Visual Resources Association Annual Conference
March 24-27, 2020, Baltimore*
Session: Managing Rights Data
Moderator: Chelsea Stone
Presenters: Douglas McCarthy, Heidi Raatz, and Summer Shetenhelm
*Baltimore conference canceled. Presented as a webinar June 2, 2020
Open World Forum: 'require knowledgecommons' # This currently failsMike Linksvayer
The document discusses the importance of open knowledge and knowledge commons for other open movements like open source and open society to thrive. It notes that knowledge is harder to open than other layers like software or infrastructure due to factors like legal barriers and the length of time involved. It suggests promoting open knowledge through disruptive collaboration tools, services, and works that create new categories rather than just competing with existing proprietary models. The document advocates for peer production of culturally relevant free works and tracking the provenance of ideas.
The document summarizes a talk given by Mike Linksvayer on collaborative futures and how increasing collaboration through open licensing and peer production can help create positive futures. It discusses how Creative Commons licenses work to enable widespread sharing and collaboration. It also notes many benefits of open collaboration including increased innovation, security, and participation. The talk argues for continued building of the digital commons to facilitate collective intelligence and ensure freedom remains online.
Global Copyright Challenges: 2011 Special Libraries Association ConferenceMike Linksvayer
The document discusses increasing global copyright challenges faced by libraries. It summarizes efforts by publishers to restrict fair use and inter-library loans through litigation and new principles. Creative Commons provides legal tools to enable sharing while respecting copyright. Some libraries are addressing challenges by releasing bibliographic records into the public domain using CC0 licenses.
"Opening" the Special Library: Open Source, Open Content, Open Data and MoreMike Linksvayer
The document discusses open source, open content, and open data. It defines these terms as software, content, and data that can be shared and modified by anyone for any purpose, with attribution or similar sharing requirements. Creative Commons is introduced as a non-profit that provides legal and technical tools to enable sharing under some or no rights reserved. Opportunities for libraries in open approaches are noted, including becoming experts in open source, content, and data.
How far behind Free Software is Free Culture?Mike Linksvayer
The document discusses the history and current state of free culture and how it compares to free and open source software. Some key points made include:
- Free culture is at least a decade behind free software in many areas due to the more diverse nature of cultural works.
- Mass collaboration projects like Wikipedia have seen faster success similar to key free software projects, while other cultural works have grown more slowly.
- Major businesses and investments have been made in free software, while free culture has not seen the same level of engagement from large media and cultural companies.
Public Domain Awareness Project (Wikimedia and CC) slideshowDiane Peters
This document outlines an agenda for a session discussing challenges to supporting a robust public domain. It will include speakers giving introductions, then breaking into four discussion groups on legal issues, GLAM institutions, re-users, and technology. The goal is to identify needs, current efforts, and gaps to develop a work plan in three phases: understanding the ecosystem, publishing a design and work plan, and implementing solutions and ensuring long-term sustainability. Participants will discuss dependencies and potential legal and technical solutions to help GLAM institutions and re-users navigate copyright and the public domain.
Open World Forum: 'require knowledgecommons' # This currently failsMike Linksvayer
The document discusses the importance of open knowledge and knowledge commons for other open movements like open source and open society to thrive. It notes that knowledge is harder to open than other layers like software or infrastructure due to factors like legal barriers and the length of time involved. It suggests promoting open knowledge through disruptive collaboration tools, services, and works that create new categories rather than just competing with existing proprietary models. The document advocates for peer production of culturally relevant free works and tracking the provenance of ideas.
The document summarizes a talk given by Mike Linksvayer on collaborative futures and how increasing collaboration through open licensing and peer production can help create positive futures. It discusses how Creative Commons licenses work to enable widespread sharing and collaboration. It also notes many benefits of open collaboration including increased innovation, security, and participation. The talk argues for continued building of the digital commons to facilitate collective intelligence and ensure freedom remains online.
Global Copyright Challenges: 2011 Special Libraries Association ConferenceMike Linksvayer
The document discusses increasing global copyright challenges faced by libraries. It summarizes efforts by publishers to restrict fair use and inter-library loans through litigation and new principles. Creative Commons provides legal tools to enable sharing while respecting copyright. Some libraries are addressing challenges by releasing bibliographic records into the public domain using CC0 licenses.
"Opening" the Special Library: Open Source, Open Content, Open Data and MoreMike Linksvayer
The document discusses open source, open content, and open data. It defines these terms as software, content, and data that can be shared and modified by anyone for any purpose, with attribution or similar sharing requirements. Creative Commons is introduced as a non-profit that provides legal and technical tools to enable sharing under some or no rights reserved. Opportunities for libraries in open approaches are noted, including becoming experts in open source, content, and data.
How far behind Free Software is Free Culture?Mike Linksvayer
The document discusses the history and current state of free culture and how it compares to free and open source software. Some key points made include:
- Free culture is at least a decade behind free software in many areas due to the more diverse nature of cultural works.
- Mass collaboration projects like Wikipedia have seen faster success similar to key free software projects, while other cultural works have grown more slowly.
- Major businesses and investments have been made in free software, while free culture has not seen the same level of engagement from large media and cultural companies.
Public Domain Awareness Project (Wikimedia and CC) slideshowDiane Peters
This document outlines an agenda for a session discussing challenges to supporting a robust public domain. It will include speakers giving introductions, then breaking into four discussion groups on legal issues, GLAM institutions, re-users, and technology. The goal is to identify needs, current efforts, and gaps to develop a work plan in three phases: understanding the ecosystem, publishing a design and work plan, and implementing solutions and ensuring long-term sustainability. Participants will discuss dependencies and potential legal and technical solutions to help GLAM institutions and re-users navigate copyright and the public domain.
Open Source Hardware and Developments in Creative Commons Licenses, Compatibi...Mike Linksvayer
This document summarizes Mike Linksvayer's presentation on developments in Creative Commons licenses and their relevance to open source hardware. Some key points:
- CC BY-SA 4.0 and CC BY 4.0 licenses have improvements that make them more globally applicable and easier to understand and comply with.
- CC BY-SA 4.0 is now bilaterally compatible with the Free Art License, allowing works to be adapted between the two licenses.
- The CC BY-SA 4.0 and CC BY 4.0 licenses explicitly exclude patents from the license, avoiding potential confusion.
- Open source hardware projects seeking patent collaboration could explore licenses that include patent grants, like GPLv3, or
Leave it to the Experts: Leveraging Archive.org and Creative Commons for PEG ...Mike Linksvayer
This document summarizes a presentation about leveraging Archive.org and Creative Commons for public, educational, and government (PEG) licensing. It introduces Creative Commons as a nonprofit that provides legal and technical tools to allow for some or no copyright restrictions. It also discusses how open licensing policies can be determined by copyright holders, institutions, funders, or default public policy, and notes the trend of publicly funded research and cultural works being made freely accessible.
New and Emerging Legal Infrastructures Conference (NELIC): Creative Commons ...Mike Linksvayer
Creative Commons is a non-profit organization that provides legal and technical infrastructure for sharing content with some or no rights reserved through tools like their copyright licenses. They are known for their "3 forms" licenses that are available in legalcode, human-readable and machine-readable formats. They encourage the development of user-friendly legal interfaces to help make complex copyright concepts more accessible to both lawyers and non-lawyers.
