 So apologies for the delay. I'm so glad that we found the solution and that we can all be here together. It's really a pleasure and an honor for me to be moderating this session. And I'm so glad that we can finally make it. So my name is Luja Dvizna and I'm the director of Policy and Open Culture at Creative Commons. And I'm really thrilled to be here with Deborah, Yolanda, Giovanna and hopefully Viviana who will join us in a few moments. I'll introduce them a bit later. And with this incredible panel of speakers, we'll spend some time discussing the many facets of copyright reform to promote better sharing of knowledge and culture in different parts of the world. Giovanna is joining from Brazil and Yolanda and Deborah are in Italy and Viviana should be joining us from Colombia. So I think that on this panel we all share the understanding that preservation, access, sharing, use and reuse of cultural heritage are essential for communities to thrive. And using the COVID-19 pandemic, it's also essential to build resilience. And it's imperative that we in the open and free knowledge movement support these critical activities. And that's one of the reasons that Creative Commons already 20 years ago launched the copyright licenses. But here we are today and people are still facing an incredible amount of challenges in sharing cultural heritage online. Cultural institutions, for example, they often struggle to just carry out their legitimate activities like digitizing collections for preservation and to make them available to the public. So why do they struggle where, well, there are many reasons and we recently shared a report on barriers to open culture and I'll share the link in the chat if I can manage that. And I'll invite you to take a look. And in this session now we'll zoom in into one of the most prominent challenges of copyright audited, inadequate, unclear or improper copyright policies that generally raise unnecessary barriers to cultural heritage sharing. So what can we do about this? Well, I'm glad that our speakers today will be able to shed light on some of those barriers, share their experiences about how within their various initiatives they can strive to overcome such challenges. We'll see that all these initiatives are different, but they share common elements. One more thing, I know that we reserve some time at the end of the session for questions. So hopefully we'll get them through the chat and feel free to ask them. We'll take them towards the end. So without further ado, I would like to introduce our first speaker and this will be Giovanna. We are changing the order a little bit from what we had planned. Giovanna Fontanelle, she's a journalist, historian, educator, she's a master's, she's a master's students in social history. She works as a program officer for Glam and Culture at the Wikimedia Foundation. So she's a familiar face to you and she's a general coordinator of Creative Commons Brazil besides being a member of the Creative Commons Global Network, WikimMovemento Brazil user group and ICOM Brazil. So her current activities are related to Glamwiki, OpenGlam and linked open data initiatives in addition to other projects on diversity, mainly gender, knowledge, and sorry, knowledge equity. So over to you, Giovanna. Thank you, Brigitte, thank you so much. It's a pleasure to be invited to this panel beside other people with amazing work and to be part of Wikimedia this year. I'm a Wikimedia, so I'm very glad to be always in this conference. I'm gonna share my screen a little bit. Oh, I see that I can't share. Let me see. Okay, I don't think I can share. That's okay, I have prepared some slides. Maybe I can just work with them without the image part. Oh, I can't know. Oh, one moment please. I hope that you can see my screen. Yes, okay. Yes, we can see it. So today I am presenting this brief presentation supporting Glamwiki in Brazil, advocating for open access, guiding the usage of CC license and contributing to the Wikimedia projects. And I would like to start with, oh, this one, with this slide. So Brazilian laws that are related to copyright are not that bad. We do respect public domain, different from the experience that I think we will hear in a few minutes. And we have freedom of panorama and we do have some laws that find exceptions. Like the law number 13146, the Statue of the Person with Disabilities, that states the person with disabilities have the right to culture, sports, tourism, leisure on equal basis to other people. And on the paragraph two, it says that the public authorities must adopt solutions aimed at eliminating, reducing and overcoming barriers to promote access to old culture heritage in compliance with the accessibility environmental and national historic and historic heritage standards. And that law makes it possible for Brazilian heritage institutions to create alternatives for people with disabilities to access culture that help forest and this kind of accessible content like 3D versions of 2D works and tactical exhibitions. And even though we have a good law directly at people with disabilities, which is great, we still have a long way to go. And I would like to highlight this platform that in translating it for English, even though it's a platform in Spanish, it is about flexibility to the copyrights in Latin America. And when we see here at the side, we can see the session about libraries and archives and a few different lines like public loan, exchange between libraries, out of commerce works, offer works, evasion of digital rights management and other possibilities. And when we change that and we can, I don't know if I could share this, but I don't think, sorry. I don't think it's good for me to change tabs right now, but I would very much like you can after this presentation to go into that website to check what I'm talking about. But basically when you change this, you can see the variation of this section here within the Latin American countries. And in Brazil, in the case of Brazil, we appear as red in every single one of those possibilities, which is of course a problem. We still have a very long way to go. But there's also the fact that we live in the