Adding, sharing, growing, caring_IIFIEC_09112012

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Keynote at 2nd International Forum of Cultural Infrastructures, Cidade de Cultura, Santiago de Compostela, November 9th 2012, #IIFIEC

Keynote at 2nd International Forum of Cultural Infrastructures, Cidade de Cultura, Santiago de Compostela, November 9th 2012, #IIFIEC

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    Feliz mes nuevo abundante de noviembre,

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    Espero que estés bien y que todo está bien con usted? gracias God.My nombre es jenifer PETERSON. (estoy buscando una buena relación y además que tenga propuesta de negocios con usted) si lo desea. por favor, escríbeme mensaje a mi buzón de correo electrónico
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    Happy abundant new month of November,

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    how are you today?
    I hope you are fine and all is well with you ? thank God.My name is JENIFER PETERSON .(i am looking for a good relationship and also to have business proposal with you )if you want. please write me message to my email box
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  • My motto. I am an Art Historian. I get lost in tech discussions. But even I can see the enormous potentials of the infrastructure and openness of digital media in museums. I obviously care a great deal about art and cultural heritage. I see it as my foremost task to spread that joy, to contribute to building an environment where people will care for cultural heritage. Museums need users to care as much as we do. In order to make that happen, we need to allow users to own, share and use our assets – otherwise they won’t be useful to them, and then why should they care?
  • This question is crucial to me. As I see it, museums should want nothing more than to have our images be among those that are used.
  • It is different from analog in that digital is perfect copies that can be shared, so everyone can have theirs.
  • Substantial evidence suggesting that most museums are losing money on traditional image licensing Digital infrastructure makes life much easier – it lightens the burden of administration both for museums and users It is in harmony with our mission
  • How can museums add quality and value to the Internet
  • Be among the images that can be used! Various degrees of free availability
  • Kernen i strategien er SI Commons, der bygger på grundidéen om at fri adgang skaber mere værdi. En ny tilgang til kulturarvsinstitutioners rolle og forretningsmodeller, som underbygges af det omfattende strategipapir, og den fortsat voksende wiki.
  • Europeana, the network of 2,200 museums, libraries and archives that have managed to get all its members to agree to a new data licensing agreement that has given more than 20 million digital records back to the Public Domain.
  • So the question I ask myself is rather:
  • The question I ask myself is rather:
  • These are very real fears. But they are also being refuted by numerous examples from pioneer institutions who dare to share.
  • One example is the Rijksmuseum: Rijskmuseum’s new business model based on free download Their collections are of course very popular And they just launched so don’t have data yet But their API hasn’t lost them money (yet) Usability and generous gesture can be expected to be awarded
  • As Lizzy Jongma says in an email where she shared the story of the Rijksmuseum’s open API - and yes, she did allow me to quote from it – their primary mission as a research institution and national museum is to ”tell the truth”. That is why they made the principle decision to provide images in the best available resolution for detailed scrutiny.
  • One brilliant result being that their CC0 licensed high resolution images are harvested by Wikimedia where they push out the poor book scans that used to represent their beautiful artworks.
  • Thus making them available to be used in Wikipedia articles, blogs, publications, videos, apps etc.
  • And inviting users to create new stuff on top of their free images
  • And smart people like Harry Verwayen of Europeana and Michael Edson of Smithsonian are researching ways for heritage institutions to develop new business models that are in harmony with mission and potentially on a much larger scale than the revenue we are currently getting out of traditional image licensing.
  • The invitation for SMK to join the Google Art Project gave us a chance to do just that. We contributed a selection of highlights from our collections for the launch of version 2 of GAP in April 2012, seeing this as an excellent opportunity to reach out to new and wider audiences on an international platform.
  • What we did was create a simple and no nonsense page on our museum website where you can download the hires images that we feature in GAP. They are free and available in the highest resolution available ranging from 10 to 400 MB.
  • As long as you credit the source
  • To be used in social media To be available for Wikipedia To ensure that users can find the source
  • Throughout these pilots, we have learned that the Danish art museums are just waiting for the National Gallery to take leadership in the change process. Here, we could take the lead from Yale who (though on a completely different scale) has provided thought leadership in the US museum community: “Discussion among twenty of the largest museums at the Mellon Foundation last year made clear that they as a community are ready to embrace new policies, requiring only a leader they can point to in order to effect similar policy with their boards.” (Yale memo as cited on slide 3). If we take on the coordinating role, and move first by sharing our assets for free, our colleague institutions are likely to follow.
