BY MATT MCGREGOR AND ELIZABETH HERITAGE
For the month of March (and a little bit of April), Creative Commons Aotearoa New Zealand has been travelling around Aotearoa spreading the word about open access and open licensing for local Galleries, Libraries, Archives and Museums (GLAM). In case you didn’t make it to any of these events, we’ve embedded a video of one of the sessions plus the slides below, along with a short summary of what they said.
Matt McGregor and Elizabeth Heritage, Creative Commons Aotearoa New Zealand
Matt and Elizabeth began by introducing Creative Commons licensing in Aotearoa New Zealand. They then noted that, while new technologies had provided heritage organisations new opportunities to share their digital collections for reuse, copyright and licensing was still a significant barrier. Usage rights statements, they said, were often vague, overly restrictive and not standardised across the sector. They then ran through three specific recommendations, outlined in the slides, before giving a brief introduction to the licences themselves.
Keitha Booth, New Zealand Open Government Information and Data Programme
Keitha introduced the New Zealand Government’s Open Access and Licensing framework, which advocates for the use of Creative Commons licensing across the state sector. Keitha noted that the Open Government Data and Information Programme had expanded its focus to local government. She outlined the NZGOAL adoption process, and the policy framework for each institution, both of which are detailed in the slides below.
Victoria Leachman, Rights Advisor, Museum of New Zealand Te Papa Tongarewa
Victoria outlined Te Papa’s experiences with Creative Commons licensing, beginning with the Rita Angus podcasts in 2008. Victoria noted that CC licensing these podcasts had enabled them to be used by other institutions touring the exhibition — without Te Papa having to write detailed usage agreements. After running through several other CC projects, Victoria discussed the download project, which has so far released over 48,000 images for free high-resolution download. Victoria noted that usage was much greater than predicted at the beginning of the project, and that it was being used for a range of purposes. Victoria closed her presentation by outlining the challenges to open access and open licensing for the GLAM sector, and highlighting the approach taken in response to these challenges thus far by Te Papa.
Thomasin Sleigh, Community Manager, DigitalNZ
After introducing DigitalNZ and its mission, Thomasin showed the famous ‘magic hat’ diagram, which outlines how content from individuals and organisations around New Zealand is harvested by the DigitalNZ and made more easily searchable by the aforementioned magic hat (otherwise known as the DigitalNZ API). She then gave an overview of DigitalNZ’s approach to rights, and pointed out some of the common issues faced by DigitalNZ as it attempts to provide clear rights information to end users. Thomasin argued that the point of working through these rights issues was to help produce “a world in which our shared cultural heritage is open to all, regardless of their background. A world in which people are no longer passive consumers of cultural content created by an elite, but contribute, participate, create and share.” Thomasin concluded with several standout local and international open GLAM case studies.
Mark Crookston, Digital Collection Strategy Leader, Alexander Turnbull Library
Mark began by noting that the internal debates around use and reuse within the National Library of New Zealand Te Puna Matauranga o Aotearoa repeated debates that are taking place in society at large. Many of the issues around reusing collection items were difficult, and many of them turned on the notion of trust. Mark then noted that rights statements across the sector were inconsistent, and that the National Library of New Zealand had developed a set of policy principles to address this inconsistency, which are outlined in the slides. Implementation, he said, was ongoing, though three issues currently being addressed were donor and depositor agreements, a flowchart to guide the release process, and improving the rights statements and licensing on indigenous knowledge works.
Allison Brown, Digital Services Coordinator, University of Otago Library
Allison discussed the use of Creative Commons licensing within the University of Otago library. In particular, she gave her experience in discussing CC licensing with rights holders, applying CC licensing in a library context, supporting the use of CC by others, managing the use of CC and promoting CC to others.