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Sharing is Caring
Societal impact of open collections?
Föreläsning: Open Collections
Nationalmuseum og Världskulturmuseet
...
”With our digitised collections, we can support
people in being reflective, creative human beings.
But the precondition is...
CC BY-SA 4.0 Ida Tietgen Høyrup
The National Gallery of Denmark
Western art from 1300 to the present
260,000 artworks
66 %...
What’s the greatest challenge
working with open data and
open collections/image archives?
Getting all of it digitised
in high quality
Indiana Jonas, Raiders of the Lost Ark, 1981
The new role
as facilitator
http://jeannelking.com/services/graphic-facilitation/
CCBY 4.0 ULK
The art pilots
www.ulk.dk
CC BY-SA 4.0 Ida Tietgen Høyrup
Wiki Labs
Monthly meetups with Wikipedians,
art historians and amateurs
Open collections in schools
Need to
raise awareness
tailor content
offer training
https://medium.com/code-words-technology-and-theory-in-the-museum/wanna-play-8f8e2e8cb2fe
What prerequisites does an
institution need to get started?
(what’s more important,
the technique or the policy?)
For us, policy first.
Because of perpetual beta.
SMK’s first digital strategy, 2009
We want to be a
catalyst for
users’ creativity
Working bottom up
Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
Museums...
Think Big,
Start Small,
Move Fast
Michael Edson, Director of Web and New Media Strategy, Smithsonian
Advisory meeting with...
160 high res images
in 2012
Pilot experiences
Pilot experiences
Pilot experiences
Pilot experiences
Pilot experiences
Pilot experiences
http://collection.smk.dk/
25,000 mixed res images
in 2015
Is the OpenGLAM movement inevitable/unstoppable?
https://twitter.com/PUBDOMAINHULK
Nefertiti
http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/
Discovered in Amarna, Egypt, in 1912 by German
archaeologists
On display at Neues Museum Berlin since 1923
Egypt has recla...
The Other Nefertiti
http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html
Covertly scanned with a Kinect in Neues Museum
Berlin, October 2015
Released as a torrent at Chaos Communication
Congress,...
Nora Al-Badri and Jan Nikolai Nelles
with the 3D printed bust in Cairo
http://hyperallergic.com/274635/artists-covertly-sc...
“The head of Nefertiti represents all
the other millions of stolen and
looted artifacts all over the world
currently happe...
“Archaeological artifacts as a cultural
memory originate for the most part
from the Global South; however, a
vast number o...
“…there are ways where we don’t
even need any topdown effort from
institutions or museums, but where
the people can reclai...
“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...
Loss of control
Regaining control
by sharing
“If they want to have a Vermeer on their toilet paper,
I’d rather have a very high-quality image of Vermeer
on toilet pape...
Rijksmuseum’s quality images
are preferred online
Rijksmuseum is key reference
for its own collection
“So far 6,499 images from the Rijksmuseum have
been uploaded to Wikimedia Commons (...)
2,175 of these images are currentl...
What is the most important step to take towards a
change, keeping in mind that all institutions cannot
take big steps forw...
Galleries
Libraries
Archives
Museums
http://openglam.org/
OpenGLAM mindset
Galleries
Libraries
Archives
Museums
http://openglam.org/
OpenGLAM mindset
Open access to the museums’ digitised assets
An...
Works that are in the Public Domain in
analogue form continue to be in the Public
Domain once they have been digitised.
ht...
Copyright is “a little coral reef
of private right jutting up from
the ocean of Public Domain.”
Paul Torremans, Copyright ...
Look into what others
have learned
Peer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the m...
Peer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the m...
Peer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the m...
There’s a dark side too.
Liberal photo policy – also show museumofselfies
and instawalks
We have a liberal photo policy,
so this is just fine
But this is not ok!
But this is not ok!
But this is not.
But this is not ok!
But this is not.
You cannot watermark
a CC0 image of a public
domain artwork
Do you think there is a danger in focusing too much on
digital activities / neglecting the museum IRL?
Digital and physical are not mutually exclusive.
Stronger together.
CCBY 3.0 Frida Gregersen
Cool Constructions
CCBY 3.0 Frida Gregersen
Collaboration between the
Copenhagen Metro Company,
local citizens, and SMK art pilots
CCBY 3.0 Frida Gregersen
Collections gain new value
outside the museum
in the hands of the public
Makeover of injection room
Skyen / ‘The Cloud’
CCBY 4.0 ULK
A space for drug users,
central Copenhagen
Open 23 hours
a day
700 drug intakes
a day
CCBY 4.0 ULK
CCBY 4.0 ULK
Re-creating places / spaces
that the drug users dream of
CCBY 4.0 ULK
CCBY 4.0 ULK
The art pilots facilitate
improved social conditions
for the users
Remix exhibition
May 2015
13 artists and
designers were
invited to mix up
SMK’s collections
The artists got to hack
the museum for a weekend
CC BY-SA 4.0 Merete Sanderhoff
CC BY-SA 4.0 Ida Tietgen Høyrup
Their remixes ranged
from lasercut installations…
Neea Laakso, Free?
CC BY-SA 4.0 Ida Tietgen Høyrup
…over tapestries,
fashion clothes, collages…
Signe Emdal, Astrids Rose
Harald Slott-Møller, Danish landscape, 1891
Product of Public Domain
CC BY-SA 4.0 Ida Tietgen Høyrup
Jamie Seaboch, Collage
Filip Vest, 22 Skies
CC BY-SA 4.0 Ida Tietgen Høyrup
…to a projection of
22 golden age skies
CC BY-SA 4.0 Ida Tietgen Høyrup
…and a pop-up version of Hammershøi
with motorized moving light
CC BY-SA 4.0 Ida Tietgen Høyrup
Kati Hyyppä, As light goes by
CC BY-SA 4.0 Ida Tietgen Høyrup
Drew audienes into the galleries
- offered fresh perspectives
CC BY-SA 4.0 Ida Tietgen Høyrup
“Prioritize Web and New Media
programs in proportion to their
impact on the mission.”
Michael Edson, Smithsonian Web and N...
SMK images got 20 million
page views on Wikipedia in 2015
What’s the societal good of open
cultural heritage?
How do we measure the impact
of open collections?
http://pro.europeana.eu/blogpost/a-fresh-perspective-on-exploring-impact
”I wish we would measure cultural
heritage on learning and happiness.”
https://charlotteshj.dk/2016/05/26/gid-vi-maalte-ku...
“Now that museums are beginning to have the tools and
expertise at their disposal to monitor, track, record, and analyze
a...
SMK Open 2016-2020
http://www.smk.dk/en/about-smk/press/press-releases/artikel/translate-to-english-117-mio-kr-til-demokra...
Digitisation and societal impact?
Aarhus, 20-21 November 2017
sharecare.nu / #sharecare17
Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest
How would your mission change with open access?
What kind of impact could your ...
Sharing is Caring. Societal impact of open collections?
Sharing is Caring. Societal impact of open collections?
Sharing is Caring. Societal impact of open collections?
Sharing is Caring. Societal impact of open collections?
Sharing is Caring. Societal impact of open collections?
Sharing is Caring. Societal impact of open collections?
Sharing is Caring. Societal impact of open collections?
Sharing is Caring. Societal impact of open collections?
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Sharing is Caring. Societal impact of open collections?

