Presented by Marta Bustillo, 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.
Case Study: The building of ArtsConnectEd through strategic digital asset cre...scottsayre
The document discusses opportunities for museums to develop digital assets. It recommends that museums identify areas where digital assets can be captured throughout operations. Assets should be stored in non-proprietary formats, catalogued, and accessed to fuel future projects. A case study highlights the ArtsConnectEd program between two museums that allows digital assets to be reused across different applications and audiences.
Presentation given by Rebecca Grant, Digital Archivist at the Digital Repository of Ireland, at the Heritage Week Event Organiser Training Day, a special day of talks covering every aspect of planning a Heritage Week event. The presentation outlines techniques and methods for sourcing and using primary and secondary sources in heritage event planning.
The document summarizes the Harry Clarke Stained Glass Studios Demonstrator Project, a collaboration between Trinity College Library in Dublin and other cultural institutions to digitize and catalog materials related to the Harry Clarke Stained Glass Studios. The project has digitized designs, sketches, photographs and other archival materials held in Trinity College Library's collection and made them available online through a digital repository. The project aims to collaborate with academic departments, other library departments at Trinity College, churches, and other cultural institutions where related materials may be held. This includes funding academic research on the Studios, hosting a symposium, and pursuing partnerships with institutions like the National Gallery of Ireland. Future plans include digitizing photographs of completed stained glass windows and using crowd
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.
Clare Lanigan - Presentation to IES Studentsdri_ireland
Presentation given by Clare Lanigan, DRI Education and Outreach Manager, to students of the School of Information and Library Science, University of North Carolina, at the Institute for the International Education of Students (IES) Abroad centre in Rathmines, Dublin, on 1 June 2017.
Making the Black Hole Gray: Implementing the Web Archiving of Specialist Art ...The Frick Collection
Report on the New York Art Resources Consortium's investigation into web archiving born-digital art research materials.
Presented at the Archive-It Partner Meeting, Salt Lake CIty, Utah, November 12, 2013
Case Study: The building of ArtsConnectEd through strategic digital asset cre...scottsayre
The document discusses opportunities for museums to develop digital assets. It recommends that museums identify areas where digital assets can be captured throughout operations. Assets should be stored in non-proprietary formats, catalogued, and accessed to fuel future projects. A case study highlights the ArtsConnectEd program between two museums that allows digital assets to be reused across different applications and audiences.
Presentation given by Rebecca Grant, Digital Archivist at the Digital Repository of Ireland, at the Heritage Week Event Organiser Training Day, a special day of talks covering every aspect of planning a Heritage Week event. The presentation outlines techniques and methods for sourcing and using primary and secondary sources in heritage event planning.
The document summarizes the Harry Clarke Stained Glass Studios Demonstrator Project, a collaboration between Trinity College Library in Dublin and other cultural institutions to digitize and catalog materials related to the Harry Clarke Stained Glass Studios. The project has digitized designs, sketches, photographs and other archival materials held in Trinity College Library's collection and made them available online through a digital repository. The project aims to collaborate with academic departments, other library departments at Trinity College, churches, and other cultural institutions where related materials may be held. This includes funding academic research on the Studios, hosting a symposium, and pursuing partnerships with institutions like the National Gallery of Ireland. Future plans include digitizing photographs of completed stained glass windows and using crowd
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.
Clare Lanigan - Presentation to IES Studentsdri_ireland
Presentation given by Clare Lanigan, DRI Education and Outreach Manager, to students of the School of Information and Library Science, University of North Carolina, at the Institute for the International Education of Students (IES) Abroad centre in Rathmines, Dublin, on 1 June 2017.
Making the Black Hole Gray: Implementing the Web Archiving of Specialist Art ...The Frick Collection
Report on the New York Art Resources Consortium's investigation into web archiving born-digital art research materials.
Presented at the Archive-It Partner Meeting, Salt Lake CIty, Utah, November 12, 2013
Clare Lanigan - Copyright in digital environmentsdri_ireland
Presentation given by Clare Lanigan, Education and Outreach Manager, DRI, at 'Copyright Issue in Academic Libraries' seminar, organised by the Academic & National Library Training Co-operative in CONUL (Consortium of National & University Libraries) on 23 October 2017, Royal Irish Academy, Dublin.
The document discusses the British Library's efforts to promote digital creativity and scholarship through various programs and projects. It summarizes some of the Library's digital collections and initiatives to support digital scholars. It also highlights several competitions run by the Library called Off the Map that challenged students to create interactive works using the Library's digital collections as inspiration, with many of the winning entries being games or interactive stories.
Dr Natalie Harrower - DRI and Open Datadri_ireland
Presentation given by DR Natalie Harrower, Director of Digital Repository of Ireland, at the Europeana and Open Data Symposium held at the National Library of Ireland on 23 May 2016, on the subject of Open Data use and policy in the Digital Repository of Ireland.
Rebecca Grant - Facilitating Connectivity: reducing copyright-related barrier...dri_ireland
Facilitating Connectivity: reducing copyright-related barriers to sharing - a presentation by Rebecca Grant at the Pararchive conference, Connecting Communities: Storytelling and the Digital Archive, Leeds, 27th March 2015.
This paper focuses on the issues encountered by the DRI team regarding intellectual property, copyright and licensing while building a repository which does not own the rights to the digital content it holds; and presents some of the solutions put in place to address this challenge.
Presentation given by Kevin Long, Digital Archivist at DRI on 7 November 2017 at the Royal Irish Academy, on the topic of orphan works (objects with no known rights holder) in digital collections. First in a series of one-hour sessions are designed to focus on particular areas of interest in the world of digital preservation.
'Introduction to the concept of Open Access and Digital Preservation'dri_ireland
A presentation given by Dr Deborah Thorpe, DRI Education and Outreach Manager, in a session entitled 'Introducing the Arts and Culture in Education Research Repository' (15 May 2020). This session was part of the NUI Galway Open Scholarship Week (11-15 May 2020).
