[MCN-L] Happy Halloween

[Amalyah Keshet]

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[MCN-L] Happy Halloween

[Amalyah Keshet]

A little gift on a sadly saddened COVID-19 Halloween 2020, for the great
minds and colleagues of the MCN community who have to deal with the horrors
of managing copyright:

https://copyrightalliance.org/ca_post/dracula-vs-nosferatu-a-true-copyright-horror-story/


*Amalyah Keshet*
*Copyright Management for Cultural Heritage, Jerusalem*
*Senior Consultant, Naomi Korn Associates, London*
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[MCN-L] Academic Research Project - Copyright and the Holocaust

[Amalyah Keshet]

*(please excuse cross posting)*


I have a question for those of you involved in Rights and Reproductions and
/ or image research and planning for exhibitions, publications, audio
guides, websites, online courses, etc.  I am looking for your input on
behalf of an academic research project I am currently involved in.



Have you had experiences with commercial *stock photography agencies in the
context of Holocaust (or other genocide) related materials*?  This might
include: if you found items in their stock offered at standard rates, or
public domain images that are being licensed by the agencies, claiming
copyright, or even if you have received correspondence or royalties claims
with regard to such materials.  Or, if you have had any related experiences.



I know it's a long shot, but experience indicates that this is more common
than might be expected, and often problematic.



Thank you in advance for anything you can contribute, off list.


With thanks, and hoping all are safe and well,


Amalyah Keshet




*Amalyah Keshet*
*Copyright Management for Cultural Heritage, Jerusalem*
*Senior Consultant, Naomi Korn Associates, London*
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Re: [MCN-L] CCPA/GDPR compliance

[Amalyah Keshet]

Andrew:

The consultancy I work for does comprehensive GDPR compliance training.

If you like you can contact me off list.

Amalyah Keshet


On Tue, Mar 3, 2020, 02:02 Andrew Fox  wrote:

> Does anyone have any experience making a museum website CCPA and/or GDPR
> compliant? Right now I'm getting mixed messages from both our legal counsel
> and our marketing team who are in contact with their media agency.
>
> A quick and far from thorough survey of museum websites suggests that most
> aren't doing anything to address it yet, but I'd love to hear from anyone
> who has.
>
> Thanks!
>
>
> *Andrew Fox*Senior Web & Interactive Developer
> Fine Arts Museums of San Francisco
> 415.750.3615
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[MCN-L] EU passes copyright directive that is actually good for cultural heritage institutions

[Amalyah Keshet]

This week, after more than two years of heated debate, things changed for
the better for museums and other cultural heritage institutions in the EU.
This doesn't affect the legal landscape in the US, of course, but for
museums that deal with other museums abroad, it's advisable to know what
the landscape looks like on the other side of the pond. Short and sweet
summary:
https://pro.europeana.eu/post/copyright-reform-passed-by-european-parliament


Other articles in the new copyright directive not directly affecting
museums are more controversial.
The positive take:
http://www.europarl.europa.eu/news/en/press-room/20190321IPR32110/european-parliament-approves-new-copyright-rules-for-the-internet

The negative take:
https://edition.cnn.com/2019/03/26/tech/eu-copyright-article-13/index.html


-- 
*Amalyah Keshet*
*Copyright Management for Cultural Heritage, Jerusalem*
*Senior Consultant, Naomi Korn Associates, London*
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Re: [MCN-L] Best practices/workflows for converting catalogues to epub

[Amalyah Keshet]

Quite by coincidence, I have the same sort of questions at the moment
(hello, Perian!).
Always one to perfer *not *to re-invent the wheel,  I would be delighted to
get in touch with more colleagues who have already done
catalog conversion projects, and get some experienced advice.  With thanks
-- 

Amalyah Keshet


On Fri, Feb 22, 2019 at 8:03 PM Perian Sully  wrote:

> Hi everyone:
>
> I'm trying to figure out some workflows for our publications department to
> convert their final InDesign-formatted catalogue files into ePub and I'm
> finding it's not as straightforward as I hoped it would be.
>
> First, the final copy of the catalogue has the spine and cover pages at the
> front, so those need to be edited and moved about for ease of reading on a
> browser. Second, they're not currently embedding their metadata, and I'm
> not sure where the ISBN number should go, or editors and authors, etc. IPTC
> doesn't seem to cut it here. And third, the Calibre conversion to ePub
> is... yeah. Multiple columns within the pages get scrambled a bit, and
> setting up the TOC is a bit maddening. I'd hoped the Adobe suite would have
> a nice conversion tool by now, but not that I can see.
>
> So, does anyone happen to have some workflows for converting museum
> catalogues figured out, and that they'd be willing to share with me?
>
> Thanks in advance,
>
> ~Perian Cohen
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-- 
*Amalyah Keshet*
*Copyright Management for Cultural Heritage, Jerusalem*
*Senior Consultant, Naomi Korn Associates, London*
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[MCN-L] Public Domain - Celebrating the Lifecycle of Copyright | U.S. Copyright Office

[Amalyah Keshet]

https://www.copyright.gov/copyrightmatters/public-domain2019/?loclr=eanco
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[MCN-L] A Landslide of Classic Art(s) Is About to Enter the Public Domain

[Amalyah Keshet]

A Landslide of Classic Art Is About to Enter the Public Domain

For the first time in two decades, a huge number of books, films, and other
works will escape U.S. copyright law.
...It’s the first time since 1998 for a mass shift to the public domain of
material protected under copyright. It’s also the beginning of a new annual
tradition: For several decades from 2019 onward, each New Year’s Day will
unleash a full year’s worth of works published 95 years earlier.

...A Google spokesperson confirmed that Google Books stands ready. Its
software is already set up so that on January 1 of each year, the material
from 95 years earlier that’s currently digitized but only available for
searching suddenly switches to full text.

https://www.theatlantic.com/technology/archive/2018/04/copywritten-so-dont-copy-me/557420/



-- 
*Amalyah Keshet*
*Copyright Management for Cultural Heritage, Jerusalem*


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Re: [MCN-L] Multilingual websites (Amalyah Keshet)

[Amalyah Keshet]

*Any* translation is subjective.

If the institution did not write the text in the second language, it cannot
be held liable for what a machine translation algorithm comes up with, if
the use of machine translation is transparent.  "Nuanced interpretation"
could, on the other hand, definitely be considered biased by those -- in
the same language group --  with differing points of view.  Interpretation
is, after all, interpretation -- not translation.

That said, I repeat my skepticism about automatic translation for serious
deep content.

Amalyah

>   Less so for exhibition texts, articles, and deep content, but its
> > certainly better than nothing.
>
>
> Just a word of caution here for interpretative text.
>
> IMHO nothing is better than machine translation if dealing with culturally
> significant text. Do you really want to trust a machine to translate
> nuanced interpretation about ethnic cleansing or colonisation? This may
> land your organisation in some sticky situations if the translations
> somehow trivialised certain historical events.
>
> Cheers
> Glen
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-- 
*Amalyah Keshet*
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Re: [MCN-L] Multilingual websites

[Amalyah Keshet]

I remember reading two or three years ago that Google researchers had
developed an AI component for Google Translate, which revolutionized it.
People woke up the day after the (secret) release and reported "hey, what
happened? this is infinitely better!"  I gave it a try at after reading
that, and sure enough, there was a remarkable improvement -- although some
lamented the demise of a popular source of amusement.  I use it for
Hebrew-English translation -- not a small challenge.

No one assumes that Google Translate will do a masterful job.  It's a tool,
not a professional translator and editor. (Just like Google is a search
engine, not a professional research assistant).  Perfect for landing pages
on things like museum websites, "contact us", etc.  Less so for exhibition
texts, articles, and deep content, but its certainly better than nothing.
If you have an fat budget for multiple-language translation and editing
staff or services, fine.  Most don't.  (BTW it's a great time-saver for
creating a draft that a human can then edit and improve.)

Deliberately not putting the widget on a website seems the opposite of
customer service.  Yes, the visitor can copy and paste into Google
Translate him/herself, but just having the widget there says "we want you
to stay and read and understand us. Maybe this will help."

Amalyah Keshet





*Amalyah Keshet*
*Copyright Management for Cultural Heritage, Jerusalem, Israel*
*Senior Consultant, Naomi Korn Associates, London *








On Tue, Oct 23, 2018 at 4:35 AM Matt Morgan 
wrote:

> We had the Google Translate widget on the Met's site, in just the visit
> section, for a while during my time there, and then we added it to a
> part of NYPL's site but I never managed to get it added to the whole
> site and actually lost my job there because I wouldn't shut up about it.
> True story! (I've had LOTS of other jobs since then, don't worry.)
>
> Anyway, the problem with human translation is this: you're already
> pretty careful to get the English right, and probably a few people are
> involved in the production and editing of any given page. Some or all of
> them may actually be trained & experienced as professional editors in
> English, and the educators/curators/content owners probably speak and
> write English pretty fluently, perhaps even well. Basically, you spend a
> lot of time getting the words right. How are you going to meet that
> standard in even one other language? You're going to hire some outside
> person who may or may not be good--it's hard to tell because none of you
> are professionals in that language--and not edit it nearly as carefully
> as the English because who's qualified to do that? And then it's so much
> extra work, when you change the English a little bit, you'll probably
> either just change the other languages in-house, with whatever local
> speakers of that language you can find, or maybe put it off for now
> since it really wasn't that big a change anyway. Over time you'll know
> that the translations are kind of falling behind the primary pages, but
> it'll be OK because everyone else is paying less attention to them than
> you are, so it'll just become this thing that eats at you a little bit,
> but you take comfort knowing that at least it's better than having no
> translations at all.
>
> In case it's not obvious, if you're Canadian substitute "French and
> English" for "English," and if you're Belgian or Moroccan or whatever,
> substitute the four or six languages you're a pro at. However many it
> is, it's not 100 and it's probably not even eight or nine.
>
> The problem with machine translation is exactly what Susan points out.
> It has issues. Even when it's pretty good it's not very good at
> technical terms, or colloquialisms, or proper names, or a dozen other
> kinds of repeated issues. And your art or history or science museum
> website is going to be about 30% those things. Probably 50% at the
> Exploratorium.
>
> Here's the thing: even with all those issues, it still helps. If you
> think of machine translation just as an aid to comprehension, and you
> think of adding the widget to your site as a convenience, just to make
> it easier for visitors to do something they can already do and you can't
> stop them anyway, why not? Well I mean, that's what I thought and I lost
> my job. But I still think it's a logical argument. And I haven't seen a
> whole lot of museum websites succeed at human translation in more than a
> couple languages, except on very limited sets of pages.
>
> There have been a couple major museum websites that provided the Google
> translation widget on every page, as a convenience. The two that I
> recall having it in the past no longer seem to provide it, so I have to
> imagine they similarly 

Re: [MCN-L] Tell Congress Not to Make the Register of Copyrights a Presidential Pawn

[Amalyah Keshet]

Forwarding, in case anyone is interested in taking action.


On Tue, Oct 9, 2018 at 10:44 PM Katharine Trendacosta | EFF Activism Team <
act...@eff.org> wrote:

> This is a friendly message from the Electronic Frontier Foundation.
> <https://supporters.eff.org/civicrm/mailing/view?reset=1=9367>
>
>
>

> Copyright has a huge effect on our daily lives, often controlling access
> to movies, books, music, and art. That in turn has an effect on our digital
> devices, which display, play, and help create copyrighted material
> constantly. Copyright is also inextricable from free speech, as it can be
> used as a tool to silence criticism. It’s important that the person in
> charge of the Copyright Office be apolitical.
>
>
>
> Congress is considering a bill—the Register of Copyrights Selection and
> Accountability Act—which would make the Register of Copyrights a
> presidential appointee. In August, proponents of the bill stated in a
> hearing that this is a good idea because the process of a presidential
> nomination and confirmation is more neutral and fair then hiring a
> long-serving public servant for the job.
>
>
>
> This isn’t true. An appointee will be more beholden to the political
> beliefs of the President, not less. And who is appointed by the President
> is more easily influenced by big media and entertainment companies who view
> copyright as being all about their rights to own things and not our rights
> to speech, create, or use our devices. The Copyright Office, if deployed to
> carry out a political agenda, can do great harm to how we use the Internet
> today.
>
>
>
> While this bill has already passed the House, the Senate has not voted on
> it yet. In fact, it’s still in committee. We can stop it now. Tell your
> Senators to not make the Register of Copyrights a presidential pawn. Tell
> them to vote "no
> <https://act.eff.org/action/tell-congress-not-to-make-the-register-of-copyrights-a-presidential-pawn>"
> on the Register of Copyrights Selection and Accountability Act.
>
>
>
> [image: Take Action]
> Stand up for free speech online
> <https://act.eff.org/action/tell-congress-not-to-make-the-register-of-copyrights-a-presidential-pawn>
>
> Thank you,
>
> Katharine Trendacosta
> Activism Team
> Electronic Frontier Foundation
>
> Support our work to defend free speech and innovation
> <https://supporters.eff.org/donate/thanks-for-speaking-up-about-the-copyright-register>
> About EFF
>
> The Electronic Frontier Foundation is the leading organization protecting
> civil liberties in the digital world. Founded in 1990, we defend free
> speech online, fight illegal surveillance, promote the rights of digital
> innovators, and work to ensure that the rights and freedoms we enjoy are
> enhanced, rather than eroded, as our use of technology grows. EFF is a
> member-supported organization. Find out more at https://eff.org.
>   Activism | Impact Litigation | Technology
>
> This newsletter is printed from 100% recycled electrons.
> 815 Eddy Street, San Francisco, CA 94104 United States
> EFF appreciates your support and respects your *privacy*
> <http://www.eff.org/policy>.
>
>
>
>
>

-- 
*Amalyah Keshet*
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Re: [MCN-L] InfoSec/Compliance Consulting

[Amalyah Keshet]

Based in the UK, but work internationally:

Naomi Korn | — Copyright and Compliance —
<https://www.google.co.il/url?sa=t=j==s=web=1=0ahUKEwjl8LOqnebXAhXBBsAKHeDmB2cQFggnMAA=https%3A%2F%2Fnaomikorn.com%2F=AOvVaw33J4oioDhRsB8RwUXaxTYk>
https://naomikorn.com/
<https://www.google.co.il/search?q=NKCC+London=1C1CHEU_iwIL680IL683=NKCC+London=chrome..69i57.8908j0j7=chrome=UTF-8#>

   1.
   
<https://webcache.googleusercontent.com/search?q=cache:pyqJ-DXSpj0J:https://naomikorn.com/+=1=en=clnk=il>
   2.
   
<https://www.google.co.il/search?newwindow=1=1C1CHEU_iwIL680IL683=related:https://naomikorn.com/+NKCC+London=1=X=0ahUKEwjl8LOqnebXAhXBBsAKHeDmB2cQHwgrMAA>

Naomi Korn Copyright Consultancy Ltd (NKCC) is one of the UK's leading
management consultancies specialising in copyright, compliance and
licensing. We can help your organisation fulfil legal compliance
requirements such as copyright and data protection.


Amalyah Keshet


On Thu, Nov 30, 2017 at 12:40 AM, Brian Whaley <bwha...@kimbellmuseum.org>
wrote:

> Hello all,
>
> I’m curious if anyone knows of a consulting group that focuses on
> nonprofits/small businesses, specifically in the area of information
> security and compliance. After lots of discussion with several of you, it
> would seem there is a need for such a thing, and I’m curious if I just
> haven’t been able to find them yet.
>
> Thanks!
>
>
> Brian Whaley
> Head of IT and AV
> Kimbell Art Museum
>  Camp Bowie Boulevard
> Fort Worth, TX 76107-2792
> bwha...@kimbellmuseum.org<mailto:bwha...@kimbellmuseum.org>
> t.  817.332.8451 ext 357
> f.  817.877.1264
> www.kimbellart.org
>
>
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-- 
Amalyah Keshet
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Re: [MCN-L] Bridgeman Images question

[Amalyah Keshet]

Haggie:

I've worked very successfully with Bridgeman for years. They are
professional, friendly, and scrupulously copyright-conscious.

I suggest you contact them, explain the situation, get their side of the
story, and yes definitely offer to provide better subsitute images.  This
will most likely lead to their offering to set up a contractual arrangement
to represent your museum's images, sharing revenue, and I can definitely
recommend doing so.  It's a very comfortable additional revenue source. You
can take it and develop the relationship from there.

n.b.  Image files -- the tools that are in demand for high-quality printing
-- can be provided, licensed, sold precisely as such: as high quality
digital files.  This is separate from the underlying work of art that
appears in the file; that work of art can be protected by copyright or it
can be in the publilc domain.  Logically, the value or price of the
tool/file is separate from that of the artist's copyright clearance, which
may or not apply.  Bridgeman takes care of clearing artists' copyrights if
that part of the equation applies.  They also represent a large number of
artists:
http://www.bridgemanimages.com/en-GB/bridgeman-copyright-service

Good luck!

*Amalyah Keshet *
*Image Resources and Copyright Management, The Israel Museum, Jerusalem
(retired)*


On Thu, Aug 17, 2017 at 11:50 PM, Erik Landsberg <eriklandsb...@gmail.com>
wrote:

> Hi Maggie,
> Not a lawyer, of course, but many museum have a "no commercial
> photography"' notice in their literature, entrance info displays etc.
> Perhaps that would give you grounds for a takedown notice. Just a thought.
> But if PAM has a fully open access policy, would you consider just
> providing Bridgeman with quality replacement images of those works? It
> would be a far easier solution.
> -Erik
>
>
> On Thu, Aug 17, 2017 at 4:35 PM, Maggie Hanson <maggie.han...@pam.org>
> wrote:
>
> > Hi, all -
> >
> > This question recently came up in our registrars dept. and I thought I'd
> > kick it out to MCN to see if anyone else has encountered this issue and
> > might have guidance. We'd be most grateful for any insight. Our rights
> > specialist sent the following question to a registrars' list-serv and
> > hasn't gotten much of a response:
> >
> > "It has recently come to my attention that Bridgeman Images has been
> > selling images from our museum's collection (about 17 of them). We do not
> > have an agreement with them, and the images are poor quality. I contacted
> > our counsel, and he seemed to state that because everything they have is
> in
> > the public domain, we have no legal ground to stand on. That said, I
> think
> > it would be reasonable to contact them and ask them to take the images
> > down, especially since the images are of such poor quality. Has anyone
> else
> > had this experience?"
> >
> > It might be a non-starter since the underlying works in the images are
> > public domain, but we thought it was worth asking colleagues. Any
> precedent
> > would be useful. To be clear: this is not about us asserting rights, just
> > about wanting to disseminate better images of the works in our collection
> > (esp. when we'd provide better images for free!).
> >
> > Thanks, all! See you in Pittsburgh!
> > Maggie
> >
> >
> > Maggie Hanson
> > Head of Library and Collections Information
> > Portland Art Museum
> > 503-276-4224 | direct
> > portlandartmuseum.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@mcn.edu
> >
> > To unsubscribe or change mcn-l delivery options visit:
> > http://mcn.edu/mailman/listinfo/mcn-l
> >
> > The MCN-L archives can be found at:
> > http://www.mail-archive.com/mcn-l@mcn.edu/
> >
> >
>
>
> --
> *Erik Landsberg LLC*
> *Cultural Heritage Digitization Consulting*
> Serving Museums - Archives - Collectors - Artists
> eriklandsb...@gmail.com
> 732-456-0622 <(732)%20456-0622>
>
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>
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[MCN-L] Fw: Petition to save the NEA

[Amalyah Keshet]

Forwarding to the MCN community:








[israel museum, jerusalem]<http://www.imjnet.org.il>
Amalyah Keshet
Head of Image Resources and Copyright Management
The Israel Museum, Jerusalem

Tel: 972-2-6708064
Cell: 972-54-6558768
Fax: 972-2-6771340
akes...@imj.org.il
[Israel Museum, Jerusalem] 
<https://www.facebook.com/pages/Israel-Museum-Jerusalem/5777654412>   The 
Israel Museum, Jerusalem 
<https://www.facebook.com/pages/Israel-Museum-Jerusalem/5777654412>
www.imj.org.il<http://www.imj.org.il>































With so many mind bogglingly terrible things unfolding now, NEA may seem
a small potato but it matters alot, far in excess of the money it spends.

Please check out the American for the Arts petition and send around to
anyone you know to ask people sign to preserve the NEA:

https://petitions.whitehouse.gov/petition/preserve-national-endowment-arts-and-national-endowment-humanities


Politicians in our time have mostly not been defenders of the arts. This
was not always so. Perhaps education was better in former times. In the
recent past, our leaders certainly had an appreciation for the arts.

Unlike our current president, John F. Kennedy was an incredible orator
(and writer). His eulogy for Robert Frost is a beautiful piece of work.

"If art is to nourish the roots of our culture, society must set the
artist free to follow his vision wherever it takes him. We must never
forget that art is not a form of propaganda; it is a form of truth... In
free society art is not a weapon and it does not belong to the spheres
of polemic and ideology. Artists are not engineers of the soul. It may
be different elsewhere. But democratic society - in it, the highest duty
of the writer, the composer, the artist is to remain true to himself and
to let the chips fall where they may. In serving his vision of the
truth, the artist best serves his nation. And the nation which disdains
the mission of art invites the fate of Robert Frost's hired man, the
fate of having "nothing to look backward to with pride, and nothing to
look forward to with hope."

Winston Churchill:
"The arts are essential to any complete national life. The State owes it
to itself to sustain and encourage themIll fares the race which fails
to salute the arts with the reverence and delight which are their due."

- David

--
David Wilk - Booktrix
Creative Management Partners LLC


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[MCN-L] Public Domain Day 2017

[Amalyah Keshet]

Happy New Year / Public Domain Day (yesterday) to all out there in MCN-land.

http://publicdomainreview.org/collections/class-of-2017/
https://en.wikipedia.org/wiki/2017_in_public_domain


The Center For the Study of the Public Domain at Duke U. Law School has two 
in-depth posts.  "The Center marks Public Domain Day—when thousands of works 
enter the public domain around the world—with a celebration of what won’t be 
entering the public domain in the US."

"Once again, no published works are entering our [U.S.] public domain this 
year. Or next year. In fact, no publication will enter it until 2019"
http://web.law.duke.edu/cspd/publicdomainday/2017/

"What Could Have Entered the Public Domain on January 1, 2017?"
http://web.law.duke.edu/cspd/publicdomainday/2017/pre-1976



And since Canada has to be different:
http://wikilivres.ca/wiki/Wikilivres:1966_deaths,_therefore_now_in_the_Public_Domain




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Re: [MCN-L] Website image cropping

[Amalyah Keshet]

To fine-tune what Leonard wrote a bit, if I may:

n.b.  We are speaking here about works of art still protected by copyright -- 
not works that have entered the public domain.   Works in the public domain may 
of course be cropped.

1)  A museum or other collection does not hold copyright in a 
copyright-protected work held in its collection.  Certainly not if the work is 
only on loan.  The copyright remains with the artist, his/her heirs or 
representatives regardless of where the physical work is.
The exception is if the museum or collection receives a legal transfer of 
copyright in writing from the artist or his/her heirs or representatives.

2) Moral rights: The artist (or his heirs or representatives) is the holder of 
copyright and moral rights in his or her works.   In the US, the provisions of 
VARA apply.

In other countries, particularly in Europe, moral rights are afforded much 
stronger protection.  One of the moral rights of the artist (the "right of 
integrity") is to permit or prevent manipulation of his/her works.  Cropping is 
considered by many to be manipulation or even misrepresentation.  Others narrow 
the issue only to manipulation or misrepresentation that harms the artist's 
reputation.  

Example:  the Succession Picasso is quite particular on this issue, and in 
general does not permit cropping of Picasso's works when reproduced.  
(Reproduced with permission, of course!)

3) It's not just cropping, it's over-printing text, gutters in double spreads, 
bleed or not bleed, fade, etc.  Any manipulation of or change to the work of 
art.

We've found that often, as long as the entire work of art appears in full 
elsewhere in the publication, website, etc., the copyright holder is okay with 
a crop on the cover, home page, etc. as a design element.  The "full view upon 
click" approach that Matt mentions is an interesting equivalent.  

I will take the liberty of adding an opinion.  The more contemporary the artist 
the more comfortable he or she probably is with cropping and certain other 
manipulations; to say that it's part of the common visual vocabulary today is 
something of an understatement.  I also think most website visitors probably 
take it for granted that what's on the homepage is graphic design, not a 
scholarly catalog.  That makes me like Matt's suggestion even more.  

Chris:  good luck!

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




-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Leonard 
Steinbach
Sent: Monday, December 12, 2016 7:18 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] Website image cropping

Building a bit on what Matt is saying, maybe a bit more simply from a rights 
issue.

1) Even if a museums owns a work, it does not necessarily own copyright unless 
it was specifically conveyed in whole or part with purchase (or if loaned - and 
similarly the lender may not have copyright.)  Whether you use an image in 
whole or part in use you are describing, the rights need to be cleared.

