[MCN-L] E-books in museums

[Amalyah Keshet]

Greg:

We're doing a QR code thing in our latest contemporary art exhibition, Magic 
Lantern http://www.imj.org.il/exhibitions/presentation/exhibit.asp?id=768 

Will brag about it to whoever is interested, next week in Atlanta.

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Chair, MCN IP SIG


- Original Message -
From: Greg Albers 
Date: Wednesday, November 9, 2011 17:22
Subject: [MCN-L] E-books in museums
To: mcn-l at mcn.edu

> Hi All,
> 
> A couple weeks ago, I gave a presentation at the "Books in Browsers"
> publishing conference. Making a larger point about e-books' inherent
> instantaneity and everywhere-ness, I proposed giving museum visitors
> e-books downloads directly from artworks in galleries, with the help
> of a QR code and a smartphone. Someone who saw the presentation
> pointed me to MoMA's "Talk To Me" as a current example of a museum
> exhibition connecting rich digital content of all sorts directly to
> physical objects and places.
> 
> I know of a few other tangential examples, but I'm wondering if anyone
> else out there is doing anything specifically with in-museum e-books
> at all? I'd love to hear about it if you are. Or, if you'll be in
> Atlanta next week and can chat in person, that would be great as well,
> I'll be there leading a workshop ... on e-books.
> 
> Thanks!
> Greg
> 
> And here's the presentation, in two flavors:
> video: http://bit.ly/sFRpxv
> e-book: http://bit.ly/bib11artbk
> 
> 
> --
> Greg Albers
> Hol Art Books
> www.holartbooks.com
> 520) 331-2780
> twitter: @holartbooks
> ___
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[MCN-L] Ask Slashdot: Archiving Digital Artwork For Museum Purchase?

[Amalyah Keshet]

"An anonymous reader writes /"I am an artist working with 3d software to 
create animations and digital prints. For now my work just gets put on 
screening DVDs and BluRays and the original .mov and 3d files get backed 
up. But museums and big art collectors do want to purchase these 
animations. However as we all know archival DVDs are not really 
archival. So I want to ask the Slashdot readers, what can I give to the 
museum when they acquire my digital work for their collection so that it 
can last and be seen long after I am dead? No other artist or 
institution I know of have come up with any real solution to this issue 
yet, so I thought Slashdot readers may have an idea. These editions can 
be sold for a large amount of money, so it doesn't have to be a cheap 
solution."/
http://ask.slashdot.org/story/09/09/29/1646251/Archiving-Digital-Artwork-For-Museum-Purchase?from=rss


...just in case anyone out there is interested.

[MCN-L] Calling all cataloguing nerds

[Amalyah Keshet]

I'm not a cataloging nerd (although I've been called worse names), but I tend 
to look at it this way:
what is the basic (physical, if possible) thing that's being catalogued?  Its 
manifestations or uses or projections or permutations or interpretations may be 
many and varied, but the thing catalogued is a CD or a DVD or a hard disk or a 
website sitting on a specific server, or some such ...thing, even if the work 
is digital.  It's where the work lives.  

Or think of it this way: if the work is ever stolen and you need to report it 
to the police, what would you want to recover?  The manifestation?  The 
projection? No -- you'd want the thing that embodies the work and makes it 
manifestable or projectable.  That's the work that's in the collection.  The 
rest belongs in the "Description" field.  

You say you are acquiring edition 1/4 of the work.  That's pretty concrete 
right there.  That definition would replace the former, temporary catalog 
record, I would think -- that old record is now "exhibition history"  or even 
"provenance."  And the permitted "manifestations" would, again, appear in the 
"Description" field, or some other free text field.  

Now all the real catalogers out there can take apart everything I've just 
written. 

Amalyah Keshet


- Original Message -
From: "Real, Will" 
Date: Tuesday, March 24, 2009 16:28
Subject: [MCN-L] Calling all cataloguing nerds
To: Museum Computer Network Listserv 

> If any of you are involved in complex cataloguing questions, 
> especially for contemporary art, and enjoy puzzling over them for 
> inordinate amounts of time, here is a conundrum for you. How would 
> you approach a situation like this?
> 
> The artist created a work specifically for a temporary exhibition. 
> The original work was projected video imagery on the fa?ades of the 
> museum building. We created a full catalogue record in our 
> collections system for this work. Subsequently the artist created a 
> derivative version of the piece to be offered for sale through the 
> artist's gallery, in an edition of 4. The museum is acquiring 
> edition 1/4 this work. It consists of the same imagery as the 
> original, but it has been re-edited, has acquired a sound track, 
> and is designed primarily as an indoors single-channel video 
> projection. However, in our museum's case, the artist is permitting 
> the work to be shown again as an outside projection on the museum 
> fa?ades exactly as the original work was, as well as indoors as a 
> single-channel projection.
> 
> It may also be significant that the original work was created under 
> severe time constraints and the artist viewed it more or less as a 
> work in progress. But it had to be shown in the exhibition in an 
> "unfinished" state because the artist simply ran out of time.
> 
> Essentially our options are 1) create a separate catalogue record 
> for the new derivative work, or 2) treat both the original 
> projection and the derivative piece as two "manifestations" of a 
> single "work" (loosely following FRBR concepts).
> 
> I suppose a broader question is, do any of you follow FRBR concepts 
> when cataloguing works of this nature?
> 
> If this is too esoteric for the list, feel free to respond off-list.
> 
> Thanks,
> 
> Will Real
> Carnegie Museum of Art
> 
> ___
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[MCN-L] Google Book Settlement: Business Trumps Fair Use

[Amalyah Keshet]

Remember "Don't be evil"?



"By settling a lawsuit with book authors and publishers this week, 
Google  is looking out for 
itself and has avoided fighting for and possibly establishing a positive 
legal precedent for copyright fair use on the Internet...

"As an academic and a fair use advocate, I was somewhat disappointed the 
case got settled. I had been hoping to see it as a test of the 
boundaries of fair use, as a chance for the court to describe more 
specifically the scope of fair use here," said Wendy Seltzer, a fellow 
at Harvard University's Berkman Center for Internet and Society 
...

"Google has quite effectively solidified with this settlement its 
position as a leading search company and effectively excluded lots of 
others from following in its footsteps. A court judgement in favor of 
fair use would have let anyone else go in and make similar fair uses," 
Seltzer said. "This settlement sets a pretty high fee on making those uses."

In other words, Google saw the opportunity to settle in these terms as a 
key move for its business strategy, one valuable enough to sacrifice a 
greater good for Internet companies everywhere.


http://www.pcworld.com/businesscenter/article/153085/in_google_book_settlement_business_trumps_ideals.html
  

[MCN-L] IP SIG: Creative Commons: letter from Renata Avila, CC Guatemala project lead

[Amalyah Keshet]

 Original Message 
Subject:[cc-commonerletter] Commoner Letter #2 - Renata Avila, CC 
Guatemala project lead
Date:   Mon, 03 Nov 2008 10:47:21 -0800
From:   Melissa Reeder 







To our community - we are honored and proud to present the second
letter in this year's Commoner Letter series, written by CC Guatemala
Project Lead, Renata Avila. In addition to her passionate work heading
off the successful launch last month of Creative Commons licenses in
Guatemala, Renata is also a human rights lawyer and a frequent author
for Global Voices Online,  an international citizen journalism
project. As you will see in  this letter, some of CC's most inspiring
stories come from our international community; they help remind us why
CC and the Commons are vital and how they have the power to effect
positive change in ways that may never have seemed possible.

==

Dear Commoner,

The Creative Commons enables us to connect with people from other
cultures, share ideas, and solve problems together. It is a tool that
gives voice to creativity, and allows us to share symbolic space
within society, charting alternative routes to inclusion across the
continents, in all languages.

My country, Guatemala, is an amazing place where indigenous
communities and Spanish speakers share a diverse cultural space. The
diversity extends from the culture to the landscapes, right down to
the way we communicate. There are 22 indigenous languages in active
use by Guatemalan communities across mountains, two oceans, and 33
volcanoes. Sadly, our country was affected profoundly by more than 30
years of civil strife until the mid-90s, and is only now emerging from
a long period of violence and racism, exclusion and social disparity.

Poverty in Guatemala is high and deep, and the country has remarkably
unequal distributions of income, resources and opportunities. In my
work as a human rights lawyer, I have experienced in a very personal
way that the potential of our cultural commons and national heritage
is disconnected and unrealized.

Each of our indigenous communities treasures a legacy of scientific
and technical knowledge, artistic and aesthetic values of their own,
but they need the tools to open their culture to others and share both
ways. We need to find ways to overcome linguistic, technical and
social barriers, and build connections with Spanish-speakers
completely disconnected from their reality. To create a common culture
is a challenge and a necessity to improve living conditions and assure
peace. As in many other developing countries, basic necessities such
as food, potable water and medical care certainly have priority. But
how can we communicate to the world that we are in fact a rich
country, in the sense of how we create and preserve culture? How do we
connect different visions of the world within the same country?

I decided to spearhead the launch of Creative Commons Licenses in
Guatemala as a tool to help connect our cultural commons. Now the
Guatemalan Ministry of Education is using cc for a Schools of the
Future project with books and materials with Creative Commons licenses
to help breach the digital divide. One of the most prestigious
universities in the country, Franscisco Marroqu?n University, have
released their online educational resources to the Commons too.

Internationalization and localization of the Creative Commons licenses
is more than just a technical, legal process. It enables creative,
verbal and nonverbal forms of expression as a vehicle to share and
learn from one another. Through human connections we can discover
treasures that reshape our understanding of concepts like
"development", "wealth" and "others". We can begin to cross the mental
and geographic borders that divide us.

As an author for Global Voices Online, one of the most successful
examples of global cultural exchange using Creative Commons licenses;
and as a lawyer dealing with the complexities of multilingual,
developing countries in transition to peace, I believe that open tools
such as the Creative Commons are essential for creating better
societies. We have a lot to learn from each other. With this letter I
challenge you to allow yourself to be embraced by another world.

Please support the creation of our Global Commons.

===

We rely on our supporters to continue our work enabling
stories like those listed above. Check it out --

Donate:
http://support.creativecommons.org/join

CC Store:
http://support.creativecommons.org/store

Events:
http://wiki.creativecommons.org/Events

ccNewsletter:
http://creativecommons.org/about/newsletter

Creative Commons was built with and is sustained by the
generous support of organizations including the Center for the
Public Domain, the Omidyar Network, The Rockefeller Foundation,
The John D. and Catherine T. MacArthur Foundation, and The
William and Flora Hewlett Foundation, as well as members of
the public.


__

[MCN-L] Nobel Prize Winning Economist Explains How IP Rights Are Part Of The Globalization Problem

[Amalyah Keshet]

Interesting transcript of a talk by Nobel Prize-winning economist Joseph 
Stiglitz on Making Globalization Work 
.
http://www.cceia.org/resources/transcripts/5397.html

Via techdirt   http://techdirt.com/articles/20080421/024049903.shtml 

"We've written about Stiglitz in the past, for his explanation of how 
patents often do more harm than good economically. In this speech, which 
is covering a much broader topic (globalization), he makes a few really 
good points about why what politicians put in place as "globalization" 
isn't matching what economists say should happen in a globalized 
economy... 
In particular, he points out how this is done with intellectual 
property. This is something we noted last year when we couldn't 
understand why a "free trade agreement" would guarantee monopolies on 
intellectual property. That seemed like the opposite of free trade. As 
Stiglitz notes: /"The Uruguay Round TRIPs Agreement, which is 
Trade-Related Intellectual Property, has nothing to do with trade. They 
just put "trade-related" because they had to put that in there to have 
it in a trade agreement. That was the real ingenuity...  //they wanted 
the trade ministers to do it because the trade ministers didn't know 
anything about intellectual property, and that meant they were much more 
vulnerable to the influences of the special interests." /

[MCN-L] Internet Archive wins against FBI

[Amalyah Keshet]

With thanks to the inimitable Peter Brantley:


- Original Message - 
> The internet archive has won a push back against
> a national security letter.  GO BREWSTER, GO!!!
>
> http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/05/07/BA7C10IJ17.DTL
>
> "Brewster Kahle, who runs an online library in San Francisco,
> was appalled when his volunteer lawyers told him in November
> that the FBI was demanding records of all communications with
> one of his patrons as part of an investigation of
> "international terrorism or clandestine intelligence
> activities."
>
> "The FBI document, called a national security letter, told
> Kahle he could be prosecuted if he discussed the subject with
> anyone but his lawyers, and allowed him to speak with his
> attorneys only in person. Kahle said his Internet Archive,
> which has 500,000 card-holders, doesn't even keep the records
> the FBI was seeking.
>
> "He was allowed to speak publicly Wednesday under a rare
> settlement in which the FBI agreed to withdraw its letter and
> lift the gag order. That should show other librarians, and
> members of the public who receive any of the nearly 50,000
> national security letters the government issues each year,
> that "you can push back on these," Kahle said."

[MCN-L] Fw: COMPUTERS, FREEDOM, AND PRIVACY: TECHNOLOGY POLICY '08

[Amalyah Keshet]

COMPUTERS, FREEDOM, AND PRIVACY: TECHNOLOGY POLICY '08
http://cfp2008.org/
18th Annual CFP conference
May 20-23, 2008
Omni Hotel
New Haven, CT


Conference Blog: http://cfp08.blogspot.com/
Facebook Group: http://www.facebook.com/groups.php?id=683858084
Conference Wiki: http://cfp.wikia.com/wiki/CFP08
LinkedIn Group: http://www.linkedin.com/e/gis/61857/7885844E0F9D


Hotel Conference Discount Deadline: May 1, 2008 
Early Bird Registration: Fri., May 2, 2008
YJoLT Tech Policy Essay Contest: Mon., May 5, 2008




ABOUT CFP: TECHNOLOGY POLICY `08


What should the technology policy priorities of the next administration be? 


As the choice of presidential candidates becomes clearer and election year 
moves towards a comparison of the candidates' platforms on the issues, 
technology policy is increasingly relevant to the forefront of public debate. 
In the areas of privacy, intellectual property, cybersecurity, 
telecommunications, and freedom of speech, topics that were once confined to 
experts now appear in the mainstream of political issues. We now know that our 
decisions about technology policy are being made at a time as the architectures 
of our information and communication technologies are still being built.


This year, the 18th annual Computers, Freedom, and Privacy conference is 
focusing on those issues at the forefront of technology policy this election 
year. With plenary panels on the "National Security State and the Next 
Administration" and "The 21st Century Panopticon?" the discussions taking place 
look towards our present and future priorities.


CFP: Technology Policy '08 is an opportunity to participate in shaping those 
issues being made into laws and regulations and those technological 
infrastructures being developed. Policies ranging from spyware and national 
security, to ISP filtering and patent reform, e-voting to electronic medical 
records, and more will be addressed by expert panels of technologists, 
policymakers, business leaders, and activists. The panel topics are listed 
below and full panel descriptions are available on the conference website at:


  http://www.cfp2008.org/wiki/index.php/Program.


The CFP: Technology Policy `08 conversation has already begun in the virtual 
spaces connected to the conference. Even if you are unable to attend the 
conference this year, there are several opportunities to participate remotely. 
The guiding principles that ought to guide our policies are being debated on 
the conference blog. Social networking groups on Facebook and LinkedIn are 
providing new spaces for the CFP community to meet and discuss. The Yale 
Journal of Law and Technology is hosting a call for essays, on the priorities 
of the next administration, with more details below.


We look forward to seeing you in New Haven on May 20-23.


CONFERENCE PROGRAM


Plenary Sessions
Presidential Technology Policy: Priorities for the Next Executive
The 21st Century Panopticon?
The National Security State and the Next Adminstration


Tutorials
A Short History of Privacy
Constitutional Law in Cyberspace
e-Deceptive Campaign Practices: Elections 2.0
Maintaining Privacy While Accessing On-line Information


Panel Sessions
Activism and Education Using Social Networks
Breaking the Silence: Iranians Find a Voice on the Internet
Charismatic Content: Wikis, Social Networks, and the Future of
User-Generated Content
Filtering Out Copyright Infringement: Possibilities, Practicalities, and
Legalities
Filtering and Censorship in Europe
Hate Speech and Oppression in Cyberspace 
Interoperability at the Crossroads?: The "Liberal Order" versus
Fragmentation
Law, Regulation, and Software Licensing for the Electronic Medical Record
Measuring Global Threats to Internet Freedom
Network Neutrality: Beyond the Slogans
New Challenges for Spyware Policy 
Patents: The Bleeding Edge of Technology Policy
Privacy, Reputation, and the Management of Online Communities
Rights & Responsibilities for Software Programs?
States as Incubators of Change
"The Transparent Society:" Ten Years Later
Towards Trustworthy e-Voting: An Open Source Approach?




CALL FOR ESSAYS


Yale Journal of Law & Technology Call for Essays on the Technology Policy of 
the New Administration. 
Deadline: Monday, May 5th


The Yale Journal of Law & Technology (YJoLT) is seeking essay-length 
submissions concerning the technology policy platform of the new American 
presidential administration.  Essays selected for publication will appear in 
the Fall Issue of YJoLT (publication date November 2008).  


Ideal submissions will discuss the priorities and guiding principles that 
American technology policy should follow.  Submissions analyzing a particular 
technology policy issue in depth will also be accepted. 


Essays of less than 5,000 words are preferred.  Please submit all essays to 
yjolt.submissions at gmail.com.  Please include the text "CFP Essay" in the 
subject line of the email.  The authors of essays selected for publication w

[MCN-L] IP SIG: CU/EFF/PK Amicus filed today in Bilski case re: limits on patentable processes

[Amalyah Keshet]

I don't usually pass on information about patent cases, but this announcement 
from 
the Samuelson Law, Technology & Public Policy Clinic at U.C. Berkeley, should 
interest all
of us who care about access to information, not to mention contraints on human 
thought and behavior (!).

www.samuelsonclinic.org  (amicus brief available on the site)

publicknowledge.org

- Original Message - 

> Not directly relevant to fair use, but I thought some of you would enjoy 
> the brief we filed today at the U.C. Berkeley Clinic on behalf of 
> Consumers Union, EFF [Electronic Frontier Foundation], and PK [Public 
> Knowledge] 
> in the Federal Circuit's en banc Bilski case.
> 
> In it, we argue that the Federal Circuit should place substantial limits 
> on the patentability of processes that do not directly improve or 
> significantly involve technology, especially those that would constrain 
> human thought and behavior, copyrighted works, access to information, 
> and consumer welfare (via restrictions on business methods).  We propose 
> a framework for the Court and the PTO that weeds out inappropriate 
> applications, especially those that are "artfully drafted" to cover 
> unpatentable subject matter using the guise of incidental technology.
> 
> Best,
> Jason
> 
> -- 
> Jason M. Schultz
> Associate Director
> Samuelson Law, Technology & Public Policy Clinic
> U.C. Berkeley School of Law
> jschultz at law.berkeley.edu
> http://www.samuelsonclinic.org
> (510) 642-1957



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] Every Click You Make - More Customers Being Monitored by Their ISPs

[Amalyah Keshet]

"More Customers Being Monitored by Their ISPs
 The online behavior of a small but growing number of computer users in the 
United States is monitored by their Internet service providers, who have access 
to every click and keystroke that comes down the line. The companies harvest 
the stream of data for clues to a person's interests, making money from 
advertisers who use the information to target their online pitches."  [from 
GigaLaw.com]

http://www.washingtonpost.com/wp-dyn/content/article/2008/04/03/AR2008040304052.html

"Although common tracking systems, known as cookies, have counted a consumer's 
visits to a network of sites, the new monitoring, known as "deep-packet 
inspection," enables a far wider view -- every Web page visited, every e-mail 
sent and every search entered. Every bit of data is divided into packets -- 
like electronic envelopes -- that the system can access and analyze for 
content. 

...In fact, newly proposed Federal Trade Commission guidelines for behavioral 
advertising have been outpaced by the technology and do not address the 
practice directly. Privacy advocates are preparing to present to Congress their 
concerns that the practice is done without consumer consent and that too little 
is known about whether such systems adequately protect personal information."

[MCN-L] Every Click You Make - search engine data retention

[Amalyah Keshet]

Interestingly, the EU seems to recognise the "right to a private life." 
Food for thought.


http://arstechnica.com/news.ars/post/20080407-eu-issues-tough-data-protection-finding.html
>
> "The Article 29 Working Group, a collection of the EU's top minds
> on data protection and privacy issues, has issued a major report
> (PDF) of its findings, and it won't be good news to the search
> engine community. The EU started with the premise of a "right to
> a private life" and allowed only limited data collection exceptions
> to that right. Search engines can only hang on to European user
> data for six months, must generally treat IP addresses as "personal
> information," and must comply with the rules even if they are based
> outside the EU.
> ...
>
> "Once again, the US and Europe appear to be diverging on issues of
> data protection and privacy; it's difficult to imagine the Article
> 29 findings appearing in an FTC report here.
>
> "For instance, consider a post made to the Google public policy only
> a couple hours after Fleischer's. Deputy general counsel Nicole Wong
> talked up the FTC's "self-regulatory approach" to handling the issues
> raised by behavioral advertising on the Internet. "Google's comments
> underscore our support for the Commission's proposed self-regulatory
> approach," she wrote, "which we believe is the most appropriate method
> of ensuring innovation, competition, and consumer protection in this
> space." "

[MCN-L] IP SIG: Creative Commons Gets $4 Million Grant; Lessig Leaves

[Amalyah Keshet]

Creative Commons Gets $4 Million Grant; Lessig Leaves
 Creative Commons, the nonprofit dedicated to reforming copyright in the 
digital age, said it has received a $4 million grant from the William and Flora 
Hewlett Foundation. Meanwhile, Lawrence Lessig, the organization's founder, a 
Stanford law professor, and a "free culture" advocate, is stepping down from 
his role as CEO of Creative Commons.
 http://www.news.com/8301-13577_3-9909027-36.html 

[MCN-L] National Archives films to be sold on Amazon

[Amalyah Keshet]

This one nearly snuck by me unnoticed: 




National Archives films to be sold on Amazon for $19.99 in non-exclusive
deal. 

http://www.siliconvalley.com/news/ci_6508029

The public will be able to purchase copies of thousands of historic
films and videotapes via the Internet under an agreement the National
Archives has reached with Amazon.com Inc. and one of its subsidiaries.

...The Archives will initially make its collection of Universal Newsreels, 
dating from 1920 to 1967, available for purchase. Thousands of other public 
domain and government films will be made available later, officials said. 

"While the public can come to our College Park, Md., research room to view 
films and even copy them at no charge, this new program will make our holdings 
much more accessible to millions of people who cannot travel to the Washington, 
D.C. area," Archivist of the United States Allen Weinstein said in a statement."

...Archives and CustomFlix officials stressed that the agreement is 
non-exclusive, unlike the controversial semi-exclusive deal the Smithsonian 
Institution recently struck with the cable television network Showtime. 