  • It works like this: Simply click the link and you can save the beautiful large image file on your computer.
  • These are not analyzed data, but they point in the direction that was also put forward ysterday at the Building the Cultural Commons session, that even just a tiny fraction of a body of digitized resources made freely available has great impact and raises much attention. There is a real demand for free museum images.
  • In February 2012, I was at a dinner party with some friends. One of the guests is an art historian who works as a critic at a Danish newspaper, and teaches at different adult learning institutions. She told an anecdote that made me stop in my tracks: She was in the process of preparing a class at Folkeuniversitetet and she needed some high quality zoomable images by Lucas Cranach t.e. (1472-1553) for her presentation. She knew the artworks were in SMK’s collections and had searched the museum’s website for the images but realized that it would cost her 50 DKK for each image to use them in this educational context. I know that the fee for teaching a class at Folkeuniversitetet is a little below 2,000 DKK which means after tax there remains 1,000 DKK. If she wanted just 10 images from SMK she would have to spend half her fee on images! So she decided not to use the professional photographs available from the owner museum, and instead searched the web for free images in lower quality.
  • Lucas Cranach’s work has been in the Public Domain for 389 years. Is it the mission and purpose of the National Gallery of Denmark to inhibit the use and circulation of this common cultural heritage for educational and other uses? From this anecdote I positively knew that there would be a demand for Cranach’s images, and it proves a point to me that one of his paintings come in as third most downloaded.
  • They are being used in social media
  • And wikipedia
  • These are some obvious common challenges that museums face in web 2.0 reality: Most Danish museums have insufficient capacity/means to utilize digital media potentials and offer the services that users are more and more expecting, for instance mobile platforms and easy online access to digitized resources. The museums are already struggling to meet the demands of the Danish Museum Law requiring us to do collection, registration, research, conservation and education. The demand to also provide online/mobile access is still relatively new, and still widely perceived as a ’nice to have’ add-on in many museums. We work in a silo culture of reinventing the wheel over and over again, custombuilding our own individual systems and apps that aren’t compatible with each other. And once we’ve all made our own individual systems, we realize that we forgot to think about maintaining/sustaining them. We are used to fencing in our digitized collections and charging for access to and use of them. Our business models define images as assets we can sell to make money. The fact is, though, that hardly no museums are making real money from this – on the contrary it is losing us money . At the same time, there is a growing awareness that we need to do things differently to ensure our relevance to new generations of users. It is a standard joke that our typical user is a highly educated woman, 55 years old or more, from the most wealthy third of the population. We all realize that this is not a sustainable situation. And it is not in balance with the fundamental mission of museums to reach out and make art and culture meaningful to the whole society. I’m stating the obvious, I know. But while it may sound trivial here in this crowd I tell you, it’s still a pipe dream to many museum professionals. Take it from one!
  • Again, I’m stating the obvious, but again I must stress that this is an ongoing discussion even at the largest art museum in Denmark to get these things written into our core mission and permament budgets.
  • So; what to do about it? Like so many other GLAM people I have been using the incremental change method to try and make things happen. Think big – Start small – Move fast.
  • Since 2009 we have invited colleague museums to join pilot projects exploring the benefits of sharing digitized content for free and collaborating on shared technological platforms. Building cultural infrastructures is at the heart of our endeavours, and SMK – being the principal museum of fine arts in Denmark – should be the spider in the web.
  • The number of partnering museums have grown
  • And grown to currently 11 museums.
  • Our current project is to build a shared mobile platform that will put the principles of free image sharing into practice in a coordinated effort. We have established three principles that will shape the platform.
  • The three principles are realized through the Twitter API. Twitter has all the features we need, and users are already there and familiar with the functionalities and platform. In practice, using Twitter as our platform means that: All artworks will be equipped with individual hashtags Comments can be maximum 140 characters All senders are named and have profiles, creating a democratic environment for interaction and dialogue All languages are represented It is easy to create relations to online content (links, pictures, full text, videos…) which gives museums an opportunity to link to and activate all their rich content about their collections, and create relations between artworks in different collections The partner institutions will not carry the burden of maintaining the platform – minimum effort required both in terms of content production and technological support, in order to make the collaboration realistic
  • Our main objective:
  • Is to inspire users to look closer at the artworks.
