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My name is John ffrench and I am the Director of Visual Resources at the Yale University Art Gallery. I oversee the imaging department which photographs the collecBon and also events, exhibiBons, etc as well as overseeing the Rights and ReproducBons office who deal with the disseminaBon of images for external requests and clearing of rights for internal projects.
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Last Year at MCN I parBcipated in the panel “Minimal Fric+on, Maximal Use: Op+mizing Open Access Image Delivery” where I gave some background on the iniBal steps we took once adopBng Open Access in 2011. In short, a simple Google of Yale Open Access will point you to our central site which outlines the policy and answers some of the more common quesBons. AddiBonally most of the units on campus have their own web pages which speak to Open Access and describe how users can access images/material.
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Intellectual Property and Open Access all start with the object, it is core to the process. At the Gallery we see our CMS (TMS – The Museum System) as the data authority for the objects, and our DAM (Artesia’s Media Manager) as the data authority for images of objects. Within TMS we manage IP using the Rights and ReproducBons screen. While this area is limited in what we can record, it provides us enough fields to record basic informaBon. Here we can record whether an object is in the public domain (based on date), or is under copyright. By default, new records created in TMS fall into two categories. Public Domain (pre-‐1923) or ‘Not Assigned’ which means research needs to be done to determine if it may be in the public domain, or if it is under copyright.
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One of the ways we have automated this task is that a script is run against the database each evening and an e-‐mail report is sent out to subscribed users indicaBng what policies where applied. These are then reviewed and can be addressed rather quickly. More recently we added in a new policy which we apply globally to 3 curatorial departments. The term ‘Cultural object’ is applied to the Indo-‐Pacific, African and the Coins and Medals departments. In these cases we treat the object similar to Public Domain works (making them freely available) but we do not classify them as ‘Public Domain’ since that is a legal term and does not apply to all of the objects in the collecBons.
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Besides the automaBon we have built in to our CMS, we also work with the Registrars office to gather IP informaBon at the Bme of acquisiBon. While not all of the objects we acquire come directly from the arBst, the form helps us gather possible contact informaBon to aid in our search for any arBst we do not have contact for.
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For works which are not in the public domain, the default ORT is ‘Not Assigned’. This allows us to query the object records and find which objects need to be updated. Once an object is researched and rights determined we then change the ORT accordingly. Each ORT triggers scripts which are stored in our DAM and ulBmately push out to Amazon Web Services which describe the size of an image which can be available on our website. This same script and also pushes out the proper copyright string which appears beneath the image when we know it. By default the copyright byline reads either ‘Public Domain or Copyright ArBst/Estate/FoundaBon.
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When we know who the IP representaBve is, Internally we can link that individual or organizaBon as a consBtuent so that Gallery staff can find the appropriate contact informaBon when we need to clear permissions. To simplify mahers more, a custom reports was created using Crystal Reports which can export to Excel the relevant object informaBon and rights related informaBon into one spreadsheet. This then allows our staff who clear rights for digital or print projects to have all of the material outside of TMS and to add addiBonal data as needed. (eg. Where in a book the image will land, image size, contacts made, fees assigned, etc). At the end of each reproducBon project we scan the contracts received and link them back into TMS and the individual object record for archive purposes and to keep them centrally accessible.
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As a quick visual representaBon, this chart correlates the ORT dropdowns into varying image availability sejngs. Depending on rights and permissions we deliver files from 249 pixel thumbs up to 20 MB Bff files online. Anything larger, or with Rights restricBons requires users to submit a request to R&R where we then send the files electronically noBng any restricBons or permissions which may need to be secured by 3rd parBes.
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A more recent development is the internal creaBon of what we call the Media Editor tool. The Media Editor allows us to assign varying permissions which allow staff to view and edit various rights informaBon stored in TMS and our DAM. The lem panel is a view into TMS and its varying tabs, and the right is a view into the DAM. Users can edit the various fields and CDS sejngs on one locaBon and select assets by individual object number, accession number or by object package group.
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This same tool allows us to edit or update rights related informaBon in TMS. For records under 10 records we use this method, if we have a larger set of records our IT staff have a SQL script they can run against TMS to insert the data in bulk for us
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CDS uBlizes Amazon Web Services to deliver to our website. The advantage of AWS is that the data can be made available to our 3rd party distribuBon partners so we are only having to maintain one feed and can ensure that the data they receive is as fresh/accurate as possible. ARTstor is one organizaBon that Yale is working with to deliver images and data via AWS. In turn ARTstor is then providing that data to DPLA (Digital Public Library of America).
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On our website, objects which are under copyright appear on our website with informaBon similar to what you see here. In this parBcular example, we have an agreement in place with the arBst to display larger than a thumbnail file online (but not allow for ‘click-‐download’ of images). Where possible, we aim to give the user of our website as much informaBon about the image as possible. By clicking on the Copyright string you are taken to a page which describes using our images and has links to some of the more popular 3rd party rights organizaBons. The Rights and ReproducBons link takes you to our R&R page where users can fill out an online form to request images be sent, or request new photography if none exists. The Gallery does not charge any fees for the use/request of our images.
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Objects which are in the public domain, or are cultural objects (Indo-‐pacific, African, and Coins and Medals) are made available for download via our website as either a Powerpoint sized JPG or as a 20MB Tiff file (following ARTstors IAP model). We have found that in most cases these two sizes are suitable for our users needs. Those who desire a larger file can contact our R&R office for the full sized Tiff file free of charge. Our website also has the ability to display mulBple images whose order is determined by our DAM.
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Internally we offer most of our staff access to our CMS and to our DAM. Within our DAM we have several categories of users who have varying permission to image assets. Our DAM allows us to place security policies on assets so that some groups can see them and download them, and other assets – such as some of our conservaBon state images – are not even visible.
Each month we generate a report which idenBfies which assets have been downloaded and by whom. This largely allows us to have a sense of who is using the system more than playing Big Brother and looking for people who are doing mass exports. But is is a useful way to demonstrate the validity of our system.
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Just prior to this talk, I ran a query against our DAM and CMS, the Gallery currently has just over 110,000 records with images available online. Roughly ¾ of those are what we consider presentaBon or publicaBon quality, The remaining ¼ of the images are ID photos taken by our curators or collecBons staff. These images allow an individual to beher idenBfy the object, but are not what we would consider ‘studio quality’. Of the 82,000 presentaBon quality images, 65,000 of them are part of our Open Access policy and free to download.
Our total number of objects online is approximately 150,000 objects.
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