Digital Cultural Heritage: Experiences from British LibraryNora McGregor
Slides from seminar on Digital Cultural Heritage given to UCL Institute of Sustainable Heritage's two programmes: the MSc Sustainable Heritage and the MRes Science and Engineering in Arts, Heritage and Archaeology.
Slides from seminar on Digital Cultural Heritage given to UCL Institute of Sustainable Heritage's two programmes: the MSc Sustainable Heritage and the MRes Science and Engineering in Arts, Heritage and Archaeology.
UCD Digital Library is a repository of digitised cultural heritage data (photographs, maps, printed documents, archival materials, artefacts, etc.) and research data arising from activity at UCD and elsewhere. It is also an organisation with expertise in digital content management and preservation, steadily developed over the past decade.
By cultivating strong working relationships with a broad cohort of content providers, adopting open source technologies where possible and harnessing the expertise and enthusiasm of a very diverse in-house team, UCD Digital Library has successfully met challenges head-on in a fast-paced technical environment. All of this has taken place in a landscape of diminishing library budgets and resources.
This lightning talk will serve as a use case for under-resourced academic digital libraries and data curation organisations, offering a “survival kit” and providing accessible best practices to address and overcome common challenges.
How does UCC Library use exhibitions? How to create an exhibition? Use the LibGuide: http://libguides.ucc.ie/exhibitions/home as a starting point. Presentation as part of CPPD schedule in UCC Library (2017).
Clare Lanigan - DRI Training Series: 3. Understanding Copyrightdri_ireland
Presentation given by Clare Lanigan, Education and Outreach Co-ordinator, Digital Repository of Ireland, on April 15th, 2016 in the Royal Irish Academy, Dublin, as part of the DRI Training Series 'Preparing Your Collection for DRI'. This seminar introduced attendees to the basics of copyright law as it relates to collecting and publishing digital heritage material. It also explored the types of licences that can be employed for publishing material on DRI and other repositories, and the restrictions on publishing certain kinds of material.
Many museums are considering how to use open licenses to support the delivery of their public mission and increase their visitor numbers. In this presentation, Nick Poole explores two case studies and provides some simple steps for museums wanting to 'open up' their collections online.
Diving into Digital: Small Steps and Big Returns in Digital Archivingdri_ireland
Keynote address by Dr. Natalie Harrower, Director of the Digital Repository of Ireland, to the Forum des Archivistes Nationaux (FAN) meeting in Abu Dhabi, May 2019.
The document summarizes the Enhancing access to 20th Century Cultural Heritage through Distributed Orphan Works Clearance (EnDOW) project. The project aims to analyze diligent search requirements for orphan works across Europe, investigate best practices for orphan works clearance, design an online platform for crowd-sourced diligent searching of works in cultural institution collections, and study applications and challenges of crowd-based searching for different work types. Key milestones include launching the EnDOW website in December 2015 and a beta version of the EnDOW platform going online in July 2017. Work packages include analyzing diligent search requirements and accessibility of sources in different countries, and designing the EnDOW platform to integrate automated and semi-automated clearance systems
Integrating archaeological data: The ARIADNE Infrastructure, Achille Felicett...ariadnenetwork
This presentation by Achille Felicetti of PIN (Università degli Studi di Firenze, Prato) on the work by the ARIADNE infrastructure to integrating archaeological data was given as part of a workshop organised by Digital Humanities Austria. The workshop focussed on the pressing question of long-term preservation of digital data from various angles, central being user needs specific to the different fields of the Humanities. Felicetti introduced the ARIADNE research infrastructure, which has been funded by the EC's FP7 programme, to integrate archaeological research datasets from across Europe and support their uses by researchers.
This presentation compares how the British Library and New York Public Library are digitizing rare materials from their special collections and making them available through apps. Both libraries aim to provide broader access to collections and raise awareness of their holdings. The British Library's apps include "Treasures" and "Royal Manuscripts" which feature images and videos of manuscripts. The New York Public Library's "Biblion" app releases interactive magazine-style editions on specific themes drawn from library archives. Selection of materials considers costs, audience appeal, and difficulty of physical access.
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
More Related Content
Similar to VRA 2014 Case Studies in International Copyright, Bustillo
Clare Lanigan - Copyright in digital environmentsdri_ireland
Presentation given by Clare Lanigan, Education and Outreach Manager, DRI, at 'Copyright Issue in Academic Libraries' seminar, organised by the Academic & National Library Training Co-operative in CONUL (Consortium of National & University Libraries) on 23 October 2017, Royal Irish Academy, Dublin.
The document discusses the British Library's efforts to promote digital creativity and scholarship through various programs and projects. It summarizes some of the Library's digital collections and initiatives to support digital scholars. It also highlights several competitions run by the Library called Off the Map that challenged students to create interactive works using the Library's digital collections as inspiration, with many of the winning entries being games or interactive stories.
Dr Natalie Harrower - DRI and Open Datadri_ireland
Presentation given by DR Natalie Harrower, Director of Digital Repository of Ireland, at the Europeana and Open Data Symposium held at the National Library of Ireland on 23 May 2016, on the subject of Open Data use and policy in the Digital Repository of Ireland.
Rebecca Grant - Facilitating Connectivity: reducing copyright-related barrier...dri_ireland
Facilitating Connectivity: reducing copyright-related barriers to sharing - a presentation by Rebecca Grant at the Pararchive conference, Connecting Communities: Storytelling and the Digital Archive, Leeds, 27th March 2015.
This paper focuses on the issues encountered by the DRI team regarding intellectual property, copyright and licensing while building a repository which does not own the rights to the digital content it holds; and presents some of the solutions put in place to address this challenge.