That deal upset filmmakers who said it was improper to require documentarians 
using Smithsonian materials to offer their work first to Showtime."

[MCN-L] >play, the Berkeley digital media conference

[Amalyah Keshet]

People in Berkeley have all the fun.


>> I want to make sure folks are aware of >play, the Berkeley digital media 
>> conference on Saturday, October 27.  If you're at all interested in 
>> digital media businesses, there's sure to be something for you.  We have 
>> nine panel topics this year, along with two keynotes and an Expo full of 
>> technology to check out.
>>
>> http://playconference.org

[MCN-L] Magic Lantern Show

[Amalyah Keshet]

People in DC also have too much fun.  Here's one for technology 
antiquarians:




>> Special Event at La Maison Fran?aise
>>
>> Magic Lantern Show
>>
>> Tuesday, October 30 at 7 pm
>>
>> Wednesday, October 31 at 7 pm
>>
>> Thursday, November 1 at 7 pm
>>
>>
>> Experience the 19th-century precursor to cinema. Magic Lantern  shows 
>> narrate stories through projected color imagery, live music,  and 
>> boisterous audience participation.
>>
>> Co-sponsored by The Phillips Collection, the French-American  Cultural 
>> Foundation, and La Maison Fran?aise.
>>
>> Admission: $20 and free for Patrons and Circle members. For more 
>> information and to register, contact www.la-maison-francaise.org.
>>
>>
>>
>> La Maison Fran?aise is located at:
>> 4101 Reservoir Road, NW
>>
>> Washington, DC 20007

[MCN-L] Photoshop to the rescue

[Amalyah Keshet]

And you thought Photoshop was only good for...?

-

Thai Police Arrest Pedophile Suspect in Unscrambled Photos
 Thai police have arrested a suspected Canadian pedophile following a 
global manhunt launched when computer experts unscrambled digital photos 
allegedly showing him sexually abusing young boys. Christopher Paul Neil was 
taken into custody in Nakhon Ratchafima, a town about 200 kilometers (130 
miles) northeast of Bangkok, where he was allegedly attempting to contact 
underage boys, Maj. Gen. Wimol Pao-in said.
 Read more: 
http://www.gigalaw.com/news/2007/10/thai-police-arrest-pedophile-suspect-in.html
 
(Source: CNN.com)

[MCN-L] IP SIG event at MCN Chicago 2007

[amalyah keshet]

Happy to announce that the IP SIG will host this special presentation 
at its annual
meeting in Chicago.  Everyone is (are?) invited:



MCN Chicago 2007  Friday, 5.15pm-6.30pm  IP-SIG Special Event

Special presentation and discussion:  The  PLUS Standards
With Professor Jeff Sedlik, President & CEO, PLUS  Coalition

The PLUS Coalition is an international non-profit  organization on a mission
to simplify and facilitate the communication of  rights information
associated with images. In the Coalition, a diverse group  of stakeholders
and their associations across 26 countries have worked  cooperatively to
create PLUS, the Picture Licensing Universal System.

PLUS is  a comprehensive system of image licensing standards that exists as
a universal  language for the communication of image rights metadata. The
Coalition  welcomes participation by all individuals, associations and
organizations  engaged in creating, distributing, using and archiving
images. The PLUS  standards will allow museums to better manage, preserve
and license images.  MCN holds a seat on the PLUS Board of Directors
(currently filled by Alan  Newman), and all institutions are invited to
participate in the PLUS Museums  Committee.

More at www.useplus.org <http://www.useplus.org>

=======

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net

[MCN-L] "cultural diplomacy"

[Amalyah Keshet]

Len:
Have a look at:

  The PUSH project:  Exploring the Common Heritage

  A tri-lateral regional project aimed at fostering mutual respect, dialogue, 
discovery and presentation of our cultural and natural heritage. PUSH works to 
break down cultural prejudices by building greater understanding of the 
region's shared heritage as a means to respect and appreciate the cultures of 
the 'other', thereby advancing peace in the region. Furthermore, by identifying 
important sites of natural and cultural heritage, PUSH brings international 
attention to the rich cultural and natural heritage of the region in need of 
preservation. 

  Moshe Caine
  Expert in digital imaging, virtual reality and interactive communications
  Bezalel Academy of Art and Design, Jerusalem, 

  Dr Yusuf Natsheh
  Specialist in Islamic Architecture and the architectural heritage of 
Jerusalem's Old City
  Al Quds University


http://www.digital-heritage.org.il/conferences/2007_Tuesday.html



Amalyah Keshet



- Original Message - 
From: "Leonard Steinbach" 
To: "Museum Computer Network Listserv" 
Sent: Wednesday, November 14, 2007 6:04 AM
Subject: [MCN-L] "cultural diplomacy"


>I have been long interested in how web or other technology based
> collaborations are a form of "cultural diplomacy," which for the
> moment I will simply define as fostering better understandings among
> peoples based on the sharing of art and culture.
> 
> For example, FRAME  www.framemuseums.org fosters the sharing of
> information, exhibitions, and intellectual discourse through a
> consortium of 12 French and 12 American regional museums.   I was most
> impressed and inspired by the work of our colleagues and friends at
> the National Palace Museum in Taiwan who through multi-lingual
> presentation and broad distribution of information about their art are
> really promoting and sharing their culture.
> http://www.npm.gov.tw/en/home.htm  Our friends also talked about their
> involvement n
> "culturemondo" -- check out
> http://www.culturelink.org/conf/culturemondo/index.html
> 
> Then there are non-museum projects such as the Digital Worlds
> Institute http://www.digitalworlds.ufl.edu/ which is using internet2
> and music and other culture to bridge communities around the world.
> 
> Anyway. i would appreciate and links or information about web or
> otherwise technology-based culture-based multi-national initiatives to
> bring the world's peoples together.
> 
> many thanks
> 
> Len Steinbach
> lensteinbach at gmail.com
> cell 917 821 6207
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum Computer 
> Network (http://www.mcn.edu)
> 
> To post to this list, send messages to: mcn-l at mcn.edu
> 
> To unsubscribe or change mcn-l delivery options visit:
> http://toronto.mediatrope.com/mailman/listinfo/mcn-l
>

[MCN-L] IP SIG: Presidential Candidates Asked About Copyright Issues

[Amalyah Keshet]

- Original Message - 
>> Intellectual Property
>> Presidential Candidates Asked About Copyright Issues
>> by Andrew Noyes <mailto:anoyes at nationaljournal.com>
>>
>>  A trade group representing Microsoft, NBC Universal, News Corp.,
>> Time Warner and more than 40 other content creators wants to grill the
>> pool of presidential candidates on their plans to maintain "meaningful
>> copyright protection" for U.S. businesses.
>>  A letter and questionnaire from the recently formed Copyright
>> Alliance was sent to 17 candidates Tuesday. The group has requested
>> responses from the White House hopefuls in both the Democratic and
>> Republican parties by early next year.



How about a questionnaire asking candidates how they plan to maintain 
"meaningful copyright protection" and fair use for the rest of us?

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net

[MCN-L] Fw: International Conference on 'Building Knowledge Repositories: Cross-Sectoral Collaborations New Delhi Feb. 2008

[Amalyah Keshet]

For those interested in an excuse to travel to New Delhi:


- Original Message - 
Subject: International Conference on 'Building Knowledge Repositories: 
Cross-Sectoral Collaborations
New Delhi Feb. 2008

> Dear All,
> Please check our website www.niftindia.com for
> details about an International Conference on 'Building
> Knowledge Repositories: Cross-Sectoral Collaborations'
> to be organised by  the National Institute of Fashion
> Technology (NIFT) at New Delhi, India from February 7
> to 9 ,2008.
> For any query for participation please contact the
> undersigned at email id : nadutta at yahoo.com
>
> Regards.
> Nandini Dutta
> Head Resource Centre
> National Institute of fashion technology
> Hauz Khas
> New Delhi



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net

[MCN-L] Fw: COURSES FOR PHOTOGRAPHERS AND LIBRARIES- London

[Amalyah Keshet]

- Original Message - 

Electric Lane is delivering two courses for BAPLA, one for image libraries 
and one for photographers.

IMAGE ASSESSMENT AND WORKFLOW - Next session Feb 7
SUPPLYING DIGITAL IMAGES - IMAGE PRODUCTION FOR PHOTOGRAPHERS - 24 January

IMAGE ASSESSMENT AND WORKFLOW
This one day hands-on course is run by Skillset-accredited training provider 
Electric Lane. Focussing on work in a picture library, the aim is to 
understand and apply digital standards. You will learn techniques for 
assessing and correcting digital files, apply colour management, and improve 
productivity.

SUPPLYING DIGITAL IMAGES - IMAGE PRODUCTION FOR PHOTOGRAPHERS
This one day hands-on course run by Skillset-accredited training provider 
Electric Lane will help photographers supplying image libraries and 
publishers to meet industry  technical and quality standards. Photographers 
will learn to process and correct digital files, apply correct colour 
management, and improve their own productivity.

The training sessions are in Farringdon, London.
Contact Christina at BAPLA  (christina at bapla.org.uk) for more details and 
booking. Book soon as only 8 places available for this session. Costs ?200 
+VAT for BAPLA members and their photographers. ?250 + VAT for non-members

[MCN-L] Facebook pricacy violations

[Amalyah Keshet]

I know that a lot of you use Facebook, and what I've been reading lately isn't 
encouraging. Thought I'd pass these items along for what it's worth.

Amalyah Keshet





"Liberal advocacy group MoveOn.org formed a protest group Tuesday and had more 
than 6,000 members by Wednesday. The group is calling on Facebook to stop 
revealing online purchases and letting companies use names for endorsements 
without "explicit permission."
"We want Facebook to realize that their users are rightly concerned that 
private information is being made public," MoveOn spokesman Adam Green said, 
adding that Facebook could quell concerns by seeking "opt in" consent rather 
than leaving it to users to "opt out" by taking steps to decline sharing.

http://www.usatoday.com/tech/news/internetprivacy/2007-11-22-facebook-tracking_N.htm





Facebook Faces U.K. Probe After User Can't Delete Account

 The social networking site Facebook faces an investigation from UK privacy 
watchdog after a complaint from a Channel 4 News viewer. Having decided that he 
no longer wanted to use the site, Alan Burlison tried to remove his account -- 
but he found that he wasn't able to do it.

"Many people are posting content on social networking sites without 
thinking about the electronic footprint they leave behind. It is important that 
individuals consider this when putting information online. However, it is 
equally important that websites also take some responsibility."

 Read more: 
http://www.channel4.com/news/articles/science_technology/facebook%20data%20protection%20row/1060467




"Subject: Facebook violating privacy

When you buy a book or movie online--or make a political contribution--do you 
want that information automatically shared with the world on Facebook?

Most people would call that a huge invasion of privacy. But social networking 
site Facebook began doing just that. People across the country saw private 
purchases they made on other sites displayed publicly to everyone they know on 
Facebook. Why? To benefit corporate advertisers.

Other sites are looking at Facebook's example to see if they can get away with 
similar privacy breaches. We need to draw a line in the sand--making clear that 
the wish lists of corporate advertisers must not come before the basic privacy 
rights of Internet users."

Let's get Facebook to stop invading our privacy. Sign the petition at
http://civ.moveon.org/facebookprivacy/?r_by=-8703789-pihRPZ&rc=privacypaste

Then join the Facebook group "Facebook, stop invading my privacy!" and tell 
your friends. 
http://www.moveon.org/r?r=3181 

[MCN-L] MPAA University 'Toolkit' Raises Privacy Concerns

[Amalyah Keshet]

MPAA University 'Toolkit' Raises Privacy Concerns

 
http://blog.washingtonpost.com/securityfix/2007/11/mpaa_university_toolkit_opens_1.html

"What we found was that depending on how a university's network is set up, 
installing and using the MPAA tool in its default configuration could expose to 
the entire Internet all of the traffic flowing across the school's network. "

Comment by Fred von Lohmann, EFF:

"Remarkably shoddy work by the MPAA folks. Reminds me of the rootkit debacle, 
where smart people hire clueless contractors.

It also appears that distribution of the toolkit violates the GPL, and thus 
constitutes copyright infringement. I've notified the appropriate GPL police 
already."

[MCN-L] EFF Releases Reports and Software to Spot Interference with Internet Traffic

[Amalyah Keshet]

Subject:  EFF Releases Reports and Software to Spot Interference with 
Internet Traffic


> Press release below, but the short version is that EFF released 3  things 
> today:
>
> 1. a white paper detailing what we know about Comcast's interference 
> activities;
> 2. a white paper describing how (technically savvy) people can  replicate 
> our tests;
> 3. a piece of software that makes testing a bit easier.
>
> We're considering building additional "test your ISP" facilities that 
> will make the testing process easier, although it'll always require  users 
> who at least know how to configure their firewalls (i.e., I can  do it, 
> but my Dad can't). Let me know if people think that would be  worthwhile.
>
> Begin forwarded message:
>
>> Electronic Frontier Foundation Media Release
>>
>> For Immediate Release: Wednesday, November 28, 2007
>>
>> Contact:
>>
>> Fred von Lohmann
>>Senior Intellectual Property Attorney
>>Electronic Frontier Foundation
>>fred at eff.org
>>+1 415 436-9333 x123 (office), +1 415 215-6087 (cell)
>>
>> Peter Eckersley
>>Staff Technologist
>>Electronic Frontier Foundation
>>pde at eff.org
>>+1 415 436 9333 x131
>>
>> Seth Schoen
>>Staff Technologist
>>Electronic Frontier Foundation
>>seth at eff.org
>>+1 415 436-9333 x107
>>
>>
>> EFF Releases Reports and Software to Spot Interference with
>> Internet Traffic
>>
>> Technology Rights Group Addresses the Comcast Controversy
>>
>> San Francisco - In the wake of the detection and reporting
>> of Comcast Corporation's controversial interference with
>> Internet traffic, the Electronic Frontier Foundation (EFF)
>> has published a comprehensive account of Comcast's
>> packet-forging activities and has released software and
>> documentation instructing Internet users on how to test for
>> packet forgery or other forms of interference by their own
>> ISPs.
>>
>> Separate tests in October from EFF, the Associated Press,
>> and others showed that Comcast was forging small parcels of
>> digital data, known as packets, in order to interfere with
>> its subscribers' and other Internet users' ability to use
>> file-sharing applications, like BitTorrent and Gnutella.
>> Despite having been confronted by this evidence, Comcast
>> continues to issue incomplete and misleading statements
>> about their practices and their impact on its customers.
>>
>> "Comcast is discriminating among different kinds of
>> Internet traffic based on the protocols being used by its
>> customers," said EFF Senior Intellectual Property Attorney
>> Fred von Lohmann.  "When confronted, Comcast has been
>> evasive and misleading in its responses, so we decided to
>> start gathering the facts ourselves."
>>
>> Protocol-specific discrimination gives ISPs a tremendous
>> amount of power over the kinds of new applications and
>> services that can be deployed by innovators and
>> competitors.  To the extent that practices like those
>> employed by Comcast change the "end-to-end" architecture of
>> the Internet, those practices jeopardize the Internet's
>> vibrant innovation economy.
>>
>> "This recent interference by Comcast in their subscribers'
>> Internet communications is a cause for grave concern," said
>> EFF Staff Technologist Peter Eckersley.  "It threatens the
>> open Internet standards and architecture that have made the
>> network such an engine of technical and economic
>> innovation."
>>
>> In addition to an account of the results of EFF's
>> independent testing of Comcast's packet forging activities,
>> EFF has also issued a detailed document and software to
>> assist other networking experts in conducting their own
>> testing.
>>
>> "If ISPs won't give their customers accurate information
>> about their Internet traffic controls, we have to detect
>> and document them for ourselves," said EFF Staff
>> Technologist Seth Schoen.
>>
>> For "Packet Forgery by ISPs: A Report on the Comcast
>> Affair":
>> http://www.eff.org/wp/packet-forgery-isps-report-comcast-affair
>>
>> For "Detecting Packet Injection: A Guide to Packet Spoofing
>> by ISPs"
>> http://www.eff.org/wp/detecting-packet-injection
>>
>> For more on EFF's research into Comcast's packet
>> monitoring:
>> http://www.eff.org/testyourisp
>>
>> For this release:
>> http://www.eff.org/press/archives/2007/11/28
>>
>> About EFF
>>
>> The Electronic Frontier Foundation is the leading civil
>> liberties organization working to protect rights in the
>> digital world. Founded in 1990, EFF actively encourages and
>> challenges industry and government to support free
>> expression and privacy online. EFF is a member-supported
>> organization and maintains one of the most linked-to
>> websites in the world at http://www.eff.org/
>>

[MCN-L] Facebook (and Google and Amazon and...) and privacy

[Amalyah Keshet]

Following up on my earlier message regarding Facebook, here's a good 
analysis of the privacy issue.

Amalyah Keshet

--

>> nick carr has an important post on facebook and privacy.
>> a chunk, but not all that's worth reading, is below.
>>
>> http://www.roughtype.com/archives/2007/11/dont_tap_on_the.php
>>
>> "What we've learned from the commercialization of the Web is
>> that people are more than happy to exchange their privacy for
>> free stuff and greater convenience as long as you allow them
>> to maintain the fiction that their activities are not being
>> monitored and recorded. As Chris Messina recently said, "To
>> date, many people still maintain their illusion of privacy" -
>> and that illusion has been an important shield for advertisers
>> looking to collect ever more intimate information about us and
>> for the many Internet companies that act as their enablers.
>>
>> "In breaking that illusion, Facebook is taking a big risk. It
>> may set off a rebellion among its users, who up until now have
>> felt comfortable cavorting behind Facebook's walls. But Facebook
>> probably had little choice. Studies show that the members of
>> social networks are largely oblivious to banner ads and other
>> traditional advertising. If it's ever going to actual make some
>> real money, Facebook has to break through the indifference of
>> its users - and that means capitalizing on both the rich personal
>> data it collects and the "friendships" it cements. It needs to
>> send tailored commercial messages along the trusted
>> communications pathways that already exist within the site. The
>> only way it can do that is to start tapping on its members'
>> windows.
>> ...
>>
>> " ... I think what Zuckerberg learned was this: If you're going
>> to push the privacy limit, then push it as far as you can. If
>> users get upset, take a tiny step backwards and point to that
>> tiny step as evidence that you've "listened to the community."
>> If you go through this three-steps-forward-one-step-back routine
>> enough times, you'll be able to get everything you want while
>> your users will be able to maintain the illusion that they're in
>> control.
>>
>> "Privacy is lost not in one great flood but rather through
>> steady erosion. Eventually, the Peeping Tom taps on your window
>> and waves, and you don't recoil in horror and embarrassment.
>> You wave back."

[MCN-L] [IP SIG] Orphan Works database

[amalyah keshet]

>___
>From: Small, Jennifer [mailto:jennifersmall at dwt.com]
>Sent: Friday, April 06, 2007 9:40 AM
>To: Misunas, Marla
>Subject: Fyi...
>
>New Copyright Database for "Orphan Works"
>
>Stanford has unveiled a new searchable database that logs the status of
>so-called "orphan works" published in the United States between 1923 and
>1963.
>http://lawprofessors.typepad.com/media_law_prof_blog/2007/04/new_copyrig
>ht_d.html
>Database accessible at
>http://collections.stanford.edu/copyrightrenewals/bin/page?forward=home
>
>This is great.


Indeed great, for libraries and others needing information on books 
published in the US between 1923 and 1963 whose copyright was 
renewed. (It's not really an Orphan Works database, rather a 
copyright renewal database.)  Alas, for museums needing information 
on works of art, we are as usual left scratching our heads. Stanford 
is nevertheless to be praised for this great initiative.  Perhaps we 
could collectively encourage Stanford to enlarge the scope of the project.



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  www.imj.org.il
Chair, MCN IP special interest group www.mcn.edu
Blog  www.musematic.net

[MCN-L] Cataloging and Metadata for Moving Images- AMIA Workshop in NYC

[Amalyah Keshet]

Please excuse cross-posting, etc., etc.


> The Association of Moving Image Archivists presents:=20
>
> Cataloging & Metadata=20
> for Moving Images
>
> Regional Workshop
> May 18-19, 2007
> New York, NY=20
>
>  Libraries, archives, and museums take in a wide variety of moving images 
> =
> (film, video, digital files). What are the challenges to organizing and =
> providing access to these resources? Learn what traditional and emerging =
> standards have developed in both the bibliographic and archival domains =
> and how they can be applied to moving images. Gain a basic understanding =
> of the types of metadata necessary to a well-maintained collection.=20
>
>  This 2-day workshop is unique in its mindful synthesis of metadata and =
> cataloging concepts to provide a greater understanding of the foundations 
> =
> of metadata practice and the application of cataloging principles to all =
> types of moving image resources amidst rapidly changing production =
> environments and evolving technologies.=20
>
>  Topics include
>
>a.. the librarian in digital asset management=20
>b.. comparison of cataloging and metadata=20
>c.. introductory principles=20
>d.. the value of standards=20
>e.. management of resources through their life cycles=20
>f.. descriptive, administrative/preservation, and rights management =
> metadata=20
>g.. data models=20
>h.. content standards=20
>i.. vocabularies and classification=20
>j.. local and international standard identifiers, including ISAN=20
>k.. collection-level description=20
>l.. setting cataloging priorities=20
>m.. resource management and cataloging workflow=20
>n.. choosing a system=20
>  Audience
>
>  This workshop is designed for people working in libraries, museums, =
> archives, studios or anyone else who want to develop better skills in =
> organizing and providing access to moving image materials. All 
> participants=
> are asked to review the Moving Image Collections (MIC) Cataloging and =
> Metadata Portal prior to arrival: 
> http://mic.imtc.gatech.edu/catalogers_por=
> tal/cat_index.htm.=20
>
>  For more information on this program and registration, please visit =
> http://www.amianet.org/events/2007_workshop_cm101.htm
>
> *~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
> Jane D. Johnson
> MIC Project Manager
> Library of Congress=20
> jjohnson at loc.gov=20
> (202) 707-5903
> (732) 445-5904
> (732) 445-5888 (fax)
>
> Visiting Scholar
> Rutgers, the State University of New Jersey
>
> MIC: Moving Image Collections
> A Library of Congress-AMIA Collaboration
> http://mic.loc.gov
> 

[MCN-L] MILE - METADATA IMAGE LIBRARY EXPLOITAT ION

[Amalyah Keshet]

Please excuse cross-posting:

---

DATE: 2 March 2007

eContentplus

MILE

METADATA IMAGE LIBRARY EXPLOITAT ION

CEPIC welcomes the meeting of The MILE Project on 5th June 2007 to the Florence

Congress, with their seminar, Lost in Translation.

This seminar focuses on metadata search & retrieval and translation techniques, 
and

forms part of an EU funded project which aims to enhance the use, accessibility 
and trade

of digital content throughout Europe. This seminar is the first in a series on 
metadata

which will be held over the next three years on MILE?s three key areas of 
interest, which

are:

o Metadata classification

o Metadata search & retrieval and translation

o Metadata IPR and copyright

Developed and originated by The Bridgeman Art Library, The MILE Project 
assembles

the knowledge and expertise of partners from the picture library industry 
across Europe.

