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IIIF and Mirador at the YCBA: image based scholarly collaboration and research

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IIIF and Mirador at the YCBA: image based scholarly collaboration and research

  1. 1. IIIF and Mirador at the YCBA: image based scholarly collaboration and research
  2. 2. Researchers’ requirements • Interoperability between image silos • Manipulate images • Collaborate with colleagues across the world
  3. 3. Yale Center for British Art To give scholars an unprecedented level of uniform and rich access to image-based resources hosted around the world. To define a set of common application programming interfaces that support interoperability between image repositories. To develop, cultivate and document shared technologies that provide a world-class user experience in viewing, comparing, manipulating and annotating images.
  4. 4. IIIF APIs • Image API • Presentation API • Authentication API (draft) • Search API (draft) • See also: W3C Web Annotation
  5. 5. IIIF Image API Provides a method for requesting from a server a whole or partial image, with transformations of scale, rotation, and color quality applied.
  6. 6. IIIF Presentation API • Has just enough metadata to support a client presenting the digital cultural heritage object for the users to understand what they are interacting with • Shared Canvas data model (in JSON-LD) • Open Annotation data model
  7. 7. IIIF Presentation API • Collection is a list of objects or collections • Manifest describes an object • Sequences indicate page view order • Canvas describes a page or view • Images and annotations reference the canvas
  8. 8. IIIF Search API • provides a method for searching annotations that are associated with an object or image, such as machine-generated OCR of text or notes added by a scholar during their research.
  9. 9. IIIF Authentication API • specifies how a data provider can serve access controlled IIIF content • specifies how to direct users to institutional login services • Might be released later this month!
  10. 10. IIIF’s value proposition • An open framework for organizations to publish their image-based resources, to be viewed, cited, annotated, and more by any compatible image-viewing application such as Mirador and the Universal Viewer, as well as platforms such as ResearchSpace and ConservationSpace.
  11. 11. Mirador Viewer
  12. 12. Mirador Viewer
  13. 13. IIIF Annual Conference & Community • June 5-9, 2016 at the Vatican • Working groups: manuscripts, newspapers, museums (NEW! JOIN!) • Developers editorial group • Community bi-weekly phone calls • Discussion list: https://groups/!forum/iiif-discuss • IIIF Community GitHub page:
  14. 14. IIIF Partner Organizations • ARTstor • Bayerische Staatsbibliothek (Bavarian State Library) • Biblissima • Bodleian Libraries, Oxford University • University of British Columbia • British Library • e-codices – Virtual Manuscript Library of Switzerland • Cornell University • Digirati Ltd • Harvard University • Johns Hopkins University • Klokan Technologies • La Bibliothèque nationale de France • National Library of Austria • DPLA • Europeana • Internet Archive And many more! • Nasjonalbiblioteket (National Library of Norway) • National Library of Denmark • National Library of Israel • National Library of New Zealand • National Library of Poland • National Library of Serbia • National Library of Wales • Princeton University Library • St. Louis University • Stanford University • TextGrid • text & bytes • Wellcome Trust • Yale University
  15. 15. IIIF Architecture • Image metadata coming from DAMS • Object descriptive metadata coming from TMS • Additional metadata for object (page sequence, reading direction,…): traditionally not in DAMS or TMS
  16. 16. “Reformation to Restoration” Research Project
  17. 17. Screen shot from the Making Art in Tudor Britain online project database available on the National Portrait Gallery, London’s website:
  18. 18. Unknown artist, 16th century, Portrait of a Young Woman, 1567, oil on panel, Yale Center for British Art, Paul Mellon Collection, B1981.25.444
  19. 19. Portrait of Young Woman, 1567, YCBA Elizabeth I, ca. 1563, private collection, Tate Britain Countess of Sussex (1531–1589), Sidney Sussex College, Cambridge
  20. 20. Fun with IIIF
  21. 21. Harvard Art Museums manifests for display galleries
  22. 22. Bodleian Digital Library:
  23. 23. North Carolina State University Library
  24. 24. Qatar Digital Library
  25. 25. YCBA’s Digital Strategy
  26. 26.  Open Access policy  Data exchange standards and protocols  Open source tools  Linked Open Data Yale Center for British Art’s Digital Strategy: Use technology to make collections as accessible as possible
  27. 27. YCBA’s Implementation of the Yale Open Access Policy for works in the public domain No authorization required No fees due to the YCBA/Yale Commercial purposes allowed (
  28. 28. Dissemination of images
  29. 29. Cross-collection discovery
  30. 30. Access through human readable format
  31. 31. Slide borrowed from Koven Smith Museums need to fall out of love with their websites and in love with their data.
  32. 32. Access through machine readable format • OAI-PMH (Open Archives Initiative Protocol for Metadata Harvesting) • LIDO XML (Lightweight Information Describing Works of Art) • OCLC’s open source COBOAT & OAICatMuseum
  33. 33. Access through machine readable format • Linked Open Data semantic endpoint • CIDOC-CRM ontology (Conceptual Reference Model) • collections/technology/linked-open-data
  34. 34. CIDOC Conceptual Reference Model “The CRM is a standard which will help you integrate cultural information from a variety of sources and bring them together into an integrated environment where you can ask bigger questions than you can ask from the individual pieces that you have.” - Stephen Stead, CIDOC CRM co-creator
  35. 35. The CIDOC CRM Top-level classes useful for integration participate in E39 Actors E55 Types E28 Conceptual Objects E18 Physical Thing E2 Temporal Entities affect or / refer to refer to / refine location at E53 PlacesE52 Time-Spans
  36. 36.  The methodology used for sharing digital resources with the network is critical: don’t isolate your users by using home grown technology  Relinquish control! Share our digital resources beyond our website in formats that allow for easy creative and scholarly reuse  Technology developed by communities increases sustainability  Look for technology that supports interoperability  Develop policies and technical implementations to leverage technology Conclusion
  37. 37. Emmanuelle Delmas-Glass Collections Data Manager Thank you • • • • CRM Mapping Memory Manager: • • collections/technology Michael Appleby, Head of IT, YCBA Melissa Fournier, Manager Imaging Services and Intellectual Property, YCBA Jessica David, Associate Conservator of Paintings, YCBA Edward Town, Postdoctoral Research Associate, YCBA