Presentation given by Kevin Long, Digital Archivist at DRI on 7 November 2017 at the Royal Irish Academy, on the topic of orphan works (objects with no known rights holder) in digital collections. First in a series of one-hour sessions are designed to focus on particular areas of interest in the world of digital preservation.
'Introduction to the concept of Open Access and Digital Preservation'dri_ireland
A presentation given by Dr Deborah Thorpe, DRI Education and Outreach Manager, in a session entitled 'Introducing the Arts and Culture in Education Research Repository' (15 May 2020). This session was part of the NUI Galway Open Scholarship Week (11-15 May 2020).
Digital Cultural Heritage: Experiences from British LibraryNora McGregor
Slides from seminar on Digital Cultural Heritage given to UCL Institute of Sustainable Heritage's two programmes: the MSc Sustainable Heritage and the MRes Science and Engineering in Arts, Heritage and Archaeology.
Slides from seminar on Digital Cultural Heritage given to UCL Institute of Sustainable Heritage's two programmes: the MSc Sustainable Heritage and the MRes Science and Engineering in Arts, Heritage and Archaeology.
UCD Digital Library is a repository of digitised cultural heritage data (photographs, maps, printed documents, archival materials, artefacts, etc.) and research data arising from activity at UCD and elsewhere. It is also an organisation with expertise in digital content management and preservation, steadily developed over the past decade.
By cultivating strong working relationships with a broad cohort of content providers, adopting open source technologies where possible and harnessing the expertise and enthusiasm of a very diverse in-house team, UCD Digital Library has successfully met challenges head-on in a fast-paced technical environment. All of this has taken place in a landscape of diminishing library budgets and resources.
This lightning talk will serve as a use case for under-resourced academic digital libraries and data curation organisations, offering a “survival kit” and providing accessible best practices to address and overcome common challenges.
How does UCC Library use exhibitions? How to create an exhibition? Use the LibGuide: http://libguides.ucc.ie/exhibitions/home as a starting point. Presentation as part of CPPD schedule in UCC Library (2017).
Clare Lanigan - DRI Training Series: 3. Understanding Copyrightdri_ireland
Presentation given by Clare Lanigan, Education and Outreach Co-ordinator, Digital Repository of Ireland, on April 15th, 2016 in the Royal Irish Academy, Dublin, as part of the DRI Training Series 'Preparing Your Collection for DRI'. This seminar introduced attendees to the basics of copyright law as it relates to collecting and publishing digital heritage material. It also explored the types of licences that can be employed for publishing material on DRI and other repositories, and the restrictions on publishing certain kinds of material.
Many museums are considering how to use open licenses to support the delivery of their public mission and increase their visitor numbers. In this presentation, Nick Poole explores two case studies and provides some simple steps for museums wanting to 'open up' their collections online.
Diving into Digital: Small Steps and Big Returns in Digital Archivingdri_ireland
Keynote address by Dr. Natalie Harrower, Director of the Digital Repository of Ireland, to the Forum des Archivistes Nationaux (FAN) meeting in Abu Dhabi, May 2019.
The document summarizes the Enhancing access to 20th Century Cultural Heritage through Distributed Orphan Works Clearance (EnDOW) project. The project aims to analyze diligent search requirements for orphan works across Europe, investigate best practices for orphan works clearance, design an online platform for crowd-sourced diligent searching of works in cultural institution collections, and study applications and challenges of crowd-based searching for different work types. Key milestones include launching the EnDOW website in December 2015 and a beta version of the EnDOW platform going online in July 2017. Work packages include analyzing diligent search requirements and accessibility of sources in different countries, and designing the EnDOW platform to integrate automated and semi-automated clearance systems
Integrating archaeological data: The ARIADNE Infrastructure, Achille Felicett...ariadnenetwork
This presentation by Achille Felicetti of PIN (Università degli Studi di Firenze, Prato) on the work by the ARIADNE infrastructure to integrating archaeological data was given as part of a workshop organised by Digital Humanities Austria. The workshop focussed on the pressing question of long-term preservation of digital data from various angles, central being user needs specific to the different fields of the Humanities. Felicetti introduced the ARIADNE research infrastructure, which has been funded by the EC's FP7 programme, to integrate archaeological research datasets from across Europe and support their uses by researchers.
This presentation compares how the British Library and New York Public Library are digitizing rare materials from their special collections and making them available through apps. Both libraries aim to provide broader access to collections and raise awareness of their holdings. The British Library's apps include "Treasures" and "Royal Manuscripts" which feature images and videos of manuscripts. The New York Public Library's "Biblion" app releases interactive magazine-style editions on specific themes drawn from library archives. Selection of materials considers costs, audience appeal, and difficulty of physical access.
Similar to VRA 2014 Case Studies in International Copyright, Bustillo (20)
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: John J. Taormina
The Medieval Kingdom of Sicily Image Database project collects historic images of the medieval monuments of South Italy, from the so-called Kingdom of Sicily dating from c. 950 to c. 1430, during the Norman, Hohenstaufen, Angevin, and early Aragonese periods. The project was begun in 2011, as part of a 3-year Collaborative Research Grant from the National Endowment for the Humanities, under project investigators Caroline Bruzelius, Duke University, and William Tronzo, University of California, San Diego.
The site features over 8,000 historical images in a range of media, including drawings, paintings, engravings, photographs, and plans and elevations culled from museums, archives, and libraries in Europe and America, often from the Grand Tour, as well as from available publications. The value of the database lies in making accessible to scholars the visual documentation of changes to historical sites because the medieval monuments of South Italy have been damaged, changed, and restored on many occasions, with tombs and liturgical furnishings often destroyed, dismantled, or removed. In fact, many of the 600 monuments no longer exist, often bombed during World War II or destroyed in earthquakes, or obscured by modern buildings and urban sprawl.
