This document discusses author's rights and how they relate to the digitization and online accessibility of cultural heritage collections. It provides definitions of author's rights, including both moral and economic rights. It also discusses exceptions and limitations to author's rights, such as those that allow certain uses by libraries, archives and museums. However, determining rights and obtaining permissions for the vast amount of digitized content in cultural collections remains challenging, especially for orphan works where the author is unknown.
Slide notes - Changes in media production and distribution which have led to ...Holly Grover
This document provides an overview of the changes in media production and distribution that led to the development of Creative Commons (CC) licensing. It discusses:
1) A brief history of copyright and its purpose of incentivizing creation by allowing creators control over duplication of their works.
2) Four major technological revolutions - printing press, photography/film, radio/TV, and the internet - that made mass distribution of media possible and challenged existing copyright models.
3) How digitalization and the internet in particular allowed anyone to distribute media globally, raising issues around copyright that CC licensing was designed to address by providing options for sharing and reuse with attribution.
The document discusses copyright law and estate planning issues relevant to visual artists. It provides an overview of copyright, including the classes of works protected, criteria for protection such as originality, and the economic and moral rights of authors. It also discusses artists resale rights, which provide artists with a share of resales of their works. Regarding estate planning, it notes the importance of wills for directing inheritance and accessing assets, and outlines tax implications for gifts and inheritances.
This document provides a summary of copyrights and intellectual property rights (IPR) from several perspectives. It begins with a brief history of copyrights originating from the Statute of Anne in 1710, and discusses the development of international copyright laws through conventions like Berne and TRIPS. It outlines different types of copyrights and IPRs, and distinguishes between the economic rights of creators and users, and the moral rights of creators. The document also discusses debates around copyrights and exceptions for education. In the end, it notes copyright infringement depends on multiple factors and can be traced in several ways.
Unleashed Devices is an exhibition featuring DIY, hacking, and open source art projects that critically and creatively explore technology. The artists reconstruct, remix, and reinvent everyday electronic devices, shifting visions of how data and technology are used. These repurposed devices become sites for new creative works. The projects not only challenge conceptions of technology but also art, music, and design. They reveal the power of DIY and sharing as forms of social reflection and participation. The exhibition includes interactive installations, performances, and hardware/software-based artworks. Artists developed different modes of visualizing data taken from visitors and their actions, creating innovative media installations and new experiences.
Presented by Lavinia Ciuffa, at the Annual Conference of the Visual Resources Association, March 12-15, 2014 in Milwaukee, Wisconsin.
Session 9, Case Studies in International Copyright Compliance: Untangling the Web of Publishing and Sharing Copyrighted Content Online
ORGANIZERS:
Cara Hirsch, Artstor
Allan Kohl, Minneapolis College of Art and Design (on behalf of the VRA Intellectual Property Rights Committee)
Vicky Brown, University of Oxford (on behalf of the VRA International Task Force)
MODERATOR:
Allan Kohl, Minneapolis College of Art and Design
Vicky Brown, University of Oxford
PRESENTERS:
• Matthias Arnold, University of Heidelberg (Germany)
• Vicky Brown, University of Oxford (United Kingdom)
• Marta Bustillo, National College of Art and Design, Dublin (Ireland)
• Lavinia Ciuffa, American Academy in Rome (Italy)
• Marika Sarvilahti, Aalto University, Helsinki (Finland)
Teachers, students and scholars have long been able to rely on fair use in making content available for teaching, research and study within the United States. However, such protections don’t exist outside the United States. This session explores the various ways that visual resource professionals have addressed copyright compliance issues when making images available for educational and scholarly purposes outside of the United States. Using various case studies, the session will address the sharing of image resources between and among different institutions, determining when and how images can be made available to the general public, creating image-based research collaborations across national boundaries, and the international aspects of publishing with images.
This document provides an introduction to intellectual property. It defines intellectual property as creations of the mind such as inventions, literary works, and symbols. There are two main categories of intellectual property: industrial property, which includes patents, trademarks, industrial designs, and geographic indications; and copyright, which includes literary works, films, music, art, and designs. Intellectual property rights allow creators to benefit from their work and are balanced with considerations of public welfare. The document outlines specific intellectual property rights including patents, trademarks, industrial designs, geographic indications, and copyrights.
The document outlines the key topics to be covered in lectures on intellectual property rights (IPR) in the digital environment. The lectures will discuss 1) challenges posed by digital technologies to copyright, 2) complexities in applying copyright law digitally, 3) the extent to which existing copyright laws in India, UK and US have addressed these challenges, and 4) non-legislative solutions. It then provides an overview of relevant international treaties and domestic copyright laws. The rest of the document discusses in detail the impact of digital technologies on various aspects of copyright and analyses approaches taken in different jurisdictions.
Copyright protects original works when fixed in a tangible form. The Indian Copyright Act of 1957 governs copyright and has been amended over time. Copyright ensures minimum protections for creators and rewards creativity. Once a work is created and fixed, copyright is secured automatically. However, new technologies pose challenges for copyright owners to prevent unauthorized use online. Copyright law provides certain exclusive rights to owners, and terms and conditions as well as technology can help enforce digital copyrights.
Slide notes - Changes in media production and distribution which have led to ...Holly Grover
This document provides an overview of the changes in media production and distribution that led to the development of Creative Commons (CC) licensing. It discusses:
1) A brief history of copyright and its purpose of incentivizing creation by allowing creators control over duplication of their works.
2) Four major technological revolutions - printing press, photography/film, radio/TV, and the internet - that made mass distribution of media possible and challenged existing copyright models.
3) How digitalization and the internet in particular allowed anyone to distribute media globally, raising issues around copyright that CC licensing was designed to address by providing options for sharing and reuse with attribution.
The document discusses copyright law and estate planning issues relevant to visual artists. It provides an overview of copyright, including the classes of works protected, criteria for protection such as originality, and the economic and moral rights of authors. It also discusses artists resale rights, which provide artists with a share of resales of their works. Regarding estate planning, it notes the importance of wills for directing inheritance and accessing assets, and outlines tax implications for gifts and inheritances.
This document provides a summary of copyrights and intellectual property rights (IPR) from several perspectives. It begins with a brief history of copyrights originating from the Statute of Anne in 1710, and discusses the development of international copyright laws through conventions like Berne and TRIPS. It outlines different types of copyrights and IPRs, and distinguishes between the economic rights of creators and users, and the moral rights of creators. The document also discusses debates around copyrights and exceptions for education. In the end, it notes copyright infringement depends on multiple factors and can be traced in several ways.
Unleashed Devices is an exhibition featuring DIY, hacking, and open source art projects that critically and creatively explore technology. The artists reconstruct, remix, and reinvent everyday electronic devices, shifting visions of how data and technology are used. These repurposed devices become sites for new creative works. The projects not only challenge conceptions of technology but also art, music, and design. They reveal the power of DIY and sharing as forms of social reflection and participation. The exhibition includes interactive installations, performances, and hardware/software-based artworks. Artists developed different modes of visualizing data taken from visitors and their actions, creating innovative media installations and new experiences.
Presented by Lavinia Ciuffa, at the Annual Conference of the Visual Resources Association, March 12-15, 2014 in Milwaukee, Wisconsin.