The Bridgeman Art Library is the world's leading source of fine art with images 
from over

eight thousand collections and twenty nine thousand artists, and supports 
MILE?s goals for

the growth and perpetuity of Europe?s cultural heritage.



To register for Lost in Translation or for more information on MILE?s work, 
please contact

jessica.tier at bridgeman.co.uk or lucy.geering at bridgeman.co.uk .



THE MILE PROJECT assembles the knowledge and expertise of partners from the 
picture library industry

across Europe to focus on metadata classification, metadata search & retrieval, 
and Intellectual Property

Rights. Developed and originated by The Bridgeman Art Library, MILE aims to 
enhance the use,

accessibility and trade of digital content in order to stimulate and exploit 
cultural heritage throughout the

European Union.



The Bridgeman Art Library is the world?s richest and most comprehensive source 
of cultural and historical art

images. The collection ranges from pre-historic images to works by leading 
contemporary artists covering all

media and Eastern and Western art across 8000 global locations. Our subjects 
are as diverse as science,

historical photography, politics, religion, medicine, sport and travel. The 
website is updated daily with new

images and we are becoming particularly strong in American History in addition 
to a growing collection of

works by Hispanic and African-American artists.



For more information on The MILE Project please contact

Jessica Tier, MILE Project Manager

Tel: 020 7908 1604

Email: jessica.tier at bridgeman.co.uk

Lucy Geering, MILE Project Assistant

Tel: 020 7908 1607

Email: lucy.geering at bridgeman.co.uk

www.mileproject.eu

For more information on The Bridgeman Art Library please contact

Tel: 020 7727 4965

Email: admin at bridgeman.co.uk

[MCN-L] Researchers explore scrapping and rebuilding the Net

[Amalyah Keshet]

Just what we wanted to hear, first thing in the morning:


"Researchers explore scrapping, rebuilding the Net"
http://www.usatoday.com/tech/news/techinnovations/2007-04-15-rebuilding-the-net_N.htm




Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] Fw: [PIJIP-(C)] London, 3 May 2007 - Bridgeman vs. Corel: Copyrighted creativity or commerce?

[Amalyah Keshet]

Announcement, below, of an interesting event coming up in London:  Bridgeman 
vs. Corel revisited and reconsidered.   Please excuse cross-posting.





Bridgeman versus Corel: Copyrighted creativity or commerce?

Thursday 3rd May 2007

Venue (subject to confirmation): Queen Mary?s College,, University of London



MORNING PROGRAMME

09.30am  Coffee and registration

10.00am  Opening speech: Linda Royles, BAPLA

10.20am  Lecture on fine art photography: Philip de Bay (ex-V&A photographer)

lectures and demonstrates on the skills required for fine art photography

11.00am  Review of Copyright and Photographs: Christine Michalos

12.00am  Review of Copyright Law: Professor Adrian Sterling

12:30 Lunch

AFTERNOON SESSION

14.00pm  Chair and opening speech: Dr Uma Suthersanen

14.20pm  Keynote speaker: Marybeth Peters on the US perspective to the Corel 
case

15.00pm  Questions and setting the problem



Panel

? Thomas Dreier: German and EU perspective

? Corbis lawyer (name tbc): French perspective

? Dominique Green Magnum (tbc)/Adrian Sterling/Jonathan Griffiths:



UK perspective

? Judge to sum up and pull debate together: Andrew Sutcliffe QC

? Final statement on how the decision has affected the museum community and its 
international ramifications: Harriet Bridgeman


Further details and reservations (50 Pounds Sterling):  s.a.baird at qmul.ac.uk 
 Tel. 020 7882 5733


------
Amalyah Keshet
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] IP SIG: Judge Rules Against Morpheus File-Sharing Software

[Amalyah Keshet]

Latest file-sharing ruling:



"A federal judge ruled Wednesday against the distributor of the Morpheus online 
file-sharing software, finding the firm encouraged computer users to share 
music, movies and other copyright works without permission.
The ruling was a sweeping victory for a coalition of Hollywood movie studios, 
record companies and music publishers who sued Los Angeles-based StreamCast 
Networks and similar firms in 2001. The case led to a landmark copyright ruling 
by the U.S. Supreme Court last year.

In the 60-page decision, U.S. District Judge Stephen V. Wilson granted the 
entertainment companies' motion for summary judgment, concluding there was more 
than enough evidence of "massive infringement" on StreamCast's network, despite 
the company's arguments that it did not encourage computer users to violate 
copyright laws.

...Barring successful appeal, Wilson's ruling caps a long-running court battle 
over internet file sharing that erupted after the entertainment industry 
succeeded in shuttering pioneer file-swapping network Napster."

http://www.wired.com/news/wireservice/0,71856-0.html

[MCN-L] IP SIG: Google Library, Google Video

[Amalyah Keshet]

And now the good news:

---

Press Release: 
UC Berkeley offers courses and symposia through Google Video
By Yasmin Anwar, Media Relations | 26 September 2006
http://www.berkeley.edu/news/media/releases/2006/09/26_google.shtml

"BERKELEY - In another innovative move to share its intellectual treasures
with the public, the University of California, Berkeley, announced today
(Tuesday, Sept. 26) that it is delivering educational content, including
course lectures and symposia, free of charge through Google Video."

 

Press Release: Announcement
September 26, 2006
University Complutense of Madrid and Google to Make Hundreds of Thousands of
Books Available Online
http://www.google.com/press/annc/books_madrid.html

"Browsing the library stacks of the University Complutense of Madrid is like
taking a trip through the great moments of Spanish and Latin American
literature with Miguel de Cervantes, Quevedo, Caldersn, Sor Juana de la Cruz,
Garcilaso de la Vega and many more."

[MCN-L] IP SIG: Google On Its Approach To Content & Copyright

[Amalyah Keshet]

For what it's worth, and in preparation for the session "Searching for Fair 
Use:  How Google's Copyright Battles Will Affect Access to Assets," MCN 
Pasadena, Saturday Nov. 11, 10:30 -- here's a short blog statement from Google 
on its approach to copyright.
 
==

Blog: Our approach to content
by David Eun, VP, Content Partnerships, 9/26/2006
http://googleblog.blogspot.com/2006/09/our-approach-to-content.html

Google Talks On Its Approach To Content & Copyright
Our approach to content at the Official Google Blog has Google explaining to
the world how it works with content owners and its desire to respect their
rights.

[MCN-L] IP SIG: British Academy Says Copyright Hindering Scholarship

[Amalyah Keshet]

Concise, precise and timely statement of The Problem: 

---

British Academy Says Copyright Hindering Scholarship
By Managing Information, 13 September 2006
http://www.managinginformation.com/news/content_show_full.php?id=5179

"A report from the British Academy, to be launched on 18 September,
expresses fears that the copyright system may in important respects be
impeding, rather than stimulating, the production of new ideas and new
scholarship in the humanities and social sciences."

[MCN-L] IP SIG: FairUseNetwork.org launched

[amalyah keshet]

The Free Expression Policy Project launches "The Fair Use Network":
<http://fairusenetwork.org/>

"How much can you borrow, quote or copy from 
someone else's work? What happens if you get a 
"cease and desist" letter from a copyright owner? 
These and many other questions make "intellectual 
property," or "IP," law, a mass of confusion for 
artists, scholars, journalists, bloggers, and 
everyone else who contributes to culture and political debate.

The Fair Use Network was created because of the 
many questions that artists, writers, and others 
have about "IP" issues. Whether you are trying to 
understand your own copyright or trademark 
rights, or are a "user" of materials created by 
others, the information here will help you 
understand the system ? and especially its free-expression safeguards."




Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Tel +972-2-670-8874
Fax +972-2-670-8064 

[MCN-L] IP SIG: "Strong Copyright + DRM + Weak Net Neutrality = Digital Dystopia?"

[Amalyah Keshet]

>From the CNI-COPYRIGHT list  


Sent: Tuesday, October 10, 2006 3:20 AM
Subject: [CNI-(C)] "Strong Copyright + DRM + Weak Net Neutrality = Digital 
Dystopia?" Postprint

> The "Strong Copyright + DRM + Weak Net Neutrality = Digital
> Dystopia?" postprint is now available.
>
> The abstract is below:
>
> Three critical issues?-dramatic expansion of the scope,
> duration, and punitive nature of copyright laws; the ability
> of Digital Rights Management (DRM) systems to lock-down
> digital content in an unprecedented fashion; and the erosion
> of Net neutrality, which ensures that all Internet traffic
> is treated equally?-are examined in detail and their
> potential impact on libraries is assessed. How legislatures,
> the courts, and the commercial marketplace treat these
> issues will strongly influence the future of digital
> information for good or ill.
>
> http://www.digital-scholarship.com/cwb/ital25n3.pdf
>
>
> Best Regards,
> Charles
>
> Charles W. Bailey, Jr., Assistant Dean for Digital Library
> Planning and Development, University of Houston Libraries
>
> E-Mail: cbailey at digital-scholarship.com
>
> Publications: http://www.digital-scholarship.com/
>
> (Provides access to DigitalKoans, Open Access Bibliography,
> Open Access Webliography, Scholarly Electronic Publishing
> Bibliography, Scholarly Electronic Publishing Weblog,
> and other publications.)

[MCN-L] IP SIG: Re: British Library calls for a serious updating of current copyright law

[Amalyah Keshet]

Following up on my previous message, here's a link to the British Library's 
Manifesto, "Intellectual Property: A Balance."

http://www.bl.uk/news/pdf/ipmanifesto.pdf

Amalyah



- Original Message ----- 
From: "Amalyah Keshet" 
To: 
Sent: Wednesday, September 27, 2006 2:02 PM
Subject: [MCN-L] IP SIG: British Library calls for a serious updating of 
current copyright law


> Try putting this one on a bumper sticker:  "Unless there is a serious 
> updating of copyright law ...the law becomes an ass."
>
> Strong words, and timely.
>
> Amalyah Keshet
> Head of Image Resources & Copyright Management
> The Israel Museum, Jerusalem
> Chair, MCN IP SIG
>
> --
>
> The British Library has called for a "serious updating" of current 
> copyright law to "unambiguously" include digital content and take 
> technological advances into account.
>
> In a manifesto released on Monday at the Labor Party Conference in 
> Manchester, the United Kingdom's national library warned that the 
> country's traditional copyright law needs to be extended to fully 
> recognize digital content.
>
> "Unless there is a serious updating of copyright law to recognize the 
> changing technological environment, the law becomes an ass," Lynne 
> Brindley, chief executive of the British Library, told ZDNet UK.
>
> Digital rights management (DRM) technologies and licensing agreements 
> currently can impose restrictions on copying content that go beyond the 
> requirements of copyright law. This needs legal clarification, according 
> to the British Library.
>
> http://news.com.com/2100-1025_3-6119043.html
> ___

[MCN-L] IP SIG: Sec 108 Roundtable - Chicago - save the date

[Amalyah Keshet]

For colleagues in the Chicago area:



- Original Message - 
> Apologies for duplication. The group studying Section 108 of U.S. 
> Copyright Law (the exemptions for libraries and archives) will hold a 
> roundtable in Chicago in January.
> 
>>Subject: [CAC:887] Sec 108 Roundtable - save the date
>>Date: Wed, 11 Oct 2006 11:20:51 -0400
>>From: "Miriam M. Nisbet" 
>>
>>The Section 108 Study Group will host a public roundtable on 
>>Wednesday, January 31, 2007, in Chicago, Illinois (exact time and 
>>location to be announced).
>>
>>Please redistribute the attached announcement widely.  Thanks!  Mac
>>
>>
>>+
>>Miriam M. Nisbet
>>Legislative Counsel
>>American Library Association
>>1615 New Hampshire Ave. NW
>>Washington, DC 20009-2520
>>mnisbet at alawash.org
>>Phone: 202-628-8410, x. 8202 or
>>1-800-941-8478, x. 8202
>>Fax:  202-628-8419
> 
> 
> M. Claire Stewart
> Acting Head, Marjorie I. Mitchell Multimedia Center
> Coordinator of Digitization Projects, Northwestern University Library
> (847) 467-1437
> claire-stewart at northwestern.edu
> http://www.library.northwestern.edu/cstewart/
> http://copyrightreadings.blogspot.com

[MCN-L] JPEG to be replaced by Windows Media Photo?

[Amalyah Keshet]

Unlikely.  Has anyone looked into this?

---


"If it is up to Microsoft, the omnipresent JPEG image format will be 
replaced by Windows Media Photo.
The software maker detailed the new image format Wednesday at the Windows 
Hardware Engineering Conference here. Windows Media Photo will be supported 
in Windows Vista and also be made available for Windows XP, Bill Crow, 
program manager for Windows Media Photo, said in a presentation.
"One of the biggest reasons people upgrade their PCs is digital photos," 
Crow said, noting that Microsoft has been in contact with printer makers, 
digital camera companies and other unnamed industry partners while working 
on Windows Media Photo. Microsoft touts managing "digital memories" as one 
of the key attributes of XP successor Vista.
In his presentation, Crow showed an image with 24:1 compression that visibly 
contained more detail in the Windows Media Photo format than the JPEG and 
JPEG 2000 formats compressed at the same level."

http://news.com.com/2100-1025_3-6076650.html



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
fax  02-670-8064
tel   02-670-8874
akeshet at imj.org.il 

[MCN-L] IP SIG: www.copycense.com

[Amalyah Keshet]

Another interesting copyright blog:

**

> CopyCense [www.copycense.com]


Check out topic areas of interest to MCN members:

http://www.copycense.com/images_art_photos/index.html

www.copycense.com/2006/03/demystifying_fa.html  (Fair USe)

http://www.copycense.com/digitization/index.html

http://www.copycense.com/computers_technology/index.html

http://www.copycense.com/drm_copy_protection/index.html

http://www.copycense.com/multimedia/index.html




Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Chair, MCN IP SIG

[MCN-L] IP SIG: Benchmarks in Collection Care Now Available on CollectionsLink Website

[Amalyah Keshet]

Note the section "Get to Grips with Copyright."  Thank you, Gordon!

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Chair, MCN IP SIG


- Original Message - 
From: "Gordon McKenna" 
To: "Museum Computer Network Listserv" 
Sent: Wednesday, October 18, 2006 12:26 PM
Subject: [MCN-L] Benchmarks in Collection Care Now Available on 
CollectionsLink Website


> Apologies for cross-postings:
>
> MDA is delighted to announce that Benchmarks in Collection Care for
> Museums, Libraries and Archives is now available from the Collections
> Link website as an interactive database.
>
> Benchmarks in Collection Care is a self-assessment checklist to help
> collections holders evaluate how well they are caring for their
> collections, to give an indication of where and what improvements
> might be needed, and to provide a practical framework for measuring
> improvement.
>
> Peter Winsor, Collections Link Project Director, commented, 'The
> publication of Benchmarks in Collection Care is one of the most
> significant additions to Collections Link since the service was
> launched earlier this year. The site is the only place where
> practitioners can find the original document, along with a simple
> Word version of the checklist and the interactive Access database
> version - making this a much more flexible, user-friendly resource.'
>
> The scheme uses three practice levels, Basic, Good and Best, to
> evaluate the quality of practice in nine broad categories, including
> storage, conservation, environmental monitoring and control, and
> emergency preparedness.
>
> Benchmarks is simple to use by institutions of any size. Possible
> reasons for completing an assessment include:
>
> * To develop a forward plan
> * As preparatory work for an application for a development grant
> * To make a case for additional resources from a governing body
> * As part of an application to MLA for Designated Collection status
>
>
> Benchmarks in Collection Care is one of a range of resources added to
> the Collections Link service in recent months, alongside the new
> Accreditation Resource Directory and the Standards in Museum Care of
> Collections series.
>
> To download Benchmarks in Collection Care, please visit:
>
> http://www.collectionslink.org.uk/collections_care
>
>
> ***
> Gordon McKenna  e-mail: gordon at mda.org.uk
> MDA
> The Spectrum Building,
> The Michael Young Centre,
> Purbeck Road
> Cambridge CB2 2PD, UK
>
> Tel:+44 1223 415760
> Fax:+44 1223 415960
>
> Setting the standard for managing collections information
> *** http://www.mda.org.uk/ 
>
> ___

[MCN-L] Three weeks until MCN Silent Auction 2006!

[amalyah keshet]

Great idea.   Let's see, the IP SIG could organize a basket of 
unlicensed, infringing, action hero video clip file-shared downloads...

Amalyah  (first to bid on that Guiness!)


At 16:33 18/10/2006, you wrote:
>Rob and fellow MCN'ers,
>
>Our VRA colleagues have a unique way of getting some really good
>items into their auction:  their regional groups put together
>"packets" or "baskets" of things from their region -- local foods,
>museum gear, goofy items, etc.  Some of these baskets have been
>really wonderful, creative combinations and the competition for them
>has been fierce.
>
>SInce ideas can be appropriated without violating any IP laws, and
>with full credit given to our creative VRA colleagues, I offer the
>following gentle suggestion:  maybe MCN's various SIGs and regional
>groups could put together group contributions?   How about some wine
>from the California SIG?  Salmon from the Pacific Northwest SIG?
>Shamrocks (or maybe Guinness) from UK/Ireland SIG?  Panic buttons
>from the IT SIG?
>
>Diane
>
>
> >Hello again, everyone:
> >
> >MCN's Pasadena conference is drawing closer, and so is our Silent
> >Auction. The 2006 auction will be held at the reception on Friday,
> >November 10th--three weeks from this Friday!
> >
> >For many years, your generous contributions to this annual event have
> >helped our nonprofit organization offer the programs and resources we
> >all find so useful. As announced in the preceding auction reminder,
> >we're delighted to note that all proceeds from this event will fund
> >conference scholarships, which the MCN Board instituted for the
> >Pasadena conference using 2005 auction income. All earnings from the
> >2006 auction will fund scholarships for MCN 2007.
> >
> >It's never too soon dream up novel (or truly excessive...) donations
> >and stash them away to carry to Pasadena, where donations will be
> >gratefully accepted in person. Items of any sort--new or old,
> >seriously useful or happily useless--that may be attractive to
> >bidders and carried by airline passengers are encouraged. Exhibition
> >catalogs are always popular. Equally great are museum bags, clothing,
> >and other souvenirs. Donations need not be tangible things--some
> >popular lots have offered free services or special half-price
> >registration for professional events. I'd say "think outside the
> >box," but in fact there is no box!
> >
> >Donations may be dropped off at the conference desk when you
> >register. Auction volunteers also are needed. If you'd like to help,
> >please email me off-list at .
> >
> >http://www.mcn.edu/conferences/index.asp?subkey=1233 has more details
> >regarding the Friday reception and a wide range of other MCN 2006
> >conference events.
> >
> >See you in Pasadena!
> >
> >Rob (chair, MCN Silent Auction 2006)
> >
> >--
> >_
> >Rob Lancefield   rlancefield at wesleyan.edu
> >Manager of Museum Information Services / Registrar of Collections
> >Davison Art Center, Wesleyan University  www.wesleyan.edu/dac
> >301 High Street, Middletown CT 06459 USAtel. 860.685.2965
> >Board of Directors, Museum Computer Network   www.mcn.edu
> >___
> >You are currently subscribed to mcn-l, the listserv of the Museum
> >Computer Network (http://www.mcn.edu)
> >
> >To post to this list, send messages to: mcn-l at mcn.edu
> >
> >To unsubscribe or change mcn-l delivery options visit:
> >http://toronto.mediatrope.com/mailman/listinfo/mcn-l
>
>
>--
>Diane M. Zorich
>113 Gallup Road
>Princeton, NJ 08542 USA
>Voice: 609-252-1606
>Fax: 609-252-1607
>Email:  dzorich at mindspring.com
>___
>You are currently subscribed to mcn-l, the listserv of the Museum 
>Computer Network (http://www.mcn.edu)
>
>To post to this list, send messages to: mcn-l at mcn.edu
>
>To unsubscribe or change mcn-l delivery options visit:
>http://toronto.mediatrope.com/mailman/listinfo/mcn-l

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Tel +972-2-670-8874
Fax +972-2-670-8064 

[MCN-L] Three weeks until MCN Silent Auction 2006!

[Amalyah Keshet]

Okay, which SIG will rise to the gin challenge?


- Original Message - 
From: "Jeff Evans" 
To: "Museum Computer Network Listserv" 
Sent: Wednesday, October 18, 2006 10:06 PM
Subject: Re: [MCN-L] Three weeks until MCN Silent Auction 2006!


> Bars are OK in Pasadena. Check out Crown City Brewery on Raymond and
> Fair oaks (south of the park, south of Colorado)
> Gin drinkers look elsewhere, it's beer only there!
>
> JEFF
>
> Jeffrey Evans
> Digital Imaging Specialist
> Princeton University Art Museum
> 609.258.8579
>
>
>
> On Oct 18, 2006, at 3:41 PM, Perian Sully wrote:
>
>> You might need that Guinness once the MPAA finds out ;)
>>
>> So how are the bars in Pasadena, anyway?
>>
>> amalyah keshet wrote:
>>> Great idea.   Let's see, the IP SIG could organize a basket of
>>> unlicensed, infringing, action hero video clip file-shared
>>> downloads...
>>>
>>> Amalyah  (first to bid on that Guiness!)
>>>
>>>
>>> At 16:33 18/10/2006, you wrote:
>>>
>>>> Rob and fellow MCN'ers,
>>>>
>>>> Our VRA colleagues have a unique way of getting some really good
>>>> items into their auction:  their regional groups put together
>>>> "packets" or "baskets" of things from their region -- local foods,
>>>> museum gear, goofy items, etc.  Some of these baskets have been
>>>> really wonderful, creative combinations and the competition for them
>>>> has been fierce.
>>>>
>>>> SInce ideas can be appropriated without violating any IP laws, and
>>>> with full credit given to our creative VRA colleagues, I offer the
>>>> following gentle suggestion:  maybe MCN's various SIGs and regional
>>>> groups could put together group contributions?   How about some wine
>>>>
>>>> from the California SIG?  Salmon from the Pacific Northwest SIG?
>>>
>>>> Shamrocks (or maybe Guinness) from UK/Ireland SIG?  Panic buttons
>>>>
>>>> from the IT SIG?
>>>
>>>> Diane
>>>>
>>>>
>>>>
>>>>> Hello again, everyone:
>>>>>
>>>>> MCN's Pasadena conference is drawing closer, and so is our Silent
>>>>> Auction. The 2006 auction will be held at the reception on Friday,
>>>>> November 10th--three weeks from this Friday!
>>>>>
>>>>> For many years, your generous contributions to this annual event
>>>>> have
>>>>> helped our nonprofit organization offer the programs and
>>>>> resources we
>>>>> all find so useful. As announced in the preceding auction reminder,
>>>>> we're delighted to note that all proceeds from this event will fund
>>>>> conference scholarships, which the MCN Board instituted for the
>>>>> Pasadena conference using 2005 auction income. All earnings from
>>>>> the
>>>>> 2006 auction will fund scholarships for MCN 2007.
>>>>>
>>>>> It's never too soon dream up novel (or truly excessive...)
>>>>> donations
>>>>> and stash them away to carry to Pasadena, where donations will be
>>>>> gratefully accepted in person. Items of any sort--new or old,
>>>>> seriously useful or happily useless--that may be attractive to
>>>>> bidders and carried by airline passengers are encouraged.
>>>>> Exhibition
>>>>> catalogs are always popular. Equally great are museum bags,
>>>>> clothing,
>>>>> and other souvenirs. Donations need not be tangible things--some
>>>>> popular lots have offered free services or special half-price
>>>>> registration for professional events. I'd say "think outside the
>>>>> box," but in fact there is no box!
>>>>>
>>>>> Donations may be dropped off at the conference desk when you
>>>>> register. Auction volunteers also are needed. If you'd like to
>>>>> help,
>>>>> please email me off-list at .
>>>>>
>>>>> http://www.mcn.edu/conferences/index.asp?subkey=1233 has more
>>>>> details
>>>>> regarding the Friday reception and a wide range of other MCN 2006
>>>>> conference events.
>>>>>
>>>>> See you in Pasadena!
>>>>>
>>>>> Rob (chair, MCN Silent Auction 200

[MCN-L] IP SIG: A Report on the Commons

[amalyah keshet]

More from Lawrence Lessig on Creative Commons. Despite the mention of 
fund-raising in this letter, which may not be appropriate here, it's 
usually worth reading anything Lessig has to say, and the update on 
Creative Commons is definitely timely.