VRA 2023 Archives Tools and Techniques session. Presenters: Maureen Burns and Lavinia Ciuffa
The Ernest Nash collection documents ancient Roman architecture in pre- and post-World War II Italy. What made Nash's work significant, beyond capturing the present state of the ancient Roman monuments at a volatile historical moment, was the primacy of the topographical photography and the systematic order he brought to this subject. The American Academy's Photographic Archive contributed Nash's images to an open access, interactive website called the "Urban Legacy of Ancient Rome." It reveals the city in stunning detail and uses geo-referencing to provide the viewer with a better understanding of the overall contextual and spatial logic. These Nash images and metadata are also IIIF compatible. As the Academy continues to digitize and describe the full collection of about 30,000 images, thanks to the generous support of the Kress Foundation, a new partnership has developed with Archivision and vrcHost. Current high quality digital photographs of the same ancient Roman monuments are being added to compare with the historical images documenting architectural changes--whether conserved, restored, altered, reconstructed, re-sited or destroyed. This presentation will provide a progress report about what it takes to move new digital photography into IIIF and the various tools available for close examination and presentation. Finding ways to provide ready access and juxtapose historic and contemporary photography online, builds upon the legacy of Nash's quality curation and scholarship to create 21st century, accessible, online educational resources of great interest and utility to scholars, students, and a wide audience of ancient Roman enthusiasts.
VRA 2023 Exploring 3D Technologies in the Classroom session. Presenter: Amy McKenna
Amy McKenna (Williams College) discusses her project that uses Photoshop and cardboard 3D glasses to recreate the 19th-century spectacle of a historic glass stereo collection.
VRA 2023 Keynote. Presenter: Melissa Gohlke
A historical record that focuses on white, heteronormative society and events obscures many facets of San Antonio history. Peel back the veneer of normalcy and one can find rich, diverse, and unexpected strands of the city’s past. From female impersonators of the early 1900s to queer life in derelict spaces during the 1960s and finally, gay and lesbian bar culture of the1970s and beyond, the hidden threads of San Antonio’s history reveal themselves. In this presentation, LGBTQ Historian Melissa Gohlke explores these hidden histories and stitches together an alternative interpretation of the city’s historical narrative by examining a wealth of primary sources found in archives and personal collections.
About the speaker:
Melissa Gohlke is an urban historian who specializes in San Antonio LGBTQ+ history. For over a decade, Gohlke has been researching queer history in San Antonio and South Texas and sharing her passion for this history through extensive outreach activities such as presentations, media interactions, exhibits, and written work. Gohlke is the Assistant Archivist for UTSA Libraries Special Collections.
About the VRA:
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: Mark Pompelia
Material Order is an academic consortium of material sample collections (including wood, metal, glass, ceramic, polymers, plastics, textiles, bio-materials, etc.—any material that might be used in or considered for art, architecture, and design disciplines) founded by the Graduate School of Design at Harvard University and Fleet Library at Rhode Island School of Design and now comprising several more institutions in the US. It provides a community-based approach to management and access to material collections utilizing and developing standards and best practices. Material Order created the Materials Profile that serves as a shared cataloging tool on the LYRASIS CollectionSpace platform and can be further developed as the different needs of consortium members are identified. Open Web searching across all collections occurs via a front-end discovery portal built with Wordpress at materialorder.org.
The Material Order project was born from the acknowledgment that resource sharing and collaborative catalogs are the most promising approach to exploration and implementation. It was always the intent, now actualized, for partner institutions with different mission and scope to compel the project to consider and accommodate criteria such as material health ecologies, fabrication possibilities, and overlap into adjacent fields such as engineering and archeology. Thus, Material Order represents not just items on a shelf but a knowledge-base of compositions, uses, forms, and properties. No longer in its infancy, Material Order provides a shared and adaptable framework for managing collections across the consortium and optimal facilitation of materials-based research and exploration for art, architecture, and design applications.
VRA 2023 New Frontiers in Visual Resources session. Presenters: Meghan Rubenstein and Kate Leonard
The Art Department at Colorado College is piloting a Personal Archiving program in select undergraduate studio courses that combines visual and digital literacy instruction with personal reflection and professional development. Meghan Rubenstein, Curator of Visual Resources, and Kate Leonard, Professor of Art, will discuss the drive behind this initiative to develop student competencies within a liberal arts setting. We will share our ongoing iterative process as well as select student activities and learning outcomes that may be adopted to various institutions.
VRA 2022 Teaching Visual Literacy session. Presenter: Molly Schoen
Our everyday lives are more saturated in images and videos than any other time in human history. This fact alone underscores the need to implement visual literacy skills in all stages of education, from pre-K to post-grad. Learning how to read images with critical, analytical eyes is crucial to understanding the world around us as we see it represented in the news, social media, advertisements, etc. New technologies have exasperated this already urgent need for visual literacy education. Synthetic media, deepfakes, APIs, bot farms, and other forms of artificial intelligence have many innovative uses, but bad actors also use them to fan the flames of disinformation. We have seen the grave consequences from this age of disinformation, from undermining elections to attempts to delegitimize science and doctors, undoubtedly raising the death toll from the COVID-19 pandemic. What do we need to know about these new forms of altered images made by artificial intelligence? How do we discern between real, human-made content versus fakes made by computers, which are becoming more and more difficult to discern? This paper aims to raise awareness of how new forms of visual media can manipulate and deceive the viewer. Audience participants will learn how to empower themselves and their peers into being more savvy consumers of visual materials by understanding the basics of AI and recognizing the characteristics of faked media.
