Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Exit Control. Enter Creative Chaos.

2,042 views

Published on

Keynote given at ELAG2016 (European Library Automation Group) EXIT conference
7 June 2016, The Royal Library, Copenhagen
http://elag2016.org/
#elag2016

Published in: Education
  • Be the first to comment

Exit Control. Enter Creative Chaos.

  1. 1. Exit Control, Enter Creative Chaos ELAG 2016 The 40th European Library Automation Group Conference June 6-9 2016, The Royal Library, Copenhagen Merete Sanderhoff Curator / Senior Advisor slideshare.net/MereteSanderhoff @MSanderhoff Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest
  2. 2. Nefertiti http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/
  3. 3. Discovered in Amarna, Egypt, in 1912 by German archaeologists On display at Neues Museum Berlin since 1923 Egypt has reclaimed the bust as national heritage, in vain The bust is not allowed to travel due to security The museum’s official 3D scan is kept from the public http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/
  4. 4. The Other Nefertiti http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html
  5. 5. Covertly scanned with a Kinect in Neues Museum Berlin, October 2015 Released as a torrent at Chaos Communication Congress, December 2015 Downloaded and seeded thousands of times within 24 hours Requests from universities and businesses to re-use the scan http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html
  6. 6. Nora Al-Badri and Jan Nikolai Nelles with the 3D bust in Cairo http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  7. 7. “The head of Nefertiti represents all the other millions of stolen and looted artifacts all over the world currently happening, for example, in Syria, Iraq, and in Egypt.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  8. 8. “Archaeological artifacts as a cultural memory originate for the most part from the Global South; however, a vast number of important objects can be found in Western museums and private collections.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  9. 9. “We should face the fact that the colonial structures continue to exist today and still produce their inherent symbolic struggles.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  10. 10. “…there are ways where we don’t even need any topdown effort from institutions or museums, but where the people can reclaim the museums as their public space through alternative virtual realities, fiction, or captivating the objects like we did.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  11. 11. Liberating looted heritage? http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  12. 12. Hacking lawfully protected artwork? http://www.leblogduhacker.fr/
  13. 13. “It's possible that the artists violated the museum's conditions of admission by making their scan, but the bust itself is not in copyright. It's my belief that trafficking in the 3D model by people who never agreed to the museum's terms (that is, people who've never bought a ticket) is perfectly legal.” Cory Doctorow. Photo by Jonathan Worth, CCBY 3.0 JonathanWorth.com
  14. 14. Were the hackers hacked? http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  15. 15. http://throughascanner.com/
  16. 16. Cosmo Wenman and other experts believe so. The level of quality and detail in The Other Nefertiti cannot be obtained by using a Kinect.
  17. 17. Wenman blames the whole situation on Neues Museum's "bad institutional practices regarding secrecy" http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  18. 18. “The Neues Museum is hoarding 3D scans that by all rights it should share with the public (…) digitizing artwork radically increases the importance of provenance—where artifacts and information come from, who controlled it, and who edited it.” http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  19. 19. “Museums are in the best position to produce and publish 3D data of their works and provide authoritative context and commentary about the work, the art, the data, and what it means.” http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  20. 20. “I know from first-hand experience that people want this data, and want to put it to use, and (…) they will get it, one way or another. When museums refuse to provide it, the public is left in the dark and is open to having bogus or uncertain data foisted upon it.” http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  21. 21. “Museums should not be repositories of secret knowledge, but unfortunately (…) Neues [Museum] is not alone in keeping their scan data to themselves. There are many influential museums, universities, and private collections that have extremely high quality 3D data of important works, but they are not sharing that data with the public.” http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  22. 22. Overview 1. Exit Control 2. Enter Creative Chaos 3. Embracing Open
