EBU/GESAC/ICMP/ECSA recommendation for the licensing of broadcast-related online activities

Four European umbrella organizations: European Broadcasting UnionEuropean Composers and Songwriters AllianceEuropean Grouping of Societies of Authors and Composer and the Global Voice of Music Publishing officially released a recommendation that sets out principles aimed at encouraging the aggregation of rights for the licensing of certain broadcast-related online activities on a cross-border basis.

These principles are pursued to strike a balance between the stakeholders’ interests and objectives to lead to the cross-border licensing of public service broadcasters. The recommendation aims to simplify the basis on which licenses of musical works in the context of “broadcast-related online activities”, i.e. additional online content related to their regular broadcasting services will be implemented within the European Union. As well as promoting a voluntary re-aggregation of rights, the recommendation also underline high levels of transparency for authors/composers and publishers, fair compensation and efficient, modern and non-discriminatory administration arrangements.

Here you can access the Recommendation for the licensing of broadcast-related online activities.


Blog written by Réka Markovich, ELTE University

EUscreenXL Conference 2014 Rome – CALL FOR PAPERS AND WORKSHOPS

EUscreenXL Rome

EUscreenXL Conference 2014 Rome


From Audience to User: New Ways of Engaging with Audiovisual Heritage Online

EUscreenXL welcomes You to the EUscreenXL Conference 2014 on October 30-31 in Casa del Cinema in Villa Borghese, Rome (Italy)!

Attracting audiences and engaging users with content has become a key issue for archivists, broadcasters, educators and anyone publishing content online. With growing amounts of digitised content online, heritage projects and collection holders are increasingly aware of the need to engage with their users. Knowing how and why users interact (or don’t) with the resources and their presentation online helps inform what strategies are most insightful for the development of sustainable communities of users to participate in archival projects, enrich collections and disseminate their content. A user-oriented approach is crucial for both promotion and dissemination of online content as well as for developing sustainable future for projects and institutions in the heritage sector.

With the upcoming conference “From Audience to User: New Ways of Engaging with Audiovisual Heritage Online” the EUscreen network wants to address the current challenges for online cultural heritage initiatives and discuss these with archivists, scholars of cultural – and particularly audiovisual – heritage, web designers, data specialists and policy makers.

We invite proposals for papers and workshops that address – among others – the following questions and issues:

  • How to read statistics of usage to better understand what users do, want and engage with?

  • How to increase usage and and encourage engagement of the users – focus on the user experience (UX)?

  • How to build and engage sustainable communities with online content?

  • How to extract quantitative and qualitative data in order to be more responsive to the needs of the audience/users and those of the professionals?

  • Which marketing strategies, business-oriented approaches can be identified as useful for the future development of audiovisual heritage platforms?

Please submit a paper abstract of 250 words including short abstracts and titles of each prospective paper to events@euscreen.eu. Include name, affiliation, address, and e-mail address of each author/participant.  

All proposals will be evaluated by the Conference Board.


Deadline for applications and abstracts: 21st May 2014

Notification of abstracts acceptance: 9th June 2014

If you have any questions about submissions, please contact Kamila Lewandowska, EUscreenXL communication specialist (kamila.lewandowska@nina.gov.pl).

What makes good metadata? EUscreen meets Europeana Aggregation team


We all know that good metadata is a love letter to the future – but what makes it good?

At Europeana a Task Force has been set up to look into the tricky question of what defines metadata quality and how it can be improved to ensure maximum discoverability and future re-use. EUscreen, together with selected representatives from archives, memory institutions and other domain aggregators like Europeana Sound, met up with the friendly Europeana Aggregation team at Europeana Foundation in The Hague on the 9th of April to advise on the best course of action.

Topics covered included a definition of quality criteria, factors preventing institutions from providing optimum data, and recommendations on best practice guidelines, tools and training to help providers improve and standardise the quality of their submissions. In this way, Europeana aims to offer better search result to users, enrich the data that is already accessible and thus ultimately to increase research opportunities for the digital heritage domain.

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If this isn’t a love letter to the future, I don’t know what is.