Amalyah Keshet
Chair, MCN IP SIG


>Date: Wed, 18 Oct 2006 16:19:25 -0700
>From: Lawrence Lessig 
>Subject: [cc-lessigletter] A Report on the Commons
>
>So, with this email, Creative Commons launches its second (now
>officially) annual fundraising campaign. Last year, through the
>course of that first campaign, I wrote a series of letters explaining
>a bit about where Creative Commons came from, and where it was going.
>Those letters (creatively labeled "Lessig Letters") are still
>available here. [ http://creativecommons.org/support/letters ]. This
>year, I'm going to talk a bit less, and in my place, we're going to
>tell the stories of some of the extraordinary Creative Commons
>projects that have been flourishing around the world.
>
>But first, a bit of recap: Creative Commons is a nonprofit
>corporation, dedicated to making it simpler for people to share and
>build upon the work of others, consistent with the rules of
>copyright. We provide free licenses that mark creative work with the
>freedom the creator wants it to carry, so others can share the work,
>or remix the work, or both share and remix the work, as the author
>chooses.
>
>We were motivated to begin this project about four years ago because
>we realized a point that's obvious once you see it: that however
>important the "all rights reserved" model of copyright is to some
>creators, it is not the model that works for many, maybe most.
>Scholars, scientists and educators, for example, are also creators,
>but they don't depend upon the perfect control of their work -
>deciding who can access it, or who can copy it, or who can build upon
>it - for them to have the incentive to create great works. Perhaps
>even more importantly, for the many who create for what our board
>member, Joi Ito, calls the "sharing economy," "all rights reserved"
>makes little sense. The millions of photos on Flickr [ http://
>flickr.com/creativecommons ], for example, licensed under Creative
>Commons licenses are made available by people who want to make their
>creativity available to others without demanding payment upfront, or
>control over how their work gets used. These people are creators -
>some professional, but many amateur, where amateur doesn't mean
>"amateurish," but rather people who do what they do for the love of
>their work, and not for the money. Creative Commons provides free
>tools to help these creators create in the way that they think best.
>
>Creative Commons launched the licensing project in December 2002.
>Within a year, there were more than 1,000,000 link-backs to our
>licenses (meaning at least a million places on the web where people
>were linking to our licenses, and presumptively licensing content
>under those licenses). Within two years, that number was 12,000,000.
>At the end of our last fundraising campaign, it had grown to about
>45,000,000 link-backs to our licenses. That was December, 2005. In
>the first six months of 2006, that number grew by almost 100,000,000
>licenses. In June, we reported about 140,000,000 link-backs to our
>licenses. We have hit a stride, and more and more of the net marks
>itself with the freedoms that Creative Commons helps secure.
>
>This success has been primarily built by thousands of volunteers
>across the world  who have worked to launch Creative Commons projects
>locally, and worked to spread our movement to artists and educators
>internationally. But it is supported by the contributions of many
>more. Each year we ask more to join this movement in both ways. These
>letters are invitations to join in the support for Creative Commons.
>
>The plea for support in these letters will be subtle. (We've
>perfected subliminal email.)
>But if you'd like to opt out of these letters, just click here
>http://creativecommons.org/about/newsletter#unsubscribe
>Alternatively, if you know others who might enjoy this weekly
>missive, click here
>http://creativecommons.org/about/newsletter
>and we'll invite them to join as well.
>And if you'd like to just get it over, and donate, click here.
>http://creativecommons.org/support/donate
>
>Next week, I'll talk a bit more about the values behind our movement.
>And the week following that, the first story from the front lines of CC.
>
>--
>
>To link to or comment on this message, go to:
>http://creativecommons.org/weblog/entry/6106
>
>Archive of Lessig Let

[MCN-L] IP SIG: YouTube down the tube?

[Amalyah Keshet]

"YouTube Removes 29,000 Files After Japanese Firm Complains
Google Inc.'s YouTube.com removed 29,549 video files from its popular Web site 
after receiving a demand from a group of Japanese media companies over 
copyright infringement, an industry group said. The television, music and movie 
clips had been posted without the permission of copyright holders, the 
Tokyo-based Japan Society for Rights of Authors, Composers and Publishers said 
in a statement.  Read more: 
http://www.gigalaw.com/news/2006/10/youtube-removes-29000-files-after.html 
(Source: Reuters)"


Stay tuned -- and join us for the session "Searching for Fair Use: How Google's 
Copyright Battles will Affect Access to Assets" at MCN 2006, Pasadena.  
Sponsored by the IP SIG.



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Chair, MCN IP SIG

[MCN-L] IP SIG: Creative Commons Values

[amalyah keshet]

Another one from Lawrence Lessig:


>In the four years since we launched CC, the Internet, and the world's
>understanding of the Internet, have changed dramatically. In 2002,
>the media was obsessed by something called "piracy." Today, they call
>it "user-generated content." Just around the time we launched,
>Wikipedia crossed 100,000 articles; today it is the most important
>testament to the Internet's potential to enable something different
>and extraordinary.
>
>When we started, none of us had any real idea about what the Internet
>would become. But we all had dreams. Mine was that the Internet would
>offer something different from the world of analog culture. While
>many were obsessed with how new technologies would radically change
>old businesses, I was eager to see the new ways of creating and
>interacting that would develop. iTunes does better what Tower Records
>did pretty well. But what would the Internet create in 2010 that
>didn't exist (in any significant sense) in 1990?
>
>One dream was what Andy Raskin called in his 2004 "Business 2.0"
>article about Creative Commons [http://money.cnn.com/magazines/
>business2/business2_archive/2004/05/01/368240/index.htm], the
>"sharing economy." The "sharing economy" is different from a
>traditional commercial economy. It is not simply people working for
>free. Instead, this is the economy that supports Wikipedia (and free
>and open source software before that). It is the economy that drives
>much of the creativity in YouTube and blip.tv. It is the world of
>"amateur" creators, meaning again, not those whose work is
>amateurish, but those who do what they do for the love of what they
>do, and not for the money.
>
>This sharing economy is not meant to displace the commercial economy.
>Its purpose is not to force Madonna to sing for free. Its aim instead
>is to enable the millions of other people around the world who are
>also creative, but who want to create in a different kind of
>community. The editors who make Wikipedia sing are not people who
>couldn't get a job at Encyclopedia Britannica. They instead create
>for a different reason, within a very different community of creators.
>
>At its core, Creative Commons is designed to support this sharing
>economy. Our free tools give creators a simple way to signal the
>rules under which they want to create. And, perhaps more importantly,
>by signaling clearly and reliably these freedoms, they encourage
>others who otherwise might hesitate to share and build upon that
>work. Thus, for example, the Public Library of Science [http://
>plos.org] publishes all of its articles under a CC license that gives
>users the freedom to share those articles broadly. Libraries and
>institutions around the world can now archive these works and make
>them available locally. Without the confidence of the CC licenses, no
>doubt lawyers within these different institutions would have
>panicked. The CC licenses let that panic be avoided, and invite many
>(who otherwise would not) to help share and build upon work.
>
>The next challenge is to figure out how this sharing economy
>interacts with a traditional commercial economy. What happens when
>Time wants to use a fantastic CC-licensed Flickr photo? Or how does a
>hit on ccMixter move into the commercial space?
>
>CC will never become a part of that commercial economy. But it is
>important, I believe, that we play a role in enabling this crossover.
>The alternative is a world we're seeing too much of all ready: large
>entities that create sandboxes for "sharing," but then effectively
>claim ownership over everything built within that sandbox. This is,
>in my view, not a sharing economy. It is instead simple sharecropping.
>
>The key is to build alternatives that creators on the Internet can
>use to both create as they wish and keep control of their creativity.
>That's the challenge I see over the next four years. And as we review
>over the next few weeks some of the best of CC from around the world,
>you'll begin to see how this challenge might be met.
>
>--
>
>This email is part of a weekly series written by Lawrence Lessig If
>you would like to be removed from this list, please click here:
>http://creativecommons.org/about/lessigletter#unsubscribe
>
>Alternatively, if you know others who might find these interesting,
>please recommend they sign up at
>http://creativecommons.org/about/lessigletter
>
>Week 1 - A Report on the Commons
>http://creativecommons.org/weblog/entry/6106
>
>Week 1 - A Report on the Commons - Spanish version
>http://mirrors.creativecommons.org/translations/lessig-letter-06-1-
>es.pdf
>(Thanks to Maria Cristinia Alvite for translation)
>
>Support the Commons
>http://creativecommons.org/support
>
>To link to or comment on this message, go to:
>http://creativecommons.org/weblog/entry/6118
>
>Archive of Lessig Letters
>http://creativecommons.org/support/letters
>
>Learn More
>http://creativecommons.org/learnmore
>
>For comics and 

[MCN-L] IP SIG: Editing out offensive language from movies violates copyright

[Amalyah Keshet]

from GigaLaw.com Daily News, by Doug Isenberg
July 11, 2006


"Editing Movies Violates Copyright, Judge Rules
After a bitter three-year legal battle involving Utah companies that sanitize 
movies on DVD and VHS tape, a federal judge in Denver ruled that such editing 
violates U.S. copyright laws and must be stopped. In a ruling in the case 
involving CleanFlicks vs. 16 of Hollywood's hottest directors, U.S. District 
Judge Richard P. Matsch found that making copies of movies to delete 
objectionable language, sex and violence hurts studios and directors who own 
the movie rights."

[MCN-L] Are there any real-life museums on Second Life?

[amalyah keshet]

Okay. I'm not the only one on this list who has no idea what Second 
Life is. (I checked.)
May I enter a plea for 1) a VERY brief explanation, and 2) a session 
at the MCN conference, since it sounds like it must be really cool, 
whatever it is, and worth spending time learning about.

Amalyah Keshet


At 20:24 11/07/2006, you wrote:
>It's great to see this whole thread.  While I spend most of my time
>developing exhibits for the International Spy Museum, I'm also involved
>with the Electric Sheep Company (www.electricsheepcompany.com).  They
>are a fine group of Second Life developers who create all kinds of
>Second Life builds, experiences, and events for both non-profits and
>for-profit groups.  They built the New Media Consortium campus (which
>now has both a public and private presence), which includes a library
>and museum, and have created several private and public builds with an
>entertainment and education focus.
>
>As a museum person, I'm excited to see where museums can go in Second
>Life.  I was surprised that the "museum" in the NMC virtual campus looks
>and feels like a "standard" art gallery architecturally.  The true
>virtual museum will not look like a museum or a website--it will be
>something else entirely.  There are all kinds of opportunities in
>virtual space for us to break out of the physical logistics of
>real-world museums and create content that allows users to naturally
>interact with each other and with the content in a meaningful way.
>
>The Holocaust Museum stands out to me as a museum that physically
>commands and controls the visitor experience through exemplary design.
>On the web, it's very challenging to design a 2D site that can evoke the
>same feelings and reactions as a physical space.  Second Life gives us
>the opportunity to create powerful 3D spaces that are impossible to
>design in the real world.  What does the museum space you've always
>dreamed of look like?  In Second Life, it can be created...
>
>As a content developer, I also love the idea of using Second Life as a
>collaborative tool among museums and partners to share ideas, mock-up
>real exhibits, and test drive programs.  I'd love to be able to go to
>"science museum world" and see what new kinds of demos educators are
>doing across the country, whether through streaming video or avatar
>scripting.
>
>To me, the essential question is this:  What CAN'T we do in our physical
>museums--due to space, sensitivity of topics, lack of time, etc.?  How
>can we use Second Life to create new museum experiences?  And
>ultimately, how will those virtual experiences inform the real ones we
>offer our guests?
>
>If there is interest in these topics (and it sounds like there is!),
>perhaps we could use the Museums in Second Life group to have a meeting
>sometime in Second Life and discuss our thoughts.
>
>Nina Simon
>nsimon at spymuseum.org
>
>-Original Message-
>From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of
>Beth Kanter
>Sent: Thursday, July 06, 2006 5:48 PM
>To: rjurban at uiuc.edu; 'Museum Computer Network Listserv'
>Subject: Re: [MCN-L] Are there any real-life museums on Second Life?
>
>Thanks Richard!
>
>Also, TechSoup is doing an "mixed reality" event - that means the event
>will
>take place in the real world at their office as well as inside of Second
>Life.  The two locations will be joined via audio/video/chat.  We have
>some
>speakers from NPOS lined up to do some presenting and we'll do a little
>tour
>if the nonprofit directory.
>
>Here's the info: http://upcoming.org/event/88581/
>
>If you want to do the in-world event, RSVP early because they're capping
>attendance so the place doesn't crash or get too slow.   Also, if you're
>new
>at this, I'll probably do a newbie orientation sometime next week or on
>Monday, July 17th.   I'll let you all know.
>
>Speaking of Museums and Games - there was an interesting panel at the
>Games
>for Social Change Conference on that topic as well:
>http://www.gamesforchange.org/conference/2006/program.asp
>
>Beth
>
>-Original Message-
>From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of
>Richard Urban
>Sent: Thursday, July 06, 2006 4:44 PM
>To: 'Museum Computer Network Listserv'
>Subject: Re: [MCN-L] Are there any real-life museums on Second Life?
>
>Hi all,
>
>In the spirit of putting heads together I created the "Museums in Second
>Life" group this spring. I haven't had a chance to do much with it yet,
>but
>you can find it by searching the SL groups category.  I'm eyeing wh

[MCN-L] Are there any real-life museums on Second Life?

[Amalyah Keshet]

Richard, et al.:

Now I get it.

Frankly, my first reaction to all this was "Do these people ever work?"  I
mean, I can barely manage my own life, much less that of an avatar.  Then it 
dawned on me:  this IS
 work, for lucky people whose job this actually is.  For the rest of us poor 
workacholics,
this is the stuff we never have time to explore.

Anyway, it sounds intriguing, and I will assign scientific field research to 
my personal avatar:  my 15-year-old.
Richard, I look forward to your session!

Amalyah


- Original Message - 
From: "Richard Urban" 
To: "Museum Computer Network Listserv" 
Sent: Thursday, July 13, 2006 1:56 AM
Subject: Re: [MCN-L] Are there any real-life museums on Second Life?


> Hi Amalyah,
>
> I hope that session I'm moderating in Pasadena,  "Modding the Museum:
> Access to Museum Collections Through Games," will touch on Second
> Life.  As moderator I can't talk much about my experiments, but I
> know some of the panelists have been exploring SL as they have been
> developing other game-based museum interactives.
>
> For me, Second Life is for 3D virtual environments what HTML and
> Mosaic were for the Internet in the 1990s.  Before Second Life,
> developing these environments required expensive software and a
> sophisticated development team.   With Second Life someone with
> common web development skills can learn to build, and  anyone with a
> broadband connection can enjoy.
>
> At the moment Second Life is the most developed of these services,
> but others are already cropping up (such as There.com) and SL has
> already spun off Teen Second Life (for the <18 set).   The medium is
> far from mature (think of the web in 1993), but is developing
> quickly.  At this point there is sufficient inertia behind it that it
> is something worth keeping an eye on and becoming familiar with.
>
> I do think there are some advantages for museum collections, which
> are often 3 dimensional.  In SL you can create replicas using the
> primitive 3d building blocks provided or upload 2D photos of
> collections (which assume a 3d quality because of the environment).
> Like our physical spaces we can create environments that put
> artifacts into context. However there also seem to be lots of
> pitfalls, such as not learning the lessons we've learned from the
> last decade of web development and there are significant usability
> and accessibility challenges with the current iteration of SL.  I'm
> particularly interested to see how our experience with physical
> spaces, exhibitions, traffic flow, and visitor experience translates
> into these environments.
>
> More to come.
>
> Richard Urban
> Graduate School of Library and Information Science
> University of Illinois at Urbana-Champaign
> rjurban at uiuc.edu
> http://www.inherentvice.net
>
>
>
> On Jul 12, 2006, at 3:13 PM, amalyah keshet wrote:
>
>> Okay. I'm not the only one on this list who has no idea what Second
>> Life is. (I checked.)
>> May I enter a plea for 1) a VERY brief explanation, and 2) a session
>> at the MCN conference, since it sounds like it must be really cool,
>> whatever it is, and worth spending time learning about.
>>
>> Amalyah Keshet
>>
>>
>> At 20:24 11/07/2006, you wrote:
>>> It's great to see this whole thread.  While I spend most of my time
>>> developing exhibits for the International Spy Museum, I'm also
>>> involved
>>> with the Electric Sheep Company (www.electricsheepcompany.com).  They
>>> are a fine group of Second Life developers who create all kinds of
>>> Second Life builds, experiences, and events for both non-profits and
>>> for-profit groups.  They built the New Media Consortium campus (which
>>> now has both a public and private presence), which includes a library
>>> and museum, and have created several private and public builds
>>> with an
>>> entertainment and education focus.
>>>
>>> As a museum person, I'm excited to see where museums can go in Second
>>> Life.  I was surprised that the "museum" in the NMC virtual campus
>>> looks
>>> and feels like a "standard" art gallery architecturally.  The true
>>> virtual museum will not look like a museum or a website--it will be
>>> something else entirely.  There are all kinds of opportunities in
>>> virtual space for us to break out of the physical logistics of
>>> real-world museums and create content that allows users to naturally
>>> interact with each other and with the content in a meaningful way.
>>>
>>> The Holocaust Museum stands out 

[MCN-L] IP SIG: Art Bulletin use of "In the Public Domain" in its captions

[Amalyah Keshet]

But is it "crediting"?  Or is it a political statement?  How does one credit 
a legal status?  After all, under copyright law, there is no need to declare 
something public domain.  Nothing in a lack of declaration or "credit" 
reduces or harms a work's public domain status.  It would be interesting to 
see the Art Bulletin's "captioning policy now stated near the beginning of 
each Art Bulletin
issue."

At first glance, it seems a bit over the top.  On the other hand, maybe we 
need a bit of over-the-top these days to counterbalance over-the-top 
copyright claims, the chilling effect, and shrinking fair use protections.

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem


- Original Message - 
From: "Diane M. Zorich" 
To: 
Sent: Wednesday, July 12, 2006 4:47 PM
Subject: [MCN-L] IP SIG: Fwd: Re: Art Bulletin use of "In the Public Domain" 
in its captions


Crediting the public domain (see below) -- what a
great and bold idea.  Kudos to the College Art
Association.  Now will museums follow suit?

Diane



>Date: Wed, 12 Jul 2006 07:34:13 -0700
>Reply-To: Visual Resources Association 
>Sender:   Visual Resources Association 
>From: Benjamin Kessler 
>Subject: Re: Art Bulletin use of "In the Public Domain" in its captions
>To:   VRA-L at LISTSERV.UARK.EDU
>List-Help: <http://listserv.uark.edu/scripts/wa.exe?LIST=VRA-L>,
><mailto:LISTSERV at LISTSERV.UARK.EDU?body=INFO VRA-L>
>List-Unsubscribe: <mailto:VRA-L-unsubscribe-request at LISTSERV.UARK.EDU>
>List-Subscribe: <mailto:VRA-L-subscribe-request at LISTSERV.UARK.EDU>
>List-Owner: <mailto:VRA-L-request at LISTSERV.UARK.EDU>
>List-Archive: <http://listserv.uark.edu/scripts/wa.exe?LIST=VRA-L>
>X-ELNK-Info: spv=0;
>X-ELNK-AV: 0
>X-ELNK-Info: sbv=0; sbrc=.0; sbf=00; sbw=000;
>
>Eileen--
>
>This is a conscious effort on the part of CAA,
>spearheaded by Eve Sinaiko, Director of
>Publications.  Their captioning policy is now
>stated near the beginning of each Art Bulletin
>issue.  I don't think that this has yet become
>common practice for scholarly publications at
>large, so CAA is attempting to set a good
>example.
>
>Ben Kessler
>
>"Fry, P. Eileen"  wrote:
>
>st1\:*{behavior:url(#default#ieooui) }
>Colleagues,
>
>I may have missed discussion of this, but is it
>now common practice for scholarly journals to
>credit illustrations with captions that say "In
>the Public Domain" for the work, and then
>copyright for the photographer?  Art Bulletin
>seems to be doing this, but I'm not sure how
>widespread it is.
>
>Eileen Fry
>Indiana University


-- 
Diane M. Zorich
113 Gallup Road
Princeton, NJ 08542 USA
Voice: 609-252-1606
Fax: 609-252-1607
Email:  dzorich at mindspring.com
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[MCN-L] IP SIG: Art Bulletin use of "In the Public Domain" in its captions

[amalyah keshet]

At 17:54 13/07/2006, David Green wrote:

>Have people seen Susan Bielstein's "Permissions - A Survival Guide,"
>in which for the illustrations not only full copyright status of work
>and image are given, but details of the fee paid - how much, to whom,
>for what.

Now there's an idea!  (And definitely a political statement.)  I also 
like those blank image spaces in on-line collections databases that 
are marked "No image due to copyright restrictions."  They are very 
proper and in-your-face at the same time. I think they should also 
say, when appropriate, "No image due to copyright fee of $300" or whatever.

In my museum, I try to twist arms to make our publications clearly 
include and distinguish between artist's copyright and photographer's 
copyright.  This isn't easy, as graphic designers seems to consider 
all these credit lines an annoying aesthetic problem ("looks 
cluttered,"  "looks commercial.")  I can just imagine the cries of 
protest if I asked that public domain works be marked, as well.