Session 9, Case Studies in International Copyright Compliance: Untangling the Web of Publishing and Sharing Copyrighted Content Online
ORGANIZERS:
Cara Hirsch, Artstor
Allan Kohl, Minneapolis College of Art and Design (on behalf of the VRA Intellectual Property Rights Committee)
Vicky Brown, University of Oxford (on behalf of the VRA International Task Force)
MODERATOR:
Allan Kohl, Minneapolis College of Art and Design
Vicky Brown, University of Oxford
PRESENTERS:
• Matthias Arnold, University of Heidelberg (Germany)
• Vicky Brown, University of Oxford (United Kingdom)
• Marta Bustillo, National College of Art and Design, Dublin (Ireland)
• Lavinia Ciuffa, American Academy in Rome (Italy)
• Marika Sarvilahti, Aalto University, Helsinki (Finland)
Teachers, students and scholars have long been able to rely on fair use in making content available for teaching, research and study within the United States. However, such protections don’t exist outside the United States. This session explores the various ways that visual resource professionals have addressed copyright compliance issues when making images available for educational and scholarly purposes outside of the United States. Using various case studies, the session will address the sharing of image resources between and among different institutions, determining when and how images can be made available to the general public, creating image-based research collaborations across national boundaries, and the international aspects of publishing with images.
This document provides an introduction to intellectual property. It defines intellectual property as creations of the mind such as inventions, literary works, and symbols. There are two main categories of intellectual property: industrial property, which includes patents, trademarks, industrial designs, and geographic indications; and copyright, which includes literary works, films, music, art, and designs. Intellectual property rights allow creators to benefit from their work and are balanced with considerations of public welfare. The document outlines specific intellectual property rights including patents, trademarks, industrial designs, geographic indications, and copyrights.
The document outlines the key topics to be covered in lectures on intellectual property rights (IPR) in the digital environment. The lectures will discuss 1) challenges posed by digital technologies to copyright, 2) complexities in applying copyright law digitally, 3) the extent to which existing copyright laws in India, UK and US have addressed these challenges, and 4) non-legislative solutions. It then provides an overview of relevant international treaties and domestic copyright laws. The rest of the document discusses in detail the impact of digital technologies on various aspects of copyright and analyses approaches taken in different jurisdictions.
Copyright protects original works when fixed in a tangible form. The Indian Copyright Act of 1957 governs copyright and has been amended over time. Copyright ensures minimum protections for creators and rewards creativity. Once a work is created and fixed, copyright is secured automatically. However, new technologies pose challenges for copyright owners to prevent unauthorized use online. Copyright law provides certain exclusive rights to owners, and terms and conditions as well as technology can help enforce digital copyrights.
IPR: Legal Issues in Research Data Collection and Sharing by EUDAT | www.euda...EUDAT
| www.eudat.eu | v1.0, June 2014 - The development of skills and competence to manage IPR and leverage its influence requires increasing focus. However, how much detail do you know? Take copyright for example, What exactly is protected?, What rights are reserved and for how long? This presentation addresses such questions on copyright and other topics such as Database Right, Trade Secret and Licensing.
Who is it for?: Researchers, Data Managers, General public.
The document summarizes key aspects of copyright law. It discusses the exclusive rights granted to copyright owners, including rights of reproduction, distribution, public performance, public display, and digital audio transmission. It outlines exceptions to these rights, such as fair use and first sale doctrine. The document also covers moral rights for visual artists, compulsory licensing, and international copyright law.
This document discusses several copyright issues that museums face in the digital age. It summarizes the primary focus of museums as education and preserving culture and heritage. It then examines major copyright issues museums encounter, including displaying collections online, artist rights versus museum rights, photography in museums, and copyright concerns with playing music. The document provides an overview of relevant copyright laws and concludes that both artists and museums need to research copyrights to protect themselves and each other.
Copyright law protects original creative works including audiovisual works like films and sound recordings. For audiovisual works, copyright belongs to the producer, director, and other creators. Owners have exclusive rights like reproduction and distribution. Copyright lasts 50 years from publication for audiovisual works. Archives can play works for private viewing but need permission to copy due to copyright limitations.
This document discusses intellectual property and copyright laws when using online materials. It covers the relevant Spanish laws and regulations, including the Ley de Propietad Intelectual and LOPD. Creative Commons licensing is described as a way to release certain usage rights. Quoting works for educational purposes is allowed under certain conditions, such as attributing the author. Images from Wikimedia Commons and Flickr can be used if their licenses permit it and attribution is provided. Student works may also be protected by copyright law.
The document discusses the Public Domain Charter being drafted by Communia, a network focused on the public domain. It provides context on Communia and its goals of broadening the public domain concept. It also discusses how the charter differs from Communia's manifesto and is being drafted with the needs of Europeana in mind. Europeana aims to provide access to Europe's shared cultural heritage, but some cultural institutions charge for access to digitized public domain works. The charter is meant to establish principles for a healthy public domain that enable free access.
Mirra Burri (Universität Bern) - Digital Technologies and Cultural Heritageinfoclio.ch
Présentation par Mirra Burri (World Trade Institute, University of Bern) lors du colloque infoclio.ch à Berne le 2 novembre 2012 sur le thème "Droits d'accès et d'utilisation des sources historiques sur le web".
This document discusses copyright issues related to using images, music, and video footage. It covers topics such as what copyright protects, copyright duration, using images of people, places, buildings and things, public domain images, infringement, and circumvention of technological measures. Permission is required for commercial use of copyrighted materials, while fair use allows limited educational use without permission.
Copyright and illegal downloading CULT3020StaceyReibelt
The document provides an overview of copyright, including its definition, history, and application in Australia. It discusses how digital technologies like mashups/remixes, Creative Commons, YouTube, and torrent downloads have impacted copyright by making it easier to access, copy and distribute copyrighted works, while also enabling new forms of creativity. However, this has led to legal issues around copyright infringement. Solutions discussed include expanding fair use and changing copyright laws to better accommodate digital technologies and new forms of creative works.
Law, Science & Technology: Copyright & related rights (1 of 2)
- History & developments
- Legal sources
- Copyright harmonization
- Subject matter
- Concept of originality
- Exhaustion + case study
Slide 5: Push and pull relation between technology and copyright
Slide 6: 1450 Invention of printing press
Slide 8: Statute of Ann (1710)
Slide 12: Copyright US Constitution (1790)
Slide 13: The Pirate Publisher
Slide 15: 20th century, cassette, video tape, CDs, Napster, The Pirate Bay, Popcorn Time
Slide 22: The battle of copyright (free culture, corporate capitalism, public domain)
Slide 23: Legal sources (sauces)
Slide 25: Berne convention (1886)
Slide 28: Three step test
Slide 29: Universal Copyright Convention (1952)
Slide 30: Rome convention (1961)
Slide 32: TRIPS - Agreement on Trade-Related Aspects of Intellectual Property Rights (1994)
Slide 35: WIPO Internet Treaties (1996)
Slide 36: EU Copyright Law
Slide 39: Road to harmonization (Regulations, Directives, CJEU practice...)
(...)
