Presented by Marika Sarvilahti, at the Annual Conference of the Visual Resources Association, March 12-15, 2014 in Milwaukee, Wisconsin.
Session 9, Case Studies in International Copyright Compliance: Untangling the Web of Publishing and Sharing Copyrighted Content Online
ORGANIZERS:
Cara Hirsch, Artstor
Allan Kohl, Minneapolis College of Art and Design (on behalf of the VRA Intellectual Property Rights Committee)
Vicky Brown, University of Oxford (on behalf of the VRA International Task Force)
MODERATOR:
Allan Kohl, Minneapolis College of Art and Design
Vicky Brown, University of Oxford
PRESENTERS:
• Matthias Arnold, University of Heidelberg (Germany)
• Vicky Brown, University of Oxford (United Kingdom)
• Marta Bustillo, National College of Art and Design, Dublin (Ireland)
• Lavinia Ciuffa, American Academy in Rome (Italy)
• Marika Sarvilahti, Aalto University, Helsinki (Finland)
Teachers, students and scholars have long been able to rely on fair use in making content available for teaching, research and study within the United States. However, such protections don’t exist outside the United States. This session explores the various ways that visual resource professionals have addressed copyright compliance issues when making images available for educational and scholarly purposes outside of the United States. Using various case studies, the session will address the sharing of image resources between and among different institutions, determining when and how images can be made available to the general public, creating image-based research collaborations across national boundaries, and the international aspects of publishing with images.
VRA 2014 Case Studies in International Copyright, Sarvilahti
1. Towards open visual resources
for impact
Marika Sarvilahti
Information Specialist
Aalto University
Helsinki, Finland
Remote presentation for VRA 32, A Visual Approach
March 14, 2014, Milwaukee, Wisconsin
Session 9, Case Studies in International Copyright Compliance
3. A merger of leading
Finnish universities in 2010
University of Art and Design Helsinki
Helsinki School of Economics
Helsinki University of Technology
A community of:
• 75,000 alumni
• 20,000 students
• 4,700 faculty & staff
• with 340 professors
4. Olli Varis
Global and
international water
issues
Riitta Hari
Systems Neuroscience
and Neuroimaging
Esko I. Kauppinen
High-performance thin-
film transistors on
plastic substrate
Maarit Karppinen
Materials Chemistry of
Energy Conversion
Pekka Heikkinen
the use of wood as a
modern building
material
Areas of excellence
Nina Granqvist
Emergence of new industries
and technologies and renewal
of existing industries
1. Maarit Karppinen,
Academy Professor,
Laboratory of Inorganic
Chemistry
Photo by Adolfo Vera
2. Riitta Hari, Neuroscientist,
Academy Professor, Low
Temperature Laboratory
Illustration by C. Carl Jaffe
3. Olli Varis, Professor, Water
& Development Research
Group
Photo by Aalto University
4. Esko I. Kauppinen,
Professor, Department of
Applied Physics and
Center for New Materials
Photo by Aalto University
6. Nina Granqvist,
Academy of Finland
Research Fellow,
Department of Management
and International Business
Image by Nina Grandqvist
7. Pekka Heikkinen, Professor,
The Wood Program
Photo by Aalto University
1 2
3
4
5
6
5. School of
Art and Design
Art I Design | Media | Motion
Picture, TV and Production
Design
One of the world’s most
respected schools in its field
• Degree students 1,800
• Doctoral students 250
• Personnel 410
• Professors 46
• Departments
6. Project highlights
How to Pick Berries
Documentary film
1. Miten marjoja poimitaan (How to Pick Berries)
Documentary film How to Pick Berries by M.A.
student Elina Talvensaari from School of Art and
Design has received many awards at various
festivals, for example Bratislava International Film
Festival, San Sebastian International Film Festival
and Tromsø International Film Festival. Photo by
Mauno Farinas (School of Art and Design).
The Luukku
Zero-energy house
2. The Luukku zero-energy house
The Luukku house, designed by Aalto University
students, was one of the three winners of the
Architecture Prize and among the top five in the
Solar Decathlon 2010 competition in Madrid.
7. Project highlights
Blue1 aircrafts
New appearance
1. Aalto University students designed a new
appearance for Blue1 aircrafts
Aalto University students of graphic design came up
with a new physical appearance and concept for the
planes during their course on corporate identity
design.
8. Visual resources
Aalto events for
the Aalto
community
The end result of academic
and artistic activities
especially at the School of
Art, Design and Architecture
are typically combinations of
text and visual objects;
photographs, artworks,
design objects, print or web
publications or film.
How should art universities
answer to demands for
publicly funded research
and other deliverables to
become publicly available?
9. Images are essential
sources of information for
students, staff, researchers
and tutors.
The University Archive and
Library have the role of
preserving samples of
student works, diploma
works and documentary
images.
11. Function of the visual collections
• Document the University’s academic and artistic
activities by storing art and design objects as well as
images that document them (analog and digital).
• Provide access to objects for current and future
evaluation of research and activities for researchers,
stake holders and possible revenue sources.
• Preserve the objects as part of cultural and educational
history thus providing a memory of the university’s
changing organisation and roles in higher education.
• Promote research into Finnish art and design education
by providing rich information resources.
12. Copyright situation
• Students hold the copyrights to their works regardless of who owns
the physical objects.
• Students grant the university the right to exploit the works they
create during their studies for non-commercial activities (from 2004
onwards)
• An archive, library or a museum may communicate a work that is in
copyright from its collections on the premises of the organization,
i.e. a local image repository or database.
• For works in copyright it is permissible for the user to make a
citation in an academic work by crediting the author. Copies can
also be made for private use.
13. Implications of copyright situation
• Only a proportion of visual resources can be published
openly on the internet leaving some key collections of
cultural heritage value available only on the premises of
the Library and Archive until copyright is cleared.
• University’s investments in developing services that are
only available locally need to be very well justified.
• Developing a repository for self-archiving born-digital
material seems to be the most viable option to support
continuing ingest into the visual collections.
14. Photo by Lari Haataja
Aalto Center for
Entrepreneurship and
Aalto Venture Garage
Capturing born-digital material is
becoming a challenge: a systematic
self-archiving process is needed.
15. • Make local Visual Resources services on premises of
future Learning Center attractive, specialized, relevant
and fit for the digital natives.
• Co-operate with University legal team, communications,
IT-services, academic and teaching staff.
• Promote a culture of self-archiving throughout the
institution both for text and image resources (Open
Access).
• Born-digital material are saved into the repository with
verifiable copyright and contextual information by
authors themselves.
Our future strategies
16. Our future strategies
• Promote and teach the use of Creative Commons
licensing to students and staff.
• Co-operate with the OpenGLAM community to open all
cultural heritage data and openly licensed images in
shared services such as National Digital Library Finna.
• Co-operate with artists, designers and photographers
associations in rights clearance projects.
• Stay legal with written contracts and legal advice.
• Create processes for capturing, sharing and measuring
the impact of the institutions visual resources too, not
just scholarly text.
17. Thank you for your attention
Photo by Tuuli Sotamaa
Aalto University
Hinweis der Redaktion
Dear colleagues, I am very pleased to have this opportunity to present at this years Visual Resources Association conference, Case Studies in International Copyright Compliance session. I’d like to give my thanks to the International Task Force for all the arrangements and the especially to Vicky Brown for her dedication in setting up this special session of us VRA Internationals! In my presentation I will focus on discussing the situation of how copyright issues affect the preservation and access to, and ultimately the impact, of academic achievements in art and design. My perspective comes Finnish copyright law.
Let me begin by introducing my organization, the Aalto University in Helsinki, Finland.
Aalto University has merged together three universities in the Helsinki capital region. University of Art and Design Helsinki Helsinki School of EconomicsHelsinki University of Technology
Here are some of the areas of excellence at the University. Just as an example the wood program at the department of architecture is a one year intensive programme focusing on wood and wooden architecture. The Program explores the ecological, technical and architectural properties of wood, providing a thorough and all-round view on the whole chain of wood construction, beginning with the tree in the forest and ending up with an experimental wooden building. The processes are often documented and presented via visual means.
Aalto University School of Arts, Design and Architecture comprise five departments of research, teaching and artistic activities: the departments of Art, Design, Media, Architecture, and Motion Picture. The university has the largest art and design school in the Nordic countries and has a long tradition in combining a practice orientation with research; students engage in design and art projects through dialogue with theoretical discussion. They seek both visual and textual information during their studies and research activities, and they themselves add to this information as graduates.
