The i2010 strategy announced the intention to promote and support the creation of a European digital library which aims to foster growth in the information society and media industries. EDLnet was aimed at building a prototype of a cross-border, cross-domain, user-centred service. It was funded by the European Commission under its eContentplus programme, one of the research and development funding streams of i2010. The New Renaissance Report by Comite des Sages - about bringing Europe’s cultural heritage online - said ‘All public domain masterpieces should be brought into Europeana’ and that ‘Public funding for digitisation should be conditional on free accessibility through Europeana’.
The Strategic Plan 2011-2015 separates activity into four tracks. The Strategic Plan isn’t just a high level document, it translates to the work we carry out on a day-to-day basis and to each individual’s responsibilities. Aggregate: source content (increasing diversity); expand the network; improve data quality Facilitate: Strengthen advocacy (e.g. defend public domain); share knowledge among heritage professionals; foster research & development Distribute: Develop partnerships to deliver content in new ways, upgrade portal, put content in users’ workflow Engage: Enhance users’ experience; extend social media presence; broker new user/curator relationships (e.g. Europeana 1914-1918 UGC)
The governance of Europeana ensures integration and collaboration between the cultural heritage domains at the policy and strategy level. That has enabled Europeana to achieve the scale and scope of content realised to date. This list of the Board of Participants includes the chairs and presidents of all the international associactions for cultural heritage, giving Europeana stakeholder engagement at the highest level.
Image is the dominant type Text is increasing Video and sound are still more challenging and costly to digitise with copyright and production issues Europeana actively tries to increase the video and audio content, which is also reflected in its content strategy.
Les Miserables: Victor Hugo’s handwritten manuscripts: http://www.europeana.eu/portal/record/9200103/5372912AF66AB529E188218BC1F747E75EB1A18F.html BnF, public domain Matisse ‘53 in the form of a double helix’ http://www.europeana.eu/portal/record/9200104/F8D60AB9136C8A59B59DF1CFEC278A6CABA8B0C6.htmlThe Wellcome Library (CC-BY-NC-ND) ‘söprűtánc’ – Hungarian traditional dance http://www.europeana.eu/portal/record/08901/E1A7B01BE4AED87FD239672F4F3941F52262D6B2.html Hungarian Academy of Sciences Institute for Musicology, public domain ‘Neurologico reggae’ Music album http://www.europeana.eu/portal/record/08901/ADC241BCBF8470988DBA6EEAFCF13F14D88E5534.html DISMARC – EuropeanaConnect Paid Access ‘Castle of Kavala’ 3D exploration of a Greek castle http://www.europeana.eu/portal/record/2020703/05607B24D15BD516EE2B765F74CDA39C7427F7FB.html Cultural and Educational Technology Institute - Research Centre Athen CARARE CC-BY-NC-ND
Example used is: http://preview.europeana.eu/portal/record/90402/174D436CF5C61F8AA999090C98DA48B9C7024087.html Een vrouw met een kind in een kelderkamer by Pieter de Hooch, Rijksmuseum, public domain
An aggregator in the context of Europeana is an organisation that collects metadata from a group of data providers and transmits them to Europeana. Aggregators also support the data providers with administration, operations and training. Europeana aims to create strong partnerships and to support the developments of aggregators on a national level in Europe and of pan-European aggregators representing a specific domain or sector. Besides getting direct data contributions from national aggregation initiatives, Europeana gets contributions from pan-European aggregators as, for example, EU-funded projects representing a specific segment or sector, like the Euroepan Film Gateway. These projects enable large amounts of data to be provided to Europeana. The aggregators also improve data, solve language issues and develop new technologies.
At a working level, we operate in a network of aggregators. We can’t work directly with 2,200 organisations, so we rely on aggregators to collect data, harmonise it, and deliver to Europeana. Aggregators are important because they share a background with the organisations whose content they bring together, so there is close understanding.The aggregation model enables Europeana to collect huge quantities of data from thousands of providers, through only a handful of channels.
Europeana’s content providers/aggregators represent or are linked to an estimated 60,000 content suppliers. 2,200 of those are actively supplying metadata via 150 aggregators. 28 current projects are supplying content on specific content areas for example newspapers, audiovisual records, fashion. 21 national initiatives are operating or starting in 2013. 28% of metadata comes from aggregators, 30% from projects and 32% from others such as direct suppliers.