global south in a marginalized society. And the survey of open-glam access and policy practice by Douglas McCartney and Andrew Wallace is an amazing research that helps us to identify open-glam initiatives around the world. And we can see that we have two worlds in the global south and especially in Latin America. So we have 30 seconds in, actually here's not South America, it's Latin America. I have out of 1,435 institutions. We have 37 in Latin America and nine in Brazil. Through this survey, we can see quite clearly the problem we face in the global south. This is an overview of the Brazilian in the Latin America situation. But at the same time, we are in the global south, we are 80% of the population with access to internet in the world. And we do have a lot of heritage, formal heritage institutions. So what is the problem? What is happening so that we can see that being reflected in open access, open-glam initiatives all over the internet. First, we have our structural problem. These charts here from digital collections in museums, a manual for carrying out projects, a publication about current shorter state of Brazilian glam institutions by the Tainacum project. It shows that most of the institutions, they do share their collection catalog on the internet is 83%. But when we see the below chart, we can see that only 23% of them share their digitalized collections to the public over the internet. And that's, of course, a problem. But the second problem that we do have is the problem with qualification. So if you see here this first chart, we can see that the major difficulty is the lack of funding. The second major problem is the lack of a qualified staff. And that staff, I meant by technical staff that knows not only the technical ingredients to make it possible to share the content, but also the understanding of copyright. Here is another chart that shows basically that a lot of institutions do share their collections, but only in the place of the institution, even though it's digitalized, and only 14% of them do share over the internet, but only on the social media. And what the French for Commons Brazil is trying to do as best as it can on a 100% volunteer basis, especially in its glam coordination since 2020 and the mix of the pandemic, is to help institutions that are interested but don't have necessarily the means to understand copyright and the license. And we provide guidelines to them, participating in lectures, workshops, and education events. And we translate or write posts about open glam, updates on the copyright law reform, and the difficulties of the Brazilian institutions such as fires and other problems, explain topics like NFTs, open glam, and how to share the collections on the Wikimedia projects. But these glands really want is for their institutions, even if they are small ones, to be able to share their collections more widely, especially the ones that are public, academic, or nonprofit. They usually want their knowledge to reach more people, but they just don't have the means and the staff availability to understand the particularities of copyright laws. In 2020 and 2021, we talked to more than 30 institutions. We created a special email address to attend these institutions. And at the beginning of the pandemic, we sent several emails offering meetings with guidelines to interest institutions and talked to several museums, archives, libraries, and universities. They also searched for us to give them, provide them with lectures, presentations, and sometimes to help their students if they were connected to educational institutions. At one point, we were contacted by Digital Vargas Foundation to help law students to understand open access and open glam policies. Now project with the São Paulo Art Museum. This was an interesting occasion as it was a way of helping the lack of quality professionals problem. And something that occurred to me during that presentation was the fact that in Brazil, the copyright area is not that big, especially if you consider the interface between copyright and heritage. And even more so when we talk about open access. There needs to be more incentives as well as awareness, conversations, and advocacy in these two areas in parallel which just doesn't happen in Brazil often and in order for us to enhance copyright exceptions. We need more policymakers to understand the situation. And without this kind of action in investment, open glam cannot fully happen in Brazil and in Latin America. We had a big meeting with Rio de Janeiro Super Internets of Museums with more than 70 guests. But the main set of the meetings that we had in that approach that I described earlier was the Abrete Código Hackathon which had several institutions and staff involved. We did guidance meetings, live sessions, and a video about open access, the license, open glam, and other policies which was part of the legislation section of the event as well as we shared a brochure with a 38-page document with frequently asked questions related to glams. Oh, sorry. During the meeting, staff had many, many questions. In some instance, they were desperate for help, especially because they didn't want to make mistakes and infringed copyright, compromising themselves and their institutions. And the foremost frequently asked questions were, how do I use a CC license? How do I apply a CC license on institutions' websites? How do I, how to do with the copyright of works that are not in public domain? And finally, how can we use Creative Commons license for the collections to reach a wider audience? This last issue was the major concern to COVID at the time. Another very common question was about the case of orphan works. In some of our presentation, usually explain copyright, Creative Commons, and the license, open glam, and practical application in the Wikimedia project so they could implement their outreach and dissemination, which was always very important to them. And in this format, the foremost frequent questions were answered and we could give them a more notion of copyright, open license, and how to make collections available. Much, much more is needed. Two months, Brazil wants to launch a brochure