英语论文网

      尽管有这些使用数字博物馆的好处，有两个主要的争议，本文将对此进行详细系统的分析说明。首先，已经有越来越多的关注，当它涉及到版权侵犯他们可能allowoccur。虽然不是所有的材料受版权保护，现代的作品不能自由分布。这其实是一个数字博物馆不得不面临的主要障碍，因为来自法律和金融和作品的所有者之间的安排可以是非常昂贵和麻烦。这不仅是因为通常的障碍，而且还因为它是，事实上，为了保护特定版权一旦上线很困难。这是很难衡量的网络著作权侵权的严重程度，和更加有艺术著作权侵权的一个清晰的概念，但是有一些数据，应考虑。例如，美国唱片工业协会的（2012）的计算，只是所有的音乐，获得全球只有37%是合法取得。同样，在视频游戏行业，盗版率可以从40%到80%，取决于该国（斯文森，2012）。尽管这些都是完全不同的市场，这表明它是多么困难会限制非法复制和商业化的艺术，它一旦进入互联网。因此，艺术的盗版的潜力似乎很真实，有什么可以做，以防止它没有明确的答案。
      Despite these various benefits of employing digital museums, there have been two main controversies surrounding them. First and foremost, there has been an increasing concern when it comes to the copyright infringement they can potentially allowoccur. While not all material is restricted by copyright, contemporary pieces cannot be freely distributed. This has actually been one of the main obstacles that digital museums have had to face, because coming to a legal and financial arrangement between them and the owner of the piece can be a very expensive and logistically troublesome. This is not only because of the usual impediments but also because it is, in fact, very difficult to protect the copyright of a specific piece once it goes online. It is difficult to measure how serious is copyright infringement on the Internet, and even more to have a clear idea of art copyright infringement, however there is some data available that should be considered. For example, the Recording Industry Association of America (2012) media calculates that only of all the music that is acquired globally only 37% is obtained legally. Likewise, in the video games industry, the piracy rate can go from 40% to 80% depending on the country (Svensson, 2012). Even though these are entirely different markets, this data shows just how difficult it would be to restrict the illegal reproduction and commercialization of art once it reaches the Internet. Therefore, the potential of art piracy seems very real and there is no clear answer to what could be done to prevent it.
      In addition to the copyright concerns, the rise of digital museums has spurred the debate about the possibility of them being detrimental, or even replacing, ordinary museums. Some experts worry that people will be satisfied by looking at the artifact online and lose interest in an ordinary museum to observe the real one. At first this concern would seem reasonable; after all going to the museum can be physically draining and the higher digital resolutions offer much more vivid images than before. Most of these controversies, however, seem to be based on a general disinformation about what is the use of digital museums. With this in mind Marty (2008) developed a nationwide survey to the users of seven different museums in Australia. His results showed that the typical online museum visitor that completed the survey visit museums approximately four times a year, visits museum websites approximately once a week, and considers it very important for museums to have museum web sites. In addition to this, possibly the most important result he found is that digital museums seem to complement, rather than replace, traditional ones. For example, 61% of the responders thought that digital museums were particularly good for accessing research materials and for educational actives; while 67% of them agreed that analog museums were the best alternatives for exploring the collections. Consequ