March 2026

Opening Up Heritage: Reflections on Our Amsterdam Event

On Monday 2 March, Internet Archive Europe co-hosted an afternoon of conversation that felt, in the best possible way, like a homecoming. Together with Creative Commons and Open Nederland, we welcomed practitioners, policymakers, and advocates from across the Dutch heritage sector to our Amsterdam space for an event entitled “Ensuring equitable access to heritage in the digital environment: A leading role for the Netherlands on the global stage.”

The occasion was an opportunity to celebrate something real: the Netherlands has, for more than two decades, quietly and consistently set the standard for how cultural heritage institutions can open up their collections with integrity, imagination, and public purpose. Getting the people doing that work into the same room, alongside international partners, felt both timely and overdue.

Why the Netherlands, Why Now

The Dutch heritage sector’s track record on openness is not accidental. It reflects sustained investment, institutional leadership, and a genuine commitment to the idea that collections held in trust for the public should be accessible to that public.

Saskia Scheltjens from the Rijksmuseum Research Library captured this with a precision I found genuinely moving. The Rijksmuseum launched its digital collection in 2011, opened Rijkstudio in 2012, and completed the digitisation of its entire collection of one million objects in 2023. Rather than driving visitors away, free and open online access has brought more people into a relationship with the collection. As she put it: “Innovation requires infrastructure.” That is as true for open heritage as for anything else.

Edwin van Huis, who serves on the Internet Archive Europe Advisory Board, made the case for scaling this ambition to the European level. He pointed to DiSSCo — a Dutch-led initiative bringing together 1.5 billion specimens, 5,000 scientists, and more than 400 institutions across 23 countries — as an example of what becomes possible when openness is treated as a design principle from the outset.

Amanda van Rij from the Ministry of Education, Culture and Science introduced the National Strategy on Digital Heritage and the Netwerk Digitaal Erfgoed (Digital Heritage Network) Manifesto, which has already been signed by over 200 institutions across the country. Her framing was one I hear echoed in much of the policy work we do: digitisation changes how heritage is created, shared, and experienced, and that transformation demands a careful balance between intellectual property on the one hand and the public interest in access to our collective memory on the other.

The Open Heritage Statement and Our Future Memory

For Internet Archive Europe, this event was also an opportunity to draw out the connections between two initiatives we care about deeply: the Open Heritage Statement, led by Creative Commons and the Open Heritage Coalition, and our own Our Future Memory campaign.

When I presented on the second panel, aptly steered by the moderator Maarten Zeinstra from Open Nederland, I tried to show how these two efforts speak to the same underlying concern from different angles. Our Future Memory focuses on the basic rights that memory institutions need in the digital environment: the right to preserve, to lend, to provide access to knowledge across borders, and to engage in research and education. The Open Heritage Statement takes a broader view, calling for equitable access to public domain heritage and the removal of barriers that prevent people from participating in cultural life.

They are complementary. One focuses on the legal and institutional conditions under which memory institutions operate; the other articulates the values and principles that should guide how heritage is made available to the world. Together, they map a more complete picture of what an open heritage ecosystem actually requires.

Claire McGuire from the International Federation of Library Associations & Institutions (IFLA) made this point powerfully. The Open Heritage Statement, she observed, addresses issues well beyond copyright. It frames access to heritage within the wider context of access to information, and it does so at a moment when the landscape is becoming more, not less, fragmented. Uncertainty about artificial intelligence is already producing regression and backsliding in some areas. A global shared framework, with a home at UNESCO, offers a counterweight to that fragmentation.

Jan Bos, Chair of the UNESCO Memory of the World International Advisory Committee, placed the Statement in a longer institutional history. The Memory of the World Programme has been focused on protecting documentary heritage since 1992, and the 2015 Recommendation on the Preservation of, and Access to, Documentary Heritage laid important groundwork, including commitments to public domain access and open licensing. But the 2015 Recommendation covers only documentary heritage. The Open Heritage Statement extends those principles to all forms of heritage, making it a genuinely valuable complement — and potentially the basis for a more comprehensive international framework.

