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      <image:title>Blog - The Ethics of Digital Repatriation</image:title>
      <image:caption>Furthermore, with initiatives ranging from unauthorized activist actions like Looty to institutional projects like Digital Benin, the actual impact of digital repatriation on source communities can vary to a large degree. Many initiatives labeled as digital repatriation may, inadvertently or not, perpetuate ‘digital colonialism’: when Western institutions maintain control over how digitized heritage is categorized, interpreted, and accessed. For instance, open-access policies may cause harm to source communities by making sacred or funerary items publicly visible without the community’s consent. Institutions may assert their intellectual property rights over digitized artifacts, dispossessing source communities in a more subtle way. Collaborative efforts between institutions and local communities can suffer from asymmetrical power dynamics, where Indigenous collaborators are reduced to footnote mentions or generic acknowledgments. Even ‘guerrilla’ digitization projects such as Looty can risk proceeding without the consent of the source communities whose heritage they aim to liberate.</image:caption>
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      <image:title>Blog - Carpe Diem, but what does it really mean? - ‘Carpe Diem’ in Dead Poets Society (1989)</image:title>
      <image:caption>‘Carpe Diem’ in Dead Poets Society (1989)</image:caption>
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      <image:title>Blog - Carpe Diem, but what does it really mean? - Horace (anonymous late 18th to early 19th century engraving)</image:title>
      <image:caption>Horace (anonymous late 18th to early 19th century engraving)</image:caption>
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      <image:title>Blog - Carpe Diem, but what does it really mean? - Make it stand out</image:title>
      <image:caption>Horace’s Villa</image:caption>
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