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• Методы выплат: различные платежные системы предлагают разные сроки обработки транзакций. Электронные кошельки, как правило, обрабатывают платежи быстрее, чем банковские переводы или кредитные карты.

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Did you know that access to cultural heritage is part of the UN Declaration of Human Rights? Stephen discusses this little known article among other important aspects of access, participation, and engagement of cultural heritage and the responsibilities of institutions in this regard. He also explains how Open Culture is a way to establish the social responsibility of institutions to a community and society.

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. Stephen Wyber is the Director of Policy and Advocacy at IFLA which coordinates meetings and collaborations between GLAM institutions, namely libraries, around the world. He works to co-create meaningful understanding of the needs of libraries and what role libraries play in society and community.

Stephen responds to the following questions:

What are the main benefits of open GLAM?
What are the barriers?
Could you share something someone else told you that opened up your eyes and mind about open GLAM?
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 Stephen Wyber — Open Culture VOICES, Season 2 Episode 20 appeared first on Creative Commons.

In a rare move, the EP, European Commission, and European Council agreed to start three-way negotiations — the so-called trilogues — immediately after the vote at 9pm CET today. This need for speed underscores the political imperative of reaching a deal before next year’s EP elections on the high-stakes, hot-button draft AI Act, which is the regulation that will set the rules around AI in the EU space. In fact, the Act is bound to shape how policymakers approach regulating AI in many other jurisdictions and at the international level. 

Creative Commons (CC) has actively engaged in the AI Act process (see here and here) and welcomes the EU’s leadership on defining a regulatory framework around this impactful technology. In this blog post, we highlight the issues most likely to impact the topics we focus on: growing the commons and better sharing of knowledge and culture. 

Background and key issues for CC

The AI Act process started in 2021 with a proposal by the Commission and has since been debated in Parliament and Council, whose approaches will need to converge in order for an agreement to be reached and the Act adopted. 

In its initial conception, the Act focused on regulating certain uses of AI. In particular, it seeks to ban certain uses of AI, such as broad-based real-time biometric identification for law enforcement in public places. It also seeks to ensure that certain precautions are taken before deployment of uses deemed “high-risk,” such as the use of AI for access to education, employment, financial credit, or other essential services. 

However, in the last year, the focus expanded. The Council incorporated provisions with respect to “general purpose AI” (GPAI), and the Parliament subsequently created requirements specifically for “foundation models.” Rather than addressing specific high-risk uses, these provisions impact technologies that have a wide range of uses, both potentially beneficial and harmful, and of varying degrees of risk. Moreover, the Parliament added specific requirements for generative AI, including requirements related to transparency of copyright works used to train these models.

At CC, we support the overall aims of the draft legislation, but we want to ensure that these new points of focus are handled in a careful, narrowly-tailored way. Specifically, here is what we will be focusing on as we engage policymakers going forward.

CC comments on specific issues

For many years, CC has focused on the interplay between copyright and AI, because of the way this technology can foster better sharing, helping people build on and contribute to the commons, spurring on new creativity and knowledge sharing. The Act poses several challenges to these aims, and we address them in turn below. 

Free and open source software (FOSS)

FOSS provides important benefits, including by improving transparency and auditability of AI systems and by making it easier for a wide variety of players, including nonprofits, start-ups, researchers/academics and SMEs, to innovate, test and compete in the market. As such, CC’s views are that collaborative development of FOSS and merely making FOSS available in public repositories should not subject developers to the AI Act’s requirements.

GPAI, foundation models, and FOSS

We appreciate the concerns policymakers have about how general purpose tools can be used “downstream” by other actors in harmful ways. It is particularly important that downstream users have sufficient information about the underlying model in order to address possible risks.  

At the same time, it is important to treat general purpose tools distinctly from tools aimed for a particular, high-risk use. For multi-purpose tools, it can be impractical for developers to implement risk management in ways suited for narrowly defined, “high risk” AI uses. In turn, imposing the same rules on GPAI creators 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. With that in mind, we also want to ensure there are proportional requirements for FOSS “foundation models” that are “put on the market” or “put into service,” tailored to different services and providers.

