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.
Reaching the world
with open cultural heritage
Merete Sanderhoff
slideshare.net/MereteSanderhoff
merete.sanderhoff@smk.dk
...
Overview
1. Rationale behind OpenGLAM
2. SMK experiences
3. The impact of open?
Cornelius Norbertus Gijsbrechts (c. 1610 -...
Jens Juel (1745-1802), Running boy. Marcus Holst von Schmidten, 1802. KMS3635
1. Rationale behind OpenGLAM
Museums were conceived as places
for enlightenment, learning, Bildung
Peter Hansen (1868-1928), Playing Children, Enghave ...
Where does enlightenment,
learning, Bildung take place today?
Peter Hansen (1868-1928), Playing Children, Enghave Square, ...
Published in 2010
Among the educated, Internet connected
inhabitants of planet Earth, there are
1 trillion hours of free time every year
tha...
http://blog.wikimedia.org/2012/11/19/wikimedia-india-hosts-wikipedia-women-workshop-in-mumbai/
In 2017, there are more than
31 million registered
Wikipedians in the world
http://en.wikipedia.org/wiki/Wikipedia:Wikiped...
https://smarthistory.org/
We created Smarthistory to provide students around the world
with the highest-quality educational resources for art and
cu...
Impressive reach
35 million views in 2016
200 academic contributors
1,800 essays and videos
80,000 YouTube subscribers
How can museums support
– and benefit from –
this cognitive surplus?
Galleries
Libraries
Archives
Museums
http://openglam.org/
This work has been
in the public domain
for 400+ years
http://displayatyourownrisk.org/
Users are left in the dark
displayatyourownrisk.org
There is something inherently counterintuitive about
digitizing a work of art that is in the public domain to
enable onlin...
https://twitter.com/PUBDOMAINHULK
There are ways where we don’t even need any
topdown effort from institutions or museums,
but where the people can reclaim ...
Works that are in the Public Domain in
analogue form continue to be in the Public
Domain once they have been digitised.
ht...
OpenGLAM pioneers
On a search of Google Images, the NGA’s authoritative image was
nowhere near the top of the returned images, and many of t...
The Getty realized that the revenue they were collecting to
license use of their images was outpaced by the expense
of doi...
As the images came from a trusted source, the good
digital copies were quickly adopted by large
knowledge-sharing platform...
Digital openness enhances
the original’s authenticity
https://www.rijksmuseum.nl/en/collection/SK-A-2344
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...
Regaining control by sharing
Regaining control by sharing
So far 6,499 images from the Rijksmuseum
have been uploaded to Wikimedia Commons
(...)
2,175 ...
Sources
The Impact of Open Access on Galleries, Libraries, Museums, & Archives, Effie
Kapsalis, Smithsonian, April 2016
De...
Confusing for users
Jens Juel (1745-1802), Running boy. Marcus Holst von Schmidten, 1802. KMS3635
2. SMK experiences
We want to be a
catalyst for
users’ creativity
SMK’s first digital strategy, 2009
collection.smk.dk
25,000 images
for free download
25,000 images
for free download
This is in the public domain.
It belongs to you.
You have the right to use it.
My First Wooden Toolbox,
by Moulin Roty
Open digitised collections
are like a toolbox
CC BY-SA 4.0 Ida Tietgen Høyrup
For research
and education
We are all in the attention business, and we have to play to win. (...)
To direct attention to the real knowledge that we ...
Artist of the month
- before
Artist of the month
- after
CCBY 3.0 Frida Gregersen
For urban and
social development
CCBY 3.0 Frida Gregersen
Drug injection room
SKYEN in central
Copenhagen
http://maendeneshjem.dk/stofindtagelsesrum/
CCBY 4.0 ULK
CCBY 4.0 ULK
CCBY 4.0 ULK
For visibility and branding
For creativity
and innovation
Art Jewels design contest
http://www.shapeways.com/contests/smk-open-jewelry
250+ entries from all over the world
https://medium.com/smk-op
jewels-has-a-winner-f2a2db0
‘Melancholy’ necklace
by 3different
Harald Slott-Møller, Danish landscape, 1891
Product of Public Domain
CC BY-SA 4.0 Ida Tietgen Høyrup
Kati Hyyppä, As light goes by
CC BY-SA 4.0 Ida Tietgen Høyrup
It is a giant toolbox with a fantastic
amount of materials to work with.
Remember this?
You know, sometimes art
can feel a bit inaccessible.
And when it is just set free
like this, then people can
do with it wh...
Bildung ~ Building
Vilhelm Hammershøi (1864-1916), The Buildings of the Asiatic Company, seen from St. Annæ Gade, 1902. KM...
https://medium.com/smk-open
https://medium.com/smk-open
2016-2020
Open up the SMK digitised
collection and knowledge
at scale to the public
Jens Juel (1745-1802), Running boy. Marcus Holst von Schmidten, 1802. KMS3635
3. The impact of open?
I wish we would measure cultural
heritage on learning and happiness.
https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kult...
How can we assess
the impact of open art?
For education,
for welfare,
for society?
https://medium.com/@Hverwayen/the-impact-of-cultural-heritage-creating-a-common-language-28cba0e1af0b
If you work in a pur...
https://medium.com/@Hverwayen/the-impact-of-cultural-heritage-creating-a-common-language-28cba0e1af0b
This leaves us in a ...
What does ‘impact’ mean?
Changes that occur for stakeholders in
society, as a result of activities for which
the organisat...
A toolbox for any type of
cultural heritage institution
independent of its size,
scope and resources
impkt.tools
As museums, we do not hold any patent on how cultural
heritage can and should be interpreted and used.
Our role is increas...
Thank you.
Merete Sanderhoff
slideshare.net/MereteSanderhoff
merete.sanderhoff@smk.dk
@MSanderhoff
C.W. Eckersberg (1783-1...
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Reaching the world_Lisbon
Upcoming SlideShare
Loading in …5
×

