A Museum Guide to Digital Rights Management

David GreenKnowledge Culture

www.knowledgeculture.com

Museum Computer Network Conference October 28, 2010

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Available at:http://www.pro.rcip-chin.gc.ca/sommaire-summary/

gestion_numerique_droits-digital_rights_management-eng.jsp

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Review of Current Practice

+

Guide to Good Practice

Summary Recommendations

Guide to Digital Rights Management

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Survey (Canadian)Survey (Canadian)Anonymous

Art Gallery of Ontario

Canadian Centre for Architecture

Canadian Museum of Nature

Manitoba Museum

Montreal Museum of Fine Arts

Montréal Science Centre

Musée d'art contemporain de Montréal

Musée national des beaux-arts du Québec

National Gallery of CanadaNova Scotia Museum

Royal Alberta Museum

Royal BC Museum

Royal Tyrrell Museum

The Rooms: Provincial Archives, Art Gallery and Museum of Newfoundland

Vancouver Aquarium

Vancouver Art Gallery

Interviews (International)Denise Bastien, Museum of Rhode Island School of DesignJennie Choi, Billie Kwan & Julie Zeftel, Metropolitan Museum of ArtElspeth Cowell, Canadian Centre for ArchitectureDanielle Currie, Vancouver Art GalleryAlicia Cutler, National Museum of American HistoryAnita Duquette, Whitney Museum of American Art Syvalya Elchen & Jane Rhodes, Art Gallery of OntarioRosemarie Falanga, The ExploratoriumDenise Gosé, Center for Contemporary PhotographyNaomi Korn, Naomi Korn Copyright ConsultancyMary Kuch-Nagle, Digimarc CorporationDebra LaKind, Museum of Fine Arts, BostonErik Landsberg & Jeri Moxley, Museum of Modern ArtAlan Newman, National Gallery of ArtMarie-Claude Rousseau, National Gallery of CanadaJeff Sedlik, PLUS CoalitionDavid Sturtevant, Harvard Art MuseumsSimon Tanner, Digital Consultancy Services, King's College LondonDarci Vanderhoff, The Phillips CollectionLayna White, San Francisco Museum of ArtDeborah Wythe, Brooklyn Museum

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Structure1. Definition of Terms (DRM; Workflow)

2. Brief History & Taxonomy of Technologies

3. Findings & Recommendations following Workflow:

a. I.P. Audit (Survey + Comments)

b. Documentation & Management (Survey + Comments)

c. Licensing (Survey + Comments)

d. Risk Management & Rights Protection (Survey + Comments)

4. Conclusions

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6,241 Artists and 33,175 Works Online

From a selection... ...to Everything5

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DRMDigital Rights Management

Rights-In - Rights-Out End-to-End Rights Workflow

Asset ProtectionRights Enforcement

Technological Protection Measures

“DRM”-Watermarking-Encryption

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Rights In Digitization Rights OutObject Rights Image Rights Images/Digital Assets

1. Accession/IP Audit

Public Domain or Rightsholder?

2. Documenting & Managing

Request and/or document the assignment or transfer of rights, or

of permission to display and reproduce work

2.a Documenting & Managing

Image work order

Attach/embed/link rights metadata + range of allowable uses to images

3. Licensing

Field requests & Locate imagesSet fees & Issue License

Bill & Fulfill

4. Rights Protection

Track & Protect

CMSExcel, etc

DAMSExcel, etc

Rights Management SoftwareCMS/DAMS/Filemaker

I.P. Workflow

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DUPLICATION DUPLICATION

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Registrar

CollectionsDatabase Donors File

Loans FileExhibits File

Acquisitions File

Development

DonorInfo

CURATORSInventory File

Artists Files

Robert Baron, “Choosing Museum Collection Management Software. The Systems Analysis: Its Methods, Functions and Benefits.” 1991.

http://www.studiolo.org/MusComp/STATEMNT.htm

ObjectNotes

DATA DATA DATA DATA H

IST

OR

Y

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1980 Lenore Sarasen founds Willoughby Systems

(MIMSY)

1981 Jay Hoffman founds Gallery Systems (TMS)

1982 Cuadra Associates release STAR

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Early Key Collection Management SystemsH

IST

OR

Y

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Collection Management SystemsH

IST

OR

YTMS Modules:Objects ConstituentsMediaExhibitionsLoansShippingBibliographyEventsSitesInsurance.

