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Pinar Oruç, 3D Digitisation of Cultural Heritage: Copyright Implications of the Methods, Purposes and Collaboration, 11 (2020) JIPITEC 149 para 1.
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%0 Journal Article %T 3D Digitisation of Cultural Heritage: Copyright Implications of the Methods, Purposes and Collaboration %A Oruç, Pinar %J JIPITEC %D 2020 %V 11 %N 2 %@ 2190-3387 %F oruç2020 %X 3D technology is increasingly used in the digitisation of cultural heritage and while parties engaging in such projects need copyright as an incentive, the copyright status of such 3D models are unclear. It is usually assumed they would not be protected, as the scans of existing objects are less likely to be original compared to the 3D models created from scratch. However, it is often overlooked that these projects vary greatly in terms of the chosen method (whether it is laser scanning or photogrammetry), the project’s purpose (if it is for identical copying or if there is any restoration or creative contribution involved) and the collaboration of different people (ranging from employees to volunteers). This article will discuss the copyright implications of the chosen method, purposes and the level of collaboration, in order to show that each of these factors impact the category, originality and the authorship of the resulting work. It will be argued that it is possible, and in some instances very likely, for 3D projects to lead to protectable outcomes under the EU copyright law. %L 340 %K 3D %K copyright law %K cultural heritage %K laser scanning %K originality %K photogrammetry %K three dimensional %U http://nbn-resolving.de/urn:nbn:de:0009-29-50966 %P 149-159Download
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@Article{oruç2020,
author = "Oru{\c{c}}, Pinar",
title = "3D Digitisation of Cultural Heritage: Copyright Implications of the Methods, Purposes and Collaboration",
journal = "JIPITEC",
year = "2020",
volume = "11",
number = "2",
pages = "149--159",
keywords = "3D; copyright law; cultural heritage; laser scanning; originality; photogrammetry; three dimensional",
abstract = "3D technology is increasingly used in the digitisation of cultural heritage and while parties engaging in such projects need copyright as an incentive, the copyright status of such 3D models are unclear. It is usually assumed they would not be protected, as the scans of existing objects are less likely to be original compared to the 3D models created from scratch. However, it is often overlooked that these projects vary greatly in terms of the chosen method (whether it is laser scanning or photogrammetry), the project's purpose (if it is for identical copying or if there is any restoration or creative contribution involved) and the collaboration of different people (ranging from employees to volunteers). This article will discuss the copyright implications of the chosen method, purposes and the level of collaboration, in order to show that each of these factors impact the category, originality and the authorship of the resulting work. It will be argued that it is possible, and in some instances very likely, for 3D projects to lead to protectable outcomes under the EU copyright law.",
issn = "2190-3387",
url = "http://nbn-resolving.de/urn:nbn:de:0009-29-50966"
}
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TY - JOUR AU - Oruç, Pinar PY - 2020 DA - 2020// TI - 3D Digitisation of Cultural Heritage: Copyright Implications of the Methods, Purposes and Collaboration JO - JIPITEC SP - 149 EP - 159 VL - 11 IS - 2 KW - 3D KW - copyright law KW - cultural heritage KW - laser scanning KW - originality KW - photogrammetry KW - three dimensional AB - 3D technology is increasingly used in the digitisation of cultural heritage and while parties engaging in such projects need copyright as an incentive, the copyright status of such 3D models are unclear. It is usually assumed they would not be protected, as the scans of existing objects are less likely to be original compared to the 3D models created from scratch. However, it is often overlooked that these projects vary greatly in terms of the chosen method (whether it is laser scanning or photogrammetry), the project’s purpose (if it is for identical copying or if there is any restoration or creative contribution involved) and the collaboration of different people (ranging from employees to volunteers). This article will discuss the copyright implications of the chosen method, purposes and the level of collaboration, in order to show that each of these factors impact the category, originality and the authorship of the resulting work. It will be argued that it is possible, and in some instances very likely, for 3D projects to lead to protectable outcomes under the EU copyright law. SN - 2190-3387 UR - http://nbn-resolving.de/urn:nbn:de:0009-29-50966 ID - oruç2020 ER -Download
Wordbib