Reaching the world_Lisbon

367 views

Published on

Keynote speech at Acesso Aberto | Open Access
16 October 2017
Fundaςão Calouste | Gulbenkian, Lisbon
https://accesscultureportugal.wordpress.com/events/annual-conference-open-access/

Published in: Education
  • Be the first to comment

  • Be the first to like this

Reaching the world_Lisbon

  1. 1. Reaching the world with open cultural heritage Merete Sanderhoff slideshare.net/MereteSanderhoff merete.sanderhoff@smk.dk @MSanderhoff C.W. Eckersberg (1783-1853), A View through Three of the North-Western Arches of the Third Storey of the Coliseum in Rome, 1815 or 1816. KMS3123 Acesso Aberto | Open Access 16 October 2017 Fundaςão Calouste | Gulbenkian, Lisboa
  2. 2. Overview 1. Rationale behind OpenGLAM 2. SMK experiences 3. The impact of open? Cornelius Norbertus Gijsbrechts (c. 1610 - after 1675), Trompe l'oeil. The Reverse of a Framed Painting, 1670. KMS1989
  3. 3. Jens Juel (1745-1802), Running boy. Marcus Holst von Schmidten, 1802. KMS3635 1. Rationale behind OpenGLAM
  4. 4. Museums were conceived as places for enlightenment, learning, Bildung Peter Hansen (1868-1928), Playing Children, Enghave Square, 1907-08. KMS2075
  5. 5. Where does enlightenment, learning, Bildung take place today? Peter Hansen (1868-1928), Playing Children, Enghave Square, 1907-08. KMS2075
  6. 6. Published in 2010
  7. 7. Among the educated, Internet connected inhabitants of planet Earth, there are 1 trillion hours of free time every year that could be used for community action, civic engagement, and learning. And since 2010, a billion more people have come online.* https://medium.com/tedx-experience/dark-matter-a6c7430d84d1
  8. 8. http://blog.wikimedia.org/2012/11/19/wikimedia-india-hosts-wikipedia-women-workshop-in-mumbai/
  9. 9. In 2017, there are more than 31 million registered Wikipedians in the world http://en.wikipedia.org/wiki/Wikipedia:Wikipedians
  10. 10. https://smarthistory.org/
  11. 11. We created Smarthistory to provide students around the world with the highest-quality educational resources for art and cultural heritage—for free. Other resources can be prohibitively expensive. Smarthistory breaks through this cost barrier by creating accessible content with more than 200 professors, curators, and archaeologists—allowing many more learners to benefit. Our tiny team reaches millions of students. https://smarthistory.org/financial-support/ Beth Harris & Steven Zucker Smarthistory
  12. 12. Impressive reach 35 million views in 2016 200 academic contributors 1,800 essays and videos 80,000 YouTube subscribers
  13. 13. How can museums support – and benefit from – this cognitive surplus?
  14. 14. Galleries Libraries Archives Museums http://openglam.org/
  15. 15. This work has been in the public domain for 400+ years
  16. 16. http://displayatyourownrisk.org/ Users are left in the dark
  17. 17. displayatyourownrisk.org
  18. 18. There is something inherently counterintuitive about digitizing a work of art that is in the public domain to enable online access to that work, while at the same time claiming copyright in the digital surrogate such that simply viewing the work online may give rise to anxiety about copyright infringement. Andrea Wallace, PhD Law University of Glasgow displayatyourownrisk.org/wallace-and-deazley/
  19. 19. https://twitter.com/PUBDOMAINHULK
  20. 20. 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/
