Britain Loves Wikipedia - And About Time, Too

One of the important roles of museums and galleries is education: helping the public to discover and explore the masterworks in their collections. So you would have thought that they would be only to happy to have images of those works exposed in the greatest online gallery of them all, Wikipedia. And yet there has been a certain resistance to this in some quarters, thanks - of course - to a crazy obsession with "copyright".

That's doubly misguided: we're talking about old works here, so the idea that copyright should be operative on their images, is nuts; but it's also perverse, because it stops people from finding out about what's on offer in museums, which is against their best interests.

Against that rather sad background, I obviously applaud this initiative:

‘Britain Loves Wikipedia’ is a month-long competition and series of events to be held in participating museums nationwide from 31 January 2010. People from all ages, backgrounds and communities can take part in the competition, which encourages the public to photograph the treasures of our nation’s museums and galleries, actively involving them in digitally recording the collections. All of the photos entered into the ‘Britain Loves Wikipedia’ competition will be made available under a free license on Wikimedia Commons, and can then be used to illustrate Wikipedia articles.

It's just sad that this hasn't been happening automatically, everywhere.

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Of Art and Copyright

This is going to become a really contentious area:

Many museums and art libraries have digitized their collections of artworks. Digital imaging capabilities represent a significant development in the academic study of art, and they enhance the availability of art images to the public at large. The possible uses of these images are likewise broad. Many of these uses, however, are potentially defined by copyright law or by license agreements imposed by some museums and libraries that attempt to define allowable uses. Often, these terms and conditions will mean that an online image is not truly available for many purposes, including publication in the context of research or simple enjoyment. Not only do these terms and conditions restrict uses, they also have dubious legal standing after the Bridgeman case. This paper examines the legal premises behind claiming copyright in art images and the ability to impose license restrictions on their use.

It would be absurd if the amazing possibilities of digitising museum and art collection holdings were squandered because of a short-sighted and misguided obsession with copyright. We need to nip this in the bud, and get some leading institutions to come out in favour of disseminating their holdings in this way. If we don't we've decades of lock-down in front of us, just when things should be available to all.

Follow me @glynmoody on Twitter or identi.ca.

More About Sculpties...

...but not much yet. (And what about some galleries, eh?)