Digital Copyright, Digital Agenda by EU Commission, Digital Single Market, Originality, CRM Directive, InfoSoc Directive, Directive 2001/29, Directive 2014/26/EU, UsedSoft, Painer, Football Dataco, SAS Institute, Google Adwords, Svensson, Links and copyright, Caching and copyright, ...
This document discusses copyright and ethics related to multimedia. It defines multimedia, copyright, intellectual property, fair use, and public domain. It also discusses international copyright agreements like the Berne Convention and Universal Copyright Convention. Sri Lanka's Intellectual Property Act of 2003 is summarized, including provisions around fair use, copyright duration, and what constitutes ethical vs unethical multimedia content.
The document discusses copyright laws in India. It defines copyright and outlines the rights granted to copyright owners, including reproduction, performance, recording, translation, and adaptation rights. It describes the Copyright Act of 1957 and amendments, and notes that India is a member of several international copyright treaties. The document also discusses the terms of copyright, limitations on copyright protection, the Copyright Office and Copyright Board, and their roles and powers.
Heat Seeker is an interactive audiovisual project created between 2003-2009 by Nuno N. Correia and André Carrilho. It began as an audiovisual performance combining visuals manipulated in real-time with electronic music compositions. Videos were later created and screened in festivals. An interactive web version was also developed. The project aims to reunite the separated experiences of sound and image in performances by making the manipulation of visuals transparent to audiences. Future developments could explore incorporating the project onto mobile and gaming devices.
Copyright is a legal right that protects original creative works. It grants creators exclusive rights over the reproduction and use of their work. The purpose of copyright is to incentivize creative production, preserve the integrity of works, and establish rules for economic exploitation. Copyright applies automatically to original works but expires typically 70 years after the creator's death, allowing works to enter the public domain where they can be used freely. Exceptions and limitations to copyright allow limited use of copyrighted works for purposes like education or criticism.
This document provides an overview of intellectual property, including patents, trademarks, and copyright. It discusses the constitutional basis and key laws governing copyright in the United States. Copyright protects original works fixed in a tangible medium, including literary works, music, art, films, and software. To be copyrightable, works must be creative, novel, and involve intellectual effort in their creation. The rights of copyright holders include reproduction, creation of derivatives, distribution, and public performance or display. However, copyright also faces criticism for being too protective in some cases.
The document discusses copyright as part of intellectual property rights under TRIPS. It provides background on the history of copyright law in India and defines intellectual property rights. It describes organizations like WIPO and NIPO that deal with intellectual property. It explains key aspects of copyright like related rights, registration, term and infringement remedies. It compares India and Brazil's copyright acts and discusses concepts like copyleft. Statistical data and case studies on copyright issues are also presented.
The document provides an introduction to intellectual property copyright law, outlining the categories of copyright subject matter including literary works, music, and audiovisual works. It discusses key copyright concepts such as original works of authorship, the idea-expression dichotomy, fixation in a tangible medium, and limitations on copyright protection for ideas, processes, and facts. The reading also examines exclusive rights granted to copyright owners including reproduction, distribution, public performance, and display of their works.
This document provides an overview of copyright law and fair use guidelines for digital content. It discusses what constitutes a copyright, the rights granted to copyright owners, exceptions for fair use including teaching and research, and how to determine if a use is considered transformative fair use. The document also covers what enters the public domain, such as works published before 1923 or those without a valid copyright notice. The overall purpose is to help educators understand copyright and fair use as it applies to using digital content in teaching.
This document provides an overview of copyright basics for libraries. It discusses what types of works are protected by copyright, the rights granted to copyright holders, limitations on those rights including exceptions for fair use and limitations, statutory licenses that allow certain uses, and specific exceptions for libraries and archives including document supply and interlibrary loan. Key points covered include what can be copied under fair use and statutory exceptions, factors to consider for determining fair use, and declaration requirements for libraries supplying works to users or other institutions.
Challenges of long-term preservation of digital cultural heritageUldis Zarins
Presentation on current challenges in the field of digital preservation of cultural heritage, with a special focus on UNESCO activities in this field and the legal issues. Points for discussion for the meeting of library experts with UNESCO Deputy Director-General Getachew Engida in Riga, 28.08.2014.
This document summarizes the services of OurDigitalWorld (ODW), a nonprofit that provides digitization and online engagement tools to help organizations connect their communities with digital collections. ODW offers consultation, project management training, and tools like the VITA toolkit to create and manage digital collections. Over 250 organizations partner with ODW to provide access to millions of digitized items and leverage the platform for community engagement and networking opportunities.
IPR: Legal Issues in Research Data Collection and Sharing by EUDAT | www.euda...EUDAT
| www.eudat.eu | v1.0, June 2014 - The development of skills and competence to manage IPR and leverage its influence requires increasing focus. However, how much detail do you know? Take copyright for example, What exactly is protected?, What rights are reserved and for how long? This presentation addresses such questions on copyright and other topics such as Database Right, Trade Secret and Licensing.
Who is it for?: Researchers, Data Managers, General public.
The document summarizes key aspects of copyright law. It discusses the exclusive rights granted to copyright owners, including rights of reproduction, distribution, public performance, public display, and digital audio transmission. It outlines exceptions to these rights, such as fair use and first sale doctrine. The document also covers moral rights for visual artists, compulsory licensing, and international copyright law.
This document discusses several copyright issues that museums face in the digital age. It summarizes the primary focus of museums as education and preserving culture and heritage. It then examines major copyright issues museums encounter, including displaying collections online, artist rights versus museum rights, photography in museums, and copyright concerns with playing music. The document provides an overview of relevant copyright laws and concludes that both artists and museums need to research copyrights to protect themselves and each other.
Copyright law protects original creative works including audiovisual works like films and sound recordings. For audiovisual works, copyright belongs to the producer, director, and other creators. Owners have exclusive rights like reproduction and distribution. Copyright lasts 50 years from publication for audiovisual works. Archives can play works for private viewing but need permission to copy due to copyright limitations.
This document discusses intellectual property and copyright laws when using online materials. It covers the relevant Spanish laws and regulations, including the Ley de Propietad Intelectual and LOPD. Creative Commons licensing is described as a way to release certain usage rights. Quoting works for educational purposes is allowed under certain conditions, such as attributing the author. Images from Wikimedia Commons and Flickr can be used if their licenses permit it and attribution is provided. Student works may also be protected by copyright law.
The document discusses the Public Domain Charter being drafted by Communia, a network focused on the public domain. It provides context on Communia and its goals of broadening the public domain concept. It also discusses how the charter differs from Communia's manifesto and is being drafted with the needs of Europeana in mind. Europeana aims to provide access to Europe's shared cultural heritage, but some cultural institutions charge for access to digitized public domain works. The charter is meant to establish principles for a healthy public domain that enable free access.
Mirra Burri (Universität Bern) - Digital Technologies and Cultural Heritageinfoclio.ch
Présentation par Mirra Burri (World Trade Institute, University of Bern) lors du colloque infoclio.ch à Berne le 2 novembre 2012 sur le thème "Droits d'accès et d'utilisation des sources historiques sur le web".
This document discusses copyright issues related to using images, music, and video footage. It covers topics such as what copyright protects, copyright duration, using images of people, places, buildings and things, public domain images, infringement, and circumvention of technological measures. Permission is required for commercial use of copyrighted materials, while fair use allows limited educational use without permission.
