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NISO Webinar: We Know it When We See It: Managing "Works" Metadata February 12, 2014 Speakers: Kristin Antelman, Associate Director for the Digital Library, North Carolina State University Magda El-Sherbini, MLS, Associate professor and Head, Collection Description and Access Department, Ohio State University Libraries Godfrey Rust, Principal Data Architect for Ontologyx, Rightscom http://www.niso.org/news/events/2014/webinars/managing_met
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Feb 12 NISO Webinar: We Know it When We See It: Managing "Works" Metadata

Jan 22, 2015

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About the Webinar

In the new models for describing information resources (FRBR, RDA, BIBFRAME), the conceptual essence of an item—referred to as a "Work"—is separated from the specific manifestations of the item—referred to as "Instances" or "Expressions". The work “Macbeth by Shakespeare” could have multiple forms or versions and exist in a variety of media, from a print copy of the play to a DVD of a live performance. Of equal importance in the new models is describing the relationship between a Work and its various Instances/Expressions.This represents an entirely different way of thinking about resource description for libraries and users.

While the new models are still in the early days of implementation, a number of efforts are already underway to describe resources using these new concepts and relationships. This webinar will explore how metadata descriptive systems are developing around the new notion of “Works”.
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  • 1. http://www.niso.org/news/events/2014/webinars/managing_metadata/NISO Webinar: We Know it When We See It: Managing "Works" Metadata February 12, 2014 Speakers: Kristin Antelman, Associate Director for the Digital Library, North Carolina State University Magda El-Sherbini, MLS, Associate professor and Head, Collection Description and Access Department, Ohio State University Libraries Godfrey Rust, Principal Data Architect for Ontologyx, Rightscom

2. THE USE AND DESIGNATION OF WORKS IN GOKBKristin Antelman February 12, 2014 3. WHAT IS GOKB (GLOBAL OPEN KNOWLEDGEBASE)? GOKb is a freely available communitymanaged data repository that will contain key publication information about electronic resources as it is represented within the supply chain from content publishers to suppliers to libraries. 4. GOKB PARTNERS 5. GOKB TIMELINE GOKb Phase I: Proof of Concept ReleaseGOKb and KB+ collaborate on data model20112012Funded by Mellon Foundation & Kuali OLE Partnership2013GOKb Public Release2014GOKb Phase II: Partner Release20152016Community development New partners Enhanced functionaity 6. GOKB IN THE LIFECYCLE OF LICENSED AND ELECTRONIC CONTENT Select Package TrialAssessLicenseMeasures of Value Use CostsActivate BuyManageGOKb supports, at each stage, management of e-resourcesTroubleshoot Manage Changes 7. GOKB Global (GOKb)Local7 8. VALUE IN FIT FOR PURPOSE METADATA High cost of repurposing metadata developedfor another purpose or generic purpose Incompleteness Lack of match points Inconsistent granularity Implicit semanticsFragility of serial work boundaries Cataloging practice vs. business decisions 9. CHANGES TRACKED IN GOKB Title changes ISSN change as principal indicator Earlier Related Title and Later Related Title Titles within a package on a platform (TIPPs) Organization role changes, especiallyPublisher transfers 10. PRECISION WHERE USEFUL FOR ERM Organizational relationships to resources Publisher Licensor Content Provider Broker Platform Provider Issuing Body Vendor Imprint 11. SERIAL TITLE CHANGE MANAGEMENT MARCMARC display textContinued by Continued in part by Superseded by Superseded in part by Absorbed by Absorbed in part by Split into ... and ... Merged with ... to form ... Changed back toAbsorbed In Series Merged Renamed Split Supplement Translated Transferred UnknownPRESSoo Continuation ReplacementSplit Merger Separation Temporary substitution 12. SERIAL TITLE CHANGE IN GOKBEarlier related title Later related title 13. FIT FOR PURPOSE METADATA INGOKB Title InstancePoultry Science[publisher relationships] [current publisher] [from date to date] Oxford University Press [previous publisher] [from date to date] Federation of Anima Science Societies [title relationships] [variant title] Poult. sci. [earlier related title] [from date to date] Journal of the American Association of Instructors and Investigators in Poultry Husbandry 14. UTILITY OF ASSOCIATED WITH Earlier, related and variant titles areassociated with relationships Dont know if itscontinued, superseded, absorbed, split, merged, etc . Dont have to know full title history Variants might be abbreviations, translations, known as, misspellings, etc. 15. UTILITY OF ASSOCIATED WITH Identifier co-referencing service 16. GOKB.ORG Kristin Antelman: [email protected] 17. RDAs Impact on Library Technical and Public Services NISO Webinar: We Know It When We See It: Managing "Works" Metadata February 12, 2014 1:00 p.m. - 2:30 p.m. (Eastern Time) http://www.niso.org/news/events/2014/webinars/managing_metadata/Magda El-Sherbini 18. Outline RDAs impact on Technical Services RDAs impact on Public Services 19. RDAs Impact on Technical Services Cataloger training Decision making Integrating RDA records with legacy records Exporting RDA records from OCLC into your OPAC OPAC displays New MARC21 fields to accommodate RDA elements Authority processing - vendor services 20. 