Tag Archives: Data Protection

OHD_SPS_0310 Timeline of technologies

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Tech scandels Tech OHT
1981 TAPE system
1983 CD released in Europe and USA
1991 Project Jukebox (funded by Apple Library of Tomorrow Grant)
1992 Mini Disc
1993 Copyright Duration Directive (EU)
1994 Web Mail is used in CERN Steven Spielbarg starts the SHOAH institute
1995
1996 WIPO Copyright Treaty The Internet Archive
1997 Wi-Fi
1998 Digital Millennium Copyright Act (USA) [also had a big affect on the right repair] Google Interclipper demostration at OHA conference
1999 First SD card
2000 The Dot-com Bubble bursts VOAHA
2001 First iPod and iTunes ; Creative commons is founded ; The Wayback Machine goes public.
2002 Zoom H2 Handy Recorder
2003
2004 Vimeo ; Facebook Civil Rights Movement in Kentucky Oral History Project
2005 Youtube
2006 Twitter SHOAH collection moves to the University of Southern California
2007 iPhone ; SoundCloud Project Jukebox collabs with Testimony Software ; Montreal Life Stories kicks off
2008 FRISCH : First version of OHMS
2009
2010 France enacts the right to be forgotten Instagram Crash of VOAHA
2011 Zoom VOAHA II ; OHMS becomes open source ; Stories Matter is released
2012
2013 Edward Snowden
2014 European Court of Justice legally solidfies the “right to be forgotten” is a human right ; First NFT
2015 Australian Generations oral history project ends
2016 Cambridge Analytica Tiktok
2017 Obama Deep Fake UOSH starts
2018 GDPR is implimented
2019
2020 Covid-19 Pandemic
2021 Chat-GPT
2022 UOSH ends
2023 British Library Hack
2024 Europran Union adopts some right to repair rules. OHA conference on Oral History and AI

OHD_FRM_0191 Research Room Donation Acceptance Form

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Research Donation Agreement Form

The National Trust is happy to accept your donation for it to be stored and made available in the Research Room. This means your item is not fully protected from damage or lost by the National Trust but does become an important part of Seaton Delaval Hall’s research community.

The purpose of this Agreement is to ensure that both your donated item and personal data is treated in strict accordance with your wishes. This Agreement is made between the National Trustand you.

This relates to the item created on the following (estimated) date/s …………………………………….

Please give a brief description of the material you wish to donate

(Please specific medium of material)

…..……….……….……….……….……….……….……….……….……….……….………..

…..……….……….……….……….……….……….……….……….……….……….………..

…..……….……….……….……….……….……….……….……….……….……….………..

…..……….……….……….……….……….……….……….……….……….……….………..

Full name of donor: ……………………………………………………………………………………………………..

Address: ….……….……….……….……….……….……….……….……….……….………..

…..……….……….……….……….……….……….……….……….……….……….………..

Telephone No: …………………………………………………………………………………………………………….

Email: …………………………………………………………………………………………………………………………

I agree to have my name logged in the Seaton Delaval Hall                                                 YES/NO

Knowledge Index alongside my donated item *

* The National Trust highly recommends for you to allow your name to be logged as it will help expand our research community

Do you give permission for us to store your contact                                                  YES

details in case we need to contact you about your donation? 

Data Protection

How we use your personal data.

The personal data you give us in this Research Room Donation Acceptance Form will be held securely and will not be used for any other purpose other than contacting you about your donation; we will never use it for marketing communications that you haven’t agreed to receive.

How we protect your personal data and how long will we keep it?

Your contact details are stored on a secure place until we no longer require them and they will be securely destroyed.

If you no longer want us to hold your contact details for donation.

At any time you can change your mind about whether you agree to us keeping your contact details, please email seatondelavalhall@nationaltrust.org.uk, or contact us on 0191 237 9100. The personal data in this Research Room Donation Acceptance Form will be securely destroyed.    

“We” and “Us” means the National Trust, charity number 205846, and National Trust (Enterprises) Limited

COPYRIGHT (if applicable)

If you wish to sign over full copyright, please fill in SECTION ONE or if you wish to sign over partial copyright, please fill in SECTION TWO. If you DO NOT hold copyright, go directly to the ACCESS and REUSE section.

SECTION ONE – Full copyright

In respect of……………………………………………………………… [item being donated] made by……………………………………………………………………………………………….. [the donor’s name] being deposited with the National Trust, constituting a literary, dramatic or musical work, a database, an artistic work, a sound recordings or film as defined by the Copyright, Design and Patents Act, 1988.

I …………………………………………………………………………………………………… [the donor’s name], as the present owner of the copyright in the contributor content, confirm that I hereby assign such copyright to the National Trust.