2) If even a copyright holder seems to give permission to use a work's image 
online, that  copyright holder may not have the right to permit the image to be 
used if cropped or otherwise manipulated because "moral rights"
under the Visual Artists Rights Act (VARA) or other laws (varies 
internationally, and some state laws may enhance) may apply. Under that
act, under the   "the right of integrity" enables artists to prevent the
intentional distortion mutilation or other modification of a work that is 
harmful to their honor or reputation. or the copyright holder if not the artist 
may not the right to permit such changes. See this doc on the subject 
<http://www.sparcinla.org/wp-content/uploads/downloads/DOC_4_SPARC_VARA.pdf> .
  I have no explicit cite on hand with respect to a digital image rather than 
an original work, but this is about "reputation" so  I believe it would apply.

Finally I am aware of the case of an exhibition of a major modern artist, whose 
Estate, which handled rights issues, absolutely, when asked, prohibited the use 
of a cropped image for the front fold of an exhibition brochure. Good thing 
they were asked.

Hope this helps (and please chime in if I have misconstrued something)



On Mon, Dec 12, 2016 at 11:38 AM, Matt Morgan <m...@concretecomputing.com>
wrote:

> It's a problem, yes!
>
> Whoever makes your printed posters can probably tell you how 
> frequently your exh. images need permission/input before cropping. In 
> my experience, on top of the literal rights issues, you also have the 
> personality issues.
> E.g., when an important person (artist, curator, donor, collector) 
> doesn't like the way something looks, you might not do it even if 
>

[MCN-L] website DMCA re-registration

[Amalyah Keshet]

Sending this along just in case anyone out there in MCN Land needs to know they 
 might need to re-register their website, and because I often find TechDirt 
refreshingly amusing, whatever it's other faults or merits.


https://www.techdirt.com/articles/20161201/18084736170/every-website-needs-to-re-register-with-copyright-office-who-cant-build-functioning-system.shtml


Neither refreshingly or amusingly it seems that the problems at the Library of 
Congress and the Copyright Office continue...



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


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[MCN-L] Fw: Internal image use policies

[Amalyah Keshet]

Perian:

Something else occurred to me.  We usually solve the cropping issue 
(internally) by adding "(detail)" to the image caption.  As in:

Natufian Espresso Machine (detail)
Metal, Pottery, Other Stuff
Early or Late Bronze Period Who Knows
Collection the National Teapot Museum

In fact, we suggest/require this of clients who make it clear from the outset 
that they intend to crop significantly.  It's a simple   one-word solution that 
provides accuracy when a crop makes sense graphically (as it very often does). 

The other issue your question raises is one I think is even more significant:  
metadata persistence, or rather the lack of it.
When we send off a digital file containing all our 
hard-thought-out-curatorially-accurate information, we have no assurance
that that metadata won't be wiped out on the way.  Social media platforms in 
partiular strip metadata.  The image loses any identification with your museum, 
and can pick up misleading "information" on its journey.  On the one hand, 
that's just the way it is, certainly in the PD universe.  But one wishes one 
could prevent the factual mistakes that can result, and the mis-attributions.  
I think metadata persistance is the issue we should be working on. 


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




From: mcn-l-boun...@mcn.edu <mcn-l-boun...@mcn.edu> on behalf of Amalyah Keshet 
<akes...@imj.org.il>
Sent: Friday, October 21, 2016 23:52
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] Internal image use policies

I see your point.
But it needn't "prohibit any efforts to ultimately adopt an open access policy 
for the public."
The public is not bound by your internal policies. If you make images of public 
domain works accessible,
obviously the public can do anything it pleases with them.  There is no 
curatorial vetting for those uses -- only your museum's.

Or to put it another way, your museum is free to continue to control how *it* 
uses images of PD works in its collections, just as the public is free to do 
otherwise.  Your museum's reproductions will retain the stamp of approval, 
authenticity, and integrity that your institution wants.

Does that make sense?

I would take the Rijksstudio project as an example.  Making their images of 
their PD collections free for the public to muck about with hasn't reduced the 
integrity of the Rijksmuseum's collections or photography one bit.


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




From: mcn-l-boun...@mcn.edu <mcn-l-boun...@mcn.edu> on behalf of Perian Sully 
<per...@emphatic.org>
Sent: Friday, October 21, 2016 19:44
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] Internal image use policies

Thanks everyone for your replies.

Amalyah, what I mean regarding internal use policies is exactly as you
stated - curators wishing to retain full control of representations of
objects in the collection. Currently, it's a blanket rule that everything,
regardless of copyright or sensitivity, needs to be run by curatorial
before the image is cropped or edited for use by all other departments. The
vast majority of the collection is public domain.

Obviously, this increases workloads for the staff and slows down production
of program materials, but it would also prohibit any efforts to ultimately
adopt an open access policy for the public. So I'm looking for the balance
between respect for collection representation/copyright and facilitating
access.

~P

On Thu, Oct 20, 2016 at 12:06 PM, Amalyah Keshet <akes...@imj.org.il> wrote:

> Hi Perian
>
> Rather depends on what you mean by "internal use policies". Could you
> clarify?
>
> If a work is in the public domain, it is no longer protected and anyone
> can reproduce it in any way they want, including cropping it, etc. Are you
> implying institutional policies that would override that?  Are you thinking
> of reproductions in catalogs, or in marketing materials, or on social
> media, or on signage...?
>
> I can think of situations in which a curator might object to misleading
> manipulation of a public domain work from the collection, and in fact the
> role of our institutions is to preserve the integrity of the works in our
> collections, but in general cropping for graphic reasons would be
> considered just that: a design decision, and those tend to be taken during
> the editorial / design process by those involved: curators, editors,
> graphic designers.
>
> If a work is still protected by copyright and (in some countries) by moral
> rights, then cropping or manipulation would require the approval of the
> artist or copyright holder.  That's not an "internal use" policy; let's
> call it best practice.

Re: [MCN-L] Internal image use policies

[Amalyah Keshet]

I see your point. 
But it needn't "prohibit any efforts to ultimately adopt an open access policy 
for the public."
The public is not bound by your internal policies. If you make images of public 
domain works accessible,
obviously the public can do anything it pleases with them.  There is no 
curatorial vetting for those uses -- only your museum's. 

Or to put it another way, your museum is free to continue to control how *it* 
uses images of PD works in its collections, just as the public is free to do 
otherwise.  Your museum's reproductions will retain the stamp of approval, 
authenticity, and integrity that your institution wants.  

Does that make sense?

I would take the Rijksstudio project as an example.  Making their images of 
their PD collections free for the public to muck about with hasn't reduced the 
integrity of the Rijksmuseum's collections or photography one bit.  


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




From: mcn-l-boun...@mcn.edu <mcn-l-boun...@mcn.edu> on behalf of Perian Sully 
<per...@emphatic.org>
Sent: Friday, October 21, 2016 19:44
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] Internal image use policies

Thanks everyone for your replies.

Amalyah, what I mean regarding internal use policies is exactly as you
stated - curators wishing to retain full control of representations of
objects in the collection. Currently, it's a blanket rule that everything,
regardless of copyright or sensitivity, needs to be run by curatorial
before the image is cropped or edited for use by all other departments. The
vast majority of the collection is public domain.

Obviously, this increases workloads for the staff and slows down production
of program materials, but it would also prohibit any efforts to ultimately
adopt an open access policy for the public. So I'm looking for the balance
between respect for collection representation/copyright and facilitating
access.

~P

On Thu, Oct 20, 2016 at 12:06 PM, Amalyah Keshet <akes...@imj.org.il> wrote:

> Hi Perian
>
> Rather depends on what you mean by "internal use policies". Could you
> clarify?
>
> If a work is in the public domain, it is no longer protected and anyone
> can reproduce it in any way they want, including cropping it, etc. Are you
> implying institutional policies that would override that?  Are you thinking
> of reproductions in catalogs, or in marketing materials, or on social
> media, or on signage...?
>
> I can think of situations in which a curator might object to misleading
> manipulation of a public domain work from the collection, and in fact the
> role of our institutions is to preserve the integrity of the works in our
> collections, but in general cropping for graphic reasons would be
> considered just that: a design decision, and those tend to be taken during
> the editorial / design process by those involved: curators, editors,
> graphic designers.
>
> If a work is still protected by copyright and (in some countries) by moral
> rights, then cropping or manipulation would require the approval of the
> artist or copyright holder.  That's not an "internal use" policy; let's
> call it best practice.
> There are artists who are fine with things like cropping; others are not.
>
> Amalyah Keshet
> Head of Image Resources & Copyright Management
> The Israel Museum, Jerusalem
>
>
>
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Re: [MCN-L] Internal image use policies

[Amalyah Keshet]

Hi Perian

Rather depends on what you mean by "internal use policies". Could you clarify?

If a work is in the public domain, it is no longer protected and anyone can 
reproduce it in any way they want, including cropping it, etc. Are you implying 
institutional policies that would override that?  Are you thinking of 
reproductions in catalogs, or in marketing materials, or on social media, or on 
signage...?

I can think of situations in which a curator might object to misleading 
manipulation of a public domain work from the collection, and in fact the role 
of our institutions is to preserve the integrity of the works in our 
collections, but in general cropping for graphic reasons would be considered 
just that: a design decision, and those tend to be taken during the editorial / 
design process by those involved: curators, editors, graphic designers.

If a work is still protected by copyright and (in some countries) by moral 
rights, then cropping or manipulation would require the approval of the artist 
or copyright holder.  That's not an "internal use" policy; let's call it best 
practice.
There are artists who are fine with things like cropping; others are not. 

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




From: mcn-l-boun...@mcn.edu <mcn-l-boun...@mcn.edu> on behalf of Perian Sully 
<per...@emphatic.org>
Sent: Thursday, October 20, 2016 01:53
To: Museum Computer Network Listserv
Subject: [MCN-L] Internal image use policies

Hi everyone:

I'm looking for a few examples of internal use policies for images,
especially for public domain or orphan works. Do you allow free cropping
and editing by staff or do you require curatorial approval before each use?
what kinds of materials have restrictions, if any?

Thanks in advance,

~Perian
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[MCN-L] FW: GIF IT UP Returns October 1

[Amalyah Keshet]

For those looking for a creative outlet…



From: Digital Public Library of America




GIF IT UP Returns October 1
Calling all gif makers, creatives, history nuts, animators, and more! GIF IT 
UP<http://www.us4.list-manage2.com/track/click?u=e1490d1305c4b651f3ad0ace4=5f631c6def=fe3de79bb9>
 -- DPLA's annual competition seeking innovative and endlessly looping uses of 
archival videos and images -- returns on October 1.
The rules are simple:

  1.  Find your favorite piece of copyright-free material from 
DPLA<http://www.us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=0d6091e02a=fe3de79bb9>,
 
Europeana<http://www.us4.list-manage2.com/track/click?u=e1490d1305c4b651f3ad0ace4=bcef0ab854=fe3de79bb9>,
 
Trove<http://www.us4.list-manage1.com/track/click?u=e1490d1305c4b651f3ad0ace4=3c35f79554=fe3de79bb9>,
 or 
DigitalNZ<http://www.us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=c564edfbfe=fe3de79bb9>
  2.  Create a sweet gif
  3.  Submit it for a chance to win some nifty prizes
To find out more about the 2016 competition, including available prizes and 
submission rules, visit 
https://dp.la/info/gif-it-up/.<http://www.us4.list-manage1.com/track/click?u=e1490d1305c4b651f3ad0ace4=26e9ad76d4=fe3de79bb9>
 In the lead up to the October 1st kick-off, here are some fun and easy ways 
that you can start your source material exploration and build your gif-making 
skills.
Where to Start? Explore DPLA and other participating digital libraries
GIF IT UP is all about exploring DPLA and the other participating digital 
libraries for the perfect piece of open content. If you're not sure what type 
of material you should be looking for when creating a gif, check out today's 
blog 
post<http://www.us4.list-manage1.com/track/click?u=e1490d1305c4b651f3ad0ace4=f0679aeac8=fe3de79bb9>
 for some helpful suggestions to get you started.
Need Inspiration? Check out past competition galleries
<http://www.us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=200a02ad37=fe3de79bb9>This
 is the third year of GIF IT UP, so we have an awesome array of gifs from our 
previous couple of competitions that may help get your creative juices flowing. 
Check out submissions and winners from 
2015<http://www.us4.list-manage2.com/track/click?u=e1490d1305c4b651f3ad0ace4=45ac2061e1=fe3de79bb9>
 and 
2014<http://www.us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=ed87ccb390=fe3de79bb9>
 for inspiration!
Join our free gif-making workshops
Interested in participating in this year's competition but aren't sure how to 
make a gif? Looking to sharpen your existing gif-making skills with some more 
advanced techniques? Look no further! We've enlisted the help of some gif 
experts to teach you how to get started with gifs using open materials and 
beyond.
Workshop #1: GIF-Making 101, Wed, September 21, 3pm – 4pm Eastern
Ever wondered how to make an animated gif? Join gif-making experts Shaelyn 
Amaio (Consultant at Lord Cultural Resources) and Derek Tulowitzky (Web, Social 
Media, and Outreach Manager at the Muncie Public Library) for an hour long 
webinar workshop on how to make gifs using open materials found in DPLA and 
other digital libraries. The workshop will cover what gifs are, how to find 
suitable materials in DPLA and elsewhere, and how to make a simple gif. This 
workshop is the first part of a two-part series leading up to the GIF IT UP 
2016 competition (October 1-31, 2016). Part two will cover advanced gif-making 
techniques. Attendees are encouraged but not required to attend both sessions.
Workshop #2: Advanced GIF-Making Techniques, Wed, September, 28, 3pm – 4pm 
Eastern
Join us for a hands-on, hour long workshop on how to use photo editing software 
to perform advanced gif-making techniques, such as how to use frame animation 
in order to make objects disappear and then reappear, move around, and change 
color. This workshop will be led by two seasoned gif-making vets, Richard 
Naples (Outreach and Education Technical Information Specialist at the 
Smithsonian Institution) and Darren Cole (Web and Social Media Manager at the 
National Archives and Records Administration's Office of Innovation). This 
workshop is part two of a two-part series leading up to the GIF IT UP 2016 
competition (October 1-31, 2016). Part one will provide a basic introduction to 
gifs and the materials used to make them. Attendees are encouraged but not 
required to attend both sessions.














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






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[MCN-L] FW: Collections as Data Symposium Library of Congress September 27th

[Amalyah Keshet]

Collections as Data conference, September 27, 2016
  

Learn How Researchers and Librarians Use Collections as Data in September 27th 
Symposium at Library of Congress- Free and Open to the Public



What happens when researchers with powerful computing tools meet massive 
digital collections? What discoveries are made? What new directions and best 
practices in scholarly research emerge?

Hear from scholars who have used digital collections to expand human 
understanding and from leaders in institutions that collect, organize, 
preserve, and provide digital collections as data. We invite you to attend the 
symposium, "Collections as Data: Stewardship and Use Models to Enhance Access," 
which will be held from 8:30 a.m. to 5:00 p.m. on Tuesday, September 27th, in 
the Coolidge Auditorium on the first floor of the Thomas Jefferson Building, 
101 Independence Ave. S.E., Washington, D.C. The event is free and open to the 
public. Advance registration is required. For a complete program of the day's 
events, visit http://digitalpreservation.gov/meetings/dcs16.html.

Jer Thorp, keynote speaker and co-founder of The Office for Creative 
Research, will open the symposium with a look at his 
organization's work making complex data sets accessible, thought-provoking, and 
ultimately more human.

Speakers will highlight efforts in the cultural heritage and digital humanities 
communities to enhance access to digital collections, help develop communities 
of practice and address rising concerns for data scholarship. The symposium 
will conclude with steps towards supporting computational research with 
"Collections as Data: Conditions of Possibility" by Thomas Padilla, Humanities 
Data Curator at the University of California Santa Barbara.
This event will be live-streamed. The link will be made available the day of 
the event on the conference page. Join the conversation on Twitter using 
#AsData.


Mike Ashenfelder
Library of Congress
101 Independence Avenue SE
Washington, DC 20540



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Re: [MCN-L] Audio/video metadata models

[Amalyah Keshet]

Wondering if there were any responses to this that could be shared.
Alan, is yours ready?

Amalyah Keshet
The Israel Museum, Jerusalem




-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Newman, 
Alan
Sent: Friday, October 02, 2015 8:28 PM
To: Museum Computer Network Listserv
Subject: [MCN-L] Audio/video metadata models


The National Gallery is interesting in seeing audio/video metadata models used 
by colleagues in cataloguing sound and moving image media in your DAMs and 
repositories.  Please share your av data dictionaries either here or direct to 
me.

We will reciprocate when ours is developed later this year.

many thanks
Alan Newman
National Gallery of Art
a-new...@nga.gov
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[MCN-L] FW: Of Mondrian cake and IP

[Amalyah Keshet]

>From  www.IPKat.com  and with regards to MCN colleagues at SFMOMA, from whom 
>we expect updates on their latest desserts:



"Cake plagiarism:  ... The [Mondrian] cake pictured is served at the San 
Francisco Museum of Modern Art (SFMOMA). It was originally developed by Caitlin 
Freeman, a pastry chef who ran the Museum's 5th Floor Blue Bottle Cafe.

When SFMOMA reopened after a major refurbishment, it did not renew Blue 
Bottle's contract, instead giving the space to a new company who are continuing 
to make the range of art inspired cakes developed by their predecessor. Freeman 
is understandably irritated by this: "if they didn't want what I was doing, 
then why is this happening?" she told the San Francisco Chronicle. There is no 
suggestion, however, that she is contemplating an IP infringement claim: "[the 
appropriation] is "tacky and gross but there's kind of nothing I can do about 
it" Freeman said. While it sounds like she has been treated badly by SFMOMA, 
Freeman has enjoyed success off the back of her work with the museum, seeing 
her Blue Bottle brand expand across the country and publishing the cookbook 
Modern Art Desserts."

Also:
https://news.artnet.com/art-world/sfmoma-pastry-plagiarism-504596


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




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[MCN-L] FW: U.S. Copyright Office Publishes “Draft Revision of the Library and Archives Exceptions in U.S. Copyright Law” (Section 108)

[Amalyah Keshet]

via @infoDOCKET.

19 pages; PDF.
Posted today, published in Federal Register tomorrow.

"The United States Copyright Office is inviting interested parties to discuss 
potential revisions relating to the library and archives exceptions in the 
Copyright Act, 17 U.S.C. 108, in furtherance of the Copyright Office’s policy 
work in this area over the past ten years and as part of the current copyright 
review process in Congress. The Copyright Office has led and participated in 
major discussions on potential changes to section 108 since 2005, with the goal 
of updating the provisions to better reflect the facts, practices, and 
principles of the digital age and to provide greater clarity for libraries, 
archives, and museums.

To finalize its legislative recommendation, the Copyright Office seeks further 
input from the public on several remaining issues, including, especially, 
provisions concerning copies for users, security measures, public access, and 
third-party outsourcing. The Copyright Office therefore invites interested 
parties to schedule meetings in Washington, DC to take place during late June 
through July 2016, using the meeting request form referenced below."

Full Text:
https://s3.amazonaws.com/public-inspection.federalregister.gov/2016-13426.pdf

Embedded here:
http://www.infodocket.com/2016/06/06/u-s-copyright-office-publishes-draft-revision-of-the-library-and-archives-exceptions-in-u-s-copyright-law-section-108/



Gary D. Price, MLIS
Co-Founder and Editor, Library Journal's infoDOCKET Information Industry 
Analyst Librarian

http://infoDOCKET.com
@infodocket
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[MCN-L] FW: CNET Begins Publishing Crowdsourced Sci-Fi Novel, First Installment Now Online

[Amalyah Keshet]

Just because it's cool (and gets one thinking about crowdsourcing creativity in 
general):





-
[Insert your disclaimer here]
-

-Original Message-

>From CNET:

"Six months after we asked readers to help us write a science fiction novel, we 
present "Crowd Control," CNET's first work of crowdsourced fiction. Hundreds of 
contributors -- more than 120 whose names we know and many more anonymous -- 
collaborated via a single Google Doc, working under a Creative Commons license 
to shape a rough draft of a story. That draft is still online for anyone to 
take from or build upon, and CNET edited and expanded it to create our own 
version of the story, which comes in at almost 50,000 words. We will publish 
that story on CNET daily on weekdays over the next four to five weeks, along 
with more inside details on how it came to be. "

Read the First Installment and Access Google Doc Draft

http://www.cnet.com/news/crowd-control-our-crowdsourced-science-fiction-novel-starts-here/


http://infoDOCKET.com
@infodocket
_______



Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
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Re: [MCN-L] Rights Statements

[Amalyah Keshet]

Sarah:

To answer your question (better late than never, I hope):

Rightsstatements.org deals only with copyrights, not property rights.  I have 
been in touch with the project and will be wiser about it soon. (Ah, words I've 
been using all my life?)  But I believe that's correct.

"RightsStatements.org is a collaborative approach to rights statements that can 
be used to communicate the copyright status of cultural objects."

Property law, collection registration, ownership, contracts and agreements, 
local laws governing historical properties, are all a different kettle of fish. 
 Yes, they can meet in certain instances, but it is generally useful to 
separate physical property concerns from copyright (reproduction) concerns.  
The former is tangible property and the latter is Intellectual Property.

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




-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Sarah 
Clark
Sent: Tuesday, April 19, 2016 8:26 PM
To: mcn-l@mcn.edu
Subject: [MCN-L] Rights Statements

After taking a quick look at the Rights Statements (at 
http://rightsstatements.org/page/1.0/?language=en ), I'm having difficulty 
determining which statements might support my museum's desire to protect its 
rights regarding physical materials that it owns.  My understanding has been 
that collections we own (and our photographs of them) are protected by civil 
and contract law.  Has anyone else out there encountered that concern?

Sarah Clark
Curator
Historic Richmond Town, Staten Island Historical Society
441 Clarke Avenue, Staten Island, NY  10306 718-351-1611, ext. 272 
www.historicrichmondtown.org

Explore our collections at:
http://historicrichmondtown.org/treasures/online-collections-database



-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of 
mcn-l-requ...@mcn.edu
Sent: Friday, April 15, 2016 6:49 AM
To: mcn-l@mcn.edu
Subject: mcn-l Digest, Vol 128, Issue 8

Send mcn-l mailing list submissions to
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To subscribe or unsubscribe via the World Wide Web, visit
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Today's Topics:

   1. FW: Announcing the launch of RightsStatements.org (Amalyah Keshet)
   2. Re: FW: Announcing the launch of RightsStatements.org
  (Brooks, Flora)
   3. Budget for Digital (Tim Rager)
   4. Re: Budget for Digital (Keir Winesmith)
   5. Re: Budget for Digital (Nik Honeysett)
   6. Re: Budget for Digital (Berg-Fulton, Tracey)
   7. Re: Budget for Digital (Douglas Hegley)
   8. Re: Budget for Digital (Nik Honeysett)
   9. Re: Budget for Digital (Bruce Wyman)
  10. Re: Budget for Digital (Trilce Navarrete)


--

Message: 1
Date: Thu, 14 Apr 2016 14:41:46 +0000
From: Amalyah Keshet <akes...@imj.org.il>
To: Museum Computer Network Listserv <mcn-l@mcn.edu>
Subject: [MCN-L] FW: Announcing the launch of RightsStatements.org
Message-ID: <4cb4d9a9ca644f46812a29ca6f5ec...@mailsrv2.imj.org.il>
Content-Type: text/plain; charset="utf-8"

Should be of interest to the MCN community:

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








From: Digital Public Library of America

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[MCN-L] FW: Day of Data - Submit One Day of Data

[Amalyah Keshet]

So reformatting to plain text entirely wiped out the critical link, which is 
https://duke.qualtrics.com/jfe/form/SV_0dqZNcnPqDEM5lH

Apologies for the repeat messages.  I wouldn't bother if it didn't sound like 
an interesting and potentially valuable project.





-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Amalyah 
Keshet
Sent: Monday, May 09, 2016 9:33 AM
To: Museum Computer Network Listserv
Subject: [MCN-L] FW: Day of Data - Submit One Day of Data

Okay, now in what I hope will be a readable format. (Why won't this listserv 
accept and render HTML messages? Is that really still an issue?)



[Apologies in advance for any cross-posts]

Call for participation in data collection for the Digitization Cost Calculator 
DAY OF DATA Submit one day of data!

Background:
Digitization is a costly business -- estimating expenses associated with a 
given digitization project, a fiscal year, or for a grant application, can feel 
disconnected from the reality of staffing, timelines, and true project costs. 
In 2014/15 the Digital Library Federation’s Assessment Interest Group developed 
a beta version of a Digitization Cost Calculator to help with digitization 
project planning by using contributed data to produce average estimates of 
costs and time for various aspects of the digitization process.
Over the past year we’ve redesigned the calculator’s interface and worked with 
the digital library community to choose and define processes that should be 
included in the new and improved calculator (see the processes and definitions 
document here). But now we need your help!

Call to action:
We can’t build the redesigned calculator unless the community contributes more 
data. We know that data is difficult to collect, so we are asking you to 
collect a single day of data to contribute to the calculator, in the month of 
June. You can choose one or more of the fields for which the calculator needs 
data. Please help us bring the new and improved calculator to life by signing 
up for the Day of Data and contributing data from your institution during the 
month of June.
Sign up to collect and contribute data for just one day in June!


