Generally speaking, 2020 hasn’t been a great year. That’s obvious. But we’re not here to focus on the awful things that have happened (and are still happening) this year. Instead, we’re here to tell you a good news story about 2020: a story about collaboration, innovation, and creativity. A story about the present and the future of open access to cultural heritage. 

This year started with a major accomplishment for open GLAM (galleries, libraries, archives, and museums) advocates. After years of collaborative efforts from members of the Creative Commons team, the CC Global Network, the Wikimedia Foundation, and more, the Smithsonian released over 2.8 million digital 2D and 3D images and nearly two centuries of data into the public domain using Creative Commons Zero (CC0). This new initiative, Smithsonian Open Access, followed previous releases across big and small institutions, as Effie Kapsalis (Smithsonian) outlined in the 2016 report that accompanied her advocacy efforts.

You’re not dreaming.

The @smithsonian really did just release *2.8 million images and nearly two centuries of data* () into the public domain using CC0! #SmithsonianOpenAccess https://t.co/Uk0IzSU2oh

— Creative Commons (@creativecommons) February 25, 2020

<script async src="https://platform.twitter.com/widgets.js" charset="utf-8">
If this was any other year, the Smithsonian’s announcement alone would’ve propelled us happily into 2021. It’s a huge, exciting win! But this isn’t just any other year…take a look at this timeline:

• 27 February: The Smithsonian announces Smithsonian Open Access
• 11 March: The World Health Organization declares the COVID-19 outbreak a pandemic 
• 3 April: Euronews reports that more than 50% of the world’s population is under a lockdown order   

The rapid pace of change at the start of the COVID-19 pandemic was quite remarkable—and the challenges for GLAM institutions were immediate. 

Open GLAM in 2020: challenges and opportunities

Early on in the pandemic, the open GLAM community quickly realized that this would have a significant impact on GLAM institutions, especially financially. In a May report, the International Council on Museums (ICOM) found that “nearly one-third of them [GLAM institutions] will reduce staff, and more than one-tenth may be forced to close permanently” due to forced closures and a reduction in ticket sales. Closures due to the pandemic have particularly affected institutions in African, Asian and the Arab countries. Many institutions across the world have since been forced to layoff large swaths of their staff and cut programs. 

The GLAM community also recognized that the pandemic would disrupt millions of children and young adults’ education and bar access to cultural heritage, amplifying existing inequalities and inequities. ICOM acknowledged, “We are aware that this is not simply a matter of keeping our institutions alive but also of mobilising their efforts and capacities to support community resilience and an effective recovery.” Over time, it’s become clear that this global challenge will have ripple effects for years, if not decades, to come. In response, Douglas McCarthy (Europeana) and Dr. Andrea Wallace (University of Exeter) made the case for open access: 

“Providing open access to digital collections transfers significant power from institutions to the public they exist to serve. As the Covid-19 pandemic progresses, it has never been more vital for museums to explore how they can make new connections with audiences and support creators, educators, scholars and innovators working through this difficult time.”

In their report, ICOM found that digital communication activities “increased for at least 15 % of the museums, and in particular social media activities increased for more than half of the museums” surveyed. GLAMs that were already deeply committed to open access were able to respond quickly and creatively to the challenge presented by the pandemic. The Getty Museum, for example, launched the Getty Museum Challenge, a digital challenge to recreate public domain works with household items. The images sent from across the world were eventually compiled into a book entitled, Off the Walls: Inspired Re-Creations of Iconic Artworks, with all profits going to Artist Relief.

