AI strategy for cultural and creative sectors

COST Action CA23158 ARTinRARE Working Group 1 (Adaptation Strategies) welcomes the Commissions proposal for an AI Strategy for the Cultural and Creative Sectors. We support its human-centred objectives, but identify a foundational problem: AI is too often treated as a single technology, process, or small number of universal generative models.

OKFGR (Open Knowledge Foundation Greece) is a technical partner in the ARXIVE project (Horizon Europe, GA 101233418). We lead the project's ontology extension and alignment work: semantic annotation, ontology/graph engineering, CIDOC CRM-based semantic mapping of bibliographic, museum, archaeological and other cultural heritage data, and vocabulary integration of relevant collections.

This Response provides information on how the gallery, library, archives and museum (GLAM) sector is engaging with AI, with a focus narrowed to the impacts on this sector by commercial AI scraping and specific challenges and recommendations around this.

Instead of writing about my projects, like every day, at least four hours, usually more, I sit here and make this statement. I call on the EU and all other European countries (including Switzerland and the UK) to make a point. Our books, our literature are the result of a discussion of the big questions. Creation takes weeks, months, years, decades.

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I am an academic, a freelance translator, a writer, a comedian, a publisher, the former president of the Spanish Association of Audiovisual Translators (ATRAE, 600 members), and the current vice-president of Audiovisual Translators Europe (AVTE), an umbrella organization for 24 Audiovisual Translation associations all over Europe. And, above all, I am a consumer.

Industry is wiping out. We must not only think about the job impact it is having, taking off jobs and copying artists, but also think about the social impact it has created. Children will grow up without a real imaginary, grow up without knowing how to develop stories and drawings themselves, something that has characterised us since the caverns. Without talking about how it affects the brain and its development.

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The idea that generative AI could have a place in the production of art, culture or education would never have been contemplated, if we werent already living in an age when culture was undervalued on a systemic level.

Strategie umělé inteligence pro kulturní a kreativní odvětví Stanovisko HK ČR Hospodářská komora České republiky (HK ČR) vítá možnost vyjádřit se k připravované evropské strategii pro využívání umělé inteligence v kulturních a kreativních odvětvích.

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Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

Artificial intelligence is a cancer. How the same propaganda, as a medium that can facilitate the creation of visual media free of charge and without any previous experience in the arts, generated mass images and videos that were hampering other artistic media in their process, such as dubbing, the music industry, literary, etc.

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As a full-time communication designer and secondary musician, I am affected twice. Both the involuntary use of my works and the consequences of their exploitation in AI models in competition with my offers. Despite the current still favourable pricing, I do not see any improvement in my work through AI offers, something my customers, as non-specialists, can see differently because they naturally lack a deep…

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I employ several artists who live in the EU and am very concerned for their welfare. Generative AI is theft from them, plain and simple. It cannot create or inspire ideas, it can only mindlessly regurgitate things that were fed into it. I love my EU artists, who have honed their skills through years of hard work. Allowing AI to poison the arts is a huge loss for them.

I am a professional artist working in video games and also running my own handmade art business. There's not a single positive thing I can say about generative AI. The lack of regulation has made this plagiarism machine run rampant, with trillion dollar corporations profiteering off the work scrapped without any consent, while the original creators remain unprotected and powerless.

So-called artifical intelligence is nothing but a thief and a plague with regard to creative industries. I've seen stolen artwork, writing, 3d stl files, and more being trumpeted as revolutionary, when nothing of any value has been created. Many, many artists I know - myself included - are seeing small but collectively important freelance jobs being lost to "ai" and to non-creatives.

Pro Helvetia, the Swiss Arts Council, welcomes the European Commissions initiative to develop a dedicated AI Strategy for the Cultural and Creative Sectors. Through its ongoing AI x Funding initiative, Pro Helvetia is exploring how AI affects cultural funding, artistic practice and cultural ecosystems.

EGEDA thanks the European Commission for the opportunity to participate in this public consultation on the future Artificial Intelligence Strategy for Cultural and Creative Sectors. As an intellectual property rights management entity representing audiovisual producers, it welcomes this initiative and sees it as a key opportunity to simultaneously strengthen European technological competitiveness and the…

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The Austrian Forum for Literary Translation (Forum Literaturübersetzen Österreich) promotes all aspects of literary translation in Austria, in particular the public visibility of literary translation, the public interest in it, and the conditions under which it is performed. Literary translation is essential to the circulation of world literature and the distribution of ideas.

Opinion of the Kulturpolitische Gesellschaft e.V. on the planned EU strategy on AI in the cultural and creative sectors The Kulturpolitische Gesellschaft e.V. welcomes the European Commission’s initiative to develop a coherent European perspective on the use of AI in the cultural and creative sectors.

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The European cultural and creative industries are not only the depositories of our territory’s knowledge, traditions, (matri-) heritage and collective vision and cultural and artistic ambitions, but also an important sector from an economic, social and political point of view.

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Federation of European Screen Directors Artificial intelligence strategy for the cultural and creative sectors The Federation of European Screen Directors (FERA) is the only European organisation representing film and TV directors.

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

GenAI services have exploited the works of European authors without any authorisation, remuneration, nor any transparency. This Strategy should therefore align with the recommendations of the European Parliament (EP) report on copyright and AI and complement the ongoing review of the EU copyright framework by acting on the following key concerns for authors of all cultural sectors.

Musical creation, after artificial intelligence Written by Frank Madlener, Director of IRCAM (coordinating organisation of the ULYSSES Platform) We are now living in the post Artificial Intelligence era, following its penetration into individual households, particularly with the rise of ChatGPT. AI is shaking up the last bastions of human exclusivity, right down to creation and creativity.

I am strongly opposed to resources being wasted from the European Union with a ‘strategic vision for the use of artificial intelligence’. Generative AI is harmful by design and should not be part of any serious plan.

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Creative Commons Submission - Artificial intelligence strategy for the cultural and creative sectors 9 September 2026 Creative Commons (CC) is pleased to respond to the Commission’s titled consultation. In this submission we address the following topics: Importance of heritage sharing Impact of AI on heritage in the commons Transparency Sustainability Regeneration Agency Openness Deepfakes Copyright of AI generated…

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

The rapid development and widespread deployment of artificial intelligence are profoundly reshaping the cultural and creative industries. While AI presents significant opportunities for innovation, competitiveness, and the emergence of new forms of creation and distribution, it also raises fundamental concerns regarding creators rights, employment, cultural diversity, discoverability, and the growing concentration…

As artist, translator, researcher, teacher and member since 2021 of the working group on digital ethics of the ENCC (gathering 200+ cultural centres across Europe), I would like to underline the following concerns, among many others. 1. The arrival of AI in the cultural sector has fostered distrust between creators and cultural organisations and between cultural workers.

Value creation, sharing, capture and destruction: for responsible appropriation of AI systems in the European cultural and creative sectors by Dr Stéphane Magne, Associate Prof. HDR, Paris 1 and Fabio Trotabas, President Culturing Company The future European strategy should avoid assimilating the adoption of AI, innovation and value creation. The effects of dIA systems vary across technologies and contexts.