1. Cataloger training Functional Requirements for Bibliographic Records (FRBR) and Functional Requirements for Authority Data (FRAD) RDA terms Similarities/differences between RDA and AACR2 Structure of RDA 21. 1. Cataloger training Cont RDA Online Toolkit In-house training Changing catalogers habits Continuing education Budgeting 22. 2. Decision making Selecting the type of RDA description Transcribing data elements from the source Choices in RDA 23. 3. Integrating RDA records with legacy records RDA was designed to be compatible with internationally established principles, models and metadata standards and to be compatible with legacy records with little or no retrospective conversion. 24. 4. Exporting RDA based records from OCLC into your OPACOCLC RDA Policy Statement http://oclc.org/rda/newpolicy.en.html 25. 5. OPAC display Display problems in the OPAC Adjusting the online system to accommodate the new MARC21 fields Vendors plans for RDA implementation Decisions about display and indexing of new fields in your local system Librarians/ catalogers/ ILS vendors partnerships 26. 6. New MARC21 fields to accommodate RDA elements A summary of all the changes made to MARC 21 to accommodate RDA instructions can be found at the LC MARC 21 Standards website under RDA in MARC: January 2011. http://www.loc.gov/marc/RDAinMARC29.html This document should be consulted to become familiar with the MARC 21 changes. 27. 7. Authority processing - vendor services Backstage Library Works http://www.bslw.com/faq/rda/ Library Technology, Inc. (LTI), http://www.authoritycontrol.com/acrdalti 28. II. RDAs Impact on Public Services How to identify RDA Records 29. Fewer abbreviations 30. Transcribe what you see, including typos in title Monograph245 00 Teusdays tasks 246 3 $i Corrected title: $a Tuesdays tasks 500 Title should read: Tuesdays tasks. Serial 245 00 Zoology studies 246 1 $i Misspelled title on number 1: Zooology studies 245 00 Housing starts 246 1 $i Sources of information on v.1, no. 1 reads: $a Housing sarts 31. Transcribe what you see, including typos in title 32. Statement of responsibility 33. Statement of responsibility - naming more than threeOR: 34. Statement of responsibility - naming more than three 35. Edition Statement AACR2RDA250 $a 2nd ed. Source of information reads: Second edition250 $a Second edition. Source of information reads: Second edition250 $a Nouv. d. Source of information reads: Nouvelle dition250 $a Nouvelle dition. Source of information reads: Nouvelle dition250 $a Version 4. Source of information reads: Version IV250 $a Version IV. Source of information reads: Version IV250 $a 6. Aufl. Source of information reads: 6. Aufl.250 $a 6. Aufl. Source of information reads: 6. Aufl. 36. EditionRecorded as it appears on the title page 37. Publication Statement and MARC 21 tag 264 38. Publication place, publishers name and date changes No [S.l.], [s.n.] 39. Approximate Date of Publication, Distribution, Etc. AACR2[1971 or 1972] [1969?] [between 1906 and 1912] [ca. 1960] [197-] [197-?] [18--] [18--?] [not after Aug. 21, 1492]RDA[1971 or 1972] [1969?] [between 1906 and 1912] [1960?] [between 1970 and 1979] [between 1970 and 1979?] [between 1800 and 1899] [between 1800 and 1899?] [not after August 21, 1492] [not before April 22, 2010] 40. General Material Designation Replaced by MARC 21 fields: 336, 337, and 338 AACR2245 00 $a The sweet hereafter $h [videorecording] / $c Alliance Communications presents an Ego Film Arts production ; a film by Atom Egoyan ; screenplay by Atom Egoyan ; produced by Camelia Frieberg and Atom Egoyan ; directed by Atom Egoyan.RDA245 00 $a The sweet hereafter / $c Alliance Communications presents an Ego Film Arts production ; a film by Atom Egoyan ; screenplay by Atom Egoyan ; produced by Camelia Frieberg and Atom Egoyan ; directed by Atom Egoyan. 336 two-dimensional moving image $2 rdacontent 337 video $2 rdamedia 338 videodisc $2 rdacarrier 41. New content, media, carrier fields 42. Access Points AACR2 245 00 Managing bird damage to fruit and other horticultural crops/ $c John Tracey *et al.+. 700 1 Tracey, John Paul.RDA 100 1 Tracey, John Paul, $e author. 245 10 245 00 Managing bird damage to fruit and other horticultural crops/ $c John Tracey, Mary Bomford, Quentin Hart, Glen Sunders, Ron Sinclair. 