On the other hand, as a trained graphic designer myself, I know that 
design is the art of problem solving -- the designer's task is to 
find an elegant and intelligent solution.

At any rate, we label our images "Photo (c) The Israel Museum, by 
Phil Photographer," which I hope is clearly enough read as not 
referring to the object or work of art in the photo. Artist's 
copyrights are listed separately.  Anything that doesn't have an 
artist's copyright credit is in the public domain.  I know that that 
last equation is what opens a window of confusion for the 
reader.  "All works of art illustrated in this publication are in the 
public domain unless otherwise indicated below"  would make things clearer.

Amalyah


>On Jul 13, 2006, at 10:20 AM, Diane M. Zorich wrote:
>
> > Amalyah,
> >
> > Okay, "crediting" was probably the wrong word to use.  My point is
> > that noting "Public Domain" in the caption makes it clear to all that
> > the original work is in the public domain (and thus freely available
> > for copying), although the particular image of that public domain
> > work, is, of course copyrighted by the photographer.
> >
> > Too many reproductions have captions that imply that the
> > museum/photographer/gallery owns copyright to the work itself.   Why
> > not note "public domain" in the caption, to clarify things?  I don't
> > see it as a political statement at all.
> >
> > You're right in stating that there is no legal requirement to declare
> > something public domain.  Under US law, there is also no legal
> > requirement to declare something as copyrighted - yet what museum or
> > photographer would approve a caption that did not include their
> > copyright notice?  They justifiably want to let people know their
> > rights.  Why not let the public also know what they have a right to?
> >
> > I see a public domain statement as a move towards greater clarity and
> > less subterfuge in  our increasingly intellectual property-centric
> > world.  Clarifying who owns (or does not own) rights is a responsible
> > thing to do.  I have noticed an increasing trend among museums to use
> > copyright statements that now qualify where the copyright lies, for
> > example, "Greek amphora, 25 A.D., Image copyright 2006 The XYZ
> > Museum" (italics mine).  I think this is also a positive effort
> > towards greater clarity.
> >
> > Diane
> >
> > Copyright story of the day: The New York Times article "Is a Scent
> > Like a Song?"
> > http://www.nytimes.com/2006/07/13/fashion/thursdaystyles/
> > 13skin.html?_r=1&oref=slogin
> > about  French parfumiers seeking  copyright status for the scents
> > they create from their super-scentsitive noses.
> >
> >
> >
> >
> >> But is it "crediting"?  Or is it a political statement?  How does
> >> one credit
> >> a legal status?  After all, under copyright law, there is no need
> >> to declare
> >> something public domain.  Nothing in a lack of declaration or
> >> "credit"
> >> reduces or harms a work's public domain status.  It would be
> >> interesting to
> >> see the Art Bulletin's "captioning policy now stated near the
> >> beginning of
> >> each Art Bulletin
> >> issue."
> >>
> >> At first glance, it seems a bit over the top.  On the other hand,
> >> maybe we
> >> need a bit of over-the-top these days to counterbalance over-the-top
> >>

[MCN-L] IP SIG: Google is officially a verb

[amalyah keshet]

<http://techdirt.com/articles/20060705/232200.shtml>http://techdirt.com/articles/20060705/232200.shtml
 


According to the Oxford English Dictionary, it's now perfectly 
legitimate to say you "Googled" something. From the standpoint of 
Google, however, this could take them a step closer to losing the 
trademark on their own name, as it starts to fall into more common 
usage. Can Google sue the Oxford English Dictionary?





Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Tel +972-2-670-8874
Fax +972-2-670-8064 

[MCN-L] IP SIG: Patent threatens open-source educational projects

[Amalyah Keshet]

Group Challenges Patent on Internet Education System
 A legal center is trying to overturn a patent it says threatens three 
open-source educational projects, a sign of the tension between patent holders 
and the collaborative programming community. The Software Freedom Law Center 
said that it has asked the U.S. Patent Office to re-examine a patent awarded to 
education software company Blackboard.
 
From:  
http://www.gigalaw.com/news/2006/12/group-challenges-patent-on-internet.html 
Source: CNET News.com http://news.com.com/2100-7344_3-6139834.html

[MCN-L] IP SIG: JPEG patent cases settled

[Amalyah Keshet]

- Original Message - 
From: 

> FORGENT SETTLES JPEG PATENT CASES
>
> On November 1st, Forgent Networks announced that it had settled its
> lawsuit over the JPEG patents for $8 million. Forgent, an intellectual
> property firm that licenses communications technology and software for
> business meetings, announced that it had settled all of the remaining
> claims in the cases involving U.S. patent number 4,698,672. The company
> said that the JPEG standard--the image compression mechanism used in
> digital cameras and PCs--infringed upon the patent, which Forgent acquired
> in 1997. About 60 companies, including several camera makers, had already
> cut licensing deals with Forgent. These deals have brought in
> approximately $110 million in royalties. PC makers, however, balked at
> licensing deals, which led to the lawsuit. The suit originally involved
> about 45 defendants, but 15 settled before this final settlement. Forgent
> claimed the patent was worth around $1 billion. However, the U.S. Patent
> and Trademark Office agreed to review the validity of the patent in
> February. Legal fees became mountainous. In June, a court limited the
> scope of the claims emanating from the patent. Finally, Forgent agreed to
> the settlement. Further information may be found at
> http://www.corporate-ir.net/ireye/ir_site.zhtml?ticker=forg&script=410&layout=-6&item_id=925001

[MCN-L] IP SIG: DMCA exceptions for media studies

[Amalyah Keshet]

From: U.S. Copyright Office: Statement of the Librarian of Congress
Relating to Section 1201 Rulemaking
http://www.copyright.gov/1201/docs/2006_statement.html

"In accordance with section 1201(a)(1) of the copyright law, I am
issuing a final rule that sets out six classes of works that will be
subject to exemptions for the next three years from the statute's
prohibition against circumvention of technology that effectively
controls access to a copyrighted work. This is the third time that I
have issued such a rule, which the Digital Millennium Copyright Act
(DMCA) requires that I do every three years. These exemptions expire
after three years, unless proponents prove their case once again."

...The new classes of works will enable film and media studies professors to 
make compilations of film clips for classroom instruction, make it easier for 
owners of wireless telephone handsets to continue to use those handsets when 
they switch to new wireless carriers, and permit the testing, investigation and 
correction of security vulnerabilities on compact discs that are distributed 
with access control technology that compromises the security of personal 
computers."





Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] IP SIG: Internet Archive Helped Secure DMCA Exemptions

[Amalyah Keshet]

Follow-up on previous post:

> Press Release: Internet Archive Helps Secure Exemption To The Digital
> Millennium Copyright Act
> http://www.archive.org/iathreads/post-view.php?id=82097
>
> "Thanks to the hard work of two great law school students of Peter Jaszi 
> of
> American University, Jieun Kim and Doug Agopsowicz, the Internet Archive 
> and
> other libraries may continue to preserve software and video game titles
> without fear of going to jail. This is a happy moment, but on the other 
> hand
> this exception is so limited it leaves the overall draconian nature of the
> DMCA in effect. A total of more than $50,000 of pro-bono lawyer time has 
> been
> spent to just affect this exemption and its continuation. We hope that
> Congress, and other governments, will pass more balanced copyright laws to
> allow at least libraries, archives, research and scholarship to flourish
> without the current dark clouds of litigation."



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net

[MCN-L] History of Museum Gaming?

[amalyah keshet]

So, which WAS the first museum to have a website?


At 22:13 18/12/2006, you wrote:
>This message is a request to all those wise souls who have been 
>around for a while.
>
>We've had the conversation about "who was the first museum to have a 
>web site."  Here's mine. Do we know who was the first museum to 
>install public computers for the purpose of gaming/ virtual 
>environments (text-based, 2d, 3d, whatever)?
>
>I would gladly reimurse copying fees for anyone in possesion of 
>pre-1990s Spectra articles on the topic.
>
>Cheers,
>
>Richard Urban, Doctoral Student
>Graduate School of Library and Information Science
>University of Illinois at Urbana-Champaign
>rjurban at uiuc.edu
>http://www.inherentvice.net
>
>
>___
>You are currently subscribed to mcn-l, the listserv of the Museum 
>Computer Network (http://www.mcn.edu)
>
>To post to this list, send messages to: mcn-l at mcn.edu
>
>To unsubscribe or change mcn-l delivery options visit:
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Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  www.imj.org.il
Chair, MCN IP special interest group www.mcn.edu
Blog  www.musematic.net

[MCN-L] History of Museum Gaming?

[amalyah keshet]

Interesting. I distinctly remember the Dallas Museum of Art being the 
first museum I found on the Web.

Amalyah



At 14:25 19/12/2006, you wrote:
>I would vote for Dallas Museum of Art - whose former IT director now 
>works for Microsoft in Dallas
>
>He sure turned me onto the web, and when I started www.mariner.org 
>for The Mariners' Museum, we were part of that first wave of 
>websites for museums - thanks to him (I forget his name!)
>
>Mark
>
>- Original Message - From: "amalyah keshet" netvision.net.il>
>To: "Museum Computer Network Listserv" 
>Sent: Tuesday, December 19, 2006 2:33 AM
>Subject: Re: [MCN-L] History of Museum Gaming?
>
>
>>So, which WAS the first museum to have a website?
>

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  www.imj.org.il
Chair, MCN IP special interest group www.mcn.edu
Blog  www.musematic.net

[MCN-L] Folksonomy as Symbol

[Amalyah Keshet]

>From The Filter, a publication of the Berkman Center for Internet & Society
at Harvard Law School, December 2006
===
>
> Folksonomy as Symbol
> ~David Weinberger
>
> It's easy to minimize the importance of folksonomies. These bottom-up
> taxonomies are just another tool in the kit. Besides, they've been
> around for a while, well before Thomas Vander Wal gave them a felicitous
> name. For example, at eBay a sellers' preference for 'laptop' over
> 'notebook' has emerged all by itself. In fact, isn't language itself the
> first folksonomy? Words evolve based on bottom-up usage. So, taxonomies
> are nothing new.
>
> If that's so, then we're led ever more forcefully to ask: Why the fuss?
> If folksonomies are old hat, why are we treating them like something
> fresh and important?
>
> Certainly, in part it's because folksonomies are particularly useful
> when there are lots of people trying to communicate about a shared set
> of resources and when there's no central authority that can stipulate
> the accepted vocabulary and canonical taxonomy. The Web is just such an
> environment. So, even though there have been folksonomies in the past,
> the Web has given them a big, whopping, important problem to solve. But,
> there are lots of innovations for dealing with the Web that have not
> excited the same degree of enthusiasm. Listmania at Amazon is new and
> interesting, but not spurring academic conferences. Ebay's trust system
> is important, but is generally being taken as a useful mechanism, not a
> change in how we think or how crowds operate. Something about
> folksonomies has struck a chord, generating interest beyond their
> benefits as navigational tools. Folksonomies seem to have a symbolic 
> value.
>
> If a folksonomy is a symbol, what is it a symbol of?
>
> First, folksonomies stick it to The Man. We don't need no stinkin'
> experts to organize ideas and information! There is, of course,
> inefficiency built into expert-based taxonomies because they have to
> choose one way of ordering, and that one way is necessarily infested
> with personal, class, and cultural biases. As Clay Shirky says,
> "Metadata is worldview." But beyond the inefficiency, simply having
> someone else have the authority to say 'It shall be filed thus' is a
> statement of political authority. Even when the experts do a good job?as
> they usually do, because they're experts?it is still an implicit
> statement that someone else's way of thinking is better than yours.
>
> In the face of this, folksonomy says not just that we each have our own
> way, but that something useful emerges from it. Folksonomies are proof
> of the power of emergence. Emergence is a fascinating phenomenon because
> it explains complexity through intrinsic simplicity. For example,
> termites build complex towers by following rules so simple that they fit
> in a termite's brain. But there is also a political side to our interest
> in emergence, beyond its explanatory power. Emergence is hope. It says
> (or we take it as saying) that left to ourselves, without extrinsic
> structuring or regulation or governance, we will be magnificent. This is
> beyond the hope implicit in democracy that says a group will be able to
> live together if all are given equal power. We won't just live together,
> but something far beyond the capabilities of any of us will emerge.
> Simply by being together, cathedrals will emerge...
>
> The rest of Dr. Weinberger's essay can be found here:
> 
> ===
>
> *Talk Back
> Tell us what you think ? send feedback and news announcements to:
> 
>
> *Subscription Info
> Subscribe or Unsubscribe:
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>
> *About Us
> The Filter is a publication of the Berkman Center for Internet & Society
> at Harvard Law School.
> Editor: Rebecca Tabasky
>
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> This work is hereby released into the public domain. Please share it.
> To read the public domain dedication, visit:
> 
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> To change your Berkman Center subscriptions, visit the following url:
> 

[MCN-L] Help MCN find a tagline

[Amalyah Keshet]

I did the survey thingie, but didn't get a confirmation screen, and I'm not 
sure it worked.
For what it's worth, I like both the term "Leaders" and the term 
"Community" -- so I'm split between those two very good options.
Decisions, decisions.

Amalyah

- Original Message - 
From: "Misunas, Marla" 
To: 
Sent: Tuesday, August 01, 2006 6:17 PM
Subject: [MCN-L] Help MCN find a tagline


> Dear MCN Members and Friends,
>
>
>
> As you may have read in my recent Musematic posting
> (http://www.musematic.net/), MCN's Board of Directors held a two-day
> strategic planning retreat in Los Angeles in June. We are now working on
> a draft of the strategic plan, which we anticipate will be available for
> members' comments in October.
>
>
>
> There are always items that come to the surface for more immediate
> attention--things that may have been percolating for some time. One of
> these is the need to communicate MCN's identity to folks who are
> unfamiliar with us. The Board is thinking about ways to "telegraph" what
> we do--to intrigue people who are new to MCN, and to help us quickly
> describe MCN for ourselves. Looking towards our 40th-anniversary year,
> we soon will begin work on a new MCN logo and graphic identity. As part
> of that process, we're developing a new "tagline" to help define MCN in
> a very brief way.
>
>
>
> Your participation in this process is essential. To that end, we've
> created a very short, two-question survey, which we're asking you to
> complete at this link:
>
> http://www.surveymonkey.com/s.asp?u=647602398268.
>
> Thanks very much, and stay tuned for more.
>
>
>
>
> Marla Misunas
>
> Collections Information Manager
>
> Collections Information and Access
>
> San Francisco Museum of Modern Art
>
> 415-357-4186 (voice)
>
> Check out SFMOMA Collections Online
>
> www.sfmoma.org 
>
> __
>
>
>
> President, Museum Computer Network
>
> http://www.mcn.edu 
>
>
>
>
> The information contained in this electronic mail message (including any 
> attachments) is confidential information that may be covered by the 
> Electronic Communications Privacy Act, 18 USC Sections 2510-2521, intended 
> only for the use of the individual or entity named above, and may be 
> privileged.  If the reader of this message is not the intended recipient, 
> you are hereby notified that any dissemination, distribution, or copying 
> of this communication, or the taking of any action based on it, is 
> strictly prohibited.  If you have received this communication in error, 
> please immediately notify me and delete the original message.  Thank you
>
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum Computer 
> Network (http://www.mcn.edu)
>
> To post to this list, send messages to: mcn-l at mcn.edu
>
> To unsubscribe or change mcn-l delivery options visit:
> http://toronto.mediatrope.com/mailman/listinfo/mcn-l
> 

[MCN-L] IP SIG: The Best Media in Life is Free

[amalyah keshet]

"E-books, audio books, mp3 music and other media licensed under the 
Creative Commons license or available in the public 
domain:"http://cc-gems.blogspot.com/



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Tel +972-2-670-8874
Fax +972-2-670-8064 

[MCN-L] Opinions needed: user-friendly language forinterpretive technology

[amalyah keshet]

I agree with Matt, but getting back to Christina's original question 
"The curators are writing their label copy now, and would like to 
refer to the touch screens," I don't see why they couldn't just call 
them "touch screens."   If I saw a label that said ""for more 
information on this artist see the touch screen..."  I would look for 
the nearest touch screen.

To non-American visitors, if you want to take them into account, a 
kiosk is also a place where you buy cold drinks and newspapers.

Amalyah Keshet


At 18:23 04/08/2006, you wrote:
>That term worked well at Brooklyn Museum. In a refreshing change from other
>terminology museums often use, "kiosk" tends to confuse museum insiders (who
>often think of big outdoor pillars with fliers stapled to them when they
>hear that term) but it's fine for visitors.
>
>Not a scientific study, but a personal impression. The general public, I
>think, associates "kiosk" with "interactive video thing in a box" and
>especially with "touch-screen thing with more info."
>
>--Matt
>
>On 8/3/06 8:32 PM, "Ray Shah"  wrote:
>
> > Kiosks?
> >
> >
> > --
> > - Ray
> >
> > Ray Shah - think design, inc.
> >
> >
> > On Aug 3, 2006, at 8:19 PM, Christina DePaolo wrote:
> >
> >> Hi,
> >>
> >> The Seattle Art Museum is opening a new downtown museum next
> >> spring. In
> >> conjunction with the reinstallation of our collection galleries, we
> >> are
> >> creating several interpretive touch screens that will be located in
> >> the
> >> galleries to provide in-depth information about works of art. The
> >> curators are writing their label copy now, and would like to refer to
> >> the touch screens. The screens will be in the same gallery of the
> >> works,
> >> but not always in direct proximity. They would like to say "for more
> >> information on this artist see ..." The problem is - what do we call
> >> them?
> >>
> >>
> >>
> >> I know many of you have developed large-scale website and interpretive
> >> technology projects for your institutions. If you have dealt with this
> >> issue, can you give me some suggestions on approach as well as
> >> language
> >> ideas? Also, do we have any standards for referring to
> >> websites/handhelds, etc?
> >>
> >>
> >>
> >> Thank you for your help.
> >>
> >>
> >>
> >>
> >>
> >> Christina DePaolo
> >>
> >> New Media Manager
> >>
> >> 1109 First Avenue, Suite 406
> >>
> >> P 206.654.3165
> >>
> >> F 206.654.3250
> >>
> >> seattleartmuseum.org <http://www.seattleartmuseum.org/>
> >>
> >>
> >>
> >> ___
> >> You are currently subscribed to mcn-l, the listserv of the Museum
> >> Computer Network (http://www.mcn.edu)
> >>
> >> To post to this list, send messages to: mcn-l at mcn.edu
> >>
> >> To unsubscribe or change mcn-l delivery options visit:
> >> http://toronto.mediatrope.com/mailman/listinfo/mcn-l
> >>
> >>
> >
> > ___
> > You are currently subscribed to mcn-l, the listserv of the Museum Computer
> > Network (http://www.mcn.edu)
> >
> > To post to this list, send messages to: mcn-l at mcn.edu
> >
> > To unsubscribe or change mcn-l delivery options visit:
> > http://toronto.mediatrope.com/mailman/listinfo/mcn-l
>
>___
>You are currently subscribed to mcn-l, the listserv of the Museum 
>Computer Network (http://www.mcn.edu)
>
>To post to this list, send messages to: mcn-l at mcn.edu
>
>To unsubscribe or change mcn-l delivery options visit:
>http://toronto.mediatrope.com/mailman/listinfo/mcn-l

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Tel +972-2-670-8874
Fax +972-2-670-8064 

[MCN-L] IP SIG: U.S. Copyright Code, in Verse

[amalyah keshet]

THE U.S. COPYRIGHT CODE, IN VERSE ? An Israeli blogger and games designer has
transformed the dry, legal version of the U.S. Copyright Code into verse. The
ditty, not to be relied on for legal information, is at:
http://jergames.blogspot.com/2006/07/us-copyright-code-in-verse.html


(Thanks to Lesley Ellen Harris for this one.)




Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Chair, MCN I.P. SIG 

[MCN-L] IP SIG: London Conference: Connecting Culture and Commerce

[Amalyah Keshet]

Apologies for cross-postings

---



Conference: Connecting Culture and Commerce: Getting the Right Balance
26 January 2007 at the National Gallery, London

Register and find out more at: http://www.kdcs.kcl.ac.uk/mcg2007/

The Museums Copyright Group in association with Kings College London are 
delighted to announce the following confirmed speakers:

Alan Yentob, BBC's Creative Director, Director of Drama, Entertainment and CBBC.

Sandy Nairne, Director of the National Portrait Gallery.

Jon Snow, Channel Four News presenter and a Trustee of the National Gallery and 
Tate Liaison Trustee.

Professor Charles Oppenheim, Head of Information Science, Loughborough 
University.

We are also really pleased to announce our expert panel members:

Gretchen Wagner, General Counsel, ARTstor

Sara Milne, CEO, Science and Media LLP

Catherine Draycott, Head, Medical Photographic Library, Wellcome Library & 
Chair of BAPLA (British Association of Picture Libraries and Agencies).

Nick Poole, Director, MDA

Ben White, Copyright and Compliance Manager, British Library

David Ferguson, media composer and Chair of the British Academy of Composers 
and Songwriters.


The conference will provide a forum for our high profile expert speakers and 
international representatives from the cultural, media, education, commerce, 
Government as well as other interested sectors to debate how to balance 
cultural and commercial interests. More about the conference can be found at:
http://www.kdcs.kcl.ac.uk/mcg2007/

This is a critical time for owners and users of cultural content. Issues 
surrounding creative industries, technology and new media together with 
discussions about Intellectual Property Rights are being played out at the 
highest political levels and the landscape has the potential to be reshaped 
dramatically. Cultural heritage organisations need to embrace these 
developments and position themselves to ensure that they are represented as a 
sector that provides cultural content, free at the point of access, whilst 
looking to the rights that they own themselves to develop models to sustain 
their core activities and achieve high levels of service to their commercial 
users. This conference will provide an exciting forum to simulate debate and 
discussion about these key areas with suppliers and users of cultural content 
set within one of the foremost collections of art in the world.


http://www.kdcs.kcl.ac.uk/mcg2007/programme.htm



Registration for the conference has now opened at:
http://www.kdcs.kcl.ac.uk/mcg2007/registration.htm

 

Naomi Korn
Copyright Consultant
Tel: (020) 8886 1764
Mobile: 07957 761 032
e-mail: naomi at naomikorn.com
website: www.naomikorn.com
 
Connecting Culture and Commerce: Getting the Right Balance
26th January 2007, National Gallery, London
http://www.kdcs.kcl.ac.uk/mcg2007/index.htm

[MCN-L] IP SIG: Google Asks Media to Stop Using Its Name as Verb

[Amalyah Keshet]

>From the Sublime to the Ridiculous Department:


Google Asks Media to Stop Using Its Name as Verb
 Search engine giant Google, known for its mantra "don't be evil", has 
fired off a series of legal letters to media organisations, warning them 
against using its name as a verb. In June, Google won a place in the Oxford 
English Dictionary, while "to google", with a lower case "g", was included last 
month in Merriam-Webster's Collegiate Dictionary, America's leading reference 
book.
Read more: 
http://www.gigalaw.com/news/2006/08/google-asks-media-to-stop-using-its.html 
(Source: The Independent)

[MCN-L] IP SIG: 29 Organizations and More than 70 Individuals Sign Letter Opposing Life Plus Seventy Copyright Term in TPP

[Amalyah Keshet]

Of obvious interest:


http://keionline.org/node/1849


There is no benefit to society of extending copyright beyond the 50 years 
mandated by the WTO. While some TPP countries, like the United States, Mexico, 
Peru, Chile, Singapore or Australia, already have life + 70 (or longer) 
copyright terms, there is growing recognition that such terms were a mistake, 
and should be shortened, or modified by requiring formalities for the extended 
periods.