FAQ:
What is Day of Data? Day of data is a low barrier, low time commitment way to 
contribute the critical pieces of missing data needed to move this important 
project forward. Because contributors are only asked to commit to tracking and 
submitting digitization data for one day in the month of June, a greater number 
of institutions are able to add their data to the creation of this 
community-driven tool.

What will I need to do? You will commit to timing yourself, staff, or student 
as you/they perform digitization processes during a single day. The areas in 
which you can contribute time data include image capture, descriptive metadata 
creation, quality control, various preparation processes such as condition 
review, rebinding, formatting, and various post-processing processes such as 
alignment/rotation, image cropping, and stitching.

What if we don’t perform all of the tasks mentioned, or can only track tasks 
for a few hours? That’s fine because the calculations are broken down by task – 
you only submit data for the specific tasks that you choose. Contributing 
whatever pieces of your process that are trackable in whatever increments you 
can track them in, is still incredibly helpful! You can also submit data from 
more than a single day.

When will I need to do it? Pick any day or time during the month of June that 
works for you!

What if we track(ed) time data for process X and process Y smushed together in 
one number? Unfortunately, we cannot use data that combines multiple processes 
-- your time data contributions will have to be separate for each process you 
contribute data for. Alternatively, you can collect sample data for one of the 
processes and then estimate the aggregate data out into pieces.

How will my institution benefit? You will have contributed to the creation of a 
freely-available tool (the Digitization Cost Calculator) that allows users to 
input their institution’s salary and benefits data, the amount of material 
being digitized, select which processes they will be undertaking, and then 
outputs cost and time data based on all aggregate contributed data. This tool 
will help many organizations in planning future projects and in articulating 
the true costs of digitization projects.

Will the information I contribute be associated with my institution?  Sort of. 
The data you submit will be aggregated by the calculator with all other data 
submissions and displayed as part of an average on the results screen when 
people use the calculator: No individual institution’s information will be 
discernible in the calculator. However, individual institutional data will be 
shown on the Notes About Data webpage

[MCN-L] FW: Day of Data - Submit One Day of Data

[Amalyah Keshet]

Okay, now in what I hope will be a readable format. (Why won't this listserv 
accept and render HTML messages? Is that really still an issue?)



[Apologies in advance for any cross-posts]

Call for participation in data collection for the
Digitization Cost Calculator
DAY OF DATA
Submit one day of data!

Background:
Digitization is a costly business -- estimating expenses associated with a 
given digitization project, a fiscal year, or for a grant application, can feel 
disconnected from the reality of staffing, timelines, and true project costs. 
In 2014/15 the Digital Library Federation’s Assessment Interest Group developed 
a beta version of a Digitization Cost Calculator to help with digitization 
project planning by using contributed data to produce average estimates of 
costs and time for various aspects of the digitization process.
Over the past year we’ve redesigned the calculator’s interface and worked with 
the digital library community to choose and define processes that should be 
included in the new and improved calculator (see the processes and definitions 
document here). But now we need your help!

Call to action:
We can’t build the redesigned calculator unless the community contributes more 
data. We know that data is difficult to collect, so we are asking you to 
collect a single day of data to contribute to the calculator, in the month of 
June. You can choose one or more of the fields for which the calculator needs 
data. Please help us bring the new and improved calculator to life by signing 
up for the Day of Data and contributing data from your institution during the 
month of June.
Sign up to collect and contribute data for just one day in June!


FAQ:
What is Day of Data? Day of data is a low barrier, low time commitment way to 
contribute the critical pieces of missing data needed to move this important 
project forward. Because contributors are only asked to commit to tracking and 
submitting digitization data for one day in the month of June, a greater number 
of institutions are able to add their data to the creation of this 
community-driven tool.

What will I need to do? You will commit to timing yourself, staff, or student 
as you/they perform digitization processes during a single day. The areas in 
which you can contribute time data include image capture, descriptive metadata 
creation, quality control, various preparation processes such as condition 
review, rebinding, formatting, and various post-processing processes such as 
alignment/rotation, image cropping, and stitching.

What if we don’t perform all of the tasks mentioned, or can only track tasks 
for a few hours? That’s fine because the calculations are broken down by task – 
you only submit data for the specific tasks that you choose. Contributing 
whatever pieces of your process that are trackable in whatever increments you 
can track them in, is still incredibly helpful! You can also submit data from 
more than a single day.

When will I need to do it? Pick any day or time during the month of June that 
works for you!

What if we track(ed) time data for process X and process Y smushed together in 
one number? Unfortunately, we cannot use data that combines multiple processes 
-- your time data contributions will have to be separate for each process you 
contribute data for. Alternatively, you can collect sample data for one of the 
processes and then estimate the aggregate data out into pieces.

How will my institution benefit? You will have contributed to the creation of a 
freely-available tool (the Digitization Cost Calculator) that allows users to 
input their institution’s salary and benefits data, the amount of material 
being digitized, select which processes they will be undertaking, and then 
outputs cost and time data based on all aggregate contributed data. This tool 
will help many organizations in planning future projects and in articulating 
the true costs of digitization projects.

Will the information I contribute be associated with my institution?  Sort of. 
The data you submit will be aggregated by the calculator with all other data 
submissions and displayed as part of an average on the results screen when 
people use the calculator: No individual institution’s information will be 
discernible in the calculator. However, individual institutional data will be 
shown on the Notes About Data webpage, another part of the Digitization Cost 
Calculator website. This allows calculator users to get a feel for the wide 
variation in time and in practice from institution to institution and project 
to project. Seeing the data apart from the aggregate average can also be 
helpful if a user feels their institution is more similar to one or more other 
institutions in the list, and allows them to calculate custom time estimates. 
The time period over which the data contribution was collected will also be 
displayed on the Notes About Data page.

What if I have some historical digitization data to 

[MCN-L] Fw: Day of Data - Submit One Day of Data

[Amalyah Keshet]

age, another part of the Digitization Cost Calculator website. This allows 
calculator users to get a feel for the wide variation in time and in practice 
from institution to institution and project to project. Seeing the data apart 
from the aggregate average can also be helpful if a user feels their 
institution is more similar to one or more other institutions in the list, and 
allows them to calculate custom time estimates. The time period over which the 
data contribution was collected will also be displayed on the Notes About Data 
page.

What if I have some historical digitization data to contribute now? Great, we’d 
love to have your historical data! Contributions are accepted on an ongoing 
basis, but please try to contribute whatever you can by the end of June 2016 so 
we can get the new calculator up and running!
How do I contribute historical data now? Send an email to 
joyce.chap...@duke.edu<mailto:joyce.chap...@duke.edu>, subject line Cost 
Calculator.
What if my historical data is in a different form than the cost calculator 
data?  That’s fine! Email  
joyce.chap...@duke.edu<mailto:joyce.chap...@duke.edu>, and we will help migrate 
the data into the right format.
What if we track(ed) only a part of the data you are looking for in our 
digitization workflow? That’s fine, and still very valuable. You can contribute 
just one piece of data -- you don’t have to have all the fields represented in 
the calculator.
How do I sign up to be a contributor? Use this short 
form<https://duke.qualtrics.com/jfe/form/SV_0dqZNcnPqDEM5lH>. We’ll follow-up 
with detailed instructions and by email in June.
I have more questions! Please feel free to contact Joyce Chapman with any 
additional questions about the project, being a contributor, or using the 
calculator: joyce.chap...@duke.edu<mailto:joyce.chap...@duke.edu>, 919-660-5889.

.
[http://geo.yahoo.com/serv?s=97359714/grpId=19568244/grpspId=1705520287/msgId=5491/stime=1462298480]Amalyah
 Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem
[http://y.analytics.yahoo.com/fpc.pl?ywarid=515FB27823A7407E=10001310322279=no=img=CP]
__,_._,___



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[MCN-L] Fw: [The IPKat] World IP Day - Anne Frank & Geo-blocking Special

[Amalyah Keshet]

From the Better Late Than Never department:


World IP Day has come and gone, but I thought some out there might be 
interested in the rather clear and concise statement (indeed a rarity) of 
what's going on in the EU currently on the copyright front.


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







[israel museum, jerusalem]<http://www.imjnet.org.il>
Amalyah Keshet
Head of Image Resources and Copyright Management
The Israel Museum, Jerusalem

Tel: 972-2-6708064
Cell: 972-54-6558768
Fax: 972-2-6771340
akes...@imj.org.il
[Israel Museum, Jerusalem] 
<https://www.facebook.com/pages/Israel-Museum-Jerusalem/5777654412>   The 
Israel Museum, Jerusalem 
<https://www.facebook.com/pages/Israel-Museum-Jerusalem/5777654412>
www.imj.org.il<http://www.imj.org.il>






























From: ipkat_read...@googlegroups.com <ipkat_read...@googlegroups.com> on behalf 
of Nicola Searle <no-re...@blogger.com>
Sent: Tuesday, April 26, 2016 10:50
To: ipkat_read...@googlegroups.com
Subject: [The IPKat] World IP Day - Anne Frank & Geo-blocking Special


​

Yes, it's that time of year again. That special day in the calendar we've all 
been waiting for, noses pressed against the glass, it's finally World IP day!

A group lead by Centrum Cyfrowe, Communia, and Kennisland have decided to 
celebrate the day by highlighting inconsistencies in copyright and 
geo-blocking.  According to the press release,
"On Tuesday 26 April, World Intellectual Property Day, the original, 
Dutch-language version of ‘The Diary of Anne Frank’ will be published online at 
annefrank.centrumcyfrowe.pl<http://annefrank.centrumcyfrowe.pl/>. This is the 
first time internet users are able to read the original writings of Anne Frank 
online. However, this publication is only available in Poland as Anne Frank’s 
original writings are still protected by copyright in most member states of the 
European Union. With this publication of the original version of the diary 
Centrum Cyfrowe<http://centrumcyfrowe.pl/english/>, 
Kennisland<https://www.kl.nl/en/> and the COMMUNIA International Association on 
the Public Domain<http://www.communia-association.org/> seek to highlight the 
absurdly long duration of copyright in the EU, as well as the fact that, 
contrary to general assumptions, the duration of copyright is still not 
harmonised across the EU and the troubling fact of geo-blocking which creates 
boundaries online."
As covered previously in the IPKat 
(here<http://ipkitten.blogspot.co.uk/2015/11/copyright-term-authorship-and-moral.html>
 and 
here<http://ipkitten.blogspot.co.uk/2016/01/le-journal-danne-frank-sufficiently.html>),
 Anne Frank's works have proved contentious in recent years with attempts by 
the Anne Frank Fonds to trade mark ‘Le Journal d’Anne Frank,' and add her 
father as a co-author and extend the diary's copyright protection.  The posting 
of the diary in Poland adds an additional layer of debate in that of 
geoblocking (covered recently by the IPKat 
here<http://ipkitten.blogspot.co.uk/2015/08/does-eu-want-to-get-rid-of-geoblocking.html>
 and 
here<http://ipkitten.blogspot.co.uk/2016/04/geoblocking-is-end-in-sight-through.html>.)




The case highlights the curious lack of copyright harmonisation across the EU, 
which goes against the 
single-market<https://en.wikipedia.org/wiki/Single_market> premise.  Under a 
single 
market<http://www.theguardian.com/business/2010/oct/26/single-market-act-michel-barnier>,
 capital, goods and services are freely able to move. This freedom requires 
moving towards harmonisation in domestic regulations, lower barriers to trade 
and reduced restrictions on labour mobility, among others. The goal is to 
create a trade bloc<https://en.wikipedia.org/wiki/Trade_bloc> which functions 
more like a single European economy, rather than a collection of smaller 
economies.  In theory, this creates a stronger economy that is able to compete 
internationally with other large economies such as the U.S. and China. In 
practice, well, geo-blocking is only one example of a number of 
contentious<http://www.debatingeurope.eu/debates/> issues.

So, on this 2016 World IP Day, have a think about the wider implications of IP. 
 If you're interested in celebrating with others, WIPO has an excellent 
map<http://www.wipo.int/ip-outreach/en/ipday/2016/map.html> of events around 
the world. If you're stuck at your desk, you can also catch up on last week's 
WIPO Conference on the Global Digital Content Market through their media page 
here<http://www.wipo.int/meetings/en/2016/global_digital_conference.html>. 
¡Feliz Día Mundial de la Propiedad Intelectual!



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[MCN-L] FW: Announcing the launch of RightsStatements.org

[Amalyah Keshet]

Should be of interest to the MCN community:

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








From: Digital Public Library of America

View this email in your 
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Announcing the launch of RightsStatements.org
In May 2015, the International Rights Statements Working Group released two 
white papers with our recommendations for establishing standardized rights 
statements for describing copyright and reuse status of digital cultural 
heritage materials, and the enabling technical infrastructure for those 
statements.   After working for nearly a year to implement the recommendations 
of the white papers, the Digital Public Library of 
America<http://us4.list-manage2.com/track/click?u=e1490d1305c4b651f3ad0ace4=e223c54854=fe3de79bb9>
 and 
Europeana<http://us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=b9e134dcc1=fe3de79bb9>
 are proud to announce the launch of 
RightsStatements.org<http://us4.list-manage1.com/track/click?u=e1490d1305c4b651f3ad0ace4=a6c0287457=fe3de79bb9>.
In partnership with Creative 
Commons<http://us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=0bc65e6c38=fe3de79bb9>,
 
Kennisland<http://us4.list-manage2.com/track/click?u=e1490d1305c4b651f3ad0ace4=3578bf53ab=fe3de79bb9>
 and key stakeholders of the DPLA and Europeana networks, RightsStatements.org 
is a collaborative approach to rights statements that can be used to 
communicate the copyright status of cultural objects.  As aggregators of 
cultural heritage materials, this work is key to both DPLA and Europeana, as we 
both seek to share clear and accurate information about copyright status with 
our users.
In this cooperative effort, we have built a flexible system of rights 
statements that allows our contributing cultural heritage partners, who hold 
the digital works, to clearly communicate to users what they can or cannot do 
with the objects they discover.  Use of the statements also means that use of 
the data can become more standardized across the world.
There are three categories of rights statements: Statements for works that are 
in copyright, statements for works that are not in copyright, and statements 
for works where the copyright status is unclear. The statements provide users 
with easy to understand, high-level information about the copyright and re-use 
status of digital objects.
The rights statements have been designed with both human users and machine 
users, such as search engines, in mind, and are published as a linked data 
vocabulary. Each rights statement has its own Uniform Resource Identifier (URI).
The Digital Public Library of America plans to begin implementing these unique 
rights statements with our partners in the summer of 2016, and those efforts 
are expected to continue into 2017.  Europeana will integrate the new rights 
statements into its existing Licensing Framework in the second half of 2016 
after having consulted with their contributing institutions.
The work of the International Rights Statements Working Group has been funded 
in large part by the John S. and James L. Knight Foundation.  The working group 
wishes to acknowledge and thank the Knight Foundation for support of this 
important work.  Thanks also goes to the European Commission as the funder the 
Europeana DSI project, which facilitated this work.
Europeana

Europeana<http://us4.list-manage1.com/track/click?u=e1490d1305c4b651f3ad0ace4=2f50c27152=fe3de79bb9>

[MCN-L] FW: 3D/DC 2016: 3D Printing Returns to Capitol Hill on April 14!

[Amalyah Keshet]

May be of interest to those lucky MCNers in the DC area:








From: Public Knowledge [mailto:p...@publicknowledge.org]
Sent: Tuesday, March 15, 2016 10:16 PM
To: Amalyah Keshet
Subject: 3D/DC 2016: 3D Printing Returns to Capitol Hill on April 14!


It’s that time of year again - 3D printing is coming back to Washington for our 
fifth annual 3D/DC event on Capitol Hill. Mark your calendars now for Thursday, 
April 14th.

3D/DC is the premier 3D printing policy event of the 
year<https://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.publicknowledge.org%2Fnews-blog%2Fblogs%2F3d-dc-2016-3d-printing-returns-to-capitol-hill-on-april-14=124c5d1da307e6a4fa2e68c5fff93853_source=publicknowledge_medium=email_campaign=3ddc_2016=2>,
 bringing together the 3D printing community with the world of policy. This 
year’s event will be bigger than ever, featuring panels on STEAM Education, the 
Environment, Bridging the Workforce Skills Gap, Social Impact, and the Arts 
followed by an interactive reception and exhibition. Check out our 
video<https://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DYxh22gHM3eQ=124c5d1da307e6a4fa2e68c5fff93853_source=publicknowledge_medium=email_campaign=3ddc_2016=3>
 below and RSVP 
here<https://publicknowledge.nationbuilder.com/r?u=http%3A%2F%2Fwww.eventbrite.com%2Fe%2F3ddc-2016-tickets-22550736861=124c5d1da307e6a4fa2e68c5fff93853_source=publicknowledge_medium=email_campaign=3ddc_2016=4>!


What: The 5th Annual 3D/DC

When: Thursday, April 14th from 10am to 8pm

Where: Panel Programming in Rayburn House Office 
Building<https://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.google.com%2Fmaps%2Fplace%2FRayburn%2BHouse%2BOffice%2BBldg%2C%2BWashington%2C%2BDC%2B20515%2F%4038.8867769%2C-77.0127457%2C17z%2Fdata%3D%213m1%214b1%214m2%213m1%211s0x89b7b780a1ced5d3%3A0x29b15a125c8f6e70%3Fshorturl%3D1=124c5d1da307e6a4fa2e68c5fff93853_source=publicknowledge_medium=email_campaign=3ddc_2016=6>
 (Room B340) and Reception in the Rayburn Cafeteria

We’re also adding an afternoon of Congressional visits for members of the 3D 
printing community on Wednesday, April 13th. Interested in taking part in 
Wednesday’s activities? Email Courtney Duffy at 
du...@publicknowledge.org<mailto:du...@publicknowledge.org>.

RSVP for #3DDC2016 
here<https://publicknowledge.nationbuilder.com/r?u=http%3A%2F%2Fwww.eventbrite.com%2Fe%2F3ddc-2016-tickets-22550736861=124c5d1da307e6a4fa2e68c5fff93853_source=publicknowledge_medium=email_campaign=3ddc_2016=7>.
 See you next month!


Tweet 
this<https://publicknowledge.nationbuilder.com/r?u=http%3A%2F%2Fctt.ec%2Fe5Ja8=124c5d1da307e6a4fa2e68c5fff93853_source=publicknowledge_medium=email_campaign=3ddc_2016=9>:
 Save The Date! @publicknowledge is bringing #3Dprinting back to DC on April 
14th with #3DDC2016 http://goo.gl/ZYQDeF


Public Knowledge · 1818 N St NW, Suite 410, Washington, DC 20036, United States

You can also keep up with Public Knowledge on 
Twitter<https://publicknowledge.nationbuilder.com/r?u=http%3A%2F%2Ftwitter.com%2Fpublicknowledge=124c5d1da307e6a4fa2e68c5fff93853_source=publicknowledge_medium=email_campaign=3ddc_2016=11>
 or 
Facebook<https://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.facebook.com%2Fpublicknowledge%2F=124c5d1da307e6a4fa2e68c5fff93853_source=publicknowledge_medium=email_campaign=3ddc_2016=12>.



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Re: [MCN-L] Happy 20th Birthday, MCN-L!

[Amalyah Keshet]

Wow - I actually remember this (and the decision to create an Internet SIG).  
We've been talking about this stuff for 20 years?!

Just for fun, go to the next message after the inaugural MCN-L post (below).  
Hi Richard!  Still hacking browsers?

I agree with Rob:  this list has been the stalwart fortress of " peer-to-peer, 
collegial help" from a community of amazingly smart and generous
colleagues.  May it continue to thrive for another 20 years.

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





-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Rob 
Lancefield on lists
Sent: Wednesday, March 09, 2016 4:26 PM
To: mcn-l@mcn.edu
Subject: [MCN-L] Happy 20th Birthday, MCN-L!

Hi everyone,

Just for fun, it's worth noting that today is MCN-L's 20th birthday. The list 
launched on March 9, 1996: back when HTML 2.0 was the latest, greatest version, 
as were Macintosh System 7.5.3 and Windows 95. 1996 also was the year when the 
first significant number of museum websites launched in all their initial 
glory,* some using what was then cutting-edge, table-based layout.** Which is 
to say, it was a long time ago--so long ago that it still made sense to have an 
MCN Internet SIG!

If you're curious about the inaugural MCN-L post, it's in the archive:

<https://www.mail-archive.com/mcn-l%40mcn.edu/msg09558.html>

It's pretty remarkable how much knowledge the MCN community has shared on this 
list over the years, how many helpful leads so many people have suggested and 
harvested here, and how useful the list continues to be as we move 
forward--even as other information-sharing channels, spaces, apps, and 
platforms flow and ebb, and often fade away. Imagine all the things thousands 
of people have accomplished more effectively over two decades with 
peer-to-peer, collegial help from this list.

Happy birthday, MCN-L, and many more.

cheers,
Rob

* Several museum websites from 1996 are represented on this page:
<http://museumnerd.org/2014/03/13/10-vintage-museum-web-pages-from-the-1990s/>

** This was so early in the history of the Web that the formal RFC for HTML 
Tables actually wouldn't be published for another two months, but tables were 
coming into use: <https://tools.ietf.org/html/rfc1942>

--
Rob Lancefield
Manager of Museum Information Services / Registrar of Collections Davison Art 
Center, Wesleyan University
301 High Street, Middletown CT 06459-0487 USA rlancefield [at] wesleyan [dot] 
edu  |  tel. 860.685.2965 ___
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[MCN-L] FW: “Amber”, A New, Free Digital Preservation Tool for Web Content Publishers

[Amalyah Keshet]

Of possible interest:




“Say Hello to “Amber”, A New, Free Digital Preservation Tool for Web Content 
Publishers From Harvard’s Berkman Center”

http://www.infodocket.com/2016/01/28/say-hello-to-amber-a-new-digital-preservation-tool-free-for-bloggers-website-owners-from-harvards-berkman-center/











Amalyah Keshet

Head of Image Resources & Copyright Management

The Israel Museum, Jerusalem













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[MCN-L] FW: CMoG Photography Department Instagram over

[Amalyah Keshet]

Taking the liberty of forwarding this (below) because it’s rather cool:




Our Assistant Photographer, Allison Lavine and Luce Photographic Imaging 
Assistant, Lauren Bell, led an "Instagram takeover" of the museum's account 
this week to showcase the variety of work going on in the Photography 
Department.

If you have a few moments, take a look. I think they did a great job and had a 
lot of fun, too.

Andy

Corning Museum of Glass (@corningmuseum) • Instagram photos and 
videos




















Andrew Fortune

Collections Photography Department Manager

The Corning Museum of Glass
__






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[MCN-L] David Bowie and the demise of copyright

[Amalyah Keshet]

MCN’ers:

A small provocative tribute to David Bowie:


“The absolute transformation of everything that we ever thought about music 
will take place within 10 years, and nothing is going to be able to stop it. I 
see absolutely no point in pretending that it's not going to happen. I'm fully 
confident that copyright, for instance, will no longer exist in 10 years, and 
authorship and intellectual property is in for such a bashing.''

''Music itself is going to become like running water or electricity,'' he 
added. ''So it's like, just take advantage of these last few years because none 
of this is ever going to happen again. You'd better be prepared for doing a lot 
of touring because that's really the only unique situation that's going to be 
left. It's terribly exciting. But on the other hand it doesn't matter if you 
think it's exciting or not; it's what's going to happen.''   David Bowie, 2002
http://www.nytimes.com/2002/06/09/arts/david-bowie-21st-century-entrepreneur.html


And just as an aside:

https://www.techdirt.com/articles/20160111/18000633302/why-radio-stations-probably-couldnt-just-play-david-bowie-music-as-tribute-copyright-law-is-messed-up.shtml

Last night, a local station played all of Bowie’s last album, Blackstar, track 
by track.  No idea if that was legal in my country or not.  But it sure was 
great.


Amalyah Keshet











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Re: [MCN-L] Public Domain Day 2016 and Fair Use Week 2016

[Amalyah Keshet]

...and Fair Use Week will be 21 February - 26 February.  

http://www.arl.org/events/upcoming-events/event/192


Amalyah Keshet

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Heidi 
Raatz
Sent: Tuesday, January 05, 2016 5:44 PM
To: mcn-l@mcn.edu
Subject: [MCN-L] Public Domain Day 2016

Hi all,

Diane, thanks for the cross-posting. Personally, I love to give a shoutout to 
the PD graduating class via my own Twitter, but that's a great suggestion to 
also get our official museum social(s) accounts on board.

Peter, et al. - rest assured all of the object records for works in our 
collection are reviewed on an item by item basis to make such determinations. 
What we deal with here, by in large, are unpublished works.
Matter of fact, I'm now puzzling a bit over the status of a facsimile edition, 
published 1987, of a 1922 publication by an artist (Robert Mallet-Stevens, 
French, 1886-1945
<https://en.wikipedia.org/wiki/Robert_Mallet-Stevens>) who passed away in
1945 [specifically, Une Cite Moderne, Dessins de Rob. Mallet-Stevens 
Architecte, Pub.  Murlot, Paris 1987]. Thoughts on this definitely appreciated.

