt="Image of a recreated wetland at the Expo City Dubai" /><figcaption class="attribution">&#8220;&#8221;<a>Wetland at Expo City Dubai” by </a><a>Monica Granados</a><a> is licensed via </a><a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a><a>. </a></figcaption></figure>
<p style="font-weight: 400;"><span style="font-weight: 400;">At COP 28, the </span><a href="https://openclimatecampaign.org/"><span style="font-weight: 400;">Open Climate Campaign</span></a><span style="font-weight: 400;"> highlighted another critical dimension of climate change &#8211; open access to climate change research. A common theme in presentations and statements at COP is that we know a lot about both the mechanistic causes of climate changes and its effects. Yet, most of that knowledge is in research publications, half of which is not accessible to read without a subscription. At the Open Climate Campaign we are on a mission to make the open sharing of research the norm in climate science. We know that to develop solutions, mitigations or adaptations to climate change, the knowledge about it must be open. The Open Climate Campaign teamed up with </span><a href="https://www.eqtylab.io/"><span style="font-weight: 400;">EQTYLab</span></a><span style="font-weight: 400;"> and the </span><a href="https://www.eci.io/"><span style="font-weight: 400;">Endowment for Climate Intelligence (ECI)</span></a><span style="font-weight: 400;"> for the launch of their Climate GPT and a discussion of the pivotal role open plays in not only understanding climate change, but leveraging that knowledge into new technologies. The Open Climate Campaign is also embarking on a pilot project with ECI to elevate the accessibility of climate change research beyond just physical access to the publication and the data associated with it. Our collaboration will show the potential of combining openly licensed publications with generative Al.  </span><span style="font-weight: 400;">Across the conference venue the Frontiers Research Foundation was also discussing the critical role open plays in addressing climate change. They hosted a </span><a href="https://www.frontiersin.org/news/2023/11/30/frontiers-is-gearing-up-for-cop28-to-address-the-climate-emergency/"><span style="font-weight: 400;">series of panel discussions</span></a><span style="font-weight: 400;"> including open science for inclusive and transformative climate and sustainability innovation and embracing open science for the climate crisis. </span></p>
<p><span style="font-weight: 400;">The Open Climate Campaign is looking forward to participating in COP 29 in Azerbaijan where we will continue to raise the need for open access to knowledge about climate change. We are looking to partner with other organizations at the intersection of climate and open to organize panels, presentations and/or workshops to amplify our shared message. If you would like to collaborate please reach out to: </span><a style="font-weight: 400;" href="mailto:contact@openclimatecampaign.org"><span style="font-weight: 400;">contact@openclimatecampaign.org</span></a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/18/open-climate-campaign-at-unfccc-conference-of-the-parties-28/">Open Climate Campaign at UNFCCC Conference of the Parties 28</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74404
title: Open Culture Live Recap & Recording: Respectful Terminologies & Changing the Subject
uri: Open-Culture-Live-Recap-Recording-Respectful-Terminologies-Changi
url:
https://creativecommons.org/2023/12/19/open-culture-live-recap-recording-respectful-terminologies-changing-the-subject/?utm_source=rss&utm_medium=rss&utm_campaign=open-culture-live-recap-recording-respectful-terminologies-changing-the-subject

content:
<p>On 22 November, we organized a <a href="https://creativecommons.org/2023/11/15/open-culture-live-webinar-changing-the-subject-respectful-terminologies/">webinar</a> with a group of experts to discuss their unique approaches to reparative metadata practices: considering the ways that harmful histories and terminologies have made their way into collections labeling and categorization practices and finding ways to identify those terms, contextualize them, and/or replace them altogether.</p>
<p>Jill Baron, a librarian at Dartmouth College (USA) shared some of her learnings from a project to change subject headings in the United States Library of Congress after working with a student who encountered the subject heading “illegal aliens” in Dartmouth&#8217;s library catalog. The journey is captured in the documentary <a href="https://www.youtube.com/watch?v=1SroscdR7-Y">Change the Subject</a> that she co-produced. Marco Redina spoke about his work on the <a href="https://pro.europeana.eu/project/de-bias">DE-BIAS project</a>, identifying harmful terms and adding context and more appropriate terminologies to more than 4.5 million records currently published on the Europeana website. Amanda Figueroa spoke about her efforts on the <a href="https://www.curationist.org/">Curationist</a> team where reviewers work to recontextualize collection descriptions with more contemporary and respectful descriptions through review and research. Carma Citrawati, a lecturer at Udayana University (Indonesia) spoke about her efforts to preserve traditional Balinese manuscripts in consultation with communities in Bali.</p>
<p>In the conversation, you will hear more about some of the nuances around the choice to keep legacy terminology in the record in order to preserve the history of harm, or replace it in order to make for a less harmful experience during discovery today. You will also hear from the experts about how they have engaged their communities around the work they do and get some advice on how you might think about confronting some of the harmful histories that have made their way into descriptions and metadata at your institution.</p>
<p><strong>→ <a href="https://youtu.be/089z1qfSHcQ">Watch the recording </a></strong></p>
<p>Further reading, as shared by webinar participants:</p>
<ul>
<li aria-level="1"><a href="https://www.youtube.com/watch?v=1SroscdR7-Y">Change the Subject Documentary | Full Length </a></li>
<li aria-level="1"><a href="https://sparcopen.org/news/2023/respectful-terminologies-project-for-indigenous-people-launches-in-canada/">Respectful Terminologies Project for Indigenous People Launches in Canada</a></li>
<li aria-level="1"><a href="https://libguides.nypl.org/Change_the_Subject">The New York Public Library Research Guides The Change the Subject Project at NYPL, BPL, and BookOps About</a></li>
<li aria-level="1"><a href="https://pro.europeana.eu/project/de-bias">DE-BIAS &#8211; Detecting and cur(at)ing harmful language in cultural heritage collections | Europeana Pro</a></li>
<li aria-level="1"><a href="media/090f8dae.45952-dartmouth_freedom_budget_plan.pdf" data-original-source="https://ethicsalarms.files.wordpress.com/2015/11/45952-dartmouth_freedom_budget_plan.pdf">1 The Plan for Dartmouth’s Freedom Budget: Items for Transformative Justice at Dartmouth We, the Concerned Asian, Black, Latin</a></li>
<li aria-level="1"><a href="https://cataloginglab.org/">Cataloging Lab</a></li>
</ul>
<p>Sign up for our newsletter, <a href="https://loom.ly/IyVkzlE">Open Culture Matters</a>, to learn about our upcoming webinars and keep up to date on news and events related to Cultural Heritage and Open Access and join the <a href="https://network.creativecommons.org/cc-openculture-platform/">Open Culture Platform</a> to get involved in our work.</p>
<p>&nbsp;</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/19/open-culture-live-recap-recording-respectful-terminologies-changing-the-subject/">Open Culture Live Recap &#038; Recording: Respectful Terminologies &#038; Changing the Subject</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74437
title: Celebrate Public Domain Day 2024 with us: Weird Tales from the Public Domain
uri: Celebrate-Public-Domain-Day-2024-with-us-Weird-Tales-from-the-Public
url:
https://creativecommons.org/2023/12/20/celebrate-public-domain-day-2024-with-us-weird-tales-from-the-public-domain/?utm_source=rss&utm_medium=rss&utm_campaign=celebrate-public-domain-day-2024-with-us-weird-tales-from-the-public-domain

content:
<figure id="post-74443 media-74443" class="align-none"><img decoding="async" fetchpriority="high" class="aligncenter" src="media/52ace739.WEIRD-TALES-AMENDED_1080-300x300.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/12/WEIRD-TALES-AMENDED_1080-300x300.png" alt="An image with " width="478" height="478" /></figure>
<p>Join Creative Commons, Internet Archive, and many other leaders from the open world to celebrate Public Domain Day 2024. The mouse that became Mickey will finally be free of his corporate captivity as the copyright term of the 1928 animated Disney film, <a href="https://en.wikipedia.org/wiki/Steamboat_Willie">Steamboat Willie</a>, expires along with that of thousands of other cultural works on the first day of 2024.</p>
<p>The year 1928 brought us a host of still relevant, oft-revived and remixed culture, from H.P. Lovecraft’s classic horror story, “Call of Cthulhu” (originally published in Weird Tales; now currently a popular <a href="https://en.wikipedia.org/wiki/Call_of_Cthulhu_(video_game)">video game</a>), to the Threepenny Opera, a critique of income inequality and the excesses of capitalism that is surprisingly on point for our current era.</p>
<p>And further, classic works of literature such as Orlando by Virginia Woolfe, Well of Loneliness by Radclyffe Hall, and Black Magic by Paul Mourad; children’s literature like House on Pooh Corner by A. A. Milne, which introduced the character Tigger, and Millions of Cats by Wanda Gág; movies like Charlie Chaplin’s The Circus, and Buster Keaton’s The Cameraman; and music like Dorothy Field’s “I Can’t Give You Anything But Love, Baby” and Cole Porter’s “Let’s Do It, Let’s Fall in Love” will grow the rich set of materials that are freely available to all of us as part of the public domain.</p>
<p><strong>Join us for a virtual celebration at 10am PT / 1pm ET on 25 January, 2024</strong>, with an amazing lineup of academics, librarians, musicians, artists and advocates coming together to help illuminate the significance of this new class of works entering the public domain!</p>
<p>Of course our program wouldn’t be complete without a discussion of Generative AI, which to some has become a new kind of Eldritch God unleashed upon humanity—a Chtulhu of sorts—out to alter or control human reality. New AI technologies have raised all kinds of questions about human creativity, and the various monsters we must vanquish in order to preserve it. We’ll get into all that and more in our panel discussion of AI, Creativity and the Public Domain.</p>
<h2><a href="https://www.eventbrite.com/e/weird-tales-from-the-public-domainfreeing-culture-from-corporate-captivity-tickets-772473157007">REGISTER NOW</a></h2>
<p>This event is co-hosted by Internet Archive, Creative Commons, Authors Alliance, Public Knowledge, Library Futures, SPARC and the Duke Center for the Study of the Public Domain.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/20/celebrate-public-domain-day-2024-with-us-weird-tales-from-the-public-domain/">Celebrate Public Domain Day 2024 with us: Weird Tales from the Public Domain</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74413
title: More California Community Colleges Get CC Certified!
uri: More-California-Community-Colleges-Get-CC-Certified
url:
https://creativecommons.org/2023/12/21/more-california-community-colleges-get-cc-certified/?utm_source=rss&utm_medium=rss&utm_campaign=more-california-community-colleges-get-cc-certified

content:
<figure id="post-74438 media-74438" class="align-none"></figure>
<figure id="post-74471 media-74471" class="align-none"><img decoding="async" class="alignright" src="media/0c417e09.CC-Bootcamp-California-Community-Colleges-4-300x169.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/12/CC-Bootcamp-California-Community-Colleges-4-300x169.jpg" alt="Sunset over San Bernardino skyline" /></figure>
<p><span style="font-weight: 400;">This December, Creative Commons led a </span><a href="https://certificates.creativecommons.org/"><span style="font-weight: 400;">CC Certificate Bootcamp</span></a><span style="font-weight: 400;">, or condensed Certificate training, for faculty and staff from 16 different California Community Colleges implementing Zero Textbook Cost (ZTC) degree programs. This marked the second CC Bootcamp for California Community Colleges after the </span><a href="https://sparcopen.org/news/2021/california-approves-115-million-investment-in-zero-textbook-cost-degrees/"><span style="font-weight: 400;">California legislature invested $115 million</span></a><span style="font-weight: 400;"> to expand ZTC degrees and the use of open educational resources (OER) within the statewide California community college system. ZTC degrees and increased use of OER reduce the overall cost of education and shorten the time to degree completion for students. With the average cost of course textbooks </span><a href="https://openoregon.org/is-the-average-cost-of-a-textbook-100/"><span style="font-weight: 400;">estimated at $100/student/course</span></a><span style="font-weight: 400;">, ZTC degrees are crucial for students&#8217; higher education. Further, students&#8217; </span><a href="https://www.insidehighered.com/digital-learning/article/2019/09/19/california-community-colleges-implement-zero-textbook-cost"><span style="font-weight: 400;">grades achieved in ZTC programs are higher than in traditional courses.</span></a></p>
<p>The CC Certificate progra<span style="font-weight: 400;">m provides training and tools for ZTC program faculty and staff to legally and effectively implement the open licensing requirements of California’s historic investment in educatio</span>n. After learning about copyright basics, fair use, the public domain, and CC licensing, participants brainstormed and initiated some great ways to support ZTC program faculty and student needs. Examples of participant work include using generative AI to create “Creative Commons Bots,” tools to help others <a href="https://poe.com/CreativeCommonsBot">learn about licensing</a>, and <a href="https://poe.com/CCQuizBot">test their own knowledge with quiz questions</a>; creating a <a href="https://www.dropbox.com/scl/fi/c543w3gpnshjmyq5ifpb7/CC-Bootcamp-Grants-Guide.xlsx?rlkey=5a65m69no2u28ae9hlhkqgs1b&amp;dl=0">grants guide for OER funding</a>; drafting a potential strategic plan for OER/ ZTC work (work in progress), and remixing previous courses or resources to address ZTC communications and learning needs for localized audiences (works in progress). See what participants are saying below.</p>
<blockquote>
<p style="text-align: center;">&#8220;This is one of the best professional development experiences I&#8217;ve had in years&#8221;</p>
<p style="text-align: center;">&#8220;Thank you so much for sharing wonderful resources and CC practices. I will share this knowledge with my colleagues&#8221;</p>
<p style="text-align: center;">&#8220;You&#8217;ve nailed the condensed week workshop. So much fun, and creating work groups was really beneficial&#8221;</p>
</blockquote>
<p><span style="font-weight: 400;">We are proud to support California Community Colleges’ collaboration as they strengthen their foundations for open education. CC is grateful to the </span><a href="https://20mm.org/"><span style="font-weight: 400;">Michelson 20</span></a><a href="https://20mm.org/"><span style="font-weight: 400;">MM Foundation</span></a><span style="font-weight: 400;"> for generously funding this bootcamp at San Bernardino Valley College. Special thanks also go to the </span><a href="https://www.asccc.org/"><span style="font-weight: 400;">Academic Senate for California Community Colleges</span></a><span style="font-weight: 400;"> for their liaison work, expertise and support, to </span><a href="https://www.valleycollege.edu/"><span style="font-weight: 400;">San Bernardino Valley College</span></a><span style="font-weight: 400;"> for hosting the event, and to </span><a href="https://www.fresno.edu/"><span style="font-weight: 400;">Fresno Pacific University</span></a><span style="font-weight: 400;"> for providing professional development credits to faculty.</span></p>
<p><span style="font-weight: 400;">If you’re interested in advancing open education efforts in your own institution, Creative Commons offers an array of learning, training, and consulting opportunities to support our global community in developing open licensing exp</span><span style="font-weight: 400;">ertise and a deeper understanding of recommended practices for better sharing. Visit the </span><a href="https://creativecommons.org/about/training-and-consulting/"><span style="font-weight: 400;">CC Training &amp; Consult</span></a><a href="https://creativecommons.org/about/training-and-consulting/"><span style="font-weight: 400;">ing page</span></a><span style="font-weight: 400;"> to learn more about our training services, workshops, lectures, and </span><a href="https://certificates.creativecommons.org/"><span style="font-weight: 400;">CC Certificate courses</span></a><span style="font-weight: 400;">. </span><a href="https://www.classy.org/event/2024-cc-certificate-course-registration/e500320/register/new/select-tickets"><span style="font-weight: 400;">Register</span></a><span style="font-weight: 400;"> for our next CC Certificate online courses, starting 29 January.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/21/more-california-community-colleges-get-cc-certified/">More California Community Colleges Get CC Certified!</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74485
title: Leadership Transition – Thank You to Catherine Stihler
uri: Leadership-Transition-Thank-You-to-Catherine-Stihler
url:
https://creativecommons.org/2023/12/29/leadership-transitions-at-cc-catherine-stihler/?utm_source=rss&utm_medium=rss&utm_campaign=leadership-transitions-at-cc-catherine-stihler

content:
<p><span style="font-weight: 400;">Today Creative Commons CEO Catherine Stihler is announcing the conclusion of her time leading the organization. We are grateful to Catherine for over three years of leadership at CC. </span></p>
<p><span style="font-weight: 400;">During her tenure as CEO, Catherine demonstrated tremendous energy. Joining as a leader in August 2020, in the middle of a global pandemic, meant navigating challenging times. Like many nonprofits during that time, the organization struggled financially. Under Catherine’s leadership the organization recovered from that. A successful 20th Anniversary Campaign that concluded in December 2022 led to more predictability for some of CC’s core program areas, due to multi-year funding commitments.</span></p>
<p><span style="font-weight: 400;">Organizational highlights from Catherine’s tenure at CC include a year-long campaign of thought leadership and community consultation on AI &amp; the commons, which culminated in the 2023 CC Global Summit. This was CC’s first in-person community gathering since 2019. We also launched the <a href="https://creativecommons.org/2022/08/30/cc-partners-with-sparc-and-eifl-to-launch-a-4-year-open-climate-campaign/" target="_blank" rel="noopener">Open Climate Campaign</a> in partnership with SPARC and EIFL, and the organization has invested deeply in the <a href="https://creativecommons.org/2021/06/03/creative-commons-receives-5m-grant-from-arcadia-to-advance-open-access-at-galleries-libraries-archives-and-museums/" target="_blank" rel="noopener">Open Culture</a> sector. Both initiatives are the result of generous funding from Arcadia. These are achievements that we can all be proud of.</span></p>
<p><span style="font-weight: 400;">The Creative Commons Board of Directors remains as committed as ever to CC’s mission of empowering individuals and communities around the world by equipping them with technical, legal, and policy solutions to enable sharing of knowledge and culture in the public interest.</span></p>
<p><span style="font-weight: 400;">On behalf of the board, I want to express our thanks for Catherine’s service to the organization. During this transition period, Anna Tumadóttir will serve as Interim CEO. As we look to the future, we are excited to come together with CC’s staff, global network, and broader community, to interrogate what our role is in protecting the commons in a very different world than the one we lived in 20+ years ago, when the CC licenses first came into existence.</span></p>
<p><span style="font-weight: 400;">New challenges lie ahead, and we are grateful to have the privilege of working on public interest solutions together with our dedicated staff and community.</span></p>
<p><span style="font-weight: 400;">Yours,</span></p>
<p><span style="font-weight: 400;">Delia Browne, </span><span style="font-weight: 400;">Chair of the Creative Commons Board of Directors</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2023/12/29/leadership-transitions-at-cc-catherine-stihler/">Leadership Transition &#8211; Thank You to Catherine Stihler</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74508
uri: Upcoming-Open-Culture-Live-Webinar-Whose-Open-Culture-Decolonizat
title:
Upcoming Open Culture Live Webinar: “Whose Open Culture? Decolonization, Indigenization, and Restitution”

url:
https://creativecommons.org/2024/01/11/upcoming-open-culture-live-webinar-whose-open-culture-decolonization-indigenization-and-restitution/?utm_source=rss&utm_medium=rss&utm_campaign=upcoming-open-culture-live-webinar-whose-open-culture-decolonization-indigenization-and-restitution