For more information on Europeana’s stance on metadata, see also http://pro.europeana.eu/pro-blog/-/blogs/1442749

For an example of what Europeana views as good metadata (Provider: RTÉ Archives/EUscreen) see http://pro.europeana.eu/pro-blog/-/blogs/new-metadata-quality-task-force;jsessionid=850E6BB189DCC5527A8F1DF04DAB898F

Blog written by Eve-Marie Oesterlen, EUscreen WP2 lead, British Universities Film and Video Council

CALL FOR PAPERS: Sound and (Moving) Images in Focus


Call for Papers: Sound and (moving) images in focus
How to integrate audiovisual material in Digital Humanities research?
Workshop at DH2014, 8 July 2014, Lausanne, Switzerland


digital humanitiesIntroduction

The issue that will be addressed during this workshop is how to overcome the contrast between audiovisual material being a steadily increasing body of data and the fact that it is relatively poorly represented in the field of the Digital Humanities. When considering the available DH tools, projects and publications it is clear that sources such as television, film, photos and oral history recordings have not yet received the same level of attention from scholars as written sources. This can be considered as problematic in the light of the expected exponential growth in volume of audiovisual sources and of the abundance of information for researches contained in this type of data that is largely overlooked. One can envision how a single document could satisfy the needs of various disciplines if tools would be available to identify, retrieve and analyse the various dimensions of a video-recording such as language, emotions, speech acts, narrative plots and references to people, places and events. This richness not only holds the promise of multidisciplinary collaboration between e.g., computer sciences, social sciences and the humanities, but also makes audiovisual material a potentially valuable playground for the Digital Humanities.

Workshop Programme

The workshop aims to bring scholars and computer scientists together to discuss the following key questions in four subsequent sessions.

1.  Why are audiovisual data/archives scarcely used within the (Digital) Humanities?
2.  What are possible strategies to stimulate the use of audiovisual data/archives within the  Digital Humanities?
3.  Which examples of digital tools applied on audiovisual data/archives can serve as best practices?
4. What should be the priorities on the  agenda for the future uptake of audiovisual data/archives in the Digital Humanities?

The keynotes within the first two sessions will be delivered by Andreas Fickers, professor of contemporary and digital history at the University of Luxembourg, and Dr. Arjan van Hessen, specialist in speech technology and member of the Executive Board of CLARIN-NL. The first will talk about the use of audiovisual sources within humanities research, and the second will discuss the necessary technical and infrastructural provisions for the analysis of these sources. For the third session scholars are invited to submit papers and demos that illustrate the potential of applying DH approaches to audiovisual data with a focus on lessons learned. The final session is dedicated to the assessment and evaluation of the findings and aims at formulating a research agenda for the future. To disseminate the results of the workshop among a broader audience, the initiators intend to propose a special issue on this topic to a Digital Humanities journal.

Submission of Proposals

For the third session on applications of DH on audiovisual data, the workshop organisers invite papers and demos that deal with experienced challenges of integrating AV in DH.

Submissions should include the following:

  • General abstract (should not exceed 800 words)
  • Contact info and a short description of research interests of the authors.
  • The committee aims to select a balanced set of abstracts that cover the various media (film, television, photography, oral history, digital storytelling, recordings of sound and movement) and tools that are needed at the various stages of the research process (exploration, annotation, analysis, presentation, curation and preservation)

To submit a proposal, please send an abstract  (docx or pdf)  toavindhworkshop@gmail.com

Accepted abstracts will be published on the Erasmus Studio website.

 Important dates

  • Abstract submissions due: 16 May 2014 23:59 (CET)
  • Acceptance notification: 28 May
  • Workshop: 8 July 2014

Further information


This workshop is initiated in the context of  the collaboration between  the Netherlands Institute for Sound and Vision and the Erasmus Studio, an interfacultary  institute  at the Erasmus University Rotterdam, that promotes and initiates e-research across disciplinary boundaries, with an emphasis on multimedia archives.

  • Dr. Stef Scagliola (Erasmus University Rotterdam, Erasmus Studio)
  • Dr. Martijn Kleppe (Erasmus University Rotterdam, Erasmus Studio)
  • Max Kemman MSc (Erasmus University Rotterdam, Erasmus Studio)
  • Dr. Roeland Ordelman (Netherlands Institute for Sound and Vision, University of Twente)
  • Prof. Franciska de Jong (Erasmus University Rotterdam, Erasmus Studio, University of Twente)


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