Page 137 - AC/E's Digital Culture Annual Report 2015

AC/E Digital Culture Annual Report 2015137the Republic and the World Bank Group. For example, the Argentine newspaper La Nación has a department23 that is fully devoted to open-data journalism, and the African Media Initiative24 directed by Justin Arenstein works on implementing more horizontal government models in the public and private media industry throughout the whole of Africa.In Mexico, SocialTic,25 a non-governmental organisation dedicated to promoting and enabling social groups to enhance their activity through technology runs, AbreLatam,26 an initiative that aims to strengthen ties inorder to generate common projects in Latin America among technologists, organised civil society and governments. The various social applications generated through its programmes have progressively raised awareness of the importance of the use of open data in shaping better organised social and cultural projects with a greater impact.Among the open data social projects I hadthe chance to see at this year’s ConDatos,27my attention was drawn by OpenStreetMap,28 which brought together urban planners, geog- raphers, artists, government and private sector to create open maps with ideas for improving our cities, warning of natural disasters, planning public transport and offering business opportunities.An open-data culture is indispensable in shaping organic cultural projects that are capable of adapting to the changes that arise and, accord- ingly, are financially feasible. I believe that 2015 will be a year in which we will see growth in theimplementation of open data systems for open culture projects.Sharing economySharing is the transgressive act that pow- erfully brings us face-to-face with the need to change the paradigms under which we operate. When digital platforms are developed, the need arises to implement inward changesin our organisations. We must make decisions from an uncertain place because clear standards for adapting to this new reality do not yet exist. For example: How to reorganise our policies for transferring rights in order to be able to openly share cultural production without infringing copyright laws made for other times? Under what paradigms should we proposenew cultural programmes that adapt to the current economic models of production and exhibition? What logics of correspondence will I establish as an institution with the artistic community and with citizens? Or how to generate solid and long-term programmes in a world of fast-paced changes?An alternative copyright model that does not focus on the resource but on the use and where information becomes valuable for its use.At the Centro de Cultura Digital,29 we view physical installations as a great network contain- er in which the work that is shown is mainly produced by the community of the centre itself,Grace Quintanilla