I also hereby waive any moral rights which I presently own in relation to this work on the understanding that third-parties may copy, distribute, display, or perform this licensed material – and works derived from it – for non-commercial purposes only. They must mark or describe any adaptations to my interview in their material. They must reference the National Trust.

The work will be attributed to me, and cannot be used for commercial purposes without the consent of the National Trust. Third-parties wishing to copy, distribute, or display licensed material for commercial use must approach the National Trust.

This Agreement will be governed by and construed in accordance with English law and the jurisdiction of the English courts. Both parties shall, by signing below, indicate acceptance of the Agreement.

Signed by or on behalf of the donor: ……………………………………………………………………………

Name in block capitals: ………………………………………………………………………………………………..

Date: ………………………….

Signed on behalf of National Trust: ………………………………………………………………………………..

Name in block capitals: ………………………………………………………………………………………………..

Date: ………………………….

SECTION TWO – Partial Copyright

In respect of……………………………………………………………… [item being donated] made by……………………………………………………………………………………………….. [the donor’s name] being deposited with the National Trust, constituting a literary, dramatic or musical work, a database, an artistic work, a sound recordings or film as defined by the Copyright, Design and Patents Act, 1988.

I …………………………………………………………………………………………………… [the donor’s name], as the present owner of the copyright in the contributor content, confirm that I hereby give the National Trust permission to use my donated item in the Seaton Delaval Hall Research Room.  

The work will be attributed to me, and cannot be used for non-commercial or commercial purposes without my consent. Third-parties wishing to copy, distribute, or display licensed material for non-commercial or commercial use must approach me.

This Agreement will be governed by and construed in accordance with English law and the jurisdiction of the English courts. Both parties shall, by signing below, indicate acceptance of the Agreement.

Signed by or on behalf of the donor: ……………………………………………………………………………

Name in block capitals: ………………………………………………………………………………………………..

Date: ………………………….

Signed on behalf of National Trust: ………………………………………………………………………………..

Name in block capitals: ………………………………………………………………………………………………..

Date: ………………………….

ACCESS and REUSE

In donating my item, I understand that I am giving the National Trust the right to use and make available the donated item in the following ways:

  • Use in colleges, schools, universities and other educational establishments, including use in a thesis, dissertation or similar research                

YES/NO

  • Public performance, lectures or talks     

YES/NO

  • Use in publications, including print, audio or video – cassettes, DVD, CD–Rom

YES/NO

  • Public Reference purposes in the Seaton Delaval Hall Research Room

YES/NO

  • Use on radio and television

YES/NO

  • Publication worldwide on the Internet/use on social media

YES/NO

If you wish to add any additional access restrictions to the interview – either in full or particular parts for a period of up to 30 years – please specify these conditions in the space provided.

……………………………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………………………

OHD_FRM_0190 Archive Donation Acceptance Form

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Archive Donation Agreement Form

The National Trust is happy to accept your donation for preservation and care in an archival setting and for a version to be made available in the Seaton Delaval Hall Research Room.

The purpose of this Agreement is to ensure that both your donated item and personal data is treated in strict accordance with your wishes.

This Agreement is made between the National Trust, …………………………………….…..

….………………..…….. [third-party archive] and you.

With your permission the National Trust will share your personal information and donated item with …………………………………………..………….. [third-party archive] for it to be permanently retained.

This relates to the item created on the following (estimated) date/s …………………………………….

Please give a brief description of the material you wish to donate

(Please specific medium of material)

…..……….……….……….……….……….……….……….……….……….……….………..

…..……….……….……….……….……….……….……….……….……….……….………..

…..……….……….……….……….……….……….……….……….……….……….………..

…..……….……….……….……….……….……….……….……….……….……….………..

Full name of donor: ……………………………………………………………………………………………………..

Address: ….……….……….……….……….……….……….……….……….……….………..

…..……….……….……….……….……….……….……….……….……….……….………..

Telephone No: …………………………………………………………………………………………………………….

Email: …………………………………………………………………………………………………………………………

I agree to have my name logged in the Seaton Delaval Hall                                                 YES/NO

Knowledge Index alongside my donated item *

* The National Trust highly recommends for you to allow your name to be logged as it will help expand our research community

Do you give permission for us to store your contact                                                  YES

details in case we need to contact you about your donation? 

Data Protection

How we use your personal data.

The personal data you give us in this Archive Donation Acceptance Form will be held securely and will not be used for any other purpose other than contacting you about your donation; we will never use it for marketing communications that you haven’t agreed to receive.

How we protect your personal data and how long will we keep it?

Your contact details are stored on a secure place until we no longer require them and they will be securely destroyed.

If you no longer want us to hold your contact details for donation.