  23. 23. CC BY-SA 4.0 Ida Tietgen Høyrup About SMK The National Gallery of Denmark Western art from 1300 to the present 260,000 artworks 66 % in the public domain 27 % digitised
  24. 24. About me Art Historian, OpenGLAM’er No tech background, DIY learner of digital Digital research & development Advice on copyright and public domain Standards and policies at the national and European level Re-use facilitation
  25. 25. 1. Exit Control
  26. 26. ”Information can now be made available, in an unlimited number of perfect copies, at zero marginal cost.”
  27. 27. ”Focusing on how much it cost you to make something, especially if that thing can be distributed electronically at almost no outlay via the internet, will blind you to the opportunities that this new era of distribution can bring you.”
  28. 28. https://twitter.com/PUBDOMAINHULK Growing public demand for free culture
  29. 29. …or people will go elsewhere
  30. 30. Works that are in the Public Domain in analogue form continue to be in the Public Domain once they have been digitised. http://pro.europeana.eu/files/Europeana_Professional/Publications/Public%20Domain%20Charter%20-%20EN.pdf
  31. 31. Galleries Libraries Archives Museums http://openglam.org/
  32. 32. We are not owners, but stewards of our collections
  33. 33. Pioneers
  34. 34. “Our understanding of research, education, artistic creativity, and the progress of knowledge is built upon the axiom that no idea stands alone, and that all innovation is built on the ideas and innovation of others.” Smithsonian Web and New Media Strategy, Version 1.0, 2009 http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf
  35. 35. “The preservation, transmission, and advancement of knowledge in the digital age are promoted by the unencumbered use and reuse of digitized content for research, teaching, learning, and creative activities.” 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://ydc2.yale.edu/sites/default/files/OpenAccessLAMSFinal.pdf
  36. 36. “To be a public museum your digital data should be free. And digital data is not a threat to the real data, it’s just an advertisement that only increases the aura of the original. People go to the Louvre because they’ve seen the Mona Lisa; the reason people might not be going to an institution is because they don’t know what’s in your institution. Digitization is a way to address that issue, in a way that simply wasn’t possible before.” William Noel, former curator, Walter’s Art Museum, 2012
  37. 37. “Our primary mission is to ‘tell the truth’. We put as much quality in our work as possible. That is why we share the best quality we have. If people google ‘The Milkmaid’ by Vermeer then we want them to find our good quality image, not all the bad and deformed versions of this beautiful painting.” Lizzy Jongma, former data manager, Rijksmuseum, 2012
  38. 38. Loss of control
  39. 39. Regaining control by sharing
  40. 40. Rijksmuseum’s quality images are preferred online
  41. 41. Rijksmuseum is key reference for its own collection
  42. 42. “So far 6,499 images from the Rijksmuseum have been uploaded to Wikimedia Commons (...) 2,175 of these images are currently used in various Wikipedia articles. These images have been shown 10,322,754 times to users visiting the articles where the material is used.” The Impact of Open Access on Galleries, Libraries, Museums and Archives, Effie Kapsalis, Smithsonian Emerging Leaders Development Program, April 2016
  43. 43. “If they want to have a Vermeer on their toilet paper, I’d rather have a very high-quality image of Vermeer on toilet paper than a very bad reproduction.” http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0 Taco Dibbits Director, Rijksmuseum