All best,
Heidi

--
Heidi S. Raatz, MLIS
Visual Resources Librarian | Permissions Officer Minneapolis Institute of Art
2400 Third Avenue South
Minneapolis, MN  55404

612.870.3196 | hra...@artsmia.org | www.artsmia.org | VisRes Request Form 
[internal use] <http://ow.ly/43q4p>
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Re: [MCN-L] digital file archiving

[Amalyah Keshet]

I have a feeling we ALL want your more information!

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





-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Michael 
Rippy
Sent: Tuesday, January 05, 2016 11:49 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] digital file archiving

Hey Jenn,

We have a very simple plan for long-term archiving that is very cost effective. 
Let me know if you want more information.

Thank you

On Tue, Jan 5, 2016 at 3:40 PM, Jennifer Schmitt <jschm...@decordova.org>
wrote:

> Hello -
>
> Does anyone out in the MCN community have a digital file archiving
> policy and/or strategy they can share?  We have a ridiculous amount of
> data, plenty from many years ago that does not need to be available on
> a daily basis but should be kept for historical purposes. How have
> other small/medium-sized museums handled this issue? I would
> appreciate any thoughts or guidance on how best to manage years worth
> of exhibition materials and photos.
>
> Thanks!
>
> Jenn Schmitt
>
> --
> *Jennifer Schmitt* | Head of Information Technology and Electronic
> Communications | *deCordova Sculpture Park and Museum* | 51 Sandy Pond
> Road, Lincoln, MA 01773 | *T* 781.259.3626
>
> ___
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> Computer Network (http://www.mcn.edu)
>
> To post to this list, send messages to: mcn-l@mcn.edu
>
> To unsubscribe or change mcn-l delivery options visit:
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>
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> http://www.mail-archive.com/mcn-l@mcn.edu/
>
>
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Re: [MCN-L] LAM interoperability SIG?

[Amalyah Keshet]

Stefano:

There are a large number of librarians and archivists on this list!

My feeling is, don't dilute this by derailing it off to a sub-list.  Look what 
a response you got by posting on the main list!

Amalyah




-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Stefano 
Cossu
Sent: Wednesday, November 18, 2015 6:36 PM
To: mcn-l@mcn.edu
Subject: Re: [MCN-L] LAM interoperability SIG?

Hi Amalyah,
Although I have found Google groups very easy to set up and manage, I have no 
strong opinion on which platform this discussion should be hosted.

My main point here is whether we should keep the discussion in the main MCN 
list or on a separate one. The reason for the latter choice would be to help 
involving librarians and archivists not directly concerned with other museum 
technology topics. Maybe a sub-list within the mcn-l would be possible?

Given the broad audience who joined this thread only from the MCN list within a 
short time, however, I don't think this is a critical issue at the moment.

Thanks,
Stefano


On 11/18/2015 06:00 AM, mcn-l-requ...@mcn.edu wrote:
> Message: 4
> Date: Wed, 18 Nov 2015 09:48:06 +
> From: Amalyah Keshet<akes...@imj.org.il>
> To: Museum Computer Network Listserv<mcn-l@mcn.edu>
> Subject: Re: [MCN-L] LAM interoperability SIG?
> Message-ID:<74af28f834f34dea85a254803d937...@mailsrv2.imj.org.il>
> Content-Type: text/plain; CHARSET=US-ASCII
>
> Stefano:
>
> The MCN listserv is the perfect place to discuss this.  That's what it exists 
> for.  Anyone can join, it's open and uncomplicated.  Google groups and such 
> are more complicated (rather a pain, in fact, sometimes), and not everyone 
> has the time and patience to log into multiple platforms every day.  The 
> best, most highly professional, international discussion groups I (for one) 
> belong to are all listservs.
>
> Amalyah Keshet
>

--

Stefano Cossu
Director of Application Services, Collections

The Art Institute of Chicago
116 S. Michigan Ave.
Chicago, IL 60603
312-499-4026

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Re: [MCN-L] LAM interoperability SIG?

[Amalyah Keshet]

Stefano:

The MCN listserv is the perfect place to discuss this.  That's what it exists 
for.  Anyone can join, it's open and uncomplicated.  Google groups and such are 
more complicated (rather a pain, in fact, sometimes), and not everyone has the 
time and patience to log into multiple platforms every day.  The best, most 
highly professional, international discussion groups I (for one) belong to are 
all listservs.

Amalyah Keshet





-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Stefano 
Cossu
Sent: Tuesday, November 17, 2015 9:58 PM
To: mcn-l@mcn.edu
Subject: Re: [MCN-L] LAM interoperability SIG?

All,
Thank you so much for your interest and for the very insightful contributions.

Given the large number of interested parties, I am wondering if we should kick 
off a separate mailing list (Google groups or such) so we can more easily reach 
out to other communities. I still think that we can target the next MCN 
conference for an in-person meeting, while we distill ideas in the mailing list.

Thoughts?

Stefano


On 11/17/2015 12:56 PM, mcn-l-requ...@mcn.edu wrote:

--

Stefano Cossu
Director of Application Services, Collections

The Art Institute of Chicago
116 S. Michigan Ave.
Chicago, IL 60603
312-499-4026

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Re: [MCN-L] LAM interoperability SIG?

[Amalyah Keshet]

Count me in.  Glad to see so much interest in the subject.

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




-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Cathryn 
Goodwin
Sent: Monday, November 16, 2015 9:14 PM
To: Museum Computer Network Listserv
Cc: Niki Krause; David Wilcox
Subject: Re: [MCN-L] LAM interoperability SIG?

I would be interested as well -

Cathryn

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Stefano 
Cossu
Sent: Monday, November 16, 2015 1:12 PM
To: mcn-l@mcn.edu
Cc: Niki Krause; David Wilcox
Subject: [MCN-L] LAM interoperability SIG?

Hello,
It was exciting to host a lively conversation at the last MCN conference about 
Libraries, Archives and Museums (topics: [1]; slides: [2]). I am happy to see 
that many colleagues are interested in tearing down the barriers between 
bibliographical, archival and collection records within museums, as well as 
promoting the exchange of information and technologies between Cultural 
Heritage institutions.

I think the session sparked quite some interest and raised important topics 
from many of the participants. I also believe that this conversation needs to 
be brought forward.

This mailing list may be a good place to follow up that conversation. I would 
love to propose a similar session for next MCN, actually even closer to a 
round-table discussion than to a panel.

If enough people are interested, I would also propose to create a special 
interest group for this topic. Goal of the SIG would be torefine the core 
topics that we brought up at the conference using this mailing list, and then 
meet in person at the next MCN with a distilled down list of action items.

Anyone interested in this proposal is welcome to respond.

Thanks,
Stefano

[1] http://sched.co/3tND
[2]
http://www.slideshare.net/StefanoCossu/librarries-archives-museums-discussion-mcn-2015
--

Stefano Cossu
Director of Application Services, Collections

The Art Institute of Chicago
116 S. Michigan Ave.
Chicago, IL 60603
312-499-4026

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[MCN-L] FW: Fair Use in the Digital Age: REFLECTIONS ON THE FAIR USE DOCTRINE

[Amalyah Keshet]

For those in the D.C. area.  Should be an interesting event:


Subject: Join Us Nov.12 for the Fourth Annual Peter A. Jaszi Distinguished 
Lecture on IP




Having trouble viewing this e-mail? View it in your 
browser<http://emarketing.wcl.american.edu/private/Mp2o/6kD/6ZHwx7T/browse/25105049>

















You are cordially invited to
The Fourth Annual
Peter A. Jaszi Distinguished Lecture
on Intellectual Property

  With
JUDGE PIERRE N. LEVAL
of the United States Court of Appeals for the Second Circuit

Fair Use in the Digital Age:

REFLECTIONS ON THE FAIR USE DOCTRINE
IN COPYRIGHT LAW

November 12, 2015

American University
Washington College of Law
4801 Massachusetts Avenue, NW

Register to attend or view the live webcast
at 
pijip.org/judgeleval<http://emarketing.wcl.american.edu/c/25105049/30227/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fjudgeleval%2F>


Judge Leval will discuss the role of the fair use doctrine within the structure 
of copyright law. In addition to his work from the bench, Judge Leval is 
renowned for his article, Toward a Fair Use Standard, published in 1990 in the 
Harvard Law Review. The Supreme Court relied heavily on the article in its 
landmark opinion Campbell v. Acuff-Rose, which articulates the concept of 
transformative use in fair use cases.
PIJIP’s Distinguished Lecture on Intellectual Property Law is named in 
recognition of the continuing contributions of Professor Peter Jaszi to the 
study of intellectual property law.






Past Event Archived Webcasts

Sep 17: Public Interest Copyright Advocacy and Fair Use Education: 1995-2015 
(Website<http://emarketing.wcl.american.edu/c/25105049/30229/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fcopyrightadvocacy2015%2F>)

Jun 12: Patent Pledges Symposium 2015 – Presented by AU Washington College of 
Law and the University of Utah – S.J. Quinney College of Law 
(Website<http://emarketing.wcl.american.edu/c/25105049/30231/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fevents%2Fpatent-pledges-symposium-2015%2F>)

Jun 3: PIJIP Summer Sessions Welcoming Reception and Distinguished Lecture: 
Strategies for Eco-Innovation: Open Source or Orthodox IP? 
(Website<http://emarketing.wcl.american.edu/c/25105049/30235/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fevents%2Fmar15advising>)

Mar. 31: Supreme Court Series: Commil USA, LLC v. Cisco Systems, Inc. 
(Website<http://emarketing.wcl.american.edu/c/25105049/30237/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fevents%2Fcommil%2F>)

Mar. 31: Supreme Court Series: Kimble v. Marvel Enterprises, Inc. 
(Website<http://emarketing.wcl.american.edu/c/25105049/30239/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fevents%2Fkimble%2F>)














4801 Massachusetts Ave NW, Washington DC 20016
http://www.wcl.american.edu/pijip<http://emarketing.wcl.american.edu/c/25105049/30241/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.wcl.american.edu%2Fpijip%2F>/
 | pi...@wcl.american.edu<mailto:pi...@wcl.american.edu>



[http://emarketing.wcl.american.edu/v/25105049/6ZHwx7T/Mp2o]
[X]
Amalyah Keshet
Head of Image Resources & Copyright Management
The Israel Museum, Jerusalem



[Insert your disclaimer here]


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[MCN-L] FW: Happy Birthday: candles blown out on infamous copyright claim

[Amalyah Keshet]

" an appeal is inevitable..."  but for now, congratulations!

A.



-
[Insert your disclaimer here]
-

-Original Message-
Sent: 23 September, 2015 2:31 PM
To: ipkat_read...@googlegroups.com


"Happy Birthday to You" is notorious in copyright terms and frequently cited as 
a reason why copyright needs fundamental reform. The song, allegedly the most 
widely performed in the world, is over 100 years old, yet Warner-Chappell Music 
has asserted that it holds copyright in the lyrics and claims royalties in 
respect of any public performance.

However, US District Judge George H. King in the Central District of California 
has granted summary judgment to a group of plaintiffs who are taking a class 
action against Warner-Chappell, holding that Warner-Chappell do not hold any 
valid copyright in the Happy Birthday lyrics. As it was uncontested that the 
music was already out of copyright, this paves the way for unrestrained 
renditions of the Happy Birthday song in restaurants, them parks, recording 
studios and movie sets across the USA. The full Opinion can be accessed here, 
courtesy of Plainsite.org (document 244 at the top of the list at time of 
writing).


The party's over for Warner-Chappell, subject to any appeal.


The legal proceedings were reported in some detail by the 1709 Blog back in 
March. Briefly, the plaintiffs (who had been compelled to pay a royalty of some 
$1500 to Warner-Chappell) took a class action on behalf of those who had been 
similarly forced to pay such royalties. The judge bifurcated the proceedings, 
putting the financial and class action aspects on hold, pending a determination 
of the validity of the copyright.

The history of the Happy Birthday song is shrouded in much uncertainty, and 
indeed the judge was unable to resolve many of the facts sufficiently clearly 
to allow summary determination of many issues, holding that only a full trial 
could resolve the facts.

However, this much is known. Two sisters, Mildred and Patty Hill, wrote another 
song, Good Morning to All, which had the same melody and the same verse 
structure as Happy Birthday, some time before 1893. In the early 1900s there 
were references to the singing of a song called Happy Birthday to You but 
without full publication of the lyrics. These were however published in full in 
1911, and it is unclear if this was with the knowledge or consent of the Hill 
sisters (if it was with their consent, then their common law rights would have 
been extinguished and the subsequent copyright registration, purporting to 
copyright the lyrics, would have been invalid).
It was also unclear whether Patty Hill was the author of these lyrics, the 
first evidence for this being a claim she made in the 1930s, some 40 years 
after she claimed to have written the lyrics.


The pre-1893 song sharing the Happy Birthday melody

There was then a series of assignments and agreements covering various 
copyrights, from the Hill sisters to Clayton F. Summy, from whom 
Warner-Chappell derived their rights. Again it was unclear to the judge whether 
the Happy Birthday lyrics were ever assigned to Summy, it being more likely 
that they had assigned copyright in the melody and in a piano arrangement. 
Another major uncertainty was whether the copyright registration, on which 
Warner-Chappel have been relying for many years, in fact was a registration 
covering the lyrics, the judge holding that it was only evidence of a 
registration for a piano arrangement of the melody.

Ultimately, the lack of definitive evidence of an assignment of the Happy 
Birthday lyrics from the Hill sisters to Summy was held to be fatal. No 
determination was made on the factual question of whether the Hill sisters even 
wrote the famous lyrics, or whether they still had any common law rights in the 
lyrics by the time any copyright might have been registered, but these 
questions became immaterial once the judge had concluded that Warner-Chappell 
failed to show a valid chain of title from the Hill sisters in any event.

Merpel suspects that an appeal is inevitable, but for now, she welcomes the 
result and looks forward to caterwauling the Happy Birthday song at every 
opportunity when she next visits the USA.

--
Posted By Merpel to The IPKat on 9/23/2015 12:31:00 pm

   --
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[MCN-L] FW: Request for Proposals for RightsStatements.org

[Amalyah Keshet]

Just in case this is of interest to anyone out there in MCN-land, I’m 
forwarding the announcement below.  What I find intriguing is the partnership 
between the DPLA, Europeana, and Creative Commons.

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


http://lj.libraryjournal.com/2015/06/digital-content/dpla-europeana-creative-commons-collaborate-on-international-rights-statements/#_

https://cyber.law.harvard.edu/node/95344



From: Digital Public Library of America [mailto:info=dp...@mail46.us4.mcsv.net] 
On Behalf Of Digital Public Library of America

View this email in your 
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New Contract Opportunity: Request for Proposals for RightsStatements.org

The Digital Public Library of America 
(http://dp.la<http://us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=2e0200ac51=fe3de79bb9>)
 and Europeana 
(http://europeana.eu<http://us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=4d41a57d00=fe3de79bb9>)
 invites interested and qualified individuals or firms to submit a proposal for 
development related to the infrastructure for the International Rights 
Statements Working Group.
•   A PDF version of this request for proposals is also available at: 
http://dp.la/info/wp-content/uploads/2015/09/rs-rfp.pdf<http://us4.list-manage1.com/track/click?u=e1490d1305c4b651f3ad0ace4=557dec30fb=fe3de79bb9>
•   A PDF version of the Requirements for the Technical Infrastructure for 
Standardized International Rights Statements is available at: 
http://dp.la/info/wp-content/uploads/2015/09/irswg-tech-white-paper-rfp.pdf<http://us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=b155661dfd=fe3de79bb9>
Timeline
•   RFP issued: 18 September 2015
•   Deadline for proposals: 00:00 GMT, 6 October 2015
•   Work is to be performed no sooner than 8 October 2015.
•   Functional prototypes for components A and C must be completed by 24 
December 2015.
•   Work for components A, B, and C below must be completed by 15 January 
2016.
Overview

This document specifies the project scope and requirements for technical 
infrastructure supporting a framework and vocabulary of machine-readable rights 
statements under development by the International Rights Statements Working 
Group, a joint Digital Public Library of America (DPLA)–Europeana Foundation 
working group.
The working group shall provide and maintain RDF 
descriptions<http://us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=b4b623f5ed=fe3de79bb9>
 of the rights statements, with canonical serializations in 
Turtle<http://us4.list-manage1.com/track/click?u=e1490d1305c4b651f3ad0ace4=cf2ed5e166=fe3de79bb9>,
 modeled as a vocabulary in the Simple Knowledge Organization System 
(SKOS)<http://us4.list-manage.com/track/click?u=e1490d1305c4b651f3ad0ace4=603f3d18a8=fe3de79bb9>.
  These descriptions will include multiple official translations of each 
statement, and support versioning of the statements and/or vocabulary scheme. 
Alongside the descriptions statements, the working group will produce a summary 
of the data model and properties used.
The contractor will provide an impleme

[MCN-L] FW: Request for Proposals for RightsStatements.org

[Amalyah Keshet]

Well, that didn't go well.  No html allowed.

So, simply, here's the link:

http://us4.campaign-archive1.com/?u=e1490d1305c4b651f3ad0ace4=32476a652a=fe3de79bb9




-
[Insert your disclaimer here]
-

-Original Message-

Just in case this is of interest to anyone out there in MCN-land, I’m 
forwarding the announcement below.  What I find intriguing is the partnership 
between the DPLA, Europeana, and Creative Commons.

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

Related:
http://lj.libraryjournal.com/2015/06/digital-content/dpla-europeana-creative-commons-collaborate-on-international-rights-statements/#_

https://cyber.law.harvard.edu/node/95344



From: Digital Public Library of America [mailto:info=dp...@mail46.us4.mcsv.net] 
On Behalf Of Digital Public Library of America

New Contract Opportunity: Request for Proposals for RightsStatements.org

The Digital Public Library of America and Europeana invites interested and 
qualified individuals or firms to submit a proposal for development related to 
the infrastructure for the International Rights Statements Working Group.

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[MCN-L] FW: digital signatures on loan agreements

[Amalyah Keshet]

For no possibly explainable reason,  I just ran into this Tweet:

   Somebody needed my signature on an e-document. So I did a google image 
search, found one, and dropped it in. Not sure what it proved.

Analysis and interpretation entirely up for grabs.

Amalyah





[Insert your disclaimer here]


-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Amalyah 
Keshet
Sent: 23 August, 2015 10:18 AM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] digital signatures on loan agreements

Len's advice is spot on, as always.

99% of the time the digital signature is acceptable, but there are legal 
jurisdictions / situations in which it may not be.
If the loan is international, then the other country's laws have to be taken 
into account.

https://en.wikipedia.org/wiki/Electronic_signature#Enforceability_of_electronic_signatures
https://en.wikipedia.org/wiki/Digital_signatures_and_law

It's not such a bad idea to have a paper copy with a physical signature filed 
somewhere, to fall back on in case of future legal battles.  Just an extra 
precaution.  (Still a good idea to remember that we have no idea what will be 
renderable by software 20 or 30 years from now.)  Not critical for loan 
agreements, perhaps, but for donations/bequests/acquisitions.   Our policy:  
paper and real signature as the bottom line standard.  Digital copies and 
emails for everyday use.


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





-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edumailto:mcn-l-boun...@mcn.edu 
[mailto:mcn-l-boun...@mcn.edu] On Behalf Of Suzanne Quigley
Sent: 20 August, 2015 3:51 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] digital signatures on loan agreements

I just signed one yesterday with a digital signature. It never occurred to me 
that it might not be accepted. I saved the doc as a pdf before i emailed it. I 
don't see much difference between printing out the form, signing it, scanning 
it, saving it as a pdf and then emailing it- other than all the steps involved!
I'll be interested to hear what others say.

Suzanne Quigley
917 676 9039
ArtAndArtifactServices.com




 On Aug 19, 2015, at 3:59 PM, Ellen Stevens 
 estev...@mail.nysed.govmailto:estev...@mail.nysed.gov wrote:

 Anyone out there using electronic (digital) signatures for loan
 agreements or other common museum agreements?  If so, what methods do
 you use to verify the authenticity of the signature and the integrity
 of the document?  I’ve read a bit about third-party certificate
 authorities but I’m not clear on how (or if) this works in conjunction
 with products like Adobe Acrobat or how it differs from Adobe’s ‘Fill
 and Sign’ functionality?

 Any information you’d be willing to share would be appreciated as we
 are just getting started…..

 Thanks,
 Ellen M. Stevens, Collections Information Manager Research 
 Collections, New York State Museum CEC 3140 Albany, New York  12203
 518.408.1522
 ellen.stev...@nysed.govmailto:ellen.stev...@nysed.gov



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Re: [MCN-L] digital signatures on loan agreements

[Amalyah Keshet]

Len's advice is spot on, as always.

99% of the time the digital signature is acceptable, but there are legal 
jurisdictions / situations in which it may not be.
If the loan is international, then the other country's laws have to be taken 
into account.

https://en.wikipedia.org/wiki/Electronic_signature#Enforceability_of_electronic_signatures
https://en.wikipedia.org/wiki/Digital_signatures_and_law

It's not such a bad idea to have a paper copy with a physical signature filed 
somewhere, to fall back on in case of future legal battles.  Just an extra 
precaution.  (Still a good idea to remember that we have no idea what will be 
renderable by software 20 or 30 years from now.)  Not critical for loan 
agreements, perhaps, but for donations/bequests/acquisitions.   Our policy:  
paper and real signature as the bottom line standard.  Digital copies and 
emails for everyday use.


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





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[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Suzanne 
Quigley
Sent: 20 August, 2015 3:51 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] digital signatures on loan agreements

I just signed one yesterday with a digital signature. It never occurred to me 
that it might not be accepted. I saved the doc as a pdf before i emailed it. I 
don't see much difference between printing out the form, signing it, scanning 
it, saving it as a pdf and then emailing it- other than all the steps involved!
I'll be interested to hear what others say.

Suzanne Quigley
917 676 9039
ArtAndArtifactServices.com




 On Aug 19, 2015, at 3:59 PM, Ellen Stevens estev...@mail.nysed.gov wrote:

 Anyone out there using electronic (digital) signatures for loan
 agreements or other common museum agreements?  If so, what methods do
 you use to verify the authenticity of the signature and the integrity
 of the document?  I’ve read a bit about third-party certificate
 authorities but I’m not clear on how (or if) this works in conjunction
 with products like Adobe Acrobat or how it differs from Adobe’s ‘Fill
 and Sign’ functionality?

 Any information you’d be willing to share would be appreciated as we
 are just getting started…..

 Thanks,
 Ellen M. Stevens, Collections Information Manager Research 
 Collections, New York State Museum CEC 3140 Albany, New York  12203
 518.408.1522
 ellen.stev...@nysed.gov



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[MCN-L] FW: Sound Cloud files for audio tours

[Amalyah Keshet]

This just in, right on time:

http://www.infodocket.com/2015/08/11/wikimedia-commons-now-home-to-more-than-27-million-media-files-all-of-them-free-to-reuse-and-share/

https://commons.wikimedia.org/wiki/Category:Audio_files

Amalyah




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-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Amalyah 
Keshet
Sent: 16 August, 2015 10:50 AM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] Sound Cloud files for audio tours

Off the top of my head (or rather off the top of my bookmarks):

http://freemusicarchive.org/curator/Creative_Commons/

http://www.bmi.com/licensing/entry/museums

http://www.ascap.com/licensing/licensingfaq.aspx#general

http://www.iamusic.com/articles/copyright.html#Mechanical Rights

http://www.cmsimpact.org/blog/question-month/fair-use-question-about-non-profits-using-music


Good luck.  Share with us what you find out and what you decide to do in the 
end!

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




-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of 
Sternbergh, Margaret
Sent: 14 August, 2015 11:10 PM
To: mcn-l@mcn.edu
Subject: [MCN-L] Sound Cloud files for audio tours

Has anyone had any experience downloading Sound Cloud files for us on an audio 
tour? We are looking for a some low-cost or free musical recordings (Mozart, 
1930s jazz, etc) for an audio tour and wanted to see if anyone has done this 
before. I'm confused about the licensing arrangements- anyone have any insights?

Margaret Collerd Sternbergh
Gallery Interpretation Manager | Dept. of Learning  Interpretation The Museum 
of Fine Arts, Houston

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Re: [MCN-L] Sound Cloud files for audio tours

[Amalyah Keshet]

Off the top of my head (or rather off the top of my bookmarks):

http://freemusicarchive.org/curator/Creative_Commons/

http://www.bmi.com/licensing/entry/museums

http://www.ascap.com/licensing/licensingfaq.aspx#general

http://www.iamusic.com/articles/copyright.html#Mechanical Rights

http://www.cmsimpact.org/blog/question-month/fair-use-question-about-non-profits-using-music


Good luck.  Share with us what you find out and what you decide to do in the 
end!

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




-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of 
Sternbergh, Margaret
Sent: 14 August, 2015 11:10 PM
To: mcn-l@mcn.edu
Subject: [MCN-L] Sound Cloud files for audio tours

Has anyone had any experience downloading Sound Cloud files for us on an audio 
tour? We are looking for a some low-cost or free musical recordings (Mozart, 
1930s jazz, etc) for an audio tour and wanted to see if anyone has done this 
before. I'm confused about the licensing arrangements- anyone have any insights?