At any time you can change your mind about whether you agree to us keeping your contact details, please email seatondelavalhall@nationaltrust.org.uk, or contact us on 0191 237 9100. The personal data in this Archive Donation Acceptance Form will be securely destroyed.    

“We” and “Us” means the National Trust, charity number 205846, and National Trust (Enterprises) Limited

COPYRIGHT (if applicable)

If you wish to sign over full copyright, please fill in SECTION ONE or if you wish to sign over partial copyright, please fill in SECTION TWO. If you DO NOT hold copyright, go directly to the ACCESS and REUSE section.

SECTION ONE – Full copyright

In respect of……………………………………………………………… [item being donated] made by ……………………………………………………………………………………………… [the donor’s name] being deposited with the National Trust and ………………………………………….. ……………………….[third-party archive], constituting a literary, dramatic or musical work, a database, an artistic work, a sound recordings or film as defined by the Copyright, Design and Patents Act, 1988.

I ………………………………………………………………………………………………………… [the donor’s name], as the present owner of the copyright in the contributor content, confirm that I hereby assign such copyright to the National Trust.

I also hereby waive any moral rights which I presently own in relation to this work on the understanding that third-parties may copy, distribute, display, or perform this licensed material – and works derived from it – for non-commercial purposes only. They must mark or describe any adaptations to my interview in their material. They must reference the National Trust.

The work will be attributed to me, and cannot be used for commercial purposes without the consent of the National Trust. Third-parties wishing to copy, distribute, or display licensed material for commercial use must approach the National Trust.

This Agreement will be governed by and construed in accordance with English law and the jurisdiction of the English courts. Both parties shall, by signing below, indicate acceptance of the Agreement.

Signed by or on behalf of the donor: ……………………………………………………………………………

Name in block capitals: ………………………………………………………………………………………………..

Date: ………………………….

Signed on behalf of National Trust: ………………………………………………………………………………..

Name in block capitals: ………………………………………………………………………………………………..

Date: ………………………….

SECTION TWO – Full copyright

In respect of……………………………………………………………… [item being donated] made by……………………………………………………………………………………………….. [the donor’s name] being deposited with the National Trust and ………………………………………………….. ……………….. [third-party archive], constituting a literary, dramatic or musical work, a database, an artistic work, a sound recordings or film as defined by the Copyright, Design and Patents Act, 1988.

I …………………………………………………………………………………………………… [the donor’s name], as the present owner of the copyright in the contributor content, confirm that I hereby give ………………………………………………….. [third-party archive] permission to use my donated item within their reading room and I also give the National Trust permission to use my donated item in the Seaton Delaval Hall Research Room.

The work will be attributed to me, and cannot be used for non-commercial or commercial purposes without my consent. Third-parties wishing to copy, distribute, or display licensed material for non-commercial or commercial use must approach me.

This Agreement will be governed by and construed in accordance with English law and the jurisdiction of the English courts. Both parties shall, by signing below, indicate acceptance of the Agreement.

Signed by or on behalf of the donor: ……………………………………………………………………………

Name in block capitals: ………………………………………………………………………………………………..

Date: ………………………….

Signed on behalf of National Trust: ………………………………………………………………………………..

Name in block capitals: ………………………………………………………………………………………………..

Date: ………………………….

ACCESS and REUSE

In donating my item and assigning my copyright (if applicable), I understand that I am giving the National Trust and ………………………………………………. [third-party archive] the right to use and make available the donated item in the following ways:

  • Use in colleges, schools, universities and other educational establishments, including use in a thesis, dissertation or similar research                

YES/NO

  • Public performance, lectures or talks     

YES/NO

  • Use in publications, including print, audio or video – cassettes, DVD, CD–Rom

YES/NO

  • Public Reference purposes (archive reading room(s) and the Research Room)

YES/NO

  • Use on radio and television

YES/NO

  • Publication worldwide on the Internet/use on social media

YES/NO

If you wish to add any additional access restrictions to the interview – either in full or particular parts for a period of up to 30 years – please specify these conditions in the space provided.

……………………………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………………………

OHD_RPT_0180 End of Placement Report SDH

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Placement Report

Seaton Delaval Hall

2nd Aug to 4th Nov

Hannah James Louwerse

The aims of the placement at Seaton Delaval Hall were to help set up a Research Room, continue conducting oral history interviews, and generally experience day-to-day life on a National Trust site in order to see how the systems and process of the National Trust will impact my designs.