In particular, we have concerns when it comes to FOSS developers. As above, merely developing and making available in a repository a FOSS “foundation model” or other general purpose tool should not subject developers to the Act’s requirements.

Transparency of training data and copyright

At CC, we are convinced that 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.

The Parliament version of the text includes specific provisions with respect to generative AI models, requiring providers to “document and make publicly available a sufficiently detailed summary of the use of training data protected under copyright law.” On the one hand, this can be a sensible way to ensure transparency, particularly for rightsholders who wish to exercise their right to “opt-out” of exceptions to copyright pertaining to AI training pursuant to Article 4 of the EU Copyright Directive in the Digital Single Market. On the other hand, it is important that this requirement is applied proportionately; developers should not be expected to literally list out every item in the training data, but rather provide useful summaries, such as use of a particular dataset like Common Crawl or LAOIN-5B, which rightsholders can then use to determine whether their works were used or not.

Generative AI and copyright generally

The Parliament’s text also requires that generative AI model providers take “adequate safeguards against the generation of content in breach of Union law, in line with the generally acknowledged state of the art, and without prejudice to fundamental rights, including the freedom of expression.” While perhaps to reaffirm that developers should comply with copyright law, this is likely to create much more uncertainty; at worst, it could be read to suggest a more sweeping requirement for developers to implement copyright filtering tools that could address perfectly lawful uses. We encourage policymakers to take steps to ensure this does not become a backdoor expansion of copyright law; to the extent policymakers want to consider this broader topic, they should do it separately, rather than tacked on to the AI Act at the eleventh hour.

Looking ahead

Regarding the start of the trilogues, Creative Commons CEO Catherine Stihler said: “Creative Commons remains committed to finding fair and lasting solutions to ensure AI can support creators and grow the commons, in line with our strategy of better sharing and our values of openness, transparency, fairness, and creativity. At CC, we will continue to proactively engage with EU institutions as the trilogues commence, in order to achieve our mission to empower 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.”

If you are in Brussels on 28 June, 2023, do not miss Creative Commons’ Brigitte Vézina speaking at the European Internet Forum’s Generative AI, art & copyright: from creative machines to human-powered tools event, an in-person panel organized by EIF with opening remarks by MEP Dragos Tudorache, Parliament co-rapporteur on the AI Act — you can find more information on the program and register on the EIF’s website. 

The post European Parliament gives green light to AI Act, moving EU towards finalizing the world’s leading regulation of AI appeared first on Creative Commons.

The Open Climate Campaign is pleased to see the recent wave of announcements requiring open access to knowledge that support our goal to make the open sharing of research outputs the norm in climate science. The Campaign recognizes that in order to generate solutions and mitigations to climate change, the knowledge (i.e. research papers, data, educational resources) about it must be open. To us, “open” means: immediately available without embargo, with an open license (or dedicated to the public domain), supporting rights retention, and published in a standardized format that enables machine readability. The emphasis on these specifics in these announcements is what is particularly exciting and different than what has come before.

This open access wave began in August 2022 with the release of the White House Office of Science and Technology Policy (OSTP) Public Access Memo, commonly referred to as the “Nelson Memo,” after Dr. Alondra Nelson, the Director of the OSTP at the time. The memo calls for each of the US Federal Agencies to make “articles resulting from all U.S. federally funded research freely available and publicly accessible by default in agency-designated repositories, without any embargo or delay after publication.” The memo also directs agencies to describe: “the circumstances or prerequisites needed to make the publications freely and publicly available by default, including any use and re-use rights, and which restrictions, including attribution, may apply.” Creative Commons and our partners SPARC, Harvard and American University have been working with the US agencies to help them ensure rights are retained and publicly funded research is openly licensed.