Margaret Collerd Sternbergh
Gallery Interpretation Manager | Dept. of Learning  Interpretation The Museum 
of Fine Arts, Houston

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[MCN-L] a million copyright-free antique illustrations released by the British Library

[Amalyah Keshet]

http://qz.com/462565/how-to-access-a-million-stunning-copyright-free-antique-illustrations-released-by-the-british-library/



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







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[MCN-L] FW: Will Happy Birthday finally be declared in the public domain?

[Amalyah Keshet]

The infamous publication issue is popping up everywhere!  This just in:



https://www.techdirt.com/articles/20150727/16042931768/happy-birthday-copyright-bombshell-new-evidence-warner-music-previously-hid-shows-song-is-public-domain.shtml



“Last minute evidence that completely turns a legal case on its head doesn't 
come about all that often -- despite what you see in Hollywood movies and TV 
shows. The discovery process in a lawsuit generally reveals most of the 
evidence revealed to everyone pretty early on. And yet... in the high profile 
lawsuit over the copyright status of the song Happy Birthday, the plaintiffs 
Good Morning to You Productions (who are making a documentary about the song 
and are arguing that the song is in the public domain) have popped up with a 
last minute filing, saying they have just come across evidence that the song is 
absolutely in the public domain.



Wouldn't you know it, the new evidence involves the date of publication of 
the song many, many years ago.



Yes, it's a museum-related issue.  We just finished creating and opening an 
exhibition called Happy Birthday on the occasion of our 50th anniversary -- 
without using the song,  since the case was still litigation.





Amalyah Keshet

Head of Image Resources  Copyright Management

The Israel Museum, Jerusalem










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[MCN-L] FW: Statement of Best Practices in Fair Use of Collections Containing Orphan Works

[Amalyah Keshet]

More on the subject, for those who might be interested:

Statement of Best Practices in Fair Use of Collections Containing Orphan Works
American University Washington College of Law, Fair Use Week, Thursday, 
February 26, 2015
Webcast recording available at  http://www.pijip.org/fairuse/owbp2015feb/

No zombies, but enlightening nevertheless.


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









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Re: [MCN-L] Copyright at the Museum: Using the Publication Doctrine to Free Art and History.

[Amalyah Keshet]

Excellent article on an extremely difficult point of US copyright law (even 
more difficult when viewed from abroad).  Thanks for posting.



The publication doctrine creates, depressingly, yet another class of “orphan 
works:”  orphans who might have parents, but are trapped in archives with 
little hope for release within a reasonable timeframe.   Peter Hirtle has, 
appropriately, called them “zombie” works:



“Archival collections are perhaps the purest representation of the “orphan 
works”‖ problem -- those works still protected by copyright whose current 
rights owners cannot be found because they either can’t be identified or can’t 
be located.  As an early speaker at this conference noted, they might better be 
called “zombie”‖ works. They are the living dead that nevertheless threaten us 
all with ruin. Archivists live every day with billions of “zombie”‖ copyrighted 
works created by the “life plus seventy”‖ term. 12 Consider this: I was 
recently told that the oldest work still protected by copyright in the U.K., 
which has a “life plus seventy”‖ term for published works, was published in 
1859. 13 (The author died in 1940.) That means, conceivably, any work created 
since 1859 could be protected by copyright. But we can assume that one is at 
least in young adulthood when the first publication appears (seventeen in the 
case of this poem), whereas an unpublished work could easily be from someone 
even younger. Furthermore, published authors have some degree of prominence and 
it may be possible to trace them; authors of unpublished works may be 
incredibly anonymous…”


Peter B. 
Hirtlehttp://academiccommons.columbia.edu/catalog?f%5bauthor_facet%5d%5b%5d=Hirtle,%20Peter%20B.,
 2010, Undue Diligence?, Columbia University Academic 
Commons,http://hdl.handle.net/10022/AC:P:10457





Now there’s a legal term I can relate to.   For more on zombies and the public 
domain:

http://www.mymodernmet.com/profiles/blogs/pride-and-prejudice-and?context=tag-literature





Amalyah Keshet

Head of Image Resources  Copyright Management

The Israel Museum, Jerusalem













-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Deborah 
Wythe
Sent: 27 July, 2015 3:09 PM
To: mcn-l@mcn.edu; mu...@yahoogroups.com
Subject: [MCN-L] Copyright at the Museum: Using the Publication Doctrine to 
Free Art and History.



Worth a read:



Copyright at the Museum: Using the Publication Doctrine to Free Art and History.







Deborah R. Gerhardt University of North Carolina (UNC) at Chapel Hill - School 
of Law; University of North Carolina (UNC) at Chapel Hill, September 5, 2014



http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2505041



Peter Hirtle commented on the article on the Archives and Archivists listserv:



There is an excellent discussion of the issue in Deborah Gerhardt's  recent 
article, Copyright at the Museum: Using the Publication Doctrine to Free Art 
and History 61 J.

Copyright Soc'y U.S.A. 393 (2014), available at SSRN: 
http://ssrn.com/abstract=2505041.



Gerhardt cites the opinion of the leading copyright treatise (Nimmer on 
Copyright):

[p]lacing  a work in a public file on or after January 1, 1978, clearly does 
not constitute an act of publication . . . . Some pre-1978 cases held that 
filing in a governmental office constitutes a publication. However, the better 
view was that such filing did not constitute a publication.



Gerhardt then looks at the actual cases involving publication.  Her discussion 
of Works Deposited in Government Archives begins on p. 431.  She confirms 
that in most cases, the Nimmer conclusion is correct.  Her finding: the public 
availability of the work in the government archive was not enough to constitute 
publication.



(An aside: in the rest of the article, Gerhardt wants to argue that deposit of 
unpublished material in a non-governmental archives or library does constitute 
publication.  Hence, by donating material to an archives, copyright owners 
published that material - and abandoned all copyright in the process.  It is 
an argument that I think would be very bad for archives if adopted.)



Deb Wythe Brooklyn Museum

deborahwy...@hotmail.commailto:deborahwy...@hotmail.com
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[MCN-L] US Copyright Office Inquiry Regarding Copyright Protection for Certain Visual Works

[Amalyah Keshet]

Of possible interest:



NewsNet 587
July 24, 2015

Copyright Office Extends Period for Reply Comments in Notice of Inquiry 
Regarding Copyright Protection for Certain Visual Works

The Copyright Office has published a Federal Register notice extending the 
deadline for public reply comments that reply to initial comments submitted in 
connection with the Office’s April 24, 2015, Notice of Inquiry on Copyright 
Protection for Certain Visual Works  
http://copyright.gov/fedreg/2015/80fr23054.pdf

Reply comments are now due on October 1, 2015.

For more information, please see 
http://copyright.gov/policy/visualworks/https://lnks.gd/l/eyJhbGciOiJIUzI1NiJ9.eyJlbWFpbCI6ImFrZXNoZXRAaW1qLm9yZy5pbCIsImJ1bGxldGluX2xpbmtfaWQiOiIxMDAiLCJzdWJzY3JpYmVyX2lkIjoiNDY2MDc0MTMzIiwibGlua19pZCI6IjI3MjcxNDM2IiwidXJpIjoiYnAyOmRpZ2VzdCIsInVybCI6Imh0dHA6Ly9jb3B5cmlnaHQuZ292L3BvbGljeS92aXN1YWx3b3Jrcy8iLCJidWxsZXRpbl9pZCI6IjIwMTUwNzI0LjQ3NTEyNzExIn0._SBKB8YFiKdWZviox7j51JQj6vzASQEIeGxADZTw2mY.
The U.S. Copyright Office is requesting written comments on how certain visual 
works, particularly photographs, graphic artworks, and illustrations, are 
monetized, enforced, and registered under the Copyright Act.  The Office is 
specifically interested in the current marketplace for these visual works, as 
well as observations regarding the real or potential obstacles that these 
authors and, as applicable, their licensees or other representatives face when 
navigating the digital landscape.

Photographers, graphic artists, and illustrators have expressed a growing list 
of concerns in recent years when speaking to both the Copyright Office and 
Members of Congress.  The Office is thus seeking to build upon its longstanding 
policy interest in these types of visual works, including the Office’s studies 
in a number of areas such as small claims, the making available right, resale 
royalties, registration, recordation, and the interoperability of records.  As 
always, the Office is interested in the perspectives of copyright owners as 
well as users of these creative works.  The Office notes that this is a general 
inquiry that will likely lead to additional specific inquiries.

Initial comments were due on July 23, 2015, and reply comments are due by 
October 1, 2015.

Amalyah Keshet

Head of Image Resources and Copyright Management

The Israel Museum, Jerusalem









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Re: [MCN-L] Collecting stories and images online

[Amalyah Keshet]

Kajsa:



Is this the kind of thing you are looking for?



http://timeout.co.il/en/art-and-culture/israel-museum



Amalyah Keshet

Head of Image Resources and Copyright Management

The Israel Museum, Jerusalem













-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of 
Birchall, Danny
Sent: 18 June, 2015 12:59 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] Collecting stories and images online



Hi Kajsa



Some interesting (? not excellent maybe) older examples from us if this is the 
kind of thing you mean?



https://wellcomecollection.org/your-objects-death

http://drugs.wellcomeapps.com/

https://wellcomecollection.org/votives-inspired-your-stories



but these were not 'collected' in the sense of putting them in a collections 
database rather than just asking for them and taking them.



Best,



Danny





-Original Message-

From: mcn-l-boun...@mcn.edumailto:mcn-l-boun...@mcn.edu 
[mailto:mcn-l-boun...@mcn.edu] On Behalf Of Kajsa Hartig

Sent: 18 June 2015 10:05

To: mcn-l@mcn.edumailto:mcn-l@mcn.edu

Subject: [MCN-L] Collecting stories and images online



Hi,

I am looking for interesting and excellent examples of museums collecting 
stories and images online, as well as performing netnography (web and social 
media). Looking also for speakers on this subject for a conference later this 
year, please suggest.



Best regards

Kajsa Hartig

Nordiska museet

Stockholm, Sweden





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[MCN-L] “An Act for the encouragement of learning”

[Amalyah Keshet]

[emphasis mine:]




[Library of Congress]

U.S. Copyright Office, NewsNet Issue 583

06/01/2015


[Copyright Newsnet]

NewsNet 583
June 1, 2015

U.S. Copyright Office Commemorates 225th Anniversary of the First Federal 
Copyright Act

Yesterday was the 225th anniversary of the nation’s first federal copyright 
law. It was enacted on May 31, 1790—less than two years after the ratification 
of the U.S. Constitution. It was signed into law by President George Washington 
and was one of the major accomplishments of the First Congress (along with 
legislation establishing the Department of State, the Department of the 
Treasury, and the federal judiciary, among other institutions).

The law was called “An Act for the encouragement of learning,” and it protected 
“maps, Charts, and books.” The decision to protect maps and charts indicates 
that the First Congress wanted to encourage exploration of the American 
continent, including its lakes, rivers, and harbors. The decision to protect 
books confirms that the First Congress also valued the creation and 
distribution of authorship, both for informational and artistic purposes. These 
objectives are reflected in the works that were registered in the first month 
after enactment, which included an atlas, a spelling book, a collection of 
court decisions, and a “comedy in five acts.”

The first federal copyright law established many of the fundamental principles 
that are a vital part of the law today. It stated that copyright initially 
belongs to the author—the person who conceived and created the work— rather 
than the publisher or the state. At the same time, it recognized that an 
author’s rights are not perpetual but instead should be limited in time. And it 
recognized that authors are part of a larger economic ecosystem, and that they 
often transfer their rights to publishers, retailers, or other parties. The 
first federal copyright law established the principle that authors should have 
rights to control the use of their works, such as how they are printed, 
reprinted, published, and sold. It recognized that authors should have 
meaningful remedies to encourage others to respect these rights and to provide 
appropriate compensation when those rights are infringed. And it recognized the 
central role a registration system plays in documenting a public record of 
creativity, ownership, term, and other legal facts.

Much has changed in the past 225 years. The copyright law today protects not 
only books, maps, and charts, but also movies, sound recordings, software, and 
other works that contribute to the knowledge economy and global marketplace. 
But the fundamental principles reflected in the first federal copyright law 
continue to inspire the Copyright Office in its work today.

Readhttps://lnks.gd/l/eyJhbGciOiJIUzI1NiJ9.eyJlbWFpbCI6ImFrZXNoZXRAaW1qLm9yZy5pbCIsImJ1bGxldGluX2xpbmtfaWQiOiIxMDAiLCJzdWJzY3JpYmVyX2lkIjoiNDY2MDc0MTMzIiwibGlua19pZCI6IjI5MTIzODg2IiwidXJpIjoiYnAyOmRpZ2VzdCIsInVybCI6Imh0dHA6Ly9jb3B5cmlnaHQuZ292L2Fib3V0LzE3OTAtY29weXJpZ2h0LWFjdC5odG1sIiwiYnVsbGV0aW5faWQiOiIyMDE1MDYwMS40NTQ5MzAwMSJ9.9nTWPu864mjCD8XmVt_HpcHn8W83NPI2OK_N06zhe3M
 the original copy of the law.





































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Re: [MCN-L] Tiered pricing for high-res image files without asking about use

[Amalyah Keshet]

Ellice:

Bit of a delay in responding to this question (which I just found in a 
desperate email clean-out).  Sorry.

Pricing per use is really more of a market tradition than a legal call.  It's 
the way the stock photo business always worked, and museums adopted it.  It was 
a legitimate and useful model, and the first talk I ever gave at an MCN 
conference was about the added value inherent in museum photography with 
authoritative information delivery (the word metadata  hadn't been invented 
yet).  The point being,  our photographs were worth paying (more) for.

As to the other question you bring up,  we still will want to charge a fee to 
recoup at least some of our costs to image and catalog the material,  I've 
always pointed out that there is actually no difference in the cost to us of 
delivering an image to a non-profit client or a for-profit client. (In fact, 
non-profit clients often require more specific, personal, and 
time-and-staff-consuming work.  A commercial client's request can often be 
zapped off in minutes.  Logically, then, non-profits should be charged more, 
not less.)   

So if you want to base your pricing on cost recovery, you probably need to 
charge everyone the same.  You can drop charges for rights for specific uses; 
 what you want is compensation for the product (which is a result of image 
creation, management, authoritative metadata, and file delivery).  Much 
simpler, no arguments about the right to charge for rights,  or whether 
someone's book on mid-nineteenth century pornography is educational or not.  

And then there are always the exceptions, institutional discretion, barters 
with other museum image providers, etc.
Good luck!  


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


-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Ellice 
Engdahl
Sent: 19 March, 2015 3:09 PM
To: mcn-l@mcn.edu
Subject: [MCN-L] Tiered pricing for high-res image files without asking about 
use

Hi all,

We're investigating adding automated ecommerce delivery of high-res images as 
part of an overhaul of our digital collections website.  As part of this 
process, we're hoping to revise our current practices for image delivery, 
moving away from asking about potential end use (we want to avoid making a 
legal call on how people use our material).  However, we still will want to 
charge a fee to recoup at least some of our costs to image and catalog the 
material, and we'd like to make these fees fair to potential users (e.g. 
charging less to nonprofits than for-profits, making fees very minimal for 
personal use, etc.).  The examples I've been able to find online for museum 
image delivery tier the pricing based on the end use (x for print run under 
5,000, y for print run over 5,000, z for web use, etc.), which we'd like to 
avoid.

Question: Are others delivering image files (online or off) without asking the 
requestor about potential use, and if so, would you be willing to share your 
fee structure-particularly if it's tiered?

Thanks!


.
Gain Perspective. Get Inspired. Make History.

Ellice Engdahl, PMP
Digital Collections  Content Manager
P: 313.982.6005
E: elli...@thehenryford.org

www.thehenryford.org
.

The Henry Ford
20900 Oakwood Boulevard
Dearborn, MI 48124

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[MCN-L] We're 50

[Amalyah Keshet]

Today is the 50th birthday of the Israel Museum, Jerusalem.   
http://www.imj.org.il/

Thought I’d take this opportunity to share congratulations with colleagues from 
LACMA I’ve met
through MCN over the years:  it’s their birthday year, too.   
http://www.lacma.org/art/exhibition/50-for-50

Looked at ethnographically, 1965 looks like some sort of Proto-Vintage Era, 
it’s cultural artifacts rescued on their way from attics to the garbage dump by 
very young curators.  I suppose Mad Men was the ground-breaker for that kind of 
material culture research.  Anyway, for those classicists into Very Recent 
Antiquity, here’s something we’ve done on what 1965 looked like in Israel and 
on the Israeli art scene:  http://www.imj.org.il/exhibitions/2015/1965/   Don’t 
let the fact that it’s in Hebrew deter you; just click around and enjoy the 
visuals.

Happy birthday to us all.


Amalyah Keshet

Head of Image Resources and Copyright Management

The Israel Museum, Jerusalem








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[MCN-L] FW: The Hague Declaration on Knowledge Discovery In The Digital Age

[Amalyah Keshet]

More from The Netherlands.  Following on from the Amsterdam Principles (but 
only coincidentally) the announcement of the Hague Declaration appears below.



For those who want more, there’s quite a bit of political action regarding 
copyright right now in the UK (the Greens)

https://www.greenparty.org.uk/news/2015/04/27/greens-to-review-copyright-policy/

and in the European Parliament (the Pirates) 
https://juliareda.eu/2015/01/press-release-eu-copyright-report/ .



Amalyah Keshet

Head of Image Resources  Copyright Management

The Israel Museum, Jerusalem











-Original Message-
Subject:  The Hague Declaration on Knowledge Discovery In The Digital Age 
Launches



The formal launch took place today.



Over 50 organisations have signed The Hague Declaration on Knowledge Discovery 
in the Digital Age, which calls for immediate changes to intellectual property 
(IP) law and the removal of other barriers preventing widened and more equal 
access to data.



The Declaration asserts that copyright was never designed to regulate the 
sharing of facts, data and ideas ‒ nor should it. The right to receive and 
impart information and ideas is guaranteed by the Universal Declaration of 
Human Rights but the modern application of IP law often limits this right, even 
when these most simple building blocks of knowledge are used.



“'The rapidly changing digital environment, increased computing power and the 
sheer quantity of data being produced makes it essential for researchers and 
society to be able to use modern techniques and tools to help them make new 
discoveries. Research practices could be revolutionised and lives could 
literally be saved, if we can achieve better access to the knowledge contained 
within Big Data,' said Kristiina Hormia-Poutanen, President of LIBER, the 
Association of European Research Libraries, which has led work to develop the 
Declaration.



Links to the full text declaration, infographic, list of organizations 
(including ARL) that have signed thus far, and additional info here:



http://www.infodocket.com/2015/05/06/the-hague-declaration-on-knowledge-discovery-in-the-digital-age-launches/



__gary







Gary D. Price, MLIS

Co-Founder and Editor, Library Journal's INFOdocket.com Co-Founder and Editor, 
FullTextReports.com Information Industry Analyst Librarian http://INFOdocket.com




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[MCN-L] FW: Amsterdam Principles on museums photography

[Amalyah Keshet]

For those who might be interested, below is the link to the Amsterdam 
Principles adopted at the recent 2and3d Photography conference held at the 
Rijksmuseum.  The conference was organized by the 
Rijksmuseumhttps://www.rijksmuseum.nl/en, in co-operation with AHFAP, The 
Metropolitan Museum of Art, The J. Paul Getty Museum, the Victoria and Albert 
Museum, Allard Pierson Museum, and The DEN Foundation and took place 15-16 
April 2015.

(AHFAP: Association for Historical and Fine Art Photography)



Amalyah Keshet

Head of Image Resources and Copyright Management

The Israel Museum, Jerusalem



We have now posted the Amsterdam Principles document that was discussed and 
voted on at the Conference, it can be found on the same webpage as the previous 
documents.

http://www.ahfap.org.uk/conferences/2and3d-photography-rijksmuseum/


Tony
AHFAP Chair

http://www.AHFAP.org.ukhttp://www.ahfap.org.uk/
Twitter: @AHFAP



http://www.jiscmail.ac.uk/AHFAP














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[MCN-L] FW: Tell the Copyright Office You Want to Unlock Your DVDs

[Amalyah Keshet]

For those interested in a bit of digital activism:


[Public 
Knowledge]http://publicknowledge.nationbuilder.com/?e=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=1


Do digital locks keep you from using copyrighted works in ways that are 
otherwise legal?   [including Fair Use]

An overreaching copyright law called the Digital Millennium Copyright Act 
(DMCA) makes it illegal to bypass digital locks that are placed on copyrighted 
works.http://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.publicknowledge.org%2Fissues%2Fanticircumventione=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=2

But every three years, the Library of Congress grants exemptions to the DMCA so 
that individuals can break digital locks in limited circumstances. Tomorrow is 
the deadline for the public to respond to people and organizations who opposed 
the list of exemptions under 
considerationhttp://publicknowledge.nationbuilder.com/r?u=http%3A%2F%2Fcopyright.gov%2F1201%2F2015%2Fcomments-032715%2Fe=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=3.

It was this same process that eventually led to a cell phone unlocking 
lawhttp://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.publicknowledge.org%2Fnews-blog%2Fpress-release%2Fpresident-obama-signs-unlocking-consumer-choice-and-wireless-competition-acutm_campaign=digital_locksn=4e=daea3f014a6004647e340a841dbe3615utm_source=publicknowledgeutm_medium=emaile=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=5
 last year, which was a major win for consumers. Now you have the chance to 
highlight other unreasonable digital locks. 
http://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fdmca.digitalrighttorepair.org%2Fe=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=6

One exemption request Public Knowledge has continued to support is DVD 
rippinghttp://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.publicknowledge.org%2Fnews-blog%2Fblogs%2Ftell-the-copyright-office-to-remove-these-digital-locks%2Fe=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=7.
 This exemption allows DVD owners to continue to be able to access and enjoy 
the copies of the works they have bought, even as the formats in which they 
purchased them become increasingly obsolete. It will also allow copy owners to 
convert their copies to a different format for backup purposes.

Among other unreasonable statements, opponents of DVD ripping say that users 
should simply buy everything again in digital formats. This would be 
exorbitantly expensive, and not all content is available digitally.

Click 
herehttp://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fdmca.digitalrighttorepair.org%2Fforme=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=8
 and select “Rip Your 
DVDshttp://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fdmca.digitalrighttorepair.org%2Fforme=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=9”
 to learn more about what the opponents are saying and to tell the Copyright 
Office the problems you will face if you can’t make personal copies of your 
DVDs. The deadline is tomorrow!

Tweet 
this:http://publicknowledge.nationbuilder.com/r?u=http%3A%2F%2Fctt.ec%2FM08S6e=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=10
 Tell the Copyright Office that you shouldn’t have to re-buy your entire DVD 
collection! bit.ly/1HUMTGJ #1201Reform #DVDRipping


Public Knowledge · 1818 N St NW, Suite 410, Washington, DC 20036, United States

You can also keep up with Public Knowledge on 
Twitterhttp://publicknowledge.nationbuilder.com/r?u=http%3A%2F%2Ftwitter.com%2Fpublicknowledgee=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=12
 or 
Facebookhttp://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.facebook.com%2Fpublicknowledgee=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=unlockn=13.




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






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[MCN-L] Happy World Intellectual Property Day – April 26

[Amalyah Keshet]

“Every April 26 we celebrate World Intellectual Property Day to promote 
discussion of the role of intellectual property in encouraging innovation and 
creativity.”

This year’s theme:  “Get up, stand up. For music.”
http://www.wipo.int/ip-outreach/en/ipday/
Enjoy.


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






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[MCN-L] FW: Getty Research Inst: Releases its First Born Digital Ebook: Pietro Mellini’s Inventory In Verse, 1681

[Amalyah Keshet]

Congratulations to Murtha Baca and the Getty Research Institute:


 via infoDOCKET.

 From GRI:

 The Getty Research Institute has released its first born-digital
 publication, Pietro Mellini’s Inventory in Verse, 1681, edited by
 Murtha Baca and Nuria Rodríguez Ortega, with notes and essays by Baca,
 Ortega, Francesca Cappelletti, and Helen Glanville. This publication,
 based on research that was conducted in the online collaborative
 environment known as The Getty Scholars’ Workspace™, includes a
 digital facsimile, transcription, translation, and analysis of a
 seventeenth-century manuscript, an inventory of artworks in the
 collection of the Mellini family in Rome.

 In the thirteen brief essays that are part of the scholarly apparatus
 surrounding the original object, Baca and her co-authors explore this
 unusual document, explaining its history, purpose, context, and
 relationship to a conventional legal inventory of the same art
 collection that was drawn up just a year before. Pietro Mellini’s
 Inventory in Verse, 1681, provides insight into the collecting
 practice of elite Roman families of the Baroque period and into the
 important role that inventories played in the fashioning of these
 families’ public identities.

 “The GRI’s first born-digital publication is more than an analysis of
 a rare document or art historical text,” said Baca. “Like the
 manuscript that is its focus, this online book is both hybrid and
 unique. We believe that it represents a paradigm shift; unlike a
 conventional print publication, the information gleaned from 17th
 century texts is presented here in a way that takes advantage of the
 non-linear and hyperlinked environment of the web. It was researched
 and organized online and created to be navigated the way people
 intuitively use information on the Internet.” She went on to say,
 “Another key feature of our project was the fact that it is truly a
 multi-author work; ours was a deliberate attempt to break with the
 single authorial voice that has largely dominated art-historical
 monographs.”