Of course, not everything that happened this year in open GLAM is a direct result of the COVID-19 pandemic. Many open access initiatives and projects were in-progress before any of us even knew what a “coronavirus” was. In fact, the following GLAM institutions adopted open access policies this year, effectively releasing millions of cultural artefacts to the public. These include Archives of Ontario, Petit Palais, Augustinermuseum, Museum für Neue Kunst, Museum Natur und Mensch, DAG Museums, Biblioteca Nacional de España, Anacostia Community Museum, and Wien Museum. However, the impact of this tragic and challenging moment on the movement can’t be understated: It has created a sense of urgency that has historically only been felt during human-made or natural disasters. While GLAM institutions have been implementing and benefiting from open access policies for over a decade, generating goodwill and recognition from the public and enhancing their missions and relevance for 21st-century audiences, the pandemic has shown how vital it is that institutions become “open.” This has set a new norm for GLAM.

The impact of this tragic and challenging moment on the movement can’t be understated: It has created a sense of urgency that has historically only been felt during human-made or natural disasters.

If there’s one thing we can count on as we continue to live and work in a state of uncertainty, it’s that more and more cultural institutions will choose to go “open.” CC’s Sarah Pearson expressed this idea during an Open GLAM webinar in March, stating, “This will have ripple effects and increase people’s willingness to share more broadly, whether it is with CC licensing or not.” 

What about Open GLAM at Creative Commons?

There are, of course, more challenges ahead and questions to answer. For example, the majority of the GLAM workforce is still predominantly white, and issues of racial justice and equity are still hard to bring to the table. Colonialist practices extend to the digital realm, continuing to do harm to communities that have seen their heritage despoiled. That also includes Indigenous cultural heritage, as CC’s Brigitte Vézina and Alexis Muscat wrote in August, “Existing copyright law, steeped in Western concepts and values, does not adequately protect Indigenous traditional cultural expressions, nor does it sufficiently reflect or account for Indigenous cultural values.”

Open GLAM is not only about sharing cultural heritage by respecting copyright law, but also how to do it more responsibly, collaboratively, and equitably. At Creative Commons, we hope to help find solutions to these emerging and growing challenges through our Open GLAM work. Here’s a brief overview of what we’ve been working on: 

• CC GLAM Certificate—we’re currently in the process of launching the alpha and beta cohorts for the CC Certificate course exclusively for GLAM. Stay tuned for more information in 2021!
• Analysis and commentary—through the CC Blog and elsewhere, we’re excited to share our thoughts, insights, and analysis regarding several issues, such as sharing Indigenous cultural heritage, maintaining open access to public domain materials, etc. (See more here!) We also submitted a position paper to the European Commission on Digital Cultural Heritage.
• Declaration on Open Access for Cultural Heritage—we worked on this document throughout 2019 and 2020, including leading the public consultation process. Details here.
• CC Global Network Open GLAM Platform—the CC Open GLAM Platform is a space to help coordinate efforts to connect and support open access to cultural heritage initiatives. Check out the 2020 winners for the CC Open GLAM Platform Activities Fund here! 
• Webinars—through Open GLAM, we hosted webinars on important topics like copyright, OpenGLAM, open access, etc. in partnership with other actors, like Europeana, the Museum Computer Network (summaries here, here, here, and here), and the UNESCO-Bangkok/Memory of the World Committee Asia Pacific (details here).
• Translation sprints—through Open GLAM, we hosted translation sprints, one at the Creative Commons Global Summit (here) and one at the Europeana Conference (here). 
• Multilingual content—we supported multilingual stories on the Open GLAM Medium blog (check out this visual!).
• Hack4OpenGLAM—at the 2020 Creative Commons Global Summit, Open GLAM hosted the “Hack4OpenGLAM” workshop for the first time, inviting people to get creative with open access to cultural heritage (full report here). Some highlights available here! 
• Is Sharing Always Caring?—we collaborated with the European Fashion Heritage Foundation and the Onassis Foundation on the 2020 symposium exploring issues regarding the tensions between digitizing fashion cultural heritage and remaining mindful and respectful of cultural rights and values. Read the summary here.

Stay up-to-date on everything we’re doing in open GLAM by following Open GLAM on Medium or signing up for our monthly newsletter! 

To support our open GLAM work, become a donor to Creative Commons. Together, we can unlock and share millions more cultural artefacts with the world—from 3D scans of spacecraft to 19th-century book illustrations!

