[LINK] SMK and Ny Carlsberg Glyptotek the only two Danish museums so far who have joined the art project. A chance to raise awareness of Danish art collections (a small cultural area) through a vast international portal that many users will find. Show the nice interface but also that GAP is a walled garden
SMK saw GAP participation as an opportunity to go further
SMK wants our content to be available on as many platforms as possible to enhance the probability that users will find it. It is our obligation as state subsidized national gallery to reach as many users as possible. Creative Commons licenses enhances findability and communicates openness.
Free download – easy, no login, no barriers, and a license that allows all use types as long as you credit the source CC case study – inspire other museums in the community by sharing our reflections and experiences, hoping to urge others to follow This is a small pilot inspired by others, and now inspiring others.
Show CC license in action
159 CC licensed images also up on Flickr
Mai needed hires images that have been in the PD for centuries, for educational purpose Her modest fee for giving the lecture would be eaten up by buying images from the state gallery that she’s already paid for via taxes
As state organisation, we need the support of tax payers. They must get reasonable value for their money, or they will vote against our continued existence We need our users to be ambassadors of the product we offer: Art experiences, knowledge of art In order to do that, we need to allow users to share and use our assets – otherwise they won’t be useful to them, and then why should they care? We must give something that makes our users feel appreciated, loved, so they will love us back. That surprising extra generous thing that makes users feel sympathy for us and not grump when they pay taxes, because they know and feel that it’s for a good, important, common cause Business thrives on users sympathy
SMK has a product that we don’t make substantial gross revenue on (100,000 USD a year in a total operating budget of approx. 30 mill. USD). The revenue we’re making is eaten up by heavy administration. And we’re tripping up the usage of tax financed common resources. If our images aren’t present and available where the users are – they simply don’t exist! And we want to exist! It is our obligation to exist for tax payer’s money. Photo sales of Public Domain images is a bad match with mission statement. O ur photo sales model obstructed the support of our users.
In a broader perspective: Recent studies have shown that the business model of museums selling hires images isn’t viable anymore. In the networked society, people are used to finding free images in abundance across the internet. So why pay for ours?
More and more museums around the globe are giving away digital copies of artworks in the Public Domain for free. Research has proven that the traditional business model of charging for access to and use of images is losing museums large sums of money. So there seems to be good reason in changing tracks. (Front runners: Yale University, Rijksmuseum Amsterdam, Victoria & Albert Museum, Metropolitan Museum of Art, National Gallery of Art Washington D.C., Los Angeles County Museum of Art, Walters Art Museum, British Museum…)
[LINK] The dynamic of online – just one example of the power of access and social sharing The trick of making Monty Python videos available for free online in 2009 boosted DVD sales of the comedy sketch show. It was a brilliant move, making their intellectual property officially available, labeled, sorted and categorized in high-quality If you compare DVD sales figures on Amazon before and after the creation of the Monty Python YouTube channel, the boost apparently tallies in at around 23,000% Business in a state institution is of course different than commercial business. Giving away something generously creates more value. Value redefined: Not control and scarcity of supplies - - but abundance, cornucopia, that creates attention, sympathy and loyalty in users
International tendency to release digitized cultural heritage resources that are in the Public Domain. Shows that we care best for the art by allowing users to find, share, and build upon images in the Public Domain. People care more if they have access, and if they can use the images – not just to appreciate from a distance but as a tool for learning and creativity.
A strong statement, setting the agenda: More than 250,000 hires images released
Yale, as of May 2011
NGA, as of February 2012
An excellent example of why freely available images with no copyright restrictions serve museum mission well: Rijksmuseum in Amsterdam has released hires images for free download under CC0 The problem of the Yellow Milkmaid - - explain briefly and add figures of before and after
[LINK] The open licensing has enabled Wikimedia Commons to harvest their images. Show how these have pushed out older, poorer versions (scans from books, lores photos etc.) and replaced with high quality linking back to the source, thus generating traffic and interest for the museum
[LINK] Furthermore, the freely available and usable images are enriching Wikipedia articles, and spurring new ones. Wikipedia being the no. 1 source of knowledge search in the world. This is digitized cultural heritage working for the common good.
Collaborations and pilot projects across institutional boarders Getting people to sit down around the table and join efforts to solve common challenges Challenge for museum sector: We risk being outmatched by other entertainment offers with far bigger marketing budgets Working hypothesis: To be competetive, museums need to collaborate and support remix culture. On tight budgets and in time of financial restraint, we need to create shared solutions to common challenges. We need to create synergies between our collections/platforms in order to send users on to each other and increase the general interest in and support for art/culture.