 Unlike a conventional print publication, this online book does not
 simply provide a list of the artists mentioned in the inventory, but
 provides these artists’ names as controlled vocabulary, linking the
 names as they appear in the inventory (often with alternate spellings)
 to the full information in one of the GRI’s electronic thesauri, the
 Union List of Artist Names (ULAN)®. Similarly, the publication’s “List
 of Artworks” section provides information about the works in the
 inventory including an art-historical analysis of them, but also
 indicates what each work depicts using Icon class ubject categories.

 Complete Overview/Publication Announcement
 http://news.getty.edu/press-materials/press-releases/digital-mellini.h
 tm

 Direct to New Publication
 http://www.getty.edu/research/mellini/


Amalyah Keshet
The Israel Museum, Jerusalem



-
[Insert your disclaimer here]
-

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Re: [MCN-L] fees for image use

[Amalyah Keshet]

Matt:

By historic I assume you mean that the underlying photograph is out of 
copyright.

For this kind of request we simply charge for delivery of a properly sized 
digital file (repro photo) for printing.  A product price or service fee, in 
other words.  There is no licensing involved.

If we don’t have a file, and one needs to be shot, that's obviously a special 
service.  We charge around $150 per piece for that.


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

Tel: 972-2-6708064
Cell: 972-54-6558768
Fax: 972-2-6771340
akes...@imj.org.il

www.imj.org.il




-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Matt 
Wheeler
Sent: 10 March, 2015 6:27 PM
To: Museum Computer Network Listserv
Subject: [MCN-L] fees for image use

Hello colleagues--

We've had a request from a local merchant to use images from our historic photo 
collections as permanent interior decoration. The images will be very 
prominent, printed at around 40x60. We're uncertain what to charge them.
Has anyone licensed images in this way, and how did you assign a value to them? 
Thanks for any insight.


__

Matt Wheeler,
Photography Archives,
Penobscot Marine Museum
Archives (207) 548-2529 ext. 211
5 Church Street, PO Box 498
Searsport, Maine 04974
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[MCN-L] FW: 3D/DC is April 29 - 3D printing and policy

[Amalyah Keshet]

Once again, for those in the DC area:








From: Public Knowledge [mailto:p...@publicknowledge.org]


[Public 
Knowledge]http://publicknowledge.nationbuilder.com/?e=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=3ddcn=1


Mark your calendars!

We are excited to announce that the world of 3D printing is coming back to 
Washington, 
DChttp://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.publicknowledge.org%2Fpress-release%2Fpublic-knowledge-announces-fourth-annual-3d-dc%2Futm_campaign=3d_dc_2015n=2e=b0ffb3c3de77aa7d10828a91076686af1666afd1utm_source=publicknowledgeutm_medium=emaile=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailutm_campaign=3ddcn=2
 this spring. On April 29th we will be holding 3D/DC 2015, our fourth annual 
bacchanalia of 3D printing and policy.

If we do say so ourselves, this is the premiere 3D printing policy event of the 
year, bringing together the 3D printing world and the world of policy. Join 
Us!http://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.eventbrite.com%2Fe%2F3ddc-2015-tickets-16002505926utm_campaign=3ddcn=3e=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=email

[3ddc2_2.jpg]http://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.publicknowledge.org%2Fnews-blog%2Futm_campaign=3ddcn=4e=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=emailEach
 year we tinker with the format of 3D/DC a bit, and this year is no different. 
In something of an echo of our first 3D/DC in 2011, this year we are bringing 
panels back. 3D/DC 2015 will feature panels on IP, medical applications, 
distributed manufacturing, fostering the development of small businesses, and 
education.

The constant for 3D/DC has always been a demonstration and reception, and we 
would never think to get rid of that. This year our demonstration reception 
will be bigger and better than ever. It will give everyone a chance to see 3D 
printers first hand and to discuss issues in a more relaxed, one-on-one 
environment.
What: The 4th Annual 3D/DC

When: Wednesday, April 29, 2015
10:30AM - 8:00PM
Where: The U.S. Capitol Visitor Center

RSVP 
Here:http://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.eventbrite.com%2Fe%2F3ddc-2015-tickets-16002505926utm_campaign=3ddcn=6e=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=email

Stay tuned as we add speakers and participants!

Tweet this: 
http://publicknowledge.nationbuilder.com/r?u=http%3A%2F%2Fctt.ec%2Fzq3wsutm_campaign=3ddcn=7e=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=email
 Save The Date! @publicknowledge is bringing 3D printing to DC April 29 w/ 
#3D/DC15 bit.ly/1M5DQ4D


Public Knowledge · 1818 N St NW, Suite 410, Washington, DC 20036, United States
You can also keep up with Public Knowledge on 
Twitterhttp://publicknowledge.nationbuilder.com/r?u=http%3A%2F%2Ftwitter.com%2Fpublicknowledgeutm_campaign=3ddcn=9e=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=email
 or 
Facebookhttp://publicknowledge.nationbuilder.com/r?u=https%3A%2F%2Fwww.facebook.com%2Fpublicknowledgeutm_campaign=3ddcn=10e=124c5d1da307e6a4fa2e68c5fff93853utm_source=publicknowledgeutm_medium=email.




Amalyah Keshet
Head of Image Resources  Copyright Management
The Israel Museum, Jerusalem
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[MCN-L] FW: The Internet: Its Origins How to Manage (Copyright) Information

[Amalyah Keshet]

For those in the DC area:








-- Forwarded message --
From: The Copyright Society of the USA
Date: Mon, Mar 2, 2015 at 2:03 PM












[The Copyright Society of the USA]
































The CSUSA Washington, DC Chapter Presents
The Internet: Its Origins and
How to Manage (Copyright) Information

With Robert E. Kahn


  Tuesday, March 17
6:00pm-7:30pm

The George Washington University School of Law
716 20th Street, NW, Washington, DC
Faculty Conference Center - Burns 505


REGISTER 
NOWhttp://r20.rs6.net/tn.jsp?f=001gtHnK1GEDEUPGxBiZ_UDlTnRnt-WygFy39HSX_XQCmYtHdoMxNocxDIIqGkZOhD1DQCT6i4tjbvf6xvgS9mZhiG0axzd8dGzXVMNbytvN7s9BY0WYVM3BvHLBdUWM1dc9x_wkLJsYLq5FecjzgQnk9kE6sTx-hQSn3bQWVSs21W9Wvs9j1AKNg==c=F-wCP7jkXYTgZXVFw47MV6lLfrO1jjE50tr23Q5QUEipCvzDIKieGg==ch=qront4dkBpAwQy7Lqbd_47szUV2J7e8R7wGigOGaljpHNZAU43dBbg==

Final Registration Deadline: March 16, Midnight EST




Please join us [Robert E. Kahn] as Robert E. Kahn, the pioneering engineer and 
co-inventor of  key components of Internet, speaks about his career and the 
work he is doing (and has done) to propel copyright-related industries.



Dr. Kahn has charted an incredible course. From an academic career at Princeton 
and MIT in the sixties, to his groundbreaking work in the seventies and 
eighties developing Arpanet (the first packet-switched network) and the TCP/IP 
protocols at the heart of the Internet today, Robert Kahn has never stopped 
innovating.



More recently, Dr. Kahn has been instrumental in developing and implementing 
Digital Object Architecture, a system of identifying digital documents. While 
useful in many contexts, it is particularly helpful in copyright-related 
industries, especially publishing. As a testament to his service, 
inventiveness, and many accomplishments, Dr. Kahn has been the recipient of 
numerous awards. These include the Secretary of Defense Civilian Service Award, 
the 2001 Charles Stark Draper Prize from the National Academy of Engineering, 
the National Medal of Technology, and the Presidential Medal of Freedom.



Dr. Kahn will be available for a brief QA after the main program.

























[http://img.constantcontact.com/letters/images/1101116784221/CyberMonday2013_STD_InfoCornerTL.png]




[http://img.constantcontact.com/letters/images/1101116784221/CyberMonday2013_STD_InfoCornerTR.png]








SAVE THE DATE

2015 Annual Meeting | June 7-9 | Newport, RI


Additional Events at 
www.csusa.orghttp://r20.rs6.net/tn.jsp?f=001gtHnK1GEDEUPGxBiZ_UDlTnRnt-WygFy39HSX_XQCmYtHdoMxNocxM_WjgfWGitxlQkgHapTf1oGRkOILiApbNr3tGwPo4a9uTs8X2T6jUxPiEUuu_xdQAioR5XfyAgJwbguHigLLvTpzzyzt0Nu0qEuJiQPW0b5P5i-0GLi-YQ=c=F-wCP7jkXYTgZXVFw47MV6lLfrO1jjE50tr23Q5QUEipCvzDIKieGg==ch=qront4dkBpAwQy7Lqbd_47szUV2J7e8R7wGigOGaljpHNZAU43dBbg==

















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[MCN-L] Happy Fair Use Week 2015

[Amalyah Keshet]

Some good stuff here:

https://osc.hul.harvard.edu/fairuseweek2015


Enjoy.


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






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[MCN-L] FW: Feb. 27 - Reimagining IP/Gender: The Next Ten Years of Feminist Engagement with Intellectual Property Law

[Amalyah Keshet]

For those in the DC area, AND into IP, AND of the gender studies persuasion:

n.b.  Opening Keynote:  Rebecca Tushnet, Georgetown University Law Center- IP, 
Gender, and Creative Communities








From: Washington College of Law - PIJIP [mailto:pi...@wcl.american.edu]
Sent: 11 February, 2015 6:49 PM
To: Amalyah Keshet
Subject: Feb. 27 - Reimagining IP/Gender: The Next Ten Years of Feminist 
Engagement with Intellectual Property Law



Click 
herehttp://emarketing.wcl.american.edu/private/Mp2o/6kD/6ZHwx7T/unsubscribe/23256257
 to unsubscribe
Having trouble viewing this e-mail? View it in your 
browserhttp://emarketing.wcl.american.edu/private/Mp2o/6kD/6ZHwx7T/browse/23256257



[Washington College of Law Program on Information Justice and Intellectual 
Property]



Reimagining IP/Gender:
The Next Ten Years of Feminist Engagement with Intellectual Property Law

Presented with the Women and the Law Program
American University Washington College of Law

February 27, 2015

For registration and more 
information.http://emarketing.wcl.american.edu/c/23256257/28529/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fevents%2F2015ipgender%2F


At the 11th Annual IP/Gender, presenters will address the production of 
knowledge, commodification, definition, and valuation of women's work, and 
other areas of feminist and queer inquiry. We hope to spur intellectual 
property scholars to explore how the tools of deliberately intersectional 
feminist and queer theory can shed new light on the challenge of creating 
intellectual property law that fosters social justice.


9:30 am - Welcome - Michael Carroll, American University Washington College of 
Law

9:35 - Opening Keynote
Ann Shalleck, American University Washington College of Law - Introduction
Rebecca Tushnet, Georgetown University Law Center- IP, Gender, and Creative 
Communities

10:00 - Panel I
Community Structure and Women’s Leadership in Traditional Cultural Production - 
Moderator - Margaret Chon, Seattle University School of Law

  *   Helen Chuma Okoro, Nigerian institute of Advanced Legal Studies - 
Traditional Knowledge, Intellectual Property Protection, and Matriarchal 
Dominance: The Case of Traditional Textiles in South Western Nigeria
  *   Lorraine Aragon, University of North Carolina - Cut From the Same Cloth? 
Reimagining Copyright’s Relationship with TCEs and Gender in Indonesia
11:00 Coffee 11:15 - Panel II Documenting Communities of Practice - Moderator - 
Meredith Jacob, American University Washington College of Law

  *   Jhessica Reia, Center for Technology and Society at Fundacao Getulio 
Vargas (CTS-FGV) - DIY or Die! Gender and Creation in Marginal Music Production
  *   Betsy Rosenblatt, Whittier Law School (and Rebecca Tushnet) - 
Transformative Works: Young Women’s Voices on Fandom and Fair Use
12:30 Lunch

1:00 - Lunch Keynote: Kara Swanson, Northeastern University School of Law - IP 
and Gender: Reflections on Methodology and Accomplishments

1:30 Panel III
Gendered Understandings of the Role and Scope of Intellectual Property Law - 
Moderator - Irene Calboli, Marquette Law School and National University of 
Singapore

  *   Carys Craig, Osgoode Hall Law School, York University - Deconstructing 
Copyright’s Choreographer: the Power of Performance (and the Performance of 
Power)
  *   Charles Colman, New York University School of Law - Patents and Perverts
2:30 Coffee

2:45 Panel IV
Gender and Intellectual Property in the U.S. Federal Courts - Moderator - 
Christine Farley, American University Washington College of Law

  *   Jessica Silbey, Suffolk University Law School - Intellectual Property 
Reform Through the Lens of Constitutional Equality
  *   Sandra Park, ACLU Women's Rights Project - A Feminist Challenge to Gene 
Patents: Association for Molecular Pathology v. Myriad Genetics
3:45 - Looking Forward: the Next Ten Years - Peter Jaszi, American University 
Washington College of Law, Daniela Kraiem, American University Washington 
College of Law, and community

4:30 - Close








Upcoming Events



Feb. 12: Trending IP Topics in 2015: A Table Talk with Chief Judge Sharon Prost 
(JD/WCL ’79) and Judge Arthur J. Gajarsa (retired) 
(Websitehttp://emarketing.wcl.american.edu/c/23256257/28531/6ZHwx7T/Mp2o?redirect_to=https%3A%2F%2Fwww.wcl.american.edu%2Fsecle%2Ffounders%2F2015%2F20150212.cfm)

Feb. 25: Print It! 3D Printing and the Intersection of Intellectual Property 
(Websitehttp://emarketing.wcl.american.edu/c/23256257/28533/6ZHwx7T/Mp2o?redirect_to=https%3A%2F%2Fwww.wcl.american.edu%2Fsecle%2Ffounders%2F2015%2F20150225.cfm)

Feb. 26 – Presenting the Statement of Best Practices in Fair Use of Collections 
Containing Orphan Works 
(Websitehttp://emarketing.wcl.american.edu/c/23256257/28535/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Ffairuse%2Fowbp2015feb%2F)

Mar. 31: Supreme Court Series: Commil USA, LLC v. Cisco Systems, Inc. 
(Websitehttp://emarketing.wcl.american.edu/c/23256257/28537/6ZHwx7T/Mp2o?redirect_to

[MCN-L] FW: Statement of Best Practices in Fair Use of Collections Containing Orphan Works

[Amalyah Keshet]

For those in the DC area in particular;  for the rest of us in general:



Feb. 26 – Presenting the Statement of Best Practices in Fair Use of Collections 
Containing Orphan Works


American University Washington College of Law
4801 Massachusetts Ave NW, Washington DC 20016

Faculty Lounge (Room 600)
Thursday, February 26, 2015
12:30 Lunch
1:15pm to 5:15pm Event
5:15 Reception

Registration Requested (herehttp://www.jotformpro.com/pijip/events)

Live webcast will be available on this page when the event begins. (No 
registration required)



You are invited to join us for this Fair Use Week event giving an introduction 
to the Statement of Best Practices in Fair Use of Collections Continuing Orphan 
Works followed by a series of panel discussions with legal experts, librarians, 
archivists, and other members of the community about how this Statement can be 
applied in practice.



Over the last several years, libraries, archives and other memory institutions 
have recognized that copyright law poses a significant obstacle to digital 
preservation of and online access to large segments of their collections. This 
problem especially acute for archives and collections that contain orphan 
works—i.e., works for which it is difficult or impossible to find rights 
holders who might give permission for their use. TheStatement of Best Practices 
in Fair Use of Collections Containing Orphan Works for Libraries, Archives, and 
Other Memory Institutions, released in December 2014, addresses how memory 
institutions can apply fair use to overcome these challenges.



You can find a copy of the Statement and supporting documents, including a 
series of explanatory white papers authored in anticipation of this event, at 
http://cmsimpact.org/orphanworks.

For more information about Fair Use Week, please see http://fairuseweek.org/.












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Re: [MCN-L] hit me with your tech-related acronyms!

[Amalyah Keshet]

Awesome, Simon.  A true unliterary masterpiece.

As long as we're gleefully slipping off the subject, how about our acronym 
for the Impressionist and Post-Impressionist collection:  Imps and Pimps.

Amalyah Keshet




-
[Insert your disclaimer here]
-

-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Tanner, 
Simon
Sent: 10 February, 2015 10:23 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] hit me with your tech-related acronyms!

Hi Carissa,

In the spirit of not being at all helpful but enjoying the opportunity to roll 
out a true favourite...

Back in the 90's we had a digital project which we gave the acronym: SQUIRREL 
NUTKIN

It stood for:
Sequential Query User Interface Resourcing a Research Electronic Library
Notably User-oriented Technology for Keeping the Information Needed

All my best,
Simon

Simon Tanner
Department of Digital Humanities
Room 219, 2nd Floor Drury Lane
King's College London

Email: simon.tan...@kcl.ac.uk
Twitter: @SimonTanner


-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Carissa 
Dougherty
Sent: 10 February 2015 20:00
To: Museum Computer Network Listserv
Subject: [MCN-L] hit me with your tech-related acronyms!

Hi, all...

I'm trying to compile a list of tech-related acronyms that might be important 
for museum staff to know and understand -- or at the very least, recognize.  
Right now, I'm just gathering EVERYthing I can think of -- file extensions 
(PDF, JPG), emerging technologies (BLE, NFC), web-related (HTML, PHP)...

So...

- Are there any that you think are particularly relevant/important?

- What terms do you frequently toss around during museum tech meetings?

- Are there any that are often misunderstood/misinterpreted?

I'd be happy to share my final list when I've got it ready...

FIRE AWAY!!

Thanks...

Carissa

Head of Knowledge Management

The Morton Arboretum  |  4100 Illinois Route 53  |  Lisle, Illinois 60532
T  *630-725-2136* |*cdoughe...@mortonarb.org cdoughe...@mortonarb.org*
|  mortonarb.org
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Re: [MCN-L] CAA Code of Best Practices in Fair Use for the Visual Arts

[Amalyah Keshet]

Eve:



It’s been a long haul; congratulations to CAA for getting this published.



Your point about who CAA represents is a good one.  We need to keep in mind 
that CAA also represents artists.



Just as an aside, and if it’s of help to anyone:  we set our thumbnail size 
policy at 400 x 400 pixels (or 400 on the longest side).  This allows a 
printout suitable (just) for a school report or research notes or other private 
study use, presumably consistent with the Fair Use provisions of the Israel 
Copyright Law, and is reasonably close to the AAMD recommendation.



Amalyah Keshet

Head of Image Resources  Copyright Management

The Israel Museum, Jerusalem













-Original Message-
From: mcn-l-boun...@mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Eve 
Sinaiko
Sent: 10 February, 2015 9:26 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] FW: CAA Code of Best Practices in Fair Use for the Visual 
Arts



The Museums section of the guideline is, in my opinion, the weakest part. It's 
probably due to the fact that CAA represents museums, but primarily by 
representing the individual scholars.



A revision will be needed. For now, this is a good first step, as it reaches a 
much broader audience and constituencies than the AAMD guideline.



Regards,

Eve Sinaiko

NYC





-Original Message-

From: Ben Rubinstein benr...@cogapp.commailto:benr...@cogapp.com

Sent: Feb 10, 2015 2:14 PM

To: Museum Computer Network Listserv mcn-l@mcn.edumailto:mcn-l@mcn.edu

Subject: Re: [MCN-L] FW: CAA Code of Best Practices in Fair Use for the

Visual Arts



Thanks Diane (and Melissa) for bringing this to the list's attention.



I note with a sigh that while the Code says (p12)



 Museums...

 - Downloadable images made available online should be suitable in

 size for  full-screen projection or display on a personal computer or

 mobile device, but generally not larger.



The associated FAQ at

http://www.collegeart.org/pdf/fair-use/best-practices-fair-use-faq.pdf



recommends (p3)

http://aamd.org/sites/default/files/document/Thumbnail%20Images%20Polic

y.pdf



which it says states conclusions that are fully consistent with the Code.



The AAMD policy (from 2011) settled on 250 x 300 pixels as the

defensible size for an image which (apart from being an incredibly

unhelpful way to state max

dimensions) is a long way from suitable in size for full-screen

projection or display on a personal computer or mobile device.



So we're still a long way from clarity!



- Ben







On 09/02/2015 16:54, Diane Zorich wrote:

 FYI  includes a section for museums.



 From:  Christine L. Sundt 
 csu...@mindspring.commailto:csu...@mindspring.com

 Reply-To:  Visual Resources Association 
 vr...@listserv.uark.edumailto:vr...@listserv.uark.edu

 Date:  Monday, February 9, 2015 11:08 AM

 To:  vr...@listserv.uark.edumailto:vr...@listserv.uark.edu

 Subject:  CAA Code of Best Practices in Fair Use for the Visual Arts





 The College Art Association (CAA)'s Code of Best Practices in Fair

 Use for the Visual Arts has been published and is available for download 
 online:

 http://www.collegeart.org/fair-use/. Printed copies will be

 distributed during CAA's annual conference, this week at the New York Hilton.



 For more information about this publication please visit

 http://www.collegeart.org/news/2015/02/09/caa-announces-publication-o

 f-code- of-best-practices-in-fair-use-for-the-visual-arts/



 Christine L. Sundt



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[MCN-L] FW: Annual Art Law Institute Presented by Washington Lawyers for the Arts

[Amalyah Keshet]

For those in the Seattle area who might be interested:



[http://1.bp.blogspot.com/-8LnuZxoYHxI/VIeMQgNapmI/C_o/zuNt4bw4aB4/s1600/ALI+LinkedIN.jpg]http://1.bp.blogspot.com/-8LnuZxoYHxI/VIeMQgNapmI/C_o/zuNt4bw4aB4/s1600/ALI%2BLinkedIN.jpg

This is a reminder to our Seattle-area readers that the annual Art Law 
Institute presented by Washington Lawyers for the Arts will be held on Monday, 
December 15.  This all-day CLE program includes presentations on copyright year 
in review, trademark year in review, a panel on international intellectual 
property issues with special focus on international issues for artists 
(moderated by yours truly), design patents, legal and policy issues for 
streaming media, and ethics.  Register herehttp://artlaw2014.bpt.me/.

--
Posted By Rachel to Art and 
Artificehttp://aandalawblog.blogspot.com/2014/12/annual-art-law-institute-presented-by.html
 on 12/10/2014 12:09:00 am
--
.





[israel museum, jerusalem]http://www.imjnet.org.il
Amalyah Keshet
Head of Image Resources and Copyright Management
The Israel Museum, Jerusalem

Tel: 972-2-6708064
Cell: 972-54-6558768
Fax: 972-2-6771340
akes...@imj.org.il
[Israel Museum, Jerusalem] 
https://www.facebook.com/pages/Israel-Museum-Jerusalem/5777654412   The 
Israel Museum, Jerusalem 
https://www.facebook.com/pages/Israel-Museum-Jerusalem/5777654412
www.imj.org.ilhttp://www.imj.org.il




























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[MCN-L] IP SIG: Creation is Not Its Own Reward: Making Copyright Work for Artists and Performers

[Amalyah Keshet]

For those in the NYC area:









-- Forwarded message --

The Kernochan Center for Law, Media and the Arts at Columbia Law School is 
holding a symposium on Friday, Oct. 10, 2014.  The title of the symposium is 
Creation is Not Its Own Reward:  Making Copyright Work for Artists and 
Performers.
In light of the ongoing review of the Copyright Act , we?ve invited  individual 
creators as well as creators? representatives in various fields to talk about 
what authors, artists and performers need from the copyright law.  We?ll also 
have panels from industry, academia and government.  To start the day, we?ll 
hear from two authors who make their living from writing:  TJ Stiles, who won a 
National Book Award and a Pulitzer Prize for his book The First Tycoon: The 
Epic Life of Cornelius Vanderbilt, and Doug Wright, who won the Pulitzer Prize 
for his play I Am My Own Wife.
You can go to the Kernochan Center website, 
http://www.law.columbia.edu/kernochan to look at the full program and to 
register.  We hope to see you there!
Best,
June

June M. Besek, Esq.
Executive Director, Kernochan Center for Law, Media and the Arts
Columbia Law School
435 W. 116th St. Box A-17
New York, NY 10027

Office:  JG 738
Phone: 212-854-1384tel:212-854-1384
Email:  jbesek at law.columbia.edumailto:jbesek at law.columbia.edu


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

.

[MCN-L] IP SIG: art and intellectual property

[Amalyah Keshet]

For those in the Chicago area:

The John Marshall Law School Review of Intellectual Property Law Sixth Annual 
Symposium http://events.jmls.edu/registration/node/589 in Chicago will focus 
on the intersection of art and intellectual property.  Art and Artifice blogger 
Rachel Buker will be speaking on appropriation art, in particular legal issues 
related to art's own self-appropriation.

http://events.jmls.edu/registration/node/589



Amalyah Keshet
Chair, MCN IP SIG

[MCN-L] New physical interactive - Eliana Rachel Sully Cohen

[Amalyah Keshet]

Congratulations, Perian!  Hope you're coping with the constant diaper updates 
and nightly audio sessions...