The post It’s Been a (Good) Year for Open GLAM. Here’s Why. appeared first on Creative Commons.

During the CC Global Summit, we had our “CC Open GLAM Platform Meeting”, where we had the opportunity to present several of the activities that we are running with the Open GLAM Platform Activities Fund. We’re delighted to announce the five winners of the General Projects of the Open GLAM Platform Activities Fund.

The CC Open GLAM Platform is a space to help coordinate efforts to aggregate, advertise, connect, and support open access to cultural heritage initiatives and projects. This year, CC launched an Activities Fund to support Open GLAM related activities by Platform members. In my role as Facilitator of the Platform, I presented a budget plan that received input and feedback from the community. We had three main allocations for the money: 

1. Open GLAM short stories from the Global South and/or underrepresented communities;
2. General Projects;
3. Visualization of the “Survey of GLAM Open Access policy & practice,” created by Douglas McCarthy and Dr. Andrea Wallace

You can read some of the Open GLAM short stories as they are being published on the Open GLAM Medium publication. We will be working with Majd Al-shihabi to create the visualization of the “Open GLAM survey”.

In this blog post, we present the five winning projects in the general category. We also warmly thank all applicants for the quality of their proposals, and to the members of the selection committee: Nicole Ferraiolo, Director of Global Strategic Initiatives, Council on Library and Information Resources; Jorge Gemetto, member of Creative Commons Uruguay and co-director of the online cultural center “Ártica”; Karin Glasemann, Digital Coordinator at the Nationalmuseum Sweden and Chair of the Copyright Community at Europeana; and Satdeep Gill, Program Officer, GLAM and Underrepresented Knowledge, Wikimedia Foundation.

---

• The AfroCine Project: Months of African Cinema

Sam Oyeyele is a long time volunteer of the Wikimedia community, where he has been involved with The AfroCine Project, a multi-country and multi-faceted project which aims to improve and expand digital knowledge and content on the historical and contemporary cinema, theatre, and arts sectors of several African countries, the Caribbean and the diaspora, on the Internet. The vision of this project is to bridge the huge content gap and improve on the systemic bias, in respect of the African continent, by getting real African stories and viewpoints into the mainstream. This is being achieved by making: articles, citations, images, videos, and data, about the historical and contemporary African cinema, theatre and arts, to be readily available and easily accessible on online, and in different languages, through Wikipedia and other sister projects. One of their main activities is the “Months of African Cinema” global Wikipedia contest, happening now between October-November. We’re supporting some of the expenses related to the organization of the “Months of African Cinema” contest.

• Heritage GLAM

Rupika Sharma is currently serving as Director of the non for profit organization Open Heritage Foundation. Open Heritage Foundation is an incorporated non-profit thematic organization to support initiatives for bringing underrepresented knowledge on the Internet, and they are an affiliated Network member of Creative Commons Global Network since 2019.

Their project will be working with a GLAM institution in India to digitize and release Punjabi public domain works on Wikimedia Commons.

Some of the works that the Punjabi community has uploaded and corrected in Wikisource through different contests.

If you are interested in knowing more about Rupika and the work the Open Heritage Foundation is doing in India, make sure to check her astonishing post “Lose yourself in Journey to Global Folklore with the winners of Wiki Loves Folklore,” about their Wiki Loves Folklore contest on the network publication Creative Commons: We like to share.

• Spreading GLAM-Wiki resources in Brazil

João Alexandre Peschanski is doing amazing work on the ground to help Brazilian GLAMs, together with Wiki Movimento Brazil. In their article “Opening up the collection of a closed museum in Brazil” on the Open GLAM Medium publication, funded with the Open GLAM short stories fund, they share with us their approach to opening collections in Brazil.