The next crest in the wave was on 20 May 2023, with the release of the G7 Leaders Communiqué, which stated that the G7 will “promote open science by equitably disseminating scientific knowledge, publicly funded research outputs including research data and scholarly publications following the Findable, Accessible, Interoperable, and Reusable (FAIR) principles.” Followed just a few days later, on 23 May, by the release of the Council of the European Union’s proceedings on “High-quality, transparent, open, trustworthy and equitable scholarly publishing.” As waves are measured by the distance between consecutive crests, the decreasing time between these announcements suggests that this open wave is growing.

Once considered simply a good practice, open scholarship is becoming the default for publicly funded research. Both practitioners and decision-makers recognize how critical open access to knowledge is in understanding the world and solving the world’s greatest challenges. While open plans and policies have been cropping up across the world (e.g. Ukraine, Montenegro), these announcements have stipulations that require not just open access to publications, but immediate access and “supporting the rights of researchers to publish, share, disseminate and communicate openly the results and data of their research…as well as maximum accessibility and reusability of research results.” These broader definitions of open match CC’s strategy for better sharing: sharing that is not just open, but that is contextual, inclusive, just, equitable, reciprocal, and sustainable. The tide has turned: it’s now not only important to make research open, but also to enable the full potential of open access by making publications accessible as quickly as possible and enabling the reuse of content and data.

The Open Climate Campaign welcomes these developments and language that aligns with our definition of open. This ongoing wave of announcements heralds real change in enabling better knowledge sharing and collaboration to solve the world’s greatest challenges.

At the Open Climate Campaign, we are 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.

You can learn more about how you can participate at www.openclimatecampaign.org.

The post An Open Wave: New Calls for Open Access appeared first on Creative Commons.

Mauricio says that “open access makes it easier for people to use what is a common good for all.” In this episode we dive into the work of a historian and librarian in Argentina. Mauricio discusses the value of cultural heritage preservation over generations and what role present day  institutions play for the future.

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. Mauricio is a historian, librarian, and museologist. He works with Wikimedia Argentina to open up collections and make them accessible for people all over the world.

Marcio responds to the following questions:

What are the main benefits of open GLAM?
What are the barriers?
Could you share something someone else told you that opened up your eyes and mind about open GLAM?
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 Mauricio Genta — Open Culture VOICES, Season 2 Episode 19 appeared first on Creative Commons.

In collaboration with the team at EQTY Lab, and with Nonny de la Peña of the Arizona State University California Center, Creative Commons welcomes our community to join us next week on 14 June in downtown Los Angeles. We’d like to thank ASU for donating their space for this event, and our sponsors, Davis Wright Tremaine LLP (DWT), for enabling us to make this event happen.

PROGRAM

Time (all PST)
Speakers
Focus
09:30am – 10:00am
/ ARRIVAL
Coffee and snacks.
10:00am – 10:20am
Jonathan Dotan (EQTY Lab)
Setting the scene
10:30am – 10:50am
Nonny de la Peña (ASU)
Lessons learned with emerging technologies
11:00am – 12:00pm
Final lineup to be announced
Fireside keynote
12:00pm – 01:00pm
/ LUNCH
Lunch will be provided.
01:00pm – 01:40pm
Sarah Duran (DWT) in conversation with Dwain Worrell (filmmaker), Adam Piron (Sundance), Ben Sinclair (filmmaker)
Panel discussing the impacts of generative AI on Film & TV.
01:50pm – 02:30pm
Jesse Damiani (author) in conversation with Q (artist), Joel Ferree (LACMA), Alice Scope (Vellum)
Panel discussing the impacts of generative AI on the Arts
02:40pm – 03:20pm
Final lineup to be announced
Panel discussing the impacts of generative AI on music and contemporary media.
03:30pm – 04:10pm
Catherine Stihler (Creative Commons) in conversation with Damon Krukowski (musician)
A discussion on topics including creativity, copyright, and labor.
04:20pm – 04:50pm
Robert Tercek in conversation with Che Chang (OpenAI)
A closing fireside digging into labor issues in the creative industries.
05:00pm – 06:00pm
/ DRINKS

Register here to join us next Wednesday, 14 June, in downtown LA.

