The Canadian Culture Online Branch of the Department of Canadian Heritage, with a view to improving management of programs supporting the online availability of cultural and heritage content, is interested in the factors that affect the economic sustainability of online content. The Branch commissioned M2W to conduct an initial study on the subject, one with an international scope.
SUMMARY
RECOMMENDATIONS
CHAPTER 1 – INTRODUCTION
1.1 TERMS OF THE MANDATE
1.2 PARAMETERS AND STRUCTURE OF THE STUDY
1.3 CONTEXT CHAPTER 2 – INCREASING THE VALUE OF ONLINE DIGITAL CONTENT: THE DETERMINANTS
2.1 WHAT DOES VALUE MEAN ON THE INTERNET ?
2.11 Use Value and Exchange Value
2.12 Obstacles to Exchange Value on the Internet
2.13 Distribution and Exchange: Two Separate Sources of Value
2.2 THE PROPERTIES OF INTERNET CONTENT
2.21 Methods of Transmission
Box: Cipher, or Banking on Ready-to-Run Communities
2.22 Positioning: Is the Internet the Aim?
2.23 Reusable Content
2.3 CHARACTERISTICS OF USE
2.31 Levels of Interactivity
2.32 Levels of Appropriation
Box: A Community that Supports Music
2.34 Characteristics of and Changes in Use
2.4 IDENTIFYING AUDIENCES
2.41 The Audience
2.42 Size of the Target Audience
2.43 Geography of Projects
2.44 Interoperability
CHAPTER 3 – FUNDING ONLINE DIGITAL CONTENT: THEORETICAL ELEMENTS
3.1 THE COMMERCIAL INTERNET: THE PROMISE AND THE REALITY
Box: Entropy8zuper.org: Cyberart and the Paid Experience?
3.2 THREE MAJOR CLASSES OF ECONOMIC MODELS: WHO PAYS, AND WHY ?
3.21 When the Client Pays
3.22 When the Provider Pays
3.23 When a Third Party Pays
3.3 BUSINESS STRATEGIES: WHO DOES WHAT AND FOR WHOM ?
3.31 The Brokerage Model
3.32 The Advertising Model
3.33 The Infomediary Model
3.34 The Merchant Model
3.35 The Manufacturer (Direct) Model
3.36 The Affiliate Model
3.37 The Community Model
3.38 The Subscription Model
3.39 The Utility Model
3.4 Understanding Economic Models Based on Business Models
Table: Summary of Online Content Models Based on Whether or Not the User Is the Payer
3.5 COST REDUCTION STRATEGIES
3.6 WEB
CONTENT: FREE OR PAID ?
3.61 Will the Web Become a Paid Medium?
3.62 Online Culture: Free or Paid?
3.7 TOWARD A MIXED MODEL
3.8 IMPERATIVES FOR ANY WEB-BASED BUSINESS MODEL
3.81 The Attention Economy
3.82 Trust: A Source of Value
3.9 ORGANIZATIONAL IMPACT OF THE ATTENTION ECONOMY CHAPTER 4 – ENSURING THE ECONOMIC SUSTAINABILITY OF ONLINE CULTURAL PROJECTS: FAR FROM STANDARD MODELS
4.1 CASE STUDIES
4.11 Photo.net
4.12 Rhizome.org
4.13 The Louvre Museum
4.14 The Metropolitan Museum of Art
4.15 Cmathématique
4.16 Educal.com
4.17 SCRAN
4.18 Fathom.com
4.2 PROMISING TRENDS ON THE INTERNET
4.21 The Mixed Content Approach
4.22 Taking Advantage of the Internet to Cut Costs
4.23 Reuse of Content
4.24 Cybercommunities
4.25 Payment by Flagships
4.26 Multi-Distribution
CHAPTER 5 –IDENTIFYING THE TECHNICAL AND TECHNOLOGICAL RISKS THAT AFFECT THE ECONOMIC SUSTAINABILITY OF ONLINE CULTURAL CONTENT AND THE CONSERVATION OF DIGITIZED HERITAGE
5.1 FORMS OF OBSOLESCENCE
5.11 Obsolescence of Equipment
5.12 Obsolescence of Media
5.13 Obsolescence of Formats
5.14 Obsolescence of Content
5.15 Obsolescence of Use
5.2 PREPARING FOR THE FUTURE
5.21 Financial Issues
5.22 Metadata
CHAPTER 6 – LEGAL ASPECTS OF ONLINE CULTURAL CONTENT AND HOW THEY AFFECT THE CULTURAL WEB
6.1 RIGHTS THAT ARE DIFFICULT TO EVALUATE AND OBTAIN
6.11 Impact on the Industry
6.2 CHANGES IN COPYRIGHT
6.21 Re-establishing the Balance Between Authors and Distributors
6.22 Copyright Collectives
6.3 THE NEW NEEDS OFARCHIVISTS
6.31 The Explosion of Digital Culture
6.32 Why Archive the Web?
6.33 The Findings of Several National Experiments
CONCLUSION
APPENDIX 1: OTHER DETERMINANTS OF VALUE ON THE INTERNET
APPENDIX 2: EXTENDING LEGAL DEPOSIT
BIBLIOGRAPHY
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Ensuring The Sustainability of Online Cultural and Heritage Content