about N4Glam's, a course of a few modules aimed at Brazilian institutions and university students, law, history, communication, students, a newsletter, and more regular posts, and especially a better connection to Wikimedia and the Glomweky ecosystem. But unfortunately, we don't have funding right now, which just, we just don't have it right now. But we do want to work on advocating more and more for this change just to be made. That's it for my part. Thank you. Thank you, Giovanna. That was a really comprehensive overview of the situation in Brazil. I really liked the study that you did during COVID. I think you managed to turn what was a great threat to the sector and to an opportunity to show the benefits of opening up their collection and to encourage them to use CC licenses. And I think it's a lesson that we could all draw from because it's really inspiring. We'll now move to our next speaker, Deborah de Angelis. Deborah is an attorney at law based in Rome in Italy. She's currently representative and legal lead of the Italian chapter in the Creative Common School Network since its constitution in 2018. Deborah is a legal expert in international copyright law, art and entertainment law and new technologies. She also worked as a legal advisor on copyright law to the previous Italian minister of cultural heritage. And Deborah, you will talk to us about cultural heritage law in Italy. So over to you, we look forward to your presentation. Hi, everyone. Thanks for inviting me to be here with you today. And thanks, Brigitte, for your presentation. We know that policy is one of the possible limits to an open culture besides money and people. We also are aware that copyright law may represent an obstacle to the open sharing of cultural heritage when the cultural goods are still protected. We face difficulties in understanding copyright laws principle, the duration of the protection and therefore the status of the work if it is still protected or in the public domain worldwide, difficulties in the application of the originality standard, idea, expression, dichotomy to determine if a work is creative or not. And difficulties also in the choice of the applicable law in case of cross-border uses. Also, the lack in the legislation of the freedom of panorama exceptions in Italy is another example of how copyright may limit taking photograph or video footage and creating other images of building sculptures and other artwork permanently located in public space. Italy did not implement the freedom of panorama exception as suggested by article five letter H of the Infosock Directive 29 of 2001. So beside the difficulties faced by the copyright law, in Italy, the public cultural heritage in the public domain phases a more restrictive limit for the open sharing of digital images for commercial purposes. The cultural heritage code decreed legislative number 32, 2004. Accordingly to the Italian cultural heritage code, open culture is allowed only for personal use or study for research, free expression, creative expression or promotion of knowledge of cultural heritage carried out on a non-commercial basis. But in case of reproduction for commercial purposes of the public cultural heritage in the public domain, article 107 of the cultural heritage code provides that the ministry, the regions or the other territorial public authorities may issue a request for a payment. This limitation does not allow a general by default application of open access principles. And this is a difficult to open up the open glam and the open culture in the realm of the Italian labs. Due to the obligation to ask a previous permission for commercial uses of the digital reproduction of public cultural heritage in the public domain. And the related discretion of the authority to ask for a payment. This limitation stated by the government stated by the cultural heritage represents a second layer of protection applicable to all cultural heritage when copyright protection as a spark. Note that this limitation imposed by the cultural heritage code is more restrictive than copyright law. Because it is perpetual, doesn't have any deadline and depends only on the will of the cultural heritage institute. So this limitation is also against the principle stated by article 14 of the DSM directive that stated that the faithful reproduction of a visual art in public domain stays in the public domain. As Creative Commons, Italy chapter, we are working on capturing the feeling of losing control by Italian keys, drafting a segmentation of different commercial uses allowed in the field of research, free expression, creative expression or promotion of knowledge of cultural heritage exceptions where the commercial purposes can also be present. Taking also into account the many different types of commercial use and their different impacts on the activities of cultural institution and as a whole. In this sense, we would like the Ministry of Culture to clarify that the so-called non-revalues commercial uses are not subject to authorization and payment of the fee. It is necessary to distinguish the reuse resulting from open access project from other form of rival commercial uses such as, for instance, the direct sale of images reproducing the cultural heritage. For example, images of cultural heritage in public domain release under Creative Commons tools compatible with the open access. For example, the CC by attribution share a license do not create any kind of exclusivity and the content remains available to the community for use and reuse with very few restrictions. Another example is concerning faithful reproduction of public domain cultural heritage labeled with the public domain market, PDM or released under CC0, two tools suitable for sharing in the public domain according to open access principles. So to be clear, uses enabled through such licenses or tools do not conflict with the economic exploitation of images by the institution themselves. Do not negatively impact the market for commercial exploitation of cultural heritage and on the contrary, positively impact Italian society by encouraging entrepreneur creator to reinvent their own heritage. Also, we are working