Display At Your Own Risk: An experimental exhibition of digital cultural heritage

A research-led exhibition experiment concerned with the use and reuse of digital surrogates of public domain works of art produced by cultural heritage institutions of international repute.This publication is issued in conjunction with the exhibition Display At Your Own Risk, held at The Lighthouse in Glasgow and made available as an open source exhibition at displayatyourownrisk.org. The print exhibition is on view in Glasgow on 8 June 2016.This research project is funded by CREATe, University of Glasgow (under a joint grant from Arts and Humanities Research Council AHRC, Economic and Social Research Council ESRC and Engineering and Physical Sciences Research Council EPSRC). The exhibition is supported in part by the National Library of Scotland, the Glasgow Print Studio and the Glasgow University Archive Services. Print services for the exhibition were provided by the National Library of Scotland and the Glasgow Print Studio; digitization services were provided by the University of Glasgow Photographic Unit within the Glasgow University Archive Services

The Statute of Anne and the Great Abridgement Swindle

There are many things that we know about the Statute of Anne with reasonable certitude. We know that it was prefaced by a period of sustained lobbying on the part of the book trade. We know that on January 11, 1710 a bill was introduced in the House of Commons in response to this lobbying and that, less than three months later, on April 5, 1710, the act that is now commonly referred to as the Statute of Anne was passed. And we also know that the Act that was passed differed in many significant respects from the bill as it was originally introduced to parliament. There are, however, many things that we don't - or can't - know about the Statute of Anne. This article considers one of those things that we don't or can't know; the extent to which the Act was intended to regulate the unauthorised production of derivative versions of published work (in this case, abridgements) if, indeed, it was intended to regulate the production of such works at all

Photography, copyright, and the South Kensington experiment

Reviews the development of UK copyright law in the 19th century concerning photographs of works of art in public collections. Discusses the project at South Kensington Museum to sell photographs of works of art to the public at cost price, and the introduction of copyright protection for original photographs under the Fine Arts Copyright Act 1862. Considers the parliamentary debates on whether photography was worthy of copyright protection. Examines whether lessons should be learned now that digital technology offers the opportunity to improve public access to works of art