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                <text>This deliverable presents the development and outcomes of the Museums Pilot at M24 of the E-Space project. The Museums pilot aims to create ready-to-use solutions for content and exhibition curators but also for end users, that maximise results leveraging on the archive of multimedia contents available in Europeana combined with web-based and mobile solutions. Two distinct products will be the result of this activity: &#13;
&#13;
The Toolbox, a web-based application designed for museum curators, that allows them to create always brand new educational videos and promotional worksheets melting the museums/memorials contents with the heritage of Europeana&#13;
&#13;
The Blinkster mobile app – that will enrich the exhibitions with Europeana contents by exploiting the mobile strength such as augmented reality, object recognition and geolocalization for education and entertainment experiences within hand’s reach&#13;
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                <text>This report commissioned by the NMDC from the Collections Trust examines how museums are balancing the twin aims of maximising public access to their digital content and promoting their own financial sustainability. Striking the Balance sets out the findings and recommendations from an 18 month study of the different methods and approaches employed by NMDC member institutions. The report contains case studies from across NMDC's membership and explores a range of issues including current trends, developing policies on access and reuse, understanding return on investment and different models for open access and commercial reuse.</text>
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                <text>The Livrustkammaren och Skoklosters slott med Stiftelsen Hallwylska museet in Sweden has about 50 people on its staff and a limited budget. About 300,000 people visit the three museums combined each year. At the same time, their collection is shared all over the world and receives millions of views.&#13;
&#13;
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                <text>Museums face steady demand for images of artworks from their collections, and they typically provide a service of making and delivering high-resolution images of art. The images are often intellectually essential for scholarly study and teaching, and they are sometimes economically valuable for production of the coffee mugs and note cards sold in museum shops and elsewhere. Though the law is unclear regarding copyright protection afforded to such images, many museum policies and licenses encumber the use of art images with contractual terms and license restrictions often aimed at raising revenue or protecting the integrity of the art. This article explores the extent to which museums have strained the limits of copyright claims and indeed have restructured concepts of ownership and control in ways that curtail the availability and use of art images far beyond anything that may be grounded in the law. This article examines the relevant copyright law applicable to the making and use of reproductions of art images, and it identifies the challenging pressures that museums face as they strive to make policies in the context of law but that also serve the multiple competing interests coming to bear on officials and decision makers inside museums. The article analyzes selected policies from major museums and provides an original construct of forms of “overreaching” that often appear in written standards offered by museums for the use of images. The analysis of policies also demonstrates that museums have choices in the shaping of institutional policies, and that breaking away from familiar policy terms can sometimes better serve institutional and public interests.</text>
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                <text>Access to art images –especially images of art works in museum collections here and abroad – is essential to teaching, learning, research and scholarship in the history of art, and indeed in all the many fields engaged with the study of visual culture. Such access has been rendered both easier and more problematic by the emergence of new technologies. In 2009, the Samuel H. Kress Foundation awarded a research grant to Dr. Kenneth D. Crews, Director of the Copyright Advisory Office at Columbia University Libraries. Dr. Crews proposed to undertake a study of art museum image licensing concepts, terminology and policies, including “terms and conditions” for the use of art images. The principal objectives of this study were to gather a representative sample of art museum license agreements; to analyze their similarities and differences with respect to both terminology and policies; and to produce a systematic inventory of the range of issues addressed in and posed by such licensing agreements and the different ways in which museums have responded to these issues. This inventory and analysis has sought to provide insight into the issues of copyright and licensing that are of concern to art museums and to educational and scholarly users of art images.</text>
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                <text>In June 2014, The Museum of New  Zealand, Te Papa, made more than 30,000 high resolution images of its collection available to the public to download and reuse.  The images were made available with No Known Copyright Restriction statements (17,000 images) or Creative Commons attribution, non-commercial, no derivatives BY-NC-ND licenses (14,000 images) through Te Papa’s collections website, Collections Online (www.collections.tepapa.govt.nz). This paper describes Te Papa’s open access program with an emphasis on the results of the program after one year of activity.&#13;
&#13;
The paper is divided into three parts. Part One details the reasons why Te Papa developed an open access program, describing what we hoped might happen if we made our collection images available for reuse; and exploring the international, New Zealand and organisational context within which the decision to support an open access program was made. Part Two explains Te Papa’s open access program in more depth, documenting what we put in place to deliver downloadable images and describing the initial response we received after launch. The final part of the paper, Part Three, explores the results of the program one year on, describing the extent – and ways – to which Te Papa’s collection images have been used; and compares this activity with similar open access programs internationally.</text>
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                <text>&lt;a href="http://mwa2015.museumsandtheweb.com/paper/a-review-of-a-year-of-open-access-images-at-te-papa/"&gt;http://mwa2015.museumsandtheweb.com/paper/a-review-of-a-year-of-open-access-images-at-te-papa/&lt;/a&gt;</text>
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                <text>Adrian Kingston and Philip Edgar (Museum of New Zealand Te Papa Tongarewa, New Zealand)</text>
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                <text>MWA2015: Museums and the Web Asia 2015</text>
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                <text>15 August 2015</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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                <text>&lt;a href="http://www.webarchive.org.uk/wayback/archive/20140616121029/http://www.jisc.ac.uk/media/documents/programmes/contentalliance/vaimages.pdf"&gt;http://www.webarchive.org.uk/wayback/archive/20140616121029/http://www.jisc.ac.uk/media/documents/programmes/contentalliance/vaimages.pdf&lt;/a&gt;</text>
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                <text>&lt;a href="https://creativecommons.org/licenses/by-nc-nd/2.0/uk/"&gt;CC BY-NC-ND 2.0 UK&lt;/a&gt;</text>
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