Software Eats the (Commons/Public Licensing) World (It Should!)Mike Linksvayer
The document discusses how software is poised to take over large parts of the economy and knowledge commons through open licensing and collaboration. It argues that free/libre and open source software and principles should be adopted more widely in other domains like publishing, scientific research, and education. A unified interoperable commons across all domains using standardized open content licenses could maximize collaboration and innovation.
Creative Commons is a non-profit organization that provides legal and technical tools to enable sharing content with some or no rights reserved through copyright licenses. They have over 100 global affiliate institutions and their tools allow for effective "some rights reserved" and "no rights reserved" cultures. Their licenses like BY-NC-SA allow reproduction and distribution of content as long as the creator is attributed and derivatives are shared under identical terms.
The document discusses the importance of building the digital commons to ensure future digital freedom. It identifies threats such as censorship, surveillance and loss of innovation that could undermine digital freedom. It argues that increasing use of free software, free culture and peer production can help address these threats by improving security, transparency and access. The key message is that supporting creative commons now through contributing to open knowledge and technologies is critical for maintaining digital rights in the future.
Program For The Future: The Commons as a collective intelligence meta-innovationMike Linksvayer
The document discusses Creative Commons (CC), a non-profit organization that provides open copyright licenses to enable sharing and reuse of creative works. It notes CC's goal of enabling a "some rights reserved" model for content as an alternative between ignoring copyright and public good. The document also discusses how building and enabling access to a commons of shared content and resources could help advance collective intelligence and benefit society by reducing restrictions on innovation, participation, and access to information.
Creative Commons develops legal and technical tools to allow for greater sharing of creative works through copyright licenses and dedicating works to the public domain. It was founded in 2001 as a nonprofit organization and has grown to operate worldwide. Creative Commons licenses provide simple, standardized ways for creators to grant copyright permissions for use, modification, and distribution of their works. The licenses combine options for attribution, sharing-alike, non-commercial use, and prohibiting modifications. They allow creators to choose how much control to retain over their works while enabling greater access and sharing.
Timothy Vollmer is an Open Policy Fellow at Creative Commons, a non-profit organization headquartered in San Francisco with 30 employees worldwide. Creative Commons provides free legal and technical tools that allow creators to publish their works with more flexible copyright terms than standard copyright. These tools include human-readable deeds and lawyer-readable legal codes that accompany works with a Creative Commons license, granting specific permissions for how others can use and share the works. Over 350 million items have been licensed under Creative Commons licenses in 52 jurisdictions worldwide.
Linksvayer, M. (2009, July 28). Panel on Open Source, The Commons as a collective intelligence meta-innovation. Retrieved Retrieved May 7, 2010, from http://slidesha.re/9ZXtHl.
CC Tech Summit: Digital Copyright Registry LandscapeMike Linksvayer
This document discusses digital copyright registries. It begins by explaining that Creative Commons does not want to build a centralized database and believes in a decentralized approach using the semantic web. It then outlines what defines a digital copyright registry, potential demand and supply sources, different registry approaches, and challenges. It argues registries should be interoperable, open services that understand public licenses and could evolve to address broader issues of provenance, trust and transparency on the decentralized web.
Open data policy for scientists as citizens and for citizen scienceMike Linksvayer
This document discusses open data policies for citizen science and scientists as citizens. It addresses how open data allows non-scientists to contribute to scientific processes through citizen science and helps scientists be more cognizant of their work's impact on society. The document also examines the role of open data and mass collaboration projects, and considers important policy aspects like licensing, governance, and promoting the public good.
This document discusses copyright rules and protections. It explains that copyright is a legal concept that gives creators exclusive rights over their work. Simply creating a work, such as writing or saving a digital file, is enough to trigger automatic copyright protection. There are exceptions for fair use and works in the public domain. Creators can also choose to use licenses like Creative Commons to allow certain uses of their work while still retaining copyright. The document provides guidance on understanding copyright and licensing rules when using or sharing others' creative works.
Explanation of how a unobtrusive registry can help register and identify contents in the Internet on a free basis, beeing useful to keep track of the metadata of works, rights and author
CC and Cultural Heritage (Smithsonian presentation)Diane Peters
Creative Commons licenses provide a standardized way to grant copyright permissions to cultural works and data. There are six main licenses that allow varying levels of commercial use and derivative works, but all require attribution. Creative Commons also provides tools like CC Search and public domain tools to help make works more accessible and support open sharing of cultural heritage and knowledge.
Creative Commons licenses provide free and easy-to-use copyright licenses that enable sharing and reuse of creative works. They allow creators to select which rights they reserve, such as allowing only non-commercial reuse or requiring derivative works to use the same license. The licenses cut out middlemen and make it simpler for creators to exercise their rights while enabling widespread sharing and reuse. They consist of human-readable license deeds and machine-readable metadata to help others find works with Creative Commons licenses.
How to avoid another identity nightmare with SSI? Christopher AllenSSIMeetup
The document discusses lessons from the Holocaust about centralized identity systems and the importance of self-sovereign identity (SSI). It notes that during WWII in the Netherlands, the Nazis were able to easily identify and round up Jews because they had access to centralized civil records. The speaker advocates for both "LESS identity" solutions that work within existing legal frameworks and "trustless identity" solutions that focus on privacy and censorship resistance. They propose that the SSI community have a moment of silence on March 27th each year to remember victims of past human rights abuses and stand in solidarity with those fighting for human rights today.
This document discusses overcoming copyright through alternative licenses and business models. It outlines several open licenses created by Richard Stallman and Lawrence Lessig that provide flexible copyright options. These include Attribution, ShareAlike, Non-Commercial, and NoDerivatives conditions. The document also proposes alternative revenue strategies for creators such as donations, subscriptions, merchandise, and crowdfunding. Finally, it advocates spreading knowledge of these approaches through discussions and presenting works with open licenses as part of a growing pirate movement.
Creative Commons licenses were designed to help
creators utilize the Internet’s potential as a place
for collaboration without copyright law getting in
the way. Since CC was founded, the possibilities
for creativity on the Internet have expanded
tremendously. CC’s products and community must
continue to grow and transform too.
Find out how to partner with us for the RDA 6th Plenary in Paris, 23- 25 September 2015! Join us for an international event gathering industry and academic experts, world leaders involved in the data ecosystem !
Open Source Hardware and Developments in Creative Commons Licenses, Compatibi...Mike Linksvayer
This document summarizes Mike Linksvayer's presentation on developments in Creative Commons licenses and their relevance to open source hardware. Some key points:
- CC BY-SA 4.0 and CC BY 4.0 licenses have improvements that make them more globally applicable and easier to understand and comply with.
- CC BY-SA 4.0 is now bilaterally compatible with the Free Art License, allowing works to be adapted between the two licenses.
- The CC BY-SA 4.0 and CC BY 4.0 licenses explicitly exclude patents from the license, avoiding potential confusion.
- Open source hardware projects seeking patent collaboration could explore licenses that include patent grants, like GPLv3, or
Leave it to the Experts: Leveraging Archive.org and Creative Commons for PEG ...Mike Linksvayer
This document summarizes a presentation about leveraging Archive.org and Creative Commons for public, educational, and government (PEG) licensing. It introduces Creative Commons as a nonprofit that provides legal and technical tools to allow for some or no copyright restrictions. It also discusses how open licensing policies can be determined by copyright holders, institutions, funders, or default public policy, and notes the trend of publicly funded research and cultural works being made freely accessible.
