HS DAM Chicago 2019 - Reframing the Conversation
•Download as PPTX, PDF•
0 likes•821 views
Reframing the Conversation - Innovations in DAM, Collections Information, and Data at the Detroit Institute of Arts September 24, 9:55AM Presenters: Jessica Herczeg-Konecny, Digital Asset Manager, and Christina Gibbs, Collections Database Manager Museums need to publish and widely share their data sets and images to remain relevant in today’s digital age. What does it take to provide the widest possible access to digital collections? This case study will reveal insights into the need for interoperability between Collections Information Systems, DAM, and the greater semantic web. Christina and Jessica will address challenges, risk analysis, and outcomes as they facilitate building a bigger and stronger foundation through implementing a new DAM system as well as an API.
Recommended
Recommended
More Related Content
Similar to HS DAM Chicago 2019 - Reframing the Conversation
Similar to HS DAM Chicago 2019 - Reframing the Conversation (20)
Recently uploaded
Recently uploaded (20)
HS DAM Chicago 2019 - Reframing the Conversation
- 1. Reframing the Conversation Innovations in DAM, Collections Information, and Data at the Detroit Institute of Arts Henry Stewart DAM Chicago 2019 The Infinity Bridge in Stockton-on-Tees (wikimedia commons)
- 2. Jessica Herczeg-Konecny Digital Asset Manager Christina Gibbs Collections Database Manager @clg_gibbs
- 3. Overview Transitioning to Enterprise DAM Systems + Integrations Data Integrity + Use
- 4. Detroit Institute of Arts Founded in 1885
- 5. The CollectionOver 60,000 works of art
- 6. We Are Here HK CG Ralph Steiner, Two Little Men and Big Ocean, ca. 1921, gelatin silver print. DIA, Gift of Warren and Margo Coville, F1986.93 (detail).
- 7. The Captain • Be prepared! • Establish goals • Metadata and Digital Assets Standards Committee • Create an exit strategy Martin Lewis, Tugboat in the Rain, ca. 1916, etching printed in black ink on wove paper. DIA, Gift of Mr. Robert M. Katzman and Mrs. Lisa Katzman, 1999.1627 (detail).
- 9. The Cheerleader • Know your users! • Metadata is magical (if you put in the work) • Celebrate wins 3 Book Publishing, Cowboys Cheerleaders out of Cooper City, Fla., 2006, offset lithographs and letterpress on paper. DIA, Gift of 3 Book Publishing, 2006.158.109 (detail).
- 10. The Collector & Custodian • Know your data! • Digital preservation best practices • Governance and workflows documentation • Capacity planning Edwart Collyer, Still Life: A Letter Rack, 1692, oil on canvas. DIA, Museum Purchase, 2002.159 (detail).
- 11. The Contributor • Release the data! • Information management • Rights management Elizabeth Catlett, Sharecropper, 1952, printed 1970, linoleum cut with hand coloring. DIA, Museum Purchase, 2018.75 (detail).
- 14. The Champion • Develop road map • Lay foundation • Communicate Edward Penfield, Harper’s, 1895, commercial lithograph and relief process printed in color ink. Collection of the Detroit Institute of Arts, 1989.145 (detail).
- 15. Building Bridges Systems + Integrations The Ambassador Bridge, Detroit River @clgibbs
- 16. Steelcase, Think chair https://www.steelcase.com/products/office-chairs/think/ Shiva Who Bears the Crescent Moon, 11th century https://www.dia.org/art/collection/object/ shiva-who-bears-crescent-moon-48686
- 17. PIMS: Product Information Management System
- 18. CIMS: Collections Management System
- 20. Systems Integrations | Create once, use many Organizational Effectiveness Centralized Knowledge + Assets Internal and External Access Serving Visitors DAM authority for images CMS authority for knowledge
- 21. Integrate + Automate (first-gen) Object Rights Type Rights Related Constituent [DisplayNameonly & RoleType= Copyright Holder] TMS MEDIA MODULE Media Department Media Status Media Rank Media View Name [file name] Description (?) Rendition Date Camera Data Pixel H & W File & Memory Size Creation Date Color Depth (optional) Camera Data Pixel H & W File & Memory Size File Date Color Depth (optional) Media Department Media Status Media Rank Media View File Name Description (?) GetDate(of trasaction) If Category = Primary Collection File Path Object Record Data PICTION authority for images TMS authority for knowledge Render Thumbnail Store in DB Then set PrimaryDisplay = 1 Else set PrimaryDisplay = 0 Render JPEG & generate path Rendition NumberGenerate Rendition Number Update Rendition Sort Number Copyright Credit Line Reproduction Restrictions RIGHTS&REPRODUCTIONS Copyright Public Caption Restrictions OBJECTS Object Rights Type Rights Related Constituent {Display Name} Object Data [TMS Fields] Copyright Credit Line Reproduction Restrictions TMS & Piction Integration Plan CMS authority for knowledge DAM authority for images CMS MEDIA MODULE
- 24. Foundations Data Integrity + Use Pyramid of the Magician (Pirámide del adivino) Uxmal, Yucatan @clgibbs
- 25. What does data have to do with Art Storage? Image:©Delta Designs LTD. Historical 3D Art Storage Mississippi Civil Rights Museum Cabinets Delta Designs 03
- 27. DIA’s Collection of Works on Paper Records Indexed 8.6 Square Miles Projected Total 17 Square Miles (appx.) Draw your own @https://www.daftlogic.com/projects-google-maps-area-calculator-tool.htm#
- 28. The museum does global business (!)
