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Images, metadata, orphans

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Post by Prof. Derek McAuley

Coincidentally, five days after the publication of the Copyright Licensing Steering Group‘s report on the last 12 months of work on streamlining copyright, I was due to give a talk at a joint event of CREATe and the EPSRC funded Network of Excellence in Identity. The event “Identity Lost – electronic identity, digital orphan works and copyright law reform”, the talk “Digital tool chains; get your act together” – what joy to find the CLSG report, which lays down 10 key principles, formed the perfect frame to what I had planned to talk about! What should we do to avoid the on going creation of digital works that are orphans at birth?

Herewith the blogged version of the talk…

Metadata matters: encourage its use and preservation

I. By default create and preserve metadata

What is metadata in a digital image? Simply data attached to the digital image written by the camera when the image is created or afterwards as the image is processed by various tools. Nearly all cameras (including smartphones) capture information about the “camera” – lens, aperture, timing, resolution etc. – and the when and (especially with smartphones) the where. (More here.)

© Derek McAuley; not really sufficient…

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Data Where?

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Introduction by Lilian Edwards

Below is a blog written originally on the personal website of Prof Derek McAuley, head of the Horizon Digital Economy Hub and Doctoral Training Centre and lead for Nottingham as partner in CREATe. I have added a short new introduction to put into context why the work outlined below is an integral and vital part of the CREATe work programme.
Horizon is CREATe’s major partner looking at the creative industries’ problems from the viewpoint of technology and computing science. Specifically, Horizon took on the Herculean job of considering a number of interlocked problems. First, the Internet is obviously the source of, and platform for, much of the new creative and innovative activity in modern society. It clearly and brutally cannot be ignored by a Centre devoted to promoting the creative industries.

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R&D in Creative Industries: Some Lessons from the Book Publishing sector!

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Acrobats Unemployed by Giulia Frances (http://giuliafrances.blogspot.co.uk/)

Acrobats Unemployed by Giulia Frances (http://giuliafrances.blogspot.co.uk/)

In a timely post in the Managing Culture section of the Tafter Journal, Pierre-Jean Benghozi and Elisa Salvador from Ecole Polytechnique Paris, argue that despite an increase in interest in the strategic and economic dimensions of creative industries (CIs) and their business models, the issue of managing R&D in the creative industries is severely neglected, with most organizations providing for poor investments in the R&D function. They cite innovations such as, the sound recording by Edison/ General Electric in the early 20th Century, the Walkman by Sony, and, the Appstore by Apple, where disruptive innovations strategically changing the landscape of a creative industry have come from outside the industry, and where creative firms have not managed to control their innovation. This has been attributed to poor investment in the R&D function within CIs.

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Copyright and Musicians at the Digital Margins

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Ghost Beach/www.artistsvsartists.com

Credit: Ghost Beach / www.artistsvsartists.com

What do musicians think of copyright? Do their views depend on whether they play jazz or rock? Or whether the issue is downloading or sampling? Are their views simply a product of commercial self-interest, or do politics and aesthetics mediate them?

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“Polemic: how readers will discover books in future” by Charlie Stross

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stross

In the future, readers will not go in search of books to read. Feral books will stalk readers, sneak into their ebook libraries, and leap out to ambush them. Readers will have to beat books off with a baseball bat; hold them at bay with a flaming torch: refuse to interact: and in extreme cases, feign dyslexia, blindness or locked-in syndrome to avoid being subjected to literature.

You think I’m exaggerating for effect, don’t you?

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Extracts from Panel Discussion “Copyright, and the Regulation of Orphan Works” held on 02/07/2013

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Orphans-event-arnold_with_screenToday, we publish a summary, transcript and resource page which captures the panel discussion on regulation of orphan works held at the Law Society (London) on 2nd July 2013. The panel discussion followed the launch of an empirical report, titled “Copyright, and the Regulation of Orphan Works” published for the UK IPO by academics from Bournemouth University and CREATe, RCUK Centre for Copyright and New Business Models in the Creative Economy. The event, organized jointly by the Technology Strategy Board (TSB) and CREATe, generated considerable debate. We are now providing a summary of the day’s proceedings for further comment and analysis.

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What price “expropriation”?

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A new empirical study of so-called Orphan Works, commissioned by the UK Intellectual Property Office, and undertaken by academics from Bournemouth University, and the CREATe Centre at the University of Glasgow, comes to surprising results. It offers a clearer understanding of how orphan works are regulated and priced in other jurisdictions, and how a pricing system could be structured to ensure that “parents” are fairly remunerated if they re-appear, and users are incentivised to access and exploit registered orphan works.

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