  21. 21. 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
  22. 22. OpenGLAM pioneers
  23. 23. On a search of Google Images, the NGA’s authoritative image was nowhere near the top of the returned images, and many of those were poor representations. The NGA had already lost control of many images of its most famous works of art, and it was better to make a high-quality, high-resolution image available. Leonardo da Vinci, Ginevra de' Benci, c. 1474/1478, A40874
  24. 24. The Getty realized that the revenue they were collecting to license use of their images was outpaced by the expense of doing so (…) There were initial concerns that open access would cause huge increase in workloads, but since the delivery of images is largely automatic via their website, this worry was unfounded. The change in policy has freed up a number of staff members to concentrate on more mission-critical projects. Édouard Manet (1832-1883), The Rue Mosnier with Flags, 1878, 89.PA.71
  25. 25. As the images came from a trusted source, the good digital copies were quickly adopted by large knowledge-sharing platforms such as Wikipedia, making the bad quality images drop in popularity. The Rijksmuseum version now shows up first in a Google image search.
  26. 26. Digital openness enhances the original’s authenticity https://www.rijksmuseum.nl/en/collection/SK-A-2344
  27. 27. 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
  28. 28. Regaining control by sharing
  29. 29. Regaining control by sharing 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.
  30. 30. Sources The Impact of Open Access on Galleries, Libraries, Museums, & Archives, Effie Kapsalis, Smithsonian, April 2016 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 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 Johan Thomas Lundbye (1818-48), A Danish Coast. View from Kitnæs by the Roskilde Fjord, 1843. KMS412
  31. 31. Confusing for users
  32. 32. Jens Juel (1745-1802), Running boy. Marcus Holst von Schmidten, 1802. KMS3635 2. SMK experiences
  33. 33. We want to be a catalyst for users’ creativity SMK’s first digital strategy, 2009
  34. 34. collection.smk.dk
  35. 35. 25,000 images for free download
  36. 36. 25,000 images for free download This is in the public domain. It belongs to you. You have the right to use it.
  37. 37. My First Wooden Toolbox, by Moulin Roty Open digitised collections are like a toolbox
  38. 38. CC BY-SA 4.0 Ida Tietgen Høyrup For research and education
  39. 39. We are all in the attention business, and we have to play to win. (...) To direct attention to the real knowledge that we produce, publishing our material online for free use and reuse is the first step. It is in keeping with our mission as educators that we have to fight back — and infuse this new ecosystem with all the antibodies we have in hand, especially facts and knowledge. Peter B. Kaufmann, In the Post-Truth Era, 2017 http://www.chronicle.com/article/In-the-Post-Truth-Era/239628 Peter B. Kaufman Intelligent Television
  40. 40. Artist of the month - before
  41. 41. Artist of the month - after
  42. 42. CCBY 3.0 Frida Gregersen For urban and social development
  43. 43. CCBY 3.0 Frida Gregersen
  44. 44. Drug injection room SKYEN in central Copenhagen http://maendeneshjem.dk/stofindtagelsesrum/ CCBY 4.0 ULK
  45. 45. CCBY 4.0 ULK
  46. 46. CCBY 4.0 ULK
  47. 47. For visibility and branding
  48. 48. For creativity and innovation
