Many people can benefit from open access to cultural heritage in a variety of ways and for a variety of purposes — from creators seeking inspiration to researchers discovering new interpretations, all the way to cultural heritage institutions (CHIs) connecting with more audiences, and the general public making sense of the world we live in. In our report What are the Benefits of Open Culture? A new CC Publication, we show how, by removing any distance between people and heritage, openness gives rise to a multitude of connections with, about, or through cultural heritage. 

The CC licenses and public domain tools are a simple and effective way for CHIs, such as museums, libraries and archives, to make heritage materials (and associated metadata) open so that they can be shared widely for the broadest possible access, use and reuse (including commercial use and modification), free of charge, and with no or few copyright restrictions. 

Navigating the right license or tool can be tricky, as CHIs may share a wide range of different types of materials. But if you remember only one thing, it’s that faithful digital reproductions of public domain materials must stay in the public domain — no new copyright or related right applies to the digitized version. Public domain materials are materials that are no longer or never were protected by copyright.

This is a position that Creative Commons (CC) has been championing for years as part of our Open Culture Program. In other words, no new copyright (or related right) should arise over the creation of a digitized “twin.” Europeana and the Communia Association, among many other open culture organizations, share this position. It is also aligns with Article 14 of the 2019 EU Directive on Copyright in the Digital Single Market, 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 […]”.

It’s also important to remember that digital reproductions of public domain works cannot be CC-licensed, since CC licenses can only be used with in-copyright content. Instead, we recommend using a CC public domain tool, putting the digital reproductions squarely and unequivocally into the public domain. This not only conveys clear information about the public domain status of the materials, it also contributes to the thriving, blooming commons of knowledge and culture that we need to address the world’s most pressing problems.

Some CHIs might want to get credit for sharing heritage from their collections. It is not good practice to use a license in this case. Instead, there are different ways to encourage users to refer back to CHIs, as we explain in Nudging Users To Reference Institutions When Using Public Domain Materials. The guidelines offer a fresh and innovative approach to prompting users to reference the institution when using public domain materials and present various design ideas to instigate behavioral change. They address key questions, including:

• How can institutions nudge users to reference them?
• What information should be included in a reference statement?
• What would a nudge look like in practice?
• How to organize the data needed to implement these ideas?

Regarding metadata, we strongly encourage that it be dedicated to the public domain using the legal tool Creative Commons Public Domain Dedication (CC0). Data is largely made of highly factual content that is considered uncopyrightable, but uncertainties might remain. The CC0 waiver places all data squarely and unequivocally in the public domain worldwide and clarifies that data reuse is not restricted by copyright, related rights or database rights — those rights are all surrendered. CC0 can support maximizing the reuse of data, with benefits including: 

• enabling others to validate, replicate and put the data to new uses
• facilitating enhanced collaboration and enrichment
• increasing transparency 
• speeding the discovery and understanding of solutions to planetary and societal needs.

For materials created by the CHIs and protected by copyright, we recommend CC BY-SA 4.0, CC BY 4.0 or CC0 1.0 to enable maximum dissemination and reuse.

For different types of content, we recommend different CC tools or licenses to achieve optimal engagement and reuse, as summarized in this table: 

Using CC licenses and public domain tools to share cultural heritage materials unlocks vast potential for open culture to blossom in the cultural heritage sector. By offering enhanced legal certainty, CHIs have the ability to engage more deeply in the open culture movement and make their vast collections openly accessible to everyone.

For more information:

• Download this information
• Learn more about our license stewardship
• Join the CC Open Culture Platform
• Join the TAROCH Coalition 
• Take our CC Certificate online training

Contact us at info@creativecommons.org  

The post Recommended Licenses and Tools for Cultural Heritage Content appeared first on Creative Commons.

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 broadcasting treaty and exceptions and limitations in our opening statement, as reported in the​​ “Statements” information document (SCCR/44/INF/STATEMENTS).

We also offered views on exceptions and limitations for cultural heritage institutions, i.e. libraries, archives and museums; you can watch our intervention on the WIPO webcast. These views are in line with our Open Culture Program’s recently launched initiative Towards a Recommendation on Open Culture (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 English, Shqip, français, Español, 日本語, Türkçe, italiano, عربي.

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.

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.

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.

We note Group B’s Proposal Information Session on Generative AI and Copyright (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 we have stated at the WIPO Conversation on Generative AI and Intellectual Property last September, generative AI raises important issues and is having an enormous impact on creativity, the commons, and better sharing, 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 United States and the European Union 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.

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.

