of 45 /45
A Museum Guide to Digital Rights Management David Green Knowledge Culture www.knowledgeculture.com Museum Computer Network Conference October 28, 2010 1 Available at: http://www.pro.rcip-chin.gc.ca/sommaire-summary/ gestion_numerique_droits-digital_rights_management-eng.jsp 1

Museum Guide to Digital Rights Management

Embed Size (px)


Presentation of the "Museum Guide to Digital Rights Management," published by the Canadian Heritage Information Network, at the Museum Computer Network on Oct 28, 2010.

Text of Museum Guide to Digital Rights Management

  • 1. A Museum Guide to Digital Rights Management David Green Knowledge Culture www.knowledgeculture.com Museum Computer Network Conference October 28, 2010 1 Available at: http://www.pro.rcip-chin.gc.ca/sommaire-summary/ gestion_numerique_droits-digital_rights_management-eng.jsp 1

2. Review of Current Practice + Guide to Good Practice Summary Recommendations Guide to Digital Rights Management 2 2 3. Survey (Canadian)Survey (Canadian) Anonymous Art Gallery of Ontario Canadian Centre for Architecture Canadian Museum of Nature Manitoba Museum Montreal Museum of Fine Arts Montral Science Centre Muse d'art contemporain de Montral Muse national des beaux-arts du Qubec National Gallery of Canada Nova Scotia Museum Royal Alberta Museum Royal BC Museum Royal Tyrrell Museum The Rooms: Provincial Archives, Art Gallery and Museum of Newfoundland Vancouver Aquarium Vancouver Art Gallery Interviews (International) Denise Bastien, Museum of Rhode Island School of Design Jennie Choi, Billie Kwan & Julie Zeftel, Metropolitan Museum of Art Elspeth Cowell, Canadian Centre for Architecture Danielle Currie, Vancouver Art Gallery Alicia Cutler, National Museum of American History Anita Duquette, Whitney Museum of American Art Syvalya Elchen & Jane Rhodes, Art Gallery of Ontario Rosemarie Falanga, The Exploratorium Denise Gos, Center for Contemporary Photography Naomi Korn, Naomi Korn Copyright Consultancy Mary Kuch-Nagle, Digimarc Corporation Debra LaKind, Museum of Fine Arts, Boston Erik Landsberg & Jeri Moxley, Museum of Modern Art Alan Newman, National Gallery of Art Marie-Claude Rousseau, National Gallery of Canada Jeff Sedlik, PLUS Coalition David Sturtevant, Harvard Art Museums Simon Tanner, Digital Consultancy Services, King's College London Darci Vanderhoff, The Phillips Collection Layna White, San Francisco Museum of Art Deborah Wythe, Brooklyn Museum 3 3 4. Structure 1. Denition of Terms (DRM;Workow) 2. Brief History & Taxonomy of Technologies 3. Findings & Recommendations following Workow: a. I.P. Audit (Survey + Comments) b. Documentation & Management (Survey + Comments) c. Licensing (Survey + Comments) d. Risk Management & Rights Protection (Survey + Comments) 4. Conclusions 4 4 5. 6,241 Artists and 33,175 Works Online From a selection... ...to Everything 5 5 6. DRM Digital Rights Management Rights-In - Rights-Out End-to-End Rights Workow Asset Protection Rights Enforcement Technological Protection Measures DRM-Watermarking-Encryption 6 6 7. Rights In Digitization Rights Out Object Rights Image Rights Images/Digital Assets 1. Accession/IP Audit Public Domain or Rightsholder? 2. Documenting & Managing Request and/or document the assignment or transfer of rights, or of permission to display and reproduce work 2.a Documenting & Managing Image work order Attach/embed/link rights metadata + range of allowable uses to images 3. Licensing Field requests & Locate images Set fees & Issue License Bill & Fulll 4. Rights Protection Track & Protect CMS Excel, etc DAMS Excel, etc Rights Management Software CMS/DAMS/Filemaker I.P.Workow 7 7 8. DUPLICATION DUPLICAT 8 Registrar Collections Database Donors File Loans File Exhibits File Acquisitions File Development Donor Info CURATORS Inventory File Artists Files Robert Baron, Choosing Museum Collection Management Software. The Systems Analysis: Its Methods, Functions and Benets. 