Copyright and illegal downloading CULT3020StaceyReibelt
The document provides an overview of copyright, including its definition, history, and application in Australia. It discusses how digital technologies like mashups/remixes, Creative Commons, YouTube, and torrent downloads have impacted copyright by making it easier to access, copy and distribute copyrighted works, while also enabling new forms of creativity. However, this has led to legal issues around copyright infringement. Solutions discussed include expanding fair use and changing copyright laws to better accommodate digital technologies and new forms of creative works.
Law, Science & Technology: Copyright & related rights (1 of 2)
- History & developments
- Legal sources
- Copyright harmonization
- Subject matter
- Concept of originality
- Exhaustion + case study
Slide 5: Push and pull relation between technology and copyright
Slide 6: 1450 Invention of printing press
Slide 8: Statute of Ann (1710)
Slide 12: Copyright US Constitution (1790)
Slide 13: The Pirate Publisher
Slide 15: 20th century, cassette, video tape, CDs, Napster, The Pirate Bay, Popcorn Time
Slide 22: The battle of copyright (free culture, corporate capitalism, public domain)
Slide 23: Legal sources (sauces)
Slide 25: Berne convention (1886)
Slide 28: Three step test
Slide 29: Universal Copyright Convention (1952)
Slide 30: Rome convention (1961)
Slide 32: TRIPS - Agreement on Trade-Related Aspects of Intellectual Property Rights (1994)
Slide 35: WIPO Internet Treaties (1996)
Slide 36: EU Copyright Law
Slide 39: Road to harmonization (Regulations, Directives, CJEU practice...)
(...)
Digital Copyright, Digital Agenda by EU Commission, Digital Single Market, Originality, CRM Directive, InfoSoc Directive, Directive 2001/29, Directive 2014/26/EU, UsedSoft, Painer, Football Dataco, SAS Institute, Google Adwords, Svensson, Links and copyright, Caching and copyright, ...
This document discusses copyright and ethics related to multimedia. It defines multimedia, copyright, intellectual property, fair use, and public domain. It also discusses international copyright agreements like the Berne Convention and Universal Copyright Convention. Sri Lanka's Intellectual Property Act of 2003 is summarized, including provisions around fair use, copyright duration, and what constitutes ethical vs unethical multimedia content.
The document discusses copyright laws in India. It defines copyright and outlines the rights granted to copyright owners, including reproduction, performance, recording, translation, and adaptation rights. It describes the Copyright Act of 1957 and amendments, and notes that India is a member of several international copyright treaties. The document also discusses the terms of copyright, limitations on copyright protection, the Copyright Office and Copyright Board, and their roles and powers.
Heat Seeker is an interactive audiovisual project created between 2003-2009 by Nuno N. Correia and André Carrilho. It began as an audiovisual performance combining visuals manipulated in real-time with electronic music compositions. Videos were later created and screened in festivals. An interactive web version was also developed. The project aims to reunite the separated experiences of sound and image in performances by making the manipulation of visuals transparent to audiences. Future developments could explore incorporating the project onto mobile and gaming devices.
Copyright is a legal right that protects original creative works. It grants creators exclusive rights over the reproduction and use of their work. The purpose of copyright is to incentivize creative production, preserve the integrity of works, and establish rules for economic exploitation. Copyright applies automatically to original works but expires typically 70 years after the creator's death, allowing works to enter the public domain where they can be used freely. Exceptions and limitations to copyright allow limited use of copyrighted works for purposes like education or criticism.
This document provides an overview of intellectual property, including patents, trademarks, and copyright. It discusses the constitutional basis and key laws governing copyright in the United States. Copyright protects original works fixed in a tangible medium, including literary works, music, art, films, and software. To be copyrightable, works must be creative, novel, and involve intellectual effort in their creation. The rights of copyright holders include reproduction, creation of derivatives, distribution, and public performance or display. However, copyright also faces criticism for being too protective in some cases.
The document discusses copyright as part of intellectual property rights under TRIPS. It provides background on the history of copyright law in India and defines intellectual property rights. It describes organizations like WIPO and NIPO that deal with intellectual property. It explains key aspects of copyright like related rights, registration, term and infringement remedies. It compares India and Brazil's copyright acts and discusses concepts like copyleft. Statistical data and case studies on copyright issues are also presented.
The document provides an introduction to intellectual property copyright law, outlining the categories of copyright subject matter including literary works, music, and audiovisual works. It discusses key copyright concepts such as original works of authorship, the idea-expression dichotomy, fixation in a tangible medium, and limitations on copyright protection for ideas, processes, and facts. The reading also examines exclusive rights granted to copyright owners including reproduction, distribution, public performance, and display of their works.
This document provides an overview of copyright law and fair use guidelines for digital content. It discusses what constitutes a copyright, the rights granted to copyright owners, exceptions for fair use including teaching and research, and how to determine if a use is considered transformative fair use. The document also covers what enters the public domain, such as works published before 1923 or those without a valid copyright notice. The overall purpose is to help educators understand copyright and fair use as it applies to using digital content in teaching.
This document provides an overview of copyright basics for libraries. It discusses what types of works are protected by copyright, the rights granted to copyright holders, limitations on those rights including exceptions for fair use and limitations, statutory licenses that allow certain uses, and specific exceptions for libraries and archives including document supply and interlibrary loan. Key points covered include what can be copied under fair use and statutory exceptions, factors to consider for determining fair use, and declaration requirements for libraries supplying works to users or other institutions.
Challenges of long-term preservation of digital cultural heritageUldis Zarins
Presentation on current challenges in the field of digital preservation of cultural heritage, with a special focus on UNESCO activities in this field and the legal issues. Points for discussion for the meeting of library experts with UNESCO Deputy Director-General Getachew Engida in Riga, 28.08.2014.
This document summarizes the services of OurDigitalWorld (ODW), a nonprofit that provides digitization and online engagement tools to help organizations connect their communities with digital collections. ODW offers consultation, project management training, and tools like the VITA toolkit to create and manage digital collections. Over 250 organizations partner with ODW to provide access to millions of digitized items and leverage the platform for community engagement and networking opportunities.
Linked Data and Images: Building Blocks for Cultural HeritageRobert Sanderson
Presentation given at UC Berkeley on 18th of April, 2014. Describes the benefits of Linked Data for Cultural Heritage, along with the details of IIIF and Open Annotation frameworks.
Presentatie over makerspaces in bibliotheken, onder andere gebruikt bij sessies met Stichting Bibliotheekwerk en de Rijnbrink Groep/Overijssels Bibliotheek Netwerk.
Developing a Comprehensive Library Management System for Tamale PolytechnicEditor IJCATR
The numerous problems of borrowing and returning books and maintaining comprehensive user profiles in the Tamale
Polytechnic’s library using the current manual system is seriously affecting the overall productivity of the facility. The impact of
which is the poor and inefficient delivery of service to members. Since issuing of books is done by several librarians, details of which
librarian issued or received a borrowed book is always not accurate and can easily be manipulated by individuals with their personal
interests. A successful solution would be a computerized System for monitoring all transactions, members, user accounts, keep proper
records of login details of users as well as effective generation of reports. All transactions that occur within the library are recorded
automatically. It also has a fine and ad-hoc report generation mechanisms.