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MIDAS, the European Association of Daily Newspapers in Minority and Regional Languages, welcomes the fact that the Commission identifies the dominance of mainstream languages and insufficient diversity in training data as challenges for the future use of AI in the cultural and creative sectors. These challenges are particularly relevant for minority and regional languages.

AI knows only as much as the people who train it. In other words, AI will never be able to have empathy, feelings or an objective explanation for something it does, says or writes. AI never replaces the imagination of an artist and an artist. What she can create with her textual repertoir is cold, technical and, ultimately, always the same! When all colours are mixed, grey emerges.

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Response "AI Strategy for the Cultural and Creative Sectors": Technological change has accompanied the film and television industry since its earliest days from synchronized sound in the 1920s and color film in the 1930s to motion capture, digital visual effects, and modern post-production. Each of these developments served to support and extend human creativity, not replace it.

ANCI Lombardia welcomes the Commission’s initiative to define a strategy on the use of AI in the cultural and creative sectors, an opportunity to strengthen innovation, competitiveness and accessibility of European culture, which requires a coordinated approach to protect creativity, the rights of authors and cultural operators, cultural and linguistic diversity and fairness in access to technologies.

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AEPO-ARTIS Submission to the Call for Evidence on the AI Strategy for the Cultural and Creative Sectors Preliminary remarks AI raises significant social and economic challenges, particularly for individual creators. Performers’ exclusive rights must be respected when their performances are used for AI training, requiring authorisation as well as fair remuneration for both input and output.

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

Premise: GenAI services such as Suno have exploited the works of European music authors without any consent, remuneration, and transparency. This Strategy should therefore align with the recommendations of the European Parliament (EP) report on copyright and AI, and complement the ongoing review of the EU copyright framework by acting on the following key concerns for music authors.

The AI as it currently exists is steered by artists and developers do not compensate for this. It is the biggest copyright infringement ever. In any case, as AI currently exists, it cannot live together within the arts and culture sector. Apart from that, I also find it difficult to see how AI can contribute to arts and culture.

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AI-based Services that offer to generate music, images or other artistic forms upon request are, by definition, illegal. All such services can exist only through the illegal use of existing works of art by means of digital theft. Without machine learning, AI does not have any information on how and what to generate, so examples are necessary and have been collected illegally.

Filed in Dutch · English published by the European Commission

My children are both dubbing comedians, in French. None of their contracts currently allow the exploitation of their voice via iA systems, and I am delighted to do so. If it were to evolve, I would no longer let them embrace their art: the theft of their ‘sound image’ and the manipulation of this equipment to make other (non-seizable) things are the most important risks to be taken.

Filed in French · English published by the European Commission

The Fashion Innovation Agency at London College of Fashion, UAL welcomes the Commission's initiative to build a coherent AI strategy for the cultural and creative sectors. Our perspective comes from years of applied work with industry, including collaborations with many luxury brands on generative and spatial computing tools, and from training the next generation of designers who will use these systems.

The International Law Firm Avv. Simona Putzu welcomes the European Commissions Call for Evidence on the AI Strategy for the Cultural and Creative Sectors. Our Feedback advocates for a balanced approach that combines AI innovation with the protection of human creativity, copyright, and fair remuneration.

Since November 2025, our research and membership within the ENCC network have consistently flagged a set of interconnected concerns around AI's impact on the cultural sector. In what concerns the socio-cultural sectors specifically, this last point not only deepen infrastructural dependency but also raises serious discoverability issues, as these same companies increasingly control the platforms and algorithms that…

Transparency and Accountability AI developers must disclose the datasets used for training, including identification of rightholders. Without transparency, creators and journalists cannot know if their works have been used, undermining their ability to enforce rights and negotiate fair terms.

The way forward is never stopping, nor AI. AI will be a won for humanity in many areas in the future (medical, etc.), but for artists it may be a poisoned gift. I think it is particularly important to use AI as a tool within culture. In terms of music, it can sometimes be a solution to quickly know whether an idea works or not, e.g.

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The usage of A.I. hurts both artistic integrity and scientific research, creating false information, harming enviroment and proving extremely dangerous for common person who likely will be hurt by this missinformation. Enviromental damage is also pointless and avoidable

Cafeyn is a European platform for access to information, which aggregates and distributes more than 5 000 titles to citizens, businesses and institutional partners. Our model is based on contractual agreements with publishers, copyright enforcement and the remuneration of right holders: this is the foundation of trust with those involved in journalistic creation.

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The Hamburg Foundation of Memorial Sites and Learning Sites to Remembrance Victims of Nazi Crimes introduces two topics to the discussion: 1. Risks of generative AI in conveying and communicating the memory of Nazi crimes 2.

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Film and Music Austria (FAMA), representing more than 7.500 enterprises in the film, audiovisual and music sectors in Austria, welcomes the Commissions initiative for a dedicated AI Strategy for the Cultural and Creative Sectors. AI is already reshaping how creative works are developed, produced, distributed, promoted, discovered and monetized.

Key message AI poses a fundamental question to cultural and artistic professionals, not primarily a technical one: What does artistic and cultural creation mean if parts of the process of creation can be produced by machine? This question directly affects the biographical and artistic identity of the creators.

Filed in German · English published by the European Commission

Authors who write their own works must be protected. AI-generated texts must be clearly and visibly labelled as such. It must also be indicated whether AI was used in a book for research, editing or proofreading.

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The Artistic Board’s input ahead of an AI strategy for the cultural and creative sectors Introduction The Artistic Board welcomes the opportunity to provide input on the European Commission’s upcoming AI strategy for the cultural and creative sectors. The Artistic Committee is the state authority with the primary responsibility for implementing the state artistic policy in Sweden.

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Are AI Bots Knocking Cultural Heritage Offline? Michael Weinberg June 2025 v1.0 Table of Contents 1. Introduction 1 2. Methodology 2 2.1. Key Terms 3 3. Background 4 3.1. Open Has a History with AI 5 3.1.1. Recently, AI-Related Concerns Have Expanded to Include Technical Issues 7 3.2. The Internet Is Full of Bots 8 4. What Have We Learned? 9 4.1. Every Online Collection Is Technically Unique 9 4.1.1.

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

In order to protect genuine human creativity, it is essential to introduce a labelling requirement for AI. In addition, artists must be adequately rewarded for their input, which can ultimately be seen as the basis for all so-called arts generated by AI. Large platforms cannot simply continue to rely on the pool of human creativity to train their AI tools.

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Generative AI has no place in the European Economic Area. It is a technology that is extremely harmful to the environment. It was created as a result of the theft of works. It has been regularly used to plagiarise and supplant artists. The AI of X (formerly Twitter), GROK, has generated a multitude of child sexual abuse material and deepfakes.

Filed in Spanish · English published by the European Commission

I think that Europe can leverage on the huge cultural and heritage assets to create a competitive approach to US and China, based on trustable data, AI specifically designed to respect humans and ethic by design (see for example COLNISSAR.AI).

