Luis Ferraro - DG CONNECT - culture and creativity in the digital realm 062013

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Luis Ferraro - DG CONNECT - culture and creativity in the digital realm 062013

  1. 1. Culture and Creativity in thedigital realm- a boost from the pastLuis FerrãoCreativity UnitDG Communications Networks, Content and TechnologyEuropeana Licensing WorkshopLuxembourg, 13-14 June 20131
  2. 2. Culture – EU competence:support, coordinate or complement• The Union shall contribute to the flowering of the cultures of theMember States, while respecting their national and regionaldiversity and at the same time bringing the common culturalheritage to the fore.• Action of the Union shall be…in the following areas:• improvement of the knowledge and dissemination of the cultureand history of the European peoples,• Conservation and safeguarding of cultural heritage of Europeansignificance…2
  3. 3. •"…the evolution of art, science, religion, philosophy,and social thought…the living past…form thesubstance of what is now called the culture."" Culture is what makes life worth living."Culture as the living past3
  4. 4. The digital realm:- a game-change for culture…  connected, distributed environment• (www, open platforms, interfaces, smart spaces…)  unprecedented ways to search, combine and reuse• (data- and text mining, mash-ups, crowdsourcing, geo-location tools…)  real time, multi-layer, world-wide interactions• (social networks, web fora, wikis, blogs, P2P and UGC platforms...)4
  5. 5. …creativity…• The complexity dimension:• creation as an incremental, mutually enriching process• emphasis on interactions(social communities, collective intelligence,collaborative design…)• emergence and sistemic effects(whole more than sum of parts…)5
  6. 6. …and the creative sector• Unprecedented possibilities to:• help cultural institutions in digitising/preserving CH• make digitised CH generally accessible to all(regardless of time, distance, physical or other constraints)• use, share, combine, aggregate and disseminate CH• re-use CH to develop new content, tools and applications6
  7. 7. Europe 2020 strategyDigitisation and online accessibility of cultural heritage is firmlyanchored in Europe 2020 strategy and flagship initiatives DigitalAgenda for Europe and Innovation Union. It is also a buildingblock of the Open data strategy launched in December 2011(e.g. proposed extension of the Directive on re-use of PublicSector Information to cultural content)7
  8. 8. Europe 2020 strategy (2)5 interrelated targets for an innovative, knowledge-based economy, incl.: 3% of GDP in R&D•  40% share of population aged 30-34 with tertiary education•  75% the employment rate of population aged 20-647 flagship initiatives, including:•  an Innovation Union• a Digital Agenda for Europe (DAE)Mobilizing all instruments and policies, such as:• internal market and competition• budget (structural funds, Horizon 2020, Connecting Europe Facility…)• trade policy and external relations• public procurement8
  9. 9. Digital Agenda for EuropeOne of the 7 flagship initiatives of the Europe 2020 strategy- 101 specific actions, including 31 legal proposalsA vibrant digitalsingle marketFast and ultra fastInternet accessUsing ICT to help societyPromote digital literacy,qualifications and inclusionInteroperabilityand standardsTrust andsecurityResearch and 9
  10. 10. Objectives  maximize the economic and social potential of ICTInternet vital for business, work, leasure, communications and free expression  stimulate innovation and economic growth andimproving the daily life of citizens and companies  reply to Europe’s main societal changes and offerEuropeans a better quality of life:• eHealth• efficient transport solutions• cleaner environment• new ways of communicating• easier access to public services and cultural content10
  11. 11. Obstacles  fragmented digital markets  lack of interoperability  cyber-criminality and risk of network security  lack of investment in networks  insufficient R&D  lack of digital literacy and qualifications  fragmented replies to societal challenges:• climate change and other pressures on environment• ageing population and growing health care costs• need for more efficient public services• integration of handicaped persons• digitisation of Europe’s cultural heritage and itsavailability for present and future generations11
  12. 12. Digital knowledge infrastructure- building blocks  broadband, fast internet & accessible mobile networks  interoperability of formats and applications  online public services  wide access to public and scientific data (open data)*  online accessibility to cultural heritage  comprehensive, reliable and affordable platforms forweb search and interactions (incl. rights clearance)12
