“Leiden University Libraries (UBL) has made more than 20.000 maps, atlases and topographical prints and drawings available in Digital Collections. With this, a significant part of one of the largest and most important collections of maps and atlases in the Netherlands has now been made digitally available for research, education and the general public. Due to copyright protections, recently published maps and atlases may not be available online; these items may be viewed digitally within library premises or can be physically consulted in the Special Collections Reading Room….”
“In 2008, the Walters in Baltimore was awarded $307,500 from NEH to start digitizing their world-renowned collection of over 900 objects, some of which had never before been cataloged. The digitization began with The Islamic Digital Resource Project, a collection of the museum’s 128 illuminated Islamic manuscripts and leaves. A second grant of $315,000 included 105 manuscripts of German, Russian, Armenian, Byzantine, Ethiopian, Dutch, English, and Spanish origins, while a $265,000 grant covered digitization of 112 Flemish manuscripts, mainly the Books of Hours, dating between 1200 and 1600 CE….”
“Throughout the survey, we noted that with two relatively overlapping systems in place, cultural heritage professionals are likely to use the one that provides the best solution, with the other one remaining mostly unused. We therefore recommended considering retracting the Orphan Works Directive. We also noted its clear flaws so that the same mistakes would not be repeated again.
We noted the following:
The diligent search for rights holders is problematic, with the sources it is mandatory to consult often irrelevant and difficult to access. Pertinent sources are sometimes not included.
The time and resources that an institution needs to dedicate to conducting a diligent search present challenges, particularly as after completing this process there is still no full guarantee that the institution will always be able to use the work lawfully.
The very limited scope of the Directive in different types of works is a clear downside; including embedded works (for example, the multiple works contained in a scrapbook) in those whose rights holders have to be searched for makes the determination extremely time-consuming and almost impossible.
The Directive does not provide a sufficient level of clarity regarding the compensation that rights holders can claim; this lack of clarity has strongly disincentivised cultural heritage professionals from relying on this scheme.
The EUIPO Orphan Works database can be cumbersome when working with large datasets and is not sufficiently interoperable with the repositories of cultural heritage institutions.
Having two overlapping schemes is likely to raise a lot of uncertainties for cultural heritage professionals, for instance when trying to assess which of the two options to rely on. The out of commerce works provisions in the Copyright in the Digital Single Market Directive, while tackling the same challenges, offer much better solutions and less cumbersome conditions, perhaps to a large extent given the lessons learned from the Orphan Works Directive, and we are hopeful that they will deliver their promise. …”
“Launched in collaboration with the Amsterdam University Press and the Amsterdam School for Heritage, Memory and Material Culture (AHM), and hosted on the innovative, high-tech scholarly publishing platform ARPHA, the latest addition to the AUP’s journal portfolio is already inviting contributions.
The open-access, peer-reviewed International Journal of Heritage, Memory and Conflict (HMC) aims to offer an interdisciplinary space for the rich scholarship within a wide range of studies by crossing academic, artistic and professional boundaries; while also contributing to the better understanding of the extent to which memory sites and discourses operate as vehicles at local, national and transnational levels….”
“Open Archief is a multifaceted, collaborative research project that explores the beauty and innovation that can be inspired by making archival material accessible to artists for creative reuse. Brought forward by three Dutch heritage institutions: Het Nieuwe Instituut (HNI), The Netherlands Institute for Sound and Vision (Sound and Vision), and the International Institute of Social History (IISH). Open Archief urges and supports media artists to make use of digitized and open archival collections. Through an artistic residency program, a symposium, and several workshops throughout the year, Open Archief brings media artists and heritage institutions together to discuss the importance of creative reuse of heritage and of making digital collections available….”
“Cornell University Library’s annual Grants Program for Digital Collections in Arts and Sciences is funding three new projects aimed at conserving fragile, physical artifacts and digitizing them for research and scholarship.
This year’s materials for digitization include the documents of a small, defunct poetry press in Ithaca; Hi-8 recordings of Haudenosaunee cultural events; and photographic slides of long-gone aerosol street art from different parts of the world….”
“The Library of Congress is the largest library in the world, with millions of books, recordings, photographs, newspapers, maps and manuscripts in its collections. One of the missions of Library of Congress’ Labs (Labs) at the Library of Congress (Library) is to enable transformational experiences between the Library’s digital collections and the American people.
LC Labs (Labs), a division in the Digital Strategy Directorate in the Office of the Chief Information Officer of the Library of Congress, was awarded an Andrew W. Mellon Foundation grant titled “Computing Cultural Heritage in the Cloud” to test a cloud-based approach for interacting with digital collections as data, supporting those researchers who are creatively applying emerging styles of research to Library material. In collaboration with subject matter experts and IT specialists at the Library, the Library is seeking to award contracts to up to four research experts (Research Experts) to experiment with solutions to problems that can only be explored at scale. See attached BAA for details about this opportunity….”
“In celebration of this year’s annual Open Access Week, the Smithsonian Research Online team will be releasing a new dashboard on our statistics page that includes data about the openness of Smithsonian research publications. As the official record of scholarly publications for the Smithsonian Institution, Smithsonian Research Online is in a great position to analyze this data and help the Institution reflect, participate, and learn more about the scholarly output of the Smithsonian research community….”
“Cultural heritage institutions face a number of obstacles to digitizing and making collections available online. Many are beyond their control. But there is one important area that these institutions do have control over: the access and reuse parameters applied to a breadth of media generated during the reproduction of public domain works.
Whether to claim intellectual property rights (IPR) or release the reproduction media of public domain works via open access parameters is a contentious topic among the GLAM sector (Galleries, Libraries, Archives, and Museums). Evidence shows GLAMs take a range of approaches to open access and encounter various obstacles that can hamper the release of cultural materials to the public domain. One of these obstacles is the lack of coordinated and sustainable support for GLAMs with open access ambitions.
Earlier this year, Wikimedia Foundation and Creative Commons came together to assist the OpenGLAM initiative and bridge this gap. The Wikimedia Foundation provided funding for an exploratory research paper on open access to cultural heritage. With the Wikimedia Foundation’s support, Creative Commons is now leading an initiative to develop a Declaration on Open Access to Cultural Heritage, along with a public consultation process to refine and generate consensus on what the Declaration might achieve.
This resource is meant to kick off that process. It brings together valuable insight from practice with wider societal questions to reflect on the trajectory of the open GLAM movement to date and its future needs. The research to support this work sought to:
To take stock of and reflect on open GLAM practices and the intellectual property rights (IPR) management of digital collections; and within this
Identify areas of uncertainty presenting barriers to open GLAM participation;
Identify new areas of focus emerging from open GLAM practice; and
Produce an open access resource to inform the development of a Declaration on Open Access for Cultural Heritage….”