content:
<figure id="post-74517 media-74517" class="align-none"><img decoding="async" src="media/0bc2b11e.Open-Culture-Live-1-1024x576.png" data-original-source="https://creativecommons.org/wp-content/uploads/2024/01/Open-Culture-Live-1-1024x576.png" alt="The background is a woven textile with black, red, blue, and brown and tan shapes emmulating birds and fish. The text reads " /><figcaption class="attribution">“<a href="https://www.curationist.org/works/work-wam-87504">Andean Textile Fragment</a>” by Peruvian. 1500. Walters Art Museum., here slightly cropped, released into the public domain under <a href="https://creativecommons.org/public-domain/cc0/">CC0</a>.</figcaption></figure>
<p>On Wednesday, 17 January, 2024, at 3:00 pm UTC, CC’s Open Culture Program will be hosting a new webinar in our <a href="https://creativecommons.org/tag/open-culture-live/">Open Culture Live</a> series titled “Whose Open Culture? Decolonization, Indigenization, and Restitution.”</p>
<p>As <a href="https://creativecommons.org/2020/08/08/sharing-indigenous-cultural-heritage-online-an-overview-of-glam-policies/">we observed</a> a few years ago, there is growing awareness in the open culture movement about issues related to the acquisition, preservation, access, sharing, and reuse of cultural heritage of Indigenous peoples and local communities (including traditional knowledge and traditional cultural expressions), heritage in the context of colonization, and culturally-sensitive heritage. Many questions arise in the context of open access, for example:</p>
<ul>
<li aria-level="1">Who decides what can be digitized and/or made openly available online, and under which conditions?</li>
<li aria-level="1">Who has control and who can make governance decisions over their contents?</li>
<li aria-level="1">How are the consultation and decision-making processes designed and implemented and by whom?</li>
<li aria-level="1">How can institutions communicate permitted uses to users (including but mostly going beyond CC licenses or tools)?</li>
<li aria-level="1">When is restitution the answer?</li>
<li aria-level="1">How do we share ethically, responsibility, and with respect and sensitivity?</li>
<li aria-level="1">Who should be entitled to answer those questions and take action?</li>
</ul>
<p>In this webinar, we will discuss the many complex considerations around such heritage and explore some of the different approaches to respectful, sensitive, responsible, and ethical — in sum, better sharing. We will be joined by experts including:</p>
<ul>
<li aria-level="1">Jane Anderson, Vice Chair &amp; Founding Member, Strategic Advisor, Co-Founder, Local Contexts</li>
<li aria-level="1">Maui Hudson, Council Founding Member, Strategic Advisor, Local Contexts</li>
<li aria-level="1">Camille Callison, Indigenous Librarian and Activist, University of the Fraser Valley</li>
<li aria-level="1">Erna Lilje, Curator, Indigenous knowledge &amp; material culture, Nationaal Museum van Wereldculturen</li>
</ul>
<p><a href="https://us06web.zoom.us/meeting/register/tZEtd-itrDktGdaNRjMtxVKLT_kF4OnWt0ay">Register here</a>.</p>
<p>CC is a non-profit that relies on contributions to sustain our work. Support CC in our efforts to promote better sharing at creativecommons.org/donate</p>
<p><strong>Background reading</strong></p>
<ul>
<li aria-level="1"><a href="https://medium.com/creative-commons-we-like-to-share/beyond-copyright-the-ethics-of-open-sharing-a495bb95569d">Beyond Copyright: the Ethics of Open Sharing</a> by Josie Fraser, 2021. Creative Commons &#8211; We Like to Share Medium Blog.</li>
<li aria-level="1"><a href="https://medium.com/creative-commons-we-like-to-share/traditional-knowledge-and-copyright-intersections-d8cb78375e40">Traditional Knowledge and Copyright Intersections</a> by Connor Benedict, 2023. Creative Commons &#8211; We Like to Share Medium Blog.</li>
<li aria-level="1"><a href="https://medium.com/creative-commons-we-like-to-share/collaborate-communicate-and-navigate-ethical-considerations-with-the-ethical-sharing-card-game-20623d3f630b">Collaborate, Communicate, and Navigate Ethical Considerations with the Ethical Sharing Card Game</a> by Isaac Oloruntimilehin, 2023. Creative Commons &#8211; We Like to Share Medium Blog.</li>
<li aria-level="1"><a href="https://africandigitalheritage.org/the-case-for-open-restitution-an-africa-centred-approach-to-restitution-data/">An Africa centered approach to restitution data </a> by African Digital Heritage, 2021.</li>
<li aria-level="1"><a href="https://zenodo.org/record/2620597#.YwyY8exByX0">Response to the 2018 Sarr-Savoy Report: Statement on Intellectual Property Rights and Open Access relevant to the digitization and restitution of African Cultural Heritage and associated materials</a> by Mathilde Pavis &amp; Dr. Andrea Wallace, 2019.</li>
<li aria-level="1"><a href="https://blogs.ifla.org/lpa/2020/09/09/the-sarr-savoy-report-iflas-views-from-the-copyright-perspective/">Restitution with a Catch? The Copyright Perspective on the Sarr-Savoy Report</a> by Camille Francoise, 2020. IFLA Blog.</li>
<li aria-level="1"><a href="https://blog.wikimedia.de/2022/05/18/open-and-equitable-part-iii/">Open and Equitable &#8211; Questions on how to handle digital copies in collections from colonial contexts (Part III)</a> by Andrea Wallace, 2022. Wikimedia Deutschland Blog.</li>
<li aria-level="1"><a href="https://openglam.pubpub.org/pub/decolonization/release/1">Decolonization and Indigenization </a>by Andrea Wallance, 2021. OpenGLAM.</li>
<li aria-level="1"><a href="https://www.theguardian.com/artanddesign/2015/apr/09/indigenous-australians-enduring-civilisation-british-museum-repatriation">Preservation or plunder? The battle over the British Museum’s Indigenous Australian show </a>by Paul Daley, 2015. The Guardian.</li>
<li aria-level="1"><a href="https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3550362">Traditional Knowledge and Creative Commons White Paper</a> by Mehtab Khan, 2018</li>
<li aria-level="1"><a href="https://creativecommons.org/2020/08/08/sharing-indigenous-cultural-heritage-online-an-overview-of-glam-policies/">Sharing Indigenous Cultural Heritage Online an Overview of GLAM Policies</a> by Brigitte Vézina and Alexis Muscat, 2020</li>
<li aria-level="1"><a href="https://takingcareproject.eu/article/keynote-workshop-design-material-technology-and-questions-of-intellectual-ownership-and-collective-copyrights">Taking Care Conference 2022 Keynote</a>, Brigitte Vézina</li>
</ul>
<p><strong>What is Open Culture Live?</strong></p>
<p>In this series, we tackle some of the more complex challenges that face the open culture movement, bringing in speakers with personal and professional expertise on the topic.</p>
<ul>
<li aria-level="1"><a href="https://creativecommons.org/2023/12/19/open-culture-live-recap-recording-respectful-terminologies-changing-the-subject/">Respectful Terminologies &amp; Changing the Subject </a></li>
<li aria-level="1"><a href="https://creativecommons.org/2023/08/17/back-to-basics-open-culture-for-beginners/">Back to Basics: Open Culture for Beginners </a></li>
</ul>
<p>&nbsp;</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/01/11/upcoming-open-culture-live-webinar-whose-open-culture-decolonization-indigenization-and-restitution/">Upcoming Open Culture Live Webinar: “Whose Open Culture? Decolonization, Indigenization, and Restitution”</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74555
title: UK Court Clears Path for Open Culture to Flourish
uri: UK-Court-Clears-Path-for-Open-Culture-to-Flourish
url:
https://creativecommons.org/2024/01/18/uk-court-clears-path-for-open-culture-to-flourish/?utm_source=rss&utm_medium=rss&utm_campaign=uk-court-clears-path-for-open-culture-to-flourish

content:
<figure id="post-74557 media-74557" class="align-none">
<figure id="post-74557 media-74557" class="align-none"><img decoding="async" fetchpriority="high" class="aligncenter" src="media/a2ad305d.The-Electric-Boots-.png" data-original-source="https://creativecommons.org/wp-content/uploads/2024/01/The-Electric-Boots-.png" alt="In a segment of a black and white etching, a bearded man in a tophat and coat holds hands with two children as they all leap in the air, birds above them, wearing matching white boots seemingly enabling them to fly." width="866" height="487" /><figcaption class="attribution">&#8220;<a href="https://publicdomainreview.org/collection/the-british-library-s-mechanical-curator-million/">The Electric Boots</a>” British Library. Public Domain.</figcaption></figure>
</figure>
<p>In November 2023, the Court of Appeal in <em>THJ v Sheridan</em>¹ offered an important clarification of the originality requirement under UK copyright law, which clears a path for open culture to flourish in the UK.</p>
<p><strong>A game-changing ruling</strong></p>
<p>In setting the copyright originality threshold, the court stated: “What is required is that the author was able to express their creative abilities in the production of the work by making free and creative choices so as to stamp the work created with their personal touch.” Crucially, the court affirmed that “this criterion is not satisfied where the content of the work is dictated by technical considerations, rules or other constraints which leave no room for creative freedom.” For a thorough analysis of the case, see Professor Eleonora Rosatti’s take for <a href="https://ipkitten.blogspot.com/2023/11/originality-in-copyright-law-objective.html">the IPKat</a>.</p>
<p>The case is potentially a game-changer in the UK open culture landscape, as noted by open culture advocates <a href="https://www.theartnewspaper.com/2023/12/29/court-of-appeal-ruling-will-prevent-uk-museums-from-charging-reproduction-feesat-last">Bendor Grosvenor</a> (paywall) and <a href="https://douglasmccarthy.com/2024/01/after-thj-v-sheridan/">Doug McCarthy</a>. How so? Because by setting the standard for copyright to arise based on “free and creative choices” it effectively bars copyright claims from being made over faithful reproductions of public domain materials (i.e., materials that are no longer or never were protected by copyright).</p>
<p><strong>No copyright for faithful reproductions of public domain materials</strong></p>
<p>This is a <a href="https://creativecommons.org/2019/11/20/reproductions-of-public-domain-works/">position</a> that Creative Commons (CC) has been championing for years as part of our <a href="https://creativecommons.org/about/arts-culture/">Open Culture Program</a>: digital reproductions of public domain material must remain in the public domain. In other words, no new copyright (or related right) should arise over the creation of a digitized “twin.” <a href="https://www.europeana.eu/en/rights/public-domain-charter">Europeana</a> and the <a href="https://communia-association.org/tag/cultural-heritage/">Communia Association</a>, among many other open culture organizations, share this position. It is also aligns with Article 14 of the 2019 <a href="https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX:32019L0790">EU Directive on Copyright in the Digital Single Market</a>, which states that: “when the term of protection of a work of visual art has expired, any material resulting from an act of reproduction of that work is not subject to copyright […]”.</p>
<p>In practice, this means that CC licenses should not be used by cultural heritage institutions (museums, libraries, archives, etc.) to release digital reproductions of public domain works, since licenses can only be used in connection with in-copyright content. To share digital twins of public domain content, we recommend the public domain dedication tool (CC0) or the public domain mark (PDM).</p>
<p><strong>A widespread but problematic practice</strong></p>
<p>Alas, a great many institutions still claim full copyright or use CC licenses to share faithful reproductions of public domain material, often against payment of a (steep) fee — this is particularly prevalent in the UK, as <a href="https://zenodo.org/records/6242611">reported by Dr. Andrea Wallace</a> in her study for the <a href="https://www.nationalcollection.org.uk/">Towards a National Collection</a> program.</p>
<p>In an effort to curb this undesirable practice, in 2022, a <a href="https://network.creativecommons.org/cc-openculture-platform/">CC Open Culture Platform</a> working group led by Deborah De Angelis (<a href="https://network.creativecommons.org/chapter/cc-italy/">CC Italy</a>) and Tomoaki Watanabe (<a href="https://creativecommons.jp/">CC Japan</a>) investigated this issue and developed <a href="https://medium.com/creative-commons-we-like-to-share/report-of-the-working-group-to-investigate-use-of-cc-by-to-designate-holders-of-public-domain-679e75c05e8f">proposals for technical, legal, and social interventions</a> to address the problem of “PD BY” (i.e. the use of CC BY licenses to share reproductions of public domain works). On that basis, we are currently developing a set of guidelines to provide alternative design ideas and platform examples to cultural heritage institutions that wish to better share the digitized public domain cultural heritage material in their collections. Stay tuned for their release soon!</p>
<p><strong>A new dawn for open culture in the UK and around the world?</strong></p>
<p>This court case unlocks vast untapped potential for open culture to blossom in the UK cultural heritage sector. We are heartened that by offering enhanced legal certainty, this decision will give a boost to cultural heritage institutions to engage more deeply in the open culture movement and make these vast collections openly accessible to everyone.</p>
<p><strong>Get Involved</strong></p>
<p>For additional guidance and tailored support in developing or implementing open access policies or to get involved in promoting open culture around the world:</p>
<ul>
<li aria-level="1">Join the <a href="https://network.creativecommons.org/cc-openculture-platform/">CC Open Culture Platform</a></li>
<li aria-level="1">Sign up for our <a href="https://mail.creativecommons.org/cc-open-culture-matters">Open Culture Matters</a> newsletter</li>
<li aria-level="1">Support our policy initiative <a href="media/0efa9db2.Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf">Towards a Recommendation on Open Culture (TAROC)</a></li>
<li aria-level="1">Take our <a href="https://certificates.creativecommons.org/">CC Certificate</a> online training</li>
<li aria-level="1">Contact us at <a href="mailto:info@creativecommons.org">info@creativecommons.org</a></li>
</ul>
<h5><span style="font-weight: 400;">¹ </span><span style="font-weight: 400;">THJ Systems Limited &amp; Anor v Daniel Sheridan &amp; Anor [2023] EWCA Civ 1354, </span><a href="https://caselaw.nationalarchives.gov.uk/ewca/civ/2023/1354"><span style="font-weight: 400;">https://caselaw.nationalarchives.gov.uk/ewca/civ/2023/1354</span></a></h5>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/01/18/uk-court-clears-path-for-open-culture-to-flourish/">UK Court Clears Path for Open Culture to Flourish</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74574
title: What did Creative Commons do for Open Culture in 2023?
uri: What-did-Creative-Commons-do-for-Open-Culture-in-2023
url:
https://creativecommons.org/2024/01/24/what-did-creative-commons-do-for-open-culture-in-2023/?utm_source=rss&utm_medium=rss&utm_campaign=what-did-creative-commons-do-for-open-culture-in-2023

content:
<figure id="post-74576 media-74576" class="align-none"><img decoding="async" src="media/38e4fa9b.TEKA0110768-scaled.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2024/01/TEKA0110768-scaled.jpg" alt="Laterna magica picture painted in color on glass plate. Pictures from the solar system." /><figcaption class="attribution"><a href="https://digitaltmuseum.se/021016341596/laterna-magica-bild-malad-i-farg-pa-glasskiva-bilder-ur-solsystemet">Laterna magica bild målad i färg på glasskiva. Bilder ur solsystemet.</a> from Tekniska Museet Svenska, Public Domain Mark.</figcaption></figure>
<p>2023 was quite a year for the Creative Commons (CC) <a href="https://creativecommons.org/about/arts-culture/">Open Culture Program</a>, thanks to generous funding from <a href="https://creativecommons.org/2021/06/03/creative-commons-receives-5m-grant-from-arcadia-to-advance-open-access-at-galleries-libraries-archives-and-museums/">Arcadia, a charitable fund of Lisbet Rausing &amp; Peter Baldwin</a>. As the team grew from one full time employee to a team of three, we have had increased capacity to carry out our programmatic work. At the same time, pandemic-related travel restrictions eased, allowing the Open Culture Team to lead and participate in events and convenings in diverse locations, including Morocco, Uruguay, USA, Switzerland, UK, Mexico, and Portugal, to name a few. This allowed us to connect with community members in person, further cementing pre-existing strategic partnerships and engaging with new audiences. In this blog post we look back on some of the year’s key achievements.</p>
<p>Here are the top 5 things we are particularly proud of (in no particular order):</p>
<ol>
<li aria-level="1">We started the TAROC initiative (Towards a Recommendation on Open Culture) with the <a href="https://creativecommons.org/2023/05/22/a-look-at-ccs-open-culture-roundtable-in-lisbon/">Lisbon Open Culture Roundtable</a>. Our TAROC information brief is available in <a href="media/0efa9db2.Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf">English</a>,<a href="media/aead2578.94-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager-1.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Albanian-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager-1.pdf"> Shqip</a>,<a href="media/9616ea28.94-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager-1.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/French-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager-1.pdf"> français</a>,<a href="media/89d0e337.94-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager-1.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Spanish-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager-1.pdf"> Español</a>,<a href="media/10894afb.94-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager-2.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Japanese-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager-2.pdf"> 日本語</a>,<a href="media/9b2979b7.8094-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Turkish-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager.pdf"> Türkçe</a>,<a href="media/053a28d8.8094-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/11/Italian-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager.pdf"> italiano</a>,<a href="media/47ef0efa.8094-Towards-a-Recommendation-on-Open-Culture-E28094-2-Pager.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/11/Arabic-%E2%80%94-Towards-a-Recommendation-on-Open-Culture-%E2%80%94-2-Pager.pdf"> عربي</a>.</li>
<li aria-level="1">We launched <a href="https://mail.creativecommons.org/cc-open-culture-matters">Open Culture Matters</a>, our bi-monthly newsletter, which now has 500+ subscribers and counting.</li>
<li aria-level="1">We debuted <a href="https://creativecommons.org/tag/open-culture-live/">Open Culture Live: A Webinar Series</a> with “<a href="https://youtu.be/y3vV-yvMfF0">Back to Basics: Open Culture for Beginners</a>”. Other topics discussed in the series include “<a href="https://creativecommons.org/2023/12/19/open-culture-live-recap-recording-respectful-terminologies-changing-the-subject/">Respectful Terminologies &amp; Changing the Subject</a>”, and “<a href="https://creativecommons.org/2024/01/11/upcoming-open-culture-live-webinar-whose-open-culture-decolonization-indigenization-and-restitution/">Whose Open Culture? Decolonization, Indigenization, and Restitution</a>.”</li>
<li aria-level="1">We completed <a href="https://creativecommons.org/tag/open-culture-voices/">Open Culture Voices</a> — a series of insightful video interviews with open culture experts from around the world. It <a href="https://creativecommons.org/2023/12/15/celebrating-two-years-of-ccs-open-culture-voices/">came to a close</a> in November, gathering ca. 70K views across all platforms.</li>
<li aria-level="1">We created the <a href="https://creativecommons.org/about/arts-culture/open-culture-resources/">Open Culture resources webpage</a>. It includes numerous documents available in multiple languages thanks to our <a href="https://network.creativecommons.org/cc-openculture-platform/">community of volunteers</a>, including 2023 publications:
<ul>
<li aria-level="2"><a href="https://creativecommons.org/2023/01/12/pioneers-of-open-culture-a-look-back-at-how-open-access-happened-at-three-early-adopters/">Pioneers of Open Culture</a>,  a report on the success of open culture early adopters; and</li>
<li aria-level="2"><a href="https://creativecommons.org/2023/02/23/cc-needs-assessment-report-on-public-domain-tools-in-cultural-heritage-sector-unveils-key-insights/">Needs Assessment report</a>, a survey of the needs and challenges of the cultural heritage community vis a vis the CC public domain tool.</li>
</ul>
</li>
</ol>
<p>In addition, we published <a href="https://creativecommons.org/category/open-culture/">blog posts</a>, organized training activities, signed on to advocacy letters, took part in several events to promote open culture (notably our <a href="https://summit.creativecommons.org/">CC Global Summit</a>, <a href="https://creativecommons.org/2023/11/09/cc-key-insights-wipo-meeting-on-copyright/">WIPO SCCR meetings</a>, <a href="https://www.mozillafestival.org/en/">MozFest</a>, <a href="https://eventyay.com/e/8f889410/session/8670">Wikimania</a>, <a href="https://meta.wikimedia.org/wiki/WikiIndaba_conference_2023">WikiIndaba</a>, <a href="https://meta.wikimedia.org/wiki/GLAM_Wiki_2023">GLAM Wiki</a>, Wikimedia’s conference for the open culture movement, and much more!), and offered the <a href="https://creativecommons.us4.list-manage.com/track/click?u=fd30364b6577b471373d6076c&amp;id=fe7c51bdf8&amp;e=42636cc64e">CC certificate on open culture</a>.</p>
<p>We also supported our community through the <a href="https://network.creativecommons.org/cc-openculture-platform/">OC platform</a>, <a href="https://creativecommons.org/2023/05/03/open-culture-platform-activity-fund-winners-2023/">community-led activities</a> and our <a href="https://medium.com/creative-commons-we-like-to-share">Medium Publication</a>.</p>
<p>In 2024, we look forward to building on those achievements and continuing to help people (re)connect with their culture(s).</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/01/24/what-did-creative-commons-do-for-open-culture-in-2023/">What did Creative Commons do for Open Culture in 2023?</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74584
title: Recommended Best Practices for Better Sharing of Climate Data
uri: Recommended-Best-Practices-for-Better-Sharing-of-Climate-Data
url:
https://creativecommons.org/2024/01/29/recommended-best-practices-for-better-sharing-of-climate-data/?utm_source=rss&utm_medium=rss&utm_campaign=recommended-best-practices-for-better-sharing-of-climate-data

