“Richard Knipel, the Wikimedian in residence at the Metropolitan Museum of Art, looks back at the efforts made and future plans to further support collaboration between the museum and the Wikimedia movement.”
“Collecting data from international partners, analyzing it, creating a reconstruction of Palmyra in virtual space, and sharing the models and data in the public domain. We are using digital tools to preserve heritage sites.
Hosting live workshops and building a network of artists, technologists, archaeologists, architects, and others to research, construct models, and create artistic works. We create exhibitions and experiences in museums and institutions globally, celebrating the cultural heritage of Syria and the world through the lens of architecture embodying culture and power.
Helping to advance open data policies in museums and institutions through advocacy, education, and consultation.
Together with our international affiliates, #NEWPALMYRA sources archaeological and historical data, shares it with the community, and outputs art exhibitions, salons, and creative works using this data to carry the rich history of Palmyra forward to new generations….”
“Scientific results are communicated visually in the literature through diagrams, visualizations, and photographs. These information-dense objects have been largely ignored in bibliometrics and scientometrics studies when compared to citations and text. In this project, we use techniques from computer vision and machine learning to classify more than 8 million figures from PubMed into 5 figure types and study the resulting patterns of visual information as they relate to impact. We find that the distribution of figures and figure types in the literature has remained relatively constant over time, but can vary widely across field and topic. We find a significant correlation between scientific impact and the use of visual information, where higher impact papers tend to include more diagrams, and to a lesser extent more plots and photographs. To explore these results and other ways of extracting this visual information, we have built a visual browser to illustrate the concept and explore design alternatives for supporting viziometric analysis and organizing visual information. We use these results to articulate a new research agenda – viziometrics – to study the organization and presentation of visual information in the scientific literature….”
“Europeana Photography is now launching as the outcome of a collaboration between Europeana and PHOTOCONSORTIUM, the International Consortium for Photographic Heritage. Giving access to a vast archive of historical images, it’s a treasure trove of carefully selected pictures from the first 100 years of photography. The latest thematic collection on the Europeana platform, Europeana Photography presents high-quality images and compelling stories from Europe’s most astonishing historical picture collections. Just be warned: once you’ve stepped into our time capsule, you’ll never want to leave!”
“I have noticed before people on Flickr who give their work a CC license and then complain that folks take their photos without informing them (attribution, yes; informing/thanking, no). Sure, it’s good courtesy to thank folks if you use their photos, but such a hassle to do it for each photo you use on a slide deck or such. The whole point of using CC licensed stuff is to not always ask permission. That’s what the CC license is. Permission to anyone. To do what the license permits you to do. I realized that I always ‘favorite’ any photo I’m planning to use, so I guess I’m giving the creator some kind of indication that I like their photo, but not really telling them I’m planning to use it, or how.
I remember learning this the first time someone republished something of mine without my permission. If it’s CC licensed, the whole point is to tell them they don’t need to seek permission each time. It’s good courtesy, I think, to inform the author, but it’s not necessary. But it’s complex. If a for-profit entity republished my CC-BY-NC article, but publishes it openly and for free, is that a commercial use? What if the space has ads on it, is that a commercial use? If I publish my blog CC-BY and a for-profit magazine regularly republishes it, am I really OK with that? Am I OK with a magazine with values opposed to my own constantly republishing my stuff without my permission? What about if they take derivatives of my writing and use it in a different context, to really make an opposing point to mine, is that acceptable to me? These are not trivial questions, I think, for openness advocates to ask themselves.”
“The Cell Image Library™ is a freely accessible, easy-to-search, public repository of reviewed and annotated images, videos, and animations of cells from a variety of organisms, showcasing cell architecture, intracellular functionalities, and both normal and abnormal processes. The purpose of this database is to advance research, education, and training, with the ultimate goal of improving human health….”
“Taxonomic papers, by definition, cite a large number of previous publications, for instance, when comparing a new species to closely related ones that have already been described. Often it is necessary to use images to demonstrate characteristic traits and morphological differences or similarities. In this role, the images are best seen as biodiversity data rather than artwork. According to the authors, this puts them outside the scope, purposes and principles of Copyright. Moreover, such images are most useful when they are presented in a standardized fashion, and lack the artistic creativity that would otherwise make them ‘copyrightable works’.
‘It follows that most images found in taxonomic literature can be re-used for research or many other purposes without seeking permission, regardless of any copyright declaration,’ says Prof. David J. Patterson, affiliated with both Plazi and the University of Sydney.
Nonetheless, the authors point out that, ‘in observance of ethical and scholarly standards, re-users are expected to cite the author and original source of any image that they use.’ Such practice is ‘demanded by the conventions of scholarship, not by legal obligation,’ they add.
However, the authors underline that there are actual copyrightable visuals, which might also make their way to a scientific paper. These include wildlife photographs, drawings and artwork produced in a distinctive individual form and intended for other than comparative purposes, as well as collections of images, qualifiable as databases in the sense of the European Protection of Databases directive.
In their paper, the scientists also provide an updated version of the Blue List, originally compiled in 2014 and comprising the copyright exemptions applicable to taxonomic works. In their Extended Blue List, the authors expand the list to include five extra items relating specifically to images.”
“The [Catalogue Raisonné] seeks to put the entire corpus of the more than 25,000 known surviving…negatives and prints [by William Henry Fox Talbot, “the Victorian inventor of photography on paper”] online. This scholarly resource is in beta release to encourage your contribution to this international effort. Revisions and new entries are being added continually….”
“As of today, all images of public-domain works in The Met collection are available under Creative Commons Zero (CC0). So whether you’re an artist or a designer, an educator or a student, a professional or a hobbyist, you now have more than 375,000 images of artworks from our collection to use, share, and remix—without restriction. This policy change to Open Access is an exciting milestone in The Met’s digital evolution, and a strong statement about increasing access to the collection and how to best fulfill the Museum’s mission in a digital age.
The Met has an incredible encyclopedic collection: 1.5 million objects spanning 5,000 years of culture from around the globe. Since our audience is really the three billion internet-connected individuals around the world, we need to think big about how to reach these viewers, and increase our focus on those digital tactics that have the greatest impact. Open Access is one of those tactics.
The images we’re making available under a CC0 license relate to 200,000 public-domain artworks in our collection that the Museum has already digitally catalogued. This represents an incredible body of work by curators, conservators, photographers, librarians, cataloguers, interns, and technologists over the past 147 years of the institution’s history. This is work that is always ongoing: just last year we added 21,000 new images to the online collection, 18,000 of which relate to works in the public domain.”
“In April 2016, the Confederation of Open Access Repositories (COAR) launched a working group to help identify new functionalities and technologies for repositories and develop a road map for their adoption. For the past several months, the group has been working to define a vision for repositories and sketch out the priority user stories and scenarios that will help guide the development of new functionalities.
The vision is to position repositories as the foundation for a distributed, globally networked infrastructure for scholarly communication, on top of which layers of value added services will be deployed, thereby transforming the system, making it more research-centric, open to and supportive of innovation, while also collectively managed by the scholarly community.
Underlying this vision is the idea that a distributed network of repositories can and should be a powerful tool to promote the transformation of the scholarly communication ecosystem. In this context, repositories will provide access to published articles as well as a broad range of artifacts beyond traditional publications such as datasets, pre-prints, working papers, images, software, and so on….”