700 1 700 1 700 1 700 1Bomford, Mary, $e author. Hart, Quentin, $e author. Sanuders, Glen,$e author. Sinclair, Ron, $e author. 43. Example record: 44. Uniform title--> Preferred title 45. Personal Name Headings AACR2Smith, John, 1924Smith, John, 1900 Jan. 10Smith, John, 1836 or 7-1896 Smith, John, ca. 1837-1896 Smith, John, 1837-ca. 1896 Smith, John, ca. 1837-ca. 1896 Smith, John, b. 1825 Smith, John, d. 1859RDASmith, John, 1924Smith, John, 1900 January 10Smith, John, 1836 or 1837-1896 Smith, John, approximately 1837-1896 Smith, John, 1837- approximately 1896 Smith, John, approximately 1837approximately 1896 Smith, John, born 1825 LC Practice: Smith, John, 1825Smith, John, died 1859 LC practice: Smith, John, 1859 46. Parts of the Bible AACR2 Bible. $p O.T. Bible. $p N.T. Bible. $p O.T. $p Ezra Bible. $p N.T. $p Revelation Bible. $p O.T. $p Genesis XI, 26-XX, 18RDA Bible. $p Old Testament Bible. $p New Testament Bible. $p Ezra Bible. $p Revelation Bible. $p Genesis XI, 26XX, 18 47. Relationship designators 48. Multiple expressions in the same manifestation No Polyglot AACR2 130 0# Bible. $p O.T. $l Polyglot. $f 2003. 245 10 Antigo Testamento Poliglota : $b Hebraico, Grego, Portugus, Ingls. 546 ## Text in Greek, Hebrew, Portuguese, and English in columns on facing pages.245 10 546 ## 730 02 730 02 730 02 730 02RDA Antigo Testamento Poliglota : $b Hebraico, Grego, Portugus, Ingls. Text in Greek, Hebrew, Portuguese, and English in columns on facing pages. Bible. $p Old Testament. $l Hebrew. $f 2003. Bible. $p Old Testament. $l Greek. $f 2003. Bible. $p Old Testament. $l Portuguese. $f 2003. Bible. $p Old Testament. $l English. $f 2003. 49. Example: 50. How to identify an RDA record MARC coding changes for RDA bibliographic records Desc: value i (ISBD) if using ISBD punctuation 040 $a ____ $c ____ $e rda Other more obvious clues in public displays: New fields: Content type 336 ; Media type 337; Carrier type 338 Spelled out descriptions (e.g. volumes, pages, illustrations) 51. How to identify RDA records: fixed field and 040 52. More hints for identifying RDA records Copyright symbol and phonogram symbol for dates Search for RDA records in OCLC Connexion: e.g., dx:rda and mt:bks and yr:2014 and kw:ohio 53. Sample RDA records in the OSU catalog Typical book: http://library.ohio-state.edu/record=b6916140Book with author affiliations and degrees: http://library.ohio-state.edu/record=b6927488 Book with multiple editors: http://library.ohio-state.edu/record=b6962108 DVD: http://library.ohio-state.edu/record=b7085946 Online resource: http://library.ohio-state.edu/record=b6964754 Sound recording: http://library.ohio-state.edu/record=b7109787 Music score: http://library.ohio-state.edu/record=b6976733 54. Conclusion Dont hesitate to ask questions that were asked many times before. Follow discussion lists and blogs for discussions and updates. Submit comments to the Joint Steering Committee. They are welcoming comments and suggestions. Keep in mind that most AACR2 rules are not changing. This will make the training easy. Keep an open mind and do not panic. Remember you are not alone. 55. THANK YOU!Comments or Questions Magda El-Sherbini [email protected] 56. Works, identifiers and rightsGodfrey Rust Rightscom NISO Webinar, February 12 2014 [email protected] 57. To put it in context Twenty years ago the number of works being created by the publication of manifestations directly on the internet was negligible. 58. To put it in context Twenty years ago the number of works being created by the publication of manifestations directly on the internet was negligible. Today, the number of new and adapted works created every day on the internet is greater than the number of works created in the entire analogue published output of civilisation. 59. To put it in context Twenty years ago the number of works being created by the publication of manifestations directly on the internet was negligible. Today, the number of new and adapted works created every day on the internet is greater than the number of works created in the entire analogue published output of civilisation. Digital publishing is making more or less every internet user a creator, publisher, consumer, re-user, adaptor and cataloguer of content. 