May 2, 2008

Rockefeller University Press and Creative Commons [1:43 pm]

You wrote it; you own it! — Hill and Rossner, 10.1083/jcb.200804037 — The Journal of Cell Biology

Authors of papers published in Rockefeller University Press journals (The Journal of Cell Biology, The Journal of Experimental Medicine, or The Journal of General Physiology) now retain copyright to their published work. This permits authors to reuse their own work in any way, as long as they attribute it to the original publication. Third parties may use our published materials under a Creative Commons license, six months after publication.

[...] With the growing demand for public access to published data, we recently started depositing all of our content in PubMed Central. In a further step to enhance the utility of scientific content, we have now decided to return copyright to our authors. In return, however, we require authors to make their work available for reuse by the public. Instead of relinquishing copyright, our authors will now provide us with a license to publish their work. This license, however, places no restrictions on how authors can reuse their own work; we only require them to attribute the work to its original publication. Six months after publication, third parties (that is, anyone who is not an author) can use the material we publish under the terms of the Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License (http://creativecommons.org/licenses/by-nc-sa/3.0).

See also Publisher gives authors copyright. Also JCB Copyright Policy

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An Unexpected Problem [8:14 am]

Conservators face issues in preserving video (pdf)

Although a cryptic video installation operating at 75% strength may not qualify as a curatorial catastrophe, the Nauman misfire underscores a recurring theme for institutions dealing with video-based installations: The classic model of a free-standing art object that speaks for itself has become the exception rather than the rule. As Laurenson said, “I dont see many works in my area that fit into that rather rare model where the artist finishes a work, delivers it to a gallery, who sells it to a museum, who hangs it on the wall.”

One recurring theme facing conservators of tech-embedded works: to upgrade or not? Glenn Wharton, special projects conservator for the Museum of Modern Art in New York, described the museums ongoing effort to present Nam June Paiks “Untitled” modified player piano sculpture. In 1994, the late artist designed a player piano stacked with TV sets that blasted music recorded on laser discs. “We are now debating how we should migrate to new technologies,” Wharton said. “Do we display the laser disc players and put the DVD players behind the wall so theyre not visible to the public? One curator at MoMA feels that would be dishonest. Or do you display the laser disc players and hide the DVD players? Paik did not leave specific instructions.”

To ensure period authenticity for video art pieces introduced 30 or 40 years ago, Wharton said MoMA officials now trawl EBay in search of vintage TV sets before they vanish entirely from the marketplace. [...]

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