Great final day at SEI doing ThinkCamp. Today we took an un-conference approach with small group, topic-lead brainstorming. The morning flew by with great discussion about outreach efforts, collaboration ideas, digital humanities projects, instruction strategies, managing students to managing your boss, and the challenges of a solo profession. I’ve learned so much!
Full day of metadata today at SEI—metadata schemas, metadata content standards and value standards, mapping and crosswalks, embedded metadata, plus XML and the DPLA! This was a great follow-up to Dr. MacCall’s metadata class. Here at SEI the metadata info was directed towards art images and art digital collections. So, VRA Core, CCO, and CDWA were discussed at length.
The same general principles apply to metadata for visual resources:
• Tie standards to purpose
• Use community best practices
• Know why
• Don’t over-describe
• Document decisions
• Consider use beyond your local system
Many thanks to Johanna Bauman and Greg Reser for the all information and instructional exercises.
Today’s lecture at SEI was on Intellectual Property Rights and Copyright issues. This can be particularly sticky for visual resource curators and art librarians who are faced with the task of making images available digitally but need to consider if these images are protected under copyright or okay to use under fair use educational exceptions.
Intellectual Property Rights protected under Title 17 US Code include: reproduction, derivatives, distribution, performance, and display. That’s pretty broad! However, there are exceptions in certain cases of fair use, library copying, public display, teaching, and formats for persons with disabilities. Also, “transformative” use is allowed as long as the new work is significantly altered from the original. Okay, that seems logical. But wait—it is not so clear-cut, as our excellent presenter Madelyn Wessel explained.
Licenses and contracts can trump fair use. Databases may be licensed to a university, but that content is not free to outside world. Privacy of persons is an issue—need to have written permission. And as several somewhat confusing court decisions have shown, fair use is a case-by-case assessment. Copyright cases are fact-specific and individual. So really, the answer to the question “what is fair use?” is almost always: it depends.
Other things to consider….
Fine arts copyright usually involves 3 parties:
1. the artist who created the work
2. the owner of the art object
3. the photographer of the art object
All three parties can be stakeholders in copyright issues.
Fair use takes into account:
1. purpose and character of use
2. nature of work—factual or creative
3. amount of original work reproduced
4. impact on the market value of original work
But, again, all of these factors are subject to interpretation on a case-by-case basis.
The gray areas of copyright law are likely to remain for a while with ping-ponging court decisions on what is considered protected and what is fair use. It’s a balancing act—preserving the rights of the artist, scholar, or writer and the right to access information and cultural art objects.
As I’m considering copyright of intellectual property, I will gladly credit Madelyn Wessel for the factual information in this blog post. And any inaccuracies are my own!
This week I’m attending the Summer Education Institute for Visual Resources and Image Management at the University of Illinois, Urbana-Champaign. Topics include: Intellectual Property Rights, Digital Imaging, Digital Preservation, Project Management, and all kinds of Metadata. I’m looking forward to learning a lot and plan to post.
For my last official LS566 blogpost, I’m sharing art of May Day from the ArtStor Digital Library blog (with accompanying metadata). Metadata has been a great class—I know I’ve learned so much. Thanks for sharing the process. Happy beginning of Summer, everyone!
I just can’t get enough of all the great resources from the Getty. Every time I visit the site, seems like I find more good stuff. Last night’s presentation of the CDWA by Kristen was so well-done it peaked my interest to learn more about the CDWA. As she explained, the CDWA could probably take up an entire class on its own. The Getty has a page of Training Materials on its site for CDWA and other art description vocabularies and standards. (I see one for Linked Open Data too.) Probably still doesn’t cover it all. Any possibility of SLIS offering a course on this?
Another great resource from Getty. The Introduction to Imaging by Howard Besser not only provides information about digitizing analog content for a digital collection, but also gives a great overview of the entire process of creating a digital collection. It includes plenty of detailed info on scanners, digital images, system architecture, project planning, and digital preservation and sustainability. Add it to your bookmarks or download the pdf files.
Source: Introduction to Imaging, Revised Edition, by Howard Besser, edited by Sally Hubbard and Deborah Lenert