The first aim, help set up a Research Room, resulted in a collection of outputs, which make up a foundation for the staff at the hall to build on in the future. It included: drafts of different forms, an indexing system, and a guide to the Research Room and its processes. The development of the Research Room and my outputs started with me looking into the possible storage options. However due to current developments within the National Trust’s IT systems I was slightly restricted and settled on creating a temporary solution that fits easily within the current IT system but can easily be adapted should the IT situation develop. Moving on from storage systems, I created a spreadsheet which functioned as a basic index for all the material the Trust holds outside of the collection. However, it quickly became apparent that filling in the index and moving material the Research Room was not possible without the correct paperwork. As the name suggests the Research Room is meant to hold, among other things, research. Research is a creative product, meaning whoever made it holds its copyright. For this reason, I created a series of forms that will assist in making the material accessible under copyright law, protecting both the original creator and the National Trust. In addition to copyright law, I also became familiar with the National Trust’s data protection policies as the forms I was making included the collecting of personal data. By the end of my placement, I gained a good base knowledge of data protection and copyright law, which I believe will be useful to have in situations beyond my PhD.

As for the second aim of continuing to collect oral history, because I was at the hall four days a week the staff got to know me and my work better, I believe this led to them actively helping me in finding more participants. I was therefore able to do four more interviews. I also created a prototype sound walk out of the oral history interviews, which takes you all around the property.

The third aim of simply experiencing the day-to-day life of a National Trust property was enlightening and led to some radical changes to my PhD. Most significantly I realised how different the collection of oral history on heritage sites is in comparison to academic oral history and community oral history. While academic and community oral history focus on the recording and analysing of people’s life stories, oral history on heritage sites is simply another thing they need to collect and maintain alongside everything else. This realisation impacted the framing of my PhD and has given me the opportunity to develop design solutions better tailored to fit the wider National Trust eco system.

OHD_WRT_0177 NT oral history experience

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To date I have collected ten oral history interviews with a wide range of people associated with Seaton Delaval Hall, from former residents to National Trust staff and volunteers. Overall, the experience has been positive for both myself and those I have interviewed. I have enjoyed listening to their stories and many have told me after the interview how much they enjoyed the experience. It is important to note I am recording under Newcastle University and not the National Trust. This means I need to follow the university’s ethics and data protection policies. However, during my three-month placement at Seaton Delaval Hall and my efforts to get the recordings archived, I developed a better understanding how recording oral history within the National Trust works.

If you type oral history into Acorn you get “the guide to setting up an oral history project.” Although sadly many of the links to other Trust oral history projects are dead-links, the guide gives a good foundation to recording oral history. The emphasis of working with The British Library and getting training from the Oral History Society which can be paid for by the Sir Laurie Magnus Bursary is great. I have come across many oral history projects where archiving is very much treated as an afterthought, so it is refreshing to see how the guide encourages working with an archivist throughout an oral history project. However, both the guide and the current permissions and copyright assignment form, which is to be used for archiving the recordings at the British Library, are not completely up to date with regards to data protection and the copyright assignment. There is little to no mention of GDPR and the copyright assignment looks a little too simple if compared to what copyright, data protection and licensing experts, Naomi Corn Associates, currently advise.

It is also important to point out that in the guide there is no mention of the ethical issues you need to consider when recording oral history, only a small paragraph on what to do in case the interviewee gets upset. Because I am recording oral histories via Newcastle University I had to go through thorough ethical approval. There is no such process within the National Trust.

Another slightly out of date element is the storing of the oral history recordings before they are archived. The guide focuses on an electronic cascading file system, which is fine. But it does not discuss the devices where these files need to be stored and I am pretty confident that the way the National Trust stores its files has clearly changed since the writing of this guide. I contacted the data protection office and they informed me that an oral history recording and its accompanying metadata needs to be stored on SharePoint for data protection reasons. This seems completely logical, only I was also informed by IT that they would prefer it if people did not have large WAV files on SharePoint because this interferes with the Trust’s carbon neutrality aims. I would also like to note that the archivists I have talked to emphasise that a digital file only exists if it is stored in three different places with at least one of them not being cloud based. There is therefore a slight conflict between data protection and IT, although I was later offered to upload my WAV files to the Seaton Delaval Hall SharePoint, after I mentioned this issue to a member of staff.

In addition to dissecting the Trust’s guide to oral history I have become familiar with the British Library’s cataloguing system – cadensa. It is definitely not the most user-friendly interface and the software company that developed it seems to no longer support cadense, which is slightly worrying. The National Trust audio collection at the British Library is their biggest collection with over 1000 entries but access to these recordings is limited due to the cadensa software. From the contact I have had with the British Library they are aware of their limitations and understand they might not be able to offer the best access to archived recordings. They are after all also working with limited resources.

What I believe I am able to concluded from my experience doing oral history recordings on a National Trust site, is that the foundations are there but they just need updating. By bringing together oral historians, IT support, the data protection office, archivists, and copyright experts one could easily update the guidance to make the process safer and more ethical.