content:
<p>At Creative Commons, we believe that addressing global challenges – like the climate crisis – requires opening the knowledge about those challenges. We are thrilled to announce the release of our “Recommendations for Better Sharing of Climate Data”— the culmination of a nine-month research initiative from our <a href="https://creativecommons.org/about/open-climate-data/">Open Climate Data project</a>. These guidelines are a result of collaboration between Creative Commons and government agencies and intergovernmental organizations. They mark a significant milestone in our ongoing effort to enhance the accessibility, sharing, and reuse of open climate data to address the climate crisis. Our goal is to share strategies that align with existing data sharing principles and pave the way for a more interconnected and accessible future for climate data.</p>
<p>Our recommendations offer practical steps and best practices, crafted in collaboration with key stakeholders and organizations dedicated to advancing open practices in climate data. We provide recommendations for 1) legal and licensing terms, 2) using metadata values for attribution and provenance, and 3) management and governance for better sharing.</p>
<p>The full report can be accessed [link to gdoc] and the PDF version is available here [link]. Access the summary version [link] for a concise overview, including its PDF version [link].</p>
<p>Opening climate data requires an examination of the public’s legal rights to access and use the climate data, often dictated by copyright and licensing. This legal detail is sometimes missing from climate data sharing and legal interoperability conversations. Our recommendations suggest two options: Option A: <a href="https://creativecommons.org/public-domain/cc0/">CC0</a> + Attribution Request, in order to maximize reuse by dedicating climate data to the public domain, plus a request for attribution; and Option B: <a href="https://creativecommons.org/licenses/by/4.0/">CC BY 4.0</a>, for retaining data ownership and legal enforcement of attribution. We address how to navigate license stacking and attribution stacking for climate data hosts and for users working with multiple climate data sources.</p>
<p>We also propose standardized human- and machine-readable metadata values that enhance transparency, reduce guesswork, and ensure broader accessibility to climate data. We built upon existing model metadata schemas and standards, including those that address license and attribution information. These recommendations address a gap and provide metadata schema that standardize the inclusion of upfront, clear values related to attribution, licensing and provenance.</p>
<p>Lastly, we highlight four key aspects of effective climate data management: designating a dedicated technical managing steward, designating a legal and/or policy steward, encouraging collaborative data sharing, and regularly revisiting and updating data sharing policies in accordance with parallel open data policies and standards.</p>
<p>As we release these recommendations, we extend an invitation to join us in an ongoing journey of collaboration. Together, we can continue to develop policies and practices that open up data, fostering advancements in climate research and innovation. Send us your comments at <a href="mailto:openclimatedata@creativecommons.org">openclimatedata@creativecommons.org</a>.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/01/29/recommended-best-practices-for-better-sharing-of-climate-data/">Recommended Best Practices for Better Sharing of Climate Data</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74570
title: CC Open Education Platform Activities: 2023 in Review
uri: CC-Open-Education-Platform-Activities-2023-in-Review
url:
https://creativecommons.org/2024/01/31/cc-open-education-platform-activities-2023-in-review/?utm_source=rss&utm_medium=rss&utm_campaign=cc-open-education-platform-activities-2023-in-review

content:
<figure id="post-74615 media-74615" class="align-none"><img decoding="async" fetchpriority="high" class="alignleft" src="media/97c4e759.Screen-Shot-2024-01-31-at-9.57.48-AM-300x163.png" data-original-source="https://creativecommons.org/wp-content/uploads/2024/01/Screen-Shot-2024-01-31-at-9.57.48-AM-300x163.png" alt="Orange figures writing on and sharing papers, then making paper airplanes" width="395" height="215" /></figure>
<p><span style="font-weight: 400;">The CC Open Education community had a busy 2023!  Five project teams, spanning nine countries, worked on open education projects ranging from developing STEAM, interactive, and climate change-related OER, to international curriculum alignment and translation work. Community members also worked on multimedia resources supporting the UNESCO Recommendation on OER, and presented in CC’s biannual Open Education Lightning Talks. Community members reflect on their accomplishments, lessons learned and what is next below. CC staff lightly edited text for clarity.</span></p>
<h2 style="text-align: center;"><b>Building a K-12 Interactive Open Textbook</b></h2>
<p><b>Update from <a href="https://twitter.com/wernerio?lang=en">Werner Westermann</a>:</b><span style="font-weight: 400;"> This project developed a K-12 Open Textbook in the subject of Civics and Citizenship subject for 11th and 12th Grade, aligned to the official K-12 curriculum of Chile. </span><span style="font-weight: 400;">With the CC funding, we made </span><a href="https://press.rebus.community/educacionciudadana/"><span style="font-weight: 400;">60% progress on one</span><span style="font-weight: 400;"> Open Textbook for 11th grade</span></a><span style="font-weight: 400;">, surpassing our</span> <span style="font-weight: 400;">initial goal. We worked with teachers, creators of the interactive resources and a graphic designer on all four learning units of the 11th grade Open Textbook, as defined by Chile’s official curriculum for Civics and Citizenship. To help others’ open education projects, we share some lessons we encountered:</span></p>
<ul>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">This type of community engagement requires specific and explicit </span><b>guidelines and benchmarks for quality</b><span style="font-weight: 400;">. Like any book development, this Open Textbook required a </span><b>general editor</b><span style="font-weight: 400;"> to orchestrate community contributions, manage expectations, and enforce quality guidelines and benchmarks. </span></li>
<li style="font-weight: 400;" aria-level="1"><b>Standardized workflows</b> <b>are necessary</b><span style="font-weight: 400;">.  It was most efficient to load content, then follow up with graphic and interactive resources, rather than focus on those specifics first. We tested an AI </span><a href="https://help.h5p.com/hc/en-us/articles/8229514747805-Smart-Import-Introduction-and-Video-Tutorial"><span style="font-weight: 400;">Smart Import</span></a><span style="font-weight: 400;"> tool that creates H5P interactive resources in seconds, in order to save up to 50% development time.  </span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Community adoption of a tech tool (the H5P editor in our case) requires </span><b>flexibility to adapt to the tool</b><span style="font-weight: 400;"> for mastery. We had a lot of discussions about what H5P could and could not achieve. </span><b>For better results, postpone specific expectations and work on what is editor enabled.</b></li>
</ul>
<p><b>What’s next? </b><span style="font-weight: 400;">The next step is to complete the 11th grade Open Textbook development and publish it, pending funding.  We also await an AI tool for Spanish support to speed up production.</span></p>
<h2 style="text-align: center;"><b>Popularization of OER in Ukraine: Small steps to a big goal</b></h2>
<p><b>Update from</b> <strong><a href="https://www.researchgate.net/profile/Tetyana-Kolesnykova">Tetiana Kolesnykova</a></strong><b>: </b><span style="font-weight: 400;">Polytechnic University of Milan and the Ukrainian State University of Science and Technologies (USUST) partnered to translate and localize a MOOC on OER: “</span><a href="https://www.pok.polimi.it/courses/course-v1:Polimi+OER101+2022_M5/about"><span style="font-weight: 400;">Using Open Educational Resources in Teaching</span></a><span style="font-weight: 400;">.” This OER provides equitable and inclusive access to education amidst full-scale war in Ukraine. </span><span style="font-weight: 400;">Despite the war, the project achieved its aim: there is now </span><a href="https://www.pok.polimi.it/courses/course-v1:Polimi+OER101+2023_M5/about"><span style="font-weight: 400;">a version of the MOOC for Ukrainian learners</span></a><span style="font-weight: 400;">. Our lessons from this work included: listening to each other, negotiating where needed, and </span><b>compromise</b><span style="font-weight: 400;">. We were not looking for perfection but for a good result to be achieved within all limitations. With teamwork and strong motivation, we solved the challenges of the project together; and the end result exceeded our expectations. </span><span style="font-weight: 400;">As a result: All MOOC subtitles for each video, the course description and all tests were made available in Ukrainian, ensuring participants gain a better understanding and support with the final assessment. We also created eight additional instructions and illustrations in Ukrainian. We developed a mock-up of the Certificate of Completion of the course &#8220;Using Open Educational Resources in Teaching&#8221; adapted into Ukrainian. Several faculty and librarians tested the MOOC in Ukrainian.</span></p>
<p><span style="font-weight: 400;">We started promoting the Ukrainian localisation of the MOOC &#8220;Using Open Educational Resources in Teaching&#8221; in October. Politecnico di Milano (METID) and the Scientific Library of the Ukrainian State University of Science and Technologies (USUST) presented our collaborative project at international conferences, national webinars, publications, and on the website of the USUST Scientific Library. </span></p>
<p><span style="font-weight: 400;">While it is too early to measure the success of the Ukrainian MOOC &#8220;Using Open Educational Resources in Teaching,&#8221; we know it is already raising awareness of OER opportunities among the wider Ukrainian academic community. </span></p>
<p><b>What’s next?</b><span style="font-weight: 400;">  We will continue our teamwork, and ignite new OER adaptations in a sustainable way.</span></p>
<h2 style="text-align: center;"><b>STEAM Ahead with OER in South Africa project</b></h2>
<p><b>Update from <a href="https://www.linkedin.com/in/dan-mcguire-267a4a8/">Dan McGuire</a>: </b><span style="font-weight: 400;">This collaborative project between Ghana, South Africa and the US created, curated, and sourced OER content aligned to Ghanaian and South African education standards.  </span></p>
<p><span style="font-weight: 400;">Our colleague, Peter Amoabil observed that using the MoodleBox and OER materials provided learning opportunities for students without the need to rely on the internet, which is very useful in Ghana where over 95% of schools don’t have internet access. Students were able to use the digital content for all subjects and especially for reading in their mother tongue, Dagbani. Reading materials in Dagbani have previously been very hard to acquire.</span></p>
<p><span style="font-weight: 400;">In South Africa, we were able to translate both reading materials and math assessments from English into isiXhosa for students in grades Pre-K through 1st grade. Students were excited to learn using WIFI devices.</span></p>
<p><b>What’s next? </b><span style="font-weight: 400;">Translating educational materials into the students’ mother tongue is especially valuable and innovative. We plan to expand the professional development for use of digital OER materials aligned to national standards to more teachers in both Ghana and South Africa. This project helped us establish a process to create and deliver learning materials to Pre-K &#8212; 6th grade students. We will also be making the OER professional development courses and instructional content available via open repositories.</span></p>
<h2 style="text-align: center;"><b>Climate Change: OER integrating SDG components in Education in two Southeast Asian Countries</b></h2>
<p><b>Update from <a href="https://www.globalnxt.edu.my/gnxt/experience-us/faculty-research/dr-suma.html">Dr. Suma Parahakaran</a>: </b><span style="font-weight: 400;">This project worked with the Malaysian Ministry of Education as well as Malaysian and Laotian schools, creating OER and experiential learning activities. Primary and Secondary school students engaged in cross disciplinary, technical, and integrated learning activities, such as setting up solar panels on rooftops. They got to attend workshops and brainstorms with international experts and teachers. Students also created videos, brochures and other resources focused on ethics, climate change and sustainable development education. Finally, students then entered a competition related to Climate Change and Sustainable Development OER. For more information and results of the competition, view the </span><a href="https://taxila.guru/"><span style="font-weight: 400;">project website</span></a><span style="font-weight: 400;">. </span></p>
<p><b>What’s next?</b> <span style="font-weight: 400;">While there are private Youtube links to the videos, they will be made public soon. </span><span style="font-weight: 400;">Project lead: </span><a href="https://www.globalnxt.edu.my/gnxt/experience-us/faculty-research/dr-suma.html"><span style="font-weight: 400;">Dr. Suma Parahakaran</span></a></p>
<h2 style="text-align: center;"><b>Alquimetricos</b></h2>
<p><b>Update from <a href="https://twitter.com/ferdaguanno?lang=en">Fernando Daguanno</a>: </b><span style="font-weight: 400;">Alquimétricos is an OER project that uses connectors and sticks to build geometric structures for STEAM education. Through experiential learning, the project develops students’ spatial, mathematical and kinetic understanding. The </span><a href="https://es.alquimetricos.cc/kitcero/"><span style="font-weight: 400;">Alquimétricos Kit Zero</span></a><span style="font-weight: 400;"> is already published online and available to purchase: see</span><a href="https://drive.google.com/drive/folders/1_MKzgi_kTTC1s2OCW_iLCQYrp_h0UsQe"><span style="font-weight: 400;"> our repositories</span></a><span style="font-weight: 400;"> for ready-to-print and fully editable CC BY files, including content, packaging and labeling. </span></p>
<p><span style="font-weight: 400;">During 2023 we developed a new product line of elementary-school-oriented kits, drawing from eight years of experiences and research. The kits include a deck of cards with guidelines, a bunch of hubs and sticks that help educators make Alquimétricos’ activities dynamic in the classroom. The new kit was developed and introduced as part of the (FADU-UBA) </span><a href="http://diju.com.ar"><span style="font-weight: 400;">DiJu</span></a><span style="font-weight: 400;"> post degree “Toys and Games Design” course 2023. It was launched in Argentina at the Open Education Meeting in Bariloche &#8211; Argentinian Patagonia, presented at the OpenEd Conference 2023 and displayed at the CC Global Summit in Mexico City.</span></p>
<p><b>What’s next? </b><span style="font-weight: 400;">Next steps include translation to Portuguese and English and sharing the project in global OER repositories. We will seek support proofreading and sharking Kit Zero in a community call in early 2024. </span></p>
<h2 style="text-align: center;"><b>Global Commons: Unlocking Open Education with Creative Commons</b></h2>
<p><b>Update from <a href="https://www.linkedin.com/in/divalentino/">Lisa Di Valentino</a> and <a href="https://www.linkedin.com/in/johnokewole/?originalSubdomain=ng">John Okewole</a>: </b><span style="font-weight: 400;">This project developed a </span><span style="font-weight: 400;">short animated video describing Creative Commons and how CC licenses support the implementation of the United Nations Recommendation on OER. We currently have a first version of the video created by Brainboxx Studios for which we will re-record the English narration. We have also solicited translations of the transcript from other subgroup members in the nine other UNESCO languages, and have offers for translation in Arabic, Chinese, Hindi, Italian (of which we now have a draft), and Spanish. </span></p>
<p><b>What’s next?</b><span style="font-weight: 400;"> We will finalize the English video and determine how to translate the video text.  We will also design handouts in the various languages explaining the benefits of using Creative Commons licensing for open educational resources.</span></p>
<h2 style="text-align: center;"><b>CC Open Education Lightning Talks</b></h2>
<p><span style="font-weight: 400;">Lightning Talks are seven-minute presentations on a given area of expertise or work. Based on community demand, CC hosted Open Education Lighting Talks </span><a href="https://www.youtube.com/watch?v=ZXPSp-suqHU"><span style="font-weight: 400;">online in February</span></a><span style="font-weight: 400;"> and</span><a href="https://www.google.com/search?q=cc+summit+open+education+lightning+talks&amp;rlz=1C5CHFA_enUS786US787&amp;oq=cc+summit+open+education+lightning+talks&amp;gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIHCAEQIRigAdIBCDg1MTJqMGo0qAIAsAIA&amp;sourceid=chrome&amp;ie=UTF-8#fpstate=ive&amp;vld=cid:52af0afd,vid:FUsFkeR1E9A,st:0"><span style="font-weight: 400;"> in-person, at the CC Summit in October</span></a><span style="font-weight: 400;">. Community members’  presentations ranged from explorations of OER for social justice to practical applications, such as using machine translation algorithms for OER translation and recommendations for digital publishing. CC also presented a forthcoming microcredential course on which we are partnering with the University of Nebraska Omaha, in effort to bring more open licensing expertise to new audiences. </span></p>
<p><b>What’s next?</b><span style="font-weight: 400;"> We look forward to learning more from the open education community in future CC Open Education Lightning Talks!</span></p>
<p><span style="font-weight: 400;">Creative Commons extends our gratitude to the inspiring CC community members making a difference in their educational contexts. We look forward to continued open education collaborations in 2024! If you would like to join our Open Education community, visit the </span><a href="https://network.creativecommons.org/cc-open-education-platform/"><span style="font-weight: 400;">CC Open Education Platform</span></a><span style="font-weight: 400;"> site for more information.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/01/31/cc-open-education-platform-activities-2023-in-review/">CC Open Education Platform Activities: 2023 in Review</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74630
title: Recap & Recording: “Whose Open Culture? Decolonization, Indigenization, and Restitution”
uri: Recap-Recording-Whose-Open-Culture-Decolonization-Indigenizati
url:
https://creativecommons.org/2024/01/31/recap-recording-whose-open-culture-decolonization-indigenization-and-restitution/?utm_source=rss&utm_medium=rss&utm_campaign=recap-recording-whose-open-culture-decolonization-indigenization-and-restitution