60. To put it in context Twenty years ago the number of works being created by the publication of manifestations directly on the internet was negligible. Today, the number of new and adapted works created every day on the internet is greater than the number of works created in the entire analogue published output of civilisation. Digital publishing is making more or less every internet user a creator, publisher, consumer, re-user, adaptor and cataloguer of content. Some of our supporting systems and standards require more than a few tweaks to cope with this. 61. Three new initiatives 62. The LCC: background www.linkedcontentcoalition.orgCame from a project (2012): how to make licensing on the web more efficient? Support from all sectors and some tech companies. Groundwork: the LCC Framework, April 2013, including LCC data model (Rights Reference Model - RRM). This showed that all types of rights data, however complex, from all sectors can be expressed in a single, extensible format. Interoperability is a political and commercial problem, not a technical one. 63. The LCC: members www.linkedcontentcoalition.org2014: a permanent consortium of data standards bodies Founders DOI Foundation (journals etc) EDItEUR (publishing, ONIX etc) IPTC (news) MovieLabs (EIDR) (AV works) NISO (bibliographic etc) PLUS Coalition (images)Also joining CISAC (ISWC) (musical works) IFPI (ISRC) (sound recordings) ISAN (AV works) ISMN (musical notation) ISNI (party names) ISTC (textual works)and the LCC Forum for organizations supporting LCC goals who are not standards bodies. 64. The LCC: scope www.linkedcontentcoalition.orgAim: To facilitate and expand the legitimate use of content in the digital network through the effective use of interoperable identifiers and metadata. For different sectors to work together on areas of common interest across media types and sectors. To be a point of contact for other bodies wanting to engage with content identifiers and metadata as a whole. Open to all (non-standards bodies can join LCC Forum). Supports any legal commercial or free-use models. 65. rdiRights Data Integration projectFirst LCC implementation. EC part-funded, started October 2013. A prototype multi-media rights data hub. Show how any rights of any complexity for any content can be communicated, aggregated and traded using a data hub (based on LCC model) through different user-facing rights exchanges. Establishes some tools for interoperability between schemas/sectors for use in the data network. RDI includes a workstream to establish a global ID and registry standard for still images. 66. rdi participants Sources Supply data PublishingStill imagesMusicAVPearson EdiserCEPIC Getty AlbumFremantleMediaAxel Springerage fotostock/THPConsolidated IndependentIFRRO/IPTC member(s) ARROWPLUS Capture/ British LibraryHub and mappingmEDRACISAC member(s) Kobalt MusicDanish AV Producers MovieLabsPPLCINECA RightscomCEPIC/PLUSRights DirectExchanges Offer licences and rights info to usersUsersOther sources and exchanges may participate 67. www.copyrighthub.co.ukLaunched July 2013, following the Hooper Copyright Works report in the UK. All major content sectors represented. User-focussed: to make it easy for people to discover rights data of any kind, to enable licensing where appropriate. Initial phase only information and linking (35 sites at present). CEO and Board appointed in December 2013.Technical development funded by UK Government through CDEC (Connected Digital Economy Catapult). Operations funded by industry. UK based, but rights and repertoire international. 68. www.copyrighthub.co.ukStage 2 in 2014 will introduce federated search to enable queries to be sent to multiple databases and results aggregated for users. Stage 3 in 2015 will provide links for people to register content and rights. Copyright Hub will not be a registry or licensor itself, but enable others. Focus is UK users, but covers international rights. (US and other territories considering something similar). 69. The problem LCC, RDI and the Hub all want to help solve a simple problem: 70. The problem LCC, RDI and the Hub all want to help solve a simple problem: A person (or a computer) should be able to find with a single click or a single query where they can get permission to use an item of content in the ways that they want, with an automated response from the rightsholder (or their representative) that says Yes, No or Yes, if the following conditions are met. (from the draft manifesto of the Copyright Hub). 71. The problem LCC, RDI and the Hub all want to help solve a simple problem: A person (or a computer) should be able to find with a single click or a single query where they can get permission to use an item of content in the ways that they want, with an automated response from the rightsholder (or their representative) that says Yes, No or Yes, if the following conditions are met. (from the draft manifesto of the Copyright Hub). In most cases, this requires identifying and acquiring rights to the underlying work(s) as well as, or instead of, the manifestation. 72. The problem LCC, RDI and the Hub all want to help solve a simple problem: A person (or a computer) should be able to find with a single click or a single query where they can get permission to use an item of content in the ways that they want, with an automated response from the rightsholder (or their representative) that says Yes, No or Yes, if the following conditions are met. (from the draft manifesto of the Copyright Hub). In most cases, this requires identifying and acquiring rights to the underlying work(s) as well as, or instead of, the manifestation. So, among other things, Works need to be identified with shared identifiers. 