Non-fungible tokens (NFTs) make it technically possible for digital assets to be owned and traded, introducing the concept of scarcity in the digital realm for the first time. Resulting from this technical development, this paper asks the question, do they provide an opportunity for fundraising for galleries, libraries, archives and museums (GLAM), by selling ownership of digital copies of their collections? Although NFTs in their current format were first invented in 2017 as a means for game players to trade virtual goods, they reached the mainstream in 2021, when the auction house Christie’s held their first-ever sale exclusively for an NFT of a digital image, that was eventually sold for a record 69 million USD. The potential of NFTs to generate significant revenue for artists and museums by selling effectively a cryptographically signed copy of a digital image (similar to real-world limited editions, which are signed and numbered copies of a given artwork), has sparked the interest of the financially deprived museum and heritage sector with world-renowned institutions such as the Uffizi Gallery and the Hermitage Museum, having already employed NFTs in order to raise funds. Concerns surrounding the environmental impact of blockchain technology and the rise of malicious projects, exploiting previously digitised heritage content made available through OpenGLAM licensing, have attracted criticism over the speculative use of the technology. In this paper, we present the current state of affairs in relation to NFTs and the cultural heritage sector, identifying challenges, whilst highlighting opportunities that they create for revenue generation, in order to help address the ever-increasing financial challenges of galleries and museums.

Purpose: In recent years, OpenGLAM and the broader open license movement have been gaining momentum in the cultural heritage sector. The purpose of this paper is to examine OpenGLAM from the perspective of end users, identifying barriers for commercial and non-commercial reuse of openly licensed art images. Design/methodology/approach: Following a review of the literature, the authors scope out how end users can discover institutions participating in OpenGLAM, and use case studies to examine the process they must follow to find, obtain and reuse openly licensed images from three art museums. Findings: Academic literature has so far focussed on examining the risks and benefits of participation from an institutional perspective, with little done to assess OpenGLAM from the end users’ standpoint. The authors reveal that end users have to overcome a series of barriers to find, obtain and reuse open images. The three main barriers relate to image quality, image tracking and the difficulty of distinguishing open images from those that are bound by copyright. Research limitations/implications: This study focusses solely on the examination of art museums and galleries. Libraries, archives and also other types of OpenGLAM museums (e.g. archaeological) stretch beyond the scope of this paper. Practical implications: The authors identify practical barriers of commercial and non-commercial reuse of open images, outlining areas of improvement for participant institutions. Originality/value: The authors contribute to the understudied field of research examining OpenGLAM from the end users’ perspective, outlining recommendations for end users, as well as for museums and galleries.

Purpose: Advancements in Internet technologies greatly influence digital humanities, yet research investigating web3 (i.e. the blockchain-based, decentralised web) within that domain remains limited. The purpose of this paper is to address that gap, presenting a state-of-the-art synthesis of web3-related technologies for digital humanities infrastructures and exploring associated risks and challenges.Design/methodology/approach: Following a review of the literature, the authors scope out ways blockchain technology, peer-to-peer decentralised storage and other web3 technologies could support digital humanities infrastructures, especially in the context of digital cultural heritage. In this discussion, particular cognisance is given to the needs and aims of the UK’s Arts and Humanities Research Council funded Towards a National Collection programme, which seeks to break down the barriers that exist between the UK’s cultural heritage collections.Findings: Web3 introduces novel tools and processes that could benefit digital humanities infrastructures, enabling decentralisation and facilitating open access data storage. Yet, significant barriers to adoption remain, such as the requirement for highly specialised technical expertise. Risks and challenges must also be considered prior to any use, including legal, ethical and technical safeguards.Research limitations/implications: This study explores opportunities and risks of web3 for digital humanities, through the lens of digital cultural heritage infrastructures and their requirements, including decentralised storage and persistent identification. It does not provide a holistic overview of all web3 technologies.Practical implications: The authors identify practical uses of web3 technologies for digital humanities projects, outlining potential applications concerning decentralised storage and persistent identification.Originality/value: The authors push forward current knowledge and literature on the intersection of web3 and digital humanities, outlining also practical recommendations for scholars, practitioners and funding organisations.