Lisette Kalshoven facilitated this training session on intellectual property rights that took place in Athens Concert Hall on June 24th, 2015 in the frame of Europeana Sounds' aggregation and mid-­year meeting.

1. WP3 IPR Training Session
Europeana Sounds Metadata Ingestion Training II
Athens, June 2015.
LISETTE KALSHOVEN (WP3 lead)

2. Programme
• 14:00 - 14:10 Introduction
• 14:10 - 14:50 IPR in cultural heritage & ELF
• 14:50 - 15:15 Determining edm:rights using tools
• 15:15 - 16:00 Working with use cases
• 16:00 - 16:20 Coffee Break
• 16:20 - 16:40 WP3 update & Rightsstatements.org
• 16:40 - 17:00 Next Steps & Close

3. IPR in cultural heritage & ELF

4. Important note:
This is an overview of IPR in cultural heritage. IPR laws vary
throughout EU member states and beyond. Is is important to check
national laws before applying any of this information.

5. What you need to know
• The basics of IPR in cultural heritage
• The basics of (Creative Commons) licenses
• How the Europeana Europeana Licensing Framework works

6. Copyright
Public Domain, SMK collection

7. Exclusive right of the maker to
use and distribute their work
Public Domain, SMK collection

8. Only original expressions of
ideas are copyright protected
Public Domain, SMK collection

9. General duration in Europe:
death +70
Public Domain, SMK collection

10. Assume everything after 1870 is
copyright protected
Public Domain, SMK collection

11. Exceptions to the exclusive
copyright
citation, parody, education,
cultural heritage (depends on
juridiction)
Public Domain, SMK collection

12. IPR can be stacked
Public Domain, SMK collection

13. neighbouring rights
Public Domain, SMK collection

14. publication +50 or +70
Public Domain, SMK collection

15. Database rights
Public Domain, SMK collection

16. Privacy & portrait rights
Public Domain, SMK collection

17. • The sentence ‘We are currently in Athens, Greece.’
• A doodle on a napkin
• Shakespeare’s Hamlet
• A selfie in front of the Venus de Milo
• Geolocations of artefacts
• Name all people who have IPR rights in Michael Jackson’s
Thriller.
Let’s practice

18. What are licenses?
• Permissions given for IPR constrained material (like a contract)
• You get licenses directly from the rights holder, or through their
representatives (collective rights management organisation or
CMO).
• Licenses can contain pretty much anything, usually there are
standard contracts that can be negotiated
• Standard universal licenses: Creative Commons licenses (also
part of the ELF)

19. Public Domain, SMK collection

20. Attribution
Public Domain, SMK collection

21. ShareAlike
Public Domain, SMK collection

22. NonCommercial
Public Domain, SMK collection

23. NoDerivatives
Public Domain, SMK collection

24. v
Public
Domain
Mark
Public Domain, SMK collection

25. Creative
Commons
0
Public Domain, SMK collection

26. CC0
BY
BY
BY
BY
BY
BY
SA
SA
NC
NC
NC ND
ND
} We
call
these
Open
Culture
licenses
Public Domain, SMK collection

27. Applying CC licenses on Europeana
• Choose one of the six in discussion with rights holder
• Try to get permission for CC BY or CC BY-SA
• Choose the version (latest: 4.0, includes Database rights)
• provide rights holder / creator in metadata

28. Europeana Screenshot

29. • Metadata CC0
• All Digital Objects marked with one of the available rights
statements
• Public Domain Charter
Europeana Licensing Framework

30. Determining edm:rights using tools

31. http://pro.europeana.eu/get-involved/europeana-ipr/tools-resources/tools/the-europeana-rights-statement-selection

32. www.outofcopyright.eu

33. Working with use cases

34. Assignment
• Choose an object from your collection (for example from the
homework Maarten asked you to do for WP2)
• Use the Europeana License Chooser
• Use the Public Domain Calculator if relevant (click on archive is
the new version for your country is not yet available)
• Write down what rights statement was suggested by the chooser
• Is it the same as your institutions metadata?

35. Backup example
Example used from the ONB
Mediathek

36. 20 minute coffee break :)
Coffee break by Finnish
railway officers group in
1955, HelsinkiCC BY 4.0 Kospo75

37. WP3 update & rightsstatements.org

38. Goal of WP3
This work package works with our content
providers as well as with publishers, the
recorded music industry, rights holders, and
libraries to improve access to out-of-commerce
content and increase the opportunities for
creative re-use of Europeana content.

39. • Barriers to online access survey
• Report by GESAC on pulling down barriers through licensing
(shared on Basecamp Monday)
• Contact information found crucial, much collected
Rightsholder consultation

40. • IViR doing research
• Question:
• Please, given the barriers to online access, help our Europeana
Sounds Data Providers with clear and easy to follow guides on
how to work with and around IPR barriers in making heritage
available.
Policy recommendations

41. • Tackling issues on a grander scale
• Valuable input for institutions rights clearing policies
• Basis for shared negotiations with CMO’s
• Learning from experiences of big institutions
How this is going to help you

42. • MoU with EUscreenXL
• Close collaboration with the project, sharing experiences and
papers on IPR
Sharing with EUscreenXL

43. • Cooperation between Europeana, DPLA and Creative Commons
• Neutral namespace for rights statements
• White Paper: http://pro.europeana.eu/blogpost/the-principles-
for-establishing-international-interoperable-righ
• Open for feedback until the end of the week
Rightsstatements.org

44. Next Steps & Close

45. Thank you!
Questions, remarks and/or feedback always welcome
Lisette Kalshoven lk@kl.nl
Unless otherwise noted, everything in this presentation is licensed under a Creative Commons Attribution
license.