on finding a way on how to accomplish the last request to receive attribution of provenance on public domain material. And this is the work that we are doing with the Creative Commons GLAM platform working group number five. Unfortunately, it is a common practice to use the material held in archive, museum and galleries especially for commercial purposes without giving the right credit to those related to this content. And this is one of the issue that limits the Italian minister of culture to open also culture for commercial use. To conclude my speech, the way to our goal still long to be accomplished. That's why we are engaged in a series of dialogues with our minister of culture to try to overcome the fear of open culture, aiming for a better future. Also, this I organize the other projects especially with our friends in the Wikimedia Italy and I'm sure Yolanda will speak about one of these. And all of these is also for aiming a better future. And I thank you for your attention. Thank you very much. Thank you, Deborah. Thank you for this also comprehensive overview of what the situation is like on the cultural heritage side in Italy. And thank you for the transition. Without further ado, I will hand over to Yolanda. Yolanda Pensa, who is I'm sure also a very familiar face to you in the Wikimedia community. She's a Wikimedian art critic and researcher. As a volunteer, she's been contributing to Wikimedia since 2006. She organized in 2016 Wikimedia Ezinolario. She's the chair of the Wikimedia Steering Committee and chair of Wikimedia Italy. She's been active in the implementation of Wikilove's monuments and in increasing the documentation of cultural heritage on Wikipedia and the Wikimedia projects since 2006. She's been involved in triggering the use of open licenses in institutions, publishing research materials on Wikipedia and rebalancing online geographic information with Wikiafrica. Over to you, Yolanda. You have the last word as Viviana, unfortunately, cannot join us. Hello. Thank you very much. So what I wanted to show you is considering the situation of Italy that Deborah provided a quite extensive overview. So what can we do as a volunteer, as a Wikipedian and Wikimedian? My interest is how to upload the content on our project and benefit from this content. How can we collaborate with cultural institutions? So the problem that we face from our perspective, so the practical aspect of how to engage institution and how to open content is actually the complexity of all this process. So we need a lot of authorization. We need to work with a lot of people and institution to make sure that we can collaborate, so we can open a collection. So looking of course at licensing on photos or on reproduction, the issue of properties, the issues of artists and architects, considering that we don't have freedom of panorama, the restriction of our legislation that add these fees to the reuse, and of course, the rights related to the possibility of taking photo of people. So in this complexity, we decided that we want to move forward. So we want to engage institution and maybe an approach can be to try to engage all institutions at once. So what we decided to do is to launch a project called Empowering Italian Glamms. It is a fantastic collaboration between Wikimedia Italy, ICOMA Italy, so the Association of Museums, Creative Commons and the University of Torino. So we also have a research partner. We have the support of Wikimedia Foundation and we are targeting to engage 5,000 museums. 5,000 is actually the biggest number we will probably be able to reach 3,000 and maybe getting an answer from 500, so something like this. But the idea is how can we invite all institution to collaborate with Wikipedia? Wikipedia is a nice catching word people know obviously the visibility of this project collaborating with Wikipedia for us means to engage in opening content and creating an open access policy. And so we design an approach to engage institution. Basically we have a three step process. So we are starting now the first step. We are now producing our pilot project and we are engaging around 10 institution in this first phase. And the idea is to invite all institution to release a series of photos of their institution, the exterior, the interior, some example of their collection under the open tool CZ0. Do the same with the next institution and starting drafting an open access policy. Then with a selection of those institution we will move forward towards opening a selection of their collection. And we are already launching a collaboration with the five institution to open all their work so all their heritage with a data management plan based on open by default. Among those institution is already engaged the museum of Egypt, the Egyptian museum in Torino. This approach obviously the argument to engage institution is the typical argument of course that we all know. So the advantages of opening their collection, the quality improving the procedures, also linking their way of working to open access, open government, open data, open science. Of course museums are also research institutions and they're very often public institution. We also have the Faro Convention which is a very good argument to trigger the participation. Another argument is of course visibility collaborating with the Wikipedia with the Wikimedia project with the open street map means obviously to increase the possibility of institution to gain visibility but of course opening content is obviously an important step for this access. Participation are the possibility of engaging the public, considering new ways the public, active citizenship, innovation, the possibility of producing new services and products and of course research which I think it's also a very important argument for cultural institution because they have to produce research but they often cannot produce research by themselves. So making their collection available for research is an important step to invite others and also invite the citizen science in contributing to their mission. So I'm obviously a little bold and definitely an activist. So we have a very clear vision of which are the tools