73. Shared identifiers There are two ways in which identifiers can be effectively shared in the network: 74. Shared identifiers There are two ways in which identifiers can be effectively shared in the network: A standard ID like ISBN or DOI which everyone can use or recognised directly, or 75. Shared identifiers There are two ways in which identifiers can be effectively shared in the network: A standard ID like ISBN or DOI which everyone can use or recognised directly, ora mapping between two or more identifiers, so that one ID can be automatically translated into another the ISNI is being built on this principle. 76. Shared identifiers There are two ways in which identifiers can be effectively shared in the network: A standard ID like ISBN or DOI which everyone can use or recognised directly, ora mapping between two or more identifiers, so that one ID can be automatically translated into another the ISNI is being built on this principle. (In fact, standard IDs are usually mapped to a systems internal IDs, so the approaches are similar, but often a one-to-many hub service is needed, like the ISNI database.). 77. Work IDs The Nielsen ISTC agency identifies these main uses of the ISTC (International Standard Text Code): discoverability, rights compliance, collocation and sales/loan analysis. This is a reasonable basic list for any Work ID. 78. Work IDs The Nielsen ISTC agency identifies these main uses of the ISTC (International Standard Text Code): discoverability, rights compliance, collocation and sales/loan analysis. This is a reasonable basic list for any Work ID. The Manifestation/Work split applies to every type of content in every sector but because each has different characteristics, the recognition of Works as distinct entities has developed at different speeds. 79. Work IDs The Nielsen ISTC agency identifies these main uses of the ISTC (International Standard Text Code): discoverability, rights compliance, collocation and sales/loan analysis. This is a reasonable basic list for any Work ID. The Manifestation/Work split applies to every type of content in every sector but because each has different characteristics, the recognition of Works as distinct entities has developed at different speeds. Digital and the internet changes the game: Work IDs are needed for everything, in broadly similar ways. 80. Manifestation > Work When does a new manifestation require the identification of a new Work? No definitive rules: an art, not a science. 81. Manifestation > Work When does a new manifestation require the identification of a new Work? No definitive rules: an art, not a science. Three elements of change: adaptation, aggregation, fragmentation which may prompt identification of a new Work. 82. Manifestation > Work When does a new manifestation require the identification of a new Work? No definitive rules: an art, not a science. Three elements of change: adaptation, aggregation, fragmentation which may prompt identification of a new Work.Cultural/academic domains use different criteria for identifying works from commercial domains. 83. Manifestation > Work When does a new manifestation require the identification of a new Work? No definitive rules: an art, not a science. Three elements of change: adaptation, aggregation, fragmentation which may prompt identification of a new Work. Cultural/academic domains use different criteria for identifying works from commercial domains. Three sectors in which Work IDs are widely implemented: journal articles (Crossref DOI), musical works (ISWC) and serial publications (ISSN). 84. Manifestation > Work When does a new manifestation require the identification of a new Work? No definitive rules: an art, not a science. Three elements of change: adaptation, aggregation, fragmentation which may prompt identification of a new Work.Cultural/academic domains use different criteria for identifying works from commercial domains. Three sectors in which Work IDs are widely implemented: journal articles (Crossref DOI), musical works (ISWC) and serial publications (ISSN). Lets look briefly at the first two as use cases to see what we learn in general for what needs to happen. 85. Use case 1: journal articles Crossref has issued more than 65 million DOIs to journal articles (and related content like book chapters) since 2000: its main function is linking to citations. 