OpenAI’s Submission to the European Commission’s Call for Evidence: “Artificial intelligence strategy for the cultural and creative sectors” 07 September 2026 OpenAI welcomes the opportunity to contribute to the European Commission’s call for evidence on an artificial intelligence strategy for the cultural and creative sectors.1 Europe’s cultural and creative ecosystem is central to its identity, democratic life…

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

As a member of the Federation of Associations of Professional Illustrators (FADIP), and a worker in the European cultural sector, I oppose this initiative for the following reasons: 1- generative AI, in its current form, requires the mass looting of cultural material without permission or remuneration for the training of its models.

Filed in Spanish · English published by the European Commission

Internet Archive Europe (IAE - https://www.internetarchive.eu/) is a European non-profit library established in Amsterdam in 2004. Our mission encompasses fostering digital preservation and open access, and ensuring that the legal framework governing these activities serves the public interest. We work closely with the Internet Archive, operator of the Wayback Machine, and with memory institutions across Europe.

As a member of the Federation of Associations of Professional Enlighteners (FADIP), and a worker in the European cultural sector, I oppose this initiative for the following reasons: 1. Generative AI, in its current form, requires the mass looting of cultural material without permission or remuneration for the training of its models.

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As part of this option, the Bundesinnung der Berufsphotography (Federal Law on Professional Photographs), as the Austrian body representing interests, allows the following claims to be submitted: · The EU should enshrine the preservation of human creativity as an objective of its AI and cultural policies. Generative AI must not permanently destroy the economic and social foundations of human creative work.

Filed in German · English published by the European Commission

The current market for generative AI is held in the chess of several global corporations. For local creators, this means a huge financial dependence and a technological footprint. While text or code models occasionally offer free limits, advanced creative tools – in particular Image-to-Video (I2V) or Video-to-Video – are barely affordable for independent artists.

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We believe that any regulation of AI should: 1. Develop legal and technological tools that allow for prior and express authorisation by rightholders, or at least a representative part thereof. 2. Be based on transparent and fair remuneration criteria, which are essential for the development of a competitive market, not only in the context of intellectual property rights.

Filed in Spanish · English published by the European Commission

The cultural and literary sector is based on trust in the unique added value of human creators. Literary translators are creative, critical and skilled professionals who play an essential role in the cultural value chain. They not only provide high-quality translations, but also act as mediators between languages, cultures and audiences.

Filed in Dutch · English published by the European Commission

I believe that authors should not use AI to create any kind of literary item, such as a poem, a short story or a chapter of a novel. They could use AI as thesaurus to give them the proper words for an idea, or as a source of information on a subject they need to write about. On the other, AI should not be allowed to write reviews or presentation speeches on literary books.

Statement: AI Strategy for the Cultural and Creative Sectors (Ares(2026)7389748) BEDA – The Bureau of European Design Associations - welcomes the Call for evidence for ‘AI Strategy for the Cultural and Creative Sectors` (Ares(2026)7389748).

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

As an illustrator and member of the Federation of Associations of Professional Enlighteners (FADIP), and as a worker in the European culture sector, I want to express my opposition to this initiative. Generative AI, in its current form, relies on the non-consensual use of the work of illustrators and illustrators.

Filed in Spanish · English published by the European Commission

Digital Business Ireland (DBI) is the leading and most active voice for Irelands digital and ecommerce sectors, representing a community of over 8,000 members, from multinationals to Irish SMEs, as well as experts in law and academia.

Europes museums, archives and libraries steward an immense body of digitised and born-digital cultural heritage. It is a strategic European asset that should be governed in the public interest, protected from uncontrolled extraction, and mobilised responsibly for trustworthy and culturally diverse AI. Much of the AI policy debate has concentrated on individual creative industries and professions.

CIDIA Creative Industries and Design Association welcomes the European Commissions initiative to develop a strategy for the use of artificial intelligence in Europes cultural and creative sectors. From our perspective, AI is not simply another technological tool entering the creative industries. It is already changing how we design, produce, collaborate, develop businesses and value creative work.

As founder of COSMIC Music & Tech and Ander Geluid, I work at the intersection of music, technology and independent artist development. My perspective is informed by direct work with independent artists and the development of AI applications for the music sector. I strongly support the Commission's proposed principle that AI should complement rather than replace human creativity and agency.

Dear European Commission, Culture and Creativity are not terms that primarily refer to a ‘entertainment or leisure area’, in the broadest sense, as some people may commonly think. We all live in a world that was designed and created almost without exception by humans, in addition to the buildings planned by architects, every artificial object that surrounds you is a product designer, graphic designer, car designer…

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AI calculates the most probable outcomes based on its training material/foundation models. Its imagination is limited by the available material. While artists imagine worlds not necessarily based on evidence or experience, be it Thomas Morus Utopia, Hieronymus Boschs fantastic landscapes or Yves Kleins physics-defying architectural visions, AI produces approximations to existing concepts.

The immense repercussions that genAI has on the creative sector is already painfully visible and many people lost their jobs. Since the working conditions were already precarious before AI, there is not much room to "wait something out". We need to reflect how we want to proceed with genAI in terms of what world do we want to live in. Right now all models are commercial and in the hands of people who want to profit.

The misnamed ‘AI’ (artificial intelligence) has existed for decades. Different algorithmic systems, of different scales and to fulfil different functions. This is one thing. But when we talk about AI in the artistic and cultural sectors, we are obviously talking about the commercial models of generative AI (launched on the market between 2021-2022), developed by a handful of billionaire tech companies that support…

Filed in Spanish · English published by the European Commission

This proposal seems well-meaning, but it chooses to ignore the big problems of GenAI. Just creating and running AI models is already problematic: AI models are built on scraping the internet and stealing the work of authors without their permission. Anything that gets built on top of that won't be ethical.

Evidence that the design of creative AI decides whether it augments or replaces the artist, with a case from France Who we are. DECCS (France) builds CineCoach, an AI coach for screenwriting students, encoded from the teaching of Paco Wiser (cinematographer, 45 years, EICAR faculty). We declare a commercial interest. The evidence in this note does not come from our product. What is at stake.

The Commissions Call for Evidence serves as a call for the development of a strategy dedicated towards AI strategy for the Cultural and Creative Sectors (CSS) which plans to be implemented in Q1-2027. As the rapid development of AI continues to transform the development of culture, creation, and preservation, the goal of this outline is to enhance AIs potential in order to boost innovation, automation, and audience…

Cassandra Foundation recommends that the cultural and creative sectors AI strategy evaluate changes in creative livelihoods, not just adoption or output volume. This contribution is a synthesis of published sources and policy recommendations, prepared with generative-AI assistance. It does not report original fieldwork or represent creators or rights holders.

The Call for Evidence identifies the uneven uptake of AI and the specific access barriers for smaller actors in the cultural and creative sectors. From the perspective of a small creative company, I would like to add a distinction. My own daily work shows that the scale of AI use does not necessarily say anything about how competent or valuable it is being used.