But they also received funding with their project “Spreading GLAM-Wiki resources in Brazil” will develop tutorials in Portuguese to ease the task of cultural institutions willing to share collections/contents on the internet but which lack a clear roadmap to do so. The need for these resources is key in the Brazilian context, as several institutions are under-resourced (they often have only one staff person) and cannot make an extra effort to bring collections/contents to the digital realm. This scenario is directly associated with the pervasive presence of collections/contents from wealthier countries. 

You can see João’s recorded presentation of their project here: 

• Online Ugandan GLAM Directory

Eric Nelson Haumba is the Chapter Lead of CC Uganda. In this opportunity, he is working to make an online directory of GLAM institutions in Uganda. This information will be freely available online through a GLAM directory where interested persons globally can check-in and access fundamental facts and information about Ugandan GLAM institutions. This directory is a representative source of basic GLAM statistics and a robust tool providing institutional-level data and a nationwide comparison of GLAMs in Uganda. This will allow the CC chapter and other communities to design different activities to help these GLAM institutions embrace open access to cultural heritage.

• Enhancing Public Domain in Indonesia: Catalog and Re-Make Project

Hilman Fathoni and Fitriayu Penyalai are longtime members of CC Indonesia. Their project wants to show the value of the public domain in Indonesia. For that, they will be creating an open-access catalog of public domain works from Indonesia, and inviting a visual artist from Indonesia to create a remix using some of the public domain works currently available online. These activities will be presented in a webinar series, where the members of CC Indonesia will explain some of the core concepts of the public domain and how it works, the function of their open-access catalog, and invite the visual artist to talk about the remix of the public domain works resulting from this project.

We look forward to seeing project results soon, and we expect these projects to fuel more Open GLAM activities in 2021 and beyond. 

The post Meet the Winners of the CC Open GLAM Platform Activities Fund! appeared first on Creative Commons.

On November 2 and 3, 2020, Creative Commons (CC), the European Fashion Heritage Association (EFHA) and the Onassis Foundation held the online symposium: Is Sharing Always Caring?

Bringing together 250 participants from 38 countries on four continents— from museum professionals to fashion design students all the way to big fashion brands—the event was an opportunity to have important conversations about the benefits of open access and the challenges of bringing equity, diversity and inclusion into the policies and practices of fashion heritage institutions and the fashion universe more generally. The symposium’s program spanned two days and comprised presentations, roundtables, and a hands-on workshop. 

Background: Openly sharing and caring for fashion heritage is central to GLAMs’ mission

Many GLAMs (galleries, libraries, archives, and museums) are dedicated to making their fashion heritage collections available to the public. For them, providing public access and enabling interactions with this heritage is a core aspect of their mission. 

The Open GLAM movement, of which CC is a leader, celebrates this mission in the digital environment. This movement is underpinned by the value and responsibility for socially beneficial sharing of cultural heritage and posits that access and reuse of fashion heritage are necessary components of a virtuous creativity cycle. 

Nevertheless, the possibilities for online access, sharing, use and reuse of fashion heritage shared online can give rise to some tensions with regard to the heritage of marginalized or under-served communities. These tensions arise because those communities are often excluded from the discussions and decision-making processes about their own heritage. One big concern is the appropriation of fashion heritage made available online without any consultation or involvement of the communities who are the custodians of the heritage in question. In fact, much fashion heritage includes elements that are not just aesthetic or ornamental but that are intimately linked to the identity of their holders and their way of life, history and environment. Sharing those elements without care can result in harm for the communities concerned.

Sharing without caring for fashion heritage can have deep implications that distort the fashion narrative. So, what can GLAMs do to participate in reshaping this narrative? 

Part of the issue is that, by default, many forms of fashion heritage, such as designs, patterns, textiles, jewellery, etc. are deemed to be in the public domain under copyright law. As a result, it may seem that such heritage is freely available for access, use, and reuse when in reality, other considerations come into play and govern who can do so and how. Sharing without caring for fashion heritage can have deep implications that distort the fashion narrative. So, what can GLAMs do to participate in reshaping this narrative? 