  49. 49. Art Jewels design contest http://www.shapeways.com/contests/smk-open-jewelry
  50. 50. 250+ entries from all over the world
  51. 51. https://medium.com/smk-op jewels-has-a-winner-f2a2db0 ‘Melancholy’ necklace by 3different
  52. 52. Harald Slott-Møller, Danish landscape, 1891 Product of Public Domain
  53. 53. CC BY-SA 4.0 Ida Tietgen Høyrup Kati Hyyppä, As light goes by
  54. 54. CC BY-SA 4.0 Ida Tietgen Høyrup It is a giant toolbox with a fantastic amount of materials to work with.
  55. 55. Remember this?
  56. 56. You know, sometimes art can feel a bit inaccessible. And when it is just set free like this, then people can do with it what they want. I think that’s pretty nice. CC BY-SA 4.0 Olivia Skjerk Frankel
  57. 57. Bildung ~ Building Vilhelm Hammershøi (1864-1916), The Buildings of the Asiatic Company, seen from St. Annæ Gade, 1902. KMS6657
  58. 58. https://medium.com/smk-open
  59. 59. https://medium.com/smk-open 2016-2020 Open up the SMK digitised collection and knowledge at scale to the public
  60. 60. Jens Juel (1745-1802), Running boy. Marcus Holst von Schmidten, 1802. KMS3635 3. The impact of open?
  61. 61. 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
  62. 62. How can we assess the impact of open art? For education, for welfare, for society?
  63. 63. https://medium.com/@Hverwayen/the-impact-of-cultural-heritage-creating-a-common-language-28cba0e1af0b If you work in a purpose driven, non-profit organisation and more specifically in the digital Cultural Heritage sector, we share a problem: we should be feeling fine and dandy because we work for a great cause, but we have very few instruments at our disposal to assess the results of our actions and be happy about it. Harry Verwayen Deputy Director, Europeana
  64. 64. https://medium.com/@Hverwayen/the-impact-of-cultural-heritage-creating-a-common-language-28cba0e1af0b This leaves us in a very unsatisfying and vulnerable position: the work we do comes at a significant cost to society but we can’t systematically assess that it was worth it. Did it improve the way our children are educated? Did it result in a stronger, more cohesive society? Did it enable artists to create groundbreaking new creative works? What positive change in society have we contributed to? In one word: did we have impact? Harry Verwayen Deputy Director, Europeana
  65. 65. What does ‘impact’ mean? Changes that occur for stakeholders in society, as a result of activities for which the organisation is accountable.
  66. 66. A toolbox for any type of cultural heritage institution independent of its size, scope and resources
  67. 67. impkt.tools
  68. 68. As museums, we do not hold any patent on how cultural heritage can and should be interpreted and used. Our role is increasingly to facilitate the general public’s use of cultural heritage for learning, creativity and innovation. Today, the museum as a place of enlightenment is based on interaction. We are all part of this web. We enlighten each other. Mikkel Bogh Director, SMK http://www.smk.dk/en/explore-the-art/smk-blogs/artikel/mikkel-bogh-blogs-enlightenment-in-the-age-of-digitisation/
  69. 69. Thank you. Merete Sanderhoff slideshare.net/MereteSanderhoff merete.sanderhoff@smk.dk @MSanderhoff C.W. Eckersberg (1783-1853), A View through Three of the North-Western Arches of the Third Storey of the Coliseum in Rome, 1815 or 1816. KMS3123 Acesso Aberto | Open Access 16 October 2017 Fundaςão Calouste | Gulbenkian, Lisboa

×