content:
<figure id="post-74517 media-74517" class="align-none"><img decoding="async" src="media/fccf5c97.Open-Culture-Live-1.png" data-original-source="https://creativecommons.org/wp-content/uploads/2024/01/Open-Culture-Live-1.png" alt="The background is a woven textile with black, red, blue, and brown and tan shapes emmulating birds and fish. The text reads " /><figcaption class="attribution">“<a href="https://www.curationist.org/works/work-wam-87504">Andean Textile Fragment</a>” by Peruvian. 1500. Walters Art Museum., here slightly cropped, is released into the public domain under <a href="https://creativecommons.org/public-domain/cc0/">CC0</a>.</figcaption></figure>
<p>In January we hosted a webinar titled “Whose Open Culture? Decolonization, Indigenization, and Restitution” discussing the intersection of indigenous knowledge and open sharing. Our conversation spanned a variety of topics regarding indigenous sovereignty over culture, respectful terminology, and the legacy of colonialism and how it still exists today.  While we strive for more open sharing, it is important to recognize the cases where culture should not be open to all.</p>
<p>The <a href="media/3632afa8.UNDRIP_E_web.pdf" data-original-source="https://www.un.org/development/desa/indigenouspeoples/wp-content/uploads/sites/19/2018/11/UNDRIP_E_web.pdf">United Nations Declaration on the Rights of Indigenous Peoples</a> had a significant impact on the ability for indigenous people to advocate for their rights, and for institutions to have clearer guidance on the treatment of indigenous cultural expressions. But there is much more to be done. Institutions stewarding indigenous cultural expressions must be patient and  take the time needed to build relationships with the communities whose culture is in their collections in order to establish ways of sharing with consideration and consent.</p>
<p>In this webinar, we were  joined by:</p>
<ul>
<li aria-level="1">Jane Anderson, Vice Chair &amp; Founding Member, Strategic Advisor, Co-Founder, Local Contexts</li>
<li aria-level="1">Stephany RunningHawk Johnson, Executive Director,  Local Contexts</li>
<li aria-level="1">Camille Callison, University Librarian, University of the Fraser Valley</li>
<li aria-level="1">Erna Lilje, Curator, Indigenous knowledge &amp; material culture, Nationaal Museum van Wereldculturen</li>
</ul>
<h3><a href="https://youtu.be/_l3flRfUX9A">Watch the recording. </a></h3>
<p>&nbsp;</p>
<p><strong>Learn More </strong></p>
<p>We shared a reading list in our <a href="https://creativecommons.org/2024/01/11/upcoming-open-culture-live-webinar-whose-open-culture-decolonization-indigenization-and-restitution/">announcement post</a>, here are some more links as shared by the panelists and by some audience members during the conversation:</p>
<ul>
<li aria-level="1"><a href="https://sparcopen.org/news/2023/respectful-terminologies-project-for-indigenous-people-launches-in-canada/?">Respectful Terminologies Project for Indigenous People Launches in Canada &#8211; SPARC</a></li>
<li aria-level="1"><a href="https://www.nikla-ancla.com/respectful-terminology">National Indigenous Knowledge &amp; Language Alliance: Respectful Terminology</a></li>
<li aria-level="1"><a href="https://tehiku.nz/">Te Hiku Media</a></li>
<li aria-level="1"><a href="https://localcontexts.org/films/they-returned-home/">Awasəwehlαwə́lətinα wikəwαmok | They Returned Home – Local Contexts</a></li>
<li aria-level="1"><a href="https://www.gida-global.org/care">CARE Principles — Global Indigenous Data Alliance</a></li>
<li aria-level="1"><a href="https://subjectguides.nscc.ca/apa-7-ed/CitingTraditionalKnowledge">Citing Traditional Knowledge or Oral Traditions of Indigenous Peoples &#8211; APA Style (Seventh edition) &#8211; Subject Guides at Nova Scotia Community College</a></li>
<li aria-level="1"><a href="https://www.indigitization.ca/">Indigitization</a></li>
<li aria-level="1"><a href="https://sustainableheritagenetwork.org/">The Sustainable Heritage Network</a></li>
</ul>
<p><strong>What is Open Culture Live?</strong></p>
<p>In this series, we tackle some of the more complex challenges that face the open culture movement, bringing in speakers with personal and professional expertise on various topics. Watch past webinars:</p>
<ul>
<li aria-level="1"><a href="https://creativecommons.org/2023/12/19/open-culture-live-recap-recording-respectful-terminologies-changing-the-subject/">Respectful Terminologies &amp; Changing the Subject </a></li>
<li aria-level="1"><a href="https://creativecommons.org/2023/08/17/back-to-basics-open-culture-for-beginners/">Back to Basics: Open Culture for Beginners </a></li>
</ul>
<p><strong>Save the date for our next webinar “Maximizing the Value(s) of Open Access in Cultural Heritage Institutions” on 28 Feb at 2 PM UTC. </strong></p>
<p>CC is a non-profit that relies on contributions to sustain our work. Support CC in our efforts to promote better sharing at creativecommons.org/donate</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/01/31/recap-recording-whose-open-culture-decolonization-indigenization-and-restitution/">Recap &#038; Recording: “Whose Open Culture? Decolonization, Indigenization, and Restitution”</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74655
title: Dispatches from Wikimania: Values for Shaping AI Towards a Better Internet
uri: Dispatches-from-Wikimania-Values-for-Shaping-AI-Towards-a-Better-Inte
url:
https://creativecommons.org/2024/02/07/dispatches-from-wikimania-values-for-shaping-ai-towards-a-better-internet/?utm_source=rss&utm_medium=rss&utm_campaign=dispatches-from-wikimania-values-for-shaping-ai-towards-a-better-internet

content:
<figure id="post-74657 media-74657" class="align-none"><img decoding="async" src="media/dcf00347.53455803188_7cd92ba53e_c-300x158.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2024/02/53455803188_7cd92ba53e_c-300x158.jpg" alt="Isolated Araneiform Topography" /><figcaption class="attribution"><a href="https://flic.kr/p/2prGXV7" target="_blank" rel="noopener">Isolated Araneiform Topography</a>, from UAHiRISE Collection on Flickr. Public Domain Mark.</figcaption></figure>
<p><span style="font-weight: 400;">AI is deeply connected to networked digital technologies — from the bazillions of works harvested from the internet to train AI to all the ways AI is shaping our online experience, from generative content to recommendation algorithms and simultaneous translation. Creative Commons engaged participants at Wikimania on August 15, 2023  to shape how AI fits into the people-powered policy agenda of the </span><a href="https://www.movementforabetterinternet.org/"><span style="font-weight: 400;">Movement for a Better Internet</span></a><span style="font-weight: 400;">.</span></p>
<p><span style="font-weight: 400;">The session at </span><a href="https://wikimania.wikimedia.org/wiki/2023:Wikimania"><span style="font-weight: 400;">Wikimania</span></a><span style="font-weight: 400;"> was one of a series of community consultations hosted by</span><a href="https://creativecommons.org/2023/07/20/update-and-next-steps-on-ccs-ai-community-consultation/"><span style="font-weight: 400;"> Creative Commons in 2023. </span></a></p>
<p><span style="font-weight: 400;">The goal of this session was to brainstorm and prioritize challenges that AI brings to the public interest commons and imagine ways we can meet those challenges. In order to better understand participant perspectives, we used Pol.is, a “real-time survey system, that helps identify the different ways a large group of people think about a divisive or complicated issue.” This system is a powerful way to aggregate and understand people’s opinions through written expression and voting. </span></p>
<p><a href="https://creativecommons.org/person/natecreativecommons-org/"><span style="font-weight: 400;">Nate Angell</span></a><span style="font-weight: 400;"> and I both joined the conference virtually, two talking heads on a screen, while the majority of approximately 30 participants joined in-person in Singapore. After introducing the Movement for a Better Internet and asking folks to briefly introduce themselves, we immediately started our first Pol.is with the question: “What are your concerns about AI?” If you’re curious, you can pause here, and </span><a href="https://pol.is/5pbecjd6uc"><span style="font-weight: 400;">try out Pol.is for yourself. </span></a></p>
<p><span style="font-weight: 400;">In Pol.is, participants voted on a set of ten seed statements — statements that we wrote, based on previous community conversations,— they added their own concern statements, and then they voted on concern statements written by their peers in the room. Participants can choose “Agree,” “Disagree,” or “Unsure.” Overall, 31 total people voted and 532 votes were cast (with an average of 17.16 votes per person). </span></p>
<p><span style="font-weight: 400;">96% of participants agreed that “Verification of accuracy, truthfulness and provenance of AI-produced content is difficult.” This statement drove the most consensus among all participants in the group. Consensus indicates that people from different opinion groups have a common position, or in other words, people who do not usually agree with each other agree on this topic. The other two most consensus-driving concerns were: “Large-scale use of AI may have a negative impact on the environment” and “I suspect a push for greater copyright control would eventually be appropriated and exploited by big companies. E.g. Apple and privacy.”  </span></p>
<p><span style="font-weight: 400;">The most divisive statement was: “AI is developing too fast and its impact is unclear.” Divisive implies the areas with the most differing opinions (rather than with the most disagreement, as widespread disagreement is a consensus too).  The other three most divisive statements were also the most unclear statements, with more than 30% voting “Unsure”: &#8220;AI can negatively impact the education of students,” “AI can use an artist’s work without explicit permission or knowledge,” and “AI and the companies behind them steal human labor without credit and without pay.” </span></p>
<p><span style="font-weight: 400;">Back in our workshop room, we  </span><a href="https://pol.is/report/r8urpmuppvk8h747a8msr"><span style="font-weight: 400;">viewed the data report</span></a><span style="font-weight: 400;"> live, which was somewhat difficult due to limitations in text size. Participants in the room elaborated on their concerns, highlighting why they agreed or disagreed on particular points. </span></p>
<p><span style="font-weight: 400;">In the second half of the workshop, we asked participants to imagine ways we can meet one particular challenge. We focused our discussion on the only statement with 100% agreement: “AI makes it easier to create disinformation at scale.” </span></p>
<p><span style="font-weight: 400;">Participants were asked to write down their ideas in a shared document, and stand up to share their thoughts in front of the audience. The three major buckets for innovation in this space were education, technical advancement, and cultural advocacy. In education, participants brought up the need for critical thinking education to reinforce the ability to identify reliable sources and AI tools education to allow more people to understand how misinformation is created. Technical projects included developing AI to tackle disinformation, building a framework for evaluating AI tools during development, and creating better monitoring systems for misinformation. Participants also highlighted the need for cultural advocacy, from building the culture of citations and human-generated reference work to policy advocacy to maintain the openness of the commons. </span></p>
<p><span style="font-weight: 400;">Creative Commons will continue community consultations with Open Future Foundation in the next month. </span><a href="https://openfuture.eu/blog/alignment-assembly-on-ai-and-the-commons/"><span style="font-weight: 400;">Sign up and learn more here. </span></a></p>
<p>&nbsp;</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/02/07/dispatches-from-wikimania-values-for-shaping-ai-towards-a-better-internet/">Dispatches from Wikimania: Values for Shaping AI Towards a Better Internet</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74666
title: What does the CC Community Think about Regulating Generative AI?
uri: What-does-the-CC-Community-Think-about-Regulating-Generative-AI
url:
https://creativecommons.org/2024/02/08/what-does-the-cc-community-think-about-regulating-generative-ai/?utm_source=rss&utm_medium=rss&utm_campaign=what-does-the-cc-community-think-about-regulating-generative-ai

content:
<p><span style="font-weight: 400;">In the past year, Creative Commons, alongside other members of the Movement for a Better Internet, hosted workshops and sessions at community conferences like <a href="https://creativecommons.org/2023/05/04/generative-ai-opportunities-concerns-solutions-from-mozfest-2023/" target="_blank" rel="noopener">MozFest</a>, RightsCon, and <a href="https://creativecommons.org/2024/02/07/dispatches-from-wikimania-values-for-shaping-ai-towards-a-better-internet/" target="_blank" rel="noopener">Wikimania</a>, to hear from attendees regarding their views on artificial intelligence (AI). In these sessions, community members raised concerns about how AI is utilizing CC-licensed content, and discussions touched on issues like transparency, bias, fairness, and proper attribution. Some creators worry that their work is being used to train AI systems without proper credit or consent, and some have asked for clearer guidelines around public benefit and reciprocity. </span></p>
<p><span style="font-weight: 400;">In 2023, the theme of the <a href="https://summit.creativecommons.org/" target="_blank" rel="noopener">CC Global Summit</a> was </span><i><span style="font-weight: 400;">AI and the Commons</span></i><span style="font-weight: 400;">, focused on supporting better sharing in a world with artificial intelligence — sharing that is contextual, inclusive, just, equitable, reciprocal, and sustainable. A team including CC General Counsel Kat Walsh, Director of Communications &amp; Community Nate Angell, Director of Technology Timid Robot, and Tech Ethics Consultant Shannon Hong collaborated to use alignment assembly practices to engage the Summit community in thinking through a complex question: how should Creative Commons respond to the use of CC-licensed work in AI training? The team identified concerns CC should consider in relation to works used in AI training and mapped out possible practical interventions CC might pursue to ensure a thriving commons in a world with AI.</span></p>
<p><span style="font-weight: 400;">At the Summit, we engaged participants in an Alignment Assembly using Pol.is, an open-source, real-time survey platform, for input and voting. 25 people voted using the Pol.is, and in total 604 votes were cast on over 33 statements, with an average of 24 votes per voter. This included both pre-written seed statements and ideas suggested by participants.</span></p>
<p><span style="font-weight: 400;">The one thing everyone agreed on wholeheartedly: CC should NOT stay out of the AI debate. All attendees disagreed with the statement: “CC should not engage with AI or AI policy.” </span></p>
<p><span style="font-weight: 400;">Pol.is aggregates the votes and divides participants into opinion groups. Opinion groups are made of participants who voted similarly to each other, and differently from other groups. There were three opinion groups that resulted from this conversation.</span></p>
<p><i><span style="font-weight: 400;">Group A: Moat Protectors</span></i></p>
<p><span style="font-weight: 400;">Group A comprises 16% of participants and is characterized by a desire to focus on Creative Commons’ current expertise, specifically some relevant advocacy and the development of preference signaling. They uniquely support noncommercial public interest AI training, unlike B and C. This group is uniquely against additional changes like model licenses and strongly against political lobbying in the US.</span></p>
<p><i><span style="font-weight: 400;">Group B: AI Oversight Maximalists</span></i></p>
<p><span style="font-weight: 400;">Group B, the largest group with 36% of participants, strongly supports Creative Commons taking all actions possible to create oversight in AI, including new political lobbying actions or collaborations, AI teaching resources, model licenses, attribution laws, and preference signaling. This group uniquely supports political lobbying and new regulatory bodies.</span></p>
<p><i><span style="font-weight: 400;">Group C: Equitable Benefit Seekers</span></i></p>
<p><span style="font-weight: 400;">Group C, containing 32% of participants, is focused on protecting traditional knowledge, preserving the ability to choose where works can be used, and prioritizing equitable benefit from AI. This group strongly supports requiring authorization for using traditional knowledge in AI training and sharing the benefits of profits derived from the commons. Like group A, this group is against political lobbying in the US.</span></p>
<p><span style="font-weight: 400;">Want to learn more about the specific takeaways? <a href="media/0d3ae11b._-CC-Alignment-Assembly-on-AI-training-CC-Global-Summit-2023.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2024/02/Report_-CC-Alignment-Assembly-on-AI-training-CC-Global-Summit-2023.pdf" target="_blank" rel="noopener">Read the full report</a>.</span></p>
<p><span style="font-weight: 400;">We invite CC members to participate in the next alignment assembly, hosted by Open Future.  </span><a href="https://openfuture.eu/blog/alignment-assembly-on-ai-and-the-commons/" target="_blank" rel="noopener"><span style="font-weight: 400;">Sign up and learn more here. </span></a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/02/08/what-does-the-cc-community-think-about-regulating-generative-ai/">What does the CC Community Think about Regulating Generative AI?</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74676
title: An Invitation for Creators, Activists, and Stewards of the Open Movement
uri: An-Invitation-for-Creators-Activists-and-Stewards-of-the-Open-Moveme
url:
https://creativecommons.org/2024/02/11/an-invitation-for-creators-activists-and-stewards-of-the-open-movement/?utm_source=rss&utm_medium=rss&utm_campaign=an-invitation-for-creators-activists-and-stewards-of-the-open-movement

content:
<p><span style="font-weight: 400;">Dear Open Movement Creators, Activists, and Stewards, </span></p>
<p><span style="font-weight: 400;">A key question facing Creative Commons as an organization, and the open movement in general, is how we will respond to the challenge of shaping artificial intelligence (AI) towards the public interest, growing and sustaining a thriving commons of shared knowledge and culture.</span></p>
<p><span style="font-weight: 400;">So much of generative AI is built on the digital infrastructure of the commons and uses the vast quantity of images, text, video, and rich data resources of the internet. Organizations train their models with trillions of tokens from publicly available datasets like CommonCrawl, GitHub open source projects, Wikipedia, and ArXiV.</span></p>
<p><span style="font-weight: 400;">Access to the commons has enabled incredible innovations while creating the conditions for the concentration of power in entities that are able to amass the immense energy and data needed to train AI models. Community consultations at conferences like </span><a href="https://creativecommons.org/2023/05/04/generative-ai-opportunities-concerns-solutions-from-mozfest-2023/" target="_blank" rel="noopener"><span style="font-weight: 400;">MozFest</span></a><span style="font-weight: 400;">, RightsCon, </span><a href="https://creativecommons.org/2024/02/07/dispatches-from-wikimania-values-for-shaping-ai-towards-a-better-internet/" target="_blank" rel="noopener"><span style="font-weight: 400;">Wikimania</span></a><span style="font-weight: 400;">, and the </span><a href="https://creativecommons.org/2024/02/08/what-does-the-cc-community-think-about-regulating-generative-ai/" target="_blank" rel="noopener"><span style="font-weight: 400;">CC Global Summit</span></a><span style="font-weight: 400;"> have also revealed concerns about transparency, bias, fairness, and attribution in AI.</span></p>
<h2><b>Alignment Assembly</b></h2>
<p><span style="font-weight: 400;">To start addressing some of these challenges, between 13 February and 15 March, </span><a href="https://openfuture.eu/" target="_blank" rel="noopener"><span style="font-weight: 400;">Open Future</span></a><span style="font-weight: 400;"> will host an asynchronous, virtual alignment assembly for the open movement to explore principles and considerations for regulating generative AI. We hope to reach participants spread across different fields of open and coming from different regions of the world. We are organizing the assembly in partnership with Open Future and </span><a href="https://web.karisma.org.co/" target="_blank" rel="noopener"><span style="font-weight: 400;">Fundación Karisma</span></a><span style="font-weight: 400;">.</span></p>
<p><span style="font-weight: 400;">We want to bring to the conversation the perspectives of:</span></p>
<ul>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Activists and experts, including digital rights advocates and legal experts</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Stewards: people from organizations that steward collections that are part of the digital commons such as Wikimedia, open access repositories, and cultural heritage collections</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Creators: people who create works that form part of the digital commons, broadly: not only visual artists and musicians but also researchers who do open science or open source programmers</span></li>
</ul>
<p><span style="font-weight: 400;">We will use the process of an alignment assembly, an experiment in collective deliberation and decision-making. This model is pioneered by the Collective Intelligence Project (CIP), led by Divya Siddarth and Saffron Huang. The model has been used by OpenAI, Anthropic, and the government of Taiwan.</span></p>
<p><span style="font-weight: 400;">You can sign up to take part in the process by registering your interest </span><a href="https://mailchi.mp/openfuture.eu/alignment-assembly-2024"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;"> (we will only use the contact information to invite you to the assembly and to provide updates and delete it once the assembly process is complete).</span></p>
<h2><b>Background</b></h2>
<p><span style="font-weight: 400;">Creative Commons has long been considering the intersection of copyright and AI. CC submitted comments to the </span><a href="https://creativecommons.org/2020/02/20/cautious-approach-to-copyright-and-artificial-intelligence/" target="_blank" rel="noopener"><span style="font-weight: 400;">World Intellectual Property Organization’s consultations on copyright and AI</span></a><span style="font-weight: 400;"> in 2020. When considering usage of CC-licensed work in AI, the organization explored in 2021 </span><a href="https://creativecommons.org/2021/03/04/should-cc-licensed-content-be-used-to-train-ai-it-depends/" target="_blank" rel="noopener"><span style="font-weight: 400;">“Should CC-licensed work be used to train AI”</span></a><span style="font-weight: 400;">. </span><span style="font-weight: 400;">More recently, CC carried out consultations at </span><a href="https://creativecommons.org/2023/05/04/generative-ai-opportunities-concerns-solutions-from-mozfest-2023/" target="_blank" rel="noopener"><span style="font-weight: 400;">MozFest</span></a><span style="font-weight: 400;">, RightsCon, </span><a href="https://creativecommons.org/2024/02/07/dispatches-from-wikimania-values-for-shaping-ai-towards-a-better-internet/" target="_blank" rel="noopener"><span style="font-weight: 400;">Wikimania</span></a><span style="font-weight: 400;">, and the </span><a href="https://creativecommons.org/2024/02/08/what-does-the-cc-community-think-about-regulating-generative-ai/" target="_blank" rel="noopener"><span style="font-weight: 400;">CC Global Summit</span></a><span style="font-weight: 400;">, while publishing ongoing analysis of the AI landscape.</span></p>
<p><span style="font-weight: 400;">Ahead of the Creative Commons Global Summit last year, Creative Commons and Open Future hosted a workshop on generative AI and its impact on the commons. The group agreed and released a </span><a href="https://creativecommons.org/2023/10/07/making-ai-work-for-creators-and-the-commons/" target="_blank" rel="noopener"><span style="font-weight: 400;">set of principles on “Making AI work for Creators and the Commons</span></a><span style="font-weight: 400;">.” Now, we would like to test and expand this work. </span></p>
<h2><b>Outcome</b></h2>
<p><span style="font-weight: 400;">The Alignment Assembly on AI and the Commons builds on and continues all of this work.</span></p>
<p><span style="font-weight: 400;">We treat the </span><a href="https://creativecommons.org/2023/10/07/making-ai-work-for-creators-and-the-commons/" target="_blank" rel="noopener"><span style="font-weight: 400;">principles</span></a><span style="font-weight: 400;"> as a starting point. We are using the alignment assembly methodology and the pol.is tool to understand where there is consensus and which principles generate controversy. In particular, how much alignment there is between the perspectives of activists, creators, and stewards of the commons.</span></p>
<p><span style="font-weight: 400;">At the end of the process, we will produce a report with the outcomes of the assembly and a proposal for a refined set of principles. As the policy debate about the commons and AI develops, we hope the assembly will provide insights into better regulation of generative AI.</span></p>
<p><a href="https://mailchi.mp/openfuture.eu/alignment-assembly-2024" target="_blank" rel="noopener"><span style="font-weight: 400;">Sign up here to share your thoughts on regulating generative AI.</span></a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/02/11/an-invitation-for-creators-activists-and-stewards-of-the-open-movement/">An Invitation for Creators, Activists, and Stewards of the Open Movement</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74685
title: CC Supports a new Digital Knowledge Act for Europe
uri: CC-Supports-a-new-Digital-Knowledge-Act-for-Europe
url:
https://creativecommons.org/2024/02/12/cc-supports-a-new-digital-knowledge-act-for-europe/?utm_source=rss&utm_medium=rss&utm_campaign=cc-supports-a-new-digital-knowledge-act-for-europe

