Download to read offline
More Related Content
![History of Digital [Media]](https://cdn.slidesharecdn.com/ss_thumbnails/historyofdigital-100722142712-phpapp02-thumbnail.jpg?width=600ounds&width=560&fit=bounds)
Similar to Creative Commons and Open GLAM
Creative Commons and Open GLAM
- 2. Our goal: “Universal accessto research and education, full participation in culture.”
- 3. More free Morerestrictive 1 1. Free Licences
- 4.
- 5. First point: It’s becomingmuch easier to access New Zealand’s cultural heritage
- 7. Second point: The technicalbarriers to access and reuse are dropping
- 8. Third point: This meansyou can't predict who will do exciting things with your work
- 9.
- 10.
- 11. MIT Reader Stories “Iam in-between post-docs and I am having difficulty obtaining journal access” –Post-doc, US “I don’t have access to many articles due to … sanctions. … I really appreciate this policy of MIT that helped me a lot.” – Researcher, Middle East “For a small, publicly funded …media like the one I direct… academic knowledge… can be quite time-consuming and often very expensive.”
- 12. Fourth point: Obvious potentialto disseminate heritage items for reuse
- 13. Getty Museum Closed:121 Purchasesp/m Open: 60,000 downloads p/m Claude-Joseph Vernet (French, 1714 - 1789) A Calm at a Mediterranean Port, 1770, The J. Paul Getty Museum, Los Angeles
- 14. Fifth point: The legalbarriers to dissemination & reuse remain.
- 15. Copyright Graffiti Signby Horia Varlan CC-BY https://flic.kr/p/7vBD4TCopyright
- 16. Copyright is veryrestrictive. Automatic. Applies online. No 'c' required. Lasts for 50 years after death.
- 17. Heald, Paul J.,How Copyright Makes Books and Music Disappear (and How Secondary Liability Rules Help Resurrect Old Songs) (July 5, 2013). Illinois Program in Law, Behavior and Social Science Paper No. LBSS14-07; Illinois Public Law Research Paper No. 13-54. Available at SSRN: http://ssrn.com/abstract=2290181 or http://dx.doi.org/10.2139/ssrn.2290181
- 18. Sixth point: Usage rightsstatements are often vague, overly restrictive & not standardised across the sector
- 20. Seventh point: Many heritageinstitutions feel tension between kaitiaki and reuse
- 21. “Grayson, Westley, StanislausCounty...” via US Nat. Archives No Known Copyright https://flic.kr/p/8UAPVTWhat to Do?.
- 22. Start from theother direction
- 23.
- 24. Second: Use Creative Commonslicensing for works with CC-friendly donors
- 26. Third: Works for whichinstitution holds copyright: use CC licensing
- 27. Fourth: Add Creative Commonsoption to donor/deposit agreements.
- 28. Wait. What isCreative Commons, anyway?
- 29. Here's the pitch: CreativeCommons licences are clear, simple, free, legally robust and let you keep your copyright.
- 30.
- 31. Public Domain Few Restrictions AllRights Reserved Few Freedoms
- 32. Public Domain Few Restrictions AllRights Reserved Few Freedoms Some Rights Reserved Range of Licence Options
- 33.
- 34.
- 35.
- 36.
- 37.
- 38.
- 39. More free Morerestrictive
- 40.
- 41.
- 42.
- 43. Man from thecity, 1971, by Jan Nigro. Purchased 1971. Te Papa (1971-0036-2) Creative Commons BY-NC-ND 3.0 New Zealand licenceTe Papa
- 44. Massed troops ata New Zealand Division thanksgiving service, World War I. Ref: 1/2-013806-G. No known copyright. http://natlib.govt.nz/records/22684353NLNZ; WW100
- 45. resources.creativecommons.org.nz creativecommons.org.nz nzcommons.org.nz @cc_aotearoa matt@creativecommons.org.nz elizabeth@creativecommons.org.nz groups.creativecommons.org.nz (we're also onLoomio) This work is licensed under a Creative Commons Attribution 4.0 International License.