Here are some project highlights:1. A documentary film How to Pick Berries by M.A. student Elina Talvensaari has recently been awarded in many festivals, for example San Sebastian International Film Festival. 2. The Luukku zero energy house was among the top five in the Solar Decathlon 2010 competition in Madrid.
Aalto University students designed the new visual appearance for Scandinavian Airlines Blue1 aircrafts.
The deliverables of academic studies and activities at an arts university typically comprise physical and born-digital visual and audio-visual objects that alongside textual documents should be systematically collected, managed and preserved long-term as textual documents are extensively today.
At Aalto University the archive and library have joined together in the development of an image repository system that is currently acting as a system for collection management for the archive visual collection. Digitisation and cataloguing of the historic collections are also well underway.
This is a viewfromourdigitisation studio.
Activities at the university typically result in textual and visual documents that have been collected in order to: Capture the university’s academic and artistic output for preservation and future access. To document the university’s academic and artistic activities by storing art and design objects as well as images that document them (analogue and digital). And to provide access to objects for current and future evaluation of research and activities for researchers, stake holders and possible revenue sources. We also preserve the objects as part of cultural and educational history thus providing a memory of the university’s changing organization and roles in higher education. -And promote research into Finnish art and design education by providing rich information resources.
In Finland Copyright is valid during the lifetime of the author and 70 years after the year of the author's death. Use of works whose period of protection has expired is free. Photographs that meet the prerequisites of independence and originality, receive copyright protection as works for 70 years after the death of the photographer. So called ordinary photographs, in many cases documentary photographs, are protected for fifty years after the photograph was taken. Students hold the copyrights to their works regardless of who owns the physical objects unless otherwise agreed by contracts. Students at the moment grant the university the right to exploit the works they create during their studies for non-commercial activities (this is the case from 2004 onwards). For works older than this there are very few specific contracts that grant the university any special use rights. In Finland there are limitations to the copyright for memory organizations. An archive, library or a museum may communicate a digitized work that is in copyright from its collections on the premises of the organization, i.e. a local image repository or database. Copyright is limited forther so that for works in copyright it is permissible for the user to make a citation in an academic work by crediting the author. Copies can also be made for private use.
The implications of this situation are that, only a proportion of visual resources can be published openly on the internet leaving some key collections of cultural heritage value available only on the premises of the Library and Archive until copyright is cleared. University’s investments in developing services that are only available locally need to be very well justified. It is somewhat difficult to find funding for such exclusive services at a time when just about everything is expected to be openly and freely available. For current born-digital materials, developing a repository for self-archiving born-digital material seems to be the most viable option to support continuing ingest into the visual collections.
Capturing born-digital material is becoming a challenge: a systematic self-archiving process is needed. The archive collections have been gathered by archivists and academic staff dedicated to collecting a pedagogical collection. This interest is still relevant but the media themselves and means in which such collections could be collected in the future have dramatically changed. There is constant need to capture a variety of current (born-digital and analogue) visual materials. The benefits of self-archiving are that:-Students and staff make contractual access and copyright agreement at deposit into the repository.- Quality of contextual and descriptive information is improved.- Quality of stored digital objects is improved.- And eventually. The library or archive develops a consultation role for of training users, overseeing and assisting in the archiving process.
We are currently planning new library and information services where we hope to have a visual resources service that could also help in depositing into the repository. We need to make local Visual Resources services on premises of future Learning Center attractive, specialized, relevant and fit for the digital natives. We need to co-operate closely with University legal team, communications, IT-services, academic and teaching staff to keep processes up to date. We should also promote a University wide policy and culture of self-archiving throughout the institution both for text and image resources (by this I’m referring to Open Access). We should aim to be in a situation in the future where born-digital material are saved into the repository with verifiable copyright and contextual information by authors themselves.
We should also promote and teach the use of Creative Commons licensing to students and staff. We have also begun to co-operate with the Open Galleries Libraries Archives and Museums community to open up cultural heritage data for reuse and remix following such endeavours at Europeana and others. We will also publish openly licensed, public domain, images in shared services such as National Digital Library Finna.or internationally in Flickr Commons. We intend to co-operate with artists, designers and photographers associations in rights clearance projects and as far as possible always stay legal with written contracts and professional legal advice in making agreements. As a profession we should create processes for capturing, sharing and measuring the impact of the institutions visual resources too, not just scholarly text.
Thankyou for yourattention! I wishyouall agreatconference, I hope to attend the conferenceagainalsophysicallyperhapsnextyear!