  • So far, we have tested the concept in three of the partner museums:
  • SMK: http://www.smk.dk/en / J.F. Willumsens Museum: http://www.jfwillumsensmuseum.dk/index.php?id=1&L=1 Ribe Kunstmuseum: http://www.ribekunstmuseum.dk /
  • We used a very simple testing method to get users to respond to the concept alone without technological issues standing in the way. Our objective being to learn if the users would be urged to look closer and deeper by way of the Twitter-specific features of short comments opening up to related artworks and richer content.
  • It worked like this: A pile of short comments about a specific artwork was stuffed into a white envelope. The comments that were useful to the test user were stashed in a green envelope, the comments that were not useful went into the red envelope.
  • After testing like this in front of 4 artworks in the galleries, a short survey was filled out…
  • … followed by a focus group discussion.
  • Comments opened users’ eyes and made them interested in knowing more about the artworks and artists Users especially enjoyed comments that: Showed relations to other artworks Factual info on artwork and artist Open-ended questions They are excited at the option to post questions to museum experts and receive replies The knowledge of museum experts is crucial to the user experience
  • The limitation to 140 characters potentially encouraged users to contribute: a manageable task. The democratic multitude of voices had the same effect. Possible side effects too: Confusion Distraction/ ”noise” Especially interested in posting two kinds of comments: Direct questions to museum experts and receive reply Sharing links to related artworks or the like that they thought of
  • Users want a shared museum visit experience Tasks Battle Learning/education Use situations outside museum space Save links for later Explore art and relations between them Preparation for learning situations International users
  • ” A veritable law in social media is that to get a system that is large and good, it is far better to start with a system that is small and good and work on making it bigger than to start with a system that is large and mediocre and working on making it better.” (p. 194) ”… we can’t predict how people will react to a gvien opportunity. Why would users care about this particular opportunity, given all the other things they could be doing with their time? New ideas seem clearer and more obviously good to the founders and designers of a service than to potential users…” (p. 195) ” No one gets it right the first time (…) the imperative is to learn from failure, adapt, and learn again.” (p. 203) ” If you want to solve hard problems, have hard problems” (Brewster Kahle) … ”it is more important to try something new, and work on the problems as they arise, than to figure out a way to do something new without having any problems.” (p. 205) ” The single greatest predictor of how much value we get out of our cognitive surplus is how much we allow ourselves to experiment, because the only group that can try everything is everybody.” (p. 207) ” The opportunity before us (…) is enormous; what we do with it will be determined largely by how well we are able to imagine and reward public creativity, participation, and sharing.” (p. 212)
  • ” A veritable law in social media is that to get a system that is large and good, it is far better to start with a system that is small and good and work on making it bigger than to start with a system that is large and mediocre and working on making it better.” (p. 194) ”… we can’t predict how people will react to a gvien opportunity. Why would users care about this particular opportunity, given all the other things they could be doing with their time? New ideas seem clearer and more obviously good to the founders and designers of a service than to potential users…” (p. 195) ” No one gets it right the first time (…) the imperative is to learn from failure, adapt, and learn again.” (p. 203) ” If you want to solve hard problems, have hard problems” (Brewster Kahle) … ”it is more important to try something new, and work on the problems as they arise, than to figure out a way to do something new without having any problems.” (p. 205) ” The single greatest predictor of how much value we get out of our cognitive surplus is how much we allow ourselves to experiment, because the only group that can try everything is everybody.” (p. 207) ” The opportunity before us (…) is enormous; what we do with it will be determined largely by how well we are able to imagine and reward public creativity, participation, and sharing.” (p. 212)
  • ” A veritable law in social media is that to get a system that is large and good, it is far better to start with a system that is small and good and work on making it bigger than to start with a system that is large and mediocre and working on making it better.” (p. 194) ”… we can’t predict how people will react to a gvien opportunity. Why would users care about this particular opportunity, given all the other things they could be doing with their time? New ideas seem clearer and more obviously good to the founders and designers of a service than to potential users…” (p. 195) ” No one gets it right the first time (…) the imperative is to learn from failure, adapt, and learn again.” (p. 203) ” If you want to solve hard problems, have hard problems” (Brewster Kahle) … ”it is more important to try something new, and work on the problems as they arise, than to figure out a way to do something new without having any problems.” (p. 205) ” The single greatest predictor of how much value we get out of our cognitive surplus is how much we allow ourselves to experiment, because the only group that can try everything is everybody.” (p. 207) ” The opportunity before us (…) is enormous; what we do with it will be determined largely by how well we are able to imagine and reward public creativity, participation, and sharing.” (p. 212)