Summary: Exploring the shared ground between sharing and caring

Highlights from Day 1

On the first day, Evelin Heidel aka Scann (Creative Commons) and Ariadna Matas (Europeana Foundation) presented the many advantages for GLAMs in sharing their collections online and showed how Creative Commons’ tools and Rights Statements can help foster an engaging culture of use and reuse of cultural heritage. 

Andrea Wallace (University of Exeter) got participants to reflect on who gets to decide what “open” is, what heritage can be made open and who gets to take part in those conversations. Brigitte Vézina (Creative Commons) closed the first day’s speaker session with an overview of what GLAMs can do to share and care to avoid the fashion cultural appropriation trap. 

Marco Rendina (EFHA) and Prodromos Tsiavos (Onassis Foundation) then moderated a lively roundtable discussion that also gave participants an opportunity to share experiences and resources. 

The program continued with a practical workshop designed as a conversation about some of the benefits and challenges associated with making fashion heritage collections available online. Scann, Ariadna Matas, Brigitte Vézina, and Marta Fransceschini (EFHA) lead breakout group discussions. By looking at real examples of fashion heritage from the Europeana Fashion collection, participants discussed copyright issues as well as questions related to culturally-sensitive materials. Participants could thus collectively reflect upon the ways in which sharing heritage really equates with caring for it. 

Highlights from Day 2

On the second day, Monica Moisin (Cultural Intellectual Property Rights Initiative) offered a legal perspective on decolonising fashion, unfair exploitation, and commodification of cultural identities and helped explore what GLAMs can do about it. Hazel Clark (Parsons School of Design) then revisited how fashion is literally the fabric of cultures and looked at fashion identities and how museums can provide mechanisms for cultural production.

Camille Callison (University of Manitoba) gave a poignant account of how “caring” in practice means building relationships to facilitate respectful sharing of Indigenous knowledges. Finally, Janice Deul (Diversity Rules) probed the world of curatorial activism and brought attention to the lack of Black in museum fashion collections. The session concluded with an empowering message about how GLAMs can be catalysts for change and participate in reshaping the fashion narrative by taking a more inclusive and diverse approach in sharing and caring for fashion heritage.

The symposium closed with a roundtable discussion chaired by Marco Pecorari (The New School – Parsons Paris) and Marta Franceschini. In addition to the speakers, it also brought together Filep Motwary (Vogue Greece), Andreea Diana Tanasescu (La blouse roumaine IA Association (Give Credit)), and Eva Losada, fashion photographer. Each speaker brought their own perspective on how to navigate the murky boundaries of cultural appropriation and the need to bring more diversity into the fashion conversation.

Video recordings of all of the sessions are available on EFHA’s Vimeo channel: Day 1 and Day 2. For updates, stay tuned via @creativecommons and @EurFashion on Twitter (#EFHA2020) or reach out at info@creativecommons.org.

The post Can Open GLAM Reshape the Fashion Heritage Narrative? appeared first on Creative Commons.

After introducing the CC Italy Chapter to you in July, the CC Netherlands Chapter in August, CC Bangladesh Chapter in September, and CC Tanzania Chapter in October, we are now traveling to Asia again to introduce the CC India Chapter! 

The Creative Commons Global Network (CCGN) consists of 45 CC Country Chapters spread across the globe. They’re the home for a community of advocates, activists, educators, artists, lawyers, and users who share CC’s vision and values. They implement and strengthen open access policies, copyright reform, open education, and open culture in the communities in which they live.

To help showcase their work, we’re excited to continue our blog series and social media initiative: CC Network Fridays. At least one Friday a month, we’re traveling around the world through our blog and on Twitter (using #CCNetworkFridays) to a different CC Chapter, introducing their teams, discussing their work, and celebrating their commitment to open! 

---

Say hello to CC India!

