The document provides an overview of digital surrogates and open access to cultural works. It discusses how digital copies, facsimiles, photographs, and other reproductions (surrogates) have expanded access to artworks and historical documents by making them available online without restrictions. However, many surrogates are subject to various copyright claims that limit their open distribution. The talk addresses tensions between expanding access and protecting intellectual property rights through surrogate images on the internet.
MW2010: S. Hazan et al., ATHENA: A Mechanism for Harvesting Europe's Museum H...museums and the web
A presentation from Museums and the Web 2010.
Europeana, Europe's multimedia on-line library, museum and archive, currently grants access to the cultural holdings of Europe's twenty-seven member states. It includes more than 5.5 million books, maps, recordings, photographs, archival documents, paintings, and films from national libraries and cultural institutions. Europeana’s goal is to open up new ways of exploring Europe's heritage through free access to the collections and treasures via a single Web portal that is available in all the official EU languages (http://ec.europa.eu/information_society/ doc/factsheets /071-europeana-en.pdf).
Europeana is currently in prototype; the full service will launch later in 2010. The operational Europeana portal will provide improved search functionality and access to over 10 million objects. A follow-up release in 2011 will showcase multilingual and semantic Web features. ATHENA's role is to harvest holdings from Europe's museums and similar collections across the cultural sector, and to facilitate their integration into Europeana.
This paper will discuss this ambitious project from the point of view of the organizational strategies required to coordinate the pan-European, ATHENA Network, as well as the thesauri and multilingual developments that the partners are currently dealing with towards the integration of digital content.
Session: Multi-Institutional Collaboration: Process [organizations]
“Guerilla art is an anonymous work (including but not limited to graffiti, signage, performance, additions, and decoration) installed, performed or attached in a public spaces, with the distinct purpose of affecting the world in a creative or thought-provoking way.”
The Guerilla Art Kit by Keri Smith
Sam Heydt, (born April 20, 1986) is an American social practice and new media artist born and raised in New York City. Although currently residing in Vienna, Heydt has lived and worked in Paris, Venice, Amsterdam, Athens, Buenos Aires, Sydney, Udaipur. After completing her studies at Parsons School of Design (as well as Cooper Union, Universidad de Buenos Aires, La Sorbonne and the Universiteit van Amsterdam), she founded Jane Street Studio, L.L.C. in the Meatpacking District. Since established, the company has expanded to provide both design and marketing consultation in addition to photography and art direction. It's growing roster of clients span Europe, North & South America, Asia and Oceania. In addition to this entrepreneurial undertaking, she has attended artist residencies in Iceland, Australia and New Zealand; and has undertaken a range of altruistic, non-profit work - the most recent being in Rajasthan, India where she helped produce a documentary on child prostitution. As a fine art photographer, Heydt has exhibited in a constellation of galleries and museums throughout the world and is in the permanent collection of the State Hermitage Museum, St. Petersburg, Russia. For Heydt, illusion won’t free us from reality, even as the sustained narrative of tabloids becomes history and the myth of progress continues to perpetuate invisible violence. The transformation of the global landscape under the weight of industrialization is central to her work, as is the residual of consumption, the mutability of history and the material inequalities of a world reduced to a bottom line. [www.samheydt.com]
A talk on how we're structuring provenance for computers, and discovering the potential of provenance for DH research. Slides were built largely by David Newbury with supplememtnation from Tracey Berg-Fulton. Tracey Berg-Fulton delivered this presentation at the Keystone Digital Humanities conference at the University of Pennsylvania on July 24, 2015
Art Tracks: From Provenance to Structured DataDavid Newbury
This keynote presentation was given by David Newbury and Louise Lippincott as part of the Smithsonian Provenance Research Institute's PREP program at the Metropolitan Museum of Art in New York on February 7th, 2017
Artists who wrap things. Guerrilla art, also referred to as "street art", is a method of art making where the artist leaves anonymous art pieces in public places. It is often an installation in an unauthorized location. It is a way for an artist to express their views and opinions to a large audience in an anonymous way. In contrast to popular belief, guerrilla art does not have to be done with spray paint.
MW2010: S. Hazan et al., ATHENA: A Mechanism for Harvesting Europe's Museum H...museums and the web
A presentation from Museums and the Web 2010.
Europeana, Europe's multimedia on-line library, museum and archive, currently grants access to the cultural holdings of Europe's twenty-seven member states. It includes more than 5.5 million books, maps, recordings, photographs, archival documents, paintings, and films from national libraries and cultural institutions. Europeana’s goal is to open up new ways of exploring Europe's heritage through free access to the collections and treasures via a single Web portal that is available in all the official EU languages (http://ec.europa.eu/information_society/ doc/factsheets /071-europeana-en.pdf).
Europeana is currently in prototype; the full service will launch later in 2010. The operational Europeana portal will provide improved search functionality and access to over 10 million objects. A follow-up release in 2011 will showcase multilingual and semantic Web features. ATHENA's role is to harvest holdings from Europe's museums and similar collections across the cultural sector, and to facilitate their integration into Europeana.