→ To stay informed about our policy and open culture work:

• Visit our blog for regular updates on our work on AI
• Sign up for our open culture mailing list
• Join the open culture platform
• Join the copyright platform
• Visit our website on open culture

Sign up for our Open Culture Matters newsletter >

The post CC’s Key Insights from WIPO’s Meeting on Copyright appeared first on Creative Commons.

“Open access is essential for education, innovation, and cultural participation.” Deborah believes that cultural heritage institutions such as libraries, archives, and museums are not just responsible for the preservation of material but in the access and promotion of material for the public good. Institutions should can choose to make their material available online and these policies can help culture to flourish.

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. Deborah is an independent lawyer who advocates for open access policies in Italy as the CC Italy Chapter Lead. Italy is known for cultural heritage laws that restrict accessibility which Deborah, CC Italy, and Creative Commons regularly discuss in blog posts and other material.

Deborah responds to the following questions:

1. What are the main benefits of open GLAM?
2. What are the barriers?
3. Could you share something someone else told you that opened up your eyes and mind about open GLAM?
4. Do you have a personal message to those hesitating to open up collections?

Closed captions are available for this video, 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.

Want to hear more insights from Open Culture experts from around the world? Watch more episodes of Open Culture VOICES here >>

The post Deborah De Angelis — Open Culture VOICES, Season 2 Episode 27 appeared first on Creative Commons.

“Generative AI & the Creative Cycle Panel” by Jennryn Wetzler for Creative Commons is licensed via CC BY 4.0.

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.

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 better sharing, 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.

In search of answers we have been holding community consultations 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.

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.

The conversations flowed through the following day’s symposium, Generative AI and the Creativity Cycle, 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.

Running like red threads across the panels, here are some of the key themes that surfaced throughout the day’s lively conversations:

• Transparency: 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.
• Attribution (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.
• Bias: 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.
• Economic fairness: Several discussions pointed to a need for fair remuneration, distributive justice, and a universal basic income, as well as employment protection for creators.
• Copyright issues (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.
• A multi-pronged approach: 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.
• Collaboration: 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.”

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.

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 Morrison Foerster for supporting the workshop, donating space and resources. We’d also like to thank our lead symposium sponsor Akin Gump as well as the Engelberg Center on Innovation Law & Policy for publicly hosting these important conversations.

View symposium video recordings

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Continue the discussion on AI and the commons at the CC Global Summit during 3–6 Oct 2023 in Mexico City >

Check out these images from different panels during the symposium!

“Generative AI & the Creative Cycle Panel A” by Anna Tumadóttir for Creative Commons is licensed via CC BY 4.0.

“Generative AI & the Creative Cycle Panel B” by Brigitte Vézina for Creative Commons is licensed via CC BY 4.0.

“Generative AI & the Creative Cycle Panel C” by Brigitte Vézina for Creative Commons is licensed via CC BY 4.0.

“Generative AI & the Creative Cycle Panel D” by Brigitte Vézina for Creative Commons is licensed via CC BY 4.0.

“Generative AI & the Creative Cycle Panel E” by Brigitte Vézina for Creative Commons is licensed via CC BY 4.0.

The post Generative AI and Creativity: New Considerations Emerge at CC Convenings appeared first on Creative Commons.

Archiving History of Ghana: Case Study of Forts and Castles

Francis Quasie

Ghana attained its independence in 1957, prior to that the country was colonized by a number of European countries like the Portuguese, Danish, British and others.

Most of them built forts and castles that are still existent in today’s Ghana. Unfortunately, stories about the history of these structures are not well digitally represented on the internet, specifically Wikimedia Commons. It is important that our history and heritage is preserved and documented well enough for the next generation to be connected to their roots. Forts such as Fort Ruychaver, Fort Saint Anthony and Fort Elize Carthago have no images attached to their Wikipedia articles and this is because there are no images of these forts on Wikimedia Commons either.

Fortunately with the current age of Open and Creative Commons, we have the opportunity to capture all these historical monuments with the right use of licensing. Most of these forts and castles were the final destinations of our forefathers who were taken ashore.

This project seeks to tell and archive the stories of our heritage, the toils of our forefathers through photos and videos of that part of our history that contributed to the liberation of Ghana.

This will be done through two main ways.

First off, uploading them on Wikimedia Commons with the right CC license and linking these images to their respective articles on Wikipedia to be made openly available.

Secondly, engaging institutions under GLAM in Ghana like the National Museum of Ghana and some libraries with the aim of archiving these images that will be taken to tell our heritage stories now and in the future.

Building a sustainable social, technical & legal infrastructure for Open GLAM in Pakistan; the quantitative analyses for the development of open heritage science for Pakistani heritage

Muhammad Imtiaz Subhani, PhD.          