Editor's Notes

  • My colleagues have explained in much detail what IIIF is and how it is supporting this important research project at the Center. My intent in the next few minutes is to give you an overview of the YCBA digital strategy and how the IIIF technology fits in it.
  • First let me start by saying that the Yale Center for British is committed to using technology to make its collections as widely accessible as possible and this digital strategy is supported by 4 critical elements:
    Open Access policy
    Data exchange standards and protocols
    Open source tools
    Linked Open Data

    In the next few minutes I will show how IIIF checks all these boxes.
  • Indeed, since 2011, under Yale University’s Open Access Policy, anyone may use the Center’s open access material without further application, authorization, or fees due to the Center or to Yale, that includes commercial purposes and high resolution images. (The Yale policy specifically addresses works in the public domain, and doesn’t address works under copyright.)

    The YCBA implemented this policy with a great degree of openness, which was quite groundbreaking in 2011.

    “I think we were one of, if not the first, to offer a completely straightforward, no strings attached hi-res download and to have a policy that placed no commercial or credit restrictions on usage whatsoever.” – Melissa Fournier, YCBA
  • Thousands of images of works in the Center’s collection believed to be in the public domain are available for free through the Center’s online collection catalogue, which will soon be BlackLight.
    The green box shown here is where users choose the image sizes they can download free of charge.

  • As you know the Centers’ collections data is exposed via the web in human readable format through our online collections catalog. This catalog allows users to search and view documents as well as images through the web and on mobile devices.
  • As you know the Centers’ collections data is exposed via the web in human readable format through our online collections catalog. This catalog allows users to search and view documents as well as images through the web and on mobile devices.
  • Referencing Koven Smith’s intervention at MW2011 where he questioned the model of museums webistes.
  • But the website is the tip of the iceberg for us. We also disseminate our digital resources in a programmatic fashion, which is more efficient when dealing with large data aggregators, such as Google and Artstor or even Yale’s own Cross-Collections Discovery service. How did we do that? We contributed our dataset via the OAI-PMH (Open Archives Initiative Protocol for Metadata Harvesting) data exchange protocol called following an international XML metadata harvesting schema called LIDO.
    Both LIDO and OAI-PMH are community developed standards and work with the open source software that were designed by CoggApp for OCLC Online Computer Library Center. It is worth mentioning that YCBA’s David Parsell reconfigured COBOAT to work for LIDO since COBOAT was originally configured to work with CDWA Lite.
  • Machine readable data can also be accessed querying our Linked Open Data semantic endpoint. As many other cultural heritage institutions, the Center has been digitizing its collections for quite some time (cataloguing and imaging) but unlike many others, at least in the United States, it has taken the additional step to organize its data with an ontology called the CIDOC-Conceptual Reference Model. The CRM has been developed over many years, and is still developed by a community of active cultural heritage institutions practitioners, and is supported by the International Council of Museums’ Committee of Documentation (ICOM CIDOC).
    As a side note here I would like to say that we use LIDO as a transport mechanism but the CRM represents the knowledge that the Center outputs much better and we will see why in a minute.
  • I am glad to report that IIIF and the Mirador image viewer measure up to our high standards and tick all the boxes of our digital strategy:
    In terms of open access policy, IIIF not only supports interoperability between image repositories and breaks down the barriers between image databases/silos but it also leverages our open access resources. A note here to thank Melissa Fournier, YCBA’s Manager Imaging Services and Intellectual Property, whose forward thinking management of our digital assets was the crucial foundation for the Center’s adoption of IIIF, especially where Jpeg2000 are concerned.
    It is an international standard actively developed by an active community
    It works with a variety of image viewers, Mirador being an open source one.
    And finally it outputs Linked Open Data, which, as you now know, has become a cornerstone of our digital strategy to correctly represent our scholarly content for the semantic web environment. The principles of Linked Data and the architecture of the Web are adopted in order to provide a distributed and interoperable system. (The Shared Canvas data model is leveraged in a specific, JSON based format that is easy to implement without understanding RDF, but is still compatible with it. As such it can be seen as a recommended serialization profile for Shared Canvas.)

  • Our goal is to share our digital resources in formats that allow for easy creative and scholarly reuse so that we can contribute to the study of British Art worldwide. In addition to our semantic endpoint we plan on contributing our RDF dataset to the Mellon funded ResearchSpace.