The CC India Chapter was formed in 2018 after previously existing in different collective structures. Its Chapter Lead is Savithri Singh and its representative to the CC Global Network Council is Subhashish Panigrahi. Since the beginning, the Chapter has been involved in promoting and supporting open education and copyright. It advocates for open content and promotes the growth of @creativecommons in India (check out the first meeting). For this post, we spoke to Subhashish who told us a bit more about the Chapter’s work. He responded in both English, Odia and Hindi! 

CC: What open movement work is your Chapter actively involved in? What would you like to achieve with your work?

CC India: The CC-India Chapter has organised several webinars  (e.g. OER in elementary education, future of open education) particularly during the COVID outbreak on relevant areas like OER. The community also includes many Wikipedians who are involved in growing open content in Indian languages and license migration by public agencies.

[HINDI] Creative Commons-भारत चैप्टर ने विशेष रूप से मुक्त शैक्षिक संसाधन (Open Educational Resources – OER) जैसे प्रासंगिक क्षेत्रों पर COVID महामारी के दौरान कई वेबिनार (जैसे प्रारंभिक शिक्षा में OER, Open Education यानी मुक्त शिक्षा का भविष्य) का आयोजन किया है । इस समुदाय में कई विकिपीडिया संपादक भी शामिल हैं जो भारतीय भाषाओं में मुक्त लेखन प्रस्तुत करने और सरकारी संस्थाओं द्वारा लाइसेंस स्थानांतरित करने में शामिल हैं ।

[ODIO] Creative Commons-ଭାରତ ଚାପ୍ଟର କୋଭିଡ ମହାମାରୀ ସମୟରେ ଅନେକ ୱେବିନାର ଆୟୋଜନ କରିଛି । ଯଥା: ପ୍ରାଥମିକ ଶିକ୍ଷାରେ ଓପନ ଏଜୁକେସନାଲ ରିସୋର୍ସ – OER ଏବଂ ଓପନ ଏଜୁକେସନର ଭବିଷ୍ୟତ । ଏହି ସମ୍ପ୍ରଦାୟରେ ଭାରତୀୟ ଭାଷାରେ ଖୋଲାରେ ପାଠ୍ୟ ତିଆରି କରୁଥିବା ଏବଂ ସରକାରୀ ସଂସ୍ଥାମାନଙ୍କଦ୍ୱାରା ଲାଇସେନ୍ସ ବଦଳାଇବାରେ ଜଡ଼ିତ ଥିବା ଅନେକ ଉଇକିଆଳି ମଧ୍ୟ ଯୋଗଦେଇଛନ୍ତି ।

CC: What exciting project has your Chapter engaged in recently?

CC India: There are many — from many community leaders organising and participating in webinars like the ones shared above on topics Open Education, OER, open licensing and open mapping, to ongoing active Telegram group discussions, to the creation of a Wikipedia article on the Chapter, to the initiation of three projects that were supported by Creative Commons Global Network Communities Activity Fund.

[HINDI] कई है — कई समुदाय के नेताओं ने ओपन एजुकेशन, OER, ओपन लाइसेंसिं और ओपन मैपिंग जैसे विषयों पर वेबिनार का आयोजन किया और भाग लिया; सक्रिय चर्चाओं के लिए एक टेलीग्राम ग्रुप है; CC-भारत चैप्टर पर विकिपीडिया का एक लेख है । Creative Commons ग्लोबल नेटवर्क कम्युनिटीज एक्टिविटी फंड (CAF) द्वारा समर्थित तीन परियोजनाओं को शुरू किया गया था।