Amber Osman

This study will be an attempt to develop and build a sustainable social, technical & legal infrastructure for Open GLAMs in Pakistan while deploying the quantitative method and analyses for the development of framework for open GLAMs of Pakistan and open heritage science for Pakistani heritage.

The project will work to develop the sustainable social, technical and legal infrastructure for Open GLAMs of Pakistan through providing an easy-to-use platform for GLAMs to share their collections and resources, thus this infrastructure will be an attempt to promote the CC agenda of preservation and sustainability of heritage with the open accessibility for commons.The quantitative method will be used, and qualitative analyses will be done for developing the framework for open GLAMs of Pakistan and for the development of open heritage science for Pakistani heritage.

The key outcomes of this project will be to develop sustainable social, technical and legal infrastructures and frameworks for open GLAMs of Pakistan for the better sharing of heritage and culture of the region; to serve a quantifiable approach for the better share of heritage content will be served; and to develop he open heritage science for Pakistani heritage.

GLAM institutions in Colombia open to their citizens

Viviana Rangel

Libraries, galleries, museums and houses of culture are the spaces that guarantee cultural rights for the majority of society in Colombia, a country where the scarcity of economic resources means that the investment that the population can make to access culture and knowledge is quite restricted. In addition, delays in copyright legislation do not allow the opening of many contents necessary to guarantee the public interest. With this project we seek to understand the needs of GLAM institutions through a collaborative dialogue with involved actors, expose tools that can strengthen their management and create a roadmap to integrate the needs and perspectives of institutions, users and decision makers. 

With this project we will bring together the GLAM community of four cultural centers in the country, will create methodologies to strengthen its management based on the documents previously developed by the members of Creative Commons.  With the identified needs we will cooperate and formulate an action path for the GLAM community and a series of recommendations to strengthen the capacities of decision makers. 

Digitization and Protection of Specialized Heritage Institutions

Seyi Osunade

Galleries, Libraries, Archives and Museums (GLAMs) serve as educational resources for communities and also preserve the arts and culture. The patronage of GLAMs has reduced in recent times due to lack of information about their existence, poor physical state, lack of digital services to the mainly youth population and no photography rules. Content creation for social media purposes and the re-introduction of history into primary and secondary school curriculum has re-ignited interest in resources available in GLAMs. The University of Ibadan plays hosts 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 the use of Creative Commons (CC) licenses and tools. The project will produce a draft institutional policy and an e-book with available artifacts/displays/exhibits and location of the specialized cultural heritage institutions . 

A Public Domain Database of Digitized Creative Works in Nigeria

Isaac Oloruntimilehin

The Nigerian Public Domain Database being developed by Free Knowledge Africa is being built to facilitate knowledge sharing and transfer. The Public Domain is the material from which society derives knowledge and fashions new cultural works. Having a rich and thriving Public Domain is essential to the social-cultural and economic well-being of society.

In January 2022, we celebrated the Public Domain Day in Nigeria and also organized a mini contest where participants were trained to identify and document works that are in the Public Domain. At the end of the contest, we were able to document 1744 works in the database of which we are currently creating Wikidata items for. The major challenge was getting access to these works to digitize them, and because of the limited manpower and funding we couldn’t go ahead.

The proposed activity  continues the Nigerian Public Domain Database project. The goal is to document and digitize works that are in the public domain in the jurisdiction of the Federal Republic of Nigeria. The expected outcome is to make these works easily accessible to the public, to promote the use of these materials in creating new knowledge and cultural works, and to educate the Nigerian public about the importance of the Public Domain. By doing so, we hope to contribute to the social-cultural and economic well-being of society by facilitating knowledge sharing and transfer.

Building Open GLAM Community for Sustainable Open Licensing Practices in Nigeria

Bukola James

In Nigeria, there is a low awareness of open practices in galleries, libraries, archives, and museums (GLAMs), and this is a result of several factors such as skepticism, lack of awareness, bureaucratic bottlenecks, legal constraints, and technical support. Therefore, the project’s goal is to build a community of GLAMs for open licensing in Nigeria by promoting open access and open licensing of GLAM collections using Creative Commons licenses. This project aims to increase awareness and understanding of open practices, adoption of open access policies and practices, digitization of GLAM collections, and online visibility and accessibility of GLAM collections. The project activity will include online advocacy, establishment of a Network of Open GLAM advocates in Nigeria, 1 roundtable discussion, and 2 in-person and 3 online workshops/trainings among 50 Librarians in Nigeria.

The post Open Culture Platform Activity Fund Winners 2023 appeared first on Creative Commons.