Amalyah Keshet



-Original Message-
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of 
Perian
Sent: 15 August, 2014 4:41 AM
To: Museum Computer Network Listserv
Subject: [MCN-L] New physical interactive - Eliana Rachel Sully Cohen

Hi everyone:

On July 7th, following 40 weeks +42 hours of preparation and labor, I released 
a new physical interactive, which we've named Eliana. Eliana was originally 
8lbs, 5 oz and 19.5 long, but, being interactive and now
5 weeks old, her specs have since changed significantly. She also has an awful 
lot of hair, and we're not sure which programmer is responsible for that. Since 
it's a feature, and not currently a bug, we're calling the hair a success.

I know many of you have been subjected to my snarky updates and photos on ye 
olde Facebook, but since I have so many friends and colleagues in the musetech 
and registrar communities, I wanted to let the rest of you know about my latest 
project.

Cheers,

~Peria
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[MCN-L] DC LegalHackers - CopyNight Sept 3

[Amalyah Keshet]

For those in the DC area:






_

DC LegalHackers is bringing back CopyNight to DC at Georgetown Law on September 
3: http://www.meetup.com/DCLegalHackers/events/193489092/  I'm helping to 
organize this event, and wanted to send out a save-the-date, and to invite 
people to suggest topics or speakers.  We're not sure whether we're going to 
structure it as a panel, or to just have an open discussion.  All suggestions 
are welcome.

--
Ali Sternburg
Public Policy  Regulatory Counsel
Computer  Communications Industry Association (CCIAhttp://www.ccianet.org/)
asternburg at ccianet.orgmailto:asternburg at ccianet.org
202.783.0070 x123




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

[MCN-L] IP SIG: McFashion?

[Amalyah Keshet]

Intellectual (?) Property news of the day:



[http://3.bp.blogspot.com/-vorpouX33Y8/U8psRsnW4yI/ABQ/NiYUcDMgrBE/s1600/M.png]http://3.bp.blogspot.com/-vorpouX33Y8/U8psRsnW4yI/ABQ/NiYUcDMgrBE/s1600/M.png
In case you haven?t seen it yet, Moschino?s Autumn/Winter 2014 Collection 
includes a big portion of McDonald?s inspired items. It is comprised of French 
fries phone covers, a Happy Meal box handbag and a soft drink cup handbag 
amongst others.

McDonald?s is the world?s largest restaurant chain and its golden arches are 
one of the most recognised logos in the world, indicating the value of its 
intellectual property. Moschino has always been known for its eccentric 
collections, but this one appears to be particularly successful and has 
recently attracted attention from health services, accusing it of glorifying 
fast 
foodhttp://www.theguardian.com/fashion/2014/jul/13/moschino-glorifying-mcdonalds-logo-fashion.

For those wondering if this blatant inspiration from McDonald?s trademarks and 
designs may constitute a potential infringement, the answer is no. A McDonald?s 
spokesperson said: ?We've signed a licence agreement with Moschino that allows 
them to use McDonald's intellectual property on the merchandise. Moschino will 
make a donation to Ronald McDonald House Charities.? Far from damaging its 
reputation, these products seem to be good advertising for McDonald?s, giving 
them the opportunity to target a different group of customers. With the 
distinctive style of its products, Moschino is attracting considerable 
attention.


The public seems to have loved the concept, and as any other successful 
product, fake copies have emerged and are now being sold online with prices at 
less than a tenth of the price.


--
Thanks to : The 
IPKathttp://ipkitten.blogspot.com/2014/07/does-anyone-fancy-some-mcfashion.html

[MCN-L] IP SIG: Cell phone declaration of independence

[Amalyah Keshet]

On the off chance that anyone missed this announcement:

https://www.publicknowledge.org/news-blog/press-release/senate-passes-cell-phone-unlocking-bill-under-unanimous-consent

A victory for not using copyright / the DMCA for unintended purposes.



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

[MCN-L] FW: 3D/DC: 3D Printing event

[Amalyah Keshet]

For those in the D.C. area:








From: Public Knowledge [mailto:p...@publicknowledge.org]




http://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_77myL1fUtZbQ1AKGZgqRZGKpxV_LdDT6aOO-ypqgzctgMajKVokWH-KRz5Wag26eZzp8L_1rpEiAINcZwCzRTv3oEJ2njVMNxP2Vqjg0eDJubLcX9__6LZjvti-XHWuoNuLDt7U_G4cu3mVuhN057b4AM9SiSpe8UXMvFdwaOIs4unTNdAXmW1AwEvCIwdiF-uyViiSogr7Zf9sozf1c4G_QUVDO0io5e329wxeXvQp_fnzQh22rlJNnJBYjZktdE=[pk-logo]http://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_77myL1fUtZbQ1AKGZgqRZGKpxV_LdDT6aOO-ypqgzctgMajKVokWH-KRz5Wag26eZzp8L_1rpEiAINcZwCzRTv3oEJ2njVMNxP2Vqjg0eDJubLcX9__6LZjvti-XHWuoNuLDt7U_G4cu3mVuhN057b4AM9SiSpe8UXMvFdwaOIs4unTNdAXmW1AwEvCIwdiF-uyViiSogr7Zf9sozf1c4G_QUVDO0io5e329wxeXvQp_fnzQh22rlJNnJBYjZktdE=http://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_77myL1fUtZbQ1AKGZgqRZGKpxV_LdDT6aOO-ypqgzctgMajKVokWH-KRz5Wag26eZzp8L_1rpEiAINcZwCzRTv3oEJ2njVMNxP2Vqjg0eDJubLcX9__6LZjvti-XHWuoNuLDt7U_G4cu3mVuhN057b4AM9SiSpe8UXMvFdwaOIs4unTNdAXmW1AwEvCIwdiF-uyViiSogr7Zf9sozf1c4G_QUVDO0io5e329wxeXvQp_fnzQh22rlJNnJBYjZktdE=


3D Printing Comes to DC





It's almost time for our third annual 3D/DC 
eventhttp://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_5JGRxoXML22ffgqFaHFhVYE4JoV8vUs3E69x2N3IrEzAfNxsf5hRwuoU1LtHn6xEjAnG4lFDdCDbpYC2E1ZQ7sMmQm3uuRfj8MEBrmTb4wUIPotiAF-oDgWkRgCkZIpcraUhLCBYcTDDWrsFcH7u_3VYmb-pqEAlhYwtSOw3Z3NsRiOnqIe3fwo2ZeeOvcxinoKU99B0-qiJuAiXX8VgOUb0FcVE6AncLMjeVG3F93CI9Cbs2oqanJPRN2Cdv1FjYKz29K95AvaIwxE7-_TvsIc7pIigWa13G_x4AtxAx6RkpGG0kN823JMok-PEf-LWA7rGA_2gzfMv3gsYIvFIerdvSBl0_5j7L-JY2PoALCUPHCx9DAj_GV
 on Capitol Hill!



Eachhttp://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_5njOIjSgY5-6uZTYabZj3aRyO-Nc9so36AjOKs0ZBGkc2sBxwanf0zdpl3fdHr2e_h8qkN1JPknV31Tcw0xfkly_xozW2vQuxV9m7hvfWHymH9eY_2SIEZ35vpYILcHr7WiRV3fb44ZLbnMe8_x8VL6Pr9Ip78MJmLiOfMqiroSa0ZYVHikxEHSIm6llVUTYxJPGviwgRWp7x_enoRbvJLQc2j2PXJSnHgh294m_sKHNmYXKsKV8DJ9qybPxaCuHBQDrDjNti-UE7TEgU-QaKBnkd9lVPD6dHJGFVApL6syfHOIjppOdLPPhER-BVNwVgtjQ4aXA_qdpzGZpM5EDCW
 
yearhttp://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_7FobAWr7x6HzTvv-SMVDrnq9maOmSGk6O2qyfL9DAW13XUDUI66aoCFO7QWf5YfSyj3HB8O3UGuDqXbC_CcWWMUyIqI0co91Qt0gFQKTqSQLMpR0Nu5UOYKmOfL3nR-OAp5Pe873Jd6bJGWZ-q5eFbNvVk08gLhOMtHV1A2D7IgM6ESvciPK5cekiI75VRqOp-W1nz9T9PEl9yciAQPkniks7iRWrGcRcux-RnyUvgRBrOrinWQ7UaLxg_lEnb1eFtni74ugadc-E2WdH81VYWhp7ju8hU2VNEaUfp995TQZtcBWFIUTqXVn2_DX481CgKao06uCOEVQ==,
 Public Knowledge brings together a wide range of stakeholders and participants 
from across the 3D printing community. The event will feature startup 
companies, major industry players, and academic researchers.



Attendees include Members of Congress, Congressional staffers, and government 
officials. It is open to the public, so please join us on Wednesday, May 7th at 
5:30pm at the Capitol Visitor's 
Centerhttp://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_7Y8I0SrEfc0RCWdfYSaKsiHDAW3F2IVF5pP-yRair2zsL65riQn4ZSddX9pppm69Kyfux3CF7mm7PQxV7OwC3Y_qzq1Yz9-3MCY3BN32D0Cc2vXNOw4319ciultS1M4GnvDfa6OC1okXiSfLwPd-5qR9pUgitxA-7wkdfOVFLcR7stP9d099mg8hDtYuwwmjH4rRM7edZ03S-7M_YYb79AtFn_pF8C8opCby9DVAiL0osMYqz_N4_SiSw59fenjb0LeJb7m9jPijGlF3QrfywFFLGuaGmRhG9YzGPxLiM0G78BExspdVkN
 to meet the experts and see this technology in person.



[http://ih.constantcontact.com/fs149/1109470950924/img/38.jpg]

3D printing is a technology that turns digital files into physical objects. The 
event will showcase the possibilities of this exciting emerging technology. 
Additionally, a policy discussion featuring expert panelists will kick off the 
event that morning.



Please RSVP and learn more about 3D/DC 
herehttp://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_5B-3rHoUbc7umvBhZ4_TuWPWdYH8dUJT8nlpBFT-tPCqypzunZDQCkU84nBGauX-SNFUUfdNw49YSb20BASAAm6NzbTpJpmbySa8nAkOo0IwTIBsi0y0lv_y5NMfrpKvXq-f_6ASpV8UrAhIW9Y3i9XlhtFIkJp6qrUx5Em_6ZsJbJgfiwrDhvR_OuT4mIBMExAL7dtBGkrKf9D3D3Tbs5hv75bfoNWO5Euy02DxVKjsPDue4bVMmznF6cT8MmlF7XGSp6fTTmg6ylvH_elXB2lbGdKXhel0806o5xVN8Bsw==.
 Continue to follow us for updates, and email pk at 
publicknowledge.orgmailto:pk at publicknowledge.org with any questions.


Tweet 
This:http://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_47vDckrc4e75cNIPiZuMQYq5qlcLkXqsu1i33cnyWaxvevs92XNQw0A9KwAi8uBg9Lkg_8zZ5e-euo2l5Uaer-BnyYnshhmoFI33qeW1pyiKGmtX8Cp3XUZ-h1tB55VVdScyqyBHNeWYpacQZoBGDMvv7SpPGLh9sThKShO0vTS-cUFNJQaXIydAqJbhyxm781iAW6P9zSrJ0fcWyuWOu3EYmSaDxXAhs5vkAZyZsVBlBW1csndGYF
 RT @PublicKnowledge: See 3D printing in action at our third annual 3D/DC event 
on May 7th! RSVP here: http://bit.ly/1jodbUF #3DPrinting

[MCN-L] 3D/DC: 3D Printing event - again

[Amalyah Keshet]

Well, that rendered as a formatting mess, didn't it.  Let's try again:







Public Knowledge Hosts Third Annual 3D Printing Event in DC

March 06, 2014

3D Printing

On Wednesday, May 7, 2014, Public Knowledge will host its third annual 3D/DC 
event on Capitol Hill. The 3D printing community includes small startups, 
academic researchers, multi-million dollar companies, and everyone in between. 
This event will feature a wide array of participants from across the country 
representing the diverse 3D printing community.



3D printing is a technology that turns digital files into physical objects. 
Once you design an object on your computer, a 3D printer builds it, layer by 
layer, out of plastic, powder, metal, or some other material.  In 2011, Public 
Knowledge held the first 3D/DC and has been growing it in the years that 
followed.  Last year?s 3D/DC event even featured a host of 3D printers. And 
this May, 3D printing returns to Washington, DC in full force.



Attendees of last year?s event included members of Congress, Congressional 
staff, and the public. Last year, more than twenty 3D printing companies, 
organizations, and user groups came to DC to showcase their equipment and the 
innovative work they are doing in this field. This year, we are expecting an 
increased number of 3D printing participants.  Attendees will have the 
opportunity to converse with participants and see the technology in action.



This event will be a reception, open to the public, held in the Capitol 
Visitor?s Center. RSVP and attendance information can be found here.



The following can be attributed to Martyn Griffen, Government Affairs Associate 
at Public Knowledge:



3D/DC is one of the ways the Public Knowledge brings the concerns and 
questions regarding emerging technologies to Capital Hill. As 3D printing 
becomes more mainstream it's important that members of Congress see it as a 
general purpose technology that could be used to enhance the lives of millions 
of people.



http://www.publicknowledge.org/news-blog/press-release/public-knowledge-hosts-third-annual-3d-printing-event-in-dc















-Original Message-
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of 
Amalyah Keshet
Sent: 27 April, 2014 9:48 AM
To: Museum Computer Network Listserv
Subject: [MCN-L] FW: 3D/DC: 3D Printing event



For those in the D.C. area:





From: Public Knowledge [mailto:p...@publicknowledge.org]





http://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_77myL1fUtZbQ1AKGZgqRZGKpxV_LdDT6aOO-ypqgzctgMajKVokWH-KRz5Wag26eZzp8L_1rpEiAINcZwCzRTv3oEJ2njVMNxP2Vqjg0eDJubLcX9__6LZjvti-XHWuoNuLDt7U_G4cu3mVuhN057b4AM9SiSpe8UXMvFdwaOIs4unTNdAXmW1AwEvCIwdiF-uyViiSogr7Zf9sozf1c4G_QUVDO0io5e329wxeXvQp_fnzQh22rlJNnJBYjZktdE=[pk-logo]http://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_77myL1fUtZbQ1AKGZgqRZGKpxV_LdDT6aOO-ypqgzctgMajKVokWH-KRz5Wag26eZzp8L_1rpEiAINcZwCzRTv3oEJ2njVMNxP2Vqjg0eDJubLcX9__6LZjvti-XHWuoNuLDt7U_G4cu3mVuhN057b4AM9SiSpe8UXMvFdwaOIs4unTNdAXmW1AwEvCIwdiF-uyViiSogr7Zf9sozf1c4G_QUVDO0io5e329wxeXvQp_fnzQh22rlJNnJBYjZktdE=http://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_77myL1fUtZbQ1AKGZgqRZGKpxV_LdDT6aOO-ypqgzctgMajKVokWH-KRz5Wag26eZzp8L_1rpEiAINcZwCzRTv3oEJ2njVMNxP2Vqjg0eDJubLcX9__6LZjvti-XHWuoNuLDt7U_G4cu3mVuhN057b4AM9SiSpe8UXMvFdwaOIs4unTNdAXmW1AwEvCIwdiF-uyViiSogr7Zf9sozf1c4G_QUVDO0io5e329wxeXvQp_fnzQh22rlJNnJBYjZktdE=





3D Printing Comes to DC







It's almost time for our third annual 3D/DC 
eventhttp://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_5JGRxoXML22ffgqFaHFhVYE4JoV8vUs3E69x2N3IrEzAfNxsf5hRwuoU1LtHn6xEjAnG4lFDdCDbpYC2E1ZQ7sMmQm3uuRfj8MEBrmTb4wUIPotiAF-oDgWkRgCkZIpcraUhLCBYcTDDWrsFcH7u_3VYmb-pqEAlhYwtSOw3Z3NsRiOnqIe3fwo2ZeeOvcxinoKU99B0-qiJuAiXX8VgOUb0FcVE6AncLMjeVG3F93CI9Cbs2oqanJPRN2Cdv1FjYKz29K95AvaIwxE7-_TvsIc7pIigWa13G_x4AtxAx6RkpGG0kN823JMok-PEf-LWA7rGA_2gzfMv3gsYIvFIerdvSBl0_5j7L-JY2PoALCUPHCx9DAj_GV
 on Capitol Hill!





Eachhttp://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_5njOIjSgY5-6uZTYabZj3aRyO-Nc9so36AjOKs0ZBGkc2sBxwanf0zdpl3fdHr2e_h8qkN1JPknV31Tcw0xfkly_xozW2vQuxV9m7hvfWHymH9eY_2SIEZ35vpYILcHr7WiRV3fb44ZLbnMe8_x8VL6Pr9Ip78MJmLiOfMqiroSa0ZYVHikxEHSIm6llVUTYxJPGviwgRWp7x_enoRbvJLQc2j2PXJSnHgh294m_sKHNmYXKsKV8DJ9qybPxaCuHBQDrDjNti-UE7TEgU-QaKBnkd9lVPD6dHJGFVApL6syfHOIjppOdLPPhER-BVNwVgtjQ4aXA_qdpzGZpM5EDCW
 
yearhttp://r20.rs6.net/tn.jsp?e=0019-BAZFPEJ_7FobAWr7x6HzTvv-SMVDrnq9maOmSGk6O2qyfL9DAW13XUDUI66aoCFO7QWf5YfSyj3HB8O3UGuDqXbC_CcWWMUyIqI0co91Qt0gFQKTqSQLMpR0Nu5UOYKmOfL3nR-OAp5Pe873Jd6bJGWZ-q5eFbNvVk08gLhOMtHV1A2D7IgM6ESvciPK5cekiI75VRqOp-W1nz9T9PEl9yciAQPkniks7iRWrGcRcux-RnyUvgRBrOrinWQ7UaLxg_lEnb1eFtni74ugadc-E2WdH81VYWhp7ju8hU2VNEaUfp995TQZtcBWFIUTqXVn2_DX481CgKao06uCOEVQ==,
 Public Knowledge brings together a wide range of stakeholders and participants 
from across the 3D printing community. The event will feature startup 
companies, major industry players, and academic researchers.



Attendees include Members of Congress, Congressional staffers, and government

[MCN-L] email archiving

[Amalyah Keshet]

Colleagues:

Does anyone have an institutional email archiving/preservation/access policy 
they might be willing to share?

I know the subject will be discussed at MW
http://mw2014.museumsandtheweb.com/museums-and-the-web-deep-dive-assessing-tools-and-best-practices-for-email-preservation-and-access-in-art-museums/

and we will mine the papers from that session.   But it occurred to me that 
some of the great minds of this organization may already
have dealt with the issue on an internal policy basis.

Thanks for any input!


Amalyah Keshet

Chair, MCN IP SIG






[israel museum, jerusalem]http://www.imjnet.org.il

Amalyah Keshet

Head of Image Resources and Copyright Management

The Israel Museum, Jerusalem



Tel: 972-2-6708064


Cell: 972-54-6558768


Fax: 972-2-6771340


akeshet at imj.org.ilmailto:akeshet at imj.org.il



[Israel Museum, 
Jerusalem]https://www.facebook.com/pages/Israel-Museum-Jerusalem/5777654412  
The Israel Museum, Jerusalem 
https://www.facebook.com/pages/Israel-Museum-Jerusalem/5777654412



www.imj.org.ilhttp://www.imj.org.il

[MCN-L] IPSIG: new YouTube fair use page

[Amalyah Keshet]

Just launched:

https://www.youtube.com/yt/copyright/fair-use.html

Amalyah Keshet
Chair, MCN IP SIG

[MCN-L] IP SIG: Mar. 21 Traditional Knowledge - Intellectual Property Federal Policy - Washington College of Law 2014

[Amalyah Keshet]

Of possible interest to those in museums and archives who deal with traditional 
knowledge, folklore, and indigenous communities.

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




Having trouble viewing this e-mail? View it in your 
browserhttp://emarketing.wcl.american.edu/private/Mp2o/6kD/6ZHwx7T/browse/20807691






American University Washington College of Law
Program on Information Justice  Intellectual Property
Presents
Annual Cherry Blossoms Symposium:
Traditional Knowledge: IP and Federal Policy



Friday, March 21, 2014 ? 9:00am - 4:00pm

Room 602
American University, Washington College of Law
4801 Massachusetts Ave NW Washington DC 20016

For Registration, CLE info  Webcast (live and archived):
http://www.pijip.org/events/cb2014/http://emarketing.wcl.american.edu/c/20807691/24839/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fevents%2Fcb2014%2F




The second annual Cherry Blossom Symposium will focus on the intersection of 
intellectual property law and federal policy relating to ?traditional 
knowledge.?

Panel 1: Initiatives to regulate commercial appropriation of names, symbols, 
and modes of cultural production associated with traditional and indigenous 
communities
Chair: Victoria Phillips ? American University Washington College of Law
Suzan Harjo ? Morningstar Institute
Gabrielle Tayac ? National Museum of the American Indian
Eric Bruce Wilson ? International Affairs Coordinator, Indian Affairs, U.S. 
Department of the Interior

Panel 2: Genetic Resources, Indigenous Peoples and Federal Policy
Chair: Jorge Contreras ? American University Washington College of Law
Pilar Ossorio ? University of Wisconsin Law School
Julia Fuld ? Alumna, American University Washington College of Law
Ezra Rosser ? American University Washington College of Law
Greg Dolin ? University of Baltimore Center for Medicine and Law

Panel 3: Progress in the efforts of the WIPO Intergovernmental Committee on 
Intellectual Property and Genetic Resources, Traditional Knowledge and Folklore 
to establish international norms
Chair: Peter Jaszi ? American University Washington College of Law
Michael Shapiro ? United States Patent and Trademark Office (pending)
Molly Torsen Stech ? US Copyright Office
Brigitte Vezina ? Traditional Creativity, Cultural Expressions and Cultural 
Heritage Section, WIPO

Panel 4: Non-traditional solutions to IPR-related problems affecting 
traditional knowledge and its custodians
Chair: Michael Carroll ? American University Washington College of Law
Margaret Chon ? Seattle University School of Law
Danielle Conway ? University of Hawaii School of Law
Student Representatives, Glushko-Samuelson Intellectual Property Law Clinic ? 
American University Washington College of Law



10th Annual IP/Gender:

Gender and the Regulation of Traditional Knowledge




Thursday, March 20, 2014
4:00pm - 6:00pm Reception to follow

Room 602
American University, Washington College of Law
4801 Massachusetts Ave NW Washington DC 20016

For Registration, CLE info  Webcast (live and archived):
http://www.pijip.org/events/ipg2014/http://emarketing.wcl.american.edu/c/20807691/24841/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fevents%2Fipg2014%2F



In coordination with the 2nd Annual Cherry Blossom Symposium: Federal Policy 
and Traditional Knowledge, this event will focus on the role of women and the 
effect of gender roles on national and international regulation in the area of 
traditional knowledge, as that term is broadly understood.

In many places, women are deemed to be the most important practitioners of 
certain old arts and the primary custodians of old ways of knowing, with many 
cultural ?traditions? being passed primarily or exclusively from one generation 
of women to the next. Therefore, the consequences of introducing IP regimes in 
this area may have special significance for women and their communities, or may 
reflect underlying assumptions about gender, women?s role in processes of 
decolonization and development, and the distributive consequences of IP regimes.

The Roundtable will begin with comments by:
Margaret Chon - Seattle University School of Law
Danielle Conway - University of Hawaii School of Law
Suzan Harjo - Morningstar Institute (invited)
Moderated by: Peter Jaszi - American University Washington College of Law




Upcoming PIJIP Events



March 21, 2014 ? 10th Annual IP/Gender: Gender and the Regulation of 
Traditional Knowledge Info and Live 
Webcasthttp://emarketing.wcl.american.edu/c/20807691/24843/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fevents%2Fipg2014%2F
March 31, 2014 ? Alice Corporation Pty. Ltd. v. CLS Bank International Post 
Argument Discussion Info and Live 
Webcasthttp://emarketing.wcl.american.edu/c/20807691/24845/6ZHwx7T/Mp2o?redirect_to=http%3A%2F%2Fwww.pijip.org%2Fclsbank%2F
April 21, 2014 ?  Pom Wonderful LLC v. The Coca Cola Company Post

[MCN-L] IP SIG: the next great copyright act conference

[Amalyah Keshet]

For anyone in the Berkeley area, this is a must:


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

Chair, MCN IP SIG













-Original Message-
From: Pam Samuelson [mailto:p...@law.berkeley.edu]
Sent: 13 March, 2014 7:51 PM

The Berkeley Center for Law  Technology and the Berkeley Technology Law 
Journal have organized a conference which will be held on April 3-4, 2014, at 
the Claremont Hotel in Berkeley.