1991. http://www.studiolo.org/MusComp/STATEMNT.htm Object Notes DATA DATADATA DATHISTORY 8 9. 1980 Lenore Sarasen founds Willoughby Systems (MIMSY) 1981 Jay Hoffman founds Gallery Systems (TMS) 1982 Cuadra Associates release STAR 9 Early Key Collection Management Systems HISTORY 9 10. 10 Collection Management SystemsHISTORY TMS Modules: Objects Constituents Media Exhibitions Loans Shipping Bibliography Events Sites Insurance. Rights & Reproduction Screen ofTMS Objects Module (as used at the Museum of Modern Art). Reproduced with permission. Rights & Reproduction Screen 10 11. 1988 First commercial digital camera (Fuji DS-1P ) 1990 Adobe Photoshop 1990 Kodak PhotoCD System 1993 Mosaic Web Browser Released 1995 www.DIA.org - one of rst museum websites 11 Dates of Key Digital DevelopmentsHISTORY 11 12. 12 Digital Asset Management Systems (DAMS)HISTORY Image Rights Metadata on MediaBin screen. Courtesy, Metropolitan Museum of Art. 12 13. 1992 Canto Cumulus 1996 Extensis Portfolio (Adobes Fetch) 1999 Artesia TEAMS 1999 MediaBin 2001 NetXposure 13 Introduction Dates of Key Digital Asset Management Systems (DAMS) HISTORY 13 14. 14 Rights Protection: WatermarkingHISTORY https://www.digimarc.com/solutions/images/ 14 15. RightsLine http://www.rightsline.com/html/products.aspx Library Manages contacts & rights information and metadata structures Acquisitions Manages rights; generates appropriate contracts; automates all acquisitions workow Sales Automates sales and licensing from inquiry through fulllment Licensing Validates licensee information and creates the contract for the licensing transaction Invoicing Invoices and provides an audit trail of the whole process 15 HISTORY 15 16. 16 HISTORY 16 17. 17 17 18. 1999 RightsLine 2000 Rightslink 2003 ImageSpan 18 Introduction Dates of Select Rights Management Systems HISTORY 18 19. Structure 1. Denition of Terms (DRM;Workow) 2. Brief History & Taxonomy of Technologies 3. Findings & Recommendations following Workow: I.P. Audit (Survey + Comments) Documentation & Management (Survey + Comments) Licensing (Survey + Comments) Risk Management & Rights Protection (Survey + Comments) 4. Conclusions 19 19 20. A. IP Audit ...an inventory of the IP assets held by an institution, whether by creation, acquisition or license. Authoritative IP Records? 0 2 4 6 1-25% 26-50% 51-75% 76-100% Conduct IP Audit? Yes No Percentage of objects NumberofMuseums Rina Elster Pantalony 20 20 21. Partial Audit with Interns Yes Art Gallery of Ontario 1,200 Rightsholder Contacts 1,200 Assignments/Contracts 2002 2010 Excel Access-based CMS TMS 21 21 22. TMS (3) Mimsy (4) Cuadra Star (2) Portfolio (1) Portfolio+ZyImage (1) Portfolio+TMS (1) Eloquent (1) None (3) In-House (1) Content & Asset Management Systems Used by Survey Respondents 22 B. Documenting IP Rights 22 23. Documenting IP Rights Types of IP Information with Consistent RecordsTypes of IP Information with Consistent RecordsTypes of IP Information with Consistent Records 1 Copyright status 70% 2 Rightsholder contact information 88% 3 Rightsholder correspondence 88% 4 Permission to reproduce work without further contact 82% 5 License agreements 82% 6 Licensed-use reporting 41% 7 Rights and reproductions workflow 47% 23 23 24. 0 25 50 75 100 Types of IP Information for which Consistent Records Are Held CMS Paper Status Contact Permissions Licenses Tracking R&RW orkow Correspondence Percentageofinstitutions 24 24 25. Integration still an issue... We have different areas of this information stored in several different databases. We would like to move to a more streamlined system: for example, having copyright contact and copyright license information stored together in our CMS. 25 25 26. Customizing TMS 26 TMS Bibliography Module used for recording permissions granted Harvard by rightsholders. Courtesy, Harvard Art Museums 26 27. Susan Chun and Michael Jenkins, "Why Digital Asset Management? A Case Study." RLG DigiNews, 10 (6), December 15, 2006. 