The Dutch Copyright Working Group offers an example of how GLAM organisations can work together on copyright, and in this post Annemarie Beunen, copyright lawyer at the National Library of The Netherlands, and Maartje Hülsenbeck, copyright lawyer at the Netherlands Institute for Sound and Vision (co-chairs of the group) share some insights about how the group works.
As Europeana Pro’s focus on the public domain draws to a close, Sebastiaan ter Burg looks back on a year of events celebrating the public domain in the Netherlands and provides inspiration on how you can already start your planning to celebrate the public domain in 2021!
This month, Europeana Pro looks at how the public domain contributes to the re-use of cultural heritage and explores different aspects of open access. In this post, Jolan Wuyts highlights notable European artists whose work entered the public domain this year and can be viewed through Europeana Collections!
This month, Europeana Pro looks at how the public domain contributes to the re-use of cultural heritage and explores different aspects of open access. Europeana Collections Manager Douglas McCarthy has interviewed a number of cultural heritage professionals about open access for Europeana Pro, but today he tells us more about his own research and the global picture of Open GLAM.
Annabelle Shaw is copyright and rights systems manager at the British Film Institute (BFI) and leads on the rights work for archive digitisation and access projects. In this post for Europeana Pro, she reflects on the approach her institution has taken towards rights research ahead of mass digitisation projects and suggests a fresh way for cultural heritage institutions to look at this important practice.
The principle that works in the public domain should remain in the public domain once digitised, which Europeana has defended for almost ten years, was recently incorporated into European law. In this post, we interview Dr. Andrea Wallace, Lecturer in Law at the University of Exeter, about the importance of this provision for the cultural heritage sector and her research on Article 14.
In a major step towards greater open access in France, Paris Musées is releasing its digital collections into the public domain with a CC0 waiver. Europeana's Douglas McCarthy spoke with Philippe Rivière, Head of Communication and Digital at Paris Musées, to find out more.
This January we look at how the public domain contributes to the re-use of cultural heritage and explore different aspects of open acces. In this post, we begin by highlighting which of the more than ten million public domain works accessible through Europeana were viewed the most last year.
Do you work at a cultural heritage institution with out of commerce works in its collection? Thanks to the the Out of Commerce Works Provisions in the European Copyright Directive adopted in May 2019, it will soon become much easier to share these with the public. But there are some details to be defined at the national level. In this post Ariadna Matas, Junior Policy Advisor at the Europeana Foundation, offers advice on how to get involved in the stakeholder dialogues on out of commerce works that should take place in every EU member state.
The Copyright Community of the Europeana Network Association was recently surveyed to help gain a greater understanding of the key challenges professionals face around copyright and invite possible solutions. In this post we hear about the results of the survey and explore some of the ideas the Copyright Community will be focusing on in their upcoming work plan.
In June, we highlighted a new European Commission report confirming continued Member State support for Europeana and for common efforts on digital preservation. Now, let’s look more closely at how Member States - through their ministries of culture - are working with aggregators to encourage the use of standards for digital culture and what that means for the data provided by your own institutions.