Filed in German · English published by the European Commission

Embracing AI as a tool for creating any cultural content would be a vast mistake. Whether its music, visual arts or writing, AI doesnt create, it only rehashes what it has stolen by scrapping the internet without permission. The hope for the billionaires who invest in it is to take work away from the actual humans who create art.

From Responsible AI to a Responsibility Culture in the Cultural and Creative Sectors I welcome the Commission's proposed principle that AI should complement rather than replace human creativity and agency. I suggest that the future Strategy go one step further: from promoting the responsible use of AI tools to fostering a broader Responsibility Culture around their adoption.

I currently coordinate two research projects examining the impact of generative AI on the media ecosystem and the creative industries: "GENmedIA: Impact of Generative AI in the Digital Content Ecosystem: Challenges, Problems and Perceptions of Players in Digital Creative Industries" Ref: 22664/PI/24 Funded by Fundación SénecaScience and Technology Agency of Murcia Region FSRM/10.13039/100007801 CreAItive MEDIA…

A.I. for cultural and creative sectors should be PROMOTED! I am an illustrator and nobody can match my style. Nobody should also imitate my style or put it in an AI archive. Human beings should be in The Middle Point, his creations are unique and should remain so.

Filed in Dutch · English published by the European Commission

Artificial intelligence is nothing more than a theft of data against all laws regarding copyright and ownership. AI companies wouldn't be that powerful if they weren't thieves. Since the beginning of humankind, we have managed to create and resolve problems. Creating opportunities and technologies based on reflection and hard work.

British Comedian Jimmy Carr put it to the point when he said: Artificial intelligence may be technically impressive in the cultural and creative sectors, as it is virtuos in imitation. At the same time, however, it is blind to the original. It can analyse genres, combine styles and distill patterns from millions of human works. But she has not experienced anything she wants to express.

Filed in German · English published by the European Commission

As a member of the board of the Federation of Associations of Professional Enlighteners (FADIP), and a worker in the European culture sector, I oppose this initiative for the following reasons: 1. Generative AI, in its current form, requires the mass looting of cultural material without permission or remuneration for the training of its models.

Filed in Spanish · English published by the European Commission

CREDIDAM is the largest collective management organisation representing performers in Romania, directly managing the rights of approximately 17,000 members. On their behalf, we welcome the European Commissions initiative to develop a strategy on artificial intelligence (AI) in the cultural and creative sectors and hereby submit our proposals.

I strongly support the Commissions principle that AI should complement rather than replace human creativity and agency. I offer this perspective both as a researcher working in Edge AI and as a practising visual artist.>>>> AI can support ideation, experimentation and reflection, introduce unexpected possibilities, and help creators develop or test ideas.

as a photojournalist, I consider my copyright rights to be seriously infringed by various AI applications. That is why I call for: The economic conditions of my professional work must be explicitly taken into account in the development and regulation of AI. The use of my copyright-protected works for the training and development of AI must be based on a fair and comprehensible basis.

Filed in German · English published by the European Commission

This strategy is completely absurd. We do not want to do so in culture and creativity. In a world where AI is causing considerable damage in terms of ecology, and which is destroying creative professions by opening the door to the theft of works, counterfeiting and the failure to respect intellectual property. It’s not!

Filed in French · English published by the European Commission

Generative AI has no place in any creative sector. Thank you for already differentiating between AI and generative AI to avoid confusion. As an artist, I am fundamentally against. A number of points should be raised: environmental, legal, ethical, etc. Environmentally speaking, it is a nonsense and a global massacre.

Filed in French · English published by the European Commission

AI should be banned. Consider this: datacenters accelerate global warming at the speed never seen before, while all kinds of students, from college to elementary school are using AI to pass exams, do the "research", write papers... They don't learn anything by themselves (that's not to say that ALL of them are doing this, but the majority is certainly are).

We are a games development company and we are seeing first-hand the transformative power that this technology have on individuals within the games industry. It is transforming our peers into lesser-skilled individuals who are coerced by "market forces" and bosses to care less about the art that they make.

AI is neither an intelligence nor an artificial one. It is a statistical, algorithmic probability that is not based on human experience. Art and culture come from human contact with the environment, nothing else than creation is AI. The IAgenerativa starts from the basis of theft, breaking the creative rights and copyright of artists and creators. We are radically against this form of spoliation.

Filed in Spanish · English published by the European Commission

Creators who publish a book or display an image have always offered their knowledge and creativity to the public, analoguely, without any room for protection against imitation or inspiration. I can buy a book, read it, learn from it. I can go against entering the museum, stand in front of a picture and paint it. This is not forbidden, it is trade: Public in exchange for recognition and payment.

Filed in German · English published by the European Commission

Ai is not art. Generative Ai in the overwhelming majority of cases, does not produce art either. It produces a product, for money hungry coorperations to avoid hiring actual artists or fire artists from jobs they already held in the name of cost savings. Ai does not produce culture, it produces slop.

AI is a appaling technology that do not solve any single issue, and just create a million problems , and should have never been adopted on such a grand scale (or even at all) just because a few USA billionaires wanted it ; -Copyright infrigement and stealing : It is by no mean a breaking news that AI stole on a massive scale any and everythign it could get its hand on ; it constitute history's single biggest…

Generative AI is a nonsense for creativity and culture. This technology, which has a disastrous environmental impact due to the infrastructure to be created and supplied with water and energy (in places already depleted of these resources and to the detriment of disadvantaged populations, poplar people) and a major human impact (humans pay a loss to watch offensive and illegal content to train AI to recognise them)…

Filed in French · English published by the European Commission

As a logical progression towards human accessibility of the digital and information based browsing AI holds potential to innovate but in case of digital surveillance and imperialism we must develope laws that protect citizens. We must reconnect to nature develope possitive growth!

CresCine response to the Call for Evidence: Artificial intelligence strategy for the cultural and creative sectors This feedback is based on research data collected on the attitudes of film and audiovisual (AV) producers from small European markets toward AI adoption and its impact on performance.

I think that AI is a technology that offers as many new opportunites as dangers. Europe has a strong system to lead the world in those societal aspects where unchecked AI can hurt the most. CCS are also in a similar cross roads, looking at tools that can potentially unleash a creative revolution and new market models, while at the same time seeing their work used without compensation to create a technology that will…

STM response to Call for Evidence on an AI Strategy for the Cultural and Creative Sectors 2 September 2026 STM welcomes the Commission’s intention to develop a dedicated AI Strategy for the Cultural and Creative Sectors. Europe has an opportunity to unlock the full potential of AI innovation by empowering its cultural, creative and scholarly sectors to harness AI and drive innovation in their own fields.

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

AI companies are generating significant revenues from systems whose development depends on vast amounts of creative works produced by authors, artists, musicians, journalists and other rights holders. A sustainable European AI ecosystem therefore requires mechanisms through which a fair share of the economic value generated by AI can flow back to the creators and rights holders whose works contributed to the…

Response to the consultation strategy for the cultural and creative sectors Copydan, founded and managed by artists and cultural producers, thanks for the opportunity to respond to the European Commission’s call for evidence on a future AI strategy for the cultural and creative sectors.