New and Emerging Legal Infrastructures Conference (NELIC): Creative Commons ...Mike Linksvayer
Creative Commons is a non-profit organization that provides legal and technical infrastructure for sharing content with some or no rights reserved through tools like their copyright licenses. They are known for their "3 forms" licenses that are available in legalcode, human-readable and machine-readable formats. They encourage the development of user-friendly legal interfaces to help make complex copyright concepts more accessible to both lawyers and non-lawyers.
Software Eats the (Commons/Public Licensing) World (It Should!)Mike Linksvayer
The document discusses how software is poised to take over large parts of the economy and knowledge commons through open licensing and collaboration. It argues that free/libre and open source software and principles should be adopted more widely in other domains like publishing, scientific research, and education. A unified interoperable commons across all domains using standardized open content licenses could maximize collaboration and innovation.
Creative Commons is a non-profit organization that provides legal and technical tools to enable sharing content with some or no rights reserved through copyright licenses. They have over 100 global affiliate institutions and their tools allow for effective "some rights reserved" and "no rights reserved" cultures. Their licenses like BY-NC-SA allow reproduction and distribution of content as long as the creator is attributed and derivatives are shared under identical terms.
The document discusses the importance of building the digital commons to ensure future digital freedom. It identifies threats such as censorship, surveillance and loss of innovation that could undermine digital freedom. It argues that increasing use of free software, free culture and peer production can help address these threats by improving security, transparency and access. The key message is that supporting creative commons now through contributing to open knowledge and technologies is critical for maintaining digital rights in the future.
Program For The Future: The Commons as a collective intelligence meta-innovationMike Linksvayer
The document discusses Creative Commons (CC), a non-profit organization that provides open copyright licenses to enable sharing and reuse of creative works. It notes CC's goal of enabling a "some rights reserved" model for content as an alternative between ignoring copyright and public good. The document also discusses how building and enabling access to a commons of shared content and resources could help advance collective intelligence and benefit society by reducing restrictions on innovation, participation, and access to information.
Creative Commons develops legal and technical tools to allow for greater sharing of creative works through copyright licenses and dedicating works to the public domain. It was founded in 2001 as a nonprofit organization and has grown to operate worldwide. Creative Commons licenses provide simple, standardized ways for creators to grant copyright permissions for use, modification, and distribution of their works. The licenses combine options for attribution, sharing-alike, non-commercial use, and prohibiting modifications. They allow creators to choose how much control to retain over their works while enabling greater access and sharing.
Timothy Vollmer is an Open Policy Fellow at Creative Commons, a non-profit organization headquartered in San Francisco with 30 employees worldwide. Creative Commons provides free legal and technical tools that allow creators to publish their works with more flexible copyright terms than standard copyright. These tools include human-readable deeds and lawyer-readable legal codes that accompany works with a Creative Commons license, granting specific permissions for how others can use and share the works. Over 350 million items have been licensed under Creative Commons licenses in 52 jurisdictions worldwide.
Linksvayer, M. (2009, July 28). Panel on Open Source, The Commons as a collective intelligence meta-innovation. Retrieved Retrieved May 7, 2010, from http://slidesha.re/9ZXtHl.
CC Tech Summit: Digital Copyright Registry LandscapeMike Linksvayer
This document discusses digital copyright registries. It begins by explaining that Creative Commons does not want to build a centralized database and believes in a decentralized approach using the semantic web. It then outlines what defines a digital copyright registry, potential demand and supply sources, different registry approaches, and challenges. It argues registries should be interoperable, open services that understand public licenses and could evolve to address broader issues of provenance, trust and transparency on the decentralized web.
Open data policy for scientists as citizens and for citizen scienceMike Linksvayer
This document discusses open data policies for citizen science and scientists as citizens. It addresses how open data allows non-scientists to contribute to scientific processes through citizen science and helps scientists be more cognizant of their work's impact on society. The document also examines the role of open data and mass collaboration projects, and considers important policy aspects like licensing, governance, and promoting the public good.
This document discusses copyright rules and protections. It explains that copyright is a legal concept that gives creators exclusive rights over their work. Simply creating a work, such as writing or saving a digital file, is enough to trigger automatic copyright protection. There are exceptions for fair use and works in the public domain. Creators can also choose to use licenses like Creative Commons to allow certain uses of their work while still retaining copyright. The document provides guidance on understanding copyright and licensing rules when using or sharing others' creative works.
Explanation of how a unobtrusive registry can help register and identify contents in the Internet on a free basis, beeing useful to keep track of the metadata of works, rights and author
CC and Cultural Heritage (Smithsonian presentation)Diane Peters
Creative Commons licenses provide a standardized way to grant copyright permissions to cultural works and data. There are six main licenses that allow varying levels of commercial use and derivative works, but all require attribution. Creative Commons also provides tools like CC Search and public domain tools to help make works more accessible and support open sharing of cultural heritage and knowledge.
Creative Commons licenses provide free and easy-to-use copyright licenses that enable sharing and reuse of creative works. They allow creators to select which rights they reserve, such as allowing only non-commercial reuse or requiring derivative works to use the same license. The licenses cut out middlemen and make it simpler for creators to exercise their rights while enabling widespread sharing and reuse. They consist of human-readable license deeds and machine-readable metadata to help others find works with Creative Commons licenses.
How to avoid another identity nightmare with SSI? Christopher AllenSSIMeetup
The document discusses lessons from the Holocaust about centralized identity systems and the importance of self-sovereign identity (SSI). It notes that during WWII in the Netherlands, the Nazis were able to easily identify and round up Jews because they had access to centralized civil records. The speaker advocates for both "LESS identity" solutions that work within existing legal frameworks and "trustless identity" solutions that focus on privacy and censorship resistance. They propose that the SSI community have a moment of silence on March 27th each year to remember victims of past human rights abuses and stand in solidarity with those fighting for human rights today.
This document discusses overcoming copyright through alternative licenses and business models. It outlines several open licenses created by Richard Stallman and Lawrence Lessig that provide flexible copyright options. These include Attribution, ShareAlike, Non-Commercial, and NoDerivatives conditions. The document also proposes alternative revenue strategies for creators such as donations, subscriptions, merchandise, and crowdfunding. Finally, it advocates spreading knowledge of these approaches through discussions and presenting works with open licenses as part of a growing pirate movement.
Creative Commons licenses were designed to help
creators utilize the Internet’s potential as a place
for collaboration without copyright law getting in
the way. Since CC was founded, the possibilities
for creativity on the Internet have expanded
tremendously. CC’s products and community must
continue to grow and transform too.
Find out how to partner with us for the RDA 6th Plenary in Paris, 23- 25 September 2015! Join us for an international event gathering industry and academic experts, world leaders involved in the data ecosystem !
Linked Data in Production: Moving Beyond OntologiesDavid Newbury
Presented at the Coalition of Networked Information (CNI) Spring 2024 Project Briefings.
Over the past six years, Getty has been engaged in a project to transform and unify its complex digital infrastructure for cultural heritage information. One of the project’s core goals was to provide validation of the impact and value of the use of linked data throughout this process. With museum, archival, media, and vocabularies in production and others underway, this sessions shares some of the practical implications (and pitfalls) of this work—particularly as it relates to interoperability, discovery, staffing, stakeholder engagement, and complexity management. The session will also share examples of how other organizations can streamline their own, similar work going forward.