Germany 15.44% France 10.97% Netherlands 9.67% Sweden 9.44% Spain 9.98% UK 6.98% Norway 6.60% Italy 5.4% Ireland 4.04% Poland 4.02% Europe 3.95% Finland 2.95% Austria 2.05% Belgium 1.61% Hungary 1.26%
The Data Exchange Information Form identifies types and numbers of objects, data owners etc. According to this information, Europeana will be able to decide whether the partner can provide the data directly or whether it will be re-routed through other aggregators such as projects or national initiatives. The Data Exchange Agreement formalises the collaboration between Europeana and Cultural Heritage Organisation. The Content Contribution Form contains: type of submission (new/update), licensing and metadata information, transfer mechanism that will be used (preferably OAI-PMH) etc. When the operations are completed the Cultural Heritage Organisation receives a notification from the Europeana Operations Team that the data is published on the Europeana Portal. When the Cultural Heritage Organisation updates or creates new datasets, the Europeana Operations Team will repeat the final steps.
1. The Europeana Data Exchange Agreement (DEA) structures the relationship of Europeana and its data providers. It details the exchange whereby data providers receive back enriched metadata as well as access to other metadata of interest. It establishes rules for updating and deleting metadata stored by Europeana and deals with issues such as liability and removal of data at the request of third parties. 2. The Creative Commons Zero Universal Public Domain Dedication (CC0 waiver). The CC0 waiver is a legal tool that has been developed by Creative Commons for making data available without restrictions on re-use. This means that anyone can use the metadata published by Europeana for any purpose without any restrictions whatsoever. 3. The Europeana Data Use Guidelines. These guidelines make best practice requests to users of the metadata. The Data Use Guidelines deal with issues like attribution and Data integrity. 4. The Europeana terms for user contributions. These terms apply to end users who contribute content to Europeana, so that Europeana can use content provided by its users and integrate it with other Europeana-held content and data. 5. The EDM rights field of the Europeana Data Model. The Europeana Data Model Specifies how data needs to be formatted so that Europeana can use it. This specification includes rights information relating to digital objects that are made available via Europeana.
Poisonous nature exhibition includes content from Europeana, http://poisonousnature.biodiversityexhibition.com/ Europeana Fashion portal will go live in May 2013
Data is available as ‘data dumps’ for Linked Open Data initiatives from data.europeana.eu. Europeana&apos;s move to CC0 is a step change in open data access. Releasing data from across the memory organisations of every EU country sets an important new international precedent, a decisive move away from the world of closed and controlled data. Note that previews can only be used in accordance with the rights information displayed next to them. HISPANA and Partage Plus both use the Europeana API to include Europeana search results on their own websites
Practical examples of our support for innovation Art Space promotes access to art in everyday situations i.e. Europeana collections can be made available in public places such as coffee shops, libraries, schools, and hotels. Making use of LCD displays and an online Collection Management System allows a ‘Virtual art leasing’ service and a highly personalised curation.
Practical examples of our support for innovation We are particularly interested in developing apps and other services around cultural tourism and education This one is a geolocation app – you take a picture of a site or monument today, and using the geolocation co-ordinates, it can bring up earlier pictures held in the Euroepana database
Click on the still to go to the video at http://vimeo.com/36752317 if you have internet connection
Europeana Essentials - Latest
Essentials: Facts & Figures
Europeana Essentials: how to use it
This presentation aims to provide you with some key
information about Europeana
Please pick and choose the slides you need to add to your
The topics covered are:
• What is Europeana?
• What does Europeana provide?
• Who provides content to Europeana?
• Europeana Licensing Framework
• Re-use of Europeana data
The information in this presentation is correct as of April 2014
Europeana’s vision and mission
Europeana is a catalyst for change in the world of
Our mission: The Europeana Foundation and its Network
create new ways for people to engage with their cultural
history, whether it’s for work, learning or pleasure.
Our vision: We believe in making cultural heritage openly
accessible in a digital way, to promote the exchange of ideas
and information. This helps us all to understand our cultural
diversity better and contributes to a thriving knowledge
31.5m records from
archives and libraries
journals, letters, diaries,
Music, spoken word,
Europe’s cultural heritage portal
The Digital Agenda for Europe
‘Europe has probably the world's greatest
cultural heritage. Digitisation brings culture
into people's homes and is a valuable
resource for education, tourism, games,
animation and the whole creative industry.