This paper will discuss this ambitious project from the point of view of the organizational strategies required to coordinate the pan-European, ATHENA Network, as well as the thesauri and multilingual developments that the partners are currently dealing with towards the integration of digital content.
Session: Multi-Institutional Collaboration: Process [organizations]
“Guerilla art is an anonymous work (including but not limited to graffiti, signage, performance, additions, and decoration) installed, performed or attached in a public spaces, with the distinct purpose of affecting the world in a creative or thought-provoking way.”
The Guerilla Art Kit by Keri Smith
Sam Heydt, (born April 20, 1986) is an American social practice and new media artist born and raised in New York City. Although currently residing in Vienna, Heydt has lived and worked in Paris, Venice, Amsterdam, Athens, Buenos Aires, Sydney, Udaipur. After completing her studies at Parsons School of Design (as well as Cooper Union, Universidad de Buenos Aires, La Sorbonne and the Universiteit van Amsterdam), she founded Jane Street Studio, L.L.C. in the Meatpacking District. Since established, the company has expanded to provide both design and marketing consultation in addition to photography and art direction. It's growing roster of clients span Europe, North & South America, Asia and Oceania. In addition to this entrepreneurial undertaking, she has attended artist residencies in Iceland, Australia and New Zealand; and has undertaken a range of altruistic, non-profit work - the most recent being in Rajasthan, India where she helped produce a documentary on child prostitution. As a fine art photographer, Heydt has exhibited in a constellation of galleries and museums throughout the world and is in the permanent collection of the State Hermitage Museum, St. Petersburg, Russia. For Heydt, illusion won’t free us from reality, even as the sustained narrative of tabloids becomes history and the myth of progress continues to perpetuate invisible violence. The transformation of the global landscape under the weight of industrialization is central to her work, as is the residual of consumption, the mutability of history and the material inequalities of a world reduced to a bottom line. [www.samheydt.com]
A talk on how we're structuring provenance for computers, and discovering the potential of provenance for DH research. Slides were built largely by David Newbury with supplememtnation from Tracey Berg-Fulton. Tracey Berg-Fulton delivered this presentation at the Keystone Digital Humanities conference at the University of Pennsylvania on July 24, 2015
Art Tracks: From Provenance to Structured DataDavid Newbury
This keynote presentation was given by David Newbury and Louise Lippincott as part of the Smithsonian Provenance Research Institute's PREP program at the Metropolitan Museum of Art in New York on February 7th, 2017
Artists who wrap things. Guerrilla art, also referred to as "street art", is a method of art making where the artist leaves anonymous art pieces in public places. It is often an installation in an unauthorized location. It is a way for an artist to express their views and opinions to a large audience in an anonymous way. In contrast to popular belief, guerrilla art does not have to be done with spray paint.
Responsibilities of the office bearers while registering multi-state cooperat...Finlaw Consultancy Pvt Ltd
Introduction-
The process of register multi-state cooperative society in India is governed by the Multi-State Co-operative Societies Act, 2002. This process requires the office bearers to undertake several crucial responsibilities to ensure compliance with legal and regulatory frameworks. The key office bearers typically include the President, Secretary, and Treasurer, along with other elected members of the managing committee. Their responsibilities encompass administrative, legal, and financial duties essential for the successful registration and operation of the society.
A "File Trademark" is a legal term referring to the registration of a unique symbol, logo, or name used to identify and distinguish products or services. This process provides legal protection, granting exclusive rights to the trademark owner, and helps prevent unauthorized use by competitors.
Visit Now: https://www.tumblr.com/trademark-quick/751620857551634432/ensure-legal-protection-file-your-trademark-with?source=share
NATURE, ORIGIN AND DEVELOPMENT OF INTERNATIONAL LAW.pptxanvithaav
These slides helps the student of international law to understand what is the nature of international law? and how international law was originated and developed?.
The slides was well structured along with the highlighted points for better understanding .
Car Accident Injury Do I Have a Case....Knowyourright
Every year, thousands of Minnesotans are injured in car accidents. These injuries can be severe – even life-changing. Under Minnesota law, you can pursue compensation through a personal injury lawsuit.
Access & The Digital Surrogate: Openness as a Philosophy
1. ACCESS &
THE DIGITAL SURROGATE:
OPENNESS AS A PHILOSOPHY
Andrea Wallace
@andeewallace
University of Exeter Ashburton, Devon, 1605, The National Archives, copyright status unclear,
https://images.nationalarchives.gov.uk/assetbank-nationalarchives/action/
viewAsset?id=28248&index=6&total=100&popularityId=2
2. The Love Letter, early 1770s, Jean Honoré Fragonard (French, 1732-1806)
Publicdomain, courtesy of The Metropolitan Museum of Art
Please note that the intellectual property rights in
most of the visual content contained within this
presentation are [claimed to be] owned by other parties
and other copyright owners as specified.