The document discusses the Creative Commons organization and its mission to create legal and technical tools that enable reasonable copyright through "some rights reserved" licenses, as an alternative between ignoring copyright and fair use. It provides an overview of Creative Commons' six main licenses and how they can be read by humans, lawyers and machines. It also addresses criticisms of digital rights management and argues that Creative Commons aims to encourage sharing and cultural participation rather than restrict copying.
Web 2.0 refers to new ways of using the internet that focus on user-generated content, open sharing, and collaboration. Key aspects include blogs, wikis, social bookmarking, folksonomies, social media, and mashups. While offering opportunities, Web 2.0 also raises issues around ownership and control of user data, as well as sustainability of services. Archives can benefit by engaging with users in new ways and harnessing collective knowledge, while also managing risks.
Web 2.0 refers to a set of technologies and principles that promote user participation, openness, and network effects. It includes user-generated content through blogs, wikis, social bookmarking and social networks. While promising new ways for users to engage with information, Web 2.0 also raises issues around ensuring quality, managing risks, and protecting user data and privacy that information professionals must navigate. Overall, Web 2.0 has the potential to greatly benefit users and organizations if adopted carefully and guided by its principles of openness, sharing and harnessing collective intelligence.
This document discusses Open Cultuur Data, a network in the Netherlands that aims to open cultural data and encourage the development of cultural applications. It provides metrics on Open Images, an open media platform containing audiovisual archive material. It also discusses the growth of the Open Cultuur Data network through events like hackathons and competitions. The network now includes many cultural institutions and has resulted in the creation of apps that make culture more accessible.
The document discusses mashups and how Creative Commons licenses enable them by lowering barriers across organizational, technical, and legal boundaries. It defines mashups as the reuse of digital bits, content, or media from multiple sources to create a new work. Interesting mashups cross different boundaries, and commons licenses promote this by making permission implicit. To be good "mashup citizens," creators should use open standards and license their works with permissive terms like Creative Commons licenses to allow others to build upon their work.
Social Innovation Labs at Universities: the Case of Medialab UGREsteban Romero Frías
Presentación realizada en el Encuentro Internacional “The Age of Digital Technologies: Documents, Archives and Society”, celebrado en la Facultad de Geografía e Historia de la Universidad Complutense el 24 de octubre de 2017.
Más información en: http://estebanromero.com/2017/10/presentacion-de-medialab-ugr-en-el-encuentro-the-age-of-technology-madrid-2017/
Esteban R. Frías
Social Innovation Labs at Universities: The Case of Medialab UGR – a Research Laboratory for Digital Culture and Society
ICARUS-Meeting #20 | The Age of Digital Technology: Documents, Archives and Society
23–25 October 2017, Complutense University Madrid, Calle del Prof. Aranguren, 28040 Madrid, Spain
Are we failing users? Can open approaches meet their needs? - Maura MarxJisc
Are we failing users? Can open approaches meet their needs?
Maura's plenary presentation at the Jisc/British Library Discovery Summit 2013
February 2013, London
This presentation will introduce you to the Creative Commons organisation; the licences; and the way in which application of those licences has facilitated some inspirational examples of sharing in the GLAM sector.
The document summarizes a webinar on Google's Data Commons presented by TechSoup. It provides an overview of what Google's Data Commons is, including that it allows open access to public data through a common framework and tools. It describes the key elements - a data publishing framework, suite of tools, and Google Public Data Commons. The webinar featured presentations from organizations in Nigeria, Colombia, and Mexico on how they have used data to tell stories about development issues. It concludes with information on resources and ways to stay engaged.
Building an Equitable Tech Future - By ThoughtWorks BrisbaneThoughtworks
At the heart of ThoughtWorks is an ambitious mission: to be a proactive agent of progressive change in the world. Aware of our own privilege, we strive to see the world from the perspective of the oppressed, the powerless and the invisible.
With QUT, here in Brisbane, we’re kicking off a series of research, projects, and conversations about the social impact of tech trends, with a view to building a more equitable tech future. Some of these topics include:
- Algorithmic accountability, transparency, bias & inclusion
- Responsible data practices (privacy and ownership of data)
- Automation and the future of work
- Data use in social media and elections
- Fake news and echo chambers
- Regulating decentralised technologies
- Blockchain for good
- End-user autonomy and privacy
Slides from: Felicity Ruby, Eru Penkman, Clayton Nyakana,
Assoc. Prof. Nic Suzor (QUT) & Dr. Monique Mann (QUT)
Building the Commons: Community Archiving & Decentralized StorageTechSoup
This event shines a spotlight on the intersection of decentralized storage solutions and community archive projects. For years, digital archiving has been essential for preserving historical documents and community memories. However, traditional storage methods increasingly face issues around costs, data ownership, privacy concerns, and accessibility limitations. This is where decentralized storage offers a fresh approach to safeguarding vast public datasets.
Designed for enthusiasts and professionals in community archiving, research, and library sciences, this event will be a mix of talks and demos by leading Makers of public good technologies.
Hosted by TechSoup on April 25, 2024.
https://events.techsoup.org/events/details/techsoup-public-good-app-house-presents-building-the-commons-community-archiving-amp-decentralized-storage/
Semelhante a Managing Rights Data: Multiple Approaches, Multiple Institutions (20)
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: John J. Taormina
The Medieval Kingdom of Sicily Image Database project collects historic images of the medieval monuments of South Italy, from the so-called Kingdom of Sicily dating from c. 950 to c. 1430, during the Norman, Hohenstaufen, Angevin, and early Aragonese periods. The project was begun in 2011, as part of a 3-year Collaborative Research Grant from the National Endowment for the Humanities, under project investigators Caroline Bruzelius, Duke University, and William Tronzo, University of California, San Diego.
The site features over 8,000 historical images in a range of media, including drawings, paintings, engravings, photographs, and plans and elevations culled from museums, archives, and libraries in Europe and America, often from the Grand Tour, as well as from available publications. The value of the database lies in making accessible to scholars the visual documentation of changes to historical sites because the medieval monuments of South Italy have been damaged, changed, and restored on many occasions, with tombs and liturgical furnishings often destroyed, dismantled, or removed. In fact, many of the 600 monuments no longer exist, often bombed during World War II or destroyed in earthquakes, or obscured by modern buildings and urban sprawl.
VRA 2023 Archives Tools and Techniques session. Presenters: Maureen Burns and Lavinia Ciuffa
The Ernest Nash collection documents ancient Roman architecture in pre- and post-World War II Italy. What made Nash's work significant, beyond capturing the present state of the ancient Roman monuments at a volatile historical moment, was the primacy of the topographical photography and the systematic order he brought to this subject. The American Academy's Photographic Archive contributed Nash's images to an open access, interactive website called the "Urban Legacy of Ancient Rome." It reveals the city in stunning detail and uses geo-referencing to provide the viewer with a better understanding of the overall contextual and spatial logic. These Nash images and metadata are also IIIF compatible. As the Academy continues to digitize and describe the full collection of about 30,000 images, thanks to the generous support of the Kress Foundation, a new partnership has developed with Archivision and vrcHost. Current high quality digital photographs of the same ancient Roman monuments are being added to compare with the historical images documenting architectural changes--whether conserved, restored, altered, reconstructed, re-sited or destroyed. This presentation will provide a progress report about what it takes to move new digital photography into IIIF and the various tools available for close examination and presentation. Finding ways to provide ready access and juxtapose historic and contemporary photography online, builds upon the legacy of Nash's quality curation and scholarship to create 21st century, accessible, online educational resources of great interest and utility to scholars, students, and a wide audience of ancient Roman enthusiasts.