86. Use case 1: journal articles Crossref has issued more than 65 million DOIs to journal articles (and related content like book chapters) since 2000: its main function is linking to citations. This has both cultural/academic and commercial value, and in this use case the criteria for identifying the work for both purposes is effectively the same. 87. Use case 1: journal articles Crossref has issued more than 65 million DOIs to journal articles (and related content like book chapters) since 2000: its main function is linking to citations. This has both cultural/academic and commercial value, and in this use case the criteria for identifying the work for both purposes is effectively the same. What Crossref shows is that Digital Object Identifiers are in fact used to identify Works, not digital manifestations or items. It is a digital identifier, but the thing it identifies is an abstract Work. 88. Use case 1: journal articles Crossref has issued more than 65 million DOIs to journal articles (and related content like book chapters) since 2000: its main function is linking to citations. This has both cultural/academic and commercial value, and in this use case the criteria for identifying the work for both purposes is effectively the same. What Crossref shows is that Digital Object Identifiers are in fact used to identify Works, not digital manifestations or items. It is a digital identifier, but the thing it identifies is an abstract Work. All DOIs so far (in other sectors as well) identify Works, not manifestations, so Work identification is critical in the digital network. 89. Use case 2: musical works Widespread global identification of musical works since the mid 20th century, because it is essential for rights administration (CISAC/BIEM music copyright societies). 90. Use case 2: musical works Widespread global identification of musical works since the mid 20th century, because it is essential for rights administration (CISAC/BIEM music copyright societies). Rights in the main manifestation (sound recording) and the work (composition) are typically owned by different parties so separate IDs are essential. This split not so common or obvious with other content types until things went digital. 91. Use case 2: musical works Widespread global identification of musical works since the mid 20th century, because it is essential for rights administration (CISAC/BIEM music copyright societies). Rights in the main manifestation (sound recording) and the work (composition) are typically owned by different parties so separate IDs are essential. This split not so common or obvious with other content types until things went digital. Musical Work identification with mapped IDs until ISWC introduced as a standard (2001). 92. Use case 2: musical works Widespread global identification of musical works since the mid 20th century, because it is essential for rights administration (CISAC/BIEM music copyright societies). Rights in the main manifestation (sound recording) and the work (composition) are typically owned by different parties so separate IDs are essential. This split not so common or obvious with other content types until things went digital. Musical Work identification with mapped IDs until ISWC introduced as a standard (2001). Criteria for identification is commercial (rights-based), not cultural (musicological) 93. Use case 2: musical works (Two examples from 1990s in UK) 94. Use case 2: musical works (Two examples from 1990s in UK) Silent Night/Stille Nacht (Mohr/Gruber): over 300 different works in MCPS database, because anyone making a recording can claim an arrangement. Yesterday (Lennon/McCartney): one work, no arrangements because copyright owners wont recognise them. 95. Use case 2: musical works (Two examples from 1990s in UK) Silent Night/Stille Nacht (Mohr/Gruber): over 300 different works in MCPS database, because anyone making a recording can claim an arrangement. Yesterday (Lennon/McCartney): one work, no arrangements because copyright owners wont recognise them. Musicological definition would be completely different possibly more genuine arrangements of Yesterday than Silent Night. 96. Use case 2: musical works (Two examples from 1990s in UK) Silent Night/Stille Nacht (Mohr/Gruber): over 300 different works in MCPS database, because anyone making a recording can claim an arrangement. Yesterday (Lennon/McCartney): one work, no arrangements because copyright owners wont recognise them. Musicological definition would be completely different possibly more genuine arrangements of Yesterday than Silent Night.Music for television: because royalty payments were based on number of different works used, not on duration, composers/publishers identified every fragment as a new work (Man opens door, Man closes door etc). 