Using WorldCat to find Genealogy BooksDick Eastman
WorldCat may be a genealogist's best friend! This presentation describes the methods of finding genealogy books that reside in libraries around the world.
Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...Aneta Kozuchowska
Bellevue Programme 2011 - EU Seminar: Bruxelles, 2 March 2011. Presentation by Giuliana De Francesco (Ministry for Cultural Heritage, Italy, Stiftung Preussischer Kulturbesitz, Germany)
This document provides an introduction to digital life, including defining digital identity, reputation management, privacy, security, and personal branding. It discusses how digital life emerged through technologies like the internet, smartphones, and smart devices. It also explains how Google works and the importance of reputation management online. Key aspects of digital life covered include understanding one's digital identity, managing an online presence and reputation, and establishing a personal brand.
This document provides an outline and overview of an internship project conducted with the organization City Space Architecture in Bologna, Italy. The goal of the project was to study and digitally document public spaces in Bologna's historic center using photography and 3D modeling tools to better understand the tangible, intangible, and living cultural heritage aspects that contribute to the "spirit of place." Activities during the internship included workshops on photogrammetry and 3D modeling software, attending an urban planning conference, and hosting a research seminar. The final work-in-progress included merged 3D models and an initial attempt at mapping intangible/living layers onto an online map. Future work could involve collaborating with other
Paul Clough Sheffield iSchool Evaluating Info Searching in Digital Cultural H...scotdigich
The document summarizes a presentation about evaluating information searching in digital cultural heritage collections beyond typical search evaluations. It discusses how the PATHS project evaluated multiple components that support exploration, including search, recommendations, visualizations, related items, hierarchies and user-created paths. The project used both system-oriented and user-oriented evaluations, like controlled user tests, to evaluate individual components and the integrated system. It identifies challenges in evaluating complex systems that go beyond simple ad hoc search tasks.
Learning with the ALA’s Center for the Future of LibrariesNCIL - STAR_Net
Figueroa M. (2015)
Trending….STEM and Libraries: Learning with the ALA’s Center for the Future of Libraries
Center for the Future of Libraries, American Library Association
The Library Experience: 10 Trends that define Libraries for a new ageS. L. Faisal
The document discusses trends that are defining modern libraries, including collecting diverse formats and patron-driven acquisitions. It explores how libraries can use technologies like streaming video, Internet of Things devices, and flipped classrooms. Additionally, it examines how libraries are becoming more open and outward-facing through community partnerships and offering tools and digital services accessible on any device. The overall experience of the library is emphasized as it adapts to remain relevant in a new age.
Sharing is Caring. Societal impact of open collections? Merete Sanderhoff
Presentation for the seminar Open Collections, arranged by the Nationalmuseum in Stockholm, on the occasion of the launh of their Public Domain policy, 7 October 2016
Lee Rainie, director of Internet, Science and Technology research at the Pew Research Center, presented the Center’s latest findings about the use of digital technology and its future at the Federal Reserve Board’s Editors and Designers conference in Philadelphia on October 6, 2016. During the keynote he discussed the impact of social media, collaboration, and future trends in technology with a special focus on the issues tied to security and reputational risk that face the Federal Reserve System. He described how the Center’s research can help communicators:
-Disseminate their messages across multiple digital and traditional media channels
-Engage their audience and encourage amateur evangelism
-Assess the impact of their outreach and observe challenges to their material
-Think like long a long-tail organization that also has real-time immediacy
Summarizing archival collections using storytelling techniquesMichael Nelson
Summarizing archival collections using storytelling techniques
Yasmin AlNoamany
Michele C. Weigle
Michael L. Nelson
Old Dominion University
Web Science & Digital Libraries Research Group
www.cs.odu.edu/~mln/
@phonedude_mln
Research Funded by IMLS LG-71-15-0077-15
Dodging the Memory Hole
Los Angeles, CA, 2016-10-14
The document discusses the challenge of curating large amounts of digital content from Galleries, Libraries, Archives and Museums (GLAM) institutions to make it more useful and meaningful for various audiences. It provides examples of how Europeana has curated content for digital humanists studying newspapers, teachers exploring World War I sources, citizens on Wikipedia, art lovers on Wikidata and Wikipedia, and art professionals viewing high-resolution altarpieces. The key takeaways are to be open, generous, humble, aware of users, and repackage large datasets into smaller, contextualized and segmented datasets for specific user groups.
Cultural heritage Institutions deserve better!Paul Keller
presentation on how copyright needs to be reformed from the perspective of European cultural heritage institutions. The presentation was given at the Europeana Awareness final plenary in Madrid on the 29th of October 2014
Copyright challenges and policy choices in European heritage projects Tools, ...Phonothèque MMSH
La journée soutenue par le LabexMed (https://labexmed.hyptheses.org) ainsi que le Consortium Musica de la TGIR Huma-Num (https://humanum.hypotheses.org/503) s’inscrivait dans le cadre du projet de rédaction d’un recueil de bonnes pratiques sur les questions juridiques et éthiques pour la diffusion des données de la recherche en sciences humaines sociales (https://ethiquedroit.hypotheses.org).
Open, Smart and Connected access to Audiovisual CollectionsJohan Oomen
Talk given at COPEAM 2018.
“Heritage and Media – Preserving the future through our past: an opportunity for growth and democracy?”
Calviá - Mallorca, 10-12 May 2018
Hotel Meliá Calviá Beach
Calle Violeta, 1 Calviá Beach - 07181 Mallorca, Spain
Cultural heritage embraces resources inherited from the past and offers a great variety of opportunities to the present: monuments, sites and traditions, but also visual arts, cinema, TV and radio archives.
In this framework, the Media of the Euro-Mediterranean region – both traditional and new ones – have to play their role, particularly given the challenges that such issue implies in terms of content production, audiovisual documents preservation and impact of the digital transition as a tool for the safeguard and enhancement of our common heritage.
On 21 February 2020, meemoo and the Royal Library of Belgium organised a special study day in Brussels in celebration of Public Domain Day. Sam Donvil (meemoo) introduced the basic principles of the public domain and its significance to heritage institutions. He also gave an overview of authors that fell into the public domain in 2020, some examples of possibilities with public domain works all over the world and illustrated concrete actions taken by meemoo, a.o. concerning the oeuvre of James Ensor. Then, two other speakers from Vlaamse Kunstcollectie and KU Leuven took the floor. Sam Donvil continued with some guidelines for institutions that want to bring collections into the public domain, and a few words on Open Access in Belgium. To conclude, the results of the Wiki Loves Heritage photography competition were announced.
Europeana - American Art Collaborative LOD MeetingAntoine Isaac
Presentation at a seminar on linked data and art museums at the Smithsonian Institute, April 29 2013.
Other presentations at http://lodlam.net/2013/05/07/linked-open-data-in-art/
Rebecca O'Neill - Exploring CC Licencesdri_ireland
Presentation given by Rebecca O'Neill, Project Coordinator at Wikimedia Ireland, at a DRI-Wikimedia Ireland co-hosted workshop "Exploring Creative Commons Licences" at the Royal Irish Academy on Tuesday 5 September, 2017.