VRA 2023 Exploring 3D Technologies in the Classroom session. Presenter: Amy McKenna
Amy McKenna (Williams College) discusses her project that uses Photoshop and cardboard 3D glasses to recreate the 19th-century spectacle of a historic glass stereo collection.
VRA 2023 Keynote. Presenter: Melissa Gohlke
A historical record that focuses on white, heteronormative society and events obscures many facets of San Antonio history. Peel back the veneer of normalcy and one can find rich, diverse, and unexpected strands of the city’s past. From female impersonators of the early 1900s to queer life in derelict spaces during the 1960s and finally, gay and lesbian bar culture of the1970s and beyond, the hidden threads of San Antonio’s history reveal themselves. In this presentation, LGBTQ Historian Melissa Gohlke explores these hidden histories and stitches together an alternative interpretation of the city’s historical narrative by examining a wealth of primary sources found in archives and personal collections.
About the speaker:
Melissa Gohlke is an urban historian who specializes in San Antonio LGBTQ+ history. For over a decade, Gohlke has been researching queer history in San Antonio and South Texas and sharing her passion for this history through extensive outreach activities such as presentations, media interactions, exhibits, and written work. Gohlke is the Assistant Archivist for UTSA Libraries Special Collections.
About the VRA:
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: Mark Pompelia
Material Order is an academic consortium of material sample collections (including wood, metal, glass, ceramic, polymers, plastics, textiles, bio-materials, etc.—any material that might be used in or considered for art, architecture, and design disciplines) founded by the Graduate School of Design at Harvard University and Fleet Library at Rhode Island School of Design and now comprising several more institutions in the US. It provides a community-based approach to management and access to material collections utilizing and developing standards and best practices. Material Order created the Materials Profile that serves as a shared cataloging tool on the LYRASIS CollectionSpace platform and can be further developed as the different needs of consortium members are identified. Open Web searching across all collections occurs via a front-end discovery portal built with Wordpress at materialorder.org.
The Material Order project was born from the acknowledgment that resource sharing and collaborative catalogs are the most promising approach to exploration and implementation. It was always the intent, now actualized, for partner institutions with different mission and scope to compel the project to consider and accommodate criteria such as material health ecologies, fabrication possibilities, and overlap into adjacent fields such as engineering and archeology. Thus, Material Order represents not just items on a shelf but a knowledge-base of compositions, uses, forms, and properties. No longer in its infancy, Material Order provides a shared and adaptable framework for managing collections across the consortium and optimal facilitation of materials-based research and exploration for art, architecture, and design applications.
VRA 2023 New Frontiers in Visual Resources session. Presenters: Meghan Rubenstein and Kate Leonard
The Art Department at Colorado College is piloting a Personal Archiving program in select undergraduate studio courses that combines visual and digital literacy instruction with personal reflection and professional development. Meghan Rubenstein, Curator of Visual Resources, and Kate Leonard, Professor of Art, will discuss the drive behind this initiative to develop student competencies within a liberal arts setting. We will share our ongoing iterative process as well as select student activities and learning outcomes that may be adopted to various institutions.
VRA 2022 Teaching Visual Literacy session. Presenter: Molly Schoen
Our everyday lives are more saturated in images and videos than any other time in human history. This fact alone underscores the need to implement visual literacy skills in all stages of education, from pre-K to post-grad. Learning how to read images with critical, analytical eyes is crucial to understanding the world around us as we see it represented in the news, social media, advertisements, etc. New technologies have exasperated this already urgent need for visual literacy education. Synthetic media, deepfakes, APIs, bot farms, and other forms of artificial intelligence have many innovative uses, but bad actors also use them to fan the flames of disinformation. We have seen the grave consequences from this age of disinformation, from undermining elections to attempts to delegitimize science and doctors, undoubtedly raising the death toll from the COVID-19 pandemic. What do we need to know about these new forms of altered images made by artificial intelligence? How do we discern between real, human-made content versus fakes made by computers, which are becoming more and more difficult to discern? This paper aims to raise awareness of how new forms of visual media can manipulate and deceive the viewer. Audience participants will learn how to empower themselves and their peers into being more savvy consumers of visual materials by understanding the basics of AI and recognizing the characteristics of faked media.
VRA 2022 Individual Papers Session. Presenter: Malia Van Heukelem
This case study of a large artist archive at a medium sized academic research library will connect the success of the artist serving as his own archivist and the collection's broad research appeal locally, nationally and internationally. Like many artists, there is so much more than his own work represented. There is correspondence, fine art prints, ephemera of other artists and writers hidden in the collection. The foundation of organization is in place; now the focus is on creating online access points through finding aids and image collections. The presentation will explore the use of ArchivesSpace, Omeka, and other software to increase access. It will also demonstrate how a solo archivist can leverage interns, student assistants, and volunteers for collections management projects that benefit both the institutional priorities and desired learning outcomes. This talk will delve into the challenges of 20th century visual resource collections such as copyright and engagement with donors. Featuring a local artist has brought other art and architecture collections to the library, without clear boundaries which has led to questions of sustainability, who and what is collected. There is definitely a need to balance the historical record and yet, there are already more archival collections accessioned than can be responsibly managed by one person. The primary collection does include works by women and artists of color, yet much descriptive work remains to forefront the diversity contained within. As an archivist and librarian at a public university, there are many competing demands for collections management, support of researchers, and instruction plus the added interest for exhibition loans and the desire for other artists and architects to be represented. This artist archive is both interesting and complex.
This document summarizes an art history course titled "Pattern & Representation: Critical Cataloging for a New Perspective on Campus History" taught at Oklahoma State University. The course examines major developments in American art across different media from European contact through the mid-20th century. As part of the course, students are divided into groups to create digital exhibitions cataloging artworks from university newspaper archives between certain years. Students must include contextual information and link their entries to related articles. Their entries and a reflective essay are graded individually based on their work plan. The course introduces the concept of "critical cataloging" to bring social justice perspectives to archival and metadata work.
VRA 2022 session. Organizer/Moderator: Allan T. Kohl. Speakers: Virginia (Macie) Hall, Christina Updike, Marcia Focht, Rebecca Moss, Steven Kowalik, Jenni Rodda
During the past year, the “Great Resignation” (aka. The “Big Quit”) has roiled the world of employment nationwide in the wake of the COVID-19 pandemic, which had already caused job losses among our membership. While many institutions and individuals now hope for a “return to normal,” others anticipate that the past two years mark a watershed necessitating further transformational changes in the years ahead. These larger employment trends have come on top of quantum shifts in the visual resources field itself, as traditional tasks give way to new responsibilities, and siloed image collections are replaced by interdisciplinary projects.
For several years, our annual conferences have featured the perspectives of newer professionals in “Stories from the Start.” Looking at the opposite ends of their career arcs, this session brings together the perspectives and experiences of two pre-pandemic retirees, two of our members who made their decisions to retire during the past year, and two currently active professionals whose retirements are pending in the near future. When and why did they make their decisions to retire? What was/is the actual process? Concerns? What comes next after we leave our offices for the last time?