  • ” A veritable law in social media is that to get a system that is large and good, it is far better to start with a system that is small and good and work on making it bigger than to start with a system that is large and mediocre and working on making it better.” (p. 194) ”… we can’t predict how people will react to a gvien opportunity. Why would users care about this particular opportunity, given all the other things they could be doing with their time? New ideas seem clearer and more obviously good to the founders and designers of a service than to potential users…” (p. 195) ” No one gets it right the first time (…) the imperative is to learn from failure, adapt, and learn again.” (p. 203) ” If you want to solve hard problems, have hard problems” (Brewster Kahle) … ”it is more important to try something new, and work on the problems as they arise, than to figure out a way to do something new without having any problems.” (p. 205) ” The single greatest predictor of how much value we get out of our cognitive surplus is how much we allow ourselves to experiment, because the only group that can try everything is everybody.” (p. 207) ” The opportunity before us (…) is enormous; what we do with it will be determined largely by how well we are able to imagine and reward public creativity, participation, and sharing.” (p. 212)
  • Next step is to build a betaversion that will pool together hires images from the partner museums in a shared platform based on Twitter’s API. The museums will work together to create relations between our charter collections that will be free to share and reuse. In the pilot project, images will be manually delivered and uploaded by the partner museums, but once the platform is tested and ready to be implemented the plan is to use API’s to automatically draw images and data. We have no illusion that this project will magically solve all the challenges we address, but it is a way to get started working together towards shared solutions and a paradigm of openness. As the platform is going to be multilingual and art has no boundaries, everyone who has Public Domain images to share are welcome to join. If you have the content, we have the platform! Spread the word. Call me. Email me. Tweet me.
  • For brugerne Nem og gratis adgang til viden, oplevelser og redskaber Mulighed for at udvikle nye produkter og tjenester For museerne Større eksponering og cirkulation (delingskultur) Øget brug af fælles kulturarvsressourcer Mulighed for at udvikle nye forretningsmodeller i harmoni med museets mission og nutidens medievirkelighed For samfundet Kulturarv som redskab til innovation og kreativitet Støtte en fri, lige og demokratisk adgang til kulturarven
  • The international GLAM seminar ”Sharing is Caring – Let’s Get Real” will take place on December 12, 2012 in Copenhagen. We hope you will join us via the livestream.
  • The international GLAM seminar ”Sharing is Caring – Let’s Get Real” will take place on December 12, 2012 in Copenhagen. We hope you will join us via the livestream.

Transcript

  • 1. Merete Sanderhoff merete.sanderhoff@smk.dk @MSanderhoff adding, sharing, growing, caringhow do we care for cultural heritage today? 2. International Forum On Cultural Infrastructures Santiago de Compostela
  • 2. ¡hola! @MSanderhoffwww.slideshare.net/MereteSanderhoff
  • 3. Agendaadding how can museums add value to the Internetsharing which resources are we sharinggrowing what are we doing to grow the sharing movementcaring how do we care for cultural heritage
  • 4. from the Danishcultural sector!
  • 5. Uffe Elbæk Minister of Culture The Danish government has secured 20 million DKK more to the cultural sector. The agreement maintains the free entrance to Statens Museum for Kunst.http://kum.dk/nyheder-og-presse/pressemeddelelser/2012/november/finanslov-2013-penge-til-statens-museum-for-kunst-den-gamle-by-og-fregatten-jylland/
  • 6. ”…what does it mean that there aremillions of images on the web that weare not allowed to touch while at thesame time there are other millions ofimages that we can actually use?” Peter Leth, Creative Commons For All (in Danish only), 2011 @peterleth1 http://www.creativecommons.dk/?p=537
  • 7. digital wantsto be shared
  • 8. Why sharing is a GREAT ideaeconomic traditional image licensing is losing us moneyworkflow digital infrastructure makes life easiermission cultural heritage belongs to us all
  • 9. use = value
  • 10. www.commodityonline.com
  • 11. adding
  • 12. Pioneers
  • 13. “The preservation, transmission, andadvancement of knowledge in thedigital age are promoted by theunencumbered use and reuse ofdigitized content for research,teaching, learning, and creativeactivities.” Memo on open access to digital representations of works in the public domain from museum, library, and archive collections at Yale University May 2011 http://odai.yale.edu/sites/default/files/OpenAccessLAMSFinal.pdf
  • 14. “Our understanding of research,education, artistic creativity, and theprogress of knowledge is built uponthe axiom that no idea stands alone,and that all innovation is built on theideas and innovation of others.” Smithsonian Web and New Media Strategy, Version 1.0, 7/30/2009 http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf
  • 15. +20 million records
  • 16. +20 million records http://creativecommons.org/weblog/entry/34017
  • 17. • The Public Domain must be preserved• A healthy Public Domain is essential to the social and economic wellbeing of society• Digitisation of Public Domain knowledge does not create new rights over it
  • 18. …but can we afford it?