Europeana is a digital library that provides access to over 27 million digitized cultural heritage objects from across Europe. It supports economic growth by providing material for creative industries and businesses to reuse. Europeana connects people across Europe by bringing together cultural content in many languages and making personal and historical stories accessible. It makes culture available to everyone by providing open and free access online through its website and partnerships, ensuring cultural heritage can be explored without barriers.
Europeana at Ten: insights from our first decadeDouglas McCarthy
Presentation to Open GLAM México, 6 September 2018, Mexico City. This event linked numerous institutions to encourage dialogue around the Open GLAM movement and was jointly organised by the Ministry of Culture, the National Institute of Fine Arts, the Cultural Center of Spain in Mexico and Wikimedia México.
The aims of Open GLAM México were:
• Socialise good practices and policies generated by GLAM institutions to distribute data and digital objects, in national and international context.
• Promote the opening of digital collections in public and private institutions in Mexico.
• Establish an open dialogue on copyright issues focused on the use, reuse and appropriation of digital collections of cultural heritage.
Every year we organise Public Domain Day together with Ghent University Library, the Royal Library of Belgium and Wikimedia Belgium. This year the event to highlight the public domain will be taking place on 10 February. In this presentation you will find out about initiatives that various cultural heritage organisations have run to make their public domain collections accessible in 2021.
Slides of Belgium's 2020 Public Domain Day celebration. Presentations include Creative Commons, Royal Library of Belgium, meemoo, Collections of Ghent, KOERS museum, MoMu Antwerp Fashion Museum,
Europeana provides access to over 5 million digitized items from European cultural heritage institutions. It supports economic growth by providing cultural content for over 770 businesses to reuse. Europeana connects Europeans by promoting understanding through open access to cultural heritage. It makes Europe's culture available to everyone by providing over 29 million records under open licenses. Europeana aims to increase its impact through distribution channels like education sites and apps as well as a Europeana Labs program for developers.
ICOM Moscow 2014 with audio - The Virtual MuseumSusan Hazan
The document discusses the definition and qualities of a virtual museum. It summarizes initial work by the V-Must network to rethink the concept of virtual museums in light of emerging digital technologies. The network has identified and mapped tools and services that define and support virtual museums in the heritage sector. A virtual museum is defined as a digital entity that draws on characteristics of a physical museum to complement, enhance, or augment the museum experience through personalization, interactivity and rich content. Virtual museums can act as the digital presence of a physical museum or independently while maintaining the authoritative status of museums as defined by ICOM.
1. Copyright law grants creators exclusive rights over their original artistic works for a limited time, generally the life of the author plus 70 years. It aims to incentivize creation and protect attribution and integrity of works.
2. Other forms of intellectual property include trademarks, which protect brand identities, and patents, which protect inventions for a limited period.
3. When copyright expires, works enter the public domain and can be freely used by anyone. Some limitations to copyright include allowing uses for criticism, parody, and access for disabled people.
The document summarizes Lithuanian activities related to EuropeanaLocal. It discusses how DIZI works with local partners in Lithuania to contribute content to Europeana by providing tools and services for metadata creation and normalization. It describes the workflows and "DiziHIVE" collection management tool used and highlights that over 6,000 records from two Lithuanian museums have been made available on Europeana. It also notes Lithuanian activities to promote and test EuropeanaLocal, including a national meeting and end-user testing events.
How CulturaItalia supports cultural organization to prepare metadataEuropeanaLocal Project
CulturaItalia provides organizational and technical support to help cultural organizations prepare metadata for their digital collections. There are three ways for content providers to participate: database ingestion through an OAI-PMH repository, press releases, or by contacting CulturaItalia directly. The nine step process includes defining the database structure, formalizing a participation agreement, creating an official mapping document between the database and portal, installing an OAI-PMH repository, extracting and verifying data, harvesting metadata, and setting update timeframes. CulturaItalia assists with all technical aspects to help content providers successfully share their collections.
Hungarian National Digital Archive and Hungarian participation in EuropeanaEuropeanaLocal Project
Monguz Ltd. is a Hungarian company that develops software for libraries and museums. It has over 200 partners in Hungary, Romania, and Slovakia. Monguz participates in Europeana by aggregating content from Hungarian institutions for Europeana. The Hungarian government is launching a new initiative called MaNDA (Hungarian National Digital Archive) to standardize metadata and contribute more Hungarian content to Europeana between 2011-2014. MaNDA will establish new aggregators, digitize additional collections beyond the public domain, and harvest content from neighboring countries.
The document discusses the Hellenic Aggregator project, which aggregates records from various Greek institutions into a single searchable collection. It includes over 128,000 records from contributors like the National Documentation Center of Greece. The project utilizes various tools to extract metadata from digital libraries in different formats and make it available through the OAI-PMH protocol. This includes the DeiXTo tool for extracting data from websites and transforming it into OAI-PMH format, as well as the Open Archives Engine for creating a search portal from OAI-PMH sources. DSpace plugins have also been developed to add Europeana Semantic Element support.
The Culture Grid connects collections information from different sources to make it more accessible. It contains over 1.2 million item records, 10,000 collection records, and 7,500 institution records covering the UK. Collections information in the Culture Grid is used for time-based, map-based, and subject-based searches. Organizations can add their collections information by pushing large amounts of stable data, pulling frequently changing data, or entering small amounts of data. The process involves mapping records to Culture Grid formats and providing sample records and a technical translation. The Culture Grid can then be used through its search functions or harvested for other services.
This document summarizes the key points about Italy's CulturaItalia licence agreement and how it compares to Europeana's licence agreement. The CulturaItalia agreement allows content providers to share metadata and digital resources for non-commercial use under a CC Attribution-NonCommercial licence. It aims to aggregate cultural content while respecting copyright. Europeana's licence applies no restrictions, allowing commercial reuse which supports linked open data. However, this may not be suitable for Italy given involvement of private providers and institutions.
Paintings, music, films and books from Europe's galleries, libraries, archive...EuropeanaLocal Project
Piazza san marco venetie or venice or venetia
The document discusses Europeana, a digital platform for cultural heritage in Europe. It provides statistics on the number of objects in Europeana and discusses various topics related to Europeana's operations and strategy such as data reuse, metadata improvement tools, search capabilities, mobile apps, policies, and stakeholder engagement. The document also references workshops to develop a user-oriented strategy for the European Cultural & Scientific Heritage services.
- The EuropeanaLocal project aims to make digital cultural heritage content from local and regional European institutions accessible through Europeana.
- It focuses on helping smaller institutions overcome interoperability issues and make their metadata harvestable according to Europeana standards.
- Through EuropeanaLocal, millions of additional items from local and regional partners across Europe have been added to Europeana, significantly expanding its scope and cultural coverage.
Piazza san marco venetie or venice or venetia
The document discusses Europeana, a digital platform for cultural heritage in Europe. It provides statistics on Europeana's collection of over 13 million digitized objects. It also outlines Europeana's services like improved search and browse features, mobile apps, and tools for metadata improvement. Additionally, it discusses Europeana's policies around rights, licensing, and user generated content. Finally, it addresses stakeholder collaboration and shaping the future of Europeana through workshops and strategic planning.