[ODIA] ଅନେକ: ଏହି ସମ୍ପ୍ରଦାୟର ନେତୃତ୍ୱ ଓପନ ଏଜୁକେସନ, OER, ଖୋଲା ଲାଇସେନ୍ସ ଏବଂ ଖୋଲା ମାନଚିତ୍ର ଭଳି ବିଷୟ ଉପରେ ୱେବିନାର ଆୟୋଜନ ଏବଂ ଅଂଶଗ୍ରହଣ କରିଥିଲେ; ସକ୍ରିୟ ଆଲୋଚନା ପାଇଁ ଏକ ଟେଲିଗ୍ରାମ ଗୋଷ୍ଠୀ ରହିଛି; ସିସି-ଭାରତ ଅଧ୍ୟାୟ ଉପରେ ଉଇକିପିଡ଼ିଆରେ ଏକ ପ୍ରସଙ୍ଗ ରହିଛି । କ୍ରିଏଟିଭ କମନ୍ସ ଗ୍ଲୋବାଲ ନେଟୱାର୍କ କମ୍ୟୁନିଟିଜ ଆକ୍ଟିଭିଟିଜ ଫଣ୍ଡଦ୍ୱାରା (ସିଏଏଫ) ସମର୍ଥିତ ତିନୋଟି ପ୍ରକଳ୍ପ ଆରମ୍ଭ କରାଯାଇଛି ।

CC: What do you find inspiring and rewarding about your work in the open movement?

CC India: I would say the network effect of the open movement as it helps in distributed, collaborative, diverse and inclusive action for spreading knowledge.

[HINDI] मैं कहूंगा कि ओपन मूवमेंट का नेटवर्क प्रभाव — यह ज्ञान के प्रसार के लिए वितरित, सहयोगात्मक, विविध और समावेशी कार्रवाई में मदद करता है ।

[ODIA] ମୋ ମତରେ ଓପନ ଆନ୍ଦୋଳନର ନେଟୱାର୍କ ପ୍ରଭାବ କାରଣ ଏହା ଜ୍ଞାନ ବିସ୍ତାର ପାଇଁ ବିତରଣ, ସହଯୋଗୀ, ବିବିଧ ଏବଂ ଅନ୍ତର୍ଭୁକ୍ତୀ କାର୍ଯ୍ୟରେ ସାହାଯ୍ୟ କରିଥାଏ ।

CC: What are your plans for the future? 

CC India:  As we move through uncertain times, CC-India Chapter will focus on engagements and innovations in areas that are hit badly because of COVID: from liberating paywalled resources to online discussions to lobbying with governments for license migration to even creating/translating open content.

[HINDI] जैसा कि हम सब एक अनिश्चित समय में आगे बढ़ रहे हैं, CC-भारत अध्याय ये सारे क्षेत्रों में शामिल होंगे और नवाचारों पर ध्यान केंद्रित करेंगे जो COVID के कारण बुरी तरह से प्रभावित हुए हैं: पेवल संसाधनों को मुक्त करना, ऑनलाइन चर्चा और लाइसेंस का बदलाव के लिये सरकार को समझाना एवं मुक्त विषय का अनुवाद/लेखन ।

[ODIA] ଆମେ ସମସ୍ତେ ଏକ ଅନିଶ୍ଚିତ କାଳ ଭିତରେ ଆଗକୁ ବଢ଼ୁଥିବାରୁ ସିସି-ଇଣ୍ଡିଆ ଅଧ୍ୟାୟ COVID ହେତୁ କୁପ୍ରଭାବିତ ସମସ୍ତ କ୍ଷେତ୍ରରେ ସକ୍ରିୟ ଅଂଶଗ୍ରହଣ ଓ ଉଦ୍ଭାବନ ଉପରେ ଧ୍ୟାନଦେବ । ଯଥା: ପେ-ୱାଲ ସମ୍ବଳକୁ ମୁକ୍ତ କରିବା, ଅନଲାଇନ ଆଲୋଚନା, ଲାଇସେନ୍ସ ପରିବର୍ତ୍ତନ ପାଇଁ ସରକାରଙ୍କ ସହ ବୁଝାମଣା କରିବା ଏବଂ ଖୋଲା ପାଠ୍ୟର ଅନୁବାଦ/ଲିଖନ ।

CC: Anything else you want to share?

Though there are the following interesting things that we have seen in the last decade, India has a long way to go with open content:

• Textbooks by a national board relicensed under the CC-BY-SA 3.0 License,  
• Many sites and publications by the Odisha state government including OER in 21 indigenous languages and national-level online school education portal DIKSHA make active use of Creative Commons Licenses.
• A handful of educational institutions, civil society organisations, public sector entities and publishers like Story Weaver publish content under CC Licenses.
  

