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Nikons, nets and the bottom line: Image licensing in a networked environment

Nikons, nets and the bottom line: Image licensing in a networked environment Conclusion Music industry collectives were formed to track the many uses of copyrighted work, which, individually, held small value. In addition, these organizations serve to collect and distribute royalties for the work on behalf of a large number of rights holders. In ways similar to music, it is difficult to assess in advance, and prohibitively expensive to track, individual units of multimedia content that are performed, broadcast, or electronically copied. The speed and access provided by electronic networks may argue for a new model of licensing by individual rights holders, which would eliminate the drawbacks collectives can present in representing the group over the individual. In reality, the complexity of negotiating multiple or myriad rights, securing licenses, and collecting fees for multimedia makes the direct participation of intellectual property creators (who are notably loath to spend lime on business areas drawing them away from their creative work) less likely than it is currently. In the networked environment, the public requires efficient and valuepriced access to quality, diverse intellectual properly. Rights holders require fair compensation for the reproduction and performance of their content. By providing subscription or streamlined transaction licenses on behalf of many rights holders, intellectual property servers, such as Picture Network International, will benefit both suppliers and users of content in the networked environment. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Archives and Museum Informatics Springer Journals

Nikons, nets and the bottom line: Image licensing in a networked environment

Benn, Nathan H.
Archives and Museum Informatics , Volume 7 (3): 4 – Sep 1, 1993
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Publisher
Springer Journals
Copyright
1993 Archives & Museum Informatics
ISSN
1042-1467
eISSN
1573-7500
DOI
10.1007/BF02770697
Publisher site
See Article on Publisher Site

Abstract

Conclusion Music industry collectives were formed to track the many uses of copyrighted work, which, individually, held small value. In addition, these organizations serve to collect and distribute royalties for the work on behalf of a large number of rights holders. In ways similar to music, it is difficult to assess in advance, and prohibitively expensive to track, individual units of multimedia content that are performed, broadcast, or electronically copied. The speed and access provided by electronic networks may argue for a new model of licensing by individual rights holders, which would eliminate the drawbacks collectives can present in representing the group over the individual. In reality, the complexity of negotiating multiple or myriad rights, securing licenses, and collecting fees for multimedia makes the direct participation of intellectual property creators (who are notably loath to spend lime on business areas drawing them away from their creative work) less likely than it is currently. In the networked environment, the public requires efficient and valuepriced access to quality, diverse intellectual properly. Rights holders require fair compensation for the reproduction and performance of their content. By providing subscription or streamlined transaction licenses on behalf of many rights holders, intellectual property servers, such as Picture Network International, will benefit both suppliers and users of content in the networked environment.

Journal

Archives and Museum Informatics – Springer Journals

Published: Sep 1, 1993

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