Some of the above concepts can be defined for your license purposes. For example, concepts such as non-commercial use or commercial profit need to be defined. Does this mean that a licensee cannot charge a researcher for access to the content granted? What if the researcher was a student, unlike a student who earns $25 an hour for his research? Museum as a licensee: Your licence must contain a sufficiently strong compensation to guarantee its guarantees and ensure that you are compensated if you encounter certain legal or other problems. However, the compensation clause is only as useful as the financial viability of the content owner. It is therefore necessary to ensure that the compensation clause is based. Museum as a licensee: Determine all uses of the licensed content that can be made by whom, and then include them as a sub-license. If you are considering a new license, consider “secondary” and all kinds of involuntary or new sublicensings. The inclusion of an electronic ADPs in licensing agreements between publishers (and other content owners) and libraries is somewhat controversial, and agreements on whether or not to include these agreements are different. One of the reasons this is controversial is because the traditional ILL meant that printing materials were shared with another library and then returned to the original library. This may not apply to electronic documents, although a publisher that authorizes the ILL may require that the electronic document be destroyed from the “loan library” after a certain period of time. In addition, the development of digital rights management mechanisms can help protect digital content from unauthorized use.
If you accept an electronic ADA, it may be necessary to define the ILL for the purposes of your licence, i.e. in an electronic context. Museum as a licensee: The more specific and narrow the description of the content, the more you protect your copyright. For example, if you license all of your 1998 film collections, the license covers the use and payment of all of your 1998 slides. However, if you only concede the 1998 slides that relate to artists A, B and C, you have other slides from 1998 for future granted to the same licensee. Museum as a licensee: If your museum uses the content of a single person on your website, you can at least get a waiver of moral rights in countries where a waiver is allowed (and be sure to formulate it so as not to have to designate specific countries in which a waiver is allowed).) This waiver may apply only to you or to all those who sublicensing and use the content through the museum`s license. It is important to indicate where authorized users can access the content. In general, this applies to two locations, on-site (i.e. in the licensee`s premises) or remotely (i.e. from home or office, or during travel or life in another city, another state or another country). On-site access may be easier to control, and content owners may be better able to ensure some degree of compliance with the licensing agreement. However, licensees often require remote access, depending on how their employees and the public access and use their facilities and network.
For example, if a taker grants access to an authorized proxy server to authorized users or if licensed content is available from a website, that access is available from anywhere in the world. If this applies to your end-user`s situation, it should be dealt with in your license. If the licensee is an institution in which many employees travel and access content from outside Canada, make sure the license allows you to access it.