Month: April 2007

Stanford’s Copyright Renewal Database

Researching the copyright status of post-1922 works in the US can be difficult, and this has been a barrier to digitization efforts. The Stanford University Libraries and Academic Information Resources have released a new copyright research tool that promises to make this process easier called the Copyright Renewal Database.

Here’s an excerpt from the press release:

An online database that enables people to search copyright-renewal records for books published in the United States between 1923 and 1963 has been launched by Stanford University Libraries and Academic Information Resources (SULAIR).

SULAIR developed the Copyright Renewal Database, dubbed the "Copyright Determinator," with a grant from the Hewlett Foundation. The effort built on Project Gutenberg’s transcriptions of the Catalog of Copyright Entries, which was published by the U.S. Copyright Office. . . .

Determining the copyright status of books has become a pressing issue as libraries and businesses develop plans to digitize materials and make works in the public domain widely available. In order to appropriately select books for digitization, these organizations need to determine efficiently and with some certainty the copyright status of each work in a large collection. The Determinator supports this process, bringing all 1923-1963 book-renewal records together in a single database and, more significantly, making searchable renewal records that had previously been distributed only in print.

U.S. works published from 1923 to 1963 are the only group of works for which renewal is now a concern. Renewals have expired for works published before 1923, and they are generally in the public domain. The 1976 Copyright Act made renewal automatic for works published after Jan. 1, 1964. Determining the renewal status of works published between 1923 and 1963 has been a challenge; the Copyright Office received renewals as early as 1950, but only records received by that office after 1977 are available in electronic form. Renewals received between 1950 and 1977 were announced and distributed only in a semi-annual print publication. For the Determinator databases, Stanford has converted the print records to machine-readable form and combined them with the electronic renewal records from the Copyright Office.

Repository 66: OA Digital Repository Map Mashup

Stuart Lewis of the University of Wales Aberystwyth has created a Google Map mashup called Repository 66 that shows worldwide open access digital repositories using data from ROAR and OpenDOAR. (Route 66 was a famous highway in the US.)

European Digital Library Prototype Launches

The Bibliothèque Nationale de France has launched a prototype of the European Digital Library (Europeana).

Here’s an excerpt from "France Launches Francophone Digital Library":

Europeana—as the cyber library is named—currently offers access to some 12,000 public domain full-text documents but is set to have by 2010 over 6 million books, movies, photographs and other documents from across the European Union countries. . . .

"We want to make it so that Europe is not entirely abandoned to an American search engine," said Jean-Noël Jeanneney, the head of BNF, according to French press reports.

The "The European Digital Library in 16 Questions" provides further information about the project.

A press release about the launch is also available (in French).

EMI Offers Its Entire Digital Music Catalog Free of DRM

EMI, which ranks third in worldwide music sales, has announced that it will make it’s entire digital music catalog available without DRM (Digital Rights Management) protection via Apple’s ITunes.

Users will pay a modest premium for DRM-free tracks: $1.29 for new tracks and $.30 to free existing tracks from DRM.

Here’s an excerpt from the press release:

EMI Music today announced that it is launching new premium downloads for retail on a global basis, making all of its digital repertoire available at a much higher sound quality than existing downloads and free of digital rights management (DRM) restrictions.

The new higher quality DRM-free music will complement EMI’s existing range of standard DRM-protected downloads already available. From today, EMI’s retailers will be offered downloads of tracks and albums in the DRM-free audio format of their choice in a variety of bit rates up to CD quality. EMI is releasing the premium downloads in response to consumer demand for high fidelity digital music for use on home music systems, mobile phones and digital music players. EMI’s new DRM-free products will enable full interoperability of digital music across all devices and platforms.

Eric Nicoli, CEO of EMI Group, said, "Our goal is to give consumers the best possible digital music experience. By providing DRM-free downloads, we aim to address the lack of interoperability which is frustrating for many music fans. We believe that offering consumers the opportunity to buy higher quality tracks and listen to them on the device or platform of their choice will boost sales of digital music.". . . .

Apple’s iTunes Store (www.itunes.com) is the first online music store to receive EMI’s new premium downloads. Apple has announced that iTunes will make individual AAC format tracks available from EMI artists at twice the sound quality of existing downloads, with their DRM removed, at a price of $1.29/€1.29/£0.99. iTunes will continue to offer consumers the ability to pay $0.99/€0.99/£0.79 for standard sound quality tracks with DRM still applied. Complete albums from EMI Music artists purchased on the iTunes Store will automatically be sold at the higher sound quality and DRM-free, with no change in the price. Consumers who have already purchased standard tracks or albums with DRM will be able to upgrade their digital music for $0.30/€0.30/£0.20 per track. All EMI music videos will also be available on the iTunes Store DRM-free with no change in price.

EMI is introducing a new wholesale price for premium single track downloads, while maintaining the existing wholesale price for complete albums. EMI expects that consumers will be able to purchase higher quality DRM-free downloads from a variety of digital music stores within the coming weeks, with each retailer choosing whether to sell downloads in AAC, WMA, MP3 or other unprotected formats of their choice. Music fans will be able to purchase higher quality DRM-free digital music for personal use, and listen to it on a wide range of digital music players and music-enabled phones. . . .

EMI Music will continue to employ DRM as appropriate to enable innovative digital models such as subscription services (where users pay a monthly fee for unlimited access to music), super-distribution (allowing fans to share music with their friends) and time-limited downloads (such as those offered by ad-supported services).

Is It Time to Stop Printing Journals?

There has been lively discussion about whether it is time to stop printing journals on Liblicense-l of late (March archive and April archive).

Here’s my take.

There are two aspects to this question: (1) Is the print journal format still required for reading purposes?; and (2) Is the print journal format still required to insure full access to journals given that many e-journals are under licenses (and are not owned by libraries) and digital preservation is still in its infancy?

It appears that the answer to (1) may finally be “no, for many users.” However, this may be contingent to some degree on the fact that many commercial e-journals are composed of article PDF files that allow users to print copies that replicate printed articles.

The answer to (2) is less clear, since continued access is contingent on periodic license negotiations and the changing business practices of publishers. Embargoes, ILL restrictions, incomplete back runs, and similar issues may give libraries pause. Very promising digital preservation efforts, such as LOCKSS and Portico still need to pass the test of time. Few libraries believe that publishers by themselves can be relied on to preserve e-journals (for one thing, publishers go out of business).

However, the reality for many libraries is that they have no choice but to dump print whenever possible for strictly economic reasons: print plus electronic is increasingly unaffordable for a variety of reasons.