The primary harm from the life + 70 copyright term is the loss of access to 
countless books, newspapers, pamphlets, photographs, films, sound recordings 
and other works that are "owned" but largely not commercialized, forgotten, and 
lost. The extended terms are also costly to consumers and performers, while 
benefiting persons and corporate owners that had nothing to do with the 
creation of the work.


Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Chair, MCN IP SIG




From: krista.l.cox at gmail.com [mailto:krista.l@gmail.com] On Behalf Of 
Krista L. Cox
Sent: 09 December, 2013 11:48 PM
To: lawfuluse at publicknowledge.org
Subject: [LawfulUse] 29 Organizations and More than 70 Individuals Sign Letter 
Opposing Life Plus Seventy Copyright Term in TPP

Full text of letter and PDF available here:  http://keionline.org/node/1849


--
Krista L. Cox
Staff Attorney
Knowledge Ecology International
www.keionline.org<http://www.keionline.org>
(202) 332-2670
--
.

[MCN-L] Court Strikes Down Net Neutrality Rules

[Amalyah Keshet]

From: Public Knowledge [p...@publicknowledge.org] :
Court Strikes Down Net Neutrality Rules

Today the DC Circuit Court struck down the FCC's net neutrality rules, which 
prevent Internet service providers from giving preferential treatment to some 
online content over others.


This is a disappointing loss for Internet users. Net neutrality is essential 
for an open, fair, and innovative online environment. While the Court made 
clear that the FCC has authority over Internet access generally, it found that 
the open Internet rules specifically were built on a flawed legal foundation.

The Court's ruling established that the power to create rules for Internet 
access are entirely under the power of the FCC. Now it is up to the FCC to 
decide how to exercise its authority to protect consumers and the open 
Internet. ?



Internet Society Statement on Network Neutrality Ruling in the United States

The Internet Society released the following statement from Bob Hinden, Chair of 
the Internet Society Board of Trustees:

?Today, the Washington, D.C. Court of Appeals in the United States issued a 
major decision with regards to the Federal Communication Commission?s Open 
Internet rules.

The Internet Society has consistently argued that the core principles of 
transparency, freedom of choice, and unimpeded access to content and 
applications should be at the heart of any policy action with respect to 
network neutrality.

Notwithstanding the Court?s ruling today, these principles that have allowed 
the Internet to grow, scale, and connect people and ideas around the world 
remain valid.  Anything less would jeopardize the continued success and 
availability of the Internet as a tool for open communication and economic 
growth.

The Internet Society urges parties in the United States to keep a sharp focus 
on the need to create an environment that allows users to remain in control of 
their Internet experience, thus empowering them to participate in the open 
Internet.?

[MCN-L] IP SIG: Copyright Week/Fair Use Day

[Amalyah Keshet]

Happy Copyright Week:   
https://www.eff.org/deeplinks/2014/01/welcome-copyright-week

To celebrate, here's a post on fair use best practices, from Peter Jaszi and 
Pat Aufderheide:

http://policynotes.arl.org/post/73609702830/power-to-the-people-five-reasons-fair-use-best




...plus, a reminder about another important anniversary:

Those who came of age in the Internet era may not know that they owe their 
ability to go online to a court decision 30 years ago today about a 
mechanically intricate analog tape recorder.   
http://www.slate.com/blogs/future_tense/2014/01/17/betamax_supreme_court_opinion_anniversary_the_decision_has_had_long_reaching.html

http://www.latimes.com/opinion/editorials/la-ed-betamax-ruling-anniversary-20140117,0,2842257.story#axzz2qbPuX3wM

http://www.washingtonpost.com/blogs/the-switch/wp/2014/01/17/thirty-years-ago-today-sandra-day-oconnor-saved-the-future-of-video/





Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
Chair, MCN IP SIG

[MCN-L] Using Bridge to set Creative Commons license?

[Amalyah Keshet]

Perian:

We use Photoshop FILE INFO, which is accessible and writable via Adobe Bridge - 
without opening the image file -- and I've been told information can be batch 
entered via Bridge.  FILE INFO has a dropdown field for Copyrighted / Public 
Domain / Unknown.  Under it is a free text field for copyright info.  You could 
specify a Creative Commons license there. There's also a field for a Copyright 
URL.

Amalyah Keshet


- Original Message -
From: Perian Sully 
Date: Tuesday, April 7, 2009 20:34
Subject: [MCN-L] Using Bridge to set Creative Commons license?
To: Museum Computer Network Listserv 

> Hi all:
> 
> 
> 
> I'm wondering if anyone has found a workaround for Adobe Bridge's lack
> of feature to set the copyright status? You can change it in Photoshop
> (per these instructions:
> http://wiki.creativecommons.org/XMP_help_for_Adobe_applications ), but
> if you try to append a metadata template, the field which would 
> controlthe xmpRights:Marked is absent from the list. 
> 
> 
> 
> I do have the license written out in the Copyright Notice and Rights
> Usage Terms, but rather than reprocessing all 12,000 images through
> Photoshop, I would prefer to be able to amend the metadata through
> Bridge.
> 
> 
> 
> Any ideas?
> 
> 
> 
> Thanks in advance!
> 
> 
> 
> Perian Sully
> 
> Collections Information Manager
> 
> Web Programs Strategist
> 
> The Magnes
> 
> 2911 Russell St.
> 
> Berkeley, CA 94705
> 
> Work: 510-549-6950 x 357
> 
> Fax: 510-849-3673
> 
> http://www.magnes.org
> 
> http://www.musematic.org
> 
> http://www.mediaandtechnology.org
> 
> 
> 
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum 
> Computer Network (http://www.mcn.edu)
> 
> To post to this list, send messages to: mcn-l at mcn.edu
> 
> To unsubscribe or change mcn-l delivery options visit:
> http://toronto.mediatrope.com/mailman/listinfo/mcn-l
> 
> The MCN-L archives can be found at:
> http://toronto.mediatrope.com/pipermail/mcn-l/
> 

[MCN-L] IP SIG: iTunes drops DRM

[Amalyah Keshet]

A giant leap for mankind?

http://db.tidbits.com/article/10199

"Apple's FairPlay DRM limited music, games, and videos sold through 
iTunes to playing only on recognized devices."



Amalyah Keshet

[MCN-L] When copyright confusion attacks!

[Amalyah Keshet]

Michael:

Bridgeman does indeed apply only to photographs, of 2-dimensional works of 
art.

Furthermore, it was a lower court decision, binding only on the two parties 
involved in the case. It was not a Supreme Court decision, nor was it 
legislation.  It is a precedent that a future court can consider, confirm or 
reject.

MCN's IP SIG sponsored a panel session called "Life After Bridgeman" at the 
1999 conference. The decision's effect on museums was explored; the legal 
issues were explained by Tyler Ochoa, our resident law professor and legal 
muse.

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net



- Original Message - 
From: 
To: "Museum Computer Network Listserv" 
Sent: Tuesday, November 28, 2006 3:41 AM
Subject: Re: [MCN-L] When copyright confusion attacks!


>
> mcn-l-bounces at mcn.edu wrote on 11/27/2006 05:31:09 PM:
>
>> The only thing I can think of is that if some pieces are recent
>> copies, owned by a third party, then the derivatives would be
>> copyrighted, right?
>
> No. See Bridgeman v. Corel, "which ruled that exact photographic copies of
> public domain images could not be protected by copyright because the 
> copies
> lack originality. Even if accurate reproductions require a great deal of
> skill, experience and effort, the key element for copyrightability under
> U.S. law is that copyrighted material must show sufficient originality. "
>
> The word "photographic" here shouldn't imply that Bridgeman only applies 
> to
> photographs -- it's generally assumed to include all 2-dimendional 
> artwork.
>
> http://en.wikipedia.org/wiki/Bridgeman_Art_Library_Ltd._v._Corel_Corporation
>
>
>
> -Michael Yunkin
> Web Content/Metadata Manager
> UNLV Libraries
> Las Vegas, NV
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum Computer 
> Network (http://www.mcn.edu)
>
> To post to this list, send messages to: mcn-l at mcn.edu
>
> To unsubscribe or change mcn-l delivery options visit:
> http://toronto.mediatrope.com/mailman/listinfo/mcn-l
> 

[MCN-L] When copyright confusion attacks!

[Amalyah Keshet]

Perian:

1.  Museums and other institutions or businesses do face a risk of 
"contributory infringement" when they allow third parties to copy protected 
works of art.  That is, the museum doesn't own the copyright in the works of 
art, the artists/heirs do, and without specific permission from the 
artists/heirs, the museum has no right to let a third party reproduce the 
works in any medium.

This obviously doesn't apply to works of art in the public domain -- but in 
a museum setting, when the two types of works, protected and not protected, 
are hung side by side, the prudent thing legally and the only practical 
solution, is not to allow photography.

The tour guide meant that the TJ Foundation doesn't own copyright in all of 
the art works on display --by contemporary artists, presumably.

2.  The Declaration of Independence is a literary work, not a work of art, 
and it's authors died long enough ago that it should indeed be well in the 
public domain.  Furthermore, since it was arguably a work of the US 
government (okay, I'm stretching it here, for fun) it would not have been 
protected by copyright in the first place.  One would have to check the 
pre-1906 copyright legislation to be sure about this, but if one takes into 
consideration that in those days copyright protection extended for something 
like 14 years renewable to 28, then the thing should be firmly in the public 
domain.

3.  I don't think that if it was a copy it would make any difference at all. 
It's still not a work of art protected by copyright.

4.  The world is full of misguided tour guides; what else is new?



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net




- Original Message - 
From: "Perian Sully" 
To: 
Sent: Tuesday, November 28, 2006 3:31 AM
Subject: [MCN-L] When copyright confusion attacks!


> Hi list:
>
> This little bit cropped up on the ever-wonderful BoingBoing today. I 
> always tend to look closely at blog posts/complaints about museums being a 
> little, um, overbearing. Sometimes the author is, IMO, wrong (as in the 
> case of a photographer lambasting SFMOMA for not being allowed to 
> photograph in their galleries: 
> http://thomashawk.com/2004/08/editorial-on-camera-policies-in.html ), and 
> sometimes I think they're correct, as in this post:
>
> http://www.boingboing.net/2006/11/27/thomas_jeffersons_ar.html
>
> "Thomas Jefferson's art collection copyrighted?
> My pal and Institute for the Future colleagues Mike Love writes:
>
> After Thanksgiving my family visited Monticello, the home of Thomas 
> Jefferson in Charlottesville, Virginia. Before entering, the tour guide 
> told us that we couldn't take any photos inside because they "don't own 
> the copyright for some of the works of art." This peeved me in light of 
> the copyright-restricted space post I had read recently about misusing the 
> language of copyright to intimidate people.
>
> In protest I tried to take a no-flash picture of Jefferson's engraved copy 
> of the Declaration of Independence, but was politely told to stop - and 
> reminded that the Thomas Jefferson Foundation doesn't own the copyright to 
> some of his works of art. If they don't own the copyright to his nearly 
> 200 year-old art then who does!?"
>
> The only thing I can think of is that if some pieces are recent copies, 
> owned by a third party, then the derivatives would be copyrighted, right?
>
> ~Perian Sully
> Judah L. Magnes Museum
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum Computer 
> Network (http://www.mcn.edu)
>
> To post to this list, send messages to: mcn-l at mcn.edu
>
> To unsubscribe or change mcn-l delivery options visit:
> http://toronto.mediatrope.com/mailman/listinfo/mcn-l
> 

[MCN-L] IP SIG: The good news and the bad news

[Amalyah Keshet]

The latest update on the Google copyright landscape:


> =
> GigaLaw.com Daily News, by Doug Isenberg
> November 27, 2006
> --
>
> We invite you to forward this e-mail in its entirety to friends and 
> colleagues!
> Subscription information: http://www.GigaLaw.com
> Search 10,000+ GigaLaw.com Daily News items: http://www.GigaLaw.com
> =
>
> Headlines for today (scroll down for abstracts and links):
>
> -- Google Settles Copyright Dispute with Belgian Journalists

> -- Producer of Bush Movie Sues Google in France
>
> --
>
> Google Settles Copyright Dispute with Belgian Journalists
> Google, the world's most-used Internet search engine, reached a 
> settlement with Belgian photographers and journalists in a copyright 
> dispute over how Google's news service links to newspaper content. The 
> agreement was made with the Belgian copyright groups Sofam, representing 
> about 3,700 photographers, and Scam, on behalf of journalists.
> Read more: 
> http://www.gigalaw.com/news/2006/11/google-settles-copyright-dispute-with.html
>  
> (Source: The New York Times)
>

>
> Producer of Bush Movie Sues Google in France
> The producer of "The World According to Bush" has taken legal action 
> against Google for distributing the film for free, becoming the latest 
> media company to seek compensation for lost business on the Internet. 
> French production house Flach Film said it had issued a writ against the 
> U.S. Internet search engine and its French arm, Google France, for 
> copyright infringement before a Paris commercial court.
> Read more: 
> http://www.gigalaw.com/news/2006/11/producer-of-bush-movie-sues-google-in.html
>  
> (Source: Reuters)




> =
> GigaLaw.com Daily News is published by and copyright ? 2006 Dolesco LLC 
> d/b/a GigaLaw.com, 5 Concourse Parkway, Suite 3000, Atlanta, Georgia 
> 30328, USA. Under some laws, this e-mail may be considered an 
> advertisement.
> --
> GigaLaw.com Daily News is edited by Doug Isenberg 
> (http://www.DougIsenberg.com), an attorney and founder of The GigaLaw Firm 
> (http://www.GigaLawFirm.com).
> =

[MCN-L] IP SIG: (c)ollectanea - Collected Perspectives On Copyright - U of Maryland

[Amalyah Keshet]

Yet another interesting intiative from the Center for Property (CIP) at the 
University of Maryland:


-- 

> We would greatly appreciate your posting the message below to your
> listserv or promoting this opportunity within your networks. Thank you.
>
> [Please excuse the inevitable duplication of this notice.]
>
> The Center for Intellectual Property (CIP) at the University of Maryland
> University College is excited to announce the launch of a new blog
> portal addressing the cultural, political and legal context of copyright
> issues:
>
> (c)ollectanea! http://chaucer.umuc.edu/blogcip/collectanea/
>
> The new (c)ollectanea blog will serve as an online discussion platform
> for the current and future Center for Intellectual Property scholars.
> Today, join one of the leading copyright scholars in the country,
> GEORGIA HARPER as she provides insight and leads discussions with guest
> bloggers on issues relating to copyright generally, with a specific
> focus on issues facing the education and library communities.   Georgia
> K. Harper serves as the CIP 2006-2008 Intellectual Property Virtual
> Scholar and the Scholarly Communications Advisor for the University of
> Texas at Austin Libraries. Previously, Ms. Harper specialized in
> copyright law and created the well known and widely used online
> publication, The Copyright Crash Course, for the University of Texas
> System
>
> CIP is one of the leading online educational centers providing training,
> and solutions on copyright issues affecting the higher education
> community. This new blog, (c)ollectanea, furthers the Center's mission
> to provide timely copyright resources for educators.  Although the blog
> will address the needs of the education and library communities, all are
> welcome to engage in the discussion and contribute.
>
> Share your thoughts on copyright issues. Join the blog group
> (c)ollectanea, collected perspectives on copyright.
> http://chaucer.umuc.edu/blogcip/collectanea/
>
>
>
> Marvin Stewart
> Event Specialist
> Center for Intellectual Property
> University of Maryland University College
> 3501 University Boulevard East
> Adelphi,MD 20783
> T: 240.582.2966
> mdstewart at umuc.edu
>
> ---
>
> Edtech Archives, posting guidelines and other information are at:
> http://www.h-net.msu.edu/~edweb
>
>
> Reposted by David Dillard who lists recent posting headings from this
> weblog.
>
> DMCA Take-down "errors"
>
> Encouraging news from Schloss hearing
>
> Presses diversifying -- very good news!
>
> Not so fast there, Polly Anna
>
> More common sense!
>
> Finally, at least a suggestion that common sense might prevail
>
> Quoting the last weblog post in the list above:
>
> "The New York Times technology piece, Record Labels Contemplate
> Unrestricted Digital Music - New York Times, sounds a very promising note
> -- suggesting that we may finally see an end to the recording industry's
> intransigence in its hopeless war on downloading and file-sharing. I
> would predict that within a few years the large companies will be
> wondering (like the rest of us already are) what took them so long. I
> hesitate to be too optimistic about this, but again, it's just such a
> positive development that I have to take some small pleasure in the idea
> that common sense does, on occasion, prevail."
>
> Other Net-Gold content regarding copyright may be found at this URL:
>
>  %22net-gold%22+and+copyright&qt_s=Search>
>
> A shorter URL for the above link:
>
> 
>
> Groups
> Results 1 - 50 of 675 for "net-gold" and copyright
>
> Content Sample of Post titles:
>
>
> Sorted by relevance Sort by date
> CANADIAN COPYRIGHT BILL RAISES CONCERNS FOR SEARCH ...  Group:
> net-gold ... 24 Jul 2005 14:36:47 -0600 From: George Lessard
>  Reply-To:
> Net-Gold at yahoogroups.com To: L8 Media Mentor
> , L9 NetGold
>  Subject: [Net-Gold] CANADIAN COPYRIGHT BILL
> RAISES ...
> Jul 25 2005 by David P. Dillard - 1 message - 1 author
>
>
> CANADIAN COPYRIGHT BILL A MISSED OPPORTUNITY / Michael ...  Group:
> net-gold ... Tue, 5 Jul 2005 08:37:25 -0600 From: George Lessard
>  Reply-To:
> Net-Gold at yahoogroups.com To: L8 Media Mentor
> , L9 NetGold
>  Subject: [Net-Gold] CANADIAN COPYRIGHT BILL A
> ...
> Jul 5 2005 by David P. Dillard - 1 message - 1 author
>
>
> COPYRIGHT: FAIR USE : COPYRIGHT FREE: Sources ...  Group: net-gold
> Date: Thu, 02 Jun 2005 09:31:32 +0200 From: Claude Almansi
>  ch> Reply-To: Net-Gold at yahoogroups.com To: Net-Gold at yahoogroups.com
> Subject: Re:
> [Net-Gold] COPYRIGHT: FAIR USE : COPYRIGHT FREE: Sources Listing and About
> ...
> Jun 2 2005 by David P. Dillard - 4 messages - 1 author
>
>
> COPYRIGHT: RESOURCES: WIPO - World Intellectual Property ...  Group:
> bit.listserv.edtech From: "David P. Dillard"  COPYRIGHT:
> RESOURCES: WIPO - World
> Intellectual Property Organization: Research Materials: Bibliography on
> Copyright /
> 

[MCN-L] IP SIG: Collectanea!: Collected Perspectives On Copyright

[Amalyah Keshet]

Oops. Well, further proof that great minds think alike.

Amalyah


- Original Message - 
From: "Rob Lancefield" 
To: 
Sent: Monday, February 05, 2007 10:29 PM
Subject: [MCN-L] IP SIG: Collectanea!: Collected Perspectives On Copyright


> Hello all,
>
> From the CNI list (hope Amalyah isn't clicking "Send" right now, too):
>
>>  --- begin forwarded text ---
>>
>>To: "CNI-ANNOUNCE -- News from the Coalition" 
>>Date: Mon, 05 Feb 2007 15:15:31 -0500
>>From: "Joan K. Lippincott" 
>>Subject: [CNI-ANNOUNCE]  Collectanea!: Collected Perspectives On
>>  Copyright
>>
>>The Center for Intellectual Property (CIP) at the University of Maryland
>>University College is excited to announce the launch of a new blog
>>portal addressing the cultural, political and legal context of copyright
>>issues:
>>
>>(c)ollectanea! http://chaucer.umuc.edu/blogcip/collectanea/
>>
>>The new (c)ollectanea blog will serve as an online discussion platform
>>for the current and future Center for Intellectual Property scholars.
>>Today, join one of the leading copyright scholars in the country,
>>GEORGIA HARPER as she provides insight and leads discussions with guest
>>bloggers on issues relating to copyright generally, with a specific
>>focus on issues facing the education and library communities.   Georgia
>>K. Harper serves as the CIP 2006-2008 Intellectual Property Virtual
>>Scholar and the Scholarly Communications Advisor for the University of
>>Texas at Austin Libraries. Previously, Ms. Harper specialized in
>>copyright law and created the well known and widely used online
>>publication, The Copyright Crash Course, for the University of Texas
>>System
>>
>>CIP is one of the leading online educational centers providing training,
>>and solutions on copyright issues affecting the higher education
>>community. This new blog, (c)ollectanea, furthers the Center's mission
>>to provide timely copyright resources for educators.  Although the blog
>>will address the needs of the education and library communities, all are
>>welcome to engage in the discussion and contribute.
>>
>>Share your thoughts on copyright issues. Join the blog group
>>(c)ollectanea, collected perspectives on copyright.
>>http://chaucer.umuc.edu/blogcip/collectanea/
>>
>>Marvin Stewart
>>Event Specialist
>>Center for Intellectual Property
>>University of Maryland University College
>>3501 University Boulevard East
>>Adelphi,MD 20783
>>T: 240.582.2966
>>mdstewart at umuc.edu
>
>>   end forwarded text 
> -- 
> _
> Rob Lancefield  rlancefield [at] wesleyan.edu
> Manager of Museum Information Services / Registrar of Collections
> Davison Art Center, Wesleyan University  www.wesleyan.edu/dac
> 301 High Street, Middletown CT 06459 USAtel. 860.685.2965
> Board of Directors, Museum Computer Network   www.mcn.edu
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum Computer 
> Network (http://www.mcn.edu)
>
> To post to this list, send messages to: mcn-l at mcn.edu
>
> To unsubscribe or change mcn-l delivery options visit:
> http://toronto.mediatrope.com/mailman/listinfo/mcn-l
> 

[MCN-L] IP SIG: Second Life's response to GetaFirstLife.com

[Amalyah Keshet]

Well, the first article I glanced at at the (c)ollectanea blog
http://chaucer.umuc.edu/blogcip/collectanea/2007/01/more_common_sense.html

led me to a really, really interesting article about Second Life's response to 
the parody site getafirstlife.com (and thanks to Diane Zorich for alerting me 
to the parody in the first place):

http://www.convergenceculture.org/weblog/2007/01/proceed_and_permitted_second_l.php

For a change, it's good news.  And it heralds the appearance of the world's 
first Proceed and Permitted letter (as opposed to Cease and Desist).  Priceless.


Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] IP SIG: CAA Conference Sessions on Art Publishing, Copyright, and Related Issues

[Amalyah Keshet]

Yet another worthwhile copyright event in New York -- and another request 
that anyone who attends report to the MCN IP constituency.

Amalyah Keshet
Chair, MCN IP SIG

-- 

> As you know, the College Art Association Annual Conference takes place 
> next
> week in New York City, at the Hilton Hotel, 6th Avenue at 53rd Street.
>
> I want to call your attention to a number of sessions and events (see 
> below=
> )
> that address questions of art and image copyrights and uses, publishing, 
> an=
> d
> other related issues. This year we have an exceptionally rich roster of 
> suc=
> h
> sessions. I attach a list of them, with times and locations.
>
> For those of you who do not normally attend the CAA Conference, 
> information
> about it is available here: http://conference.collegeart.org/2007/ 
> Includin=
> g
> a complete roster of conference sessions and other events. Single-day 
> passe=
> s
> are available.
>
> Please note that "Reexamining Appropriation, Part I" has been moved 
> offsite
> and will take place at the New York City Bar Association on 44th Street.
> Please see the flyer below. This panel will be of exceptional interest, 
> and
> includes the Hon. Pierre Leval, of the US Court of Appeals 2nd Circuit.
*This event is open to the public, free of charge. *(The information in the
> published conference program is incorrect.)
>
> Best regards,
> Eve Sinaiko
> Director of Publications
> College Art Association
>
> 
> CAA Sessions on Art Publishing
>
>
> Thursday, Feb. 15, 5:30 =96 7:00 pm
>
> A Plea for Leniency: Image Rights and Fees for
> Scholarly Publications
> Gibson Room, 2nd floor, Hilton New York
> Chair: Inge Reist, Frick Art Reference Library, Association
> of Research Institutes in Art History
>
> Architectural History Online: The Challenges of Digital Research and
> Publication
> Petit Trianon, 3rd floor, Hilton New York
> Chair: Hilary Ballon, Columbia University, Society of Architectural
> Historians
>
> Friday, Feb. 16, 10:00 am =96 12:30 pm
>
> Reexamining Appropriation: The Copy, the Law,
> and Beyond, Part I
> New York City Bar Association Great Hall
> 42 W. 44th Street
> Chairs: Martha Buskirk, Montserrat College of Art;
> Virginia Rutledge, Cravath, Swaine & Moore LLP
>
> The Hon. Pierre N. Leval, United States Court of Appeals
> for the Second Circuit
>
> Inappropriate? Copying in the Renaissance, Lisa Pon, Meadows School of the
> Arts, SMU
>
> The Reign of the Quotation=97Appropriation and Its
> Audience, Johanna Burton, Princeton University
>
> From Appropriation to Postproduction, Jaimey Hamilton, University of
> Hawai'i, Manoa
>
> William Patry, Google
>
> Friday, Feb. 16, 12:30 =96 2:00 pm
>
> Fair Use in the Trenches: When to Seek Permission and
> When Not To
> Gramercy B, 2nd floor, Hilton New York
> Chair: David Green, Knowledge Culture, CAA Committee
> on Intellectual Property
>
> Fair Use: Lessons from the Past to Help with Present Decisions, Siva
> Vaidhyanathan, New York University
>
> Legal Perspectives, Gretchen Wagner, ARTstor
>
> Fair Use and Visual Resource Collections, Benjamin
> Kessler, visual resources professional, Chicago
> Friday, Feb. 16, 5:30 =96 7:00 pm
>
> The Qualities of Enduring Art Publications
> Gramercy B, 2nd floor, Hilton New York
> Chair: Susan Chun, Metropolitan Museum of Art, Art Libraries Association 
> of
> North America
>
> Kraig Binkowski, Yale Center for British Art
> Max Marmor, ARTstor
> Sharon Helgason Gallagher, Distributed Art Publishers
>
> Saturday, Feb. 17, 9:30 am =96 noon
>
> Art Catalogues Then and Now
> Nassau Suite, 2nd floor, Hilton New York
> Chairs: Susan F. Rossen, Art Institute of Chicago; Martha M. Ward,
> University of Chicago, Association of Art Editors
>
> Saturday, Feb. 17, 12:30 =96 2:00 pm
>
> Issues in Art History Publishing
> Gramercy B, 2nd floor, Hilton New York
> Chairs: Catherine Soussloff, University of California, Santa Cruz; William
> Tronzo, Stanford Humanities Center, CAA Publications Committee
>
> Mari=EBt Westermann, Institute of Fine Arts, NYU
> Susan Bielstein, University of Chicago Press
> Patricia Rubin, Courtauld Institute of Art
>
> Saturday, Feb. 17,  2:30 =96 5:00 pm
>
> Reexamining Appropriation: The Copy, the Law, and
> Beyond, Part II
> Beekman Parlor, 2nd floor, Hilton New York
> Chairs: Martha Buskirk, Montserrat College of Art; Virginia Rutledge,
> Cravath, Swaine & Moore LLP
>
> Stopped Making Sense: Appropriation as a 1970s Social Phenomenon
> Sarah Evans, Cornell University
>
> The Problematic of the Signature: Reex

[MCN-L] IP SIG: Copyright at the Whitney: the Oldenburg-Picasso Exhibit

[Amalyah Keshet]

Interesting post at :
http://wendy.seltzer.org/blog/

"Copyright at the Whitney: the Oldenburg-Picasso Exhibit 
It goes without saying that I can't go anywhere without seeing copyright issues 
lurking in the background. The last room of the Whitney's "Picasso and American 
Art," however, forced them to the foreground..."







Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] IP SIG: Belgian Court Rules Against Google in Newspaper Case

[Amalyah Keshet]

Belgian Court Rules Against Google in Newspaper Case [from GigaLaw.com]
 
Google Inc. lost a copyright lawsuit to Belgian newspapers that had demanded it 
remove headlines and links to articles posted on its news site without their 
permission. The ruling, if it stands on appeal, could set a precedent for how 
Web search engines link to copyrighted material in the tumultuous arena of 
online news, according to the Belgian copyright group that launched the case.  
[from GigaLaw.com]

The link:
http://news.wired.com/dynamic/stories/B/BELGIUM_GOOGLE_VS_NEWSPAPERS?SITE=WIRE&SECTION=HOME&TEMPLATE=DEFAULT

"U.S.-based technology lawyer  [and MCN 2006 speaker]  Jonathan Band said the 
ruling was neither final - as it can be appealed to higher courts in Belgium - 
nor did it bear much weight since legal precedent is not as important in 
Continental European law."  






Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] IP SIG: IP events in Wash. DC - and webcasts

[Amalyah Keshet]

- Original Message - 
From:  "CNI-COPYRIGHT -- Copyright & Intellectual Property" 



American University  Washington College of Law's Program on Information
Justice and Intellectual Property announces the following events for the
coming month:

BROWN BAG LUNCH SPEAKER SERIES
Tuesday, February 27th | 12:30 pm - 2:00 pm | 6th Floor ~ ILSP Lounge
Professor Peter Jaszi will kick off an occasional series of brownbag
lunches on topics of current interest. Peter will speak about his recent
experiences with efforts to protect traditional crafts and culture in
Indonesia.

IP/GENDER: THE UNMAPPED CONNECTIONS (FOURTH ANNUAL)
March 23, 2007 | 10:00 am - 4:00 pm | Room 503
This will be the fourth in a series of workshops discussing the
intersection of scholarship on gender and IP. This year's symposium will
feature Margaret Jane Radin, Christine Haight Farley, Jessica Silbey,
Dan Burk, Ann Bartow, Helen Lom, Diane Zimmerman, Julie Cohen, Ruchira
Goswami, Amita Dhanda, and Elizabeth Judge.

ILSP 25TH ANNIVERSARY PANEL ON TRADITIONAL KNOWLEDGE
March 27, 2007 | 2:30 pm - 4:00 pm | Room 602
In conjunction with the ILSP's 25th Anniversary Celebrations, PIJIP will
sponsor a panel featuring Carlos Correa, Peter Jaszi and a WIPO
representative on the relation between traditional knowledge, human
rights and development.

ILSP 25TH ANNIVERSARY PANEL ON COUNTERFEITING
March 26, 2007 | 2:00 pm - 3:45 pm | Room 528
Professor Peter Jaszi will moderate a panel of experts discussing
national and international regulation of trade in counterfeit goods.

Al events are free and open to the public.

For more information: visit www.pijip.org

Registration
www.wcl.american.edu/secle/cle_form.cfm

Webcasts
www.wcl.american.edu/pijip/webcast.cfm 

[MCN-L] IP SIG: Bridgeman vs. Corel: Copyrighted creativity or commerce?

[Amalyah Keshet]

Announcement, below, of a very interesting event coming up in London:  
Bridgeman vs. Corel revisited and reconsidered. 

Amalyah Keshet
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 






Bridgeman versus Corel: Copyrighted creativity or commerce?

Thursday 3rd May 2007

Venue (subject to confirmation): Queen Mary?s College,, University of London



MORNING PROGRAMME

09.30am  Coffee and registration

10.00am  Opening speech: Linda Royles, BAPLA

10.20am  Lecture on fine art photography: Philip de Bay (ex-V&A photographer)

lectures and demonstrates on the skills required for fine art photography

11.00am  Review of Copyright and Photographs: Christine Michalos

12.00am  Review of Copyright Law: Professor Adrian Sterling

12:30 Lunch

AFTERNOON SESSION

14.00pm  Chair and opening speech: Dr Uma Suthersanen

14.20pm  Keynote speaker: Marybeth Peters on the US perspective to the Corel 
case

15.00pm  Questions and setting the problem



Panel

? Thomas Dreier: German and EU perspective

? Corbis lawyer (name tbc): French perspective

? Dominique Green Magnum (tbc)/Adrian Sterling/Jonathan Griffiths:



UK perspective

? Judge to sum up and pull debate together: Andrew Sutcliffe QC

? Final statement on how the decision has affected the museum community and its 
international ramifications: Harriet Bridgeman


Further details and reservations (50 Pounds Sterling):  s.a.baird at qmul.ac.uk 
 Tel. 020 7882 5733

[MCN-L] IP SIG: METRO Copyright Symposium (Feb 15, 2007) - NYC

[Amalyah Keshet]

We would be most interested in a first-hand report from anyone who attended.
Thanks!

Amalyah



> For those in the NYC area, this looks like a must. Anyone who attends is 
> kindly requested to report to us!
> 
> Amalyah Keshet
> Chair, MNC IP SIG
> 
> 
>> The Metropolitan New York Library Council (METRO) will host a symposium
>> titled Copyright: The Only Certainty is Uncertainty on February 15, 2007
>> at the Baruch College Conference Center in New York City. Register
>> today: http://www.metro.org/content/view/150/326/
>>
>> Public Domain: To (c) Or Not To (c)?
>> Panelists will tackle the complicated issue of libraries, archives, and
>> museums that assert copyright over digital reproductions of public
>> domain materials.
>>
>> Susan Chun, General Manager for Collections Information Planning,
>> Metropolitan Museum of Art
>> Kenneth Hamma, Executive Director, Digital Policy & Initiatives, J. Paul
>> Getty Trust
>> Jason Mazzone, Assistant Professor, Brooklyn Law School
>> James Shulman, Executive Director, ARTstor
>> Liz Bishoff (moderator), Assistant to the Dean, University of Colorado
>> at Boulder
>>
>> Thanks,
>> Richard Kim
>> Digital Projects Manager
>> Metropolitan New York Library Council (METRO)
>> 57 East 11th Street
>> New York NY 10003
>> phone: 212-228-2320 x13
>> fax: 212-228-2598
>> email: rkim at metro.org

[MCN-L] IP SIG: METRO Copyright Symposium (Feb 15, 2007) - NYC

[Amalyah Keshet]

For those in the NYC area, this looks like a must. Anyone who attends is 
kindly requested
to report to us!

Amalyah Keshet
Chair, MNC IP SIG


> The Metropolitan New York Library Council (METRO) will host a symposium
> titled Copyright: The Only Certainty is Uncertainty on February 15, 2007
> at the Baruch College Conference Center in New York City. Register
> today: http://www.metro.org/content/view/150/326/
>
> While the entire program should be excellent, I thought this panel
> discussion would be of special interest to the DIGLIB and IMAGELIB
> communities.
>
> Public Domain: To (c) Or Not To (c)?
> Panelists will tackle the complicated issue of libraries, archives, and
> museums that assert copyright over digital reproductions of public
> domain materials.
>
> Susan Chun, General Manager for Collections Information Planning,
> Metropolitan Museum of Art
> Kenneth Hamma, Executive Director, Digital Policy & Initiatives, J. Paul
> Getty Trust
> Jason Mazzone, Assistant Professor, Brooklyn Law School
> James Shulman, Executive Director, ARTstor
> Liz Bishoff (moderator), Assistant to the Dean, University of Colorado
> at Boulder
>
> Thanks,
> Richard Kim
> Digital Projects Manager
> Metropolitan New York Library Council (METRO)
> 57 East 11th Street
> New York NY 10003
> phone: 212-228-2320 x13
> fax: 212-228-2598
> email: rkim at metro.org

[MCN-L] Digital Rights Management: A Librarian's Guide to Technology and Practice

[Amalyah Keshet]

"Includes an emphasis not just on digital books and still 
images, but digital video and audio, where the need for DRM is more 
 compelling "


- Original Message - 

> Digital Rights Management: A Librarian's Guide to Technology and 
> Practice, by Grace Agnew is now available from Chandos Press and via 
> Amazon. 
> 
>* *ISBN-10:* 1843341824
>* *ISBN-13:* 978-1843341826
> 
> This book provides an overview of the current landscape in digital 
> rights management (DRM), including: an overview concepts, technologies 
> and issues facing libraries, including copyright,user privac, 
> authentication and authorization and trusted systems.  It discusses the 
> role and implications of DRM for existing library services, such as 
> integrated library management systems, electronic reserves, commercial 
> database licenses, digital asset management systems and digital library 
> repositories as well as emerging issues such as microlicensing and 
> seamless integration of licensed and open access resources. It also 
> discusses the impact that DRM 'trusted system' technologies, already in 
> use in complementary areas, such as course management systems and 
> web-based digital media distribution, may have on libraries. Discusses 
> strategies for implementing DRM in libraries and archives for 
> safeguarding intellectual property and information users in the web 
> environment.  A practical guide that places DRM within the context of 
> the services and practices of the library and offers guidance on all 
> aspects of resource management and user safeguards An understandable 
> overview of the technologies and standards involved in digital rights 
> management. An overview of the DRM landscape beyond libraries, with an 
> emphasis on how this landscape impacts libraries and shapes DRM 
> generally. In particular, the e-learning and digital media distribution 
> arenas are embracing DRM, with significant potential impact for 
> libraries. Includes an emphasis not just on digital books and still 
> images, but digital video and audio, where the need for DRM is more 
> compelling  The author is Associate University Librarian for Digital 
> Library Systems, Rutgers, the State University of New Jersey. Grace 
> Agnew is a noted author and lecturer on digital rights management, 
> metadata and digital video. She is the architect of the Moving Image 
> Collections (MIC) portal, a union catalog for the world's moving images, 
> which is co-sponsored by the Library of Congress and the Association of 
> Moving Image Archivists (AMIA). She was a principal investigator for the 
> NSF Middleware Initiative invitational workshop, 'Digital Rights 
> Management for Research and Education'; she served as an advisor to the 
> American Library Association on the technical implications of the TEACH 
> Act and is the co-author of two books published by the American Library 
> Association. Readership This book is aimed at all information 
> professionals. Contents: Introduction. Copyright.  Privacy and other 
> rights.  The resource in digital rights management.  The agent in 
> digital rights management. Digital rights metadata: describing rights 
> and rights workflow.  The technology of digital rights management. 
> Putting the pieces together. Bibliography. Index. 452 pages.
> 
> 
> 
> Grace Agnew
> Associate University Librarian for Digital Library Systems
> Rutgers, the State University of New Jersey
> Library Technical Services Building
> 47 Davidson Road
> Piscataway, NJ 08854-5603
> 
> gagnew at rci.rutgers.edu
> PH: (732) 445-5908
> FAX: (732) 445-5888

[MCN-L] Fw: Best Practices in Copyright and Fair Use for User-Generated Content

[Amalyah Keshet]

[PIJIP-(C)] PIJIP and the AU Senter for Social Media Release Best Practices in 
Copyright and Fair Use for User-Generated ContentImportant announcement, below. 
 

More important announcement:  Prof. Peter Jaszi will be speaking at MCN 2008 in 
Washington, DC. 

Amalyah Keshet
Chair, MCN IP SIG




AU's Program on Information Justice and Intellectual Property and Center for 
Social Media
Release Best Practices in Copyright and Fair Use for User-Generated Content

Contact:  
Diane Bickell, AU Public Relations, dbickel at wcl.american.edu or 202-274-4276
Peter Jaszi, Director, PIJIP, pjaszi at wcl.american.edu 240-605-1934

Full text of 'Code of Best Practices in Fair Use for Online Video' (PDF)
<http://www.wcl.american.edu/pijip/download.cfm?downloadfile=FDCD7029-F26B-FBB2-7C3C8D42F60DF20B&typename=dmFile&fieldname=filename>


WASHINGTON, D.C. (July 7, 2008)- The American University's Program on
Information Justice and Intellectual Property (PIJIP) announces the
release of a new code of best practices in fair use for creators in the
burgeoning online video environment. The code was coordinated by PIJIP
and the American University Center for Social Media, with support from
the Ford Foundation through CSM s Future of Public Media Project. Back
in January, we released a report on copyright and remix culture, Recut,
Reframe, Recycle: Quoting Copyrighted Material in User-Generated Video
(wcl.american.edu/pijip/), back in January. The code, which was made
public on July 7, represents the next step. Collaboratively created by a
team of media scholars and lawyers, these best practices will allow
users to make remixes, mashups, and other common online genres with the
knowledge that they are staying within copyright law. The full text of
the code for user generated video is available at wcl.american.edu/pijip.

Until now, anyone uploading a video has run the risk of becoming
inadvertently entangled in an industry skirmish, as media companies
struggle to keep their programs from circulating on the Internet. As
online providers have begun to negotiate with media companies, everyone
has agreed that fair use should be protected. Before the code s release,
there was no clear statement about what constitutes fair use in online
video.

The code identifies, among other things, six kinds of unlicensed uses of
copyrighted material that may be considered fair, under certain
limitations. They are:

* Commenting or critiquing of copyrighted material
* Use for illustration or example
* Incidental or accidental capture of copyrighted material
* Memorializing or rescuing of an experience or event
* Use to launch a discussion
* Recombining to make a new work, such as a mashup or a remix, whose
  elements depend on relationships between existing works

For instance, a blogger's critique of mainstream news is commentary. The
toddler dancing to the song "Let s Go Crazy" is an example of incidental
capture of copyrighted material. Many variations on the popular online
video "Dramatic Chipmunk" may be considered fair use, because they
recombine existing work to create new meaning.

If you would like to receive more information about the code, please
contact us at 202-274-4442.

_*Code of Best Practices Committee Members
*_
*Co-chairs
*
Peter Jaszi, Professor of Law, Faculty Director of the Glushko-Samuelson
Intellectual Property Clinic, Washington College of Law, American University
Patricia Aufderheide, Professor, Director of the Center for Social
Media, School of Communication, American University

*Members
*
Michael C. Donaldson, Esq., Los Angeles
Anthony Falzone, Lecturer, Executive Director, Fair Use Project,
Stanford Law School
Lewis Hyde, Richard L. Thomas Professor of Creative Writing, Kenyon
College; fellow, Berkman Center for Internet and Society, Harvard University
Mizuko Ito, Research Scientist, School of Cinematic Arts, University of
Southern California
Henry Jenkins, Professor, Program Head, Comparative Media Studies,
Massachusetts Institute of Technology
Michael Madison, Associate Dean for Research, Associate Professor of
Law, University of Pittsburgh School of Law
Pamela Samuelson, Richard M. Sherman Distinguished Professor of Law and
Information, University of California, Berkeley
Rebecca Tushnet, Professor, Georgetown University Law Center, Georgetown
University
Jennifer Urban, Clinical Associate Professor of Law; Director of
Intellectual Property and Technology Law Clinic, University of Southern
California

*_About PIJIP_
*
The Program on Information Justice and Intellectual Property as American
University Washington College of Law is guided by an explicit focus on
the public interest. Through research, teaching, publications, events,
advocacy and the provision of legal services, PIJIP promotes the
interests of teachers, students, authors, artists, film

[MCN-L] IP SIG and Academics: Copyright & Academic Integrity Workshops

[Amalyah Keshet]

- Original Message - 
From: "Olga Francois" 
Sent: Monday, January 07, 2008 8:01 PM
Subject: Early Registration Reminder: Copyright & AI Workshops


Colleagues, 

Please forward this announcement to interested faculty and staff:

In recent years, plagiarism and cheating have been highlighted in the
news.  Whether discussing high-profile cases like Stephen Ambrose and
Doris Kearns Godwin or reviewing works on the subject by notables like
Judge Richard Posner, the public appears keenly interested in
plagiarism.   Plagiarism detection devices, once all the rage are, with
greater intensity, being challenged legally and ethically as
inappropriate vehicles for detecting plagiarism. Most recently,
Turnitin.com is in the middle of litigation challenging its business
practices as violations of copyright law.

Please join the Center for Intellectual Property as we attempt to
address the plagiarism and cheating issues on college campuses and try
to build communities that value academic integrity.  

---
Building a Community that Values Academic Integrity
http://www.umuc.edu/cip/ipa/
---
Dates: February 25 - March 7, 2008
Moderators: Gary Pavela, M.A., J.D., Director of Judicial Programs and
Student Ethical Development, University of Maryland -- College Park &
Kimberly Bonner, J.D., Executive Director, Center for Intellectual
Property, University of Maryland University College

Studies show that establishing a community of shared academic values
fosters academic integrity in the classroom. However, establishing that
community may be more difficult when students adopt the values of a
digital "remix" culture that challenges the traditional understanding of
authorship. How do institutions foster academic integrity values in
light of changing cultural norms? Are there special techniques and tools
required? Are the best tools to use in preventing academic dishonesty
"technical" like Turnitin.com? And are there additional legal and
ethical issues involved when using technical measures to prevent
academic dishonesty? Please see site for detailed course objectives-
http://www.umuc.edu/cip/ipa/workshops.shtml#AI
---

ALSO, EARLY REGISTRATION ENDS JAN 11TH FOR: 

Integrating Access to Digital Course Materials: Blackboard/WebCT,
Coursepacks, e-Reserves, Licensed Materials, e-Books, Open Access...What
Will They Think of Next?
Moderator: Georgia Harper, J.D., Scholarly Communications Advisor,
University Libraries, University of Texas at Austin
January 28 - February 8, 2008

SIGN UP NOW: 
Early Bird Rates $150
http://tinyurl.com/29jg53 [Secured Server]

Online Workshop FAQ- http://www.umuc.edu/cip/ipa/faq.shtml
Complete 2007-2008 Workshop Series see- http://www.umuc.edu/cip/ipa/
For more on the Center for Intellectual Property's resources & services
please see our homepage-  http://www.umuc.edu/cip/
--
Olga Francois, Assistant Director
Center for Intellectual Property
University of Maryland University College
3501 University Blvd. East, PGM3-780
Adelphi, MD 20783
ofrancois at umuc.edu

[MCN-L] IP SIG: New Israeli Copyright Act

[Amalyah Keshet]

For those of you who might be interested, not only does Israel have a brand-new 
Copyright Act, but it's already been translated into English.  (I don't know 
which is the more astonishing achievement.) 