“When the culture of openness is part of society it helps knowledge to grow” is what Nkem says to introduce her perspective on Open Culture. In this episode we learn about how the walls around culture discourage growth and discovery and how opening up knowledge and culture encourages inclusivity and fosters growth.

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. Nkem has been working with open access and open culture at Libraries and institutions across Africa for more than 20 years. She works to increase engagement with public knowledge and promote open access across the continent through her work at the African Library and Information Association.

Nkem responds to the following questions:

1. What are the main benefits of open GLAM?
2. What are the barriers?
3. Could you share something someone else told you that opened up your eyes and mind about open GLAM?
4. Do you have a personal message to those hesitating to open up collections?

Closed captions are available for this video, 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.

Want to hear more insights from Open Culture experts from around the world? Watch more episodes of Open Culture VOICES here >>

The post Nkem E. Osuigwe — Open Culture VOICES, Season 2 Episode 9 appeared first on Creative Commons.

“Creativity does not happen in a vacuum” is how Eric Luth introduces his take on Open Culture in the GLAM sector. Our creativity is inspired by others which is why being able to enjoy our shared cultural heritage is so important. Platforms like Wiki-commons and others work to support these efforts and encourage sharing.

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. Eric Luth is a Project Manager at Wikimedia Sweden where he organizes collaborations, events, and exchanges of practices in the cultural sector. Wikimedia Sweden also organizes edit-a-thons for Wikipedia articles.

Eric responds to the following questions:

1. What are the main benefits of open GLAM?
2. What are the barriers?
3. Could you share something someone else told you that opened up your eyes and mind about open GLAM?
4. Do you have a personal message to those hesitating to open up collections?

Closed captions are available for this video, 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.

Want to hear more insights from Open Culture experts from around the world? Watch more episodes of Open Culture VOICES here >>

The post Eric Luth — Open Culture VOICES, Season 2 Episode 8 appeared first on Creative Commons.

“Open Culture creates a level playing field by making knowledge accessible to everyone regardless of geography.”  In this episode we get more insight into the role technology can play for Open Culture and how society benefits from the curation of open access collections. Our media often keeps information siloed but Open Access and Open Culture can bridge cultures and perspectives.

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. Christian Dawson is the Executive Director of the MHz Foundation which provides technology tools for GLAM institutions and organizations to improve their open access programs. Christian has worked with numerous organizations which now share their collections openly thanks to the work of the MHz Foundation and Curationist.

Christian responds to the following questions:

1. What are the main benefits of open GLAM?
2. What are the barriers?
3. Could you share something someone else told you that opened up your eyes and mind about open GLAM?
4. Do you have a personal message to those hesitating to open up collections?

Closed captions are available for this video, 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.

Want to hear more insights from Open Culture experts from around the world? Watch more episodes of Open Culture VOICES here >>

The post Christian Dawson — Open Culture VOICES, Season 2 Episode 7 appeared first on Creative Commons.

“Open Culture gives joy!” What a great message from Siobhan. In this episode we learn about Open Culture in public institutions in New Zealand, how public works are reused in a variety of ways, and what governments can do to promote open policies and copyright laws around the world.

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. Siobhan is a volunteer for various Wikimedia projects including Wikicommons, Wikidata, and Wikipedia.

Siobhan responds to the following questions:

1. What are the main benefits of open GLAM?
2. What are the barriers?
3. Could you share something someone else told you that opened up your eyes and mind about open GLAM?
4. Do you have a personal message to those hesitating to open up collections?

Closed captions are available for this video, 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.

Want to hear more insights from Open Culture experts from around the world? Watch more episodes of Open Culture VOICES here >>

The post Siobhan Leachman — Open Culture VOICES, Season 2 Episode 6 appeared first on Creative Commons.

Charles shares that “open access [in cultural heritage] allows institutions to shine a light on lesser known works” that would otherwise go unnoticed. In this episode we get to learn about how a major French cultural institution creates value by making incredibly detailed data of collections available to the public online.

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. Charles is the Digital and Open Data Project Manager at Mucem where he works to increase the usability and engagement of the museums collection.

Charles responds to the following questions:

1. What are the main benefits of open GLAM?
2. What are the barriers?
3. Could you share something someone else told you that opened up your eyes and mind about open GLAM?
4. Do you have a personal message to those hesitating to open up collections?

Closed captions are available for this video, 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.

Want to hear more insights from Open Culture experts from around the world? Watch more episodes of Open Culture VOICES here >>

The post Charles Riondet — Open Culture VOICES, Season 2 Episode 4 appeared first on Creative Commons.