Europeana Sounds training session on intellectual property rights (24 June 2015)
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Transcript of Europeana Sounds training session on intellectual property rights (24 June 2015)
WP3 IPR Training Session Europeana Sounds Metadata Ingestion Training II
Athens, June 2015. LISETTE KALSHOVEN (WP3 lead)
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
IPR in cultural heritage & ELF
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.
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
Copyright
Public Domain, SMK collection
Exclusive right of the maker to use and distribute their work
Public Domain, SMK collection
Only original expressions of ideas are copyright protected
Public Domain, SMK collection
General duration in Europe: death +70
Public Domain, SMK collection
Assume everything after 1870 is copyright protected
Public Domain, SMK collection
Exceptions to the exclusive copyright
citation, parody, education, cultural heritage (depends on juridiction)
Public Domain, SMK collection
IPR can be stacked
Public Domain, SMK collection
neighbouring rights
Public Domain, SMK collection
publication +50 or +70
Public Domain, SMK collection
Database rights
Public Domain, SMK collection
Privacy & portrait rights
Public Domain, SMK collection
• 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
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)
Public Domain, SMK collection
Attribution
Public Domain, SMK collection
ShareAlike
Public Domain, SMK collection
NonCommercial
Public Domain, SMK collection
NoDerivatives
Public Domain, SMK collection
v
Public Domain Mark
Public Domain, SMK collection
Creative Commons 0
Public Domain, SMK collection
CC0
BY
BY
BY
BY
BY
BY
SA
SA
NC
NC
NC ND
ND
} We call these Open Culture licenses
Public Domain, SMK collection
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
• Metadata CC0
• All Digital Objects marked with one of the available rights statements
• Public Domain Charter
Europeana Licensing Framework
Determining edm:rights using tools
http://pro.europeana.eu/get-involved/europeana-ipr/tools-resources/tools/the-europeana-rights-statement-selection-tool
www.outofcopyright.eu
Working with use cases
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?
Backup example
Example used from the ONB Mediathek
20 minute coffee break :)
Coffee break by Finnish railway officers group in 1955, HelsinkiCC BY 4.0 Kospo75
WP3 update & rightsstatements.org
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.
• 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
• 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
• 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
• MoU with EUscreenXL
• Close collaboration with the project, sharing experiences and papers on IPR
Sharing with EUscreenXL
• 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
Next Steps & Close
Thank you! Questions, remarks and/or feedback always welcome
Lisette Kalshoven [email protected]
Unless otherwise noted, everything in this presentation is licensed under a Creative Commons Attribution license.