- 29. Assessing Staff Capacity + Setting Realistic Goals
- 30. Foundations Systems Integrations Data Integrity Red pyramids frame pedestrian and cycle bridges in Reykjavík by Teiknistofan Tröð (link)
- 31. Thank You! Jessica Herczeg-Konecny Digital Asset Manager JHKonecny@dia.org Christina Gibbs Collections Database Manager cgibbs@dia.org Nam June Paik, Video Flag x, 1985, 84 10-inch television sets, videotapes, Plexiglas (TM) and 3 LaserDiscs. F1986.40. Detroit Institute of Arts.
Editor's Notes
- Image of Rivera Court featuring the Detroit Industry murals created by Diego Rivera in 1932-1933.
- The museum maintains an encyclopedic collection held in the public trust ranging from ancient works of art to contemporary art from around the world.
- I started at the DIA in 2014, the same year we purchased our inaugural DAM system. We started our DAM adventure with digital surrogates of the art collection. We are currently migrating to a new DAM. This second-generation DAM system is also our foray into enterprise-wide Digital Asset Management. In discussing this presentation with David, he encouraged me to think about what it’s like to be at the helm of a ship going in two directions. What are the roles that I have taken on?
- Be Prepared (like a good Girl Scout)! I had been gathering requirements and “wouldn’t it be cool if” ideas so when I was working to find the right vendor, I was ready. Establish goals: I am looking to centralize images and knowledge about those images; eliminate duplicate efforts; and facilitate self-service for my users. Metadata and Digital Assets Standards Committee: Committee I started earlier this year. This is a cross-departmental team of content creators and users. So far, we have tackled file naming conventions, developing training, and a communications plan. Good way to get buy-in. Have an exit strategy! Everyone tells you this. Just do it. Your future self will thank you.
- Just over 94,000 image files. 74% of the art collection has been digitized (different levels of quality). Our users won’t know how much it took to get this result. Haunted by filenames.
- Know your users: ask questions – don’t just assume you know. Use your soft skills for user engagement: who are you? What do you do? How can I help? Establish workflows together. Metadata is magical… but someone has to put in the work. This takes people and resources. DAM is not “set it and forget it.” Celebrate wins. No, but seriously. Make sure other people know what you’re working on and why it’s important. And these little wins not only help with morale, but you’re getting the word out there.
- Know your data: have a good “feel” for your assets and who needs to know what about them. Helps segment your users. Know how your data is being used internally and externally. We retain old photography to help provide a history of the artwork and its condition. In the absence of a digital archivist, I am the first line of defense for these institutional archives, but they are also working records. Documentation is very important. What was the decision? How did we make it? Who made it? Capacity planning: I have spent a lot of time over the past five years gathering and organizing and de-duping assets stashed away on various workstations or shared drives. I’m still figuring out what’s “out there.”
- Release the data! I am the sharer, the giver. I will not be managing day-to-day uploads anymore. I won’t be sharing the publication-quality image files anymore. That will all be done within the new DAM. This means I am letting go of a lot of control. How can I efficiently present information so my users know what they can use and how they can use it? How should I structure training and follow-up training so we can achieve self-service? Rights management: object rights, object status, image rights, image quality. Object is in the public domain, it is available for download from the website.
- Example from last week. We know a lot about this piece, what information needs to be above the fold?
- Example of historical photography. The image on the left is our primary image. For example, someone in Marketing will only be able to see the image on the left. But the curators will be able to see all three. How do I convey which one they should choose for their article?
