Today, we are launching a project that i have worked on for the last 6 months: A Vision for a Shared Digital Europe. I started working on this while i was still at Kennisland (where the idea was born) and i have continued this work after my departure from KL with Centrum Cyfrowe and the Commons Network. This vision is an attempt to set the stage for a different way about digital policy making in Europe.

With our vision we are proposing a uniquely European way that refuses to the the digital space as a marketplace alone and that sets out to identify a number of principles that can guide policy makers in developing alternatives for the status quo that go beyond an essentially defensive approach that relies on curtailing and regulating practices and operators that are considered to be problematic. In publishing our vision we hope to kick-start a conversation about what kind of digital environment we want for Europe:

Today we are launching a new vision for digital policy making in Europe: Our Vision for a Shared Digital Europe lays the foundation for a new frame for digital policy making in the EU. We propose an overarching policy framework that brings together varied issues and policy arenas, including copyright reform, platform regulation, privacy, data-protection and data governance, antitrust, media regulation or innovation policy.

Digitalisation has led much of our interaction, communication and economic activity to take place through data or over online intermediaries. What kind of space should this digital sphere be? We believe that seeing this space as a market place only does not do it justice. This space is in effect our society – a society that is experiencing a digital transformation. Therefore we cannot accept the digital sphere as a place where only market dynamics rule. Society is more than an interaction between market players, and people are more than entrepreneurs or consumers.

As supporters of the European project, we believe that Europe needs to establish its own rules for the digital space, which embody our values: strong public institutions, democratic governance, sovereignty of communities and people, diversity of European cultures, equality and justice. A space that is common to all of us, but at the same time diverse and decentralised.

Over the past five months we have worked with a broad group stakeholders on developing a frame that can replace the existing Digital Single Market frame that dominates discussions about digital policy making in the EU. We propose a new, society-centric vision that is intended to guide policymakers and civil society organisations involved with digital policymaking in the direction of a more equitable and democratic digital environment, where basic liberties and rights are protected, where strong public institutions function in the public interest, and where people have a say in how their digital environment functions - a Shared Digital Europe.

The Shared Digital Europe must be based on four principles that aim to ensure that the balance between private and public interests is safeguarded. We believe that a Shared Digital Europe must enable self-determination, cultivate the commons, decentralise infrastructure and empower public institutions.

Combine these four elements with a truly European set of values and a new strategy presents itself. **A strategy that policy makers and civil society actors can use to counter the current lack of democratic oversight in the digital space, the deteriorating online debate, the monopolisation of the digital sphere, the enclosure of knowledge and the means of knowledge production and the increasing violation of human rights in the digital space. **

**Most importantly our Vision for a Shared Digital Europe provides policy makers with an opportunity to work towards a truly European idea about how society should function in the digital age. **

Are you working on digital policies and want to learn more or join our effort? Or do you want us to come by and share and discuss our vision with you? Don’t hesitate to reach out to hello@shared-digital.eu

The Guardian recently had an op-ed by John Naughton on how the media is guilty in selling us AI fantasies at the behest of the technology industry. This scratches my long held belief that (a) AI is both poorly understood and as a result (b) completely oversold (at least when it comes to non-trivial problems of optimising consumption patterns¹. In his op-ed Naughton primarily looks at how industry serving narratives about AI have come to dominate media coverage of AI, which he mainly attributes at journalists doing a fairly shoddy job:

The tech giants that own and control the technology have plans to exponentially increase that impact and to that end have crafted a distinctive narrative. Crudely summarised, it goes like this: “While there may be odd glitches and the occasional regrettable downside on the way to a glorious future, on balance AI will be good for humanity. Oh – and by the way – its progress is unstoppable, so don’t worry your silly little heads fretting about it because we take ethics very seriously.” […]

Why do people believe so much nonsense about AI? The obvious answer is that they are influenced by what they see, hear and read in mainstream media. But until now that was just an anecdotal conjecture. The good news is that we now have some empirical support for it, in the shape of a remarkable investigation by the Reuters Institute for the Study of Journalism at Oxford University into how UK media cover artificial intelligence. […] The main conclusion of the study is that media coverage of AI is dominated by the industry itself. Nearly 60% of articles were focused on new products, announcements and initiatives supposedly involving AI; a third were based on industry sources; and 12% explicitly mentioned Elon Musk, the would-be colonist of Mars.

Critically, AI products were often portrayed as relevant and competent solutions to a range of public problems. Journalists rarely questioned whether AI was likely to be the best answer to these problems, nor did they acknowledge debates about the technology’s public effects.[…]

In essence this observation is neither new or specific to media coverage of AI. Similar dynamics can be observed across the whole gamut of technology journalism where the media is breathlessly amplifying thinly veiled sales pitches of technology companies. A couple of years ago, Adam Greenfield did an excellent job at dissecting these dynamics for the “smart cities” narrative. Adam’s post went one step further by focussing on how these media narratives find their way into public policies via bureaucrats who are ill-equipped to critically question them.