VRA 2022 Individual Papers Session. Presenter: Malia Van Heukelem
This case study of a large artist archive at a medium sized academic research library will connect the success of the artist serving as his own archivist and the collection's broad research appeal locally, nationally and internationally. Like many artists, there is so much more than his own work represented. There is correspondence, fine art prints, ephemera of other artists and writers hidden in the collection. The foundation of organization is in place; now the focus is on creating online access points through finding aids and image collections. The presentation will explore the use of ArchivesSpace, Omeka, and other software to increase access. It will also demonstrate how a solo archivist can leverage interns, student assistants, and volunteers for collections management projects that benefit both the institutional priorities and desired learning outcomes. This talk will delve into the challenges of 20th century visual resource collections such as copyright and engagement with donors. Featuring a local artist has brought other art and architecture collections to the library, without clear boundaries which has led to questions of sustainability, who and what is collected. There is definitely a need to balance the historical record and yet, there are already more archival collections accessioned than can be responsibly managed by one person. The primary collection does include works by women and artists of color, yet much descriptive work remains to forefront the diversity contained within. As an archivist and librarian at a public university, there are many competing demands for collections management, support of researchers, and instruction plus the added interest for exhibition loans and the desire for other artists and architects to be represented. This artist archive is both interesting and complex.
This document summarizes an art history course titled "Pattern & Representation: Critical Cataloging for a New Perspective on Campus History" taught at Oklahoma State University. The course examines major developments in American art across different media from European contact through the mid-20th century. As part of the course, students are divided into groups to create digital exhibitions cataloging artworks from university newspaper archives between certain years. Students must include contextual information and link their entries to related articles. Their entries and a reflective essay are graded individually based on their work plan. The course introduces the concept of "critical cataloging" to bring social justice perspectives to archival and metadata work.
VRA 2022 session. Organizer/Moderator: Allan T. Kohl. Speakers: Virginia (Macie) Hall, Christina Updike, Marcia Focht, Rebecca Moss, Steven Kowalik, Jenni Rodda
During the past year, the “Great Resignation” (aka. The “Big Quit”) has roiled the world of employment nationwide in the wake of the COVID-19 pandemic, which had already caused job losses among our membership. While many institutions and individuals now hope for a “return to normal,” others anticipate that the past two years mark a watershed necessitating further transformational changes in the years ahead. These larger employment trends have come on top of quantum shifts in the visual resources field itself, as traditional tasks give way to new responsibilities, and siloed image collections are replaced by interdisciplinary projects.
For several years, our annual conferences have featured the perspectives of newer professionals in “Stories from the Start.” Looking at the opposite ends of their career arcs, this session brings together the perspectives and experiences of two pre-pandemic retirees, two of our members who made their decisions to retire during the past year, and two currently active professionals whose retirements are pending in the near future. When and why did they make their decisions to retire? What was/is the actual process? Concerns? What comes next after we leave our offices for the last time?
VRA 2022 Digital Art History session. Presenters: Melissa Becher and Samuel Sadow
In 2019, the art history program at American University gave its masters students a new option for the capstone project that is the culmination of the degree: create a digital project on an art historical topic using Omeka S or Wordpress. Initially, only a single student chose to complete a digital capstone over a traditional thesis, but within two years there was near parity between the two options, meaning seven digital capstones for the 2021 cohort. To support these projects, a close partnership quickly developed between the University’s library, the visual resources center, and the archives. This session covers how three campus units coordinate that support for these innovative digital humanities projects, including administration of the platforms, instruction, technical support, preservation, and access to the final projects. The session will also showcase examples of student work to demonstrate the variety and creativity of projects that can be accomplished using these platforms, as well as their contributions to the field of art history. The outcome of this initiative is clear: the best of digital humanities, weaving design and technology with rigorous art historical research, and finished projects that have already resulted in successful job applications in the field.
VRA 2022 Material Objects and Special Collections session. Presenters: Allan T. Kohl and Jackie Spafford
Materials-based collections represent a challenging new mode of information management in terms of subject specialization, physical description and accommodation, and institutional mission. Building upon the successful introductory meeting of this Group in Los Angeles at the 2019 Conference, the goal of this SIG is to provide a forum for open discussion of Material and Object Collections and their relationship to various library/visual resources tasks. The Material and Object Collections SIG provides an opportunity for individuals working with a variety of materials and objects collections – including those that support art and art history courses, those that support architecture and design courses, and those in cultural heritage organizations – to share ideas, issues, and potential solutions in regard to tasks similar to common library/visual resources activities (including cataloging, documentation, staffing, outreach), as well as more specialized concerns relating to the management of physical objects (security, storage and retrieval, the design of user spaces, etc.).
By continuing to offer an opportunity for participants to share brief introductions and profiles of their collections, we hope to encourage networking and exchange information about sources for specialized items; to display sample items and share surplus samples with other collections; and to provide examples of successful solutions to typical problems. Our long-range goal is to maintain an ongoing support group that can be of particular benefit to those professionals who are in the beginning stages of building or organizing physical collections.
VRA 2022 Digital Art History session. Moderator: Otto Luna
Exploration of visualization tools in the Digital Humanities/Digital Art History realm. Presenter: Catherine Adams
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Historians and Archaeologists. Presenter: Kayla Olson
Supporting Art History Students’ Digital Projects at American University. Presenters: Samuel Sadow and Melissa Becher
VRA 2022 Digital Art History session. Presenter: Kayla Olson
This paper discusses a study (completed in the spring of 2021) which explores how common the use of Qualitative Data Analysis software (QDAS) is among two kinds of object-based researchers: art historians and archaeologists. Surveys were disseminated in a snowball fashion and contained open and closed questions. The questions sought to give participants a platform to describe if, why, and how they use programs like Atlas.ti, NVivo, Dedoose, and MAXQDA throughout their research process. While not QDAS, the image management application Tropy was also included. The author hopes that the anonymized responses will prompt discussion among professionals in academic librarianship and visual resources management about the possible impact of these digital tools on researchers in these disciplines. The question remains on whether researchers in art and material culture disciplines would benefit more from QDAS if participants were aware of: 1) Their existence and 2) Their ability to help organize artifact data and to assist in performing image-based analysis.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenter: Ann M. Graf, Assistant Professor of Library and Information Science, Simmons University
In the field of information science, we strive to provide access to information through the most efficient means possible. This is often done through the use of controlled vocabularies for description of subjects, and, in the case of art objects, for the identification of styles, processes, materials, and types. My research has examined the sufficiency of controlled vocabularies such as the Art and Architecture Thesaurus (AAT) for description of graffiti art processes and products. This research is evolving as the AAT is responding to warrant for a broader set of terms to represent outsider art communities such as the graffiti art community. The methods used to study terminological warrant by examining the language of the graffiti art community are helpful to give voice to artists who work outside the traditional art institution, allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is hoped that this research will inspire others who design and supplement controlled vocabularies for use in the arts to give priority in descriptive practice to those who have been historically underrepresented or made invisible by default use of terminology that does not speak to their experiences.