VRA 2022 Digital Art History session. Presenters: Melissa Becher and Samuel Sadow
In 2019, the art history program at American University gave its masters students a new option for the capstone project that is the culmination of the degree: create a digital project on an art historical topic using Omeka S or Wordpress. Initially, only a single student chose to complete a digital capstone over a traditional thesis, but within two years there was near parity between the two options, meaning seven digital capstones for the 2021 cohort. To support these projects, a close partnership quickly developed between the University’s library, the visual resources center, and the archives. This session covers how three campus units coordinate that support for these innovative digital humanities projects, including administration of the platforms, instruction, technical support, preservation, and access to the final projects. The session will also showcase examples of student work to demonstrate the variety and creativity of projects that can be accomplished using these platforms, as well as their contributions to the field of art history. The outcome of this initiative is clear: the best of digital humanities, weaving design and technology with rigorous art historical research, and finished projects that have already resulted in successful job applications in the field.
VRA 2022 Material Objects and Special Collections session. Presenters: Allan T. Kohl and Jackie Spafford
Materials-based collections represent a challenging new mode of information management in terms of subject specialization, physical description and accommodation, and institutional mission. Building upon the successful introductory meeting of this Group in Los Angeles at the 2019 Conference, the goal of this SIG is to provide a forum for open discussion of Material and Object Collections and their relationship to various library/visual resources tasks. The Material and Object Collections SIG provides an opportunity for individuals working with a variety of materials and objects collections – including those that support art and art history courses, those that support architecture and design courses, and those in cultural heritage organizations – to share ideas, issues, and potential solutions in regard to tasks similar to common library/visual resources activities (including cataloging, documentation, staffing, outreach), as well as more specialized concerns relating to the management of physical objects (security, storage and retrieval, the design of user spaces, etc.).
By continuing to offer an opportunity for participants to share brief introductions and profiles of their collections, we hope to encourage networking and exchange information about sources for specialized items; to display sample items and share surplus samples with other collections; and to provide examples of successful solutions to typical problems. Our long-range goal is to maintain an ongoing support group that can be of particular benefit to those professionals who are in the beginning stages of building or organizing physical collections.
VRA 2022 Digital Art History session. Moderator: Otto Luna
Exploration of visualization tools in the Digital Humanities/Digital Art History realm. Presenter: Catherine Adams
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Historians and Archaeologists. Presenter: Kayla Olson
Supporting Art History Students’ Digital Projects at American University. Presenters: Samuel Sadow and Melissa Becher
VRA 2022 Digital Art History session. Presenter: Kayla Olson
This paper discusses a study (completed in the spring of 2021) which explores how common the use of Qualitative Data Analysis software (QDAS) is among two kinds of object-based researchers: art historians and archaeologists. Surveys were disseminated in a snowball fashion and contained open and closed questions. The questions sought to give participants a platform to describe if, why, and how they use programs like Atlas.ti, NVivo, Dedoose, and MAXQDA throughout their research process. While not QDAS, the image management application Tropy was also included. The author hopes that the anonymized responses will prompt discussion among professionals in academic librarianship and visual resources management about the possible impact of these digital tools on researchers in these disciplines. The question remains on whether researchers in art and material culture disciplines would benefit more from QDAS if participants were aware of: 1) Their existence and 2) Their ability to help organize artifact data and to assist in performing image-based analysis.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenter: Ann M. Graf, Assistant Professor of Library and Information Science, Simmons University
In the field of information science, we strive to provide access to information through the most efficient means possible. This is often done through the use of controlled vocabularies for description of subjects, and, in the case of art objects, for the identification of styles, processes, materials, and types. My research has examined the sufficiency of controlled vocabularies such as the Art and Architecture Thesaurus (AAT) for description of graffiti art processes and products. This research is evolving as the AAT is responding to warrant for a broader set of terms to represent outsider art communities such as the graffiti art community. The methods used to study terminological warrant by examining the language of the graffiti art community are helpful to give voice to artists who work outside the traditional art institution, allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is hoped that this research will inspire others who design and supplement controlled vocabularies for use in the arts to give priority in descriptive practice to those who have been historically underrepresented or made invisible by default use of terminology that does not speak to their experiences.
VRA 2022 Session. Presenter: Douglas Peterson
In 2021, the National Archives of Estonia engaged Digital Transitions’ Service division, Pixel Acuity, to build an Artificial Intelligence (AI) tool to analyze part of its historic record. The objective was to use this tool to enhance their collection with descriptive metadata that identified persons of interest in a collection of over 8,000 photographic glass plate negatives, a task that would ordinarily take years of human labor. In this presentation, we discuss our approach to accurately detecting and identifying human subjects in transmissive media, our initial findings using commercially available AI models, and the subsequent refinements made to our workflow to generate the most accurate metadata. In addition to working with commercially available AI models, we developed strategies for validation of AI-generated results without additional human supervision, and explored the benefits of building bespoke, heritage-specific AI models. By combining all of these tools, we developed a highly customized solution that greatly expedited accurate metadata generation with minimal human oversight, operated efficiently on large collections, and supported discovery of novel content within the archive.
VRA 2022 Community Building Session. Presenter: Dacia Metes
Queens Memory is an ongoing community archiving program that engages with our local communities in our two-fold mission to (1) push local history collections out to the public through programming and online resources, and (2) pull new materials into our collections from the diverse communities of Queens, NYC. The COVID-19 pandemic forced us to close our buildings, cease all in-person work and programming and shift our work to the virtual world. Our team quickly modified our processing workflow and asset tracking with the high volume of crowd-sourced donations coming through new online submission forms, set up in a rapid response to capture the stories coming from the pandemic’s first epicenter in the U.S. In my proposed conference session, I will discuss how we planned and managed the shift to fully online collection development. I will talk about our virtual outreach efforts to engage with the community and get them to contribute their materials, and how we developed the online tools and processes that allowed us to collect photographs, oral history interviews and other audio/visual materials, while also capturing the necessary metadata and consent forms. New internal communications channels, roles for volunteers, and triage processing for publication resulted from these efforts and are now essential parts of the team’s practices.
The document summarizes a workshop on accessibility guidance for digital cultural heritage collections. The workshop consists of two hours which include presentations on accessibility requirements and workflow strategies, a breakout activity where participants practice creating accessible descriptions for images, and a wrap-up discussion. The presentations cover topics such as common barriers to accessibility, guidelines for making images, video, audio and documents accessible, and best practices for incorporating accessibility into workflows. The breakout activity has participants work in groups to write alt-text and accessibility descriptions for sample images from online collections.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
हिंदी वर्णमाला पीपीटी, hindi alphabet PPT presentation, hindi varnamala PPT, Hindi Varnamala pdf, हिंदी स्वर, हिंदी व्यंजन, sikhiye hindi varnmala, dr. mulla adam ali, hindi language and literature, hindi alphabet with drawing, hindi alphabet pdf, hindi varnamala for childrens, hindi language, hindi varnamala practice for kids, https://www.drmullaadamali.com
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
2. Speakers
Douglas McCarthy, Collections Engagement Manager, Europeana
Heidi Raatz, Collections Information Specialist, Minneapolis Institute of Art
Summer Shetenhelm, Digital Collections & Scholarship Librarian, Santa Clara University
4. What Open Access
principles do we need
for cultural heritage?