  • 19. Simon TannerDigital Humanities Strategist @Simon Tanner
  • 20. "Everyone interviewed wants torecoup costs but almost noneclaimed to actually achieve orexpected to achieve this… Eventhose services that claimed to recoupfull costs generally did not accountfully for salary costs or overheadexpenses."Reproduction charging models & rights policy for digital images inAmerican art museums, 2004 http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf
  • 21. Jo Prosser Managing DirectorVictoria & Albert Enterprises
  • 22. Jo Prosser Managing Director Victoria & Albert Enterprises"Since 2006 the commercial market for[images] has undergone a revolution,with consumers now expecting imagesfree of charge, free of usagerestrictions, and instantly available foruse…
  • 23. Jo Prosser Managing Director Victoria & Albert Enterprises… In summary, more people want morecontent, from more complex sourcesand at more speed, but are lessprepared to pay for it and lesssympathetic to the real, non-digital,human resource required to deliver it." http://smithsonian-webstrategy.wikispaces.com/Public+Domain+and+Image+Sales+References
  • 24. “want more content”
  • 25. “less prepared to pay for it”
  • 26. can we afford not to?
  • 27. what are we afraid of?
  • 28. abuselosing money
  • 29. https://www.rijksmuseum.nl/en/explore-the-collection/overview/johannes-vermeer/objects#/SK-A-2344,0
  • 30. ”Our primary mission isto ”tell the truth.” Lizzy Jongma Data Manager Rijksmuseum @LizzyJongma
  • 31. Pushing out poor copieshttp://en.wikipedia.org/wiki/File:Johannes_Vermeer_-_De_melkmeid.jpg
  • 32. Enriching public knowledge http://en.wikipedia.org/wiki/The_Milkmaid_(Vermeer)
  • 33. Inviting usage
  • 34. Harry VerwayenBusiness Development Director Europeana @Hverwayen
  • 35. Michael Edson Harry VerwayenDirector of Web and New Media Strategy Business Development Director Smithsonian Institution Europeana @mpedson @Hverwayen
  • 36. sharing
  • 37. http://www.googleartproject.com/collection/statens-museum-for-kunst/
  • 38. access is not = to sharing Michael Edson Director of Web and New Media Strategy Smithsonian Institution @mpedson
  • 39. http://www.smk.dk/en/explore-the-art/the-royal-collections/free-download-of-art-works/
  • 40. you’re free toshareremixuse for all purposes (yes, also commercial ones)
  • 41. why?
  • 42. Karsten Ohrt Director SMK
  • 43. "Like other museum institutionsSMK is used to being seen as agatekeeper of cultural heritage. Butour collections do not belong tous. They belong to the public…
  • 44. …Our motivation for sharingdigitized images freely is to allowusers to contribute theirknowledge and co-create culture.In this way, SMK wishes to be acatalyst for the users creativity."