Rights & Reproduction Screen of TMS Objects Module (as used at the Museum of Modern Art). Reproduced with permission.

Rights & Reproduction Screen

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1988 First commercial digital camera (Fuji DS-1P )

1990 Adobe Photoshop

1990 Kodak PhotoCD System

1993 Mosaic Web Browser Released

1995 www.DIA.org - one of first museum websites

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Dates of Key Digital DevelopmentsH

IST

OR

Y

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Digital Asset Management Systems (DAMS)H

IST

OR

Y

Image Rights Metadata on MediaBin screen. Courtesy, Metropolitan Museum of Art.

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1992 Canto Cumulus

1996 Extensis Portfolio (Adobe’s Fetch)

1999 Artesia TEAMS

1999 MediaBin

2001 NetXposure

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Introduction Dates of Key Digital Asset Management Systems (DAMS)

HIS

TO

RY

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Rights Protection: WatermarkingH

IST

OR

Y

https://www.digimarc.com/solutions/images/

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RightsLine

http://www.rightsline.com/html/products.aspx

LibraryManages contacts & rights information and metadata structures

AcquisitionsManages rights; generates appropriate contracts; automates all acquisitions workflow

SalesAutomates sales and licensing from inquiry through fulfillment

LicensingValidates licensee information and creates the contract for the licensing transaction

InvoicingInvoices and provides an audit trail of the whole process

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HIS

TO

RY

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HIS

TO

RY

✔

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1999 RightsLine

2000 Rightslink

2003 ImageSpan

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Introduction Dates of Select Rights Management Systems

HIS

TO

RY

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Structure1. Definition of Terms (DRM; Workflow)

2. Brief History & Taxonomy of Technologies

3. Findings & Recommendations following Workflow:

– I.P. Audit (Survey + Comments)

– Documentation & Management (Survey + Comments)

– Licensing (Survey + Comments)

– Risk Management & Rights Protection (Survey + Comments)

4. Conclusions

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A. IP Audit

“...an inventory of the IP assets held by an institution, whether by creation, acquisition or license.”

Authoritative IP Records?

0

2

4

6

1-25% 26-50% 51-75% 76-100%

Conduct IP Audit?

Yes

No

Percentage of objects

Num

ber

of M

useu

ms

Rina Elster Pantalony

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Partial Audit with Interns

Yes

Art Gallery of Ontario

1,200 Rightsholder Contacts

1,200 Assignments/Contracts

2002 2010

Excel

Access-based CMS

TMS

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Portfolio

TMS(3)

Mimsy(4)

CuadraStar (2)

Portfolio (1)Portfolio+ZyImage (1)

Portfolio+TMS (1)

Eloquent (1)

None(3)

In-House (1)

Content & Asset Management Systems Used by Survey Respondents

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B. Documenting IP Rights

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Documenting IP Rights

Types of IP Information with Consistent Records Types of IP Information with Consistent Records Types of IP Information with Consistent Records

1 Copyright status 70%2 Rightsholder contact information 88%3 Rightsholder correspondence 88%4 Permission to reproduce work without

further contact82%

5 License agreements 82%

6 Licensed-use reporting 41%

7 Rights and reproductions workflow 47%

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0

25

50

75

100

Types of IP Information for which Consistent Records Are Held

CMS Paper

Status

Contact

Permissi

ons

Licens

es

Tracki

ng

R&R Workfl

ow

Correspo

ndence

Perc

enta

ge o

f ins

titut

ions

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Integration still an issue...

We have different areas of this information

stored in several different databases. We

would like to move to a more streamlined

system: for example, having copyright

contact and copyright license information

stored together in our CMS.