Pilot projects 2009-11: how to establish free image sharing between Danish art museums (theory) 2011-: building a shared networked mobile platform (practice) Throughout these pilots, we have learned that Danish museums are waiting for SMK to take leadership in the change process. If we move first and start sharing our assets for free, others will follow. Practical example: After SMK released our GAP contribution under CC BY, The Glyptothek is considering following along.
Inspiration, network, and benchmarking gained during a month long professional research visit to USA to meet and learn from a range of international first moving institutions What I learned there supported our endeavours with substantial evidence. Free and open access is being implemented in large institutions and they are not losing money, but gaining users and community goodwill
Important networks Twitter International digital museum conferences Danish cultural heritage
Advisory board: Bringing in high profile external advisors from large international institutions of high renown = highly effective Smithsonian, Tate, MoMA, Metropolitan Museum, Walker Art Center, Centre Pompidou, etc. Advice: Think Big, Start Small, Move Fast - - and Make Mistakes Edson: A year from now, what have you accomplished?
Patience, and flexibility – if the fish don’t bite when you use this kind of bate you have to change tactics.
Our own initiatives to raise awareness and set an agenda about openness in the cultural heritage sector
Success criteria and metrics are being developed in the wake of the release As I said it’s a messy process! Evaluation: Analysis of increased traffic, usage of SMK images on other platforms (Wikipedia, blogs, creative communites, practical userfacing projects, effect on fundraising/philanthropy, decline in photo sales revenue etc.) will be tracked and investigated.
SMK strategy on social media is that every post is a present that you can share. Inviting our users to be ambassadors by starting a generous process of sharing What will users share back?
An ending remark from a piece of Public Domain art that I am passionate about: Poverty comes from fear. Dare to share!
The how's and Why's of sharing at SMK 11052012
Merete Sanderhoff Project researcher email@example.com @MSanderhoff Statens Museum for Kunst The how’s and why’sof sharing our digitized assets
"Everyone interviewed wants to recoupcosts but almost none claimed to actuallyachieve or expected to achieve this… Eventhose services that claimed to recoup fullcosts generally did not account fully forsalary costs or overhead expenses."Simon Tanner, Reproduction charging models & rights policyfor digital images in American art museums, 2004
"Since 2006 the commercial market for [images]has undergone a revolution, with consumers nowexpecting images free of charge, free of usagerestrictions, and instantly available for use……more people want more content, from morecomplex sources and at more speed, but are lessprepared to pay for it.“Jo Prosser, Managing Director, Victoria and Albert Enterprises
Smithsonian Instituion“Commons are usually created when a propertyowner determines that a given set of resources –grass for grazing sheep, forest for parkland,software code, or intellectual property – will createmore value if freely shared.”Smithsonian Web and New Media Strategy, 2009, p. 19http://smithsonian-webstrategy.wikispaces.com/file/view/20090729_Smithsonian-Web
Yale University“…as the legal designation “public domain” issupported by the rationale that eventually allcreators and/or owners of content must relinquishtheir monopolies over such content making suchcontent available for unmitigated access and use,attempts to restrict access through licensingprovisions may be neither legally enforceable norethically prudent.”Memo on open access to digital representations of works in the public domainfrom museum, library, and archive collections at Yale University (5 May 2011)
Evaluation• Increased usage? (blogs, Wikipedia, education, publications, TV productions, print products, creative projects, hackathons etc.)• Increased traffic to smk.dk? (CC BY asks the users to credit the source)• More visitors to SMK?
"When SMK releases images of 159 artworksunder CC BY, it means that we in Wikipediaare able to write better articles about boththe artists, the artworks, and the motifs.”Ole Palnatoke Andersen, Wikipedia Denmarkhttp://wiki.creativecommons.org/Case_Studies/Highlights_from_SMK,_The_National_
”One example: In 1646, Jan van Goyen painted a prospect of the city ofArnhem. This image is not only fit to illustrate the article about van Goyen, but also theone about Arnhem, 1646, tonal landscape painting, and tulipomania - not just in Danish,but in all the languages that Wikipedia is available in.” Jan van Goyen, View of the City of Arnhem, 1646
More sharing• All digitized images in PD available for free download• All publications under CC license• All digital productions cleared for all social platforms• Open API to collection data
Long term goals• Running government smarter – Public Domain content should be free• Running business smarter – Building a loyal & supportive community of users/ambassadors• Supporting a culture of sharing – An environment where learning, innovation and creativity thrives through access for all
Merete Sanderhoff Project researcher firstname.lastname@example.org @MSanderhoffPovertà vien dal timor! Oralto’s aria ”Chi dal cielo” Antonio Vivaldi, La Fida Ninfa, 1731 (a work in the Public Domain)
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