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                <text>Europeana’s extensive consultation with the heritage sector, including dozens of workshops, has explored in detail the risks and rewards of open data from different perspectives. The most helpful way of framing this discussion has proven to be around the business model of cultural heritage organisations. The findings in this white paper are drawn from a July 2011 workshop in which key actors from museums, libraries and archives evaluated their metadata within the context of their own business model.  Placing metadata within their business models gave workshop participants the opportunity to assess the monetary and reputational utility of metadata to their respective cultural organisations. </text>
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Martijn Arnoldus, Kennisland | Knowledgeland, Amsterdam (NL)&#13;
Peter B. Kaufman, Intelligent Television, New York (US)</text>
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projects, face problems with respect to the clearance procedures. Using the case studies as reference points, the report also identifies and outlines three models of content and permissions flows. This report also illustrates how identifying and building upon these different modes of copyright management can also contribute to the accomplishment of institutional goals.</text>
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                <text>V&amp;amp;A Images, the commercial image licensing unit of the Victoria and Albert Museum, had a difficult task: to generate profits through image licensing while also fostering the museum’s public and scholarly mission of providing access. In 2009, our study V&amp;amp;A Images: Image Licensing at a Cultural Heritage Institution (&lt;a href="http://sca.jiscinvolve.org/wp/files/2009/07/sca_bms_casestudy_vaimages.pdf"&gt;http://sca.jiscinvolve.org/wp/files/2009/07/sca_bms_casestudy_vaimages.pdf&lt;/a&gt;) focused on the challenges of operating an image licensing business whose sustainability model depends on monetising the same assets that are available for free. In part due to these challenges, the group expanded their scope in 2010 to include mobile app development in addition to content production, rights management and sales. Yet in 2011, with revenues not keeping pace with costs, the museum opted to disband the unit, retaining only the sales function.</text>
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&#13;
Make it Digital has four detailed Enabling Use &amp; Re-use guides:&#13;
&#13;
Public Domain Guide&#13;
Remix Guide&#13;
Copyright Status Flowcharts&#13;
Rights and Usage Resources</text>
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                  <text>Videos or films of people presenting on areas related to IPR for the cultural heritage sector.</text>
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                <text>Taking, Making and Law-Breaking: copyright, digitised content, and the digital maker movement</text>
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                <text>Although there is a lot of digitised cultural heritage content online, it is still incredibly difficult to source good material to reuse, or material that you are allowed to reuse, in creative projects. What can institutions do to help people who want to invest their time in making and creating using digitised historical items as inspiration and source material? How does this affect the creative choices that people can make when trying to produce items based on digitized content? How does the current copyright licensing, and the treatment of digitized versions of orphan works, help or hinder the ability to reuse and share digitized content in a physical form?&#13;
&#13;
In this talk, Melissa Terras will talk about her experiences in trying to reuse digitized heritage content to make something she likes, wants, and will use – and the frustrating barriers she encountered along the way.  Covering issues of technical digitization standards, search and retrieval issues, and licensing issues, it is demonstrated how difficult it is to reuse cultural heritage content in this context, given the implicit and explicit barriers raised, institutionally, technically, and legally, along the way.</text>
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                <text>&lt;a href="http://sharecare.nu/keynote-melissa-terras/"&gt;http://sharecare.nu/keynote-melissa-terras/&lt;/a&gt;</text>
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