Even if we assume that the current capacities and impacts of AI systems are massively oversold, it is still clear that widespread deployment of Artificial Intelligence has the potential to further wreck the social fabric of our societies in pursuit of optimising the extraction of value. Given this it is not entirely surprising that the purveyors of the AI driven future are anticipating on the inevitable backlash:

Another plank in the industry’s strategy is to pretend that all the important issues about AI are about ethics and accordingly the companies have banded together to finance numerous initiatives to study ethical issues in the hope of earning brownie points from gullible politicians and potential regulators. This is what is known in rugby circles as “getting your retaliation in first” and the result is what can only be described as “ethics theatre”, much like the security theatre that goes on at airports.

The term “ethics theatre” seems spot on in this context. So far the whole discussion about AI ethics does indeed resemble a theatre more than anything else². On multiple occasions I have seen otherwise critical people become almost deferential to some imagined higher order of discourse as soon as discussions were framed as being about the “ethics of…”. Having unmasked the abundance of ethics talk as an attempt to proactively deflect regulation Naughton points out that what we really need is indeed regulation:

…in the end it’s law, not ethics, that should decide what happens, as Paul Nemitz, principal adviser to the European commission, points out in a terrific article just published by the Royal Society. Just as architects have to think about building codes when designing a house, he writes, tech companies “will have to think from the outset… about how their future program could affect democracy, fundamental rights and the rule of law and how to ensure that the program does not undermine or disregard… these basic tenets of constitutional democracy”.

This is an idea that we should take very seriously. Now that our public spaces are more and more defined by code and data, it is high time to realise that ideas like “moving fast and breaking things” are the equivalent ignoring building codes when constructing schools in earthquake-prone areas.

The text below is an adapted version of a text first published on the Kennisland website under the title “Time to move on: what we have done to improve copyright and access to cultural heritage”. Both texts are identical except for the last section. The version published here provides a more in depth reflection on the challenges ahead for digital policy making.

At the end of 2018 we will end our activities in the areas of copyright and cultural heritage. Kennisland has been working on these themes for over a decade but with the departure of Paul Keller, who has been leading these efforts, we have decided to focus our energies on innovation in Education, Cities and Care.

Internet access, civil society media and open content

Over the past fifteen years our efforts to create an open, knowledge driven society have taken a lot of different forms. Driven by the conviction of our founders that the technological revolution started by increasing access to the internet presented a lot of benefits to an open, inclusive and diverse society, we have worked on a wide range of projects that tried to leverage new technologies for social progress. This ranged from initiatives to improve internet access in disadvantaged communities like Digitale trapvelden (‘Digital playing fields’) to ideas ahead of their time like WIFI in de trein (‘WIFI in the train’)¹.

The main catalyst in this area turned out to be the Digital Pioneers programme we ran from 2002 to 2010. Through this programme, designed to support small civil society organisations in setting up technology driven activities, we learned a lot about the potential and the challenges posed by the rapid digitisation of society. One of these challenges that we identified early on was how copyright and other forms of intellectual property were not evolving at the same speed as technology. This meant that technology enabled many activities that were in conflict with copyright and other laws. Therefore, in 2003, we started the project DISC (Domain Innovative Software and Content). Together with Waag Society we helped civil society organisations to leverage the power of open source software and open content. Our involvement in the emerging field of open content led us to set up Creative Commons Nederland, which Kennisland ran (together with the Institute for Information Law) from 2005 until 2018².

Working on the development and promoting the use of the Creative Commons licenses was our first step into the area of copyright, and brought us in contact with the copyright establishment. In the fall of 2007, after years of discussion and relationship building, we launched a pilot project with Buma/Stemra that for the first time allowed members of a collective management organisation (music authors) to share some of their works under an open license. This breakthrough later provided the basis for a flexible model that gives Buma/Stemra members more say over how their rights are managed.

Opening up cultural heritage

Also in 2007, Kennisland, together with the Dutch Institute for Sound and Vision, the EYE Filmmuseum and the National Archives embarked on an ambitious project to digitise the audio visual memory of the Netherlands. At the time, the project called Images for the Future was the largest digitisation project in Europe. Kennisland was responsible for the copyright, communication and business model aspects of the project. During the project (2007-2014) the project partners restored, preserved and digitised over 90,000 hours of video, 20,000 hours of film, 100,000 hours of audio and 2,500,000 photos.

As one of the initiators of Images for the Future our priority was to make sure that the digitised works would become available online under conditions that would allow reuse. With regards to this objective the project turned out to be less successful. Regretfully only a small percentage of the overall collections could be made available online, mainly because of unresolved copyright issues. Copyright turned out to be a much more thorny issue than we had expected. The original project plan was based on the assumption that copyright owners would provide permission for the digitised material to be used in return for payment. In reality, most of them did not, as the economic incentive never materialised³.