  13. 13. Culture heritage in the digital economy∀ • Cultural heritage as expression of Europeanidentity, diversity and wealth (global asset)∀ • Digital access to CH breathes new life intomaterial from the past, turning it into:• formidable asset for the individual user• important building block of the digital economy∀ • material can be reused in new ways for developing:• learning and educational content• documentaries, tourism applications• games, animations and a wealth of other web services & apps13
  14. 14. Connecting Europe Facility- access to digital resources of European heritage• Core service platform (www.europeana.eu)• continuous coordination, operation, maintenance, enhancement andpromotion of the central services of the Europeana portal (www.europeana.eu ) infrastructure and related networks• Generic services• aggregation of content• crowd-sourcing facilities• user-friendly services; cross-language access• exchange of rights information and licensing mechanisms• competence centres on digitisation and preservation of digital CH• content repositories for cultural institutions and user-generated content14As per CEF proposal –> reassessment in view of MFF budget cuts in progress
  15. 15. Bringing Europes cultural heritage online• 2006: Commission Recommendation on digitisation and onlineaccessibility of cultural material and digital preservation• main developments since 2006:• Launch of Europeana (2008)• Digital Agenda for Europe (2010)• MoU on out-of-commerce works (2011)• Comité des Sages Report ‘The New Renaissance’ (2011)• Directive 2012/28/EU on orphan works• Commission Recommendation 2011/711/EU15
  16. 16. Comité des Sages Report(2011) public domain material:  make CH digitised with public funds as widely available aspossible  avoid use of intrusive watermarks or other use-restricting means  metadata related to digitised objects produced by culturalinstitutions widely and freely available for re-use• in © works:  avoid future orphan works  Collective licensing solutions + window of opportunity fordigitisation and cross-border access of out-of-commerce works  backed by legislation to digitise and bring them online, ifrightholders and commercial providers do not do soEuropeana:  to become the reference point for cultural content online  public funding for digitisation conditional on subsequent freeaccessibility through Europeana  linking main digitisation activities of Europes cultural heritage  all public domain masterpieces brought into Europeana by 201616
  17. 17. Digitisation and online accessibility  further develop the planning and monitoring of digitisation of cultural material  encourage partnerships between cultural institutions and the private sector  stimulate new uses of cultural material under fair & balanced PPPs  make use of EUs structural funds to co-finance digitisation activities  optimise use of digitisation capacity to achieve economies of scale(pooling cultural institutions digitisation efforts, cross-border colaboration…)  improve access to and use of digitised cultural material in the public domain Improve conditions for digitisation and online accessibility of in © material  contribute to the further development of Europeana  30 m objects accessible through Europeana by 2015, incl. 2m AV and all PDmasterpieces17
  18. 18. Facilitating rights clearance∀ • ARROW -‘Accessible Registries of RightsInformation and Orphan Works towards Europeana’• books• four countries pilot: UK, F, D, SP (2009-2011)∀ • ARROW Plus (April/2011-Set/2013)• wider geographical coverage• embedded images• FORWARD – AV material18
  19. 19. Europeana – Europes digital library, archive & museum• More openess• open government licences• More transparency• Open data portals• More reusability• Open, machine-readable formats• Downwards trend on chargingWider scope• cultural institutions (libraries, archives, museums)19
  20. 20. Europeana Access point to cultural heritage Hub for the creative industries, which alreadyaccount for ca. 4% of EU GDP and jobs Funding proposal through ConnectingEurope Facility (2014 – 2020)20
  21. 21. The Europeana ecosystem - aggregators21
  22. 22. Some challenges In © works• Orphan works• Out-of-commerce works• Digital rights clearing platforms AV material (under-represented) Access/re-use:• visibility/usability (multilingualism, search quality, resolution…)• EDM/LOD deployment Rights labelling• ca. 1/3 of objects un-marked* Scalability and Sustainability 22
  23. 23. ESMAE – Escola Superior de Música, Artes eEspetáculo do Porto (PT) 2,487 objects23
  24. 24. To know morehttps://ec.europa.eu/digital-agenda/en/creativity-mhttp://www.europeana.eu/portalhttp://ec.europa.eu/licences-for-europe-dialogue/eTHANK YOU FOR YOUR ATTENTION!24

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