#unavoidable #thisisnotlegaladvice
COPYRIGHT DISCLAIMER
7. ‘Crowd looking at the Mona Lisa at the Louvre,’ by Victor Grigas, CC BY-SA 4.0, available at:
https://commons.wikimedia.org/w/index.php?curid=40250423
10. “copies, facsimiles, casts, replicas,
drawings, engravings, photographs,
slides, half-tone prints, color
reproductions, posters,
transparencies, microforms, and
now, most recently, digitized
images.”
11. Michel Urtado,2014
DIGITAL PHOTOGRAPH
T H E S U R R O G AT E
Unknown, 1503-1516
PAINTING
ZéphirinBelliard,ca.
1815-1861
ENGRAVING LITHOGRAPH
Albert Teichel,19th
century
JPG, date unknown JPG, date unknown JPG, date unknown TIF, date unknownTIF, 2016
PHOTOGRAPH, ALBUMEN
Goupil& Cie,1870
GLASS NEGATIVE
Detroit Publishing
Company,1936
21. PUBLIC DOMAIN,
COURTESY LIBRARY
OF CONGRESS
Detroit Publishing
Company, after Leonardo
da Vinci
Da Vinci’s Mona Lisa,
1936-1937
Glass negative, 10 x
12.7 cm
33657u, date unknown
tif, 3958 x 5109 px
Detroit Publishing
Company, after Leonardo
da Vinci
Da Vinci’s Mona Lisa,
ca. 1900-1912
Dry plate glass negative,
20.3 x 25.4 cm
4a26503u, date unknown
tif, 4074 x 5157 px
Detroit Publishing
Company, after Leonardo
da Vinci
Da Vinci’s Mona Lisa,
ca. 1900-1915
Dry plate glass negative,
20.3 x 25.4 cm
4a25019u, date unknown
tif, 4074 x 5072 px
43. PART II: LET’S BE HONEST,
EVERY/NO ONE IS SORRY
IN WHICH WE ACCEPT
WE ARE ALL IMPERFECT,
ESPECIALLY #COPYRIGHTChrist driving the money changersfromthe Temple, 1635, Netherlands, by Rembrandt
van Rijn. Gift of Bishop Monrad, 1869. Te Papa (1869-0001-406)
45. O N L I N E P O L I C I E S ( T O N AM E JU S T A F E W )
• Impressum
• Copyright
• Legal Notice
• Rightsand Reproduction
• Rightsof Use
• Imprint
• Website Policy
• Contact
• Conditions
• FAQ
• Disclaimer Copyrights(which includesno such
disclaim of copyright)
• Open Access
• Copyright and Reproductions
• Intellectual Property RightsPolicy
• Terms of Use
• Terms and Conditions
• General termsof use for photo material
• Request photograph
• User Agreement
• Image Reproductionsand Copyright
• Copyright, permissionsand photography
• Disclaimer
• Image Usage Policy
• About thissite
• Using Images
130 institutions: “Copyright” most common – 16 institutions
46. TAT E | 2 0 1 6
1. Copyright, permissions and photography
2. Tate gallery rules
3. Website termsofuse
4. Image licensing
5. Copyright ‘orphanworks’
6. Creative Commonslicensesand Tate
7. Tate ImagesCopyright Policy
8. DigitalImages ReproductionPolicy (Tate Images)
9. Creative Commonscontent
10. A Brief Guide to Copyright.pdf
(65 pages)
47.
48.
49.
50.
51.
52.
53. Reiss Engelhorn Museum v. Wikimedia Foundation and Wikimedia Deutschland
Rudolf Stricker, Wikimedia Commons
55. “. . . the question for us is who shoulddecidewhetherand
especiallyhowour holdingsshouldbe made available.
Even if one supports the free public accessibility of cultural
items on Wikipedia, it is difficultfor us to comprehendthat
a single Wikipediaauthorclaimsthe right to decideon
theirown to release to everybodythe results of work
created with public funds on Wikipedia for free and thus
also for commercialuse.”
Prof. Dr. Alfried Wieczorek
General-Director of the Reiss Engelhorn Museum
56. http://network.icom.museum/cidoc/blog/maria-vlachou/
Landscape from Bretagne, Paul Gauguin, National Museumof Sweden, PublicDomain
“. . . the next big question is: how do we knowwhatpeople
are going to do withthese freely accessibleimages? This
is, perhaps, the hardest thing for some [heritage]
professionals, who feel they havea responsibilityto
‘protect’the works of art and theirreproductions.The hard
truth, though, is that they do not. Objects in the public
domain belong to everyone and no one has appointed
[heritage]professionalsas arbiters of taste.”
Maria Vlachou,
Cultural Management and Communications Consultant
90. Andrea Wallace CCO
Jeff Koons was born inYork, Pennsylvaniain 1955. He
studiedat the MarylandInstituteCollegeof Art in
Baltimore and the School of the Art Instituteof Chicago.
Since his first solo exhibitionin1980, Koons’swork has
been shownin majorgalleries and institutions around the
world.Koons livesand works in New York City.