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Digital Culture: The Changing Dynamics music. Thus, the use of the Internet for cultural purposes differs from country to country, highlighting the diversification of the cultural content on the Internet, as well as the interest of users for cultural content and services. What is accessed on the content level (global or/and local content) still remains an issue to be researched. In this regard, due to the current difficult economic conditions in the SEE region, what is most important is that users in the region have some kind of access to the (global) digital arena – to present their cultural content and to be introduced to the already existing one. Conclusion The digitalization processes during the 1990s have opened up enthusiastic discussions on the egalitarian properties of the Internet and the Web. The last decade has shown the other side of digitalization – the great digital divide, possible breaches of privacy and the issue of control. “Who’s gonna monitor the monitors?” reappears as an important question. The current data on digitalization in SEE countries show us that these countries are still not as developed in their ICT access and infrastructure, and therefore in access to (cultural) content as well. The new technologies are still used by a limited number of people in the SEE region. The growth of Internet users in the SEE region in recent times has been exceptionally high, but there is still room for further development. In addition, looking from the aspect of household expenditure, the costs of communication services in SEE countries are high in comparison to EU countries. This creates obstacles to better connectivity to the digital arena for participants from the SEE region, as ICT usage can still be considered as a luxury for SEE citizens. In this way, this also contributes to the piracy level, which is still higher in the SEE region than in Western Europe. This means that a certain amount of participants from SEE countries that are active in (global) digital culture use pirated platforms. They also consume cultural goods distributed on pirated materials. Additionally, those authors working in the creative industries of the SEE region have problems with the implementation of legislation connected to intellectual property rights in their respective countries. The alternative licences for open software and creative exchange have just started to be implemented or to be taken as a valuable alternative. Such licences could be an answer to better connectivity and participation of SEE countries, i.e., the orientation towards open-source software and sharing platforms. If applicable, these issues should be discussed at the policy level of the governments in question. It should be stressed that the notion of piracy here has to be rethought, to take into account the new context that ICT brings, so that those new possibilities could be embraced and used to their full potential, enabling sharing and other forms of online cooperation, but, at the same time, finding ways to protect authors. Although the SEE 86
egion still has to regulate the IPR area it should be taken into account that overregulation brings its own pitfalls. Thus, the changes in the digitalization field in this region are particularly swift, and there are a number of participants from the SEE region who are able to communicate in the digital arena in cultural exchange. With further economic developments in these countries, as well as through changes in IPR implementation and the introduction of Creative Commons, the level of access to ICT will broaden and the SEE countries will be more present in the digital sphere. New tools of distribution and exchange of digital content such as p2p, etc., should be taken into account as well. Nevertheless, as noted, the Internet is not as egalitarian as it was once thought. At the next stage we should think not only about whether we are connected to the vast inventory of the Web, but also how we are connected in it. References Access, piracy and culture: the implications of digitalization in Southeastern Europe Anderson, Chris: The Long Tail. How Endless Choice is Creating Unlimited Demand. London, Random House, 2006 Barabási, Albert-Lászlo: Linked. How Everything is Connected to Everything Else and What it Means for Business, Science and Everyday Life. London, Plume, 2003 Benkler, Yochai: The Wealth of Networks. New Haven and London, Yale University Press, 2006 BSA: Fourth Annual BSA and IDC Global Software Piracy Study. BSA, 2006 available at: http://w3.bsa.org/globalstudy//upload/2007-Global-Piracy-Study-EN.pdf (accessed 20 February 2008) Cvjetièanin, Biserka (ed.): Dynamics of Communication: New Ways and New Actors. Culturelink Joint Publications Series No. 10, Zagreb, Institute for International Relations, 2006 Eurostat: “The Digital Divide in Europe”, 2005, available at: http://epp.eurostat.cec.eu.int/cache/ITY_OFFPUB/KS-NP-05-038/EN/KS-NP-0 5-038-EN.PDF (accessed 4 December 2007) Eurostat: Pocketbook on Candidate and Potential Candidate Countries. 2007 Edition, 2007a, available at: http://epp.eurostat.ec.europa.eu/cache/ITY_OFFPUB/KS-77-07-177/EN/KS-77- 07-177-EN.PDF (accessed 23 February 2008) Eurostat: Cultural statistics, Eurostat Pocketbooks, 2007 Edition, 2007b, available at: http://epp.eurostat.ec.europa.eu/cache/ITY_OFFPUB/KS-77-07-296/EN/KS-77- 07-296-EN.PDF (accessed 23 February 2008) 87
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CULTURELINK Network of Networks for
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Managing culture in virtual realms:
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Foreword Digital culture is a new c
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INTRODUCTION
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Digital Culture: The Changing Dynam
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PART ONE DIGITAL CULTURE - THE NEW
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languages on the Internet - mainly
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governmental or corporate action pl
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global critical consciousness that
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A glance at the Cuban culture throu
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websites that fused into what we ma
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Internet costs nothing in any forei
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