Slides from the eighth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020). Course slides typically begin with a brief summary of the online discussions that occurred before the session.

1. The Recurated Museum:
Copyright & Fair Use
Sytze Van Herck & Christopher Morse

2. Ethics
Research, scholarship, and integrity
Interpretation
Acquisition, care, and disposal
Collection access and use
(AAM, 2009)

3. Copyright
… refers to all the rights granted to creators for their literary or
artistic works upon creation.
Authors do not need to carry out any registration formalities.
They must be able to prove the date of creation of their work.
https://guichet.public.lu/en/entreprises/gestion-juridique-comptabilite/
propriete-intellectuelle/droits-auteur/defendre-droits-auteurs-droits-voisin.html

4. https://ec.europa.eu/digital-single-
market/en/news/factsheet-copyright
Overview
https://ec.europa.eu/digital-single-
market/en/modernisation-eu-
copyright-rules
Directive
https://eur-lex.europa.eu/legal-
content/EN/TXT/?uri=uriserv:OJ.L_.
2019.130.01.0092.01.ENG
Q&A
https://ec.europa.eu/digital-single-
market/en/faq/frequently-asked-
questions-copyright-reform

5. https://pro.europeana.eu/post/keeping-digitised-works-in-the-public-domain-
how-the-copyright-directive-makes-it-a-reality
https://pro.europeana.eu/post/the-europeana-public-domain-charter

6. Copyright for Cultural Heritage Institutions
digital reproductions for preservation
text and data mining exception
digitise and make available online in-copyright but out-of-
commerce works
https://pro.europeana.eu/post/copyright-reform-passed-by-european-parliament

7. Digital content
digitised physical objects
born digital objects
“object-centred online exhibitions using images and text,
as well as 3D reconstructions”
(Perry et Al., 2017)

8. https://pro.europeana.eu/post/recommendations-about-sharing-content-online-for-professionals

9. 62% of rights statements are accurate
Accuracy of rights statement
per category, from Research
Paper: Blijden, J. 2018. “The
accuracy of Rights Statements,”
Kennisland.
https://pro.europeana.eu/post/62-of-
rights-statements-are-accurate-
together-we-can-improve-on-that

10. Rights Statements
in copyright
no copyright
other
https://rightsstatements.org/page/1.0/?language=en
Creative Commons
attribution (by)
share alike (sa)
non commercial (nc)
no derivatives (nd)
https://creativecommons.org/use-remix/cc-licenses/

11. Case Study: Domesday Gallery

12. THE EXHIBITION

13. DIGITAL COLLECTION
SOCIAL MEDIA STORYTELLING
Collect and showcase digital assets (e.g. images, documents, 3D
objects, etc.), which we will feature on the Orpheus platform.
The world is now collectively discovering #MuseumAtHome (as well as
#CultureChezNous, #BleiftDoheem, #エア博物館, among many
other related viral hashtags). Now is your chance to tell your story, or
get others to tell theirs.

14. Case Study: Remixing Exhibits

15. We define the remix as the process of
understanding a body of knowledge by using
technology to rearrange and recontextualize
its elements in order to construct an original
narrative. (Fisher et al., 2007)

16. When empowered to construct their own narratives in response to museum
exhibits, visitors establish new connections to the exhibit content.
Beyond expected content synthesis, these immersive activities stimulate
learning in the affective domain.
The participation in collaborative narrative activities engenders creative,
independent analysis, promoting learner self-efficacy and a personal
connection with exhibit subject matter that is unparalleled in more
traditional and passive approaches.
(Fisher et al., 2007)

17. In the case of Remix, students
authored their own exhibition
themes, skits and labels.
In Storytelling, visitors wrote
their own short stories inspired
by works of art – stories which
were then recorded and podcast
in the gallery space, allowing
others to experience the visitors'
own non-authoritative, original
narratives.
(Fisher et al., 2007)

18. THE USER STUDY

19. Try to target your user group of interest as closely as possible.
Avoid questions that do not answer your research questions.
Always require consent before participants may begin the survey.
See the following slide for a short consent statement.
Target your user group, but do not collect personally identifiable
data.
QUESTIONNAIRE

20. OBSERVATION
Choose in advance what you will observe (e.g. language style, media types,
diversity of themes, etc.) so you will not waste time.
Prepare an observation template in the form of a grid or spreadsheet, so
you can easily notate your observations.
Standardize your notes as much as possible so they are easy to analyze
afterwards.

21. (Damala et al., 2016)

23. Personal data are any information which are related to an identified or identifiable natural
person.
The data subjects are identifiable if they can be directly or indirectly identified, especially
by reference to an identifier such as a name, an identification number, location data, an
online identifier or one of several special characteristics, which expresses the physical,
physiological, genetic, mental, commercial, cultural or social identity of these natural
persons. In practice, these also include all data which are or can be assigned to a person
in any kind of way.
https://gdpr-info.eu/issues/personal-data/

24. Assignments
DEADLINE
10.04 Class participation
17.04 Essay
21.04 Conduct user study

25. Bibliography
American Association of Museums Curators Committee. 2009. A Code of
Ethics for Curators.
Fisher, M. and B.A. Twiss-Garrity, "Remixing Exhibits: Constructing
Participatory Narratives With On-Line Tools To Augment Museum
Experiences", in J. Trant and D. Bearman (eds.). Museums and the Web 2007:
Proceedings, Toronto: Archives & Museum Informatics, published March 1,
2007 Consulted April 8, 2020.
Perry, Sara Elizabeth, Roussou, Maria, Economou, Maria et al. 2018. “Moving
Beyond the Virtual Museum: Engaging Visitors Emotionally” 23rd International
Conference on Virtual Systems & Multimedia (VSMM), Dublin, 2017, IEEE, p. 1-8.
Purvis, E. (2017). Digital Collections Management. In A. Hossaini & N.
Blankenberg (Eds.), Manual of Digital Museum Planning. Rowman & Littlefield.
Personal Collection Sytze Van Herck. 22 July 2019. © BBC 1986.
Damala et al., 2016 — MuseWeb 2016
GDPR Step-by-StepGuide