Filed in Danish · English published by the European Commission

The Europeana Initiative, as steward of the common European data space for cultural heritage, calls on the European Commission to embed a clear vision for Public AI in the upcoming AI strategy for the Cultural and Creative Sectors. The strategy presents a key opportunity to define how AI can strengthen Europe's cultural heritage while remaining grounded in public values and for the public interest.

Thank you for the opportunity to provide feedback. In my view, it is important to take a nuanced look at current developments. On the one hand, the question of WHAT is being done with the technology is relevant; on the other hand, we need to focus on the HOW and WHICH technology is being used.

I am Yvan Boudillet, founder of Music Innovation Consulting (MIC), an independent consultancy working at the intersection of music industry policy, innovation and AI. I authored a report on online and offline music distribution for Music Moves Europe with a focus on the role of data.

AllScreens Verband Filmverleih und Audiovisuelle Medien e.V. Stellungnahme zum Call for Evidence „AI Strategy for the Cultural and Creative Sectors" (Deutsch) Technologischer Wandel hat die Film- und Fernsehbranche seit jeher begleitet – vom Tonfilm in den 1920er-Jahren über den Farbfilm in den 1930er-Jahren bis zu Motion Capture, digitalen Spezialeffekten und moderner Postproduktion.

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

As an illustrator and designer, I am at the heart of the conflict between human-made art and AI-generated content, and I have closely followed the development of AI, in particular image-generating AI. Currently, AI is a favorable alternative to the work of professional illustrators and designers, which deprives us of our livelihoods, apart from data centres, which are a threat to the environment and the climate.

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Good morning, My view on artificial intelligence and its impact on the creative environment seems to me to be very important, and I believe that the most timely way to address it is by offering regulated and non-regulated training to convert humanist profiles into digital humanist profiles that dominate the various ways of using artificial intelligence.

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The idea that generative AI has the right to take up any amount of space in any creative field is laughable when none of its features were available without centuries of labour of human artists. We've had our art scraped with no regards for copyright or financial compensation - and now it's being sold by these very companies, advertised as a way to bypass our skill, all while claiming we're no longer needed and…

Generative AI is changing creative practice in ways that deserve attention beyond the legal status of the final output. In design, generative systems can intervene in the exploration of alternatives, experimentation, selection and reformulation throughout a project.

I am a self-employed illustrator and I am now giving up my profession due to the development of AI. I don’t want to live anymore in fear of using a supposed tool that makes work for me. I did not draw for years. It is just as little a tool for creators as the taxi is a tool for the marathon runner or a helicopter for the mountaineer.

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I am a professional from Chile’s Illustrator based in Spain and having been working in the sector for several years. Over the past year, I have experienced an approximately 50 % decrease in illustration commissions compared with the previous year.

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In my view, any initiative to design a strategy for AI in the field of culture and artistic creation should take full account of European cultural and linguistic diversity. I understand that such diversity goes beyond the official languages of the EU and encompasses the traditional minoritised languages spoken in the EU.

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Generative AI steals copyright-protected works, depriving creatives of the livelihoods from which they steal. I am an illustrator and, among other things, I design pictures for children’s books. I studied and worked with a lot of passion and blood on my skills for many years, both during my work and during my free time. A large number of pictures have been created.

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POLYHUM proposes a human-centred approach to AI in the cultural and creative sectors, where technology complements rather than replaces human creativity. Drawing on practical experience in participatory music, culture, wellbeing and social innovation in the Canary Islands, POLYHUM advocates using ethical AI to broaden access to cultural creation, strengthen cultural and linguistic diversity, protect human authorship…

A few arguments in favour of stronger AI regulation in the creative sector (not necessarily in order of relevance): — Some politicians in Germany currently preach full-time employment for as many inhabitants as possible. However, promoting AI at the same time, with the result that a large number of jobs are quickly and sustainably destroyed, is exactly the opposite.

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With regard to the cultural and creative sectors, there are several risks to the performance of the sectors that arise already in the coming years from an intensive use of generative AI. One point, of course, is the circumvention of copyright law, which has so far been actively strengthened by the EU in order to keep the sector healthy and competitive in a sustainable way.

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Speaking as a filmmaker and as an associate professor and researcher on new media, my take is that generative AI is the most important shift in the creative field in at least a generation. The European film industry is struggling and shift toward digitalization didn't really liberate creativs in the way that it promised in the 1990's.

Feedback from a Berlin-based AI consultant, creative director, writer & filmmaker: freelance since 2014, 350+ projects for 150+ EU organisations, 200+ keynotes and workshops on AI adoption, 24 creative awards. The problems this strategy names are real. The evidence beneath them is not yet strong enough to steer funding. 4 defects, each with the reasoning, then 4 fixes. 1. PERCEPTION DATA IS USED AS IMPACT DATA.

I am Jocelyn Burnham, an independent AI specialist working exclusively with the cultural and creative sectors (via www.aiforculture.com). I have facilitated more than 100 AI workshops, learning programmes and advisory engagements with cultural organisations and practitioners across the UK and internationally, including work with the Museum of Prague and the National Film School of Denmark.

Regarding EU grantmaking practices: Require transparent declarations regarding the use of generative AI in the drafting of proposals and the production of funded deliverables. Prohibit the use of generative AI by independent experts for the assessment of cultural project proposals.

I see risks and opportunities in AI technology. As in all. It is shocking and fascinating. The problem here, as is so often the case, is that so far this technology is less in the hands of those who alone decide on it. As a creator, I think that this technology, which will no longer be an integral part of everyday life, should finally lead us to reflect on alternative remuneration models for creators.

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A plea to protect human creativity in the age of generative AI I am a professional independent artist and designer, and I am deeply concerned about what generative AI is doing to the cultural and creative sector. Artists are not only being replaced we are being dispossessed.

I do not see the massive spread of generative AI as a democratisation of creativity. On the contrary. The automated creation of ‘works of art’ devalues the process economically and makes it increasingly difficult for artists to make a living. The result is simply less, real, creative ‘output’. AI does not provide new or even creative impetus.

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* * AI to highlight the intangible value of culture * * Over the past few years, we have spoken a lot about what artificial intelligence can take away from art, culture and creativity, and much less about what this technology can bring. I think it is worth changing that question, or at least changing the approach to art and technology. Human creativity did not emerge from anything.

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AI and European Culture: From Digital Access to AIMediated Cultural Discovery Contribution to the European Commission’s Call for Evidence on an AI Strategy for the Cultural and Creative Sectors Carolina Fàbregas Hernández Independent researcher and cultural professional specialising in digital transformation, cultural marketing and audience development AI is changing more than the way culture is produced The debate…

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

As an art historian and art world professional, I understand AI as part of a broader digital transformation. Yet the debate is often reduced to outright support or rejection, threat narratives or promises of salvation.

