How open is OpenGLAM? Identifying barriers to commercial and non-commercial reuse of digitised art images. Valeonti, F., Terras, M., & Hudson-Smith, A. Journal of Documentation, October, 2019. ![How open is OpenGLAM? Identifying barriers to commercial and non-commercial reuse of digitised art images [link]](https://bibbase.org/img/filetypes/link.svg "link")
Paper doi abstract bibtex Purpose In recent years, OpenGLAM and the broader open license movement have been gaining momentum in the cultural heritage sector. The purpose of this paper is to examine OpenGLAM from the perspective of end users, identifying barriers for commercial and non-commercial reuse of openly licensed art images. Design/methodology/approach Following a review of the literature, the authors scope out how end users can discover institutions participating in OpenGLAM, and use case studies to examine the process they must follow to find, obtain and reuse openly licensed images from three art museums. Findings Academic literature has so far focussed on examining the risks and benefits of participation from an institutional perspective, with little done to assess OpenGLAM from the end users’ standpoint. The authors reveal that end users have to overcome a series of barriers to find, obtain and reuse open images. The three main barriers relate to image quality, image tracking and the difficulty of distinguishing open images from those that are bound by copyright. Research limitations/implications This study focusses solely on the examination of art museums and galleries. Libraries, archives and also other types of OpenGLAM museums (e.g. archaeological) stretch beyond the scope of this paper. Practical implications The authors identify practical barriers of commercial and non-commercial reuse of open images, outlining areas of improvement for participant institutions. Originality/value The authors contribute to the understudied field of research examining OpenGLAM from the end users’ perspective, outlining recommendations for end users, as well as for museums and galleries.
@article{valeonti_how_2019,
title = {How open is {OpenGLAM}? {Identifying} barriers to commercial and non-commercial reuse of digitised art images},
volume = {ahead-of-print},
issn = {0022-0418},
shorttitle = {How open is {OpenGLAM}?},
url = {https://www.emerald.com/insight/content/doi/10.1108/JD-06-2019-0109/full/html},
doi = {10.1108/JD-06-2019-0109},
abstract = {Purpose
In recent years, OpenGLAM and the broader open license movement have been gaining momentum in the cultural heritage sector. The purpose of this paper is to examine OpenGLAM from the perspective of end users, identifying barriers for commercial and non-commercial reuse of openly licensed art images.
Design/methodology/approach
Following a review of the literature, the authors scope out how end users can discover institutions participating in OpenGLAM, and use case studies to examine the process they must follow to find, obtain and reuse openly licensed images from three art museums.
Findings
Academic literature has so far focussed on examining the risks and benefits of participation from an institutional perspective, with little done to assess OpenGLAM from the end users’ standpoint. The authors reveal that end users have to overcome a series of barriers to find, obtain and reuse open images. The three main barriers relate to image quality, image tracking and the difficulty of distinguishing open images from those that are bound by copyright.
Research limitations/implications
This study focusses solely on the examination of art museums and galleries. Libraries, archives and also other types of OpenGLAM museums (e.g. archaeological) stretch beyond the scope of this paper.
Practical implications
The authors identify practical barriers of commercial and non-commercial reuse of open images, outlining areas of improvement for participant institutions.
Originality/value
The authors contribute to the understudied field of research examining OpenGLAM from the end users’ perspective, outlining recommendations for end users, as well as for museums and galleries.},
language = {en},
number = {ahead-of-print},
urldate = {2020-01-02},
journal = {Journal of Documentation},
author = {Valeonti, Foteini and Terras, Melissa and Hudson-Smith, Andrew},
month = oct,
year = {2019},
}
Downloads: 0
{"_id":"rw94vJwwPNeyqy7Gy","bibbaseid":"valeonti-terras-hudsonsmith-howopenisopenglamidentifyingbarrierstocommercialandnoncommercialreuseofdigitisedartimages-2019","author_short":["Valeonti, F.","Terras, M.","Hudson-Smith, A."],"bibdata":{"bibtype":"article","type":"article","title":"How open is OpenGLAM? Identifying barriers to commercial and non-commercial reuse of digitised art images","volume":"ahead-of-print","issn":"0022-0418","shorttitle":"How open is OpenGLAM?","url":"https://www.emerald.com/insight/content/doi/10.1108/JD-06-2019-0109/full/html","doi":"10.1108/JD-06-2019-0109","abstract":"Purpose In recent years, OpenGLAM and the broader open license movement have been gaining momentum in the cultural heritage sector. The purpose of this paper is to examine OpenGLAM