SPEAKER SPOTLIGHT

We’re thrilled to welcome an accomplished, thoughtful, and diverse set of speakers to the stage to share all sides of the debate on this critical issue. Meet some of our speakers below:

Damon Krukowski is a multi talented musician, writer, and activist. His music career began as the drummer for the alternative rock band Galaxie 500 in the late 1980s. The band released three critically acclaimed albums before splitting up in 1991. Following Galaxie 500, Damon formed the indie pop duo Damon & Naomi with bandmate Naomi Yang. The duo have a distinctive style of melancholic pop, and continue to produce music to this day. He is also a well-respected writer, having published two books, “The New Analog: Listening and Reconnecting in a Digital World” (2017) and “Ways of Hearing” (2019), and writing for numerous esteemed publications like Pitchfork and The Wire. His writing often intertwines with his music career, as he explores themes around the intersection of technology, music, and culture. His observations and critiques have been influential in discussions about the digital evolution of the music industry. His unique perspective, combining his background as an artist with his understanding of technology’s impact, makes him a compelling voice in these debates.

Catch him at a live show the night before the conference at Permanent Records Roadhouse.

Nonny de la Peña is a pioneer in emerging media and immersive journalism, and is currently the program director of ASU’s Narrative and Emerging Media Program. With over two decades of experience in visual, virtual, augmented and extended reality, her award-winning work in film, print and TV has had a major impact on storytelling. As the founder and CEO of Emblematic Group, Nonny leverages cutting-edge technologies to tell stories that foster deeply empathetic viewer engagement. Recognized as a “Technology Innovator of the Year” by WSJ and dubbed the “Godmother of Virtual Reality” by major publications, her contributions, including the first VR pieces shown at Sundance and Tribeca Film Festival, have set industry standards. Her influential paper “Immersive Journalism: Immersive Virtual Reality for the First-Person Experience of the News,” in MIT’s journal Presence, is among its most downloaded. A laureate of numerous awards, including the SXSW Innovation Awards Hall of Fame, de la Peña’s innovative approach to storytelling continues to inspire and drive the field forward. She holds prestigious fellowships and degrees from Harvard University and USC.

Robert Tercek is a globally renowned figure in digital innovation and dematerialization, blending his roles as an author, entrepreneur, educator, and co-host of The Futurists podcast. As the founder and CEO of General Creativity, Robert shapes strategies for digital transformation and future-proof planning for new products, services, and ventures. His former executive leadership roles in media studios and software companies allowed him to launch digital services now integral to millions of daily lives. In 2021, the Media Excellence Awards named him Humanitarian of the Year for creating COVID SMART, an interactive program ensuring worker safety during the pandemic. His book “VAPORIZED: Solid Strategies for Success in a Dematerialized World” has made him an authority on software dematerialization, a process that is continuing to reshape various industries. 

Q (Qianqian Ye) is a Chinese artist, creative technologist, and educator based in Los Angeles. Q merges her architectural training with art and technology, generating spaces—digital, physical, and social—that probe into gender, immigrant, power, and technology matters. The Future of Memory, her recent collaboration, secured the Mozilla Creative Media Award. As the lead of p5.js at the Processing Foundation, she is central to an open-source platform that champions inclusive and accessible learning in code, a community now exceeding 1.5 million users. Q serves as an Adjunct Assistant Professor at USC Media Arts + Practice, teaching creative coding, and imparts 3D Arts knowledge at Parsons School of Design. In 2022-2023, she will broaden her reach as a Civic Media Fellow at USC Annenberg Innovation Lab. Having been raised in China and moved to the US in 2012, Q’s work now centers on alternative community building, technology against misinformation, the Chinese language system, and re-envisioning gender in non-western narratives. Her distinguished work has been showcased globally, from the Museum of Contemporary Canadian Art to Ecobuild London. 