content:
<figure id="post-74686 media-74686" class="align-none"><img decoding="async" src="media/fb8f252d.00056088368-3f86f90c0c75cfd7bd6106088ea07a88-e1707486544395.jpeg" data-original-source="https://creativecommons.org/wp-content/uploads/2024/02/Europeana.eu-9200122-BibliographicResource_1000056088368-3f86f90c0c75cfd7bd6106088ea07a88-e1707486544395.jpeg" alt="A medieval manuscript representing three richly-clad women in front of a green, hilly landscape with castles in the background." /><figcaption class="attribution">Anonymous, “<a href="http://www.europeana.eu/item/9200122/BibliographicResource_1000056088368">Prudence, Wisdom and Knowledge</a>”, National Library of the Netherlands, Public Domain Mark. </figcaption></figure>
<p><span style="font-weight: 400;">In December last year, the Communia Association for the Public Domain — of which Creative Commons (CC) is a member —  asked the European Commission and European Parliament to consider the </span><a href="https://communia-association.org/2023/12/12/a-digital-knowledge-act-for-europe/"><span style="font-weight: 400;">development of a Digital Knowledge Act</span></a><span style="font-weight: 400;">. In this blog post, we offer some background on the proposal and explain why CC fully supports it. </span></p>
<h1><b>Rationale for a Digital Knowledge Act</b></h1>
<p><span style="font-weight: 400;">European knowledge institutions (libraries, universities, schools, etc.) as well as researchers face </span><a href="media/747cc60f.Researchers-on-Copyright.pdf" data-original-source="https://communia-association.org/wp-content/uploads/2023/03/Researchers-on-Copyright.pdf"><span style="font-weight: 400;">numerous copyright challenges</span></a><span style="font-weight: 400;"> in the digital environment. Access to academic publications, their reproduction for research purposes, text-and-data mining, etc. are all activities that are necessary to conduct serious research but are hampered by misaligned copyright rules, especially where cross-border collaboration is key.  </span></p>
<p><span style="font-weight: 400;">As top EU institutions are gearing up for a new mandate for the next five years, a Digital Knowledge Act would enable knowledge institutions to fulfill their mission and offer the same services online as offline. Such a regulation could improve copyright law by introducing the following for the benefit of knowledge institutions: </span></p>
<ul>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">a unified research exception</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">an EU-wide e-lending right</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">a limited liability regime for those acting in good faith</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">reasonable licensing conditions</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">a right to circumvent technological protection measures.</span></li>
</ul>
<h1><b>CC’s work on policy and open knowledge</b></h1>
<p><span style="font-weight: 400;">CC recognizes that equitable policy which enables and promotes open access (OA) is pivotal to making knowledge open. For example, in 2022 CC, in partnership with SPARC and EIFL, launched the </span><a href="https://openclimatecampaign.org/"><span style="font-weight: 400;">Open Climate Campaign</span></a><span style="font-weight: 400;">, a four-year project working to make the open sharing of research the norm in climate science. At the center of this work is partnering with national governments, private funders, and environmental organizations to develop open access policies for their grantees. Another project aims to identify </span><a href="https://creativecommons.org/2024/01/29/recommended-best-practices-for-better-sharing-of-climate-data/"><span style="font-weight: 400;">recommended best practices for better sharing of climate data</span></a><span style="font-weight: 400;"> and yet another strives to promote </span><a href="https://creativecommons.org/2023/10/04/chan-zuckerberg-initiative-funds-new-project-to-openly-license-life-sciences-preprints/"><span style="font-weight: 400;">open licensing for life sciences preprints</span></a><span style="font-weight: 400;">. Through these OA policies and best practices we believe we can change the culture of sharing and promote the adoption of open practices for knowledge to grow and help solve the greatest challenges of our times.  </span></p>
<h1><b>Why we support this initiative</b></h1>
<p><span style="font-weight: 400;">But discrete open access policies and best practices are not enough. Knowledge institutions need to be able to rely on a clear, harmonized, and supportive legal system that operates across borders. That is why CC’s policy work centers on promoting better sharing of knowledge and culture through global copyright reform. Knowledge institutions are pivotal actors in the fight against climate change and hold many of the keys to unlock knowledge. If we are going to solve the world’s biggest problems, the knowledge about them must be open, and institutions , which hold that knowledge in trust for the public, must be able to operate within a legal framework that is conducive to their core mission and purpose. A Digital Knowledge Act would provide such a structure at an EU-wide scale and would contribute to accelerating research, boosting scientific progress, and spurring knowledge-based innovation for a sustainable future. </span></p>
<p><span style="font-weight: 400;">For additional guidance on open knowledge policy, c</span><span style="font-weight: 400;">ontact us at </span><a href="mailto:info@creativecommons.org"><span style="font-weight: 400;">info@creativecommons.org</span></a></p>
<figure id="post-74686 media-74686" class="align-center"></figure>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/02/12/cc-supports-a-new-digital-knowledge-act-for-europe/">CC Supports a new Digital Knowledge Act for Europe</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74707
uri: Upcoming-Open-Culture-Live-Webinar-Maximizing-the-Value(s)-of-Open
title:
Upcoming Open Culture Live Webinar: “Maximizing the Value(s) of Open Access in Cultural Heritage Institutions”

url:
https://creativecommons.org/2024/02/21/upcoming-open-culture-live-webinar-maximizing-the-values-of-open-access-in-cultural-heritage-institutions/?utm_source=rss&utm_medium=rss&utm_campaign=upcoming-open-culture-live-webinar-maximizing-the-values-of-open-access-in-cultural-heritage-institutions

content:
<figure id="post-74709 media-74709" class="align-none"><img decoding="async" src="media/aa3cb9bb.Maxmizing-the-Values-of-Open-Culture.png" data-original-source="https://creativecommons.org/wp-content/uploads/2024/02/Maxmizing-the-Values-of-Open-Culture.png" alt="Four barrels full of cash printed in black, green and red are overflowing. The text in front reads “Maximizing the Value(s) of Open Access in Cultural Heritage Institutions: 28 February 2024 | 2:00 PM UTC”." /><figcaption class="attribution">“<a href="media/744e627a.FileVictor_Dubreuil_Barrels_of_Money.jpg" data-original-source="https://commons.wikimedia.org/wiki/File:Victor_Dubreuil,_Barrels_of_Money.jpg">Barrels of Money</a>” by Victor Dubreuil. 1890s. Brandywine Museum of Art, Public Domain.</figcaption></figure>
<p>On Wednesday, 28 February  2024, at 2:00 pm UTC, CC’s Open Culture Program will be hosting a new webinar in our <a href="https://creativecommons.org/tag/open-culture-live/">Open Culture Live</a> series titled “Maximizing the Value(s) of Open Access in Cultural Heritage Institutions.”</p>
<p>One common concern for GLAMs thinking about going open is the potential loss of revenue from image licensing — however, open collections are said to often draw in more viewers, onsite visitors, and (financial) supporters. There are also costs associated with the work of granting permissions on an image by image basis in employee time and legal fees. Ultimately, how do the costs and benefits stack up? How can we ensure the value of cultural heritage collections continues to support their financial sustainability?</p>
<p>We will be joined by a panel of experts including:</p>
<ul>
<li aria-level="1">Kristofer Erickson, Professor of Social Data Science at University of Glasgow</li>
<li aria-level="1">Douglas McCarthy, Open GLAM Researcher and Author</li>
<li aria-level="1">Elliott Bledsoe, Co-Lead of Creative Commons Australia &amp; Wikimedia Australia Committee Member</li>
<li aria-level="1">Giovanna Fontanelle, Program Officer, Culture and Heritage at Wikimedia Foundation</li>
</ul>
<p>We will dive into some important questions like:</p>
<ul>
<li aria-level="1">What are the financial, commercial, and economic impacts of open access in cultural heritage?</li>
<li aria-level="1">Is the cost of a licensing mechanism worth the revenue it might generate?</li>
<li aria-level="1">If not, what are some of  the more creative ways to share open collections in ways that do not compromise the institution’s financial sustainability?</li>
<li aria-level="1">What are some of the new opportunities for revenue generation that go hand in hand with the open ethos?</li>
<li aria-level="1">How can GLAMs develop an economic model that enables them to offer services aimed at sparking creativity, cultivating a deep connection with heritage, and expanding meaningful learning opportunities in the spirit of their public-interest mission?</li>
</ul>
<p><a href="https://us06web.zoom.us/meeting/register/tZAod-msrTMjH91kOlLBMcFld1ZUl1JShE2U">Register here</a>.</p>
<p>CC is a non-profit that relies on contributions to sustain our work. Support CC in our efforts to promote better sharing at creativecommons.org/donate.</p>
<p>&nbsp;</p>
<p><b>What is Open Culture Live?</b></p>
<p><span style="font-weight: 400;">In this series, we tackle some of the more complex challenges that face the open culture movement, bringing in speakers with personal and professional expertise on the topic. </span></p>
<ul>
<li style="font-weight: 400;" aria-level="1"><a href="https://creativecommons.org/2023/08/17/back-to-basics-open-culture-for-beginners/"><span style="font-weight: 400;">Back to Basics: Open Culture for Beginners </span></a></li>
<li style="font-weight: 400;" aria-level="1"><a href="https://creativecommons.org/2023/12/19/open-culture-live-recap-recording-respectful-terminologies-changing-the-subject/"><span style="font-weight: 400;">Respectful Terminologies &amp; Changing the Subject </span></a></li>
<li style="font-weight: 400;" aria-level="1"><a href="https://creativecommons.org/2024/01/31/recap-recording-whose-open-culture-decolonization-indigenization-and-restitution/"><span style="font-weight: 400;">Whose Open Culture? Decolonization, Indigenization, and Restitution</span></a></li>
</ul>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/02/21/upcoming-open-culture-live-webinar-maximizing-the-values-of-open-access-in-cultural-heritage-institutions/">Upcoming Open Culture Live Webinar: &#8220;Maximizing the Value(s) of Open Access in Cultural Heritage Institutions&#8221;</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74725
title: Updates on Open Culture Platform Activity Fund Winners 2023
uri: Updates-on-Open-Culture-Platform-Activity-Fund-Winners-2023
url:
https://creativecommons.org/2024/02/22/updates-on-open-culture-platform-activity-fund-winners-2023/?utm_source=rss&utm_medium=rss&utm_campaign=updates-on-open-culture-platform-activity-fund-winners-2023