from the perspective of end users, identifying barriers for commercial and non-commercial reuse of openly licensed art images. Design/methodology/approach Following a review of the literature, the authors scope out how end users can discover institutions participating in OpenGLAM, and use case studies to examine the process they must follow to find, obtain and reuse openly licensed images from three art museums. Findings Academic literature has so far focussed on examining the risks and benefits of participation from an institutional perspective, with little done to assess OpenGLAM from the end users’ standpoint. The authors reveal that end users have to overcome a series of barriers to find, obtain and reuse open images. The three main barriers relate to image quality, image tracking and the difficulty of distinguishing open images from those that are bound by copyright. Research limitations/implications This study focusses solely on the examination of art museums and galleries. Libraries, archives and also other types of OpenGLAM museums (e.g. archaeological) stretch beyond the scope of this paper. Practical implications The authors identify practical barriers of commercial and non-commercial reuse of open images, outlining areas of improvement for participant institutions. Originality/value The authors contribute to the understudied field of research examining OpenGLAM from the end users’ perspective, outlining recommendations for end users, as well as for museums and galleries.","language":"en","number":"ahead-of-print","urldate":"2020-01-02","journal":"Journal of Documentation","author":[{"propositions":[],"lastnames":["Valeonti"],"firstnames":["Foteini"],"suffixes":[]},{"propositions":[],"lastnames":["Terras"],"firstnames":["Melissa"],"suffixes":[]},{"propositions":[],"lastnames":["Hudson-Smith"],"firstnames":["Andrew"],"suffixes":[]}],"month":"October","year":"2019","bibtex":"@article{valeonti_how_2019,\n\ttitle = {How open is {OpenGLAM}? {Identifying} barriers to commercial and non-commercial reuse of digitised art images},\n\tvolume = {ahead-of-print},\n\tissn = {0022-0418},\n\tshorttitle = {How open is {OpenGLAM}?},\n\turl = {https://www.emerald.com/insight/content/doi/10.1108/JD-06-2019-0109/full/html},\n\tdoi = {10.1108/JD-06-2019-0109},\n\tabstract = {Purpose\n In recent years, OpenGLAM and the broader open license movement have been gaining momentum in the cultural heritage sector. The purpose of this paper is to examine OpenGLAM from the perspective of end users, identifying barriers for commercial and non-commercial reuse of openly licensed art images.\n \n \n Design/methodology/approach\n Following a review of the literature, the authors scope out how end users can discover institutions participating in OpenGLAM, and use case studies to examine the process they must follow to find, obtain and reuse openly licensed images from three art museums.\n \n \n Findings\n Academic literature has so far focussed on examining the risks and benefits of participation from an institutional perspective, with little done to assess OpenGLAM from the end users’ standpoint. The authors reveal that end users have to overcome a series of barriers to find, obtain and reuse open images. The three main barriers relate to image quality, image tracking and the difficulty of distinguishing open images from those that are bound by copyright.\n \n \n Research limitations/implications\n This study focusses solely on the examination of art museums and galleries. Libraries, archives and also other types of OpenGLAM museums (e.g. archaeological) stretch beyond the scope of this paper.\n \n \n Practical implications\n The authors identify practical barriers of commercial and non-commercial reuse of open images, outlining areas of improvement for participant institutions.\n \n \n Originality/value\n The authors contribute to the understudied field of research examining OpenGLAM from the end users’ perspective, outlining recommendations for end users, as well as for museums and galleries.},\n\tlanguage = {en},\n\tnumber = {ahead-of-print},\n\turldate = {2020-01-02},\n\tjournal = {Journal of Documentation},\n\tauthor = {Valeonti, Foteini and Terras, Melissa and Hudson-Smith, Andrew},\n\tmonth = oct,\n\tyear = {2019},\n}\n\n","author_short":["Valeonti, F.","Terras, M.","Hudson-Smith, A."],"key":"valeonti_how_2019","id":"valeonti_how_2019","bibbaseid":"valeonti-terras-hudsonsmith-howopenisopenglamidentifyingbarrierstocommercialandnoncommercialreuseofdigitisedartimages-2019","role":"author","urls":{"Paper":"https://www.emerald.com/insight/content/doi/10.1108/JD-06-2019-0109/full/html"},"metadata":{"authorlinks":{}}},"bibtype":"article","biburl":"https://api.zotero.org/groups/2386895/collections/FDNHDHM4/items?format=bibtex&limit=100","dataSources":["argdh7LKGZkauRL3j"],"keywords":[],"search_terms":["open","openglam","identifying","barriers","commercial","non","commercial","reuse","digitised","art","images","valeonti","terras","hudson-smith"],"title":"How open is OpenGLAM? Identifying barriers to commercial and non-commercial reuse of digitised art images","year":2019}