  • 45. Andrea Mantegna (1430/31-1506), Christ as the Suffering Redeemer, 1495-1500, CC BY
  • 46. some data
  • 47. some dataApril 16 – September 13, 2012 the page about SMK’s free images have been viewed 12,269 times in comparison smk.dk has had 261,323 visitors in total the Creative Commons Attribution page has been viewed 2,519 times in comparison the ordinary copyright page has been viewed 602 times
  • 48. some datathe zip file in its entirety downloaded approx 320times in Aprilbandwidth shows that >2 TB were downloaded,that’s ~ 10.000 individual image downloads (averagesize 200 MB)since then, divided into three zip files (5 GB too big)which have been downloaded– Zip 1: 124 times– Zip 2: 50 times– Zip 3: 42 times
  • 49. some datathe individual images have been viewed 2,966 times(May 7-Sept 13)averagely, users view 2,2 images and spend 5½minutes on the download pagesin total 6,521 pages have been viewed1,860 Danes have viewed the free images757 from other countries, mostly the US, Germany,and Russia
  • 50. most downloaded #1Vilhelm Hammershøi, Interior in Strandgade, Sunlight on the Floor, 1901, CC BY
  • 51. most downloaded #2 Peter Christian Skovgaard, A Beech Wood in May near Iselingen Manor, Zealand, 1857, CC BY
  • 52. most downloaded #3 Lucas Cranach the Elder (c. 1472-1553), Melancholy, 1532, CC BY
  • 53. Mai Misfeldtart critic at Danish national newspapereducator
  • 54. this artwork has beenin the Public Domain for 389 years Lucas Cranach the Elder (c. 1472-1553), Melancholy, 1532, CC BY
  • 55. http://da.wikipedia.org/wiki/Wikipedia:WikiProjekt_Maleri/158_highlights
  • 56. growing
  • 57. common challenges?rapid technological changesilo culture – high maintenancecharging for digitized imagesrelevance to next generation users
  • 58. common solutions?working together in networksusing existing platformsproviding free accesslistening to and engaging users
  • 59. www.mobypicture.com
  • 60. 2009
  • 61. 2011
  • 62. 2012
  • 63. 3 principles1. All Public Domain content is freelyshareable and reusable2. We use an existing platform insteadof custom-building a new one3. Target users take part in developingand creating the experience
  • 64. Twitter offersartworks have individual #comments are <140call users are equal and have names and facesit is multilingualcomments lead to richer contentthe platform is dynamically updated and improved
  • 65. How will it work?stand in front of an artwork in a museumpull out your smartphone or tabletscan a QR code or the artworkscroll through a stream of brief comments and questions, openlinks to related images, texts, videos etc. (anyone can do this)post a comment, question, add a link, photo, video etc. (youneed to be a Twitter user to do this)maybe you get a response – if you direct a question orcomment to a museum tweep, you certainly will!
  • 66. Objective
  • 67. Inspire users to look closerat the artworks Objective
  • 68. testing the concept
  • 69. paper prototyping
  • 70. follow up survey
  • 71. focus group discussion
  • 72. content
  • 73. format
  • 74. situation
  • 75. www.guardian.co.uk
  • 76. start small ask the users adapt experimentseize the opportunity at hand! www.guardian.co.uk
  • 77. ”The single greatestpredictor of how muchvalue we get out of ourcognitive surplus is howmuch we allow ourselvesto experiment, becausethe only group that cantry everything iseverybody.” www.guardian.co.uk
  • 78. ”The opportunitybefore us (…) isenormous; what we dowith it will bedetermined largely byhow well we are ableto imagine and rewardpublic creativity,participation, andsharing.” www.guardian.co.uk
  • 79. wanna join? merete.sanderhoff@smk.dk @MSanderhoff
  • 80. caring
  • 81. adding value to the Internetsharing useful high res contentgrowing communities that share
  • 82. http://www.formidlingsnet.dk/sharing-is-caring-2012-program
  • 83. Jill Cousins, EuropeanaJasper VisserInspired by Coffee Shelley Bernstein, Brooklyn Museum http://www.formidlingsnet.dk/sharing-is-caring-2012-program
  • 84. povertà vien dal timor! Oralto’s aria ”Chi dal cielo” Antonio Vivaldi, La fida Ninfa, 1731 (a work in the Public Domain)
  • 85. Read moreAbout the shared mobile pilot project• Open GLAM http://openglam.org/2012/10/23/the-participatory-museum-of-denmark/• Swedish Exhibition Agency http://www.riksutstallningar.se/content/spana/curating-and-participation-new-mobile- platform?language=en• MuseumNext 2012 http://vimeo.com/45705253#at=0About SMK’s free charter collection• CC GLAM wiki http://wiki.creativecommons.org/Case_Studies/Highlights_from_SMK,_The_National_ Gallery_of_DenmarkAbout Public Domain and open licensing• Public Domain and Image Sales References http://smithsonian- webstrategy.wikispaces.com/Public+Domain+and+Image+Sales+References
  • 86. welcome!
  • 87. it’s free for all