That framing matters to us. Internet Archive Europe operates in the spaces where documentary heritage, digital preservation, and open access converge. Seeing those concerns reflected in a global instrument with a home at UNESCO is not a small thing.

What Progress Looks Like, and What It Does Not

Douglas McCarthy from the Open Future Foundation offered some useful honesty. Roughly 1,700 cultural heritage institutions worldwide have released some data openly, corresponding to around 100 million objects. That is real progress. Article 14 of the 2019 Copyright in the Digital Single Market Directive has brought greater legal clarity in Europe, and the positive growth curve in online access to heritage is genuine.

But he also named what is still missing: compliance regimes are weak or non-existent, practices and policies remain deeply fragmented, and some prominent Dutch institutions are still erecting barriers around public domain heritage, perpetuating business models that no longer serve the institutions or the public they exist for. Driving change, he argued, comes down to individuals with the leadership and vision to experiment.

That observation feels true to us. At Internet Archive Europe, we see it every day. The legal frameworks matter enormously, and we will keep working to strengthen them. But the choices made by people inside institutions — what to digitise, how to licence it, whether to share it freely — are where the actual transformation happens.

Looking Ahead: Paris in April

This event was, as Brigitte Vézina and Brewster Kahle reminded us in their closing remarks, a prelude. The Netherlands is well-positioned to help set global standards for heritage access, and the international law stage offers a real opportunity to make that influence felt.

Creative Commons is organising a follow-up event at UNESCO House in Paris on 29 April 2026: “How Can Equitable Access to Heritage Help Solve Global Challenges? An Exploratory Dialogue.” We hope many of the people in the room on Monday, 2 March will be there. If you are not yet registered, you can do so at openheritagestatement.org/dialogue. The Our Future Memory campaign continues to grow. If your institution has not yet added its voice, we encourage you to do so at ourfuturememory.org. No organisation is too small — and the breadth of the sector matters as much as the weight of its largest members.

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The Moving Image: A Book Talk with Peter Kaufman

On Friday, 13 March, Internet Archive Europe welcomes MIT’s Peter Kaufman to our Amsterdam HQ for a conversation about the medium that now carries most of human knowledge: video.

Event details

📅 Date: Friday, 13 March 

⏰ Time: 3:00 – 5:00 PM CET 

📍 Location: Internet Archive Europe, Oudeschans 16, 1011 KZ Amsterdam 

🎟 Registration: Required via Luma

The event is free and open to anyone working in publishing, education, libraries, archives, or simply curious about where the moving image is taking us next.

Why video, and why now

Two-thirds of the world’s internet traffic is video. Americans get their news and information from screens and speakers more than through any other means. And yet, for most writers, educators, publishers, and archivists, video remains something of a foreign country: present everywhere, understood unevenly, and preserved poorly.

Kaufman’s new book, The Moving Image (MIT Press), is the first authoritative account of how we arrived here, and the first practical manual for those who want to navigate the medium with confidence. Drawing on decades as an educator, publisher, and producer, Kaufman covers the full lifecycle of video: how to produce it, distribute it, clear rights to it, cite it, and, crucially, archive and preserve it. And in a gesture entirely consistent with its argument, the book is now available as an open-access edition under a CC BY-SA licence, released with support from MIT Libraries exactly one year after its original publication. You can read it here.

What the afternoon covers

The book ranges across politics, law, education, and entertainment, tracing video’s role in public life 130 years since the birth of film. Kaufman offers detailed guidance on finding and using archival footage, securing rights and permissions, developing distribution strategies, and addressing the preservation and storage questions that libraries and archives know all too well.

For an organisation like Internet Archive Europe, that last part matters enormously. Preservation is not a technical afterthought: it is the condition under which access to moving image culture becomes possible at all.

Modelled in part on Strunk and White’s The Elements of Style, The Moving Image is, by all accounts, also a genuinely enjoyable read, which is not always what you get from a definitive manual.

