The Recurated Museum: VIII. Copyright & Fair Use
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Slides from the eighth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020). Course slides typically begin with a brief summary of the online discussions that occurred before the session.
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The Recurated Museum: VIII. Copyright & Fair Use
- 1. The Recurated Museum: Copyright & Fair Use Sytze Van Herck & Christopher Morse
- 2. Ethics Research, scholarship, and integrity Interpretation Acquisition, care, and disposal Collection access and use (AAM, 2009)
- 3. Copyright … refers to all the rights granted to creators for their literary or artistic works upon creation. Authors do not need to carry out any registration formalities. They must be able to prove the date of creation of their work. https://guichet.public.lu/en/entreprises/gestion-juridique-comptabilite/ propriete-intellectuelle/droits-auteur/defendre-droits-auteurs-droits-voisin.html
- 6. Copyright for Cultural Heritage Institutions digital reproductions for preservation text and data mining exception digitise and make available online in-copyright but out-of- commerce works https://pro.europeana.eu/post/copyright-reform-passed-by-european-parliament
- 7. Digital content digitised physical objects born digital objects “object-centred online exhibitions using images and text, as well as 3D reconstructions” (Perry et Al., 2017)
- 9. 62% of rights statements are accurate Accuracy of rights statement per category, from Research Paper: Blijden, J. 2018. “The accuracy of Rights Statements,” Kennisland. https://pro.europeana.eu/post/62-of- rights-statements-are-accurate- together-we-can-improve-on-that
- 10. Rights Statements in copyright no copyright other https://rightsstatements.org/page/1.0/?language=en Creative Commons attribution (by) share alike (sa) non commercial (nc) no derivatives (nd) https://creativecommons.org/use-remix/cc-licenses/
- 11. Case Study: Domesday Gallery
- 12. THE EXHIBITION
- 13. DIGITAL COLLECTION SOCIAL MEDIA STORYTELLING Collect and showcase digital assets (e.g. images, documents, 3D objects, etc.), which we will feature on the Orpheus platform. The world is now collectively discovering #MuseumAtHome (as well as #CultureChezNous, #BleiftDoheem, #エア博物館, among many other related viral hashtags). Now is your chance to tell your story, or get others to tell theirs.
- 14. Case Study: Remixing Exhibits
- 15. We define the remix as the process of understanding a body of knowledge by using technology to rearrange and recontextualize its elements in order to construct an original narrative. (Fisher et al., 2007)
- 16. When empowered to construct their own narratives in response to museum exhibits, visitors establish new connections to the exhibit content. Beyond expected content synthesis, these immersive activities stimulate learning in the affective domain. The participation in collaborative narrative activities engenders creative, independent analysis, promoting learner self-efficacy and a personal connection with exhibit subject matter that is unparalleled in more traditional and passive approaches. (Fisher et al., 2007)
- 17. In the case of Remix, students authored their own exhibition themes, skits and labels. In Storytelling, visitors wrote their own short stories inspired by works of art – stories which were then recorded and podcast in the gallery space, allowing others to experience the visitors' own non-authoritative, original narratives. (Fisher et al., 2007)
- 18. THE USER STUDY
- 19. Try to target your user group of interest as closely as possible. Avoid questions that do not answer your research questions. Always require consent before participants may begin the survey. See the following slide for a short consent statement. Target your user group, but do not collect personally identifiable data. QUESTIONNAIRE
- 20. OBSERVATION Choose in advance what you will observe (e.g. language style, media types, diversity of themes, etc.) so you will not waste time. Prepare an observation template in the form of a grid or spreadsheet, so you can easily notate your observations. Standardize your notes as much as possible so they are easy to analyze afterwards.
- 21. (Damala et al., 2016)
- 23. Personal data are any information which are related to an identified or identifiable natural person. The data subjects are identifiable if they can be directly or indirectly identified, especially by reference to an identifier such as a name, an identification number, location data, an online identifier or one of several special characteristics, which expresses the physical, physiological, genetic, mental, commercial, cultural or social identity of these natural persons. In practice, these also include all data which are or can be assigned to a person in any kind of way. https://gdpr-info.eu/issues/personal-data/
- 24. Assignments DEADLINE 10.04 Class participation 17.04 Essay 21.04 Conduct user study
- 25. Bibliography American Association of Museums Curators Committee. 2009. A Code of Ethics for Curators. Fisher, M. and B.A. Twiss-Garrity, "Remixing Exhibits: Constructing Participatory Narratives With On-Line Tools To Augment Museum Experiences", in J. Trant and D. Bearman (eds.). Museums and the Web 2007: Proceedings, Toronto: Archives & Museum Informatics, published March 1, 2007 Consulted April 8, 2020. Perry, Sara Elizabeth, Roussou, Maria, Economou, Maria et al. 2018. “Moving Beyond the Virtual Museum: Engaging Visitors Emotionally” 23rd International Conference on Virtual Systems & Multimedia (VSMM), Dublin, 2017, IEEE, p. 1-8. Purvis, E. (2017). Digital Collections Management. In A. Hossaini & N. Blankenberg (Eds.), Manual of Digital Museum Planning. Rowman & Littlefield. Personal Collection Sytze Van Herck. 22 July 2019. © BBC 1986. Damala et al., 2016 — MuseWeb 2016 GDPR Step-by-StepGuide