Three recommendations, drafted so that they could be adopted in the Communication as they stand. None requires a new legal act: the first two sit within the Commission's powers as budget implementer, requiring nothing that Article 167(5) TFEU excludes; the third is delivered under Regulation (EU) 2024/1689. 1.

There is an urgent need for laws that protect us from theft of our property. It cannot be the case that anyone can pass by and use our copyright as if it were a gift cardboard on the street. It is about the survival of a huge industry and people are just comparing individuals who modify a work with image-text or sound-editing programs with machines that do this in seconds and quantities, as no ancestral person could…

Filed in German · English published by the European Commission

As a translator for video games and acquaintance of digital and traditional artists, I see the impact of generative AI on the cultural and creative sector, with "impact" being a very appropriate word as it is akin to an asteroid striking a precarious, but still fertile landscape and leaving a crater.

As an author, I categorically refer to AI in my work and that of others. The field of art and culture is that of humans only. I call for a drastic regulation of its use, both public and private, as it threatens our jobs and our humanity!

Filed in French · English published by the European Commission

The generative I.A. is a problem. We do not want it. We do not need it. We do not want data centers that destroy our beautiful landscapes. We do not want in-line images and posters that replace our graphic designers. We do not want soul-free music to replace our singers and musicians. We do not want a generated dubbing that replaces the emotions of a true comedy.

Filed in French · English published by the European Commission

As an illustrator, I see clearly how my entire sector is directly threatened by imaging AI. I hear more and more from colleagues that their contracts are now awarded to AI, simply because it is cheaper. Even long-standing customers start using AI instead of employing real people. The most tragic thing is that the data that these AI models use to create images has been stolen by artists from the outset.

Filed in German · English published by the European Commission

The proposed AI Strategy for the Cultural and Creative Sectors is timely and should retain its core principle that AI complements rather than replaces human creativity and agency. From a cultural heritage perspective, however, the strategy would benefit from extending this principle beyond creators and cultural organisations to the communities and knowledge custodians who sustain living and intangible heritage.

Since 2024 a number of commercial generative AI music creation platforms are available for people to access online within European Union. These platforms are offering a technology which can create a music like output (it is in fact binary code) produced using algorithms trained on existing music.

Generative AI is a nightmare for creative industries, among others theatre companies, as it is my case. It is based on the theft of artistic work, the failure to respect copyright and intellectual property, a phenomenal waste of resources in terms of both water and electricity, contributes to the ecological catastrophe we live in, enriches the multibillionaires of tech on the back of populations psychologically…

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Salzburg Global's Art & AI cohort welcomes the European Commissions initiative to develop an AI Strategy for the Cultural and Creative Sectors. Drawing on the outcomes of 'Creating Futures: Art and AI for Tomorrows Narratives', which convened 50 artists, technologists, policymakers, cultural leaders, researchers, and activists from 25+ countries, we urge the Commission to ensure that AI complements rather than…

I respond as an independent specialist journalist and publisher established in France, and from the perspective of a professional whose ability to create and publish original journalism depends directly upon the economic value of that work. I express my strongest possible objection to the direction in which this initiative appears to be heading.

AI companies are rapidly expanding into any and all fields they can in the hopes of becoming indispensably or so commonly integrated that they are impossible to dislodge. Meanwhile they are blatantly stealing material in order to produce their models. A particularly stinging like the libgen files, for which an individual received a harsh sentence, yet these companies apparently face no scrutiny whatsoever.

As Author, I could tell you about the dangerousness of AI for artists who are among the most precarious categories of people in the majority of European countries. I could tell you about my difficulty in filling my fridge since the arrival of AI. Feeding is only possible thanks to the support of my partner and social assistance.

Filed in French · English published by the European Commission

Generative AI in the creative sectors completely violates the copyright of all artists in any field who have ever published their works. Everything AI generates is thanks to the art, effort and creativity of real people. Moreover, if art is already a complicated sector to make a living, AI is the definition of unfair competition.

Filed in Spanish · English published by the European Commission

AI can enhance audience and cultural engagement across Europe by collecting, measuring and interpreting the data understanding the European data available. But therefore we need a data space to be able to share data and make it interoperable. It involves legal frameworks, collective and sovereign european infrastructure which can lead to metrics and better understanding.

CULTURAI (Horizon Europe, 2026-2030) responds to the European Commissions Call for Evidence on AI and the Cultural and Creative Sectors Drawing on the projects design: a harmonised survey of around 800 audiovisual and heritage professionals, comparative case studies and co-design Living Labs across Italy, the Netherlands, Croatia, Norway and the UK, our project CULTURAI makes six recommendations.

As a traditional artist and business owner with focus on sustainable and quality fabrics, never in a million years did I want to be forcefed, misled or even lied to about the treatment of my products. What good does GOTS and Oeko-tex even do if my fabric are tainted with sloppy AI imagery, that is taking someone else's livelihood, talent and uniqueness away and tainting our planet??

The position paper *Investing in Culture, Creativity and Artistic Research in the Next Multiannual Financial Framework*, drawing on PACESETTERS and S+T+ARTS EC(H)O, is connected to the European Commissions consultation on the forthcoming Artificial Intelligence Strategy for the Cultural and Creative Sectors because it addresses the conditions that will determine whether AI strengthens, rather than weakens, Europes…

Generative artificial intelligence drives the work of millions of artists (no respect for intellectual property), who receive no remuneration and find it increasingly difficult to find customers. It is therefore a certain economic loss, as we risk unemployment every day because of these tools.

Filed in French · English published by the European Commission

Hi, We've recently finished the first research on the use of AI for cultural communications, marketing and audience development in the cultural sector for Spain and Latin America, addressing three main artistic forms: music, the performing arts and museums and heritage.

It is clear, for example, that: I believe it is important for a European AI strategy for the cultural and creative sectors to discuss not only the opportunities offered by new technologies, but also the conditions under which they are created and deployed. AI can be a useful tool for creators, and I use it to support my work.

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The incorporation into the workflow of artificial intelligence and generative artificial intelligence in particular has had a threefold effect with regard to the translation and the writing and content creation industries. On the one hand, AI has transformed translation from an intellectually stimulating and rewarding creative career to an underpaid, under-appreciated exercise in drudgery.

I believe that cultural heritage (CH) should be seen not just as a sector that benefits from AI or provides valuable training data, but also as a domain of scientific knowledge with its own ways of working and specific needs. The Call for Evidence highlights the importance of fair access to high-quality data and points to the common European data space for CH as a key resource for AI training.

Sorry, I can't talk English. Because I'm Japanese. I will tell you about the problems with generative AI that are occurring in Japan. まず私は、生成AIは反対するべきと考えています。 〇生成AIの問題について 資源の大量消費、環境破壊、著作権侵害、個人情報の流通、プライバシーの侵害、フェイク画像によるポルノ被害、政治のプロバガンダ利用、戦争利用、企業による搾取構造...数えきれないほどの、多くの危険な問題を抱えています。 生成AIは、大量のデータを無断で搾取したうえで成り立っています。 生成AIに、知能はありません。大量に搾取したデータを利用し、企業の思惑に乗っ取って、ただ質問の答えを返す器械です。 〇日本の生成AIに対する状況…

I own a small self-employed company focusing on digital illustration and painting. AI has been nothing else but a giant problem - stealing our work, scamming left and right, and taking over job opportunities. The strategy should be to keep AI out of culture entirely, that'd be an excellent strategy.

