Creative production in the Net: sharing vs protecting

Pierluigi Feliciati


There is a general lack of knowledge among the cultural heritage and art community about the issues concerning the daily practice of online communication, most of which have legal implications requiring the utmost attention in the reuse online. In the era of global content sharing, we do not seem to be sufficiently aware of the extraordinary opportunities in terms of cultural, social and economic development for the community deriving from the adoption of open licenses on digital works in the public domain. In this paper, the author presents the state of the art about legal issues related to the use, reuse, modification and publication of creative digital content on the Net, with particular attention to the European context. Some tools, tips for instructors and students, and a list of best-known platforms offering open multimedia resources adopting open licenses are presented.

Full Text

PDF (English)

Riferimenti bibliografici

Aufderheide P., Jaszi P. (2011), Reclaiming Fair Use: How to Put Balance Back in Copyright, Chicago: University of Chicago Press.

Broussard S.L. (2007), The copyleft movement: creative commons licensing, «Communication Research Trends», 26, n. 3, pp. 3-43,

Caso R., Dore G., Arisi M. (2021), D5.1 Report on the existing legal framework for Galleries and Museums (GM) in EU,

Creative Commons (2020), Creative Commons Strategy 2021–2025,

European Parliament and the Council (2001), Directive on the harmonisation of certain aspects of Copyright and related rights in the information society, Directive 2001/29/EC, 22 May 2001,

European Parliament and the Council (2006), Directive on the term of protection of copyright and certain related rights, Directive 2006/116/EC, 12 December 2006,

European Parliament and the Council (2016), Regulation on the protection of natural persons with regard to the processing of personal data and on the free movement of such data, and repealing Directive 95/46/EC (General Data Protection Regulation), Regulation (EU) 2016/679, 27 April 2016,

European Parliament and the Council (2019), Copyright and related rights in the Digital Single Market and amending Directives 96/9/EC and 2001/29/EC, EU Directive 2019/790, 17 April 2019,

Gorgels P. (2013), Rijksstudio: Make Your Own Masterpiece!, in Museums and the Web 2013, edited by N. Proctor, R. Cherry, Silver Spring, MD: Museums and the Web, Published January 28, 2013,

ICOM Italia Digital Cultural Heritage Research Group (2021), FAQs AUTHOR’S RIGHT, COPYRIGHT AND OPEN LICENSES FOR CULTURE ON THE WEB. 100 questions and answers for museums, archives and libraries, English version,

Lessig L. (2006), Lawrence Lessig on Creative Commons and the Remix Culture. Talking with Talis, Archived from the original (MP3) on February 5, 2008,

Mezzino D., Lori F.V.L. (2021), The digital transformation of the Museo Egizio, in Proceedings of the joint international event 9th ARQUEOLÓGICA 2.0 & 3rd GEORES, Valencia (Spain), 26-28 April 2021,

Priora G., Sganga C. (2021), D5.2 Report on the existing legal framework for Libraries and Archives (LA) industries in EU,

Poort J., Pervaiz A. (2022), Report(s) on the perspectives of authors and performers,

Stihler C. (2020), Announcing our new strategy: what’s next for CC, Creative Commons,

Westkamp G. (2017), Digital Copyright Laws in Europe. Regulating Information Access, Cheltenham (UK): Edward Elgar Publishing.

WIPO – World Intellectual Property Organization (1979), Berne Convention for the Protection of Literary and Artistic Works, September 9, 1886, Berne, completed at Paris on May 4, 1896, and amended on September 28, 1979,


Copyright (c) 2023 IL CAPITALE CULTURALE. Studies on the Value of Cultural Heritage

Licenza Creative Commons edita dall'eum e gestita dall'Università di Macerata, Dipartimento di Scienze della formazione, dei beni culturali e del turismo, Sezione di Beni Culturali, piazzale Bertelli 1, 62100 Macerata, Italia.

Adotta specifiche politiche per la gestione e protezione dei dati.