97. Requirements for Work IDs This clash of commercial vs academic/cultural exists, more or less, in every sector and different criteria within both types will apply according to rules or conventions in different places, but 98. Requirements for Work IDs This clash of commercial vs academic/cultural exists, more or less, in every sector and different criteria within both types will apply according to rules or conventions in different places, but if exclusive rights holders can be different for the same place and time, those works must have distinct IDs, and 99. Requirements for Work IDs This clash of commercial vs academic/cultural exists, more or less, in every sector and different criteria within both types will apply according to rules or conventions in different places, but if exclusive rights holders can be different for the same place and time, those works must have distinct IDs, and if works are recognised as fundamentally distinct for academic/bibliographic reasons within institutions managing them, they must have distinct IDs. 100. Requirements for Work IDs This clash of commercial vs academic/cultural exists, more or less, in every sector and different criteria within both types will apply according to rules or conventions in different places, but if exclusive rights holders can be different for the same place and time, those works must have distinct IDs, and if works are recognised as fundamentally distinct for academic/bibliographic reasons within institutions managing them, they must have distinct IDs.It is futile for either domain to attempt to enforce its own definitions of granularity onto the other, so 101. Requirements for Work IDs This clash of commercial vs academic/cultural exists, more or less, in every sector and different criteria within both types will apply according to rules or conventions in different places, but if exclusive rights holders can be different for the same place and time, those works must have distinct IDs, and if works are recognised as fundamentally distinct for academic/bibliographic reasons within institutions managing them, they must have distinct IDs.It is futile for either domain to attempt to enforce its own definitions of granularity onto the other, so Work ID systems must accommodate both in parallel. 102. (The sting in the tail for libraries?) Commercial parties generally have no need in recognising an academic/bibliographic identification because it is further down the supply chain, but the same will not always be true for cultural and educational institutions who will be required at times to recognise commercial IDs. This is not yet a major issue, but it is likely to become one. 103. (The sting in the tail for libraries?) Commercial parties generally have no need in recognising an academic/bibliographic identification because it is further down the supply chain, but the same will not always be true for cultural and educational institutions who will be required at times to recognise commercial IDs. This is not yet a major issue, but it is likely to become one. So, how exactly does all this fit together?... 104. Four things that need IDs Party 105. Four things that need IDs PartyParty identification is critical to rights management and work identification (which John Smith?) The ISNI (International Standard Name Identifier) is becoming established as a global Party linking ID. Linking everyone up via ISNI is the top priority for building the rights data network infrastructure. Every party in the network need unique identification. 106. Four things that need IDs Partymakes usesCreationThe gaps in Creation IDs especially Work IDs need to be filled. Textual works and images are the main weaknesses. Direct-toWeb published content is a huge and growing gap. 107. Four things that need IDs PartymakesRights Assignmentmakes usesCreation 108. Four things that need IDs PartymakesRights Assignmentmakes usesCreationRights Assignments (Licenses, policies and laws) need identification within systems, but not necessarily public shared IDs. What matters is to identify 109. Four things that need IDs Partymakes usesCreationmakesRights AssignmentcreatesRight 110. Four things that need IDs Partymakes usesmakesRights AssignmentCreationapplies tocreatesRight 111. Four things that need IDs PartymakesRights Assignmentmakes usesCreationheld byapplies tocreatesRight 112. Four things that need IDs IDIDIDID IDIDIDIDIDIDWhen these things, and the links that connect them, are identified with shared IDs, we will have an effective rights data network . 113. Rights and Rights IDs The lack of an ID for a Right (or a model for a Rights as a distinct data entity) is the biggest gap in the network. 114. Rights and Rights IDs The lack of an ID for a Right (or a model for a Rights as a distinct data entity) is the biggest gap in the network. Rights data in general at present is stored and managed in proprietary ways, heavily free text-based, with inadequate common vocabularies. It is labour intensive to work with and poorly integrated with other business functions. 115. Rights and Rights IDs The lack of an ID for a Right (or a model for a Rights as a distinct data entity) is the biggest gap in the network. Rights data in general at present is stored and managed in proprietary ways, heavily free text-based, with inadequate common vocabularies. It is labour intensive to work with and poorly integrated with other business functions. The most common way of publicly declaring rightsholdings (if it is done at all) is through free text notices, and the most common way of declaring licensing terms is an unreadable legal T&C document. 