content:
<p>In 2023, the Creative Commons (CC) <a href="https://network.creativecommons.org/cc-openculture-platform/">Open Culture Platform</a> ran an open call for funded activities as part of our efforts to develop local, non-Western models of open culture, and to support the growth of the open culture movement around the world. Platform members voted on proposed projects, <a href="https://creativecommons.org/2023/05/03/open-culture-platform-activity-fund-winners-2023/">winners were announced</a> in May, and the projects all ended at the end of the year. In this blog post, project leaders share their experiences, including some of the challenges they faced as well as their most important accomplishments.</p>
<hr />
<h2>Archiving History of Ghana: Case Study of Forts and Castles</h2>
<figure id="post-67083 media-67083" class="align-none" style="padding-left: 120px;"><img decoding="async" fetchpriority="high" class="" src="media/9f4d997b.image7.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/05/image7.png" alt="" width="349" height="349" /></figure>
<h3><span style="color: #808080;">Francis Quasie</span></h3>
<p>This project aimed at documenting some of the existing forts and castles in Ghana on Wikimedia Commons with the aim of making these resources available to use by anyone around the world through Creative Commons tools and licenses.</p>
<p>This project has seen remarkable outcomes. We covered our target areas and produced a total of three hundred and fifty two (352) images out of our target number of three hundred (300) images for Wikimedia Commons. We also uploaded eight (8) videos in addition to the images on Wikimedia Commons making the total number of three hundred and sixty (360) images and videos in total all under Creative Commons BY-SA 4.0 International license. All the 360 images and videos were uploaded in a category of <a href="https://commons.wikimedia.org/wiki/Category:Forts_and_Castles_In_Ghana">“Forts and Castles in Ghana</a>” on Wikimedia Commons. Also another outcome of this project we are excited about is the relationship established with the Ghana Museum and Monument Board with regard to preserving African heritage. We have shared the images documented on Wikimedia Commons with the Ghana Museum and Monument Board and some of the entities under the Museum. We have also shared our photographs with some of the Senior High School and university institutions which will be used for educational purposes.</p>
<p>These forts and castles on Wikipedia have been updated with the current images documented to provide more understanding of these historical sites in Ghana. We are happy for this project because we provide vital information on Wikimedia Commons and Wikipedia as well, and we also had an opportunity to learn a lot about our historical monuments in Ghana as we document for the next generation.</p>
<p>&nbsp;</p>
<h2>Building a sustainable social, technical &amp; legal infrastructure for Open GLAM in Pakistan; the quantitative analyses for the development of open heritage science for Pakistani heritage</h2>
<h3></h3>
<figure id="post-67088 media-67088" class="align-none" style="padding-left: 80px;"><img decoding="async" class="" src="media/fd682dd2.image5.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/05/image5.png" alt="" width="287" height="287" />.                         <img decoding="async" class="" src="media/86bcf1b8.image1.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/05/image1.png" alt="" width="278" height="278" /></figure>
<h3><span style="color: #808080;">Muhammad Imtiaz Subhani, PhD.                           Amber Osman</span><br />
<span style="color: #808080;">Lead, Creative Commons, Pakistan                         Co-lead, Creative Commons, Pakistan</span><br />
<span style="color: #808080;">(Project Principal Investigator)                                (Project Co-Investigator)</span></h3>
<p>This project aimed to establish a comprehensive and sustainable social, technical, and legal infrastructure for Open GLAM (Galleries, Libraries, Archives, and Museums) in Pakistan, focusing on fostering open heritage science for Pakistani heritage. The initiative has undertaken in-depth analyses to quantify and assess the cultural heritage sites and institutions, their current state and their accessibility, while identifying their legal frameworks, technological and social infrastructures and also addressing the technological aspects for digitization and preservation. The cultural heritage sites and institutions were investigated in terms of their counts in each province and city, their types, location addresses, level of access including license types. Further, in order to better quantify Pakistani heritage, a self-administered focused group survey was conducted through deploying eight focused group volunteers. 2000 respondents/cultural stakeholders (250 respondents through each of eight focused groups) were reached out from all over Pakistan to quantify the several positions of legal, technological and social frameworks pertaining to Pakistan heritage.</p>
<p>In our endeavor to establish a robust and sustainable social, technical, and legal infrastructure for Open GLAM in Pakistan, we&#8217;ve achieved significant milestones and gained valuable insights. Through meticulous analysis, we quantified and assessed the state and accessibility of GLAMs, heritage sites, and institutions across provinces, identifying legal frameworks, technological infrastructures, and avenues for digitization and preservation. Notably, our study confirmed the presence of 424 heritage entities spread across all provinces, with Punjab exhibiting a dense concentration. We&#8217;ve successfully facilitated open access to heritage resources, particularly in Sindh, through collaborations with Creative Commons and governmental bodies.</p>
<p>Technological advancements include the launch of a beta version Dashboard for easy access to heritage details and the establishment of XploreOpen, a dedicated web platform catering to Pakistan&#8217;s heritage. Furthermore, we innovatively mapped all heritage sites onto the map of Pakistan using padlet.com. Our work underscores the importance of open heritage science and sets the stage for continued preservation and celebration of Pakistan&#8217;s cultural heritage. The test version of the platform can be accessed at <a href="http://www.xploreopen.org">www.xploreopen.org</a>. This project also mapped out all of the cultural heritage sites and institutions on the map of Pakistan while using innovative solution <a href="https://padlet.com/ccpakchap/glams-pakistan-e6zwd2c5a1yphgft">padlet.com.</a> To enhance XploreOpen and foster technological advancement and growth, additional funding will be crucial for its future success.</p>
<p>&nbsp;</p>
<h2>GLAM institutions in Colombia open to their citizens</h2>
<figure id="post-67086 media-67086" class="align-none" style="padding-left: 80px;"><img decoding="async" loading="lazy" class="" src="media/9639420f.image3.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2023/05/image3.jpg" alt="" width="298" height="298" /></figure>
<h3><span style="color: #808080;">Viviana Rangel</span></h3>
<p>This project aimed to unite key stakeholders within the GLAM community at local, district, and national levels to comprehend their primary needs arising from: (a) the integration of new technologies into the daily operations of GLAMs as cultural affairs managers at district and national levels, and the resulting implications for the national copyright system; and (b) the challenges confronted by local communities in safeguarding their traditional cultural heritage. To respond to this objective, five workshops were held in different cities and districts of the country with managers of different community, district and national GLAMs. These workshops used a collaborative dialogue methodology among stakeholders, which was designed as part of the project and is expected to serve as a reference point for other initiatives.</p>
<p>The main result of these workshops was the possibility of dialoguing with community members in Bogota, Medellin, Cali, Pasto and Tumaco, representing approximately 15 GLAMs located in different departments of the country and at different territorial scales. These conversations served as input for the construction of two documents: (a) a roadmap for the GLAM community; and (b) a document of recommendations designed to improve the capacities of decision-makers. These documents, in turn, opened the possibility for us to dialogue with policymakers about the need to advance in a reform of the national copyright law, but also allowed us to strengthen the organization of the GLAM community for political advocacy.</p>
<p><strong>Findings</strong></p>
<p>As part of the findings in the stakeholder dialogues, it was obtained that:</p>
<ul>
<li aria-level="1">There is a delay in national regulations regarding exceptions and limitations for GLAMs, but there are significant advances in the implementation of new technologies for GLAMs serving large or medium-sized audiences.</li>
<li aria-level="1">There is a constant concern in the country about the risk of copyright infringement by GLAMs, coupled with a lack of knowledge about copyright exceptions and limitations.</li>
<li aria-level="1">The territorial approach of the project shed light on the asymmetries between territories and the various challenges they face in terms of copyright. The approaches to the different territories revealed the difficulties in protecting the intellectual property of the traditional knowledge and expressions of the ancestral, artisanal and indigenous communities of our country.</li>
<li aria-level="1">The GLAMs in the different territorial levels have recognized the need to hold workshops on the exceptions and limitations that cover their current activities. Additionally, discussions have highlighted the importance of organizing advocacy efforts in this area.</li>
<li aria-level="1">Failure to put this discussion on the table has put at risk the defense of the public interest and the guarantee of cultural rights for Colombian citizens throughout the national territory.</li>
</ul>
<p><strong>Outcomes</strong></p>
<p>As results of the project, the following were achieved:</p>
<ul>
<li aria-level="1">Design material and promote the organization for political advocacy aimed at holding a hearing with the National Directorate of Copyright for the updating of the national regulations.</li>
<li aria-level="1">Opening a necessary discussion for the country that had been postponed due to lack of organization. Resumption of the discussion with decision makers.</li>
<li aria-level="1">An exhaustive review of the progress of the exceptions and limitations in the country&#8217;s copyright legislation.</li>
<li aria-level="1">Mapping and diagnosis of the needs and problems of the GLAM in the country. Using a territorial approach that allowed the identification of needs, considering the specific context of each department and community with which we were able to relate.</li>
<li aria-level="1">Mapping of actors and characterization of the relationships between GLAMs, public policy makers and international organizations working on issues related to copyright reform in the country.</li>
<li aria-level="1">Identification of challenges in the coordination between GLAM institutions in charge of preserving and defending cultural heritage and national entities responsible for building and supervising the copyright system in the country.</li>
</ul>
<p>&nbsp;</p>
<h2>Digitization and Protection of Specialized Heritage Institutions</h2>
<figure id="post-67087 media-67087" class="align-none" style="padding-left: 80px;"><img decoding="async" loading="lazy" class="" src="media/c177076b.image4.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/05/image4.png" alt="" width="321" height="321" /></figure>
<h3><span style="color: #808080;">Seyi Osunade</span></h3>
<p>Heritage institutions, also known as cultural heritage institutions or memory institutions, are organizations that preserve, protect, and provide access to cultural and historical materials of significant importance. These institutions play a vital role in safeguarding and promoting our shared cultural heritage. Heritage institutions encompass various types of organizations, including: Galleries, Laboratories, Libraries, Archives and Museums.</p>
<p>University of Ibadan plays host to a number of specialized cultural heritage institutions that are not visible online but used for teaching and research. This project seeks to identify such centers across the three campuses, 16 faculties and numerous centers so as to encourage digitization and use of CC protection mechanisms. The production of a draft institutional policy and an e-book with available artifacts and location of the specialized cultural heritage institutions are the deliverables from this project.</p>
<p><strong>Outcomes: </strong></p>
<p>These are some documented outcomes from the work done:</p>
<ol>
<li aria-level="1">Pictures taken at the UI Cultural Heritage Museum are <a href="https://flic.kr/s/aHBqjB5c6N">shared on Flickr </a></li>
<li aria-level="1"><a href="https://drive.google.com/file/d/1jC4-1gkl4mmcLarwnEy_s5ZI-HIGe3GJ/view?usp=sharing">Lecture presentation materials</a> on Digital Preservation at the University Library</li>
<li aria-level="1"><a href="https://drive.google.com/file/d/1VJ2d64st8LOplz-4RmcFnvGpOlT5ikxI/view?usp=sharing">Sample Certificate of Participation </a>given for Knowledge transfer of digitization methods for artifacts</li>
<li aria-level="1"><a href="https://drive.google.com/file/d/16nn3XorEmrmEptbX8FPfPewA2OVMX146/view?usp=sharing">Lecture material</a> used for Workshop</li>
<li aria-level="1"><a href="https://drive.google.com/file/d/18pfe4bdQCWiQ6oGDwSRx6rMRF8Iays04/view?usp=sharing">Poster presentation</a> shared at CC Summit from the work</li>
<li aria-level="1">A <a href="https://drive.google.com/file/d/1hpETPGI4JPKjqJ5V8VTC2Mt-PzoS9z3C/view?usp=sharing">draft institutional policy</a> for Open Access to Cultural Arts</li>
<li aria-level="1">E-book with available artefacts and location of the specialized cultural heritage institutions</li>
</ol>
<p>&nbsp;</p>
<h2>A Public Domain Database of Digitized Creative Works in Nigeria</h2>
<figure id="post-67085 media-67085" class="align-none" style="padding-left: 80px;"><img decoding="async" loading="lazy" class="" src="media/931292f0.image2.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/05/image2.png" alt="" width="297" height="297" /></figure>
<h3><span style="color: #808080;">Isaac Oloruntimilehin</span></h3>
<p>The initial plan by Free Knowledge Africa to onboard enumerators across different libraries in Nigeria didn’t work out as expected. We released a call for librarians across libraries in Nigeria to join the campaign to help identify works in the public domain in their libraries. However, the librarians we selected faced difficulties in accessing the collections of the libraries. Some of them were junior librarians at these institutions and didn’t have enough influence to help advocate for the project, because of some institutional factors and gatekeeping, and they were just librarians who were interested in participating in the campaign. A better approach would have been to work with one library at a time which we later adopted with the National Library of Nigeria where we identified a friendly stakeholder. We also reached out to private libraries and archives, as well as State and government libraries and archives to help identify works in the Nigerian public domain, but most of these Information centers didn&#8217;t have books that dated back to the pre-colonial era and books that fall under the Nigerian public domain according to the Nigerian Copyright Act.</p>
<p>After much deliberation and back and forth with these institutions without much progress, we decided to write to the National Library of Nigeria which is the apex library of the country. As expected, they had most of these public domain works which were acquired through legal deposits and donations.</p>
<p><a href="https://freeknowledgeafrica.org/">Free Knowledge Africa</a> moved ahead to establish a partnership with the <a href="https://nln.gov.ng/">National Library of Nigeria</a> through the Virtual Library Services Department, through which we were able to identify works in the Public Domain. We also held an <a href="https://freeknowledgeafrica.org/open-sharing-and-the-21st-century-librarian-training-at-the-national-library-headquarters/">outreach and training</a> at the National Library Headquarters where we trained the staff of the Virtual Library Services Department about the open movement, open licenses, public domain and digitization.</p>
<p>We were able to complete the digitization of 449 works (books, newspapers, and images) in the public domain in partnership with the National Library of Nigeria. The project is progressing slowly so far because of limited manpower and outdated technology in finding works that are in the public domain in the library’s collection. We uploaded the works on <a href="https://commons.wikimedia.org/wiki/Category:Nigerian_Public_Domain">Wikimedia Commons</a> in the Nigerian public domain category, and we intend to create Wikidata items and transcribe the books on Wikisource to make them citable and discoverable.</p>
<p>We identified some works that are also in the public domain according to the Nigerian Copyright laws, but some of these works were copyrighted and had all rights reserved. We decided to not digitize these works to avoid potential lawsuits from the publishers.</p>
<p>We were faced with a few challenges during this project. Some of them include:</p>
<ul>
<li aria-level="1">Bureaucracy lies within most of these institutions as some processes which normally should have taken a few days were prolonged to as long as a month.</li>
<li aria-level="1">We were able to identify a few government publications which according to the Nigerian Copyright Act are expected to be in the public domain. However, some of them were copyrighted with the ‘All Rights Reserved’ mark. To avoid copyright infringement, we didn&#8217;t digitize those works after the effort had been put into sorting and identifying them.</li>
<li aria-level="1">Due to insufficient funding, we were limited in the number of books we were able to digitize. We were unable to digitize special works such as delicate materials and voluminous books because such works would need special care and could only be handled by experts. We were able to digitize only a few books that fell under this category due to limited funding.</li>
<li aria-level="1">Last but not least, there was a lack of understanding on the part of the librarians. We had to go through several meetings and even organize a training session for the librarians to give them insight into what we hoped to achieve. This training session was organized to enlighten them on the importance of the public domain and why we must digitize these precious works.</li>
</ul>
<p>Some of our key learnings include:</p>
<ul>
<li aria-level="1">Identifying the key stakeholders saves time and money, as they can cut through the bureaucracy. The challenge lies in identifying them.</li>
<li aria-level="1">Partnership helps in cutting costs and sharing what the other parties stand to gain helps in bringing them on board and getting invested in the project.</li>
<li aria-level="1">Advocacy needs to be done to change the perception of open licensing by librarians in Nigeria, they need to be more involved in the open movement, to see the big picture.</li>
</ul>
<p>&nbsp;</p>
<h2>Building Open GLAM Community for Sustainable Open Licensing Practices in Nigeria</h2>
<figure id="post-67089 media-67089" class="align-none" style="padding-left: 80px;"><img decoding="async" loading="lazy" class="" src="media/0fab29f2.image6.png" data-original-source="https://creativecommons.org/wp-content/uploads/2023/05/image6.png" alt="" width="338" height="338" /></figure>
<h3><span style="color: #808080;">Bukola James</span></h3>
<p>Under the Creative Commons Open Culture Platform Activity Fund, we launched the <a href="https://meta.wikimedia.org/wiki/Https://Building_Open_GLAM_Community_for_Sustainable_Open_Licensing_Practices_in_Nigeria/Overview">Building Open Culture Community for Sustainable Open Licensing Practices in Nigeria</a> project. Over two months, from July to September 2023, the project aimed to cultivate an open culture ecosystem in Nigeria, focusing on Galleries, Libraries, Archives, and Museums (GLAM). Goals included raising awareness and understanding of Creative Commons licenses among GLAM professionals, increasing digitization and online visibility of collections using appropriate CC platforms and licenses.</p>
<p><strong>Building Awareness and Capacity</strong></p>
<p>Through <a href="https://meta.wikimedia.org/wiki/Building_Open_GLAM_Community_for_Sustainable_Open_Licensing_Practices_in_Nigeria/Stakeholders_and_Implementation_team">collaborative efforts,</a> the project increased open culture practices among GLAM professionals in Nigeria. Extensive planning from July to September 2023 led to a series of offline and online <a href="https://meta.wikimedia.org/wiki/Building_Open_GLAM_Community_for_Sustainable_Open_Licensing_Practices_in_Nigeria/Timeline_and_Activites">activities </a>aimed at enriching GLAM professionals&#8217; skills and understanding of Creative Commons licenses.</p>
<p>The initiatives included a two-day online session and <a href="https://medium.com/@bukolajames2017/advancing-open-culture-practices-in-nigerias-glam-sector-a-comprehensive-report-on-the-in-person-ed82a58f4699">in-person </a>events discussing open culture practices and offering practical guidance on platform utilization. This enabled professionals to effectively use platforms like Wikimedia Commons, to enhance the global visibility of their collections through active participation.</p>
<p><strong>Audience Reached</strong></p>
<p>Through an extensive recruitment campaign and <a href="https://docs.google.com/document/d/1XMxvuA7ayNlRv8mbHtKZaXHi52MmyZbNTnkl5sc23bQ/edit">pre-community assessment,</a> we&#8217;ve built a dynamic network of 175 Open Culture advocates across <a href="https://meta.wikimedia.org/wiki/Building_Open_GLAM_Community_for_Sustainable_Open_Licensing_Practices_in_Nigeria/Participants">Meta,</a> <a href="https://www.facebook.com/profile.php?id=100092613756850">Facebook</a>, and WhatsApp, connecting them to the<a href="https://network.creativecommons.org/"> Creative Commons global</a> and <a href="https://network.creativecommons.org/cc-openculture-platform/">open culture platform</a>. This network is poised to lead Creative Commons programs and open culture initiatives in Nigeria. Concurrently, the project facilitated six <a href="https://medium.com/@bukolajames2017/unveiling-nigerias-cultural-treasures-through-open-culture-glam-tour-32588509cf6b">GLAM institutions in Nigeria</a> to share over 100 aesthetics and collections on <a href="https://commons.wikimedia.org/wiki/Category:Building_Open_Culture_Community">Wikimedia Commons,</a> enriching a growing repository for future generations. Our project&#8217;s impact is evident in promoting the use of Creative Commons licenses, enhancing accessibility and visibility of GLAM collections online.</p>
<p><strong>Lessons Learned</strong></p>
<p>The project period was not just about achieving milestones but also about learning and evolving. The journey taught us the tremendous potential that lies in the collaborative efforts of GLAM professionals in achieving openness and how open knowledge platforms like Wikimedia Commons can help increase the use and re-use of CC licenses and  GLAM collections in Nigeria. We learned that structured training, comprising theoretical understanding paired with practical exposure, can play a pivotal role in empowering professionals. Moreover, the enthusiastic participation and <a href="https://docs.google.com/document/d/14_7edvXcFNB0Ystnrxi1R6bZbtK5HYbTNg7SG2lieZo/edit#heading=h.ye1ejmmvmzou">feedback</a> from the attendees emphasized the appetite for such initiatives, showcasing a promising road ahead filled with collaborations and knowledge-sharing.</p>
<p><strong>Conclusion</strong></p>
<p>The strides made toward open culture advocacy are celebrated as we embrace the future. Through collaborative efforts, a vibrant community of advocates has been established, alongside project initiatives and virtual platforms for ongoing engagement. The Building Open Culture Community project exemplifies the power of clear vision and determined execution. Gratitude is extended to all contributors. The project&#8217;s insights will shape Nigeria&#8217;s open culture narrative and shared knowledge in the GLAM sector. Excitement abounds for the continued growth and impact of these efforts.</p>
<p>&nbsp;</p>
<hr />
<p>Creative Commons thanks each of these contributors for their inspiring efforts towards making culture around the world more open. Their pioneering work and advocacy helps to spread the message that access to knowledge and culture is a human right around the world. We can also learn from these awardees about some of the challenges that are faced in different contexts around the world, and bring visibility to the varied strategies for the open movement in each of these contexts.</p>
<p>Congratulations to each of you for your successful projects, and we look forward to sharing the projects selected by the Open Culture Platform for 2024 in the coming months.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/02/22/updates-on-open-culture-platform-activity-fund-winners-2023/">Updates on Open Culture Platform Activity Fund Winners 2023</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74721
title: Where in the world is… this public domain material? Helping users refer to host institutions.
uri: Where-in-the-world-is-this-public-domain-material-Helping-users-re
url:
https://creativecommons.org/2024/02/23/helping-users-refer-to-host-institutions/?utm_source=rss&utm_medium=rss&utm_campaign=helping-users-refer-to-host-institutions

content:
<figure id="post-74722 media-74722" class="align-none"><img decoding="async" src="media/4817aaba.Sharing_Public_Domain_Collections_CC-BY___-e1708618423648.png" data-original-source="https://creativecommons.org/wp-content/uploads/2024/02/Sharing_Public_Domain_Collections_CC-BY___-e1708618423648.png" alt="A collage of text saying “sharing public domain collections CC BY” overlaid on an image of Edvard Munch’s famous painting “The Scream” from 1893 signifying shock and fear." /><figcaption class="attribution">&#8220;Sharing Public Domain Collections CC-BY ?!!?&#8221; by Brigitte Vézina is a remix of &#8220;The Scream&#8221; by Edvard Munch (1893), Public Domain, National Museum Oslo. Licensed CC BY 4.0</figcaption></figure>
<p>Today, Creative Commons is releasing new guidelines for open culture: Nudging Users to Reference Institutions when Using Public Domain Materials.</p>
<p>These guidelines have been developed by CC’s Open Culture Team in collaboration with the <a href="https://medium.com/creative-commons-we-like-to-share/report-of-the-working-group-to-investigate-use-of-cc-by-to-designate-holders-of-public-domain-679e75c05e8f">Open Culture Platform Working Group to investigate use of CC BY to designate holders of public domain collections</a>, led by Deborah De Angelis and Tomoaki Watanabe, and members of the <a href="https://network.creativecommons.org/cc-openculture-platform/">Open Culture Platform</a>.</p>
<p>Whether the institution is a neighborhood archive, a national library, or an art museum, the guidelines offer a fresh and innovative approach to prompting users to reference the institution when using public domain materials. Based on the Working Group’s proposal for a social intervention, they present various design ideas, rooted in the EAST Model for behavioral change.</p>
<p><strong>What problem are these guidelines addressing?</strong></p>
<p>Often, institutions wish to be acknowledged for the role they play preserving, restoring, digitizing, sharing, and overall providing context and meaning for the cultural heritage that they steward. To ensure users “credit” them, many institutions choose CC licenses (which require “attribution”) to release faithful reproductions of public domain material. This is bad practice. Digital reproductions of public domain materials should remain in the public domain and thus be shared under CC0 or PDM.</p>
<p>As a best practice, CC recommends a simple framework to create behavioral change and encourage positive outcomes through “nudges.” The guidelines offer a few design ideas for institutions to provide a comprehensive “reference statement,” if and where appropriate.</p>
<p><strong>The guidelines address key questions, including:</strong></p>
<ul>
<li aria-level="1">How can institutions nudge users to reference them?</li>
<li aria-level="1">What information should be included in a reference statement?</li>
<li aria-level="1">What would a nudge look like in practice?</li>
<li aria-level="1">How to organize the data needed to implement these ideas?</li>
</ul>
<p>The guidelines are available on the <a href="https://creativecommons.org/about/arts-culture/open-culture-resources/">Open Culture Resources page</a>. <a href="media/b6649f7b.hen-Using-Public-Domain-MaterialsCreative-Commons-Guidelines.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2024/02/Nudging-Users-to-Reference-Institutions-when-Using-Public-Domain-Materials—Creative-Commons-Guidelines.pdf">Download the complete guidelines</a>.</p>
<p><em><span style="font-weight: 400;">Are you ready to implement one of these designs? Do you have comments on how to expand or improve these guidelines, especially on the technical aspects? Would you like to help make this resource available in other languages?</span></em></p>
<ul>
<li><span style="font-weight: 400;">Contact us at</span><a href="mailto:info@creativecommons.org"><span style="font-weight: 400;"> info@creativecommons.org</span></a></li>
<li><span style="font-weight: 400;">Join the </span><a href="https://network.creativecommons.org/cc-openculture-platform/"><span style="font-weight: 400;">Open Culture Platform</span></a><span style="font-weight: 400;"> to engage with peers</span></li>
<li><span style="font-weight: 400;">Sign up for our</span><a href="https://network.creativecommons.org/cc-openculture-platform/"><span style="font-weight: 400;"> volunteer translation process</span></a></li>
</ul>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/02/23/helping-users-refer-to-host-institutions/">Where in the world is… this public domain material? Helping users refer to host institutions.</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74762
title: New Revisions to CC Certificate Course Content = New Opportunities for Translations
uri: New-Revisions-to-CC-Certificate-Course-Content-New-Opportunities-for
url:
https://creativecommons.org/2024/02/29/new-revisions-to-cc-certificate-course-content/?utm_source=rss&utm_medium=rss&utm_campaign=new-revisions-to-cc-certificate-course-content

content:
<p><span style="font-weight: 400;">We are delighted to share the latest version of our Creative Commons Certificate Course content, available on </span><a href="https://certificates.creativecommons.org/about/certificate-resources-cc-by/"><span style="font-weight: 400;">our Certificates website</span></a><span style="font-weight: 400;"> as an OER (open educational resource) in multiple formats.</span></p>
<p><span style="font-weight: 400;">The Creative Commons Certificate program launched in 2018 to strengthen our global communities’ efforts to share open knowledge and culture. To date, we have over 1700 </span><a href="https://certificates.creativecommons.org/about/certificate-graduates/"><span style="font-weight: 400;">graduates</span></a><span style="font-weight: 400;"> of the Certificate program from 65 different countries. </span></p>
<p><span style="font-weight: 400;">The program was built for iteration and adaptation.  We regularly revise and update the CC Certificate materials based on direct feedback from our community of participants, facilitators, and alumni. We make all iterations of our course openly available under a </span><a href="https://creativecommons.org/licenses/by/4.0/deed.en"><span style="font-weight: 400;">CC BY license</span></a><span style="font-weight: 400;">. As a result, our community has created countless derivative trainings, faculty presentations, workshops, courses and open education, open access and open culture communication materials. Community members have also translated course reading content and made it available as open educational resources in </span><a href="https://certificates.creativecommons.org/about/translations/"><span style="font-weight: 400;">10 languages</span></a><span style="font-weight: 400;">: Arabic, Bengali, Burmese, English, French, Italian, Slovak, Spanish, Turkish, and Yoruba.</span></p>
<p><b>Now, we are pleased to announce the latest revision of our course content available on our </b><a href="https://certificates.creativecommons.org/about/certificate-resources-cc-by/"><b>Certificate Resources</b></a><b> page, accessible and downloadable in multiple file formats.</b></p>
<p><span style="font-weight: 400;">With the 2024 course content, we hope to reach new audiences, and we invite new translation projects to help us.  Translation work could mean both updating existing translations or creating entirely new ones. If you’re interested in making the CC Certificate course content available in your own local language(s) by participating in a future translation project, please reach out to us at certificates [at] creativecommons.org for more information.</span></p>
<p><span style="font-weight: 400;">If you’re interested in a CC Certificate course, you can learn more and register for our upcoming June 2024 and September 2024 options on </span><a href="https://certificates.creativecommons.org/about/calendar/"><span style="font-weight: 400;">our website</span></a><span style="font-weight: 400;">. If you are already CC Certified, we encourage you to share your experiences with your colleagues and to become an active participant in our alumni community, where you can read our alumni newsletter, learn about additional training opportunities, and participate in upcoming community projects. Contact certificates [at] creativecommons.org  if you are not already on the alumni listserv and we will add you.</span></p>
<p><span style="font-weight: 400;">We send a special thanks to the many wonderful CC staff, Certificate course facilitators, community members and volunteers who help make this work possible. We’re looking forward to continued improvements to the CC Certificate program as we explore new audiences and new opportunities to help you reach your open education goals.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/02/29/new-revisions-to-cc-certificate-course-content/">New Revisions to CC Certificate Course Content = New Opportunities for Translations</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74778
title: What Lies Ahead in 2024
uri: What-Lies-Ahead-in-2024
url:
https://creativecommons.org/2024/03/01/what-lies-ahead-in-2024/?utm_source=rss&utm_medium=rss&utm_campaign=what-lies-ahead-in-2024