“

”

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Customizing TMS

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TMS Bibliography Module used for recording permissions granted Harvard by rightsholders. Courtesy, Harvard Art Museums

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Susan Chun and Michael Jenkins, "Why Digital Asset Management? A Case Study." RLG DigiNews, 10 (6), December 15, 2006.

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Workflow Analysis

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• easy access to images

• foregrounds image rights + other image metadata

• shows relationships within image families

• can dramatically improve the efficiency and speed of image discovery and delivery

• saves in image production costs

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The DAMS Advantage

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C. Licensing

0

1

2

3

4

1-50 50-200 200-1000 1000+

Do You License a Core Set of Images?

Number of Most-Frequently-Requested Images

Num

ber

of M

useu

ms

TOP 10 REQUESTED IMAGES

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INVENTORY

Licensing

OUTSOURCING AUTOMATION

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INVENTORY Licensing

OUTSOURCING AUTOMATION

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7,000 core images

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INVENTORY OUTSOURCING Licensing

AUTOMATION

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INVENTORY OUTSOURCING Licensing

AUTOMATION

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INVENTORY OUTSOURCING Licensing

AUTOMATION

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INVENTORY OUTSOURCING Licensing

AUTOMATION

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INVENTORY OUTSOURCING Licensing

AUTOMATION

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...a system of standards that makes it

easier to communicate, understand and

manage image rights in all countries. The

PLUS Coalition exists at the crossroads

between technology, commerce, the arts,

preservation and education.

INVENTORY OUTSOURCING Licensing

AUTOMATION

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useplus.com

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D. Risk Management/Rights Protection

Sensitive to Risk in Displaying Work Online?

0

5

10

Very Somewhat A Little Not At All

Yes

No

Num

ber

of M

useu

ms

Obstacles to Online Licensing?

0

5

10

15

Yes No Dont Know

Total13

– Risk Issues 4

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“We’re still waiting for government policies and central mechanisms for e-commerce to be developed.”

“The chief stumbling blocks for us are limited resources and a need for faster development of online applications and image management (DAM) tools.”

“Inconsistent rights management prior to 2006 has made it nearly impossible to trace rights from some of the most useful images in our archives.”

“The collection database is not

online.”

Risk Issues in Perspective in Developing E-Commerce

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Value of imageTimeliness of use

Impact on scholarshipBenefit to museum “brand”

Audit + due diligence

Likelihood rightsholder appearLikelihood of suitImpact of potential suit on institution

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Weighing Risk Factors Against Benefits of Using

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Lesley Ellen Harris, “Developing A Copyright Risk Management Plan” www.copyrightlaws.com

• Origin of the work. Is the artist well known? ...

• Who will have access to the work? If it is being reproduced on the Web, then it is accessible to a huge number of people around the world.

• Can you afford litigation? Analyze your budget for after-the-fact royalty payments, settlements out of court, court-related fees, and infringement-related legal advice.

• What are the "political" consequences of using materials without permission?

• Do you have insurance coverage for copyright infringement?

• What are the "emotional" costs of a claim against you for copyright infringement?

• Weigh the time and inconvenience of dealing with an infringement claim with the advantages of using authorized materials.

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“Concerns about risk are balanced with the objective of increasing access to collection material for research purposes by providing online access.”

Elspeth Cowell, Canadian Centre for Architecture

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D. Risk Management/Rights Protection

“It isnʼt that the technology isnʼt there or isnʼt efficient, but more that people at our institutions donʼt yet know enough about the various means of protecting works”

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ALL RIGHTS

RESERVED

© (rights statement as per license) 

© artist or artist's estate

Creative Commons-BY-NC

no known copyright restrictions

copyright status unknown

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“Showing something on a screen is a

start, but it is not the end of what we

aspire to. The people we serve want to

be able to do [things] with the material

we are putting out.”Josh Greenberg, NYPL

IMLS, The Future of Museums and Libraries: A Discussion Guide p.12.

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