Investing in digitisation will create new
companies and generate new jobs.’
Europeana is Europe’s ‘flagship digitisation
project’ and ‘one of Europe’s most
amibitious cultural projects, and a
successful one. It is a trusted source for our
collective memory and a representation of
European cultural heritage online.’
for the Digital Agenda
History of Europeana
April 2005: Jacques Chirac wrote to European Commission President
José Manuel Barroso, recommending the creation of a virtual
EC’s Information Society and Media Directorate had been supporting
European digital information exchange projects for 15 years
September 2005: publication of EC’s i2010 strategy on digital libraries
2007: European Digital Library Network – EDLnet – began building
Europeana, funded under i2010
November 2008: Europeana prototype launched
Summer 2010: prototype became an operational service funded under
the EC’s CIP ICT-PSP (Competitiveness and Innovation Framework
January 2011: New Renaissance Report published - endorses
Europeana as ‘the reference point for European culture online’
September 2012: Europeana metadata released under CC0 waiver,
making it freely available for re-use
Strategic Plan 2011-2015
Engage – We cultivate new ways
for people to participate in their
Aggregate – We are building the open,
trusted source for European cultural content
Facilitate – We support the cultural
heritage sector through knowledge
transfer, innovation and advocacy
Distribute – We make heritage available to
people wherever they are, whenever they
• Currently 8 members
Board of participants
• 20 organisations plus
6 elected Network Officers
• 900 members elect
the 6 Network Officers
• 40+ members of staff based in
The Hague and the UK
Over a thousand people working on Europeana-related
projects, activities and Task Forces across Europe
Conference of European National
Consortium of European Research
European Museum Academy (EMA)
European Museum Forum (EMF)
European Regional Branch of the
International Council on Archives
International Federation of Television
International Association of Sound and
Audiovisual Archives (IASA)
International Council of Museums
Ligue des Bibliothèques Européennes
de Recherche (LIBER)
Multilingual Inventory of Cultural
Heritage in Europe (MICHAEL)
National Authorities on Public Libraries
in Europe (NAPLE)
Network of European Museum
Open Access Publishing in European
31.5 million items
• From every domain
e.g. galleries, libraries,
• From all 27 EU member
states, plus an additional 7
Portal interface available in 31
15,052 3D objects
Video and sound = 2.5% of
Europeana content but
research shows that users are
10-times more likely to click on
audiovisual content than any
What types of data does Europeana hold?
Texts Images Video Sound 3D
What makes up a Europeana record?
Link to digital
How does Europeana get its content?
Through its aggregation structure, Europeana represents 2,300
organisations across Europe
From 150 Aggregators
• Promoting national aggregation structures
• More efficient than working with every individual content provider
• Helps to achieve international standardisation
End-user generated content
• Crowd-sourcing projects such as Europeana 1914-1918 and
Who submits data to Europeana?
Domain Aggregators National initiatives
e.g. Judaica Europeana,
Types of aggregators
Countries providing content – top 16
Germany France Spain Netherlands Sweden Italy
UK Europe Norway Poland Ireland Finland
Belgium Denmark Hungary Austria
The Europeana Licensing Framework
The Framework consists of:
Europeana Data Exchange
Creative Commons Zero
Universal Public Domain
Dedication (CC0 waiver)
Europeana Data Use Guidelines
Europeana Terms for User
EDM:rights field of the
Europeana Data Model
These elements ensure all data can
be aggregated and freely re-used.
How do users access Europeana
Europeana aims to provide content in the users’ workflow –
where they want it, when they want it.
• e.g. via searches, virtual exhibitions, featured items
• e.g. BHL- Poisonous Nature, Europeana Fashion
Websites and apps using Europeana API – devised at
hackathons or independently
• e.g. Facebook, Twitter, Pinterest, Retronaut
Europeana’s huge cultural dataset open for re-use
As of September 2012, Europeana’s metadata became
available free of restrictions under the terms of the Creative
Commons Zero Public Domain Dedication – CC0.
Great news for developers
• Hack4Europe! is a series of hack days held in different
locations across Europe, where developers have access to the
API and two days to create an app using it.
• Search widgets for websites, e.g. National Library of Ireland
catalogue, Partage Plus
• Independent development – anyone can request API-keys
• Linked Open Data – a subset of data is available for use in LOD
Hackathons to develop innovative new apps:
Hackathons to develop innovative new apps: