Recent Updates RSS Toggle Comment Threads | Keyboard Shortcuts

  • Tom Goskar 9:18 pm on 23 February, 2010 Permalink | Reply
    Tags: analysis, , illumination dome, imaging, PTM, RTI, surface detail   

    Polynomial Texture Mapping for Archaeologists 

    This month sees the publication of an article written by myself and Dr Graeme Earl from the University of Southampton’s Archaeological Computing Research Group entitled “Polynomial Texture Mapping for Archaeologists” in the March/April edition of British Archaeology magazine.

    Polynomial Texture Mapping (PTM) is a technique that uses ordinary digital photography equipment alongside directional lighting. It produces images that can be lit from any direction, as if you had the real object in front of you. It is an excellent technique for analysing fine details on surfaces, something that has particular utility in archaeology.

    Setting up the camera

    The full text will be available online after the next edition of BA comes out.

    The photo above is of the PTM illumination dome which I designed and built at Wessex Archaeology. You can see more details about the dome in my building a PTM illumination dome Flickr set. I have much more to say about PTM, so stay tuned.

    Find out more about the Wessex Archaeology PTM rig and see interactive examples.

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
  • Tom Goskar 9:23 pm on 27 December, 2009 Permalink | Reply
    Tags: archive, British Library, web archive   

    British Library to archive UK websites 

    Finally, the British Library has been granted the necessary legal powers to archive websites based in the UK (with .uk domain names and others hosted in the UK). These powers are similar to those that require every publisher in the UK to provide copies of printed publications to the BL.

    An increasing amount of information is only published online, and as web pages change or are deleted, we are losing an important record of our history and culture.

    Head over to the Guardian to read more.

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
  • Tom Goskar 10:36 pm on 24 November, 2009 Permalink | Reply
    Tags: , Digitising, digitizing, , Iraq,   

    Google plans to digitise the Iraq National Museum’s collections 

    Putting aside any cynicism about publicity stunts, it is interesting to see Google announce that they are ‘digitising’ the collections of the National Museum of Iraq.

    The story on Reuters claims that 14,000 photos of the artefacts will be published online in early 2010.

    “I can think of no better use of our time and our resources to make the images and ideas from your civilization, from the very beginning of time, available to a billion people worldwide,” Google CEO Eric Schmidt said at a news conference at the Baghdad museum.

    “Most American companies are not yet operating in Iraq, and we would like to show that it’s possible to do business in Iraq, that Iraq is an important market that will grow quickly, that it’s sufficiently stable,” he added.

    Ah, so the latter quote shows some of the politics involved, but recording, cataloguing and making freely available such an important collection is surely a good thing.

    The questions that arise from this news are numerous, and, just to add to the speculation, ReadWriteWeb quote Google’s CEO Eric Schmidt as saying that there will be “a few surprises“.

    Will Google be releasing the raw data? Will it be structured? Are Google going to release a collections management system? Will they work closely with other museums?

    Definitely one to watch.

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
    • Frankie Roberto 4:53 pm on 25 November, 2009 Permalink

      Gosh, yes, how interesting!

      Wonder if Google will show us how museum digitisation is really done. Or whether it’ll end up a relative simple Google Scholar/Books style affair.

    • Martin Greaney 2:55 pm on 11 December, 2009 Permalink

      Google usually come up with stuff that’s easy to navigate and incredibly useful, though it’ll be interesting to see how accessible it becomes. Their stuff is usually free, but I hope the Baghdad scans etc will be open too.

    • Peter Edwell 5:08 am on 22 January, 2010 Permalink

      Looking forward to this but will virtual Iraq be the only Iraq we know?

  • Tehmina Goskar 11:18 am on 13 November, 2009 Permalink | Reply  

    Textile Conservation Centre continues online 

    Following the closure of the Textile Conservation Centre, until recently, part of the University of Southampton, the staff of the TCC and the TCC Foundation have set up a website to keep people in touch and retain a presence in the world of conservation, culture and heritage. Here, you can also keep in touch with recent staff and people.

    http://www.textileconservationcentre.co.uk/

    It is good to see that online methods of communication will keep some essence of this excellent institution alive.

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
  • Tom Goskar 10:19 pm on 5 October, 2009 Permalink | Reply
    Tags: David Dawson, Devizes, Google Books, Wiltshire   

    Wiltshire Heritage Museum library and Google Books 

    Since the appointment of David Dawson as Director of Wiltshire Archaeological and Natural History Society and Wiltshire Heritage Museum in April 2008, the organisation have not rested on their laurels. The Museum’s library has just gone online via Google Books, and they are possibly the first organisation in the world to do it this way.

    The Wiltshire Heritage Museum library has just gone online with a digital library created in just 5 months using the controversial Google Books service.

    The Library has been collecting books about the history, environment and archaeology of Wiltshire for over 150 years, and has many rare and important books in its collection of over 8000 volumes. Until now, the idea of getting the library online has been only a dream for librarian Dr Lorna Haycock. Without Google, it would have cost tens of thousands of pounds, buying a computer system, exhaustive data entry and only a few of the books could have been scanned electronically.

    Museum Director, David Dawson explained that the controversial Google Books service has a ‘My Library’ facility, where you can simply click on a book that you have found on Google Books, and then add it to your own digital library. Work began in May this year to catalogue the entire library, using Google Books, and over 5,000 books have now been recorded. Many of them have already been digitised, and the full text of many can be searched online. He commented “as far as we know, we are the first library in the world to have created a digital library using the Google Books service. As an independent charity, we simply couldn’t afford to get our library online until Google Books gave us this fantastic opportunity to enable people to carry out their research online.”

    The digital library has now been launched through the museum website – http://www.wiltshireheritage.org.uk. Everyone can now browse and search the library online – finding books that contain detailed information about where they live, or about the history of their family. Director David Dawson explains “people can then visit our library to read the real books, discovering the wealth of material that we have in our fantastic library”.

    While they have not digitised the text from their books, this is a fantastic start, and clever thinking. Most of their titles can now be searched, and thanks to the Google Books digitisation programme (the ‘controversial‘ part) the content of many out-of-copyright titles can be searched or downloaded as part of the Google Books Library Project.

    Visit the Wiltshire Heritage Museum Library to find out more.

    And as an aside, I ought to mention the Wiltshire Heritage Museum’s YouTube channel, which, at the time of writing, does not have many views on its videos. Their short films are of excellent quality, professionally produced, and really watchable – just the right length, and many of them featuring Wiltshire’s most famous archaeologist – Time Team/Wessex Archaeology’s Phil Harding, who is no stranger to being in front of the camera. Go there at once, and watch some of them! Or better still, visit the museum – something I’ve shamefully yet to do myself!

    (note to self, visit Wiltshire Heritage Museum!)

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
  • Tom Goskar 11:23 am on 31 July, 2009 Permalink | Reply
    Tags: , 3D laser scanning, , , , point clouds   

    Building Rome in a Day 

    The billions of photos taken in cities across the world and uploaded to places like Flickr, Photobucket et al might suddenly have a very interesting use. The University of Washington are experimenting with the creation of 3D “point clouds” similar to those created by terrestrial laser scanners, from downloaded images.

    By sourcing images and applying the principles of photogrammetry and distributed computing, the results are very impressive. They aren’t going to rival laser scanners just yet, but the animations on the Building Rome in a Day project website are impressive, and show the huge potential of this approach.

    Entering the search term Rome on Flickr returns more than two million photographs. This collection represents an increasingly complete photographic record of the city, capturing every popular site, facade, interior, fountain, sculpture, painting, cafe, and so forth. It also offers us an unprecedented opportunity to richly capture, explore and study the three dimensional shape of the city.

    This particular project aims to create “sparse point clouds” to give a 3D overview of the layout of a city, and has interesting potential for interacting with and exploring a place virtually. They are running a parallel project investigating dense point clouds which looks promising, but probably won’t see any popular use for a long time due to the massive amount of processing and data storage involved (dense 3D point clouds and meshes are huge datasets).

    The University of Washington project is similar to Microsoft’s Photosynth project. But the difference is that with Photosynth, users have to manually create “synths” by uploading photos of a particular place. Photosynth does not allow users to tap into the millions of other images out there, which moves me to my next point.

    What about the copyright implications of crowd-sourced photos? Even if just using Creative Commons licensed images, imagine what the “attribution” page would look like if hundreds of thousands of images have been used from potentially tens of thousands of photographers. I’ll be interested to see how they deal with that side of things.

    But overall, this is an exciting development. There is huge potential for cultural heritage applications, especially in the areas of survey and interpretation. I will be following this project very closely.

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
    • Bill Hume 11:27 am on 28 September, 2009 Permalink

      Cool…undoubtedly and no doubt usefull in a global recording sense. It does however remind me of Photosynth in that the point clouds are unobtainable to us mere mortals. I had hoped for a system like ’synth where I could input photographs and have a point cloud constructed from them. Yes I know ’synth does that, but there is no mechanism for obtaining the point cloud data. It’s so frustrating.
      See
      http://photosynth.net/view.aspx?cid=40f024dd-d24e-4d97-a530-501faefc639f
      It’s a synth of a standing stone I made last year. I love the point cloud, I can see it, but can’t obtain it as a data set. Let’s hope someone at Microsoft sees the real value of Photosynth soon.
      Bill Hume.

    • patrick 4:12 pm on 6 November, 2009 Permalink

      Hello:
      I am a 3d illustrator who specializes in renderings of events historical in nature.When I read your post with the subject “3d” it natural got my attention. Reading your post regarding “Building Rome in a day” I couldn’t help but think of the Google Earth project “Ancient Rome in 3d” and thought that may be something you would be interested in. I like your blog, some of the information I find quite interesting.

    • Bill Hume 11:58 pm on 7 March, 2010 Permalink

      There is now a free prog. which allows the simple extraction of point cloud data from Photosynth.

      http://pspcexporter.codeplex.com/

      Works an absolute treat. Only problem I have now is that I’m unable to get Meshlab to convert the point cloud to a mesh. Having never worked with 3D (in a computing sense), I forsee a steep and painful learning curve ahead.
      Worth trying it out. Just paste the url of my synth of the standing stone (above), into the appropriate box and hit go…….it really is that simple.
      Point cloud may be viewed in meshlab……I was surprised how much of the field boundaries were there, you need to zoom in on the stone itself.
      Hope this of interest to you,
      Bill Hume.

    • Tom Goskar 1:59 pm on 8 March, 2010 Permalink

      Thanks for the update, Bill. I will certainly try it out – the ‘old’ way of intercepting the data and converting the binary file was a lot of hassle.

      Unfortunately the examples I tried (mainly Stonehenge related) had terrible point clouds, so at least trying different ones will now be less painful (especially if the resultant point cloud is poor too!).

      Cheers,

      Tom

  • Tehmina Goskar 8:25 am on 17 July, 2009 Permalink | Reply  

    Museums as sacred spaces series 

    I have had in mind for a while to write a series of articles exploring ideas, quite freeform, of museums and galleries as sacred spaces. This concept has interested me for a number of years, since I started working in the sector and remember seeing outside a provincial art gallery a sign which went something along the lines of ‘come in for quiet contemplation and meditation’. I found that both alluring and inviting in an otherwise smelly, noisy and raucous city.

    We surround ourselves with noise these days, either to mask out other people’s uninvited noise or because we find the silence too difficult to deal with. I use ‘we’ in the loosest sense here. I want civic spaces which are deliberately quiet, still and, I suppose temple-like or at least sanctuary-like.

    Another way in which I have thought about museums as sacred spaces is related to the debate about the display of human remains. Entire volumes can be written about all the arguments about what we should do with archaeologically-recovered human remains, some of which I will go through in time in subsequent posts, but I want to offer a new framework. Can we ever perceive the museum to be a new temple of the deceased? Isn’t this where we go to learn about the past? And haven’t humans for all time looked to their ancestors for knowledge and wisdom? Whether you have a spirituality or not, there is no doubting that we can and do learn a lot from the remains of our (the broad humanity ‘our’) ancestors.

    And so it will be on these two subjects that I will begin.

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
  • Tehmina Goskar 10:01 am on 16 July, 2009 Permalink | Reply
    Tags: copyright, digitisation, images, national portrait gallery, rights, wikimedia   

    National Portrait Gallery / Wikimedia 

    This is a quick response to a very good and pleasantly short blog post on Open Objects regarding the conflict caused by Wikimedia scraping high resolution ‘zoomified’ images from the NPG’s website and making them available.

    I concur with your thoughts. I don’t think Wikimedia is, however, anything other than extremely naive not to have thought things through a bit better. That they couldn’t even respond promptly (allegedly) to original complaints by NPG is highly unprofessional and this in itself has lowered them in my esteem.

    By and large I think the NPG’s response is balanced and correct. We should all be well aware by now that someone has to foot the bill for this quality of digitisation and delivery. It occurs to me that the ‘free, free’ mob is just as naive as WM in this regard.

    Perhaps Wikimedia Foundation Inc could do what they did for Wikipedia last year and have a high profile campaign to raise money, but specifically for organisations to digitise and make available some of their content by way of return? I also don’t see any reason why WM needs to host such high res images; a decent image doesn’t have to be art catalogue quality and a link to the zoomify image on the organisation’s own website would surely suffice in the bid to ‘open up access’.

    There is an active discussion going on on the Museum Computer Group and also the Museum Copyright Group which some have lamented as indicative of the lack of cohesion inherent in the museum/heritage/cultural sector on issues of access vs. the need for income to fund projects.

    Some have said, well as they are publicly funded, they should make all this available for free. But who should pay? The very people who advocate this radical stance must enjoy taking their wage packets home at the end of the month and are not, as far as I can see, willing to give up their jobs for the greater good?

    And in any case should we now question the motives of Wikimedia administrators who say they are doing this for the greater good of providing the sum of human wisdom to the world for free?

    Whatever the legal rights and wrongs of all this two things are clear: in all acts, even ones purporting to be for the greater good need to be honourable and this one clearly was not, whether through naivity or not. Secondly, those who campaign for absolute open access to everything for free really need to start coming up with new arguments for how this could be made possible, assuming for now that the State is not going to suddenly decide that this is more important to support than propping up corrupt banks and over-bloated businesses.

    Edit: I have just received an email from an anonymous person from Wikipedia Belgium wishing to point out the exact difference between Wikimedia Foundation Inc who ‘own’ (is this the right word?) Wikipedia and other projects like Wikimedia Commons. I have slightly adjusted the phrasing of the paragraph above regarding fundraising to clarify. I had appreciated the difference but had not expressed it clearly enough before so I hope this helps.

    I was rather disappointed to have received this response to my post privately, which itself misunderstood what I was suggesting, as it means I cannot publish it here with my response, but I can say that I hope this anonymous individual will maintain a correspondence to make very clear a) what his/her opinion is and b) how projects like Wikimedia Commons can work more openly _with_ organisations like NPG so conflict like this doesn’t have to arise again. I can say, however, that the individual cited the Bridgeman Art Library vs Corel case in the US in his/her response, to which I replied that the ruling does not apply as a UK precedent as many of us who have been involved in collections digitisation realised a long time ago.


    I have since received a further response and will be respecting the individual’s privacy as one can understand that in the current circumstances they would prefer it this way. I would, however, like to thank him/her for expressing their own personal thoughts about this case. I have been reminded that the nebulous network of people like Wikimedians don’t always in themselves agree about the best way to do things and there has been disappointment amongst other uses in the way the NPG images were reused, which were contrary to the terms and conditions NPG applied to their content. There is also a genuine desire to work more closely with organisations to make their content available through such initiatives as WM Commons and there have been examples of this, e.g. Wikipedia Loves Art and Wiki Loves Art. While content is usually sought on a gratis basis, there have been instances where illustrations have been paid for, and these are supported by the Philip Greenspun project.

    So it’s been good to get some of these things aired. Wikimedia Inc has challenged the way we present our information in all its projects and it is perhaps not a bad thing that this conflict, which we all hope can be resolved amicably and quickly, has happened as it will at least give people and organisations pause for thought when undertaking digitisation projects, asking perhaps more obviously, who are we doing this for, why, and is this the best way?
    Edit

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
    • Dan Zambonini 4:17 pm on 16 July, 2009 Permalink

      Great post.

      I’d just like to respond to one part of your post in particular:

      “Whatever the legal rights and wrongs of all this two things are clear: in all acts, even ones purporting to be for the greater good need to be honourable and this one clearly was not, whether through naivity or not. Secondly, those who campaign for absolute open access to everything for free really need to start coming up with new arguments for how this could be made possible”

      Unfortunately, even though I agree, unfortunately there is no choice. We simply CANNOT ask that people act honourably, and can’t expect it (well, we could, but it wouldn’t make any difference). The music and movie industries have tried this for years, with high-profile warnings and multi-million pound lawsuits. It is absolutely 100% certain that piracy will not only continue (for music, movies, images, etc – anything digital that can be distributed at no cost), but will almost certainly increase as it becomes easier for not just ‘hackers’ but for ordinary consumers to obtain this content. We can’t fight it; it’s human nature.

      Which means that your second point (those who campaign for open access need to start coming up with new arguments) is also not really correct; it’s the *institutions* who need to come up with new arguments, because there is no ‘choice’ (perhaps we should be working together to come up with these arguments, rather than battling between ourselves?). Even if all the people who advocated ‘open access’ suddenly changed their minds and joined the other team (advocating closed, limited access), the inevitable force of piracy and mass digital distribution would still go ahead. We cannot blame those who merely ’see it coming’ and are trying to figure out how to deal with it.

      So ultimately, like in the music industry, it is going to be up to the galleries to find the new arguments, as the inevitable is… inevitable! Whether or not they realise that they need to find these ‘new arguments’ before the inevitable happens (as is possibly happening in the newspaper industry), well, who knows!

    • Tehmina Goskar 7:47 pm on 16 July, 2009 Permalink

      You make extremely good points, Dan. Where I diverge is in the impression that there are two polarised camps, ones asking for unfettered open access and ones asking for controlled access only on their terms (the ‘institutions’, if you like).

      My own impulse is towards the former and so I do include myself somewhat in the challenge to come up with new and good arguments for why it is beneficial to those who err towards controlled access on their terms to do so.

      I do take the comparison with the music industry as a salutary warning to cultural institutions, particularly those with art collections whose images, let’s say, are more commercially desirable than those of institutions with a broader spectrum of digitised collections spanning social history, archaeology or natural history.

      What I am advocating I suppose is that those of us who are for more open access as a way of improving the standing and exposure of cultural institutions like NPG are less adversarial in the way they discuss it and so for that reason I am cynical about taking the ‘inevitable’ line on things.

      I would like our arguments to be more positive, to encourage confidence in institutions who fear the implications, often misinformed, of the kind of access we all want. We don’t want to ‘wind people up’ just to shock them into acting the way we want them to.

      As people who care for the institutions and their collections we should talk about the ethics of _how_ things are done and in this instance, I think there is a good case for criticising actions that would be seen as dishonourable by many.

      On the other hand, more institutions need to show good will and a bit of trust towards the vast majority of their users who just want to enjoy, blog about and pass on information, including images, of things that have stimulated them or caused them some thought.

      Let’s be a little less apocalyptic about the inevitability (even if it is) and more positive about the benefits to institutions and UK culture more generally about the ways in which we can improve the relationship between institutions who are guardians and those who support that institution by visiting them, reading, viewing and listening to their web content and talking about them to others. I feel that at the moment too many of the sentiments that want institutions to loosen up are unnecessarily derogatory, sneering and ultimately unhelpful.

      Whatever is happening in music and newspapers, let’s get our own house in order first in a way that could even be an example to those other ‘industries’.

    • Tehmina Goskar 7:54 pm on 16 July, 2009 Permalink

      This has been posted elsewhere, I think, but I would like to encourage people who are following this case to read this article from the Wikipedia Signpost.

      http://en.wikipedia.org/wiki/Wikipedia:Wikipedia_Signpost/2009-07-13/Open_letter

    • RR 9:43 pm on 16 July, 2009 Permalink

      Your discussion of the funding situation is somewhat disingenuous.

      From their fiscal 07-08 report:
      http://www.npg.org.uk/assets/files/pdf/accounts/npgaccounts2007-8.pdf

      The NPG had 16.6M pounds annual revenue, 11.1M pounds of which came in the form of grants and public donations. By contrast, only 380 thousand pounds of annual revenue came from licensing their collection. (The relevant numbers are around page 40 in the report.)

      Given that the NPG derives 2/3rds of their income from the generosity of public and private donors, I would argue that they do have an obligation as stewards of the public trust to use those funds to make their collection as widely visible as possible. If doing so means forgoing the 2% of the income that derives from licensing, then I would say that is a reasonable sacrifice.

      I doubt the people donating are doing so with the intent that the NPG should lock up public domain works in their collection behind access and licensing fees. We donate to charities to foster the public good. Sometimes charitable purposes will necessarily run directly counter to an organization’s private commercial advantage. I would say that this is simply one of those times and that trying to wring as much money from their collection as possible simply isn’t the right response for the NPG to be engaged in.

      Also, keep in mind that the NPG prohibits all photography of their collection unless access fees are paid. If it were just a matter of the reproduction expenses, then surely they wouldn’t have objected to others doing that work for them. By contrast, the Victoria and Albert Museum (also in London), has been very supportive in allowing Wikimedians to come in and freely photograph their collection.

    • whisperinggums 1:12 am on 17 July, 2009 Permalink

      Excellent comments Techmina [edit Tehmina]. I have posted briefly about this on my own blog noting some of the practical issues involved. I didn’t however explore the resolution issue as much as I think it would have been useful for me to do. I think your question regarding whether Wikimedia really needs to host high resolution images is a good one. Why do they feel this need to duplicate what someone else has already done? Is there value in doing that? A central repository perhaps? But I think this could be handled without actual duplication. Anyhow, most cultural institutions are opening up to sharing more freely medium-low resolution (public domain/rights free) images but they do use high res images to raise some funds (such as licensing them to people/orgs for commercial use). I see no problem with this general practice though as technology for “ripping” off higher res images becomes possible it’s going to be hard to police and what you can’t easily police becomes a bit useless (as we see all the time!). (As you say, someone has to pay for all the wonderful digitisation occurring – and government funding from our taxes just isn’t enough).

      A major (related) problem is finding out exactly WHO does own copyright/rights. There are so many images floating around the web – and for many of them it is impossible to determine the “owner”. Oh, and while on this topic I’ve been disappointed to see so many photos loaded on sites like flickr with “all rights reserved”. I love those uploaders who use Creative Commons style licences. I am more than happy to attribute them.

    • Tehmina Goskar 7:55 am on 17 July, 2009 Permalink

      RR,

      I was not being disingenuous about the ‘funding situation’. It is far more complex than you imply and saying ‘only 2%’ might not sound like much but every single penny counts when you are paying for expertise (that don’t get paid that well) and when certain income is ring-fenced for certain activity, e.g. more digitisation, more access. You almost imply that NPG make a profit from being a part-publicly funded cultural institution which is misleading.

      I have commented elsewhere that the nature of such art collections is very different to artefact-based collections in terms of the desirability of their images and so they will be understandably nervous about how they are used by others. I don’t think you can accuse NPG of not having public access in mind when they put the zoomified collections online in the first place.

      One of the reasons I am glad NPG prohibits photography is because when you are a visitor trying to appreciate paintings, it is incredibly irritating to have people looming towards you so they can get a quirky photo of a Holbein or whatever. Other museums, like the British Museum, do allow photography in their galleries.

      I do not know NPG’s access policy for research and study so I cannot confirm or deny your assertion about access fees.

      However, all this said, I think my original points need reassertion and if you had read all of my post, seen previous ones and seen my latest comment you would know that I am a strong advocate of more open access. What I do not countenance is things being done dishonourably. I maintain that the _way_ in which their images were scraped was dishonourable.

      If we are upset that we see NPG as a public cultural institution then we should outline all the reasons why it should do/allow much better access to their collections, and also suggest ways how.

      Don’t forget that you are working against generations of tradition and this is not going to be easily overcome overnight. Throwing missiles is not going to help in this regard.

      Please can I also reiterate that there isn’t a decent, well-defined concept of ‘public domain’ in the UK and so perhaps it is here we should begin. And in any case it would not be difficult to argue that digitised works of out of copyright original works are _new_ works and therefore subject to a new run of copyright. Even if a public institution was considered Crown Copyright, that’s 50 years.

    • RR 12:11 pm on 17 July, 2009 Permalink

      You may call it dishonorable. But the NPG has been sending complaints and take-down notices to Wikimedia about images like these since at least 2005, even for low-resolution versions.

      All of the NPG images on their website have “Unauthorised reproduction prohibited” embedded in their EXIF data regardless of size. And historically they have asked for fees for all images at all resolutions.

      I don’t know if Wikimedia failed to respond to the latest round of complaints, but NPG has been making similar complaints for years and in most cases been unreceptive to any form of collaboration or compromise. It would be misleading to suggest that the NPG was uninformed of Wikimedia’s position on this issue.

      Mr. Coatzee may have forced the issue by adding a large number of high resolution images all at once, but the NPG has been trying to restrict access to their public domain collection for years. Unlike many other institutions that have accepted invitations to work collaboratively with Wikimedia, the NPG has decided that they would prefer to fight the issue.

      So, now we have a high profile test case to see who is really right about UK law. Derrick Coatzee has accepted pro bono representation from the Electronic Frontier Foundation. They have not announced their strategy, but it seems very likely they will push for a Bridgeman v. Corel style ruling in the UK. The Copyright, Designs and Patents Act of 1988 (controlling law in the UK) says that copyright extends to “original literary, dramatic, musical or artistic works”. The position of the WMF and almost certainly the one that would be argued in this case is that photographic copies of existing artwork lack sufficient originality to be subject to UK copyright at all.

      NPG will of course argue the opposite, and their view could be considered traditional, but there is no real precedent in the UK on what “original” really means since the CDPA replaced pre-existing copyright law in 1988.

      If the WMF gets the ruling they are looking for, it will have far reaching implications, but I believe it would be the right result. Allowing the NPG to restrict the use and distribution of creative content in the public domain merely because they are the physical owners of those works is an affront to the very concept of the public domain.

  • Tom Goskar 1:36 pm on 4 June, 2009 Permalink | Reply
    Tags: , , Swindon   

    A new home for the Museum of Computing 

    The UK’s Museum of Computing has secured new premises situated in Swindon’s town centre. Thanks to a 3 year lease donated by Swindon Borough Council, the museum is due to re-open in July.

    Read more about the Museum of Computing reopening on Culture24 or their own press release for more background on the museum.

    Friday 23rd May 2009 – We are delighted to announce that the Museum will be reopening in July 2009 in Swindon town centre. Our volunteers are now hard at working transforming what was previously retail units into one of the most exciting and original venues in Swindon. The museum will be located at 6-7 Theatre Square, an section of the town that has been designated a cultural area in Swindons regeneration plan. We are very grateful to Swindon Borough Council for making these premises available and to all the people who have worked so hard to make this happen.

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
  • Tehmina Goskar 2:01 pm on 24 April, 2009 Permalink | Reply
    Tags: Byzantium, , , , Persian, review   

    Exhibition reviews on Creative Spaces 

    I thought about using Past Thinking as the place for exhibition and book reviews on museumy subjects that interest me, but instead I would like to contribute to content creation on Creative Spaces (National Museums Online Learning Project) particularly when the reviews related to items in the nine museum collections it hosts.

    I have recently contributed two reviews, and added them to two groups I run. The first is a short response to Shah ‘Abbas at the British Museum and the second is in response to Byzantium at the Royal Academy.

    Read response to Shah Abbas in the Iran and Persian Culture group.

    Read response to Byzantium in the Medieval and Byzantine Objects group.

    Please note: For some reason my paragraphing is not preserved and so the Byzantium review might be a little hard-going. If you happen to read it and would prefer to read it in a more sensible format, please leave a comment here, or on Creative Spaces.

    Share and Enjoy:
    • BlinkList
    • del.icio.us
    • digg
    • Furl
    • Reddit
    • YahooMyWeb
     
c
compose new post
j
next post/next comment
k
previous post/previous comment
r
reply
e
edit
o
show/hide comments
t
go to top
l
go to login
h
show/hide help
esc
cancel