However, we did manage to demonstrate the impact of making cultural heritage collections available under open licenses through platforms such as Open Images⁴ and the collaboration between the National Archives and Wikimedia. The latter illustrated that by sharing content on open platforms, institutions could reach new and larger audiences. These experiments around opening up collections for reuse became very influential for the nascent OpenGLAM movement. Realising that opening up GLAM collections (Galleries, Libraries, Archives, and Museums) was primarily a matter of working with public domain works and metadata, we worked with Creative Commons on developing the tools to facilitate this⁵.

From 2009 onwards we also worked with collective rights management organisations on a number of pilot projects that explored the possibility of extended collective licensing as a mechanism to get more digitised cultural heritage available online. These projects proved to be successful and in response in 2013 cultural heritage institutions and collective rights management organisations joined forces (article available in Dutch only) to ask the Dutch legislator to provide a legal basis for extended collective licensing⁶.

Based on our work in the cultural heritage sector we were an early partner of Europeana, the EU funded platform that brings together digitised cultural heritage from thousands of libraries, archives and museums across the EU. Europeana provided us with an opportunity to apply the lessons that we had learned in the Images for the Future project on a wider scale. Together with the Institute for Information Law and the Bibliothèque Nationale de Luxembourg we developed a licensing framework that ensures full reusability of the metadata aggregated by Europeana. It encourages institutions to make their collections available for reuse under open licenses⁷. Today, ten years later, Europeana is the biggest aggregator of openly licensed cultural heritage resources, hosting more than twenty million freely licensed works⁸. The success of the Europeana Licensing Framework, which focuses on clear rights information for end users promotes reuse, has inspired other cultural heritage aggregators around the globe⁹, such as the Digital Public Library of America. Over the years of our collaboration Europeana has developed into one of the leading voices advocating for open access to cultural heritage and for the protection of the Public Domain¹⁰. We are proud to have been a driver of this.

Fighting for better copyright rules in Europe

Since 2016 we have also worked with Europeana on making sure that the ongoing EU copyright reform will improve the ability of cultural heritage institutions to make more of their collections available online. While the reform process is not concluded, there are indications that the EU copyright reform package will finally provide a workable answer for the copyright problems faced by libraries, museums and archives engaged in large scale digitisation efforts.

But our fight for better copyright rules¹¹ extends further than improving the position of cultural heritage institutions. As a founding member and core contributor of the International COMMUNIA Association we have been advocating for a more user-friendly and modern EU copyright framework. Together with our partners we have been advocating for Europe-wide rules¹² that benefit educators¹³ and scientists, and encourage innovation and broad access to knowledge and culture. The fight for a more sensible copyright system remains an uphill battle. The legislative fight over the Digital Single Market Copyright Directive¹⁴ is still ongoing, and while it looks like we (together with our partners) have achieved substantial improvements for the cultural heritage and the educational sectors, it is also clear that copyright will continue to serve as a major barrier to unlocking the full potential of digital technologies for public institutions and civil society at large.

What’s next?¹⁵

As we look back at almost fifteen years of activities, it is clear that many of the hopes that drove us to invest in these areas have failed to materialise. Instead of contributing to a more decentralised, democratic and equitable society, the digital revolution has brought us an increasingly centralised digital space that is undermining democracy and personal self-determination. At the same time, the rapid advancement of artificial intelligence is likely to raise an entirely new set of issues.

So why are we stopping our activities in this area when there is more urgency to act than ever?

We feel that after fifteen years we have exhausted our ability to intervene in meaningful ways. As an organisation that is entirely project-funded we need to find funders that are willing to pay for our interventions. Most funders that we have worked with prefer to fund activities/interventions that directly address a specific problem or issue that is relevant to their own mission (such as cultural heritage institutions for whom we have worked on copyright reform) or business (such as tech companies who have supported our copyright reform work). Such funding is usually tied to concrete opportunities or threats (like the ongoing EU copyright reform) and as such a lot of our work in the past years has been reactive to these kinds of threats and opportunities.

This has allowed us to change a lot of things for the better for the organisations and sectors that we have been working for. At the same time it is clear that we (as part of a bigger movement) have failed to counter the general trend towards an online space that is more and more dominated by a small number of powerful platforms that have built their dominance by extracting more an more of our private and public information. This situation poses a challenge for those like us who are part of the open movement. By advocating for opening up access to data, culture and information we have contributed to a favourable environment in which these platforms have come to dominate the online space.

If we want to reverse these developments and double down on our efforts to create a more decentralised, democratic and equitable society, there is a clear need for developing a more strategic, forward-looking policy agenda that furthers the policy objectives of the open movement.

Despite our long and successful track record in this field, Kennisland is no longer the place where this can happen. Both the funding model (dominated by relatively short-term project funding) and the relationship with our network of partners with whom we work on concrete social challenges (and who expect us to deliver concrete interventions in their immediate reality) drove us to the conclusion that Kennisland is no longer the place for long-term strategic policy work with an international focus. This is why I have decided to take these ambitions elsewhere.

Over the course of 2019 I hope to develop the foundations for a new entity that can be the host for these ambitions and that can become the basis for policies that rethink the digital environment in the light of what we have learned over the last decade and a half.