- My day-to-day role will shift. I will be training content creators to get their own assets and metadata into the DAM. I will be training users that interacted with our old system up-to-speed on the new system. I will be getting other asset groups into the site and with that comes new content creators and brand-new users. I’ve already developed the road map for the next year and we’re laying the foundation for the future. Audio and video files, institutional archives – events, exhibitions, and conservation images, digital art. We are our system’s best advocates. Keep pushing and be the squeaky wheel. Christina will talk about re-architecting integrations for the new DAM.
- Before I dive into systems and integrations at museums, let’s take a moment to build a bridge between sectors.
- What does an eleventh century sculpture of Shiva have to do with a Steelcase office chair? I do sit in a Steelcase chair in my office at the DIA, but there is more. Both physical objects have digital surrogates, dimensions, metadata, specs, and needs for tracking inventory. All this data needs to be stored and managed somewhere.
- Industries that make products, typically have a PIMS (Product Information Management System).
- Those of us managing and preserving art and artifacts use something called CIMS or collections information management systems. I bet you can guess what we all have in common.
- That’s right, Digital Asset Management and critical integrations. I believe this is one of the areas where we can really learn from one another across sectors.
- We are all familiar with the phrase, "Create once, use many" This supports our strategic goal of organizational effectiveness Our fundamental need for centralized data and assets Then, as a cultural heritage institution we must provide access to this information, both internally and externally Supports the museum’s bottom line mission of helping visitors find meaning in art --- we take this to the digital level. Our DAM is the authority for images and our CIMS is the authority for knowledge. However we need images in both systems...
- This is a map of our current bi-directional integration for the data distribution streams. A one-off system specific integration built for one purpose. With the next-gen DAM, we are working on the next-gen integration.
- The API plan (ooh... groundbreaking! [insert sarcasm]) However, an API or Application Programming Interface will be much more dynamic, efficient and flexible. It will also serve as a foundation for replacing our current outdated integrations. More importantly the API will have a public facing component with public access token keys. This will set up a whole new world of how we can share our collection. Let's see what that might look like...
- 1. There is where we are now. Currently building out the API and system integration specifics. 2. As I mentioned, we can then begin replacing our internal applications and the feed to our website. 3. Currently we share our data sets with a few collection site aggregators and with our academic partners, such as the Watercolour World project and GSA, the General Services Association's New Deal Artwork project, but they are a fairly manual process. With the open access API these sites will have the opportunity to harvest our data directly and eliminate this process. 4. And our biggest Vision... publishing our data to Wikidata and images to Wikimedia Commons and its sister wiki sites. Publishing our data to Wikidata will automatically be available as linked open data and therefore available to anyone in the world.
- Okay, so meanwhile, perhaps we are not building the Pyramid of the Magician, but we are certainly building strong, solid foundation. We began our collections access initiative over five years ago. Part of that includes collections information specialists scrubbing and indexing and cleaning up the artwork records. We have also worked hard to inspire culture change at large by demonstrating what we can do with clean and accurate data sets. Having data integrity and control behind the scenes, regardless of systems can begin to transform data into information assets and a culture that leans into data-driven decisions. Here a couple recent examples. And we are just beginning to scratch the surface.
- The collections management team uses data such as classifications, object names and medium to manage and group like objects in the storage rooms. I was recently asked by the team to provide a volumetric measure for approximately 500 objects as part of a grant application for a new storage project. Sure thing, however previously dimensions were stored in a free text field and not indexed. We have been indexing this data as part of the collections access project, but we only through a little over half of the collection. The team saw the value in this calculation and went ahead and indexed this set.
- As a result of creating this set of structured and indexed data, I was able to crunch numbers and determine volumetric needs. It came out to almost 600 cubic square feet of objects. I'm happy to report we received the grant and the project will commence this fall. What else could I do with query function that I built? Works on paper… if we were to lay them all out on the ground, how many square miles could we cover?
- Only half of our 35,000 works on paper have indexed dimensions. So if, and only if, the second half is like the first, we can project the works would cover approximately 17 Square Miles. Or we could cover Manhattan from the tip Battery Park all the way to the Studio Museum in Harlem at 125th Street. Draw your own @https://www.daftlogic.com/projects-google-maps-area-calculator-tool.htm#
- This was a fun and rewarding project to work on. Another example of a need to answer a question about data, but we couldn't with a messy data set. I worked with Registrars to define new standards and adherence and cleaned up all the address of our constituent records. This includes artists, dealers, donors, shipping companies and museums we lend our works of art to. In this example I was able map out all of our address records to visualize where business transactions have taken place all over the world and that we really do global business as an integrated team.
- Using data visualization tools can help to see what’s going on over time. In this example: Access staffing capacity Project amount of records we can scrub/catalogue over time Information assets Realistic goals
- Conclusion. Think about all of these holistically, on the macro-level and built foundations and data exchange bridges on the micro-level.