<?xml version="1.0" encoding="UTF-8"?> <b:Sources SelectedStyle="" xmlns:b="http://schemas.openxmlformats.org/officeDocument/2006/bibliography" xmlns="http://schemas.openxmlformats.org/officeDocument/2006/bibliography" > <b:Source> <b:Tag>oruç2020</b:Tag> <b:SourceType>ArticleInAPeriodical</b:SourceType> <b:Year>2020</b:Year> <b:PeriodicalTitle>JIPITEC</b:PeriodicalTitle> <b:Volume>11</b:Volume> <b:Issue>2</b:Issue> <b:Url>http://nbn-resolving.de/urn:nbn:de:0009-29-50966</b:Url> <b:Pages>149-159</b:Pages> <b:Author> <b:Author><b:NameList> <b:Person><b:Last>Oruç</b:Last><b:First>Pinar</b:First></b:Person> </b:NameList></b:Author> </b:Author> <b:Title>3D Digitisation of Cultural Heritage: Copyright Implications of the Methods, Purposes and Collaboration</b:Title> <b:Comments>3D technology is increasingly used in the digitisation of cultural heritage and while parties engaging in such projects need copyright as an incentive, the copyright status of such 3D models are unclear. It is usually assumed they would not be protected, as the scans of existing objects are less likely to be original compared to the 3D models created from scratch. However, it is often overlooked that these projects vary greatly in terms of the chosen method (whether it is laser scanning or photogrammetry), the project’s purpose (if it is for identical copying or if there is any restoration or creative contribution involved) and the collaboration of different people (ranging from employees to volunteers). This article will discuss the copyright implications of the chosen method, purposes and the level of collaboration, in order to show that each of these factors impact the category, originality and the authorship of the resulting work. It will be argued that it is possible, and in some instances very likely, for 3D projects to lead to protectable outcomes under the EU copyright law.</b:Comments> </b:Source> </b:Sources>Download
ISI
PT Journal AU Oruç, P TI 3D Digitisation of Cultural Heritage: Copyright Implications of the Methods, Purposes and Collaboration SO JIPITEC PY 2020 BP 149 EP 159 VL 11 IS 2 DE 3D; copyright law; cultural heritage; laser scanning; originality; photogrammetry; three dimensional AB 3D technology is increasingly used in the digitisation of cultural heritage and while parties engaging in such projects need copyright as an incentive, the copyright status of such 3D models are unclear. It is usually assumed they would not be protected, as the scans of existing objects are less likely to be original compared to the 3D models created from scratch. However, it is often overlooked that these projects vary greatly in terms of the chosen method (whether it is laser scanning or photogrammetry), the project’s purpose (if it is for identical copying or if there is any restoration or creative contribution involved) and the collaboration of different people (ranging from employees to volunteers). This article will discuss the copyright implications of the chosen method, purposes and the level of collaboration, in order to show that each of these factors impact the category, originality and the authorship of the resulting work. It will be argued that it is possible, and in some instances very likely, for 3D projects to lead to protectable outcomes under the EU copyright law. ERDownload
Mods
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<abstract>3D technology is increasingly used in the digitisation of cultural heritage and while parties engaging in such projects need copyright as an incentive, the copyright status of such 3D models are unclear. It is usually assumed they would not be protected, as the scans of existing objects are less likely to be original compared to the 3D models created from scratch. However, it is often overlooked that these projects vary greatly in terms of the chosen method (whether it is laser scanning or photogrammetry), the project’s purpose (if it is for identical copying or if there is any restoration or creative contribution involved) and the collaboration of different people (ranging from employees to volunteers). This article will discuss the copyright implications of the chosen method, purposes and the level of collaboration, in order to show that each of these factors impact the category, originality and the authorship of the resulting work. It will be argued that it is possible, and in some instances very likely, for 3D projects to lead to protectable outcomes under the EU copyright law.</abstract>
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Full Metadata
| Bibliographic Citation | Journal of intellectual property, information technology and electronic commerce law 11 (2020) 2 |
|---|---|
| Title |
3D Digitisation of Cultural Heritage: Copyright Implications of the Methods, Purposes and Collaboration (eng) |
| Author | Pinar Oruç |
| Language | eng |
| Abstract | 3D technology is increasingly used in the digitisation of cultural heritage and while parties engaging in such projects need copyright as an incentive, the copyright status of such 3D models are unclear. It is usually assumed they would not be protected, as the scans of existing objects are less likely to be original compared to the 3D models created from scratch. However, it is often overlooked that these projects vary greatly in terms of the chosen method (whether it is laser scanning or photogrammetry), the project’s purpose (if it is for identical copying or if there is any restoration or creative contribution involved) and the collaboration of different people (ranging from employees to volunteers). This article will discuss the copyright implications of the chosen method, purposes and the level of collaboration, in order to show that each of these factors impact the category, originality and the authorship of the resulting work. It will be argued that it is possible, and in some instances very likely, for 3D projects to lead to protectable outcomes under the EU copyright law. |
| Subject | 3D, copyright law, cultural heritage, laser scanning, originality, photogrammetry, three dimensional |
| DDC | 340 |
| Rights | DPPL |
| URN: | urn:nbn:de:0009-29-50966 |