27 Workow Analysis 27 28. easy access to images foregrounds image rights + other image metadata shows relationships within image families can dramatically improve the efciency and speed of image discovery and delivery saves in image production costs 28 The DAMS Advantage 28 29. C. Licensing 0 1 2 3 4 1-50 50-200 200-1000 1000+ DoYou License a Core Set of Images? Number of Most-Frequently-Requested Images NumberofMuseums TOP 10 REQUESTED IMAGES 29 29 30. INVENTORY Licensing OUTSOURCING AUTOMATION 30 30 31. INVENTORY Licensing OUTSOURCING AUTOMATION 31 7,000 core images 31 32. INVENTORY OUTSOURCING Licensing AUTOMATION 32 32 33. INVENTORY OUTSOURCING Licensing AUTOMATION 33 33 34. INVENTORY OUTSOURCING Licensing AUTOMATION 34 34 35. INVENTORY OUTSOURCING Licensing AUTOMATION 35 35 36. INVENTORY OUTSOURCING Licensing AUTOMATION 36 36 37. ...a system of standards that makes it easier to communicate, understand and manage image rights in all countries. The PLUS Coalition exists at the crossroads between technology, commerce, the arts, preservation and education. INVENTORY OUTSOURCING Licensing AUTOMATION 37 useplus.com 37 38. D. Risk Management/Rights Protection Sensitive to Risk in Displaying Work Online? 0 5 10 Very Somewhat A Little Not At All Yes No NumberofMuseums Obstacles to Online Licensing? 0 5 10 15 Yes No Dont Know Total 13 Risk Issues 4 38 38 39. Were still waiting for government policies and central mechanisms for e- commerce to be developed. The chief stumbling blocks for us are limited resources and a need for faster development of online applications and image management (DAM) tools. Inconsistent rights management prior to 2006 has made it nearly impossible to trace rights from some of the most useful images in our archives. The collection database is not online. Risk Issues in Perspective in Developing E-Commerce 39 39 40. Value of image Timeliness of use Impact on scholarship Benet to museum brand Audit + due diligence Likelihood rightsholder appear Likelihood of suit Impact of potential suit on institution 40 Weighing Risk Factors Against Benets of Using 40 41. Lesley Ellen Harris, Developing A Copyright Risk Management Plan www.copyrightlaws.com Origin of the work. Is the artist well known? ... Who will have access to the work? If it is being reproduced on the Web, then it is accessible to a huge number of people around the world. Can you afford litigation? Analyze your budget for after-the-fact royalty payments, settlements out of court, court-related fees, and infringement- related legal advice. What are the "political" consequences of using materials without permission? Do you have insurance coverage for copyright infringement? What are the "emotional" costs of a claim against you for copyright infringement? Weigh the time and inconvenience of dealing with an infringement claim with the advantages of using authorized materials. 41 41 42. Concerns about risk are balanced with the objective of increasing access to collection material for research purposes by providing online access. Elspeth Cowell, Canadian Centre for Architecture 42 42 43. D. Risk Management/Rights Protection It isnt that the technology isnt there or isnt efcient, but more that people at our institutions dont yet know enough about the various means of protecting works 43 43 44. ALL RIGHTS RESERVED (rights statement as per license) artist or artist's estate Creative Commons-BY-NC no known copyright restrictions copyright status unknown 44 44 45. Showing something on a screen is a start, but it is not the end of what we aspire to.The people we serve want to be able to do [things] with the material we are putting out. Josh Greenberg, NYPL IMLS, The Future of Museums and Libraries: A Discussion Guide p.12. 45 45