About Peter B. Kaufman

Peter B. Kaufman is Associate Director of Development at MIT Open Learning and founder of Intelligent Television, a video production company that works with cultural and educational institutions around the world. He is also the author of The New Enlightenment and the Fight to Free Knowledge, making this latest book a natural continuation of a career spent arguing that knowledge, in whatever form it takes, belongs in the commons.

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Celebrating “Humans of AI”: A Journey Into Public-Interest Technology

Internet Archive Europe is proud to support the release of AI Lab Perspectives: Humans of AI, the seventh report by information labs, based on a series of expert video capsules.

This timely and thoughtful publication brings together voices from across Europe’s cultural heritage ecosystem to explore a question that could not be more important: what does it mean to build AI that truly serves the public?

As the report’s introduction makes clear, Humans of AI aims to spark informed conversation and critical reflection on how artificial intelligence is being applied within the cultural heritage sector across Europe and beyond. Through in-depth podcast conversations with libraries, museums, archives, artists, researchers, and digital platforms, the series highlights real-world projects, ethical challenges, and practical lessons that demonstrate how AI can support access, memory, and public engagement.

At Internet Archive Europe, this mission resonates deeply.

AI as Public-Interest Infrastructure

Across all ten case studies, one shared insight stands out: AI is neither a miracle nor a threat; it is a tool. Its impact depends on how it is governed, who shapes it, and whether it strengthens public knowledge and democratic access.

The projects featured in the report illustrate this principle in powerful ways:

  • Preserving History: From Transkribus turning historical manuscripts into searchable text to the National Library of Norway building language models grounded in local culture.
  • Innovating Access: Projects like Litte_bot bring literary characters to life, while the Museum Goggles initiative uses AI to help us understand how visitors truly experience art.
  • Memory & Ethics: The Synthetic Memories project uses AI to reconstruct lost personal histories, and Europeana uses it to identify and contextualise contested colonial terms in metadata.
  • The Web of the Past: We are especially thrilled to see Kai Jauslin’s work on the Websites van Nederland project, part of the Webarchiving Display of the Internet Archive Europe. This initiative transforms massive web archives into interactive “fields of stars,” making born-digital heritage tangible and explorable for the public.

For us, the themes of openness, shared ownership, multilingual access, ethical governance, and human oversight are not abstract ideals. They are foundational principles. We believe that digital heritage, including the web itself, belongs to everyone. AI, when responsibly developed, can help ensure that these collections remain explorable, meaningful, and usable for generations to come.

Bringing Collections to Life — Responsibly

One of the most inspiring aspects of Humans of AI is its refusal to fall into hype or fear. The report consistently underscores that the real challenges around AI are social and institutional—adoption, governance, trust, and long-term sustainability—rather than purely technical.

From reconstructing lost memories through guided conversations to using AI-powered eye-tracking to better understand museum engagement to enriching metadata across millions of records, the report shows that AI’s greatest value lies in supporting human interpretation, not replacing it.

This aligns closely with Internet Archive Europe’s commitment to:

  • Preserving digital memory at scale
  • Supporting open data and open-source innovation
  • Making archives explorable, not hidden
  • Ensuring that public knowledge is not mediated exclusively through private platforms

AI can help bring collections to life, but only if it remains grounded in public interest, transparency, and shared stewardship.

Looking Ahead: The Second Series of Case Studies

We are especially proud to see the breadth and diversity of contributors in this first edition, from national libraries and global open-source communities to artists and experimental designers. The range of voices reflects the richness of Europe’s cultural and digital heritage ecosystem.

Internet Archive Europe looks forward with great anticipation to the second series of Humans of AI case studies. Continued documentation of practical, ethical, and public-interest applications of AI will be essential in shaping a European approach that is confident, values-driven, and collaborative.

By amplifying real-world examples rather than abstract speculation, this series provides policymakers, cultural institutions, and technologists with something invaluable: grounded insight.

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