VRA 2022 Session. Presenter: Douglas Peterson
In 2021, the National Archives of Estonia engaged Digital Transitions’ Service division, Pixel Acuity, to build an Artificial Intelligence (AI) tool to analyze part of its historic record. The objective was to use this tool to enhance their collection with descriptive metadata that identified persons of interest in a collection of over 8,000 photographic glass plate negatives, a task that would ordinarily take years of human labor. In this presentation, we discuss our approach to accurately detecting and identifying human subjects in transmissive media, our initial findings using commercially available AI models, and the subsequent refinements made to our workflow to generate the most accurate metadata. In addition to working with commercially available AI models, we developed strategies for validation of AI-generated results without additional human supervision, and explored the benefits of building bespoke, heritage-specific AI models. By combining all of these tools, we developed a highly customized solution that greatly expedited accurate metadata generation with minimal human oversight, operated efficiently on large collections, and supported discovery of novel content within the archive.
VRA 2022 Community Building Session. Presenter: Dacia Metes
Queens Memory is an ongoing community archiving program that engages with our local communities in our two-fold mission to (1) push local history collections out to the public through programming and online resources, and (2) pull new materials into our collections from the diverse communities of Queens, NYC. The COVID-19 pandemic forced us to close our buildings, cease all in-person work and programming and shift our work to the virtual world. Our team quickly modified our processing workflow and asset tracking with the high volume of crowd-sourced donations coming through new online submission forms, set up in a rapid response to capture the stories coming from the pandemic’s first epicenter in the U.S. In my proposed conference session, I will discuss how we planned and managed the shift to fully online collection development. I will talk about our virtual outreach efforts to engage with the community and get them to contribute their materials, and how we developed the online tools and processes that allowed us to collect photographs, oral history interviews and other audio/visual materials, while also capturing the necessary metadata and consent forms. New internal communications channels, roles for volunteers, and triage processing for publication resulted from these efforts and are now essential parts of the team’s practices.
The document summarizes a workshop on accessibility guidance for digital cultural heritage collections. The workshop consists of two hours which include presentations on accessibility requirements and workflow strategies, a breakout activity where participants practice creating accessible descriptions for images, and a wrap-up discussion. The presentations cover topics such as common barriers to accessibility, guidelines for making images, video, audio and documents accessible, and best practices for incorporating accessibility into workflows. The breakout activity has participants work in groups to write alt-text and accessibility descriptions for sample images from online collections.
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
VRA 2014 Case Studies in International Copyright, Bustillo
1. Dr. Marta Bustillo
Assistant Librarian, Harry Clarke Studios Demonstrator Project
Digital Resources and Imaging Services, Trinity College Library
Dublin (Ireland)
The Harry Clarke Studios Project for the
Digital Repository of Ireland:
Copyright Considerations
Visual Resources Association 32nd Annual Conference, Milwaukee
Session 9, Friday, March 14th 2014: Case Studies in International
Copyright Compliance: Untangling the Web of Publishing and
Sharing Copyright Content Online
2. The Harry Clarke Studios Demonstrator Project
Digitisation and cataloguing of Clarke Stained Glass Studios material held at the Manuscripts & Archives
Research Library, Trinity College Dublin: http://marloc.library.tcd.ie/calmview/.
3. The Digital Repository of Ireland
DRI is a trusted digital repository for Humanities and Social Sciences Data
- linking and preserving the rich data held by Irish institutions, with a central internet
access point
- Our Cultural & Social Heritage
http://dri.ie/
5. Clarke Stained Glass
➢Stained Glass and church decorating business,
founded by Joshua Clarke (1858-1921) ca. 1886.
➢Continued by his sons Harry Clarke (1889-1931) and
Walter Clarke (1880-1930) after Joshua's death.
➢Became Harry Clarke Stained Glass Ltd. in 1930.
➢Continued after Harry Clarke's death in 1931.
➢Closed in 1973.
6. Demonstrator Project:
Types of Materials
➢Drawings and colour designs.
➢Correspondence.
➢Information about commissions.
➢Staffing documentation.
➢Photographs.
➢Visitors books.
➢Financial records.
➢Physical objects.
➢Miscellaneous printed material.
7. Irish Copyright Law
Copyright in Ireland currently governed by the
Copyright and Related Rights Act 2000.
Copyright expires 70 years after the death of the
author, irrespective of the date on which the work is
first' lawfully made available to the public.'
No concept of fair use. Fair dealing for research or
private study; and for criticism or review.
Education: “ the copyright in a literary, dramatic,
musical or artistic work(...) is not infringed by its being
copied in the course of instruction.” Does not include
copies made by means of a repographic process.
8. Copyright Review Committee Report
Report from the government-appointed Copyright
Review Committee published in December 2013.
Relevant recommendations:
Copyright Council of Ireland
Voluntary Digital Copyright Exchange
Irish Orphan Works Licensing Agency
Introduction of fair use exceptions, albeit more
limited than in the U.S. system.
