![]() ![]() If you’re considering licensing work – consider how comfortable you are with various uses – and then explicitly license based on that. Artists spend years developing their style and approach – they bring a lot of themselves to their work. Your work remains your own work, even if you have used open data. Some Creative Commons licences have a “no derivatives” clause – but they’re not really designed for data licensing. Private datasets are more problematic, and you need to be careful with those, especially with protest art. But a collection of public facts can’t be copyrighted – you can’t own facts – but you can copyright the arrangement of those facts. However, a non-commercial licence on some data is somewhat ambiguous – is it just restricting resale of the data itself, or does it prevent it being used for anything commercial?ĭatabases can be subject to copyright. But if the data is licensed non-commercially, can the artist make money from the work? A full open data licence is free for reuse. ![]() Does that create a new work, or does it owe something to the data producer?ĭata is becoming a tool, in the same way that brushes are.Īnd then there’s protest art, where the whole of the data is used to create the art. And then there’s conceptual art, which gains some of its meaning from the original data source. Traditionally, we have infographics, where we take data and visualise it so people can understand it. A session on using open data in artistic works of various sources, led by Leela Collins.
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