Formerly Gallica Classique. One of the world’s most advanced digital library collections, Gallica provides online access to millions of books, periodicals, images, videos, maps, sound files, manuscripts, and scores. Searchable in basic or advanced modes, and browsable by publication type. Originally an attempt to provide coverage of the Bibliothèque Nationale‘s vast holdings in French literature from the Middle Ages to the present, it now has digital access partnerships with a number of other major library collections substantially increasing its offerings. Includes links to other relevant sites.
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The website of the National Library of the Netherlands offers an amazing array of content from and about the Netherlands, the Low Countries, Europe, and the world at large. Website available in both English and Dutch.
The Digital Public Library of American (DPLA), to be released to the public in two years, held a meeting in October of 2011. The link included here enables us to listen to a podcast of a session on digital libraries generally, and focuses particularly on the question of centralized vs distributed collection building strategies. Here is what Brewster Kahle had to say: “…the answer of having one library for everybody is not a good approach,” for reasons he and other speakers further discussed. I was struck by one speaker’s observation that the best example of a centralized digital library can be found in South Korea–which in fact combines geographically-sited facilities with digital ones.
VISUAL RESOURCES ASSOCIATION RELEASES STATEMENT ON THE FAIR USE OF IMAGES FOR TEACHING, RESEARCH, AND STUDYDecember 12th, 2011 by Daniel Goldstein
The Visual Resources Association, the international organization of image media professionals dedicated to furthering research and education in the field of image management, has released a Statement on the Fair Use of Images for Teaching, Research, and Study. The Statement describes six uses of copyrighted still images that the VRA believes fall within the U.S. doctrine of fair use. The six uses are: 1) preservation (storing images for repeated use in a teaching context and transferring images to new formats); 2) use of images for teaching purposes; 3) use of images (both large, high-resolution images and thumbnails) on course websites and in other online study materials; 4) adaptations of images for teaching and classroom work by students; 5) sharing images among educational and cultural institutions to facilitate teaching and study; and 6) reproduction of images in theses and dissertations.
This Statement on the Fair Use of Images draws from the academic community’s longstanding practice of relying on fair use for teaching and learning, and highlights one area – the use of images in theses and dissertations – where the Association believes the community should return to its previous practices of being more assertive. The Statement also relies heavily on recent fair use jurisprudence and aims to provide image users within the educational and cultural heritage communities with greater certainty when relying on fair use.
The Statement was developed by the VRA’s Intellectual Property Rights Committee, with the guidance of a Legal Advisory Committee of preeminent copyright scholars and legal experts, whose members include: Robert W. Clarida (Cowan, Liebowitz & Latman), Jeffrey P. Cunard (Debevoise & Plimpton LLP), Jackie Ewenstein (Ewenstein & Young LLP), Georgia K. Harper (Scholarly Communications Advisor, The University Libraries, University of Texas at Austin), Virginia Rutledge (PIPE Arts Group) and Jule Sigall (Associate General Counsel – Copyright, Microsoft; Formerly Associate Register for Policy & International Affairs, U.S. Copyright Office).
Maureen Burns, VRA President, noted the Association’s aims in producing the Statement: “An important aspect of VRA’s mission is to inform educational image users about, and to help form consensus around, best practices in the field of visual resources. These guidelines reflect a consensus (albeit largely unwritten to date) within the Association – and by extension the broader educational community – that the practices described within the guidelines are reasonable assertions of fair use. Our hope is that this document will help to ensure that images are robustly and widely used to facilitate uninhibited academic inquiry.”
For more information about the Statement, please visit the Intellectual Property Rights Committee page on the VRA website at http://www.vraweb.org or go directly to the document here: http://www.vraweb.org/organization/pdf/VRAFairUseGuidelinesFinal.pdf
The University of California-Santa Barbara (UCSB) recently launched a new digital library, making images and audio recordings from the Special Collections Department of UCSB’s Davidson Library freely available online. The digital library currently contains approximately 3,000 items, with more being added regularly.
Current formats in the collection include historic and artistic photographs, poster prints, music scores, audio recordings, videos, and picture discs. Among the highlights are photographs from Ghana, Britain, and Australia from 1910 to 1921; poster prints from contemporary San Francisco artists; picture discs from the 1940s; and artistic photographs of California and the United States from 1970 to 1990.
The collection also includes a geolocation feature, allowing researchers to view satellite images and street views of image locations through Google Maps. There is also an advanced search feature that allows users to find all items by proximity to a specific location—an address, a city or state, or geographic coordinates.
A collaborative effort with assistance from audio and scanning technicians, faculty members, librarians, and even scholars from the community who access the material and contact the library with additional information about items, the digital library is available at http://digital.library.ucsb.edu.
Boatema Boateng, associate professor of communication at the University of California, San Diego, is interviewed by University of Minnesota on her new book, Copyright Doesn’t Work Here: Adinkra and Kente Cloth and Intellectual Property in Ghana.
Examining Ghana’s use of intellectual property law to protect adinkra and kente fabrics
In this interview Professor Boateng speaks about the implications of intellectual property law in the efforts to preserve folklore and other traditional forms of knowledge.
Author: Boateng, Boatema.
Title: Copyright Doesn’t Work Here: Adinkra and Kente Cloth and Intellectual Property in Ghana.
Publisher: University of Minnesota Press.
Location: Peter J. Shields Library: On Order
ARTstor, the digital image database is constantly adding new collections from museums and other sources. You can see the new collection announcements here.
The three newest additions are:
- The American Folk Art Museum: Over 1600 images of traditional folk art.
- The City College of New York: Over 1800 images including ancient artifacts, plaster casts, and murals, as well as prints, drawings, and paintings from the 19th and 20th centuries.
- The Fondazione Federico Zeri, Università di Bologna: Over 28,000 photographs of 16th century Italian paintings.
Here are descriptions and links for two grant opportunities
ARTstor Travel Awards 2011
While the digital age is opening up new ways of using images of the world’s cultural heritage in teaching and scholarship, there is no substitute for engaging with original works and sites or primary source material, or for attending conferences with colleagues. In recognition of this need, ARTstor is providing five travel awards in the amount of $1,500 each (to be used by December 31, 2012) to help support the educational and scholarly activities—such as flying to a conference—of graduate students, scholars, curators, educators, and librarians in any field.
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German European Parliament deputy Helga Trüpel (German Green Party) and the European Parliament’s culture committee call on member states to provide more digital content, and to resolutely oppose the Google “mass digitization” model. Launched in late 2008, Europeana (http://www.europeana.eu/portal) currently features 4.6 million digitised works, including books, maps, film clips and photographs. Planners want to see this figure at 10 million by Juneof this year and 15 million by 2015.