content:
<p><span style="font-weight: 400;">Greetings to the CC Community!</span></p>
<p><span style="font-weight: 400;">A lot of exciting and critical work awaits us in 2024. While I steer Creative Commons as interim CEO, I wanted to take a moment to introduce myself and share details of our key priorities in the upcoming year.</span></p>
<p><span id="more-74778"></span></p>
<p><span style="font-weight: 400;">I joined Creative Commons in late September 2019 as Director of Product and partnered with our former Director of Engineering, Kriti Godey, to lead our work on building CC Search. That project was </span><a href="https://creativecommons.org/2021/12/13/dear-users-of-cc-search-welcome-to-openverse/" target="_blank" rel="noopener"><span style="font-weight: 400;">transitioned</span></a><span style="font-weight: 400;"> to </span><a href="https://openverse.org/" target="_blank" rel="noopener"><span style="font-weight: 400;">OpenVerse</span></a><span style="font-weight: 400;">, stewarded by the WordPress Foundation, and subsequently I stepped into the role of COO. My </span><a href="https://www.linkedin.com/in/annatumadottir/" target="_blank" rel="noopener"><span style="font-weight: 400;">background and education</span></a><span style="font-weight: 400;"> have spanned multiple continents and very different spaces (non-profit, start-ups, higher education) but have consistently come back to a theme, from the micro to the macro level: How do we remove barriers? How do we make things work better?</span></p>
<p><span style="font-weight: 400;">It is a privilege to work at Creative Commons, where the organizational mission so deeply aligns with my own belief system. We cannot hope to work together &#8212; within our homes or workplaces, across organizational and cultural boundaries – if we are not able to share knowledge and are not willing to learn from one another.</span></p>
<p><span style="font-weight: 400;">As I navigate the role of interim CEO, with the support and collaboration of the CC Board of Directors, it is clear where we need to deepen our commitments. We have important work taking place in the fields of Open Culture and Open Science. There are also critical considerations to navigate due to the emergence of generative artificial intelligence (AI) and the impact this may have on knowledge sharing and the broader commons. All of this work is rooted in our role as the stewards of the legal infrastructure of the open web.</span></p>
<p><b>Key Program Updates </b></p>
<figure id="post-74782 media-74782" class="align-right"><img decoding="async" class="alignright" src="media/6dc9f327.Bridging_Ana-Lopes-212x300.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2024/03/Bridging_Ana-Lopes-212x300.jpg" alt="" /><figcaption class="attribution">&#8220;<a href="https://thegreats.co/artworks/we-shine-together">We Shine Together</a>&#8221; by <a href="https://thegreats.co/artists/ana-filipa-dos-santos-lopes">Ana Lopes</a> is licensed under <a href="https://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA 4.0</a>.</figcaption></figure>
<p><span style="font-weight: 400;">As many in our community know, in the past three years, we’ve had the good fortune of launching four major projects: our </span><a href="https://creativecommons.org/about/arts-culture/" target="_blank" rel="noopener"><span style="font-weight: 400;">Open Culture program</span></a><span style="font-weight: 400;">, the </span><a href="https://openclimatecampaign.org/" target="_blank" rel="noopener"><span style="font-weight: 400;">Open Climate Campaign</span></a><span style="font-weight: 400;">, our </span><a href="https://creativecommons.org/about/open-climate-data/" target="_blank" rel="noopener"><span style="font-weight: 400;">Open Climate Data project</span></a><span style="font-weight: 400;">, and a project to </span><a href="https://creativecommons.org/2023/10/04/chan-zuckerberg-initiative-funds-new-project-to-openly-license-life-sciences-preprints/" target="_blank" rel="noopener"><span style="font-weight: 400;">openly license preprints</span></a><span style="font-weight: 400;">.</span></p>
<p><span style="font-weight: 400;">Our </span><a href="https://creativecommons.org/2021/06/03/creative-commons-receives-5m-grant-from-arcadia-to-advance-open-access-at-galleries-libraries-archives-and-museums/" target="_blank" rel="noopener"><span style="font-weight: 400;">Open Culture program</span></a><span style="font-weight: 400;">, launched in mid-2021, is focused on developing an open culture ecosystem amongst cultural heritage institutions. These include both the institutions themselves &#8211; including galleries, libraries, archives, and museums &#8211; as well as their users. The mission of cultural heritage institutions aligns with the work of Creative Commons. Our vision is a world where knowledge and culture are equitably shared in ways that serve the public interest. We want the institutions we work with to be better equipped to openly share the content they stewards. Through work in policy and advocacy, infrastructure support, and capacity and community building, the end goal is for the public to have increased, equitable, and ethical access to knowledge and culture. Interested advocates can get involved through the </span><a href="https://network.creativecommons.org/cc-openculture-platform/" target="_blank" rel="noopener"><span style="font-weight: 400;">Open Culture Platform</span></a><span style="font-weight: 400;">. This work is supported by a multi-year gift from Arcadia, and will continue until at least mid-2026.</span></p>
<p><span style="font-weight: 400;">In mid-2022 we launched the </span><a href="https://creativecommons.org/2022/08/30/cc-partners-with-sparc-and-eifl-to-launch-a-4-year-open-climate-campaign/" target="_blank" rel="noopener"><span style="font-weight: 400;">Open Climate Campaign</span></a><span style="font-weight: 400;">, in partnership with SPARC and EIFL, with support from Open Society Foundations and Arcadia. This four-year campaign has the goal of making the open sharing of research the norm in climate science. The climate crisis is the defining existential crisis of our time, and we cannot hope to collaborate on solutions, or preserve global biodiversity, if the knowledge about this global challenge is not open and accessible to all.</span></p>
<p><span style="font-weight: 400;">To complement our work on open sharing of research, we were thrilled to receive support for our </span><a href="https://creativecommons.org/2022/12/19/patrick-j-mcgovern-foundation-funds-new-cc-initiative-to-open-large-climate-datasets/" target="_blank" rel="noopener"><span style="font-weight: 400;">Open Climate Data project</span></a><span style="font-weight: 400;">, from the Patrick J. McGovern Foundation, dedicated to the opening and sharing of large climate datasets and climate data models across the globe. For anyone working to understand and address climate change, the certainty of what they’re allowed to do with climate data is critical to knowledge advancement. We recently shared </span><a href="https://creativecommons.org/2024/01/29/recommended-best-practices-for-better-sharing-of-climate-data/" target="_blank" rel="noopener"><span style="font-weight: 400;">recommended best practices for better sharing of climate data</span></a><span style="font-weight: 400;"> and are hopeful this work can continue.</span></p>
<p><span style="font-weight: 400;">To better facilitate knowledge sharing, we most recently launched a collaborative project supported by the Chan-Zuckerberg Initiative to help make </span><a href="https://creativecommons.org/2023/10/04/chan-zuckerberg-initiative-funds-new-project-to-openly-license-life-sciences-preprints/" target="_blank" rel="noopener"><span style="font-weight: 400;">openly licensed preprints</span></a><span style="font-weight: 400;"> the primary vehicle of scientific dissemination, with a focus on the life sciences. Learning from the potential of rapid response and open sharing to tackle the Covid-19 pandemic, we are grateful to contribute to strengthening the ecosystem of scholarly communication.</span></p>
<p><span style="font-weight: 400;">It is imperative that we continue our strategic interventions in cultural heritage, climate science, and the life sciences. All of this work is fully in line with our </span><a href="https://drive.google.com/file/d/10rQDv5Hzuss38oi1ovGuoxHagmFzqn_f/view" target="_blank" rel="noopener"><span style="font-weight: 400;">organizational strategy</span></a><span style="font-weight: 400;">, in particular our emphasis on </span><i><span style="font-weight: 400;">transforming institutions to make knowledge and cultural heritage assets as openly accessible as possible</span></i><span style="font-weight: 400;">. </span></p>
<p><b>Generative AI &amp; the Commons</b></p>
<p><span style="font-weight: 400;">Over the last year we have been asking ourselves what is the appropriate role, exactly, for CC, when it comes to generative AI &#8211; apart from the ongoing and widespread use of CC licenses for software documentation and in open source AI communities. Throughout 2023, we ran community consultations. We met directly with hundreds of community members, brought together different groups in small workshops, intimate roundtables, community conferences (such as </span><a href="https://creativecommons.org/2023/05/04/generative-ai-opportunities-concerns-solutions-from-mozfest-2023/" target="_blank" rel="noopener"><span style="font-weight: 400;">MozFest</span></a><span style="font-weight: 400;">), and public events (such as our </span><a href="https://creativecommons.org/2023/09/15/generative-ai-and-creativity-new-considerations-emerge-at-cc-convenings/" target="_blank" rel="noopener"><span style="font-weight: 400;">symposium on Generative AI &amp; Creativity</span></a><span style="font-weight: 400;">) to debate copyright law, the ethics of open sharing, and other relevant areas that touch on AI. Our consultations spanned the globe and culminated in the CC Global Summit in October, where the central theme was the impact of AI on the Commons. A set of </span><a href="https://creativecommons.org/2023/10/07/making-ai-work-for-creators-and-the-commons/" target="_blank" rel="noopener"><span style="font-weight: 400;">community-driven principles on AI</span></a><span style="font-weight: 400;"> continue to inform the organization&#8217;s thinking as we plan for the year ahead.</span></p>
<p><span style="font-weight: 400;">We will continue the critically important work of bringing together diverse viewpoints to explore the broad topics of generative AI (inputs, outputs, copyright, choice, provenance, authenticity, compensation, and such). In parallel, we are identifying areas where Creative Commons can play a role and explore community-oriented contributions to the broader ecosystem. This may be through experiments in preference signaling, going back to the fundamentals of the commons and celebrating creativity, or seeing what the implications are of “open” models training on “open” content. (That’s right, we also need to better define “openness” when it comes to artificial intelligence.)</span></p>
<p><b>Supporting our Open Infrastructure</b></p>
<p><span style="font-weight: 400;">Our work is not only focused on particular sectors or policy interventions. We need to actively steward our legal tools and any necessary innovations that help us achieve our mission, to empower individuals and communities by equipping them with technical, legal, and policy solutions to enable sharing of knowledge and culture in the public interest.</span></p>
<p><span style="font-weight: 400;">Underpinning all of our work as an organization, and much of the work of our community, is the legal infrastructure that powers open sharing, and it needs, for lack of a better metaphor, care and feeding:</span></p>
<ul>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">We need to ensure that the legal tools are translated into as many languages as possible to make open sharing more equitable across the world.</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">We need to ensure that when someone brings a nuanced question to the organization that we continue to have expert lawyers and open access advocates on staff to help answer those questions.</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">We need to ensure the basic technology is maintained, and when needed, modernized.</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">It is critical that we continue to generate educational materials, and </span><a href="https://creativecommons.org/about/training-and-consulting/training/" target="_blank" rel="noopener"><span style="font-weight: 400;">train</span></a><span style="font-weight: 400;"> future generations of open access advocates, whether they work in libraries, cultural heritage, education, or beyond.</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">We need to find ways to better support our community, including the </span><a href="https://network.creativecommons.org/" target="_blank" rel="noopener"><span style="font-weight: 400;">CC Global Network</span></a><span style="font-weight: 400;">, with an emphasis on hearing and amplifying the viewpoints of community members in the Global South.</span></li>
</ul>
<p><span style="font-weight: 400;">With this in mind, we launched our Open Infrastructure Circle, and are grateful to </span><a href="https://creativecommons.org/support-cc/open-infrastructure-circle/" target="_blank" rel="noopener"><span style="font-weight: 400;">those individuals and institutions who signed on</span></a><span style="font-weight: 400;"> early to show a commitment to the underlying legal infrastructure that powers open sharing on the web. This will be a central focus in 2024 to help guarantee more predictable support for the legal infrastructure that is CC’s reason for being.</span></p>
<p><span style="font-weight: 400;">And finally, thank you again to our community, our Global Network members, and all of our supporters, for helping to sustain the organization for future decades</span><span style="font-weight: 400;"> and supporting a thriving digital commons. We could not do all of this without you. My (virtual) door is always open to CC friends and new ideas. I firmly believe we can continue to reduce barriers to sharing and cultivate a commons while empowering creators to make the right choices for them.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/03/01/what-lies-ahead-in-2024/">What Lies Ahead in 2024</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74737
title: Creative Commons joins the Digital Public Goods Alliance
uri: Creative-Commons-joins-the-Digital-Public-Goods-Alliance
url:
https://creativecommons.org/2024/03/04/cc-joins-dpga/?utm_source=rss&utm_medium=rss&utm_campaign=cc-joins-dpga

content:
<h1 id="post-74745 media-74745" class="align-none" style="text-align: center;"><img decoding="async" class="alignnone" src="media/70e8055e.CC_Logo.png" data-original-source="https://creativecommons.org/wp-content/uploads/2024/02/CC_Logo.png" alt="Creative Commons logo" width="185" height="185" /> <strong>+ </strong><img decoding="async" class="aligncenter" src="media/1013356a.DPGA_Logo.png" data-original-source="https://creativecommons.org/wp-content/uploads/2024/02/DPGA_Logo.png" alt="Digital Public Goods Alliance logo" width="250" height="188" /></h1>
<p><span style="font-weight: 400;">Today, Creative Commons (CC) joins the </span><a href="https://digitalpublicgoods.net/"><span style="font-weight: 400;">Digital Public Goods Alliance</span></a><span style="font-weight: 400;"> (DPGA) as a new member. The DPGA is a multi-stakeholder initiative with a mission to accelerate the attainment </span><span style="font-weight: 400;">of the sustainable development goals in low- and middle-income countries by facilitating the discovery, development, use of, and investment in digital public goods (DPGs). </span><span style="font-weight: 400;"><br />
</span><span style="font-weight: 400;"><br />
</span><span style="font-weight: 400;">“We are thrilled to welcome Creative Commons to the Digital Public Goods Alliance. Their licenses and legal tools are pivotal for enhancing the sharing of DPGs, enabling more open, accessible tools to tackle global challenges. Similarly, Creative Commons&#8217; commitment to training and capacity building supports governments and institutions in adopting open policies and practices, enriching the DPG ecosystem and equipping advocates with the needed knowledge. Their Open Climate Campaign and Open Climate Data project, is a testament to the power of open access in addressing critical issues like the climate crisis and biodiversity preservation. Together, we look forward to making significant strides towards a more open and sustainable world.” &#8211; Liv Marte Nordhaug, Chief Executive Officer, DPGA Secretariat</span></p>
<p><span style="font-weight: 400;">CC is delighted to be contributing to this mission. Solving the world’s most pressing challenges requires the open licensing and sharing of digital knowledge and cultural heritage assets about those challenges. By advocating for the use and implementation of </span><a href="https://digitalpublicgoods.net/standard/"><span style="font-weight: 400;">DPGs</span></a><span style="font-weight: 400;">, global communities can work together in prioritizing and mobilizing </span><span style="font-weight: 400;">resources to help solve these challenges. CC’s legal tools and our programs play a critical role in helping to achieve the DPGA’s mission and advance the DPG ecosystem overall.</span></p>
<p><span style="font-weight: 400;">CC’s work aligns with that of the DPGA in the following ways, which will be included as part of the DPGA’s Annual Roadmap. CC will:</span></p>
<ul>
<li aria-level="1"><b>Enable the sharing and use of DPGs via International Creative Commons Licenses and Public Domain Tools.</b> <span style="font-weight: 400;">CC provides and stewards the </span><a href="https://creativecommons.org/about/cclicenses/"><span style="font-weight: 400;">CC licenses</span></a><span style="font-weight: 400;"> and </span><a href="https://creativecommons.org/share-your-work/public-domain/"><span style="font-weight: 400;">public domain (PD) tools</span></a><span style="font-weight: 400;"><span style="font-weight: 400;"><span style="font-weight: 400;"> that give every person and organization in the world a free, simple, and standardized way to grant copyright permissions for creative and academic works; ensure proper attribution; and enable others to copy, distribute, and make use of those works. CC legal tools are the digital public infrastructure that make better sharing of DPGs possible.</span></span></span></li>
<li style="font-weight: 400;" aria-level="1"><b>Open Up Knowledge and Culture to Help Solve the World’s Most Pressing Problems.</b><span style="font-weight: 400;"> In 2024, the </span><a href="https://openclimatecampaign.org/"><span style="font-weight: 400;">Open Climate Campaign</span></a><span style="font-weight: 400;"> will advance open access to climate research to accelerate progress towards solving the climate crisis and preserving global biodiversity. We are also looking to open educational resources about climate change for everyone to learn, discover, and contribute. A parallel project on </span><a href="https://creativecommons.org/open-climate-data"><span style="font-weight: 400;">Open Climate Data</span></a><span style="font-weight: 400;"><span style="font-weight: 400;"><span style="font-weight: 400;"> will help facilitate the opening and sharing of climate datasets and data models to spur additional research and learning. And as <a href="https://creativecommons.org/2020/04/26/cc-licenses-tools-share-and-preserve-cultural-heritage-in-the-face-of-climate-change/">cultural heritage is directly at risk</a> of irremediable loss due to climate change, open access to cultural heritage helps put scientific, historical, and socio-cultural knowledge into context and fosters the creation of new knowledge. With <a href="https://creativecommons.org/about/arts-culture/">open culture</a>, we can raise awareness about SDGs, using cultural heritage as a medium, and empower people with the knowledge to collaborate on a global scale to solve the world’s most pressing problems. </span></span></span></li>
<li style="font-weight: 400;" aria-level="1"><b>Provide Commons Training and Consulting.</b> <span style="font-weight: 400;">CC offers the public a variety of training, including regular </span><a href="https://certificates.creativecommons.org/"><span style="font-weight: 400;">CC Certificate</span></a> <span style="font-weight: 400;">courses (in-depth courses for people interested in becoming experts in creating and engaging with openly licensed works), office hours with our legal team, as well as customized consulting and facilitation. Through our </span><a href="https://creativecommons.org/about/training-and-consulting/consulting/"><span style="font-weight: 400;">consulting</span></a><span style="font-weight: 400;">, we help governments and institutions develop and implement open policies, work toward greater open practices, build capacity in open licensing, and connect with open advocates to promote the creation and sharing of openly licensed DPGs.</span></li>
</ul>
<p><span style="font-weight: 400;">For us, being a member means working with other DPGA members and CC’s extensive member network to build capacity, develop practical solutions, and advocate for better open sharing of knowledge and culture that serves the public interest. When the world uses CC legal tools to share their knowledge, everyone has access to DPGs including: open educational resources, open access research, open cultural heritage assets, open data, and AI algorithms and models.</span></p>
<p><span style="font-weight: 400;">For any inquiries on Creative Commons please reach out to </span><a href="https://creativecommons.org/person/cable-green/"><span style="font-weight: 400;">Cable Green: Director of Open Knowledge</span></a><span style="font-weight: 400;">. For more information on the Digital Public Goods Alliance please </span><span style="font-weight: 400;">reach out to </span><a href="mailto:hello@digitalpublicgoods.net"><span style="font-weight: 400;">hello@digitalpublicgoods.net</span></a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/03/04/cc-joins-dpga/">Creative Commons joins the Digital Public Goods Alliance</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74814
title: Recap & Recording: Maximizing the Value(s) of Open Access in Cultural Heritage Institutions
uri: Recap-Recording-Maximizing-the-Value(s)-of-Open-Access-in-Cultural
url:
https://creativecommons.org/2024/03/12/recap-recording-maximizing-the-values-of-open-access-in-cultural-heritage-institutions/?utm_source=rss&utm_medium=rss&utm_campaign=recap-recording-maximizing-the-values-of-open-access-in-cultural-heritage-institutions