Douglas McCarthy (@CultureDoug),
Stacy Allison-Cassin & Evelin Heidel, CC BY 4.0
Managing Rights Data: Multiple Approaches, Multiple Institutions
VRA 2020, 2 June 2020
7. ‘Open means anyone can freely access,
use, modify, and share for any purpose.’
(The Open Definition)
What is “open?”
8. The Open GLAM survey examines how GLAMs make open
access data – whether digital objects, metadata or text –
available for re-use.
‘Survey of GLAM open
access policy and
practice’ (2018-)
by Douglas McCarthy &
Dr. Andrea Wallace
bit.ly/OpenGLAMsurvey
11. Creative Commons PD tools
Public Domain Mark: to be used with very
old works that are believed to be in the worldwide
public domain.
Zero waiver: to release all types of copyrights
(including related rights to reproductions)
everywhere.
18. Are the Open GLAM Principles
accurate and relevant in 2020?
What’s missing?
19. We did a survey.
For more information, check
out this Medium post:
https://link.medium.com/XuySnT4nT
Z
20. New focus areas
● Better workable definitions on what open
access means for cultural heritage institutions;
● issues concerning traditional knowledge,
ethical, privacy concerns;
● decolonization & indigenization;
● relationship with human rights & institutional
missions;
● accessibility.
22. Policy/Law-making Process
● (Re-)Using current international law(s)
● Voluntary adoption
● Three phases:
○ (1) White Paper + Draft Declaration
○ (2) Public Consultation Period
○ (3) Final Declaration
23. Schedule
● White Paper, June 2020
● Public consultation until October 2020
● Declaration release and call for endorsements:
November 2020
(all subject to COVID-19)
24. Curated by GLAM professionals and practitioners from
all over the world, exploring issues around openness,
from technical challenges to going open to ethical
concerns.
Contributors rotate & tweet in 2-week period. Sign up.
Share your story
@OpenGLAM
25. We have a space for GLAM
professionals and
practitioners to submit their
stories and news.
The publication is
multilingual and anyone
interested can participate.
https://medium.com/open-glam
26. Thank you
Let’s stay in touch.
E: douglas.mccarthy@europeana.eu
@CultureDoug
linkedin.com/in/douglaskmccarthy
28. Mia & RightsStatements.org
A user-centered data standard for
managing rights information
Heidi S. Raatz, MLIS
Collections Information Specialist, Minneapolis Institute of Art
hraatz@artsmia.org
28
29. Mia & RightsStatements.org
Mia’s mission is to make accessible outstanding works of art
from the world’s diverse cultures.
We believe everyone should be able to engage with shared
cultural heritage online.
We want to make it easier for website users to understand what
they can do with the collection images we share.
29
Why? It’s Our Mission.
31. Mia & RightsStatements.org
Can I use this? RightsStatements enable us to effectively and clearly
communicate what we know about the copyright and reuse status of Mia
collection images.
RightsStatements provides a standard set of user-friendly statements in
three main rights categories: In Copyright, No Copyright, and Other.
Rights data is included for every object record on Mia’s Collection website.
Using RightsStatements, Mia can clarify and standardize our Rights data
when sharing on the semantic web and with content aggregators:
Wikimedia, Minnesota Digital Library (MDL), DPLA, Artstor, and others.
31
Why RightsStatements?
32. Mia & RightsStatements.org
User-friendly Statements in 3 Main
Categories
In Copyright
In Copyright
In Copyright—Educational Use
In Copyright—Non-Commercial Use
In Copyright—Rights-holder(s) Unlocatable
No Copyright
Public Domain
No Copyright—United States
No Copyright—Contractual Restrictions
No Copyright—Other Known Legal Restrictions
Other
No Known Copyright
Undetermined
Copyright Not Evaluated
32
33. Mia & RightsStatements.org
Rights data clearly displayed with every Collection object
33
https://collections.artsmia.org/art/1369/portrait-of-our-nurse-margaret-burgess-florine-stettheimer
34. Mia & RightsStatements.org
Mia encourages users to engage with our web content by combining RightsStatements
with clear Copyright and Image Access & Use policies.
https://new.artsmia.org/copyright-and-image-access/
RightsStatement + copyright status of the Work determines how website users may
▪ view images (display size and zoom)
▪ use images
▪ directly download images
▪ socially share images
Works in the Public Domain (50,000+ Works in Mia’s collection) carry the Public Domain
Mark and are free from ALL restrictions on use.
34
Added clarity regarding rights for users of Mia website content
35. Mia & RightsStatements.org
35
Rights Management—Rights & Reproduction data in CMS & DAMS
https://rightsstatements.org/page/InC-
EDU/1.0/?language=en
38. Mia & RightsStatements.org
38
US Copyright Duration and the Public Domain
https://rightsstatements.org/page/NoC-US/1.0/?language=en
No Copyright–United States (NoC–
US)
Works which Minneapolis Institute of Art (Mia)
has determined are free of copyright restrictions
under the Copyright Law of the United States
(U.S. Code Title 17). Such Works are in the
public domain under the laws of the United
States, but their copyright status under the
copyright laws of other countries may differ.
Works in Mia’s collection which meet this
definition are assigned the Object Rights Type
No Copyright–United States (NoC-US).
39. Mia & RightsStatements.org
39
RightsStatements Resources
MDL, Rights Review: An approach to applying Rights Statements from RightsStatements.org
http://hdl.handle.net/11299/201539 MDL, Rights Statements Quick Reference https://mndigital.org/sites/default/files/rights/quick-ref.pdf
40. Mia & RightsStatements.org
40
What about works in the Public Domain?
What about Creative Commons?
https://rightsstatements.org/page/1.0/?language=en#collection-
nc
42. Mia & RightsStatements.org
42
What about works in the Public Domain?
CC0 Public Domain Dedication
“No Rights Reserved”
Use this universal tool if you are a holder of copyright or database rights,
and you wish to waive all your interests that may exist in your work
worldwide. Because copyright laws differ around the world, you may use
this tool even though you may not have copyright in your jurisdiction but
want to be sure to eliminate any copyrights you may have in other
jurisdictions.
Public Domain Mark (or CC PDM)
"No Known Copyright“
Use this tool if you have identified a work that is free of known copyright
restrictions. Creative Commons does not recommend this tool for works
that are restricted by copyright laws in one or more jurisdictions.
https://twitter.com/creativecommons/status/1197242227640033280?s=03
43. Mia & RightsStatements.org
43
What about works in the Public Domain?
BUT WAIT … THIS JUST IN!
“… cultural organisations using Sketchfab can now
dedicate their 3D scans and models to the Public
Domain using the Creative Commons (CC) 0
Public Domain Dedication. This newly supported
dedication allows museums and similar
organisations to share their 3D data more openly,
adding amazing 3D models to the Public Domain,
many for the first time. This update also makes it
even easier for 3D creators to download and
reuse, re-imagine, and remix incredible ancient
and modern artifacts, objects, and scenes.”