AI and machine learning for tangible heritage. (copied from Matthias Rauterberg, Haiguang Chen, Francisco J. Gutierrez, Matthew Pike, Richard Rhodes, Maria Shehade, Jianjiang Wang & Sandra Woolley (15 Jul 2026): From Culture and Computing to Cultural Computing: A Scoping Review, International Journal of Human Computer Interaction, DOI: 10.1080/10447318.2026.2697345) AI and ML hold immense promise for advancing the…

The generative artificial intelligence effect applied to the cultural and entertainment sector is very negative: Destruction of jobs and know-how – Failure to respect intellectual property – Low quality, loss of diversity in creation – Ecological cost

Filed in French · English published by the European Commission

Generative AI is destroying my field of work, many Clients do no longer use Illustrators or Artists but rather funnel their money towards AI Companies that have trained their models by Illegally scraping Art and Data without consent and are now profitting barely hiding the fact that they are copyright washing stolen Art.

The spark starts with a person, not a mandate. AI is reshaping the world that students are entering. The question isn't whether they'll use it, it's whether they'll know how to think about it: how to understand, direct, question, and create with the technology shaping their world. Its the kind of thinking thats built on computer science, AI science, and data science. So, what's being done about it?

I come from a game development background, working on interactive and immersive content across education and entertainment. Myself I am experimenting a lot with AI as well, and try to find my way with it in my projects, without losing my creativity or control. For most of my projects I can scope a set of skills/boundaries the models stay in, allowing them to do what I want them to do without doing anything extra.

This is an absolutely terrible and catastrophic policy you should not enact it. Generative AI has absolutely no place in any creative work whatsoever. 1: it is built on stolen IP. There is no ethical use of this technology because it was built on the stolen works of every writer artist and musician who has ever had their work put online.

Artificial Intelligence should be left out of culture, and in general we need to limit it much at the societal level. The impacts of Artificial Intelligence are huge, starting with its Data Centres, which represent a huge amount of material resources (water, energy, minerals). It means more extractivism across the production chain around the world, meaning more extractivism and colonialism everywhere on the planet.

Filed in Spanish · English published by the European Commission

People are abusing AI. Jobs nowadays are basically retouch this AI-generated image. Most clients dont have much visual literacy, and they end up using AI that copies other artists work. Generative AI is leaving us without sustainable professional prospects. I understand AI being used in technology and science, but in art, I think its completely unjustified.

Generative AI exploits human creativity for corporate profit. It is using copyrighted work of artists, photographers and writers without our consent, which, in other terms, is blatant theft. As an artist myself I reject any notion that supports the exploitation of human craftsmanship. More so, this contradicts the climate conscious ideology that the EU seems to pride itself with.

I work in communication and graphic design. I find the use of AI a real scourge that destroys jobs, knowledge, skills and the environment. AI is mostly used in my industry and I find this a real problem. Managers and boss seek to replace their employees with AI for cost issues, closing jobs. Moreover, AI-made creations are an insult even to my profession.

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Speaking as a small art business, Generative AI is not only unethical, it is also deeply harmful to the creative culture and small artists everywhere. It takes jobs and opportunities from small artists, using data it has scraped that is not it's own.

Nothing can replace human creation. AI creates nothing, uses our creations to form a battle of ideas without any artistic, scientific or humanist value. It does not prevent bias. It does not advance artistic excellence. It doesn’t innovate. It is only a language model that writes (bad) emails.

Filed in Spanish · English published by the European Commission

Since 2011, KIKK has explored the intersections of art, science and technology: an international festival attracting tens of thousands of visitors each year, Le Pavillon (an exhibition venue dedicated to digital cultures), a creative hub (TRAKK), art-science-technology residencies, and the production and international touring of digital artworks.

I welcome this initiative and its recognition, grounded in Article 167 TFEU, that AI in the cultural and creative sectors (CCS) must serve human creativity and cultural diversity rather than the reverse. I am a cultural economist, formerly Senior Researcher at Istat (2010-2025), member of Eurostat's Expert Group on Culture Statistics, and, until May 2025, scientific co-director of the Istat-Ministry of Culture Task…

As an artist, I say generative AI has no place in creative fields. The entire technology is based on the theft of the entire internet's information, without asking for consent. Without the copyrighted works they have stolen, the tech would not function. The proponents of Gen AI say it is to democratise art, but all they have done is make is easier for people to copy our work and styles without paying us.

Hello, in my professional field (graphic design, corporate branding and illustration), AI has led to a significant reduction in the number of jobs I receive as a self-employed person. In particular, in the illustration, contracts have fallen to almost zero, which was still the main part of my contracts in 2023. At the same time, I cannot guarantee that old works will be used by me to train AI.

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I'm a professional concept artist and illustrator. I'm also autistic and chronically ill. At this point, I'm not able to work in gamedev anymore. Not only because of my health becoming worse from stress AI causes me, but because it's now impossible to find any job because of AI. Recruiters use AI systems that scan the CVs and in the end, no one gets hired.

AI can become a tool that expands and accelerates artistic exploration without replacing human creativity. In my own practice, my digital artworks are entirely created by me, without using AI to produce them. Yet, because they are digital artworks, there is often an immediate perception that they could have been generated by AI a perception that can be different from the way traditional painting is perceived.

Feedback from a cultural sector educator 1. AI must reinforce cultural diversity, not flatten it European culture thrives on plurality languages, narratives, micro traditions, minority voices. Any future strategy should ensure that AI systems are trained, evaluated, and deployed in ways that protect cultural nuance, not reduce it to generic outputs.

NOCTOCODE, informacijske tehnologije, d.o.o. is a company from Ljubljana, Slovenia, developing AI solutions for language technologies and accessibility. We work with the Intermunicipal Association of the Blind and Partially Sighted Nova Gorica and are in contact with the Union of the Blind and Partially Sighted of Slovenia.

A European Model for Digital Cultural Sovereignty Europe's cultural and creative sectors face a structural crisis in the digital space. According to IAB Europe's 2024 AdEx Benchmark Report, the European digital advertising market reached 118.9 billion in 2024 with social media alone growing by 23.9%.

BREEDBEELD is a Flemish organization that supports amateur/non-professional photographers, filmmakers and media artists. Millions of European citizens engage in some kind of creative activity in their spare time. From this perspective, it is very important that the Commission explicitly takes into account amateur arts/non-professional creators and active cultural participation when developing this strategy.

Human Provenance in Film (HPF) welcomes the Commissions objective of ensuring that AI complements rather than replaces human creativity. In the audiovisual sector, evaluating that objective requires better evidence about audience response to generative production. Existing audience data measures different things. Surveys can tell us what audiences say about particular uses of AI.