Hands on tutorial on how to digitise content and upload it to the online port...EuropeanaLocal Project
This document provides instructions for registering for and using the Maltese Digital Library website. It outlines the steps to register an account, name a collection, select uploading or adding resources, choose files to upload, fill in required details, and add resources to a collection.
The document outlines the agenda for a National Meeting in Europe about Europeana and EuropeanaLocal. The meeting in Malta will include presentations about Expo and how it works, as well as a question and answer session. It will discuss how Europeana and EuropeanaLocal make Europe's cultural heritage more accessible online and how Malta contributes digital cultural objects.
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
Top IPTV UK Providers of A Comprehensive Review.pdfXtreame HDTV
The television landscape in the UK has evolved significantly with the rise of Internet Protocol Television (IPTV). IPTV offers a modern alternative to traditional cable and satellite TV, allowing viewers to stream live TV, on-demand videos, and other multimedia content directly to their devices over the internet. This review provides an in-depth look at the top IPTV UK providers, their features, pricing, and what sets them apart.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
At Digidev, we are working to be the leader in interactive streaming platforms of choice by smart device users worldwide.
Our goal is to become the ultimate distribution service of entertainment content. The Digidev application will offer the next generation television highway for users to discover and engage in a variety of content. While also providing a fresh and
innovative approach towards advertainment with vast revenue opportunities. Designed and developed by Joe Q. Bretz
The Future of Independent Filmmaking Trends and Job OpportunitiesLetsFAME
The landscape of independent filmmaking is evolving at an unprecedented pace. Technological advancements, changing consumer preferences, and new distribution models are reshaping the industry, creating new opportunities and challenges for filmmakers and film industry jobs. This article explores the future of independent filmmaking, highlighting key trends and emerging job opportunities.
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspiration
Europeana and the accessibility of digital cultural heritage
1. Europeana and the accessibility of
digital cultural heritage
Author’s Rights and the online disclosure of
cultural heritage collections
Barbara Dierickx & Rony Vissers
KBR, Brussels
December 16 2009
2. Europeana and the accessibility of digital cultural heritage
PACKED vzw
= Platform for the Archiving and Conservation of Audiovisual Arts
Packed vzw is the national Belgian coordinator of ATHENA project
‘Access to Cultural Heritage Networks Across Europe’
(http://www.athenaeurope.org)
Goal of ATHENA:
- Research on metadata standards, semantics, multi-linguality, copyright…
- Deliver content from museum collections to Europeana
Packed vzw is the leader of a work package on intellectual property rights
and the online disclosure of digital museum collections (WP6)
3. Europeana and the accessibility of digital cultural heritage
Digitisation
- Offers new opportunities for the preservation of cultural heritage content
- Is necessary for the distribution of cultural content through the world wide
web
<-> Author’s Rights
Digitisation
= Reproduction + uploading to the web = making available
-> This is an exclusive rights of the author
Content in collections of museums, libraries, broadcasting organisations, ...
= protected by intellectual property rights of a third person (author,
performing artist, producer, …)
-> Permission for use of the work
4. Europeana and the accessibility of digital cultural heritage
What is author’s right?
= Kind of monopoly awarded to the creator, i.e. exclusive right to perform
certain actions with regards to original creations (making it public,
reproduction, ...)
> Materialised form (not ideas) + originality (characteristic for the
creator)
> Moral rights + economic rights
> Limited in time: 70 years after death of the creator
> Books, music, photographs, films, paintings, geographical maps,
computer software...
Protection is the result of the creation, no special action required
What is not protected? Public domain: 70 years after death, not original
Object in collection of institution ≠ institution manages all the rights
5. Europeana and the accessibility of digital cultural heritage
Moral rights + economic rights
Moral rights:
- Right to decide when and how to make public
- Right to paternity (name, pseudonym, anonymous)
- Right to integrity (no changes, no damage of name and honour)
-> Not transferable
Economic rights (exploitation):
- Right to make reproductions
- Right to control the distribution
- Right to public communication, display, performance
->Transferable
6. Europeana and the accessibility of digital cultural heritage
Who is the author?
Author = the natural person who has created the work
> but he can transfer some of his rights to his employer, publisher, …
Presumption: the author is the person whose name is mentioned on the
work, unless otherwise proven
Author’s right (continental countries like Belgium)
- Emphasis on author (natural person)
- Moral rights
- Exceptions: strictly described
Copyright (Anglo-Saxon countries like U.K. and U.S.)
- Emphasis on investment
- Moral rights almost non-existing
- Exceptions: ‘fair use’
EU Copyright Directive <-> national practices
7. Europeana and the accessibility of digital cultural heritage
Neighbouring Rights
> Not a protection of the work itself but of a performance
- Musicians, actors, … (performing artists)
- Producers
- Broadcast organisations
Paradox
Author’s Rights stimulate cultural production,
but create at the same a monopoly position
8. Europeana and the accessibility of digital cultural heritage
Do all works enjoy protection? Originality?
Original photo = own intellectual creation of the author
> Picture of museum object or reproduction of archival document =
original?
Goal of a reproduction: truthful, realistic and technically perfect
representation
Two-dimensional: painting, drawing, document
Three-dimensional: statue, installation, building
Lack of intellectual input photographer <-> ‘sweat of the brow’ (UK)
Belgium: grey zone without legal jurisprudence
9. Europeana and the accessibility of digital cultural heritage
Exceptions 1
A list of exceptions: citation, caricature/pastiche, temporary/technical
reproduction, education, …
Our interest = exceptions to the benefit of libraries, archives, museums
Certain reproductions & forms of disclosure are allowed
-> under strict conditions
Example: reproduction for preservation
- Belgium: reproduction allowed “in the framework of and justified by the
preservation of the cultural and scientific patrimony”
- Example: the Netherlands - Italy
- Example: sound recording British Library
10. Europeana and the accessibility of digital cultural heritage
Exceptions 2
Example: making available through a closed network
- Physical limitation <-> opportunities of internet + ambitions of Europeana
- Example: Dutch Filmmuseum and Cinematek
Other exceptions:
- Example: reproduction and communication to the public “for the purpose
of advertising, for public exhibitions or public sales of artworks, in as far as
it is necessary for the promotion of those events, not including any other
commercial use” is allowed without explicit permission.
But: the archiving of a webpage?
11. Europeana and the accessibility of digital cultural heritage
Permission for use: license agreement 1
Rights holder grants permission for an agreed kind of use (in a specific
context, under # conditions, …)
E.g. for the online display of a work
Negotiating an agreement
= huge tasks for big collections with many author
= severe financial implications for heritage institutions in case the author
is represented by a collecting society
E.g. SABAM
- One-stop-shop for author’s rights <-> search for rights holder
- Lower levies for heritage institutions
- Remuneration is obligatory <-> individual contact with rights holder
12. Europeana and the accessibility of digital cultural heritage
Permission for use: license agreement 2
Example: Royal Institute for Cultural Heritage (KIK/IRPA)
Mission = develop and manage a scientific photographical inventory of
art objects in Belgium
Website: metadata + thumbnail
E.g. ‘Ensor’ or ‘Magritte’: artwork copyright protected
Only display of metadata possible, no thumbnail
Negotiating with collecting societies through alliance of federal
scientific institutions = solution?
13.
14. Europeana and the accessibility of digital cultural heritage
Permission for use: license agreement 3
Permission for online disclosure <-> common practice of cultural heritage
institutions: physical disclosure of collection never implied getting
permission -> online disclosure is seen by the institutions as an extension
of this practice
License agreements = challenging / exceeding the possibilities of cultural
heritage institution
Concluding new license agreement: broad permission
Display of previews = free of copyright?
- Low resolution / cropping <-> ‘valuable’ re-use?
- Thumbnail / cropped image as moral rights infringement?
15. Europeana and the accessibility of digital cultural heritage
Position of the author
> Works created as employee: rights held by the creator or rights held by
the employer?
Rights hold by the creator. The transfer of rights to employer is since 1994
only possible by an explicit and written agreement.
Online images:
- Was photographer a freelancer / contractually employed? If the
photographer was an employee, was there a transfer of rights to the
employer?
- Is there copyright on the photographed object itself?
16. Europeana and the accessibility of digital cultural heritage
What does copyright mean for orphan works?
Orphan work = unknown and untraceable author
-> permission for use can not be obtained
-> no reproduction or online display possible
Heritage field demands legal exception for orphan works: permission on
condition of reasonable remuneration to rightsholder in case of
identification
Europe:
- Memorandum of Understanding on Orphan Works
- High Level Expert Group ‘Final Report of the Copyright Subgroup’
17. Europeana and the accessibility of digital cultural heritage
What does copyright mean for orphan works?
Heritage institutions:
- In practice it very rarely occurs that a rightsholder of a presumed orphan
work present himself with a claim
- An extensive search for a rightsholder implies many costs given the
current circumstances
‘Notice and takedown’ policy: prevents claims but does not guarantee the
continuous online existence of the content
18. Europeana and the accessibility of digital cultural heritage
What does copyright mean for orphan works?
Report ‘In From The Cold’
326 cultural heritage institutions (museums, libraries, archives, galleries)
Average of 92% of orphan works in collection
5 to 10 percent of works; archives 21 to 30 percent
Time-consuming search for the rights holder:
“On the project, it took two people three years full time to work on the
copyright for 40,000 works.”
“As part of their Archival Sound Project, the British Library identified 299
rights holders whose permission was required. An analysis of the project
revealed that: ‘A total of 150 hours was spent by a freelance researcher,
and 152 hours was spent by British Library staff on seeking permission,
which resulted in eight permissions being received.’”
19. Europeana and the accessibility of digital cultural heritage
The solution? Different opinions …
-‘opt-out’ policy: placing images online without permission. Complaint of
rightsholder: content is taken offline immediately
-> Investment in digitisation without guarantee that result will stay online
- Avoiding all risks: clearing all rights yourself
-> Expensive and labour-intensive way of working
- Work with collecting societies
-> Efficient and user-friendly model on paper but lack of transparency,
associated costs and limited flexibility
Heritage sector demands a new legal exception in copyright that will allow for
free disclosure of protected works from their collection through the internet
20. Europeana and the accessibility of digital cultural heritage
The solution? Government as facilitator …
Report ‘Auteursrecht in de digitale samenleving’
Responsibility of the cultural heritage sector: need for coordinated definition of
position within different cultural subsectors, through platform organisations or
interest groups
-> Get a stronger voice as a stakeholder in the copyright policy on
European and Belgian level
Creation of an external consultation body: Flemish Cultural government as
ideal initiator for the instalment of a consultation body on copyright in order to
facilitate the dialogue
-> creation of a standard contractual licensing model that can be
supported by rights holders as well as cultural representatives
21. Europeana and the accessibility of digital cultural heritage
The solution? Europe(ana) …
Demand for such an exception has been expressed to the European
Commission in reaction on ‘Green Paper on Copyright in the Knowledge
Economy’ and consultation ‘Europeana: next steps’
Europeana ‘Public Domain Charter’: work that is in the public domain in analog
form should retain this status after digitisation
Public Domain = works on which term of protection for copyright has
expired + ‘essential commons of information’
ATHENA: Guidance of partner institutions within current legislative framework
in search of clearing rights on objects as much as possible -> online tool
September 2010.
22. Europeana and the accessibility of digital cultural heritage
New trends
Current legislative framework:
- No all-embracing exception to CR for all forms of digitisation,
preservation and disclosure that cultural heritage institutions would want to
carry out.
- No uniform package of guidelines on digitisation, disclosure and
distribution of digital cultural heritage.
Consequence: cultural heritage institutions have to figure out for themselves
what exceptions copyright grants them, and under which conditions they can
be called upon.
23. Europeana and the accessibility of digital cultural heritage
New trends
Discrepancy between legal regulations and trends in practice: ‘print-on-
demand’, digital preservation, digital libraries and aggregators of cultural
heritage …
Side of the (cultural) user: complexity and lack of transparency of legislation for
non-jurists leads to insecurity on the # of permissions that are (not) required
from # rightsholders
Scope of legal exceptions is too little known
Emerging from the cultural heritage field + fuelled by organisations such as
Wikimedia Foundation and Creative Commons: new ways of digital heritage
distribution to a global audience.
24. Europeana and the accessibility of digital cultural heritage
New trends
In return for releasing digital content -> return for the participating institution;
extension of network, connecting to previously unknown audience, matching of
sources to which the institution previously had no access.
Wiki Loves Art
Bundesarchiv + Wikipedia
Nationaal Archief + Flickr Commons
Open Beelden
25. Wiki Loves Art
Museums open their doors to visitors during one month so they can take pictures of the
collection. Pictures are displayed on Wikipedia under a CCLicense, so articles can be enriched
with these images. Website: http://www.wikilovesart.nl/
26. Bundesarchiv + Wikipedia
The German Bundesarchiv cooperates with Wikimedia Germany. 100.000 images from the
archive are made available on Wikipedia under a CClicense. In exchange, Wikimedia matches
the images of the Bundesarchiv with content from the German National Library and
Wikipedia. Website: http://commons.wikimedia.org/wiki/Commons:Bundesarchiv
27. Nationaal Archief + FlickrCommons
The Dutch Nationaal Archief made a part of its photo collection worldwide available through
Flickr The Commons, an initiative that offers public institutions a common platform to share
their photo collections with a large audience, in order to expand their knowledge about the
collections with information from the website visitors. Website:
http://www.flickr.com/photos/nationaalarchief/
28. Open Beelden
Open Images is a new media platform that offers access to a selection of archival materials for
creative re-use. Fragments from audiovisual collections may be remixed here into new works.
Website: http://www.openbeelden.nl
29. Europeana and the accessibility of digital cultural heritage
Case: newspaper digitisation at the Royal Library of Belgium
Programme for the digitisation of collections of federal scientific institutions
Royal Library and Studie- en documentatiecentrum Oorlog en Hedendaagse
Maatschappij (SOMA) started in 2007 with the digitisation of Belgian press from
1830 to 1950 + clandestine and censored press from both world wars.
… Restricted by copyright?
Thank you for your attention
barbara@packed.be
rony@packed.be
http://www.packed.be