—Sketchfab.com 25 February 2020
https://twitter.com/nebulousflynn/status/1232385057823887362?s=20
44. Mia & RightsStatements.org
▪ User-centered, user-friendly: engagement with shared online cultural
heritage for Everyone
▪ An international standard: meaningful vocabulary for copyright and
related rights with a technical and governance infrastructure to support
the development, adoption, and relevance of the standard
▪ Simple and standardized terms to summarize copyright status and
effectively communicate how the works/digital objects can be used
▪ Granularity, nuance, and rights management workflow enhancement
▪ Provision for works in the Public Domain / Public Domain dedication
▪ Seamless contribution to digital aggregators; capacity to expand and
make our collections freely and readily accessible and reusable online
44
Summary
47. Clarity of Copyright in
Plains to Peaks Collective
Digital Collections
Summer Shetenhelm
sshetenhelm@scu.edu
Digital Collections and Scholarship Librarian, Santa Clara University
MLIS, University of Denver, June 2019
@snarkives
48. Quick Overview
● Misunderstandings around digitization practices and how they
affect copyright can arise (Hirtle, Hudson, and Kenyon, 2009)
● Can lead to the misrepresentation of rights to users
● Ambiguities about copyright status limit users’ understanding
of what can be done with digital objects.
48
49. So how do users reuse digital objects?
● Digital collections hosted by other institutions or
documentaries (Thomson et al., 2018)
● Share on social media (Kelly, 2018; Reilly and Thompson,
2017; Thompson et al., 2018)
● Create online tutorials or open educational resources (OERs)
(Anderson and Leachman, 2019; Terras, 2015)
● Include in academic projects (Matusiak, Harper, and
Heinbach, 2019)
49
50. If digital libraries exist to
● support the research needs of users (Borgman, 1999),
● meet the needs of communities (Calhoun, 2014, p. 18),
● And “ideally…allow new types of use when digitised”
(Jordan, 2006, p. 27),
then a clear knowledge of how information resources
can be reused is essential to creating an effective digital
collection.
51. Research Questions
● What copyright statements are included in Plains to Peaks
Collective (PTPC)* records that have been ingested by DPLA?
● What dates are included for public domain PTPC items?
● What creation dates are included for PTPC items?
*The Plains to Peaks Collective is a partnership of the Colorado and Wyoming State Libraries
that recently (late 2018) introduced over 181,000 items into the Digital Public Library of
America (DPLA).
52. Method
● Descriptive research method
○ Examined records already ingested into DPLA
● Searched collections by three keywords & sorted by
relevance (fort, horse, and mountain)
● Made list of every other object with DPLA list feature &
exported some metadata (titles, dates, links, institution)
● Manually collected rights information for each object
52
53. Method cont.
● Focused on three institutions that contributed 77.5% of
Plains to Peaks records
● Sample size for 95% confidence and 5% margin of error
● Split sample size into relative size of contribution per
institution
53
54. Objects Contributed and Sample Sizes
54
Institution Name # Objects in
DPLA
Relative % for
Sample
# Objects
Sampled
Institution A 93,043 66.2% 254
Institution B 37,530 26.7% 103
Institution C 9,936 7.1% 27
TOTAL 140,509 100% 384
57. Institution B Local Rights Statements
57
Copyright Statement in B Local Rights Metadata Field # Objects
“The works contained in this collection are copyrighted by [Institution B] and other
creators. To purchase copies of images and/or obtain permission to publish or exhibit
them, contact [Institution B].”
81
(Local rights field not included) 14
“[Institution B]” 4
(URL to copyright statement saying [Institution B] retains copyright but also explaining
Fair Use and providing contact information for commercial use inquiries.)
4
TOTAL 103
58. Results
58
79Objects with no date or
date range that covers
both in copyright and
public domain dates
(~20.6% of sample)
The lack of a clear date
of creation makes it
difficult for users (and
institutions!) to
determine the copyright
status of an object.
59. Public Domain Objects* and Statements
59
Institution Name # Objects
Sampled
# Objects with public
domain dates
# Objects with public
domain rights information
Institution A 254 53 0
Institution B 103 0 0
Institution C 27 3 0
TOTAL 384 56 0
* These are objects with a creation date of 1899 or earlier, which is the public domain date for unpublished works.
14.5% of works are public domain, but none have public domain
statements.
61. Significance
● Without clear and accurate rights statements, users can’t
confidently reuse digital objects
○ If institutions can’t establish copyright, should at least
provide enough info to empower users to make their
own search (Coyle, 2005)
● Institutions who claim ownership over public domain
objects are committing “copyfraud” (Mazzone, 2006)
○ Misrepresents freedoms of reuse available to users
○ Results in users paying for public domain objects or
not reusing objects because don’t want to or can’t pay
61
63. Limitations
● Every other object examined
○ Future studies should use systematic sampling
● Breaking of DPLA list feature
○ Should be able to include 50 objects; “broke” after 35
■ Made record collection more time-intensive
● Server error after accessing [Institution A] too many times
○ Had to switch between browsers and machines to
collect rights information for all objects
63
65. Conclusion
● Many digital objects contributed to DPLA by the Plains to
Peaks Collective include inaccurate or conflicting rights
info
● Users can’t confidently reuse these objects
● Institutions should include accurate rights information so
users know what they can freely use to contribute to new
scholarship!
○ Use RightsStatements.org language
○ Incorporate rights investigations into workflows
○ Create reuse sets 65
66. References
Anderson, T., & Leachman, C. (2019). Strategies for supporting OER adoption through faculty and
instructor use of a federated search tool. Journal of Librarianship and Scholarly Communication,
7(General Issue), eP2279. https://doi.org/10.7710/2162-3309.2279
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Calhoun, K. (2014). Exploring digital libraries: Foundations, practice, prospects. Chicago: Neal-Schuman.
Coyle, K. (2005). Descriptive metadata for copyright status. First Monday, 10(10). Retrieved from
http://journals.uic.edu/ojs/index.php/fm/article/view/1282
Hirtle, Hudson, & Kenyon. (2009). Copyright and cultural institutions: Guidelines for digitization for U.S.
libraries, archives, and museums. Retrieved from https://hdl.handle.net/1813/14142
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Kelly, E. J. (2018). Content analysis of google alerts for cultural heritage institutions. Journal of Web
Librarianship, 12(1), 28-45. https://doi.org/10.1080/19322909.2017.1369374
66
67. References
Matusiak, K. K., Harper, A., & Heinbach, C. (2019). Use and Reuse of Visual Resources in Student Papers
and Presentations. The Electronic Library. https://doi.org/10.1108/EL-09-2018-0185
Mazzone, J. (2006). Copyfraud. New York University Law Review, 81, 1026–1100. Retrieved from
https://heinonline.org/HOL/P?h=hein.journals/nylr81&i=1042
Reilly, M., & Thompson, S. (2017). Reverse image lookup: Assessing digital library users and reuses.
Journal of Web Librarianship, 11(1), 56-68. https://doi.org/10.1080/19322909.2016.1223573
Terras, M. (2015). Opening access to collections: The making and using of open digitised cultural
content. Online Information Review, 39(5), 733-752. https://doi.org/10.1108/OIR-06-2015-0193
Thompson, S., O’Gara, G., Kelly, E. J., Kenfield, A. S., Muglia, C., & Woolcott, L. (2018, June 25). “Assessing
for digital library reuse: Initial findings from the Measuring Reuse Project”, presentation at the
American Library Association (ALA) Annual Conference, New Orleans. doi:
https://doi.org/10.17605/osf.io/m46bc
67
69. Questions & Answers
Douglas McCarthy, Collections Engagement Manager, Europeana
Heidi Raatz, Collections Information Specialist, Minneapolis Institute of Art
Summer Shetenhelm, Digital Collections & Scholarship Librarian, Santa Clara University