116. Rights and Rights IDs The lack of an ID for a Right (or a model for a Rights as a distinct data entity) is the biggest gap in the network. Rights data in general at present is stored and managed in proprietary ways, heavily free text-based, with inadequate common vocabularies. It is labour intensive to work with and poorly integrated with other business functions. The most common way of publicly declaring rightsholdings (if it is done at all) is through free text notices, and the most common way of declaring licensing terms is an unreadable legal T&C document. Creative Commons has done an excellent job to introduce digital, computer-readable standard licenses - for free use. 117. Rights and Rights IDs There are some rights expression languages, but these are mainly used for expressing usage rights granted for specific digital objects on a individual basis. 118. Rights and Rights IDs There are some rights expression languages, but these are mainly used for expressing usage rights granted for specific digital objects on a individual basis. What LCC has done is to define a Right as a distinct data entity not just a set of attributes attached to a creation or a license. 119. Rights and Rights IDs There are some rights expression languages, but these are mainly used for expressing usage rights granted for specific digital objects on a individual basis. What LCC has done is to define a Right as a distinct data entity not just a set of attributes attached to a creation or a license. If Rights are given IDs, they can then be linked to Creation IDs and Party IDs like any other kind of linked data, and in principle rightsholding data can be made available to anyone. 120. Rights and Rights IDs There are some rights expression languages, but these are mainly used for expressing usage rights granted for specific digital objects on a individual basis. What LCC has done is to define a Right as a distinct data entity not just a set of attributes attached to a creation or a license. If Rights are given IDs, they can then be linked to Creation IDs and Party IDs like any other kind of linked data, and in principle rightsholding data can be made available to anyone.Identifying Rights with distinct IDs is a new idea, but it seems that it will have to happen sooner or later, because 121. 4 reasons why this is unavoidable Rights data needs to exist independently, not embedded as metadata in digital content (1) it can change over time, and (2) several different parties may assert rights in the same content. 122. 4 reasons why this is unavoidable Rights data needs to exist independently, not embedded as metadata in digital content (1) it can change over time, and (2) several different parties may assert rights in the same content. Rights often apply to multiple creations, and to sets of creations that change regularly. 123. 4 reasons why this is unavoidable Rights data needs to exist independently, not embedded as metadata in digital content (1) it can change over time, and (2) several different parties may assert rights in the same content. Rights often apply to multiple creations, and to sets of creations that change regularly. It is essential to know who sez that a rights claim is true if a system is going to trust it and these assertions have to be associated with an individual Right claim, not just with a Creation. 124. 4 reasons why this is unavoidable Rights data needs to exist independently, not embedded as metadata in digital content (1) it can change over time, and (2) several different parties may assert rights in the same content. Rights often apply to multiple creations, and to sets of creations that change regularly. It is essential to know who sez that a rights claim is true if a system is going to trust it and these assertions have to be associated with an individual Right claim, not just with a Creation.Finally, when conficts occur in rights data as they are now doing commonly with YouTube and similar content providers a way is need to automatically identify them so they can be resolved. 125. In summary Work IDs are becoming essential for all content types at any level of granularity. They may be validly defined according to both commercial and cultural criteria.Every party participating in the network will need to be linked to an ISNI. Rights need to be distinctly identified with a Right ID, and defined using mapped common vocabularies. 126. Works, identifiers and rightsGodfrey Rust Rightscom NISO Webinar, February 12 2014 [email protected] 127. NISO Webinar: We Know it When We See It: Managing "Works" MetadataQuestions? All questions will be posted with presenter answers on the NISO website following the webinar: http://www.niso.org/news/events/2014/webinars/managing_metadata/NISO Webinar February 12, 2014 128. THANK YOU Thank you for joining us today. Please take a moment to fill out the brief online survey. We look forward to hearing from you!