and licenses we want and the one that we do not want. So considering the interoperability with the Wikimedia project of course we have some limitations and those are basically the limitation that we present the institution. We also want to force institution to think about CC0. So to think about the value of not adding restriction but also to ask people to cite their work to cite sources but recognizing the value of not adding any restrictions. So this is why we encourage also and we make it very clear that to collaborate with us it is necessary to not prohibiting derivative work allowing commercial reuse and not imposing the attribution on data. Basically we are suggesting three licenses and tools. So the CC0 for all data, metadata and digital reproduction. We encourage this or we pose and suggest the CC buy for everything that is associated to authorship. So whenever there is a signature if it's an internal document, an informative document website that only tells you the little story of the institution without a value of the author why not putting that in a CC0. And we encourage the CC buy essay for everything that engage volunteers. We come from the Wikimedia from the Wikimedia movement. It's a little bit like the Richard Stallman heritage. So we trust that the fact of keeping things open in particular when there are collaborations and when there is volunteer work, it's an added value. This suggestion is obviously associated to different material that the institution have. We do not look at only the collections. We look at the resources that each institution produce. It can be open educational resources or the didactic material of the institution, the captions of their museum, the data they produce, the publications. So everything is, we suggest a license and a way of sharing this content on their entire collections. So at the moment, this first phase that just started is associated to form an online form. In this online form institution are asked to sign on an authorization. There is also an open access policy. This is the way to reduce the work flow. So the document that state their availability of producing and providing open content also states why they're doing it. So it's an open access policy. The second step is to share a series of images. We are suggesting 20 images or images of the outside, the inside, some example of the collection. So we are moving this concept of open images from the simple reproduction of the collection or sharing collections towards something that is a bit more ambiguous, more linked to communication. And we think that this can be a easier way to engage institution because they already share images with journalists, with social media, with people that ask them for images. So having those images well documented on the Wikimedia project with the good captions with data, we think these are a common interest and also obviously we invite them to provide how they want to be cited. So not an attribution but a courtesy of citing the source. We ask for a text, those in this case in CC0, story of the collection or the institution. We ask them to check their data on Wikidata and to fill in a survey. So those are the steps through which we are engaging them. And we are launching this, we just finished the thanks to the work of two very active Wikipedians and the expert of Wikidata. We just finished to review all the data of the Museum of Wikidata to update them with data from our national statistics to make sure that we have also the link to emails and the collaboration with Icom Italy is also a resource in this way. And we are starting the communication with a little group but to make sure that the communication is efficient to then launch all the invitation to the 5,000 institution we have contact with. So this is just to give you a sense of the form and then this is the work that we are now focusing on. Thanks. Thank you, Linda. Again, I think your presentation shows that copyright reform is needed when you see all the steps, all the loops that cultural institutions have to jump through if the law was making all this possible legally without much hassle, it would make sharing cultural heritage so much easier. I see that we are almost at time. We have about three minutes left. I would like to save a minute or two to conclude but also I would like to ask you if you had to name your biggest challenge in one word, what could it be? First with Giovanna and then Deborah and Yolanda. The biggest challenge you faced in your efforts in one word? Resources, I think resources in terms of funding and resources in terms of people to allocate for what they need. That's quite a comment, Deborah. Understanding means has confidence and trust. Also quite widespread. And you, Yolanda? I think time. It has been so long the time we've been investing in trying to move Italian heritage on the Wikimedia project. And I think to have a shorter deadline, I would like those projects to end rather than continue just because we want to move to some other topics that can be fascinating as well as this one. But I think after a while, it's long to invest so much energy for such a long time and to see that the machine doesn't really move quicker. Yeah, if I can have just one cent, it is right, Yolanda. But maybe we have the time on our favor now since there are so many years and we know that social and political issue are long process. And maybe after 10 years, we are quite in the moment that we should achieve some results. Yes, so stay tuned. Something is bound to happen very soon. Yes, yes, I believe. Well, listen, thank you so much for making it to this session. We had some technical difficulties. I'm so grateful to the organizers that we could make it work. Thank you to the participants, for your patience and for joining us in this session. Thank you to our speakers for making it today. Sorry that Viviana couldn't come, but Viviana, you were here in spirit. I will share in the notes some links that I wanted to share with you, but now we're at time. So I would just want to say enjoy the closing toast that's about to happen and hopefully see you all very soon. All right, goodbye. Thank you, bye-bye, thank you. Bye-bye.