- 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Superseded by Superseded in part by Absorbed by Absorbed in part by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!