9. The Harry Clarke Studios Project: Copyright Considerations
Three broad categories of items in the collection in terms of copyright:
1- Items produced by the firm.
2- Items held by the firm, but produced by a known third party.
3- Items held by the firm, and produced by an unknown third party.
10. Works in the public domain
Colour design for Saint Patrick's window at Letterkenny
Cathedral in Co. Donegal. Commissioned in 1901. The
design was produced over 70 years ago, and is signed as J.
Clarke & Sons.
Source Material Copyright Status: Work in the Public
Domain.
11. Works under copyright produced by
Harry Clarke Stained Glass Ltd.
Assumption of the Virgin Mary and attendant angels.
Colour design for stained glass window at the Church of
the Assumption, Wexford, Ireland. 1953
Source Material Copyright Status: Copyright Clarke heirs.
12. Works under copyright produced
by a known third party
Letter dated 08.11.53 from S[ister] W. Emmanuel, St.
Mary’s Dominican Convent, Dun Laoghaire, to
William Dowling, Harry Clarke Studios, Dublin.
Source Material Copyright Status: Unknown [for the
moment, since known third party has not been
formally identified or located]. Orphan work.
13. Works in copyright produced by a
known third party
Dominican Saints of the Rosary Series: Saint Catharine
de Ricci, valiant lover of the Crucified. Published ca.
1950-1960 by Dominican Publications, St. Saviour's.
Source Material Copyright Status: Copyright Dominican
Publications.
Procedure: Contact publishers, ask for permission to
reproduce material. If no response from publishers,
material will possibly have to be excluded from the
project.
Im
Image removed for
copyright reasons
14. Works in copyright produced by an unknown third party
Photograph of nuns and pupils of Saint Mary’s Dominican Convent, Dun Laoghaire, Co.
Dublin. ca. 1950-1964
Source Material Copyright Status: Unknown – Orphan work
15. Orphan works
European Digital Libraries Initiative : Launched in 2005 to provide a common multi-lingual access
point to Europe’s digital cultural heritage.
The European Digital Library offers the following definition for orphan works:
“A work is “orphan” with respect to rights holders whose permission is required to use it and who can
either not be identified, or located based on diligent search on the basis of due diligence guidelines.
This search must be both in good faith (subjectively) and reasonable in light of the type of rights
holder (objectively).”
16. European Digital Libraries Initiative: Due Diligence Search
Main Principles for identifying and/or locating the rights holder:
The search is done prior to the use of the work
The search is done title by title or work by work
The relevant resources would usually be those of the country of the work’s origin
17. European Digital Libraries Initiative: Due Diligence Search
The search should follow proper procedure in line with the applicable guidelines:
Publishing an announcement may be part of the procedure, for example using these media:
On a web-site
In a relevant publication (trade, professional etc)
In social or professional networks or associations (including newsletters)
In the local or national press
The search process should be documented:
Date of the searches
Names of the resources used and list of search terms employed
Copies of announcements where relevant
18. Clarke Studios Project Procedure
DRI recommends that collections for ingestion into the repository should follow the due
diligence search procedures proposed by the European Digital Library.
The Clarke Studios Project will:
Carry out due diligence searches on a series of test cases for different types of items,
documenting the time and resources spent on identifying rights owners.
Evaluate the feasibility of carrying out this procedure on all items in the collection
with unknown rights holders.
Decide whether items with unknown rights holders may have to be withdrawn from
the project, for lack of resources to carry out due diligence searches.
Editor's Notes
Clarke Studios Demonstrator Project: A digitisation project that poses unique copyright challenges, and exemplifies the issues that Cultural Heritage Institutions in Ireland face when clearing rights to publish specific materials online.A collaborative project between the Digital Resources and Imaging Services at Trinity College Dublin Library and the Digital Repository of Ireland. Assistance from the Manuscripts & Archives Research Library and the Preservation & Conservation Department at Trinity College.Image credits: David Clarke: Colour impression for a three-light window. Oil on millboard. Copyright for original object: Clarke estate. Image copyright: The Board of Trinity College Dublin. Reproduced with permission.
Digital Repository of Ireland: A national repository for social sciences and humanities data from institutions around Ireland, which provides a central access point for data sets from Irish academic and cultural institution. The aggregation of data sets allows for the creation of rich cultural narratives, using data from separate collections in an interrelated manner.
Six demonstrator projects showcase the different types of data sets that DRI is designed to ingest and host:National University of Ireland (NUI) Maynooth: Media envelope project uses data from national media to create rich narratives around specific dates in Ireland’s history, looking at cultural and social data.NUI Galway: A project around Irish Language and cultural heritage, it will address database issues related to the complexities of making multi-lingual data available for cross-searches in the repository.NUI Maynooth: Irish Lifetimes project: Uses audio data from oral history interview to record descriptions of everyday life in Ireland in times past.National College of Art and Design: Kilkenny Design Workshops: Digitises visual and documentary material related to Kilkenny Design Workshops, a firm founded by the Irish Export Board in 19163 to improve standards of design in Ireland.Trinity College Dublin: Clarke Studios Project: Digitises library-based materials connected with the Harrry Clarke Stained Glass firm.In total, the 6 demonstrator projects provide a rich set of interrelated data about Irish life and cultural heritage.