As someone who sat through some of the parliamentary committee meetings during 
the creation of this new Copyright Law, I must say that it came out well, all 
things considered.  Interestingly, the Act deals with Fair Use by using a 
two-pronged approach:  the "closed list"  approach, with the addition of the 
Four Factors cribbed more or less directly from the US Copyright Law.  

Most admirably, the anti-circumvention issue was fended off.  For the time 
being.

Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 



 
Thanks are due to Dr. Michael D. Birnhack, Tel Aviv University, for sending 
this along:


An unofficial translation of the Israeli Copyright Act 2007 prepared by the 
Israeli Ministry of Justice is available at 
http://www.tau.ac.il/law/members/birnhack/IsraeliCopyrightAct2007.pdf
 
Some amendments noted by Dr. Birnhack are:
- s. 11(5) + 15 introduce the right of making available the work;
- s. 19 introduces a fair use (as opposed to a fair dealing) defense;
- s. 24 addresses copying of software;
- s. 26 addresses temporary copying;
- s. 30 has some interesting library and archives' exceptions;
- s. 35 re the first ownership of commissioned works;
- s. 50(b), re the reasonableness in the context of moral rights
 
There are no anti-circumvention rules.  

[MCN-L] Fw: Google to host open access science data

[Amalyah Keshet]

Just because it sounds cool:


- Original Message - 
 
> Google to Host Terabytes of Open-Source Science Data
> By Alexis Madrigal
> January 18, 2008 | 2:23:21 PM
> 
> Categories: Dataset, Research
> 
> 
> 
> Sources at Google have disclosed that the humble domain,
> http://research.google.com ,
> will soon provide a home for terabytes of open-source scientific
> datasets. The storage will be free to scientists and access to the
> data will be free for all. The project, known as Palimpsest and first
> previewed to the scientific community at the Science Foo camp at the
> Googleplex last August, missed its original launch date this week, but
> will debut soon.
> 
> Building on the company's acquisition of the data visualization
> technology, Trendalyzer, from the oft-lauded, TED presenting Gapminder
> team, Google will also be offering algorithms for the examination and
> probing of the information. The new site will have YouTube-style
> annotating and commenting features.
> 
> [N.N.: TED talk : http://www.ted.com/index.php/talks/view/id/92 ]
> 
> The storage would fill a major need for scientists who want to openly
> share their data, and would allow citizen scientists access to an
> unprecedented amount of data to explore. For example, two planned
> datasets are all 120 terabytes of Hubble Space Telescope data and the
> images from the Archimedes Palimpsest, the 10th century manuscript
> that inspired the Google dataset storage project.
> 
> UPDATE (12:01pm): Attila Csordas of Pimm has a lot more details on the
> project, including a set of slides that Jon Trowbridge of Google gave
> at a presentation in Paris last year. WIRED's own Thomas Goetz also
> mentioned the project in his fantastic piece of freeing dark data.
> 
> One major issue with science's huge datasets is how to get them to
> Google. In this post by a SciFoo attendee over at business|bytes|genes|
> molecules, the collection plan was described:
> 
> (Google people) are providing a 3TB drive array (Linux RAID5). The
> array is provided in "suitcase" and shipped to anyone who wants to
> send they data to Google. Anyone interested gives Google the file
> tree, and they SLURP the data off the drive. I believe they can extend
> this to a larger array (my memory says 20TB).
> 
> You can check out more details on why hard drives are the preferred
> distribution method at Pimm. And we hear that Google is hunting for
> cool datasets, so if you have one, it might pay to get in touch with
> them.

[MCN-L] IP SIG: MPAA admits its statistics are full of...ummmm...errors

[Amalyah Keshet]

For those of you on college campuses following this sad saga:



- Original Message  
Subject: Re: MPAA admits its statistics are fullof...u...errors


> This is the famous study that MPAA has been waving around but has
> refused to show anyone the basic data and methodology. Indeed, in the
> fall of 2006, Dan Glickman promised to deliver a full copy of the study
> to then Judiciary Chairman Arlen Specter. As of yesterday, the staff was
> still waiting for the study.
> 
> So we're now told by the MPAA: opps there are some flaws, and our 44%
> loss due to college students is only 15%. They still refuse to recognize
> the fact, as noted in the AP story below, that 80% of student live
> off-campus and use commercial internet services, bringing the number
> down to 3%. They other fascinating number in the MPAA/LEK College
> Summary slides is that claim - without giving any reasoning - that
> college students substitute 2.4 times that of "average" downloaders.
> Last time I checked college students had far less disposable income than
> "average" working stiffs. At the every least, I can't see them
> substituting 2.4 times. But even if that number were cut in half, that
> would mean the "college problem" amounts to 1.5% of their "losses."
> 
> There are several ironies at work here. First, college network
> administrators treat P2P illegal activity very seriously. Many already
> have policies and educational activities in place. Second, the MPAA has
> managed to convince the House Education Committee to put in an unfunded
> mandate in the College Accessibility and Affordability Act.
> 
> Jim
> 
> 
> Here's the AP story:
> 
> MPAA Admits Mistake on Downloading Study
> 
> By JUSTIN POPE - 15 hours ago
> 
> Hollywood laid much of the blame for illegal movie downloading on
> college students. Now, it says its math was wrong.
> 
> In a 2005 study it commissioned, the Motion Picture Association of
> America claimed that 44 percent of the industry's domestic losses came
> from illegal downloading of movies by college students, who often have
> access to high-bandwidth networks on campus.
> 
> The MPAA has used the study to pressure colleges to take tougher steps
> to prevent illegal file-sharing and to back legislation currently before
> the House of Representatives that would force them to do so.
> 
> But now the MPAA, which represents the U.S. motion picture industry, has
> told education groups a "human error" in that survey caused it to get
> the number wrong. It now blames college students for about 15 percent of
> revenue loss.
> 
> The MPAA says that's still significant, and justifies a major effort by
> colleges and universities to crack down on illegal file-sharing. But
> Mark Luker, vice president of campus IT group Educause, says it doesn't
> account for the fact that more than 80 percent of college students live
> off campus and aren't necessarily using college networks. He says 3
> percent is a more reasonable estimate for the percentage of revenue that
> might be at stake on campus networks.
> 
> "The 44 percent figure was used to show that if college campuses could
> somehow solve this problem on this campus, then it would make a
> tremendous difference in the business of the motion picture industry,"
> Luker said. The new figures prove "any solution on campus will have only
> a small impact on the industry itself."
> 
> The original report, by research firm LEK, claims the U.S. motion
> picture industry lost $6.1 billion to piracy worldwide, with most of the
> losses overseas. It identified the typical movie pirate as a male aged
> 16-24. MPAA said in a statement that no errors had been found in the
> study besides the percentage of revenue losses that could be attributed
> to college students, but that it would hire a third party to validate
> the numbers.
> 
> "We take this error very seriously and have taken strong and immediate
> action to both investigate the root cause of this problem as well as
> substantiate the accuracy of the latest report," the group said in a
> statement.
> 
> Terry Hartle, vice president of the American Council on Education, which
> represents higher education in Washington, said the mistakes showed the
> entertainment industry has unfairly targeted college campuses.
> 
> "Illegal peer-to-peer file-sharing is a society-wide problem. Some of it
> occurs at college s and universities but it is a small portion of the
> total," he said, adding colleges will continue to take the problem
> seriously, but more regulation isn't necessary. 
> 
> -Original Message-
>On Behalf Of Steve Worona
> Sent: Wednesday, January 23, 2008 7:12 AM
> To: lawfuluse at lists.publicknowledge.org
> Subject: MPAA admits its statistics are full of...u...errors
> 
> For those who haven't seen it yet:
> 
> http://www.pr-inside.com/group-revises-figures-on-how-much-r398676.htm
> 
> and
> 
> http://insidehighered.com/news/2008/01/23/mpaa
> 
> So the 44% was really 15%, an

[MCN-L] adobe opensources flex

[Amalyah Keshet]

In case this is of interest:


> http://www.readwriteweb.com/archives/adobe_takes_fle.php
> 
> "Adobe Systems announced last night that they will be open
> sourcing their Adobe Flex framework so developers can access
> their source code to enhance its ability to create Rich
> Internet applications. The Flex SDK and docs will be available
> through the Mozilla Public License. Adobe Flex, initially
> released in 2004 by Macromedia, and available since 2006 as a
> free SDK from Adobe, is a set of technologies to support the
> development of RIAs, web apps with the features and
> functionality that mimic traditional desktop applications."

[MCN-L] IP SIG: The future of IP?

[Amalyah Keshet]

Panellists Disagree About Future Of IP System, WIPO
By Tove Iren S. Gerhardsen
NEW YORK - Speakers at an intellectual property conference here disagreed on 
the future of the IP system and what role the World Intellectual Property 
Organization (WIPO) will play during the next 10 years. But there seemed to be 
agreement on less rather than more new IP regulation. 

http://www.ip-watch.org/weblog/index.php?p=586&res=1024&print=0

[MCN-L] IP SIG: Berkman Center Internet & Society Conference 2007

[amalyah keshet]

>University: Knowledge Beyond Authority
>The Berkman Center's Internet & Society Conference 2007
>June 1, 2007
>Ames Courtroom, Harvard University Campus
>Cambridge, MA
>
>Through working groups and discussion, Internet & Society Conference 
>is positioned to generate questions, insight and solutions from 
>diverse perspectives across the University with a focus on the role 
>of University as an institution. We seek to establish University as 
>a collective force much like 'Government' or 'Private Enterprise' in 
>its ability to negotiate and compromise for our needs in the digital 
>environment.
>
>We will ask how University should relate to the world of 
>intellectual property with respect to what we use and what we 
>produce, and how interconnected the "library" of University should 
>be. We will consider how the corporate worlds of search and content 
>might thrive by supporting networked Universities. We will 
>collaboratively take on the quest for new forms of compatible 
>efficiency to unleash the generative force of universities in the 
>Net. Working groups include 'University Agenda for Fair Use,' 
>'University and the RIAA,' and 'Alternative University Models for 
>Scholarly Publications.'
>
>Registration is open to all. Please join us in declaring University 
>in cyberspace.
>
><http://cyber.law.harvard.edu/is2k7>www.is2k7.org
>



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  www.imj.org.il
Chair, MCN IP special interest group www.mcn.edu
Blog  www.musematic.net

[MCN-L] IP SIG: DMCA Threats As A Marketing Strategy

[amalyah keshet]

Nice try, guys.

Not using their DRM product constitutes "avoidance" of copyright 
protection, and therefore violates the DMCA?

Further proof that the problem with the DMCA is that induces way too 
much creative thinking.

http://www.techdirt.com/articles/20070510/195141.shtml






Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  www.imj.org.il
Chair, MCN IP special interest group www.mcn.edu
Blog  www.musematic.net

[MCN-L] Fw: New Position: Director, Visual Resources Collection; Univ. Delaware, Art History

[Amalyah Keshet]

- Original Message - 

> At the request of David Stone I am forwarding the following
> announcement for a new position at the University of Delaware. Please
> forward to anyone you think might be interested in this exciting new
> position.
>
> -
>
> Director, Visual Resources Collection
> Department of Art History
> University of Delaware
> Newark, Delaware
>
> The Department of Art History, University of Delaware, invites 
> applications
> for a full-time Director of the Visual Resources Collection (non-tenure
> track).  We seek a dynamic leader with excellent communication skills to
> serve as Director of our Visual Resources Collection (VRC) and to act as 
> the
> liaison with the Library and Information Technologies on digital imaging.
> Salary is highly competitive and commensurate with experience.  The Visual
> Resources Collection supports an Art History faculty of 14, as well as
> related departments.  The transition from analog to digital images is in
> progress. Preferred starting date is August 15, 2007 (negotiable).
>
> Duties:
> The Director of the Visual Resources Collection is responsible for the
> administration, operation, and management of the VRC including image
> production, cataloging and standards compliance, metadata management;
> systems administration and planning; budget; and the training and 
> management
> of staff and work-study students. The Director works in consultation with
> Art History faculty and students and other faculty on campus; collaborates
> with other university units; and is responsible for setting long-term 
> goals
> for acquisitions and production as well as policy formulation for future
> development of visual resources.
>
>
> Qualifications:  Master's degree in Library/Information Science
> (ALA-accredited) or in Art/Architectural History and 5 years of
> progressively responsible job-related experience in an academic visual
> resources library, university or special library with an emphasis on 
> digital
> collections management. Digital asset information technology management
> experience in a complex electronic environment.  Strategic planning skills
> and ability to set priorities in development of digital visual resources.
> Effective written and oral communication skills.  Knowledge of art and
> architecture research tools and methods.  Proficiency in one foreign
> language or demonstrated foreign language skills relevant to image
> cataloguing.  Record of published scholarship, presentations to 
> professional
> groups, or service in professional organizations.  Familiarity with 
> digital
> assets management systems, practices, and applications (including image
> databases and websites); technology of digital image production, storage,
> and back-up; scanning and digital image capture best practices. 
> Experience
> training faculty and students in the use of digital resources and ability 
> to
> work with diverse campus communities.  Familiarity with issues and best
> practices regarding access and copyright in academic settings.  Experience
> with Visual Resources cataloguing practices (VRA Core, CCO, TGN, AAT) and
> relational database principles and development; VRC development and
> strategic planning; supervising collection personnel, including hiring,
> training, and managing staff; and experience in budget preparation and
> financial and facilities management.
>
> Facilities:
> The Visual Resources Collection houses approximately 400,000 35 mm slides 
> of
> Western and non-Western art and architecture, ancient to contemporary,
> including a significant amount of unpublished material available nowhere
> else. Digital collections are growing rapidly.  Users have access to two
> computer workstations and a digital scanner, 12 carrels, and a study room
> with projectors and reference materials.  The Collection also has hardware
> and software to assist in the production, cataloguing, storage, and
> accessing of archival digital images.  The VRC staff includes two 
> part-time
> positions (cataloguer and photographer) as well as graduate research
> assistants and undergraduate work-study students.
>
> Further information at:  www.udel.edu/udjobs/current/professional.html
> and at:   www.udel.edu/ArtHistory
>
>
> Application Deadline:  July 13, 2007.
>
> To apply:
> Send a letter of intent, curriculum vitae, and three letters of reference
> to:
> Professor Margaret Werth
> Chair, Search Committee for Director, Visual Resources Collection
> Department of Art History
> 318 Old College
> University of Delaware
> Newark, DE 19716-2516
> Fax: 302 831-8243
> Email: mwerth at udel.edu
>
>
> -- 
> Christine L. Sundt
> Visual Resources
> Editor, Consultant & Educator
> P.O. Box 5316
> Eugene, OR 97405-0316 USA
> 541.485.1420
> csundt(at)mindspring.com or
> csundt(at)gmail.com
> 

[MCN-L] IP SIG: Proposed Crime: Attempted Copyright Infringement

[Amalyah Keshet]

"If the attorney general has his way, copyright law will work more like drug 
laws: The government could seize your personal property, wiretaps in 
counterfeit cases would become legit, violators could face lifetime prison 
sentences, and, in an ambiguous and far-reaching provision, the mere attempt to 
violate a copyright would become a crime.
The Intellectual Property Protection Act of 2007, proposed to Congress on 
Monday by Attorney General Alberto Gonzales, would amend current U.S. copyright 
law to give the government far more power to investigate and prosecute cases, 
would expand the scope of what constitutes a criminal act, and would stiffen 
penalties, including adding a life term for those whose activities cause 
death."  



Death?  Read on.  

http://www.wired.com/politics/law/news/2007/05/ippa07


"If the bill does make it into law, you may want to think about moving those 
CDs just a little farther from your computer."



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] IP SIG: A Fair(y) Use Tale

[Amalyah Keshet]

- Original Message - 

Courtesy of Stanford, an unauthorized Disney cartoon mash-up primer on 
copyright and fair use. 

Well done and very cool - but Mickey is not amused...

http://voirdire.stanford.edu/program/centers/cis/fairuse/Fair(y)_Use_Tale_Stanford_Cut-stream.mp4

__


Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] IP SIG: Group defies Smithsonian copyright claim

[amalyah keshet]

>http://www.boston.com/ae/theater_arts/articles/2007/05/18/group_defies_smithsonian_copyright_claim/
>

Group defies Smithsonian copyright claim

>Brett Zongker
>The Associated Press
>May 21, 2007
>
>Grabbing pictures of iconic Smithsonian Institution artifacts just 
>got a whole lot easier.
>
>Before, if you wanted to get a picture of the Wright Brothers' 
>plane, you could go to the Smithsonian Images Web site and pay for a 
>print or high-resolution image after clicking through several 
>warnings about copyrights and other restrictions -- and only if you 
>were a student, teacher or pledging not to use it to make money.
>
>Now, you can just go to the free photo-sharing Web site flickr.com.
>A nonprofit group is challenging the copyrights and restrictions on 
>images being sold by the Smithsonian. But instead of going to court, 
>the group downloaded all 6,288 photos online and posted them 
>Wednesday night on the free Internet site. (more)


BTW, regarding the claim that all Smithsonian photos are in the 
public domain because they were created by government employees:
several years ago I checked this out.  Not all of their photographs 
are created by Smithsonian employees, but by for-hire 
photographers.  Thus they are indeed protected by copyright, 
transferred by the photographer to the Smithsonian.



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  www.imj.org.il
Chair, MCN IP special interest group www.mcn.edu
Blog  www.musematic.net

[MCN-L] IP SIG: Group defies Smithsonian copyright claim

[Amalyah Keshet]

No, the point was that their day-contract terms did NOT make them federal 
workers.

Amalyah Keshet


- Original Message - 
From: "Chad Petrovay" 
To: "Museum Computer Network Listserv" 
Sent: Wednesday, May 23, 2007 9:02 PM
Subject: Re: [MCN-L] IP SIG: Group defies Smithsonian copyright claim


> RE: "Not all of their photographs are created by Smithsonian employees,
> but by for-hire photographers.  Thus they are indeed protected by
> copyright, transferred by the photographer to the Smithsonian."
>
> If these photographers were hired using federal funds then they might be
> considered federal workers (in their contract capacity), giving favor to
> the argument that the photographs are part of the public domain.
>
> It's a very slippery slope.
>
>
> Chad M Petrovay
> Collections Database Administrator
> The Walters Art Museum
> 600 North Charles Street
> Baltimore, MD  21210
> P: 410.547.9000 x266
> F: 410.837.4846
> cpetrovay at thewalters.org
>
> www.thewalters.org
>
> Exhibitions:
> Gee's Bend: The Architecture of the Quilt on view June 15 - August 26
> Linda Day Clark: The Gee's Bend Photographs on view June 15 - September
> 2
>
>
>
> -Original Message-
> From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of
> amalyah keshet
> Sent: Wednesday, May 23, 2007 1:40 PM
> To: mcn-l at toronto.mediatrope.com
> Subject: [MCN-L] IP SIG: Group defies Smithsonian copyright claim
>
>
>>http://www.boston.com/ae/theater_arts/articles/2007/05/18/group_defies_
> smithsonian_copyright_claim/
>>
>
> Group defies Smithsonian copyright claim
>
>>Brett Zongker
>>The Associated Press
>>May 21, 2007
>>
>>Grabbing pictures of iconic Smithsonian Institution artifacts just
>>got a whole lot easier.
>>
>>Before, if you wanted to get a picture of the Wright Brothers'
>>plane, you could go to the Smithsonian Images Web site and pay for a
>>print or high-resolution image after clicking through several
>>warnings about copyrights and other restrictions -- and only if you
>>were a student, teacher or pledging not to use it to make money.
>>
>>Now, you can just go to the free photo-sharing Web site flickr.com.
>>A nonprofit group is challenging the copyrights and restrictions on
>>images being sold by the Smithsonian. But instead of going to court,
>>the group downloaded all 6,288 photos online and posted them
>>Wednesday night on the free Internet site. (more)
>
>
> BTW, regarding the claim that all Smithsonian photos are in the
> public domain because they were created by government employees:
> several years ago I checked this out.  Not all of their photographs
> are created by Smithsonian employees, but by for-hire
> photographers.  Thus they are indeed protected by copyright,
> transferred by the photographer to the Smithsonian.
>
>
>
> Amalyah Keshet
> Head of Image Resources & Copyright Management
> The Israel Museum, Jerusalem  www.imj.org.il
> Chair, MCN IP special interest group www.mcn.edu
> Blog  www.musematic.net
> ___
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[MCN-L] Fw: [read20-l] [Fwd: FW: Future of Search 2007: Videos are online]

[Amalyah Keshet]

Most likely of interest to someone out there in MCN-land:

 
> -- Forwarded Message
> 
> The videos from the Future of Search meeting held on May 4 are now online
> at:
> http://www.citris-uc.org/article/future_search_2007_videos
> 
> and linked through the main meeting site:
> http://www.citris-uc.org/FutureSearch
> 
> - - - - - - - - - - - - - - - - - - - - -
> yvette subramanian, ph.d. | CITRIS publications and events coordinator
> 386 Hearst Memorial Mining Building, UC Berkeley campus
> (510) 643-4866 | (510) 642-1800 fax | yvette at citris-uc.org
> http://www.citris-uc.org/





Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  akeshet at imj.org.il
Chair, MCN IP SIG   www.mcn.edu
Blog  www.musematic.net 

[MCN-L] IP SIG: A Fair(y) Use Tale

[amalyah keshet]

Finally found the right link: 
http://cyberlaw.stanford.edu/documentary-film-program/film/a-fair-y-use-tale




>- Original Message -
>
>Courtesy of Stanford, an unauthorized Disney cartoon mash-up primer 
>on copyright and fair use.
>
>Well done and very cool - but Mickey is not amused...
>
>http://voirdire.stanford.edu/program/centers/cis/fairuse/Fair(y)_Use_Tale_Stanford_Cut-stream.mp4
>



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem  www.imj.org.il
Chair, MCN IP special interest group www.mcn.edu
Blog  www.musematic.net