  44. 44. Fear of misuse?
  45. 45. Pioneer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves.
  46. 46. Pioneer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves. Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website
  47. 47. Pioneer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves. Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website. We have lost almost all control, and it has been vital to our success. Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013 Democratising the Rijksmuseum. Why did the Rijksmuseum make available their highest quality material without restrictions, and what are the results? Joris Pekel, Europeana Foundation, July 2014
  48. 48. 2. Enter Creative Chaos
  49. 49. SMK’s first digital strategy, 2009 We want to be a catalyst for users’ creativity
  50. 50. 25,000 images for free download
  51. 51. 25,000 images for free download You may use the images without asking permission
  52. 52. https://creativecommons.org/publicdomain/zero/1.0/
  53. 53. Entry for short film competition on violation of womens’ rights The Why Foundation, 2016 Based on open images from SMK Prints & Drawings collection Creative/ commercial re-use
  54. 54. Vilhelm Hammershøi, Artemis, 1893–94, SMK. Public Domain
  55. 55. Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest
  56. 56. http://www.filipvest.dk/phone/dusty-pixels.html
  57. 57. C.N. Gijsbrechts, Trompe l'oeil. Board Partition with Letter Rack and Music Book, 1668. SMK, public domain C.N. Gijsbrechts, Trompe l'oeil. The Reverse of a Framed Painting, 1670. SMK, public domain Frants Henningsen, A Funeral, 1883. SMK, public domain
  58. 58. Jamie Seaboch, collage, 2015, CCBY-SA
  59. 59. “I have been creating collages using international museum collections for 20-25 years (...) But I have only been able to share them with my friends and family, knowing that if I were to present them publicly I would face legal retribution. Now I am, for the first time, allowed to share my perspective.” Jamie Seaboch, graphic designer
  60. 60. http://ja7191.wix.com/public-domain#!statens-museum-for-kust/c1azs
  61. 61. But there’s a dark side too.
  62. 62. Liberal photo policy – also show museumofselfies and instawalks
  63. 63. We have a liberal photo policy, so this is just fine
  64. 64. But this is not ok!
  65. 65. But this is not ok! But this is not.
  66. 66. But this is not ok! But this is not. You cannot watermark a CC0 image of a public domain artwork
  67. 67. This isn’t too clever either.
  68. 68. 3. Embracing Open
  69. 69. ”With our digitised collections, we can support people in being reflective, creative human beings. But the precondition is that cultural heritage is common property, and that each and every one of us can use it for exactly what we dream of.” Mikkel Bogh Director, SMK http://bit.ly/1dMX0BJ
  70. 70. Access is not enough Pieter Aertsen , The Fat Kitchen. An Allegory, SMK. Public domain
  71. 71. Nicolai Abildgaard, Caricature of a fat man carrying a large key in his left hand, undated drawing, SMK. Public Domain Facilitation is key
  72. 72. CCBY 4.0 ULK The art pilots www.ulk.dk
  73. 73. CCBY 3.0 Frida Gregersen Cool Constructions
  74. 74. CCBY 3.0 Frida Gregersen Collaboration between the Copenhagen Metro Company, local citizens, and SMK art pilots
  75. 75. CCBY 3.0 Frida Gregersen Collections gain new value outside the museum in the hands of the public
  76. 76. CCBY 3.0 Frida Gregersen
  77. 77. CCBY 3.0 Frida Gregersen
  78. 78. Makeover of injection room Skyen / ‘The Cloud’ CCBY 4.0 ULK
  79. 79. A space for drug users, central Copenhagen Open 23 hours a day 700 drug intakes a day CCBY 4.0 ULK
  80. 80. CCBY 4.0 ULK Re-creating places / spaces that the drug users dream of
  81. 81. CCBY 4.0 ULK
  82. 82. CCBY 4.0 ULK The art pilots facilitate improved social conditions for the users
  83. 83. Cultural heritage hackathons Hack4DK CCBY-SA 2.0 Morten Nybo
  84. 84. Running since 2012 in collaboration with peer institutions all over Denmark, and a growing community of coders, hackers, designers
  85. 85. Room for the unexpected, even the unimaginable CCBY-SA 2.0 Morten Nybo
  86. 86. By Rasmus Lorentzen, 2013 Open data from Copenhagen City Archive is used to visualize moving activity in Copenhagen fra 1890 to 1923 https://www.youtube.com/watch?v=giYikHE6WCo Heat map of urban growth
