Presentation of the "Museum Guide to Digital Rights Management," published by the Canadian Heritage Information Network, at the Museum Computer Network on Oct 28, 2010.

1. A Museum Guide to Digital
Rights Management
David Green
Knowledge Culture
www.knowledgeculture.com
Museum Computer Network Conference October 28, 2010
1
Available at:
http://www.pro.rcip-chin.gc.ca/sommaire-summary/
gestion_numerique_droits-digital_rights_management-eng.jsp
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2. Review of Current Practice
+
Guide to Good Practice
Summary Recommendations
Guide to Digital Rights Management
2
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3. 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 Canada
Nova 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 Design
Jennie Choi, Billie Kwan & Julie Zeftel, Metropolitan Museum of Art
Elspeth Cowell, Canadian Centre for Architecture
Danielle Currie, Vancouver Art Gallery
Alicia Cutler, National Museum of American History
Anita Duquette, Whitney Museum of American Art
Syvalya Elchen & Jane Rhodes, Art Gallery of Ontario
Rosemarie Falanga, The Exploratorium
Denise Gosé, Center for Contemporary Photography
Naomi Korn, Naomi Korn Copyright Consultancy
Mary Kuch-Nagle, Digimarc Corporation
Debra LaKind, Museum of Fine Arts, Boston
Erik Landsberg & Jeri Moxley, Museum of Modern Art
Alan Newman, National Gallery of Art
Marie-Claude Rousseau, National Gallery of Canada
Jeff Sedlik, PLUS Coalition
David Sturtevant, Harvard Art Museums
Simon Tanner, Digital Consultancy Services, King's College London
Darci Vanderhoff, The Phillips Collection
Layna White, San Francisco Museum of Art
Deborah Wythe, Brooklyn Museum
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3

4. Structure
1. 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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4

5. 6,241 Artists and 33,175 Works Online
From a selection... ...to Everything
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6. DRM
Digital Rights Management
Rights-In - Rights-Out
End-to-End Rights Workflow
Asset Protection
Rights Enforcement
Technological Protection Measures
“DRM”-Watermarking-Encryption
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7. Rights In Digitization Rights Out
Object 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 images
Set fees & Issue License
Bill & Fulfill
4. Rights Protection
Track & Protect
CMS
Excel, etc
DAMS
Excel, etc
Rights Management Software
CMS/DAMS/Filemaker
I.P.Workflow
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8. DUPLICATION DUPLICAT
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Registrar
Collections
Database Donors File
Loans File
Exhibits File
Acquisitions
File
Development
Donor
Info
CURATORS
Inventory 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
Object
Notes
DATA DATADATA DATHISTORY
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9. 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 Systems
HISTORY
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10. 10
Collection Management SystemsHISTORY
TMS Modules:
Objects
Constituents
Media
Exhibitions
Loans
Shipping
Bibliography
Events
Sites
Insurance.
Rights & Reproduction Screen ofTMS Objects
Module (as used at the Museum of Modern Art).
Reproduced with permission.
Rights & Reproduction Screen
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11. 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 DevelopmentsHISTORY
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12. 12
Digital Asset Management Systems (DAMS)HISTORY
Image Rights Metadata on MediaBin screen.
Courtesy, Metropolitan Museum of Art.
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13. 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)
HISTORY
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14. 14
Rights Protection: WatermarkingHISTORY
https://www.digimarc.com/solutions/images/
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15. RightsLine
http://www.rightsline.com/html/products.aspx
Library
Manages contacts
& rights
information and
metadata
structures
Acquisitions
Manages rights;
generates appropriate
contracts; automates
all acquisitions
workflow
Sales
Automates sales
and licensing from
inquiry through
fulfillment
Licensing
Validates licensee
information and
creates the contract
for the licensing
transaction
Invoicing
Invoices and
provides an audit
trail of the whole
process
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HISTORY
15

16. 16
HISTORY
✔
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17. 17
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18. 1999 RightsLine
2000 Rightslink
2003 ImageSpan
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Introduction Dates of Select Rights
Management Systems
HISTORY
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19. Structure
1. 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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20. 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
NumberofMuseums
Rina Elster Pantalony
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21. 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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22. TMS
(3)
Mimsy
(4)
Cuadra
Star (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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23. Documenting IP Rights
Types of IP Information with Consistent RecordsTypes of IP Information with Consistent RecordsTypes 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 contact
82%
5 License agreements 82%
6 Licensed-use reporting 41%
7 Rights and reproductions workflow 47%
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24. 0
25
50
75
100
Types of IP Information for which Consistent Records Are Held
CMS Paper
Status
Contact
Permissions
Licenses
Tracking
R&RW
orkflow
Correspondence
Percentageofinstitutions
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25. 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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26. 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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27. 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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28. • 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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29. C. Licensing
0
1
2
3
4
1-50 50-200 200-1000 1000+
DoYou License a Core Set of Images?
Number of Most-Frequently-Requested Images
NumberofMuseums
TOP 10 REQUESTED IMAGES
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30. INVENTORY
Licensing
OUTSOURCING AUTOMATION
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31. INVENTORY
Licensing
OUTSOURCING AUTOMATION
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7,000 core
images
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32. INVENTORY OUTSOURCING
Licensing
AUTOMATION
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33. INVENTORY OUTSOURCING
Licensing
AUTOMATION
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34. INVENTORY OUTSOURCING
Licensing
AUTOMATION
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35. INVENTORY OUTSOURCING
Licensing
AUTOMATION
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36. INVENTORY OUTSOURCING
Licensing
AUTOMATION
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37. ...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
37
useplus.com
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38. D. Risk Management/Rights Protection
Sensitive to Risk in
Displaying Work Online?
0
5
10
Very Somewhat A Little Not At All
Yes
No
NumberofMuseums
Obstacles to Online
Licensing?
0
5
10
15
Yes No Dont Know
Total
13
– Risk Issues 4
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39. “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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40. Value of image
Timeliness of use
Impact on scholarship
Benefit to museum “brand”
Audit + due diligence
Likelihood rightsholder appear
Likelihood of suit
Impact of potential suit on
institution
40
Weighing Risk Factors Against Benefits of Using
40

41. 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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42. “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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43. 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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44. 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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45. “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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