Here is a short description:



In March of 2013 Maria Pallante, the Register of the U.S. Copyright Office, 
expressed her interest in working toward a comprehensive revision of U.S. 
copyright law, which she has optimistically called the next great copyright 
act. Congressman Goodlatte, of the Subcommittee on Courts, Intellectual 
Property and the Internet of the House Judiciary Committee, has decided to 
explore this idea by holding a series of hearings about copyright reform 
issues. The Department of Commerce has recently published a Green Paper about 
the need for some updates to U.S.

copyright law. Although the drafters of the Copyright Act of 1976 hoped that 
this legislation would prove to be flexible and forward-looking enough to serve 
the country well over time, consensus has been building in recent years that 
the current law needs an overhaul so that it is more comprehensible and 
provides a better framework for enabling copyright law to adapt to the 
challenges posed by emergent technologies.

This conference will bring together scholars, policymakers, and representatives 
of various stakeholder groups to consider what changes would make for a next 
great copyright act.



It will feature representatives from the Copyright Office, the Patent  
Trademark Office, representatives of numerous industries and industry 
organizations, and many top academics who work on copyright issues. It will 
cover everything from subject matter to formalities to exclusive rights to 
limitations and exceptions to ISP liability to remedies and enforcement.



We hope you can be there. Please forward to any persons or listservs that might 
want to know about it.



Registration is now open at http://www.law.berkeley.edu/16296.htm.



--

Pamela Samuelson

Richard M. Sherman Distinguished Professor of Law Berkeley Law School Berkeley 
CA 94720 pam at law.berkeley.edumailto:pam at law.berkeley.edu

(510) 642-6775 (o)

.

[MCN-L] Different Copyrights / Different Image Resolutions

[Amalyah Keshet]

Kate:

If an image is a protected (copyrighted) work, it doesn't matter what size or 
format it's in.  It's protected, and the copyright holder has the exclusive 
right to reproduce and distribute it and to make derivatives of it.  (Thumbnail 
images for purposes of identification, for example in a database or search 
engine, would be the possible exception.)

However, that doesn't mean one cannot make an institutional policy decision to 
treat different formats and sizes differently in terms of
how you distribute, license, or give away image files for various purposes.   
This follows from the above.

Amalyah Keshet
Chair, MCN IP SIG











Amalyah Keshet
Head of Image Resources and
Tel. +972-2-6708064

Fax +972-2-6771340
akeshet at imj.org.il
The Israel Museum, Jerusalem




-Original Message-
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Kate 
Blanch
Sent: 12 March, 2014 4:58 PM
To: 'mcn-l at mcn.edu'
Subject: [MCN-L] Different Copyrights / Different Image Resolutions

Hello MCN,
This may be a rather dense question regarding copyright law...but as it's 
outside my area of expertise I figured this community could provide a great 
reference point. My own research is not turning up an good answers/examples 
either!

Do any institutions assign different copyright statements to derivatives of the 
same image, depending on that image's resolution?

Take for example, a photo of a Greek urn in a museum collection. Would it be 
common practice for a high-resolution TIFF of this photo to bear a (c)Museum 
Institution, 2014 statement, while a medium-resolution JPG of the same photo 
would bear a (c) Creative Commons License?

Does this scenario fit within basic copyright law or guidelines?
If anyone is differentiating copyright statements based on image resolution, do 
you have this policy written/documented in a shareable way?

Thanks for any feedback you might have!


Kate Blanch
Administrator, Museum Databases
kblanch at thewalters.org / 410.547.9000 ext. 266

The Walters Art Museum
600 N. Charles Street, Baltimore MD 21201 
www.thewalters.orghttp://www.thewalters.org/

[MCN-L] FW: Different Copyrights / Different Image Resolutions

[Amalyah Keshet]

I should clarify that I am referring to the museum-created photograph/digital 
image only, ignoring for the moment the copyright status of the underlying work 
of art appearing in the photograph.



Amalyah











-Original Message-
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of 
Amalyah Keshet
Sent: 12 March, 2014 5:12 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] Different Copyrights / Different Image Resolutions



Kate:



If an image a photograph is a protected (copyrighted) work, it doesn't matter 
what size or format it's in.  It's protected, and the copyright holder has the 
exclusive right to reproduce and distribute it and to make derivatives of it.  
(Thumbnail images for purposes of identification, for example in a database or 
search engine, would be the possible exception.)



However, that doesn't mean one cannot make an institutional policy decision to 
treat different formats and sizes differently in terms of

how you distribute, license, or give away image files for various purposes.   
This follows from the above.



Amalyah Keshet

Chair, MCN IP SIG























Amalyah Keshet

Head of Image Resources and

Tel. +972-2-6708064



Fax +972-2-6771340

akeshet at imj.org.ilmailto:akeshet at imj.org.il

The Israel Museum, Jerusalem









-Original Message-

From: mcn-l-bounces at mcn.edumailto:mcn-l-bounces at mcn.edu 
[mailto:mcn-l-boun...@mcn.edu] On Behalf Of Kate Blanch

Sent: 12 March, 2014 4:58 PM

To: 'mcn-l at mcn.edu'

Subject: [MCN-L] Different Copyrights / Different Image Resolutions



Hello MCN,

This may be a rather dense question regarding copyright law...but as it's 
outside my area of expertise I figured this community could provide a great 
reference point. My own research is not turning up an good answers/examples 
either!



Do any institutions assign different copyright statements to derivatives of the 
same image, depending on that image's resolution?



Take for example, a photo of a Greek urn in a museum collection. Would it be 
common practice for a high-resolution TIFF of this photo to bear a (c)Museum 
Institution, 2014 statement, while a medium-resolution JPG of the same photo 
would bear a (c) Creative Commons License?



Does this scenario fit within basic copyright law or guidelines?

If anyone is differentiating copyright statements based on image resolution, do 
you have this policy written/documented in a shareable way?



Thanks for any feedback you might have!





Kate Blanch

Administrator, Museum Databases

kblanch at thewalters.orgmailto:kblanch at thewalters.org / 410.547.9000 ext. 
266



The Walters Art Museum

600 N. Charles Street, Baltimore MD 21201 
www.thewalters.orghttp://www.thewalters.org/http://www.thewalters.org%3chttp:/www.thewalters.org/



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[MCN-L] A message from Travis Fullerton of the Virginia Museum of Fine Arts

[Amalyah Keshet]

A plea for answers (or, Travis: a summary of answers) on list.  There are more 
of us who are very interested in this subject!






Amalyah Keshet
Head of Image Resources and
Tel. +972-2-6708064

Fax +972-2-6771340
akeshet at imj.org.il
The Israel Museum, Jerusalem




-Original Message-
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of 
Heather Marie Wells
Sent: 25 February, 2014 5:57 PM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] A message from Travis Fullerton of the Virginia Museum of 
Fine Arts

Hi Travis,

Feel free to email me privately and we can set up a phone call.
Heathermarie.wells at crystalbridges.org

Thanks,
HM


Heather Marie Wells
Digital Media Specialist

600 Museum Way
Bentonville, AR 72712
479-418-5700 (main)
CrystalBridges.org




On 2/25/14 9:10 AM, Eric Longo eric at mcn.edu wrote:

Hi everybody, I wanted to conduct a quick survey of video production
services in museums and try to understand how they are managed, and by
whom.

There is an increasing need for video content at our museum, especially
for social media, but also for education and mobile development. We try
hard to maintain a level of quality in our still imaging and I want to
maintain a level of quality control as the video content grows.
Currently video content it is being generated in various departments by
contractors, interns, or volunteers - and it is all over the place. I
would like to get a sense of how others manage multimedia production at
your institutions. I know there is a Media Production SIG, so I am
particularly keen to hear from those folks.

Is video production a unique department? If not, where does it fall?

Do you have dedicated staff for video production? Who? How many?

How is the finished content stored? DAMs? Hard copy? Do you save edited
projects only or all raw footage as well? Who manages the storage?

Just curious how others are handling this. Thanks!

--
Travis Fullerton
Chief Photographer, Manager of Imaging Resources Virginia Museum of
Fine Arts
200 N Boulevard, Richmond, VA 23220
804.340.1538

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[MCN-L] Wayback Machine archiving

[Amalyah Keshet]

Just because it might interest someone (and because I didn't know it's this 
easy), I'm passing along the message below.

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


-

Users can now use The Wayback Machine to archive just about
any web page at ANY time.

This is a relatively new feature and like the Wayback Machine itself ...

In other words, users no longer have to wait for the Wayback crawler
to visit a page and permanently store a copy.

Now, any user can do themselves when they want, as often as they want.

Getting the job done is easy.

Simply copy the url of the page you want to save (some call this
freezing the page at a specific moment in time) and paste it into
the Save Page Now box on the Wayback homepage.

http://archive.org/web/

Within a couple of seconds you will be given a direct and permanent
link to the page FROZEN at the specific moment you pressed the save
page button.

That's it.

Not only is this useful but it brings the topic about saving and
archiving what you find since the web is so ephemeral. The way a page
looks and the content it contains might look different on Wed. vs. how
it looked on Monday. Heck, the page/content might also be totally
removed.

p.s. If you want to take the time, this bookmarklet (it's also free)
makes saving a web page using Wayback a 100% point and click
operation. Just drag to your toolbar.

http://marklets.com/Save%20Page%20to%20Wayback%20Machine.aspx

p.p.s. Probably also worth noting that some sites block the Wayback
crawler from archiving a page...  An example, try saving a
page from WashingtonPost.com and see what happens.


Gary D. Price, MLIS
Co-Founder and Editor, Library Journal's INFOdocket.com
Co-Founder and Editor, FullTextReports.com
Information Industry Analyst
Librarian
http://INFOdocket.com
http://FullTextReports.com



-
[Insert your disclaimer here]
-

[MCN-L] NSFW? NSA? OMG...

[Amalyah Keshet]

Just so you know:


Web developers can exploit bugs in Google?s Chrome browser to listen through a 
computer?s microphone ? even if the browser window is not open, according to a 
developer who publicly reported the vulnerability 
Wednesdayhttp://talater.com/chrome-is-listening/.

The developer, Tal Ater, works at a tech start-up in Tel Aviv and also created 
a popular libraryhttps://www.talater.com/annyang/ for adding voice 
recognition to websites. While working on these tools, he found several bugs 
that together could be exploited to listen to people?s conversations near a 
computer surreptitiously.

http://bits.blogs.nytimes.com/2014/01/22/googles-chrome-browser-could-let-malicious-sites-listen-to-conversationshttp://bits.blogs.nytimes.com/2014/01/22/googles-chrome-browser-could-let-malicious-sites-listen-to-conversations/?_php=true_type=blogsnl=technologyemc=edit_ct_20140123_r=0

http://talater.com/chrome-is-listening/


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

[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] 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: 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.orghttp://www.keionline.org
(202) 332-2670tel:%28202%29%20332-2670
--
.

[MCN-L] FW: 2013 Museum Edition of Horizons Report

[Amalyah Keshet [akes...@imj.org.il]]

Released today by the New Media Consortium.



Electronic publishing as it relates to museums is one of info tech trends 
listed.



Full List



1. BYOD (Bring Your Own Device)

2. Crowdsourcing

3. Electronic Publishing

4. Location-Based Services

5. Natural User Interfaces

6. Preservation and Conservation Technologies



Full Text

http://www.nmc.org/pdf/2013-horizon-report-museum-EN.pdf



Summary

http://www.nmc.org/pdf/2013-horizon-museum-preview.pdf



Short List

http://www.nmc.org/pdf/2013-horizon-museum-short-list.pdf



E-Publishing is Listed in the 2-3 years to Adoption Section and summarized this 
way:



Already firmly established in the consumer sector, electronic publishing is 
redefining the boundaries between print and digital, still image and video, 
passive and interactive. Modern digital workflows support almost any form in 
which content might appear, from traditional print to digital, web, video, and 
even interactive content.



Building in the full spectrum of potential publishing avenues - print, web, 
video, mobiles and tablets, and interactives - from the beginning is not only a 
way to streamline production overall, but also to increase the reach of the 
materials produced by leveraging the content over a wide range of media.



If the first revolution in electronic publishing was making publishing 
platforms accessible to anyone, the next phase is the linking of these 
platforms together to produce new combinations and new types of content. New 
concepts like the Online Scholarly Catalog Initiative

(OSCI) and Responsive Design will allow that content to be easily archived as 
well as ported to any device



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

[MCN-L] FW: Google Books judgment - fair use

[Amalyah Keshet [akes...@imj.org.il]]

News flash: A huge win for Fair Use:


http://www.nytimes.com/2013/11/15/business/media/judge-sides-with-google-on-book-scanning-suit.html?hp_r=0


After eight years and countless delays, a federal judge on Thursday dismissed a 
lawsuit by authors against Google, saying that the technology giant?s 
long-running digital book-scanning project provides ?significant public 
benefits.?

?It advances the progress of the arts and sciences, while maintaining 
respectful consideration for the rights of authors and other creative 
individuals, and without adversely impacting the rights of copyright holders,? 
Judge Denny Chin, of the United States Court of Appeals for the Second Circuit, 
said in his ruling on Google Books. ?It preserves books, in particular 
out-of-print and old books that have been forgotten in the bowels of libraries, 
and it gives them new life. It facilitates access to books for print-disabled 
and remote or underserved populations. It generates new audiences and creates 
new sources of income for authors and publishers. Indeed, all society benefits.?



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

[MCN-L] FW: A Rally Against Mass Surveillance

[Amalyah Keshet [akes...@imj.org.il]]

Forwarding for those who might be interested.


http://r20.rs6.net/tn.jsp?e=00110GGiaBGWHVgtG1RdbCz6Th1EeSG7U9oRG3MVzWKTg0_Y2r89-W9UgAcje1WMaTb2QAzzy_uPOpg-vrljVIyrAvObzlJkEwr3numdgDAud_HcQDMADCmQD1zpS9ip1DBCqA0pHLIoVSStyov9i16P2myDkMYGhe1CBrCWKt-H_AI40HaHC3XoPHbN7hovixSHPHiuBdCTYqQKep7scTkVLbVUw4wpHdbq7lFXDnZHKsbCm1aE1RE8Ok0MASL_bsloh-iCMmBSzQY5ba6C8aapAWmXVh4XGyH-zxdxqZ3JmDesP2hPEYmp5qQjrqLWWE8[pk-logo]http://r20.rs6.net/tn.jsp?e=00110GGiaBGWHVgtG1RdbCz6Th1EeSG7U9oRG3MVzWKTg0_Y2r89-W9UgAcje1WMaTb2QAzzy_uPOpg-vrljVIyrAvObzlJkEwr3numdgDAud_HcQDMADCmQD1zpS9ip1DBCqA0pHLIoVSStyov9i16P2myDkMYGhe1CBrCWKt-H_AI40HaHC3XoPHbN7hovixSHPHiuBdCTYqQKep7scTkVLbVUw4wpHdbq7lFXDnZHKsbCm1aE1RE8Ok0MASL_bsloh-iCMmBSzQY5ba6C8aapAWmXVh4XGyH-zxdxqZ3JmDesP2hPEYmp5qQjrqLWWE8http://r20.rs6.net/tn.jsp?e=00110GGiaBGWHVgtG1RdbCz6Th1EeSG7U9oRG3MVzWKTg0_Y2r89-W9UgAcje1WMaTb2QAzzy_uPOpg-vrljVIyrAvObzlJkEwr3numdgDAud_HcQDMADCmQD1zpS9ip1DBCqA0pHLIoVSStyov9i16P2myDkMYGhe1CBrCWKt-H_AI40HaHC3XoPHbN7hovixSHPHiuBdCTYqQKep7scTkVLbVUw4wpHdbq7lFXDnZHKsbCm1aE1RE8Ok0MASL_bsloh-iCMmBSzQY5ba6C8aapAWmXVh4XGyH-zxdxqZ3JmDesP2hPEYmp5qQjrqLWWE8


This Week!: A Rally Against Mass Surveillance


Dear Amalyah,


Right now the NSA can spy on your personal communications. This means 
warrantless collections of your phone data and recording the things you say in 
your private emails. This type of surveillance chills our freedom of speech and 
cripples our ability to organize without fear.



This is why on October 26th, on the 12th anniversary of the signing of the US 
Patriot Act,  thousands of people from across the country and from all parts of 
the political spectrum are coming together in Washington D.C. to deliver a 
message to Congress:



 [http://www.publicknowledge.org/files/images/logo-header.png] 
http://r20.rs6.net/tn.jsp?e=00110GGiaBGWHWoYLoKbpmr-x2qT-yA8Ct4lUO6drW1E5mZVWupGgE3BZbrqyUtB_V2zZZlvSiQDGdwLUfzbuBWOiea_bzXYC8mPj9q7XV891Cd30JXQiVa5OTHCoOvw9Qsp6eTXSia-ekif4UwpgnuVh4G478nuuCMD_KCl9ckkBUkSD1SEioLyXHzsxVfxrffAe135DGTVaY7SlLRjLZFAdSUnlK0pbCNZ_VRfOJSSFZUBmI3m_Kb-ibdhH0PDvGxFIFrff2iLILMMCyjbC59LkcAyQf0PhI_JQRQ5HL9K-hP0OHw8jrnYLr9Kjc06OxL





Join us for a historic afternoon rallying against NSA overreach and bulk 
collection of our data.  Register 
herehttp://r20.rs6.net/tn.jsp?e=00110GGiaBGWHWoYLoKbpmr-x2qT-yA8Ct4lUO6drW1E5mZVWupGgE3BZbrqyUtB_V2zZZlvSiQDGdwLUfzbuBWOiea_bzXYC8mPj9q7XV891Cd30JXQiVa5OTHCoOvw9Qsp6eTXSia-ekif4UwpgnuVh4G478nuuCMD_KCl9ckkBUkSD1SEioLyXHzsxVfxrffAe135DGTVaY7SlLRjLZFAdSUnlK0pbCNZ_VRfOJSSFZUBmI3m_Kb-ibdhH0PDvGxFIFrff2iLILMMCyjbC59LkcAyQf0PhI_JQRQ5HL9K-hP0OHw8jrnYLr9Kjc06OxL
 and sign up for a bus or rideshare from your 
city.http://r20.rs6.net/tn.jsp?e=00110GGiaBGWHX7UEnDvjYK3BmMpeRhuAIyJbP3-X8kbVBksYudyqRpNQRL1MUm388DW16ssKqUcLk982VZNaFWQRc5pvev31UtH3DKGRqzn-KO9Ys2TRIs_4HmATy5w9Sc5PDskb5suTui1hVJX7Rk82cGp2LlTAlZs5hv8PeYbQdQOVMgJn3XhmtDDGo6gANXmd5U6c4yVcJsGL3NNlC3p_gWV7r10Wh9yMeYqMILB8ogOuMr292cu5H7xWQ6F6iognVg0rLdH2z28DbCjRlvyimU9OpBbIajyxdzW8Eu7MQ-DnbM_PNqnU-4QpMvz47wflqr5LTn2h7zHit1if1Hgw==



But there's more than just the 
rallyhttp://r20.rs6.net/tn.jsp?e=00110GGiaBGWHVUlGBQnChtf5clyVUQL5v1EXnsjHd8TO3ZUH6m82Hj-FXAfQqlISkk4kxDkzqboZUiWOL1xDZQey1lU-ALCeli9Vzekxs9Uk_hHpD2rWJtA3ETsEFog-vwZMOC7KG_DMr91sSYa32_Sdl2S4jxDbNmWvCBixJfHyzY-28n8HFigAhP_oNAbJLyNa9Hjbju8h_HxCv7hlEeOsg-RtRAtwl8rkgOEMVqUlEw0_0hSk8Xx_1JLdlvvp07fNvUyAU-FlJ0MszEhMI5pA83h_ojBk00dfvcrj5Ag8p-_0C4V2gRoOLe3YJbdWebG9EfU4lPH1kH9Z7uGXo-lc8EF1_0sy0OzB7SlfUd1YidDrczuoFIyx0uQWitC0oGxpNjqe60pNY=.
 On October 25th, the day before the big event, we've pulled people together to 
meet directly with members of Congress to tell them to stop the spying.



What:
Stop Watching Us: A Rally Against Mass Surveillance


When:
Saturday, October 26, 2013
 12:00pm


Where:
Marchers will gather at Union Station at 11:30 a.m. in Columbus Circle. At noon 
we'll march to Union Square  (3rd Street and Madison Dr. NW in front of the 
Capitol Reflecting Pool) where the rally will take place.


Who:
You and thousands of others fighting to restore our privacy


Click 
herehttp://r20.rs6.net/tn.jsp?e=00110GGiaBGWHWoYLoKbpmr-x2qT-yA8Ct4lUO6drW1E5mZVWupGgE3BZbrqyUtB_V2zZZlvSiQDGdwLUfzbuBWOiea_bzXYC8mPj9q7XV891Cd30JXQiVa5OTHCoOvw9Qsp6eTXSia-ekif4UwpgnuVh4G478nuuCMD_KCl9ckkBUkSD1SEioLyXHzsxVfxrffAe135DGTVaY7SlLRjLZFAdSUnlK0pbCNZ_VRfOJSSFZUBmI3m_Kb-ibdhH0PDvGxFIFrff2iLILMMCyjbC59LkcAyQf0PhI_JQRQ5HL9K-hP0OHw8jrnYLr9Kjc06OxL
 to learn more and RSVP for the rally.

We're hoping you will be there to rally with us!


Thanks for your support,

The Public Knowledge Team


[Follow us on 

[MCN-L] deduplication systems

[Amalyah Keshet [akes...@imj.org.il]]

Any of the great minds on this list have experience with, words of wisdom 
about, or opinions concerning
deduplication systems for backing up image archives?

http://en.wikipedia.org/wiki/Data_deduplication#Drawbacks_and_concerns


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

[MCN-L] FW: Montevideo Statement on the Future of Internet Cooperation

[Amalyah Keshet [akes...@imj.org.il]]

Subject: [ISOC] Montevideo Statement on the Future of Internet Cooperation

Montevideo Statement on the Future of Internet Cooperation

[Montevideo, Uruguay - 7 October 2013] -- The leaders of organizations 
responsible for coordination of the Internet technical infrastructure globally 
have met in Montevideo, Uruguay, to consider current issues affecting the 
future of the Internet.

The Internet and World Wide Web have brought major benefits in social and 
economic development worldwide. Both have been built and governed in the public 
interest through unique mechanisms for global multistakeholder Internet 
cooperation, which have been intrinsic to their success.  The leaders discussed 
the clear need to continually strengthen and evolve these mechanisms, in truly 
substantial ways, to be able to address emerging issues faced by stakeholders 
in the Internet.

In this sense:

*They reinforced the importance of globally coherent Internet operations, and 
warned against Internet fragmentation at a national level. They expressed 
strong concern over the undermining of the trust and confidence of Internet 
users globally due to recent revelations of pervasive monitoring and 
surveillance.

*They identified the need for ongoing effort to address Internet Governance 
challenges, and agreed to catalyze community-wide efforts towards the evolution 
of global multistakeholder Internet cooperation.

*They called for accelerating the globalization of ICANN and IANA functions, 
towards an environment in which all stakeholders, including all governments, 
participate on an equal footing.

*They also called for the transition to IPv6 to remain a top priority globally. 
In particular Internet content providers must serve content with both IPv4 and 
IPv6 services, in order to be fully reachable on the global Internet.


Adiel A. Akplogan, CEO
African Network Information Center (AFRINIC)

John Curran, CEO
American Registry for Internet Numbers (ARIN)

Paul Wilson, Director General
Asia-Pacific Network Information Centre (APNIC)

Russ Housley, Chair
Internet Architecture Board (IAB)

Fadi Chehad?, President and CEO
Internet Corporation for Assigned Names and Numbers (ICANN)

Jari Arkko, Chair
Internet Engineering Task Force (IETF)

Lynn St. Amour, President and CEO
Internet Society (ISOC)

Ra?l Echeberr?a, CEO
Latin America and Caribbean Internet Addresses Registry (LACNIC)

Axel Pawlik, Managing Director
R?seaux IP Europ?ens Network Coordination Centre (RIPE NCC)

Jeff Jaffe, CEO
World Wide Web Consortium (W3C)



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

[MCN-L] FW: Registration now open for DPLAfest 2013: October 24-25 in Boston

[Amalyah Keshet [akes...@imj.org.il]]

For those in the Boston area:


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[MCN-L] FW: Primary Research Group has published Museum Library Special Collection Use of Major Internet SItes, ISBN 978-157440-242-1

[Amalyah Keshet [akes...@imj.org.il]]

http://visitor.benchmarkemail.com/c/v?e=2CF5BEc=CD32l=2F9C417email=4sZxEuqClO%2BO5BzS8ODKvSSS3ZJNocAYrelid=C6EC174

The 133 page study examines how museums and library special collections are 
using major internet sites such as Pinterest, Facebook, YouTube, Vimeo, Google, 
Ning, Amazon, Bing, Wikipedia, LinkedIn, FlickR, Instagram, Twitter and other 
major sites.  The study looks at how these institutions are using these sites 
for marketing, research, administration and other areas.
The study looks particularly closely at how organizations use the many free 
services of Google including Google Drive, Google Translate, Google Docs, 
Google Scholar, Google Books and many others.  In addition, it focuses strongly 
on the growing use of images and video, especially on sites such as YouTube and 
Vimeo, and the production costs that may be associated with the effective use 
of video on these and other sites.