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Rights Management and
Payment Technologies
networks (VPNs), supports this closed community. However, all of the broadcasters and
archive partners are public or state-funded bodies, so there is at the same time a public
interest in making the archival content available to all. For this reason the project has also
developed a public Web access to allow non-profit access to all citizens who it must be
borne in mind have paid for much of the content indirectly.The DRM system was
introduced for profit and for professionals, while at the same time the general public
gains or retains Web-based access to the materials for non-profit use.
Despite the clear advantages that DRM technologies may offer the cultural heritage
sector, there are certain caveats and potential risks that seem inextricably linked with the
introduction of use-restriction software. Tecmath AG's Dr Stephan Schneider explained,
`Collections and archives of cultural heritage often lack the money to fund their every-
day tasks such as restoration and conservation. DRM technologies could offer a way to
make money out of their treasures and improve the funding situation greatly. However,
the DRM technology should not be used to hide cultural heritage and to prevent it
from being watched or used.The general public who is the owner in most cases
must have at least a non-profit access to it.'
EMII-DCF (European Museums' Information Institute Distributed Content
The European Museums' Information Institute (EMII) is a network launched in
1998 to meet a perceived need for representation in the museum sector. Museums tend
to be relegated to a secondary position in collaborative technical projects and the initiative
hopes to redress this situation. EMII is a virtual network. It is managed by a steering
committee and a secretariat.They work to bring collections together and act in a general
advisory role for the sector. EMII's Distributed Content Framework (DCF) programme, an
FP5-funded IST Accompanying Measure, ran from January 2002 to November 2003.
It aimed to create a framework that will assist organisations or projects involved in the
digitisation of cultural heritage content.The project produced three main outcomes:
1. A needs analysis which identified the current and future uses of digital cultural
heritage content;
2. A legal report highlighting copyright and other legal issues, as well as template
licence agreements designed for use by museum sector professionals and other
collection administrators; and,
3. A set of standards for governing the planning and execution of digitisation projects.
This case study focuses on the second of these strands and in particular the rights
management issues, although work done as part of the first strand (e.g. the survey of
organisations such as SCRAN and CHIN
) influenced work on strand two. As well as
covering key areas such as Intellectual Property Rights (IPR), Data Protection and
Human Rights issues, the DCF outlines solutions for a range of problems likely to arise
when digitised content is made available online. Other issues examined include the
221 case study is the result of two telephone interviews, the first with EMII
British Co-ordinator Rosa Botterill, and the second with Naomi Korn, Copyright Officer at Tate.The
interviews took place on 07/05/2003 and 14/05/2003 respectively.
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