Clarke Stained Glass was a highly regarded and prolific firm, which created stained glass windows for churches in every county in Ireland, and also in the U.K., the U.S., Canada, Australia, New Zealand, Africa, etc. It was founded by Joshua Clarke ca. 1886, and continued by his sons Harry Clarke & Walter Clarke. Harry Clarke (1889-1931) is one of the most prominent Irish artists of the 20th century. His stained glass windows were highly original, and he was also well known for his illustrations of books such as Edgar Allan Poe’s ‘Tales of Mystery & Imagination’ and Hans Christian Andersen’s tales.Harry Clarke died in 1931, and his wife Margaret Clarke took over the running of the firm, with the help of a series of managers which included some of the most highly regarded stained glass artists of the period, including Terence Clarke, William Dowling, Richard King and many others.Image credits: J. Clarke & Sons: Colour design for unknown window depicting the Coronation of the Virgin. Ca. 1886-1930. Original work in the Public Domain. Image copyright: The Board of Trinity College Dublin. Reproduced with permission.
The Clarke Studios Collection in Trinity College is an extraordinarily complete record of the firm’s business transactions: it contains drawings and colour designs for hundreds of stained glass commissions, which show clearly how the work evolved from the initial sketches to the final presentation designs. It also contains the business records relating to the various commissions, including correspondence, details of each stained glass order, financial documentation, photographs, staffing documentation, and even printed material such as clippings from books and newspapers related to the iconography of specific commissions. It is an unparalleled record of how a business of this kind operated in 20th century Ireland.Image Credits: Harry Clarke Stained Glass Ltd.: Design for window of the Holy Spirit for a church in Cork City. 1966. Design rejected later. Rights for original work: Clarke estate. Image copyright: The Board of Trinity College Dublin. Reproduced with permission.
Shortcomings of the Copyright and Related Rights Act 2000:It does not mention orphan works.It has no fair use provision, although it does have fair dealing for individual research, private study, criticism or review.It does include a copyright exception for education, but this was initially difficult to implement, as it did not include mechanical copying. At present, the educational exception does allow reprographic copying of materials for teaching purposes. However, the copying should be of no more than 5% of a work per institutionper calendar year. In addition, the Irish Copyright Licensing Agency offers a licensing scheme for Irish higher education institutions, which allows staff to make multiple paper copies of licensed works for educational purposes, for instance for course packs. The number of copies is limited to the numebr of students in a class plus two for each teacher, and is limited to 5% of a book or a chapter or one article from any one journal issue.
Copyright in Ireland is currently in a transitional stage, both from the Irish and from the European point of view. The European Commission has recently conducted a consultation on copyright issues, and its findings will eventually influence copyright law at a European level. The Irish government also commissioned a report from a Copyright Review Committee, which was published in December 2013. It is now in the process of introducing legislation for approval by the Irish parliament, incorporating the Committee’s recommendations. For instance, a consultation on legislation regarding orphan works legislation in Ireland is currently under way.The recommendations of the Copyright Review Committee are beneficial for educational, heritage and cultural institutions in Ireland on a number of counts:Creation of a dedicated body, the Copyright Council of Ireland, which will be independent and self-funding, and will provide education and advice on copyright issues; advocate nationally and internationally and work to resolve difficult copyright issues.Creation of an Irish Orphan Works Licensing Agency, which will provide solutions to the problem of orphan works.Introduction of a fair use exception.
1- Items produced by the firm: Since all business records in Ireland have a copyright term of 70 years from the time the item was created, any records from the Clarke Studios Collection created before 1944 are in the public domain. This could possibly apply also to the designs, if one were to consider them as records of a business transaction.Image credits: J. Clarke & Sons: Colour design for Saint Patrick’s window in Letterkenny Cathedral, County Donegal. 1901. Original work in the public domain. Copyright for digital image: The Board of Trinity College Dublin.
Material created after 1944 is under active copyright, which belongs to the Clarke Estate. The Board of Trustees at Trinity College is authorised to manage copyright for this material, and reproduce it as it sees fit for educational purposes. Therefore this material can also be included in a digital collection without any copyright issues arising.Image credits: Assumption of the Virgin Mary and attendant angels.Colour design for stained glass window at the Church of the Assumption, Wexford, Ireland. 1953. Source material copyright status: Copyright Clarke estate. Image copyright status: Copyright The Board of Trinity College Dublin.
This is a special case, because it is a letter from the Clarke Studios Collection, but it was written by a third party, a nun at Saint Mary’s Dominican convent whose name we know, but nevertheless we haven’t been able to find out anything about her. Therefore, although the third party is known, we can consider this as an orphan work, and will be putting it into out online collection.Image credits: Letter dated 08.11.53 from S[ister] W. Emmanuel, St. Mary’s Dominican Convent, Dun Laoghaire, to William Dowling, Harry Clarke Studios, Dublin. Slurce material copyright status: Orphan work. Digital image copyright: Copyright the Board of Trinity College Dublin.
This is an image of the cover of the life of Saint Catherine de Ricci, published by Dominican Publications as part of the series Dominican Saints of the Rosary. Although there is no publication data on the booklet, it is likely that it was published between 1950 and 1960, so the Source Material Copyright Status is Copyright Dominican Publications. The publishing house has been contacted for permission to use images of the booklet in this collection, but there has been no response from them, therefore it may not be possible to include these images in the collection
This photograph is also an orphan work. After due diligence searches have been carried out, it was decided to publish the work in our online collections, following the guidelines of the European Digital Libraries Initiative.Image credits: Photograph of nuns and pupils of Saint Mary’s Dominican Convent, Dun Laoghaire, Co. Dublin. ca. 1950-1964Source material copyright status: Orphan work.
Thanksfully, there are now specific guidelines regarding procedures for dealing with orphan works. The Digital Repository of Ireland has now decided on policy regarding depositing orphan works into the repository. DRI will accept orphan works, provided due diligence searches have been carried out and can be documented according to the guidelines provided by the European Digital Libraries Initiative.
The guidelines are clear and quite strict, particularly regarding the principles for identifying the rights holder.
The emphasis from these guidelines is on documenting the efforts made to locate a rights holder.
The challenge for digitisation projects in cultural institutions –not just in Ireland, but also elsewhere- is to find the time and personnel resources to be able to carry out due diligence searches.