Thank you to the CC India team, especially Subhashish for contributing to the CC Network Fridays feature, and for all of their work in the open community! To see this conversation on Twitter, click here. To become a member of the CCGN, visit our website!

: Featured image has icons by Guilherme Furtado and Vectors Point via Noun Project (CC BY 3.0).

The post Meet CC India, Our Next Feature for CC Network Fridays! appeared first on Creative Commons.

1300+ participants | 200+ presenters | 170+ sessions | 60+ countries

The 2020 virtual CC Global Summit exceeded our expectations—over 1300 community members, from Canada and El Salvador to Nigeria and New Zealand, chose to spend a week with us to discuss the future of open, the unknowns of artificial intelligence, the possibilities of open GLAM (galleries, libraries, archives, and museums), the pressing need for copyright reform, the impact of the COVID-19 pandemic, and much more.  For the first time ever, the CC Summit was free for all to attend. We also adapted the virtual format to accommodate community members worldwide, with sessions taking place across various time zones and languages.

Facing 2020 at the CC Global Summit

When we began the journey to the 2020 CC Summit back in Fall 2019, we couldn’t have imagined the unique challenges and opportunities this year would bring. The patience, passion, and perseverance displayed by our staff, volunteers, and open community members helped create an event which aimed to, in the words of CC’s Claudio Ruiz, “find a path forward in hope and optimism.” 

This year, more than ever before, we wanted the CC Global Summit to be a space that brought people together, nurtured relationships, encouraged collaborations, explored new issues, and provided a safe place for difficult questions. The response to Irene Soria Guzmán’s keynote, “Hacer feminista lo abierto: poniendo nuevos engranes a la cultura libre!” makes us believe we succeeded in that aim. Irene asked participants to look at the open movement through a feminist lens to find new ways of understanding authorship and power, creating bridges across our differences. It was encouraging to see so many community members accept her challenge with grace and enthusiasm.

We also introduced a new session at the 2020 Summit, a global land acknowledgement, where we examined ideas of colonialism, power dynamics, and our own biases as we remixed a version for use in a virtual setting. The end result is a unique visual interpretation of those conversations by artist Sonaksha Iyengar (above).  

What’s next?

Over the next week or so, we’ll be publishing all three of the CC Summit keynotes with transcripts to increase accessibility, so stay tuned! While we recorded all 170+ sessions, we plan to first receive permission from the speakers to publicly release these recordings and then create a catalog on the CC Global Summit website of the approved videos. We ask for your patience and understanding during this process, as it will take some time to ensure we respect the privacy of everyone who appeared on video. If you’re eager for video content in the meantime, check out the concert! We also released a campaign featuring the 2020 CC Global Summit artwork by Chilean artist Marco Villar. You can now purchase t-shirts, hoodies, mugs, and tote bags with this year’s artwork, and support Creative Commons at the same time! Want to make your own CC Summit-inspired pieces? Download the artwork here. 

Thank you! 

We’d like to extend our sincere thanks to everyone who made this event one of our best yet, despite all that’s happened in 2020. This includes the volunteers who wowed us with their energy, responsiveness, and commitment throughout the event, as well as the presenters and performers who made this event a unique and exciting adventure. Each of you gave us the insight and the opportunity to imagine what the open movement could be in the future, and for that, we are incredibly grateful.

The 2020 CC Global Summit also wouldn’t have been possible without our generous sponsors:

As a nonprofit, Creative Commons relies on the generosity of the public to make events, like the CC Global Summit, possible. Every dollar helps us continue to unlock and expand the limits of open, driving innovation, collaboration, and creativity. Please join us in pushing the boundaries of open by making a gift to CC today!

The post A Look Back at the 2020 Virtual CC Global Summit appeared first on Creative Commons.