Jesse Damiani is a celebrated writer, curator, producer, and entrepreneur known for his expertise in virtual reality, augmented reality, and emerging media and technologies. He currently serves as Senior Curator of Nxt Realtime at Nxt Museum. Nxt Realtime represents a new exhibition structure, evolving 2-4 times annually to explore critical questions facing humanity. This innovative initiative assembles artists, curators, scholars, experts, and the public, seeking to stimulate critical and curious approaches to new ideas and practices. Concurrently, Realtime echoes web3 movement ideals, focusing on how art and artists pave the way for decentralized power and collective imagination as a problem-solving tool. Jesse is renowned for curating exhibitions such as Synthetic Wilderness, Sea Change, and PROOF OF ART. Beyond curating, he writes extensively on art, media, and emerging technology for Forbes and other prominent publications. He is also the founder of Best American Experimental Writing and CEO of Galatea, a tool for VR and AR storytelling.

Register here to secure your seat!

TOPICS

These are the key themes we’ll be interrogating throughout the day:

Representation

How can we address the problems of representation in generative AI while we’re still early in its rise? How can creators be a part of that?
How does AI affect inclusion and representation in the entertainment industries?

Lessons Learned

What can we learn from the past? The ways previous technologies have been incorporated into art, and in particular the relationships between creators and publishers, distributors, and other intermediaries?
Generative AI carries both opportunities and challenges for creators, but which if any are innate in the technology and which stem from other factors, like the current business and institutional structures?

The political environment

How might labor policy and organizing from the creator perspective factor into the future of generative AI, and how do they compare to other levers for policy and business change?

Register here to join us next Wednesday, 14 June, in downtown LA. Registration is free, donations are greatly appreciated.

The proceedings will be recorded and released at a future date. If you have any questions, please reach out to Anna Tumadóttir at anna@creativecommons.org 

The post Disruption: Creator Edition — Unveiling the Program & Speakers appeared first on Creative Commons.

Ellen shares that “by making cultural heritage openly available it can foster innovation and creativity.” This is a key aspect of why Ellen advocates for opening up cultural heritage and what drives her passion for open access in the cultural heritage sector.

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. Ellen is a Lawyer and Cultural Heritage professional who is currently a Professor at the University of Applied Sciences Potsdam where she teaches about open access in the Library and Information Sciences department.

Ellen responds to the following questions:

What are the main benefits of open GLAM?
What are the barriers?
Could you share something someone else told you that opened up your eyes and mind about open GLAM?
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 Ellen Euler — Open Culture VOICES, Season 2 Episode 18 appeared first on Creative Commons.

Whether you work for a smaller newsroom seeking high quality, newsworthy photos that are free to use, or are part of a larger operation, like Propublica, that CC licenses all news to increase access and spread, CC licenses are free, powerful tools at your disposal.  

Yet, some journalists may not be aware of the potential and ease of these tools. Open Newswire and Creative Commons partnered to offer a practical primer on Creative Commons for journalism, and how to make the most of CC licenses. Enjoy!

For more information about Open Newswire, the global aggregator of CC-licensed articles, contact info@opennewswire.org.

For more information about CC licensing your works, or reusing others’ CC licensed content, visit the CC FAQ page, the CC Certificate training resources, or contact learning@creativecommons.org for a consultation. 

CC also offers free “office hours” with our copyright lawyers and periodic trainings. We will run open journalism trainings at the 2023 Collaborative Journalism Summit June 6, online at RightsCon June 7 in partnership with Open Newswire, and The Conversation, and at Media Party June 8. CC will host additional open journalism training at the CC Summit, October 3-6. We hope to connect with you. 

You can view the guide below (click at the bottom to navigate through pages), or download it in a PDF format.

“A Journalist’s Guide to Creative Commons 2023” by Zac Crellin and Jennryn Wetzler for Creative Commons, licensed CC BY 4.0.

The post A Journalist’s Guide to Creative Commons 2023 appeared first on Creative Commons.