content:
<p>In February, we hosted a webinar in our <a href="https://creativecommons.org/tag/open-culture-live/">Open Culture Live</a> series titled “<a href="https://creativecommons.org/2024/02/21/upcoming-open-culture-live-webinar-maximizing-the-values-of-open-access-in-cultural-heritage-institutions/">Maximizing the Value(s) of Open Access in Cultural Heritage Institutions</a>.” In this blog post, we summarize the key points raised in the discussion and share a link to the recording.</p>
<p><strong>Webinar highlights</strong></p>
<p>One of the <a href="https://creativecommons.org/2022/07/22/what-are-the-barriers-to-open-culture-heres-what-the-cc-community-has-to-say/">most common concerns</a> we hear about the decision to go open is the impact on an institution&#8217;s revenue through selling licensed images. With this webinar, we aimed to shed light on those concerns and imagine alternative models that both support openness to collections  while preserving institutions’ financial sustainability.</p>
<p>Panelists generally spoke about how the values and benefits of going open far exceed any potential loss of income. They also pointed out that cultural heritage institutions that go open get much better visibility and outreach online, thereby becoming a trusted source for information and images of their collections. This triggers new interactions with collections, fostering inclusive engagement and new forms of storytelling that are respectful of source communities. This in turn might lead to more onsite visits, increasing ticket sales.</p>
<h2><a href="https://youtu.be/ZQLgBoFuusk">Watch the recording</a>.</h2>
<p>Kicking off the conversation, Kristofer Erickson, Professor of Social Data Science at the University of Glasgow, offered evidence of the increased distribution of openly licensed images — with an estimation that if one assigned a commercial license rate to all 50 million files on Wikimedia Commons, the downstream economic value would equal about 22.5 billion US dollars. He said: “there’s a tremendous amount of value in free and open license materials both from cultural heritage institutions and from other informal, volunteer collective projects. And the challenge is making that material available and unlocking it so that it can be used by downstream users of all types.” He also emphasized the multiple layers of downstream uses and the positive spillovers that might be indirect but eventually link back to institutions.</p>
<p>Next to take the floor was Giovana Fontanelle, Program Officer, Culture and Heritage at Wikimedia Foundation. She presented data showing the comparison of page views to artworks at the Metropolitan Museum of Arts between the Met’s website and the Wikipedia articles in English and in all languages. Later in the conversation, she asked “does the sharing of culture, heritage images on social media, for example, cause negative financial, commercial and economic impacts for institutions? I believe that in 2024 most organizations right now understand that sharing their files on closed platforms doesn&#8217;t bring their financials down but actually helps to improve it in other ways down the line.”</p>
<p>We then heard from Elliott Bledsoe, Co-Lead of Creative Commons Australia and Wikimedia Australia Committee Member, who brought up the issue of the costs of digitization, and suggested considering a different approach: “We strive to make as much of our collection available to the public in a digital format online as we can, bearing in mind that there are reasons why we can&#8217;t make everything accessible, such as privacy or indigenous cultural, intellectual property, or other types of considerations. But if we take as a baseline that institutions want to make as much of their material accessible as possible, you can frame the idea of trying to get material digitized rather than being a transactional thing, a way of jumping the queue.” In this model, users would pay for the first instance of digitization of cultural heritage materials, which could then be made freely available online. In that new framing, payment would form part of a much bigger process: not as a condition for access, but as a contribution to supporting general access to cultural heritage for all.</p>
<p>Last but not least, Douglas McCarthy, Open GLAM Researcher and Author, critiqued institutions who choose to charge for image licenses with the headline that: “hardly any institutions actually turn a profit from that model. So the model of licensing content, asserting copyright or using contract law to control and attempt to monetize digital collections, was a bit more successful, slightly healthier, 20 years ago when I started in this area. That really isn&#8217;t the case now. Very rarely will you see a number in the black rather than the red, profit being returned from the classic picture library model, if we can call it that today.”</p>
<p>The discussion also touched upon alternative models for generating revenue which are not all-or-nothing, including charging for the first instance of digitization of a given work, which can then be shared publicly, as mentioned above, as well as a pay-what-you-can model. With equity at the center of many institutions&#8217; missions in 2024, open access helps to ensure that audiences around the world can find and use cultural heritage that belongs to the public. Furthermore, open access creates more digital pathways back to the museum, leading to more financial stability through opportunities like partnerships as well as enhanced reputation through increased citations in academic papers. Other key takeaways included exposing and needing to escape the false binary of “free” versus “paying,” and uncovering the opportunity cost of not making collections freely and openly accessible: when collections are held behind (pay)walls, part of an institution’s impact and influence vanishes.</p>
<p>Thank you to the experts who joined us and shared their thoughts and research.</p>
<p><strong>Learn More</strong></p>
<p>During the webinar, panelists and participants shared some relevant resources.</p>
<ul>
<li><a href="media/9796af37.133478.pdf" data-original-source="https://web.archive.org/web/20170923033823id_/http://eprints.gla.ac.uk/133478/8/133478.pdf">With Enough Eyeballs All Searches Are Diligent: Mobilizing the Crowd in Copyright Clearance for Mass Digitization</a></li>
<li>We digitize the documents you order &#8211; the trial of digital delivery started in Jyväskylä (Finnish) <a href="https://kansallisarkisto.fi/-/digitaalisen-toimittamisen-kokeilu-kaynnistyi-jyvaskylassa">Digitoimme tilaamasi asiakirjat – digitaalisen toimittamisen kokeilu käynnistyi Jyväskylässä | Kansallisarkisto</a></li>
<li><a href="https://alacc.org.au/happy-public-domain-day-2024/">The Public Domain needs preserving and digitising</a></li>
<li><a href="https://pro.europeana.eu/post/open-access-arrives-at-the-cleveland-museum-of-art">Open access arrives at the Cleveland Museum of Art | Europeana PRO</a></li>
<li><a href="https://creativecommons.org/2024/01/18/uk-court-clears-path-for-open-culture-to-flourish/">UK Court Clears Path for Open Culture to Flourish &#8211; Creative Commons</a></li>
<li><a href="https://www.sucho.org/">Saving Ukrainian Cultural Heritage Online</a></li>
<li><a href="media/d186ec20.Digital20guide20Working20with20open20licences.pdf" data-original-source="https://www.heritagefund.org.uk/sites/default/files/media/attachments/Digital%20guide%20Working%20with%20open%20licences.pdf">Working with open licences: A guide for projects</a></li>
<li><a href="https://pro.europeana.eu/post/museums-in-the-digital-age-opening-up-at-birmingham-museums-trust">Museums in the Digital Age: Opening up at Birmingham Museums Trust | Europeana PRO</a></li>
<li><a href="https://www.openculture.com/2021/01/the-rijksmuseum-has-digitized-709000-works-of-art.html">The Rijksmuseum in Amsterdam Has Digitized 709,000 Works of Art, Including Famous Works by Rembrandt and Vermeer | Open Culture</a></li>
<li><a href="https://pro.europeana.eu/post/making-the-case-for-impact-at-smk">Making the case for impact at SMK | Europeana PRO</a></li>
</ul>
<p><strong>What is Open Culture Live?</strong></p>
<p>In this series, we tackle some of the more complex challenges that face the open culture movement, bringing in speakers with personal and professional expertise on the topic.</p>
<ul>
<li aria-level="1"><a href="https://creativecommons.org/2023/08/17/back-to-basics-open-culture-for-beginners/">Back to Basics: Open Culture for Beginners </a></li>
<li aria-level="1"><a href="https://creativecommons.org/2023/12/19/open-culture-live-recap-recording-respectful-terminologies-changing-the-subject/">Respectful Terminologies &amp; Changing the Subject </a></li>
<li aria-level="1"><a href="https://creativecommons.org/2024/01/31/recap-recording-whose-open-culture-decolonization-indigenization-and-restitution/">Whose Open Culture? Decolonization, Indigenization, and Restitution</a></li>
</ul>
<p>CC is a non-profit that relies on contributions to sustain our work. Support CC in our efforts to promote better sharing at creativecommons.org/donate.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/03/12/recap-recording-maximizing-the-values-of-open-access-in-cultural-heritage-institutions/">Recap &#038; Recording: Maximizing the Value(s) of Open Access in Cultural Heritage Institutions</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74817
title: Getty Museum releases 88K+ images of artworks with CC0
uri: Getty-Museum-releases-88K-images-of-artworks-with-CC0
url:
https://creativecommons.org/2024/03/13/getty-museum-releases-88k-images-of-artworks-with-cc0/?utm_source=rss&utm_medium=rss&utm_campaign=getty-museum-releases-88k-images-of-artworks-with-cc0

content:
<figure id="post-74828 media-74828" class="align-none">
<figure id="post-74818 media-74818" class="align-none"><img decoding="async" fetchpriority="high" class="aligncenter" src="media/8a780853.e5d29650-11f8-4897-9540-54a9dd65b04f_3000-scaled.jpg" data-original-source="https://creativecommons.org/wp-content/uploads/2024/03/e5d29650-11f8-4897-9540-54a9dd65b04f_3000-scaled.jpg" alt="Close up of vivid orange flowers and blue irises growing above red-ochre soil." width="957" height="753" /><figcaption class="attribution">Vincent van Gogh (Dutch, 1853 &#8211; 1890) Irises, 1889 Oil on canvas Unframed: 74.3 × 94.3 cm (29 1/4 × 37 1/8 in.), Framed [Outer Dim]: 94.9 × 114.9 × 11.4 cm (37 3/8 × 45 1/4 × 4 1/2 in.) The J. Paul Getty Museum, Los Angeles, 90.PA.20 <a href="https://www.getty.edu/art/collection/object/103JNH">https://www.getty.edu/art/collection/object/103JNH</a> </figcaption></figure>
</figure>
<p><span style="font-weight: 400;">The </span><a href="https://www.getty.edu/news/download-edit-print-your-favorite-getty-artwork-for-free/"><span style="font-weight: 400;">J. Paul Getty Museum just released</span></a><span style="font-weight: 400;"> more than 88 thousand works under Creative Commons Zero (</span><a href="https://creativecommons.org/share-your-work/public-domain/cc0/"><span style="font-weight: 400;">CCØ</span></a><span style="font-weight: 400;">), putting the digital images of items from its impressive collection squarely and unequivocally into the public domain. </span></p>
<p><span style="font-weight: 400;">This is in line with our advocacy efforts at Creative Commons (CC): </span><a href="https://creativecommons.org/2019/11/20/reproductions-of-public-domain-works/"><span style="font-weight: 400;">digital reproductions of public domain material must remain in the public domain</span></a><span style="font-weight: 400;">. In other words, no new copyright should arise over the creation of a digitized “twin.”</span></p>
<p><span style="font-weight: 400;">According to the museum’s press release, “users can download, edit, and repurpose high resolution images of their favorite Getty artworks without any legal restrictions.” The museum’s </span><a href="https://www.getty.edu/art/collection/search?open_content=true"><span style="font-weight: 400;">Open Content database</span></a><span style="font-weight: 400;"> is a wellspring of art that is bound to inspire myriad new creative reuses. It includes Dutch artist Vincent Van Gogh’s </span><a href="https://www.getty.edu/art/collection/object/103JNH"><span style="font-weight: 400;">Irises</span></a><span style="font-weight: 400;"> and many more treasures waiting to be explored. Since opening up, Getty has seen “an uptick in image downloads on our site, averaging about 30,000 per month.”</span></p>
<p><span style="font-weight: 400;">This announcement is a huge cause for celebration for CC’s </span><a href="https://creativecommons.org/about/arts-culture/"><span style="font-weight: 400;">Open Culture</span></a><span style="font-weight: 400;"> efforts, which strive to promote open access and better sharing of cultural heritage held in cultural heritage institutions, such as museums, libraries and archives. It is also a testament to the stewardship of our open, public-interest infrastructure of </span><a href="https://creativecommons.org/about/cclicenses/"><span style="font-weight: 400;">Creative Commons licenses and tools</span></a><span style="font-weight: 400;">. These are free, easy-to-use, and standardized open legal tools that enable worldwide open access to creative content.</span></p>
<p><span style="font-weight: 400;">We salute the Getty for supporting a thriving public domain and encourage other institutions to engage more deeply in the open culture movement and make the world’s vast collections of public domain materials openly accessible to everyone. We recently released </span><a href="https://creativecommons.org/2024/02/23/helping-users-refer-to-host-institutions/"><span style="font-weight: 400;">guidelines</span></a><span style="font-weight: 400;"> promoting CCØ and the Public Domain Mark alongside best-practice norms incentivizing users to refer back to institutions. </span></p>
<p><b>Get Involved</b></p>
<p><span style="font-weight: 400;">For additional guidance on using </span><a href="https://creativecommons.org/share-your-work/public-domain/cc0/"><span style="font-weight: 400;">CCØ</span></a><span style="font-weight: 400;"> to release cultural heritage materials and tailored support in developing or implementing open access policies or to get involved in promoting open culture around the world:</span></p>
<ul>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Join the </span><a href="https://network.creativecommons.org/cc-openculture-platform/"><span style="font-weight: 400;">CC Open Culture Platform</span></a></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Sign up for our </span><a href="https://mail.creativecommons.org/cc-open-culture-matters"><span style="font-weight: 400;">Open Culture Matters</span></a><span style="font-weight: 400;"> newsletter</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Support our policy initiative </span><a href="media/0efa9db2.Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf" data-original-source="https://creativecommons.org/wp-content/uploads/2023/10/Towards-a-Recommendation-on-Open-Culture-2-Pager-16_10.pdf"><span style="font-weight: 400;">Towards a Recommendation on Open Culture (TAROC)</span></a></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Take our </span><a href="https://certificates.creativecommons.org/"><span style="font-weight: 400;">CC Certificate</span></a><span style="font-weight: 400;"> online training</span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Contact us at </span><a href="mailto:info@creativecommons.org"><span style="font-weight: 400;">info@creativecommons.org</span></a><span style="font-weight: 400;"> </span></li>
</ul>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/03/13/getty-museum-releases-88k-images-of-artworks-with-cc0/">Getty Museum releases 88K+ images of artworks with CC0</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=74856
title: EU adopts landmark Artificial Intelligence Act
uri: EU-adopts-landmark-Artificial-Intelligence-Act
url:
https://creativecommons.org/2024/03/14/eu-adopts-landmark-artificial-intelligence-act/?utm_source=rss&utm_medium=rss&utm_campaign=eu-adopts-landmark-artificial-intelligence-act

content:
<p><span style="font-weight: 400;">Yesterday, the European Parliament (EP) adopted the </span><a href="media/d6ae6d1f.TA-9-2024-0138_EN.pdf" data-original-source="https://www.europarl.europa.eu/doceo/document/TA-9-2024-0138_EN.pdf"><span style="font-weight: 400;">Artificial Intelligence Act</span></a><span style="font-weight: 400;">  (AIA), the world’s first piece of legislation comprehensively regulating artificial intelligence (AI).</span></p>
<p><span style="font-weight: 400;">Creative Commons (CC) has been </span><a href="https://creativecommons.org/tag/ai-act/"><span style="font-weight: 400;">actively engaged</span></a><span style="font-weight: 400;"> with EU policymakers on the AIA for the past years, especially as copyright issues arose front and center in the negotiations last June. In this blog post, we share a few high-level assessments of where the text landed across various key aspects impacting the commons as well as some thoughts on what lies ahead</span><span style="font-weight: 400;">.</span></p>
<p><b>Open source software</b></p>
<p><span style="font-weight: 400;">We welcome the fact that the final text excludes open-source AI from some obligations, even if these exclusions are subject to conditions and come alongside ambiguity of the meaning of “open” in the context of AI overall and </span><a href="https://katedowninglaw.com/2024/02/06/choose-your-own-adventure-the-eu-ai-act-and-openish-ai-2/"><span style="font-weight: 400;">in the specific context of this law</span></a><span style="font-weight: 400;">. Other noteworthy positives include an exemption for AI systems “specifically developed and put into service for the sole purpose of scientific research and development” and another exemption from the detailed transparency requirements for open-source general purpose AI (GPAI) models, even if they still have the obligation to put in place a policy to respect copyright law and produce a summary about the content used for model training.</span></p>
<p><b>AI and creativity</b></p>
<p><span style="font-weight: 400;">The AIA is largely agnostic when it comes to how the creative industries (and indeed individual creators) use AI. From our </span><a href="https://creativecommons.org/2024/02/08/what-does-the-cc-community-think-about-regulating-generative-ai/"><span style="font-weight: 400;">community consultation outcomes</span></a><span style="font-weight: 400;">, we see some creators embracing AI, using it as a creative tool to further develop new and innovative works. Others, however, remain concerned about the impact of AI on employment in certain sectors as well as the competition aspect of more cost-effective digital/virtual solutions vis-a-vis human created works.</span></p>
<p><span style="font-weight: 400;">In response to Chat GPT’s explosive adoption, the EP introduced significant provisions, including on copyright. CC provided direct input to policymakers in</span> <a href="https://creativecommons.org/2023/12/11/on-openness-copyright-eu-ai-act-final-version-appears-to-include-promising-changes/"><span style="font-weight: 400;">public</span></a><span style="font-weight: 400;"> and in private on this aspect of the legislation, which touches directly on CC’s core mission.     </span><span style="font-weight: 400;"> </span></p>
<p><span style="font-weight: 400;">As ever with compromises there are aspects of the deal on copyright which are positive and others which will require further reflection and iteration. The AIA makes several cross-references to EU copyright legislation, in particular Articles 3 and 4 of the </span><a href="https://eur-lex.europa.eu/eli/dir/2019/790/oj"><span style="font-weight: 400;">CDSM Directive</span></a><span style="font-weight: 400;"> on text and data mining. There are already some stakeholders who are pushing for revision of related EU legislation, including said Directive, in light of the AIA and recent technological developments. At CC we look forward to facilitating practical application of Articles 3 and 4. However, we caution against any fundamental revisions of the</span><span style="font-weight: 400;"> exceptions provided for in these articles. These are critical for ensuring a balanced copyright system. </span></p>
<p><b>What happens next? A gradual application process</b></p>
<p><span style="font-weight: 400;">The Council is expected to give its final approval in the coming weeks and the Act will likely be published in the EU’s Official Journal later this spring. The Act will enter into force 20 days later, while the individual provisions will start applying in a staggered manner, with articles on prohibited AI applications applicable after 6 months (circa end of 2024), provisions on general purpose AI applicable after 12 months (circa mid-2025) and the remaining provisions applicable after 24 months (circa mid-2026). Looking further into the future, EU policymakers will no doubt have to assess how the AIA works in practice and ensure appropriate enforcement. </span></p>
<p><span style="font-weight: 400;">We welcome the creation of the EU’s </span><a href="https://digital-strategy.ec.europa.eu/en/policies/ai-office"><span style="font-weight: 400;">AI Office</span></a><span style="font-weight: 400;">, which will soon have to start crafting technical rules, as mandated by the AIA. We look forward to engaging with the Office as it further develops important technical standards, in particular in developing an opt-out standard in alignment with existing copyright law. The Office will also have an important role in interpreting and further clarifying vaguely worded concepts, such as the requirement to publish “sufficiently detailed” summaries of inputs for large language models (LLMs) and foundation models. These rules will be crucial to provide clarity for firms and individuals regarding regime compliance. </span></p>
<p><span style="font-weight: 400;">CC will continue to engage constructively with EU policymakers to ensure that the EU’s copyright regime remains fit for purpose in an ever-evolving digital age and that AI can be harnessed for good in support of a thriving commons. </span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2024/03/14/eu-adopts-landmark-artificial-intelligence-act/">EU adopts landmark Artificial Intelligence Act</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