Associazione Italiana Turismo Enogastronomico (AITE) welcomes the initiative to develop an AI Strategy for the Cultural and Creative Sectors. Artificial intelligence is becoming not only a production tool but also a cultural intermediary that shapes what people discover, how heritage is interpreted and which places and communities receive attention.

YouthProAktiv welcomes the development of a dedicated European strategy on artificial intelligence for the cultural and creative sectors. AI is already changing the way cultural content is created, distributed and accessed, and it is important that Europe approaches this transformation in a way that supports innovation while protecting human creativity, cultural diversity and the rights of creators.

Developing and implementing an artificial intelligence strategy for the cultural and creative sector, as for any sector, requires a complete and multi-layered analysis of the sector itself and of the impact AI tools can have at multiple levels: the social impact on jobs and career trajectories, the environmental impact, and of course, the ethical impact.

I am responding as the founder of Voice Movement Immersion (VMI), an experiential methodology developed through more than 30 years of work across voice, music, movement, performance and facilitation. The question I keep coming back to is simple: as artificial intelligence becomes more capable, what human capacities do we need to strengthen alongside it?

My name is Jianming Yi, founder of MuVision, a German cultural technology company connecting cultural venues with an international audience. Our platform includes information on more than 22,000 museums in 22 countries and has attracted more than 10,000 users since launching just over one year ago. Our long-term ambition is to expand beyond museums and cover cultural venues throughout Europe.

Artificial Intelligence Strategy for the Cultural and Creative Sectors (Ares(2026)7389748) Submitted by: Association of the Deaf and Hard of Hearing in Czechia (ADH Czechia) Stakeholder type: Professional/sectoral association Country: Czech Republic Based on: ADH Czechia's position paper on the ethical use of AI with regard to Deaf and hard-of-hearing people in the Czech Republic (2026), attached in full as…

I am a professional multidisciplinary artist. As a comedy, director, singer, theatrical pedagogue, author and producer of the La mezcla theatre company, I am confronted with the issue of copyright and, more broadly, with the direct impact of the use of AI, in various ways.

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Submitted by Nord University (Norway) as coordinator of dialoguing@rts, a Horizon Europe project funded under HORIZON-CL2-2023-HERITAGE-01-07 (Grant Agreement No 101132352, https://dialoguingarts.eu). Eleven institutions across eight countries on three continents investigate how dialogic performing arts education fosters cultural literacy, social cohesion and inclusion.

I write from a curatorial practice built across European and Gulf institutions over the past decade, and I want to use this submission to name something the Call for Evidence leaves structurally absent: the curatorial function itself.

The European Commissions AI strategy for the cultural and creative sectors should look beyond generative AI and recognise a second, complementary category: "AI for cultural discovery, research and creative intelligence". Much of the current debate focuses on systems that generate new text, images, music or video.

Contribution by Sas Axokey ® This strategy represents an opportunity for Europe to promote AI that complements human creativity without being a substitute, protects the rights of creators and fosters responsible, competitive innovation that respects European cultural diversity.

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The initiative is very important and relevant. Missing in my opinion is the proper impact evaluation, and particularly digital impact KPI measurement showing the active demand in Europe for cultural heritage and related services including sovereign AI applications.

These sectors need to take part in more transdisciplinaire collabs and research and innovation projects/ programs. They are valuable but address to much solo and not in relation to tech and societal challenges. Involve them in AI related quadrupole helix innovation platforms and projects ( theory of change : quadrupole helix innovation needs mix collab between parties from government, knowledge institutes, end user…

I welcome the Commission's proposed AI Strategy for the Cultural and Creative Sectors and support the principle that AI should complement, rather than replace, human creativity. However, the analysis does not sufficiently address the structural power of technology companies, non-neutral choices embedded in AI systems, or the lack of enforceable responsibility for their behaviour.

We welcome this opportunity to contribute to an Artificial Intelligence Strategy for the Cultural and Creative Sectors under the Culture Compass for Europe. AI has the potential to support innovation across the sector, improve access to culture, strengthen diversity, and create new opportunities for creators, cultural organisations and audiences.

Provide meaningful and insightful feedback on the use of AI in 4000 characters? Might as well ask AI. 'AI' is not nearly what it is hyped up to be. But it does have merit. Sadly, it has destroyed the meaning of copyright, without a fight, and has already stolen the opportunity for many starting on the job market to meaningfully learn to become professional.

I am writing from South Africa, where I work as a creative strategist at one of Africas leading advertising agencies. I am also a writer and creative practitioner who has worked directly with AI-assisted image-making, animation, storytelling and strategy. From where I sit, AI is no longer a future conversation. It is already inside the creative process.

El modelo de desarrollo de la economía de las plataformas vivido durante los últimos 20 años -y utilizado para la integración de los sistemas de IAG en la actualidad- devalúa, en cuanto coste variable, el reconocimiento del trabajo de los creadores dentro de dicho modelo de negocio.

Being able to express ones opinion on how AI impacts the artistic and creative world means arguing ones point of view from ones own perspective. Mine is that of small organizations where talented individualsvery often young peoplecome together, individuals who need to be recognized and supported.

ANMIP represents Bulgaria's independent labels, publishers and producers. We write from the perspective of Southeast Europe (SEE) a region whose creative sectors face every AI-related risk identified by the Commission, but with a fraction of the defensive capacity of larger markets. We ask that the strategy explicitly address this regional dimension. SEE repertoire is doubly exposed.

I am deeply against the use of AI in the creative industries except in assistive or technical capacities such as cleaning up poorly recorded audio, sharpening blurry images or managing creative workflows. AI is a wonderful technology when it is used to detect early changes in cancerous cells, when it can help better regulate car traffic in cities, or where it is used to analyse sea water quality levels and make…

30 July 2026 European Commission Directorate-General for Education, Youth, Sport and Culture Public consultation: Artificial intelligence strategy for the cultural and creative sectors Human–AI Synergy in Europe’s Cultural and Creative Sectors IBEESS contribution to the European Commission’s call for evidence The Institute of Business Excellence, Entrepreneurship and Sustainable Systems (IBEESS) welcomes the…

Opening of the attached position paper · the full paper is on the Commission’s record (source link above)

I welcome this initiative and urge the Commission to ensure the Strategy explicitly covers cultural heritage and the GLAM sector (galleries, libraries, archives, museums and conservation). Debate on AI in the CCS is dominated by music, audiovisual and publishing, yet heritage institutions face distinct opportunities and risks that a creator and copyright lens does not capture. 1.

The proposed AI Strategy for the Cultural and Creative Sectors is timely and welcome. I particularly support its emphasis on human creativity, cultural and linguistic diversity, AI literacy, and collaboration between AI developers and the cultural and creative sectors.

Policy Recommendations 1. Support research on the long-term impact of AI on human creativity While significant attention has been devoted to the economic and legal implications of AI, comparatively little research has explored its long-term effects on human creativity, creative confidence, cognitive development and creative decision-making.