  87. 87. Lick it away! By Laura Sillanpä and Morten Nybo, 2015 Investigates how we represent our tactile history digitally, in this case the history and practices of letters. https://hackdash.org/project s/5610e32528775a823ff169 5c
  88. 88. Remix exhibition May 2015 13 artists and designers were invited to mix up SMK’s collections
  89. 89. The artists got to hack the museum for a weekend CC BY-SA 4.0 Merete Sanderhoff
  90. 90. CC BY-SA 4.0 Ida Tietgen Høyrup Their remixes ranged from lasercut installations… Neea Laakso, Free?
  91. 91. CC BY-SA 4.0 Ida Tietgen Høyrup …over tapestries, fashion clothes, collages… Signe Emdal, Astrids Rose
  92. 92. Harald Slott-Møller, Danish landscape, 1891 Product of Public Domain
  93. 93. CC BY-SA 4.0 Ida Tietgen Høyrup Jamie Seaboch, Collage
  94. 94. Filip Vest, 22 Skies CC BY-SA 4.0 Ida Tietgen Høyrup …to a projection of 22 golden age skies
  95. 95. CC BY-SA 4.0 Ida Tietgen Høyrup …and a pop-up version of Hammershøi with motorized moving light
  96. 96. CC BY-SA 4.0 Ida Tietgen Høyrup Kati Hyyppä, As light goes by
  97. 97. CC BY-SA 4.0 Ida Tietgen Høyrup Artists talks - communicating the remixes
  98. 98. CC BY-SA 4.0 Ida Tietgen Høyrup Huge interest from the audience
  99. 99. CC BY-SA 4.0 Ida Tietgen Høyrup A unique opportunity for upcoming artists
  100. 100. CC BY-SA 4.0 Ida Tietgen Høyrup More than 6,000 people joined the party
  101. 101. CC BY-SA 4.0 Ida Tietgen Høyrup Wiki Labs - collaborating with Wikipedians, art historians and amateurs to enrich art historical entries
  102. 102. Wikipedia needs open content https://commons.wikimedia.org/wiki/Commons:Licensing
  103. 103. Monthly meetups - utilize open images - learn how to edit - artist of the month
  104. 104. Artist of the month of March - Before
  105. 105. Artist of the month of March - After
  106. 106. Museum professionals must abide by Wikipedia rules like everyone else.
  107. 107. The impact is worth it
  108. 108. SMK images got 20 million page views on Wikipedia in 2015
  109. 109. “Prioritize Web and New Media programs in proportion to their impact on the mission.” Michael Edson, Smithsonian Web and New Media Strategy, Version 1.0, 2009 http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf Michael Edson /VanGoYourself
  110. 110. After exit of control What’s the societal good of open cultural heritage? How do we measure the impact of creative chaos?
  111. 111. “Now that museums are beginning to have the tools and expertise at their disposal to monitor, track, record, and analyze all the various ways that the public benefits from their work, the real task begins to redesign the process and program of museums and to embed impact-driven data collection into every aspect of our efforts.” Rob Stein Chief Program Officer, AAM https://medium.com/code-words-technology-and-theory-in-the-museum/museums-so-what- 7b4594e72283#.rgnlbz2tj
  112. 112. “Now that museums are beginning to have the tools and expertise at their disposal to monitor, track, record, and analyze all the various ways that the public benefits from their work, the real task begins to redesign the process and program of museums and to embed impact-driven data collection into every aspect of our efforts.” Rob Stein Chief Program Officer, AAM Insert ‘libraries’ https://medium.com/code-words-technology-and-theory-in-the-museum/museums-so-what- 7b4594e72283#.rgnlbz2tj
  113. 113. ”I wish we would measure cultural heritage on learning and happiness.” https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/ Charlotte S H Jensen State Arhives/National Museum
  114. 114. How about capturing if our users become re-users? acquire new skills not to do with cultural heritage? experience a boost in creativity and general happiness? feel empowered? increase their social network by engaging in cultural heritage? feel that using cultural heritage increases their life quality? https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/ Charlotte S H Jensen State Arhives/National Museum
  115. 115. Exit Monologue, Enter Dialogue ELAG 2016 The 40th European Library Automation Group Conference June 6-9 2016, The Royal Library, Copenhagen Merete Sanderhoff Curator / Senior Advisor slideshare.net/MereteSanderhoff @MSanderhoff Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest

×