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Presentation for the seminar Open Collections, arranged by the Nationalmuseum in Stockholm, on the occasion of the launh of their Public Domain policy, 7 October 2016

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Sharing is Caring. Societal impact of open collections?

  1. 1. Sharing is Caring Societal impact of open collections? Föreläsning: Open Collections Nationalmuseum og Världskulturmuseet 7 October 2016, Stockholm Merete Sanderhoff Curator / Senior Advisor slideshare.net/MereteSanderhoff @MSanderhoff Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest
  2. 2. ”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
  3. 3. CC BY-SA 4.0 Ida Tietgen Høyrup The National Gallery of Denmark Western art from 1300 to the present 260,000 artworks 66 % in the public domain 27 % digitised
  4. 4. What’s the greatest challenge working with open data and open collections/image archives?
  5. 5. Getting all of it digitised in high quality Indiana Jonas, Raiders of the Lost Ark, 1981
  6. 6. The new role as facilitator http://jeannelking.com/services/graphic-facilitation/
  7. 7. CCBY 4.0 ULK The art pilots www.ulk.dk
  8. 8. CC BY-SA 4.0 Ida Tietgen Høyrup Wiki Labs Monthly meetups with Wikipedians, art historians and amateurs
  9. 9. Open collections in schools
  10. 10. Need to raise awareness tailor content offer training
  11. 11. https://medium.com/code-words-technology-and-theory-in-the-museum/wanna-play-8f8e2e8cb2fe
  12. 12. What prerequisites does an institution need to get started? (what’s more important, the technique or the policy?)
  13. 13. For us, policy first. Because of perpetual beta.
  14. 14. SMK’s first digital strategy, 2009 We want to be a catalyst for users’ creativity
  15. 15. Working bottom up Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain. Museums need time to consider change Salvator Rosa, Demokritus in Meditation, 1650-51. KMS4112. Public Domain What will happen if we let go of control? Will we lose revenue? Will people stop going to the museum if they can just visit us online?
  16. 16. Think Big, Start Small, Move Fast Michael Edson, Director of Web and New Media Strategy, Smithsonian Advisory meeting with the SMK management team, November 2011
  17. 17. 160 high res images in 2012
  18. 18. Pilot experiences
  19. 19. Pilot experiences
  20. 20. Pilot experiences
  21. 21. Pilot experiences
  22. 22. Pilot experiences
  23. 23. Pilot experiences
  24. 24. http://collection.smk.dk/
  25. 25. 25,000 mixed res images in 2015
  26. 26. Is the OpenGLAM movement inevitable/unstoppable?
  27. 27. https://twitter.com/PUBDOMAINHULK
  28. 28. Nefertiti http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/
  29. 29. 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/
  30. 30. The Other Nefertiti http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html
  31. 31. 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
  32. 32. Nora Al-Badri and Jan Nikolai Nelles with the 3D printed bust in Cairo http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  33. 33. “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/
  34. 34. “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/
  35. 35. “…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/
  36. 36. “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
  37. 37. Loss of control
  38. 38. Regaining control by sharing
  39. 39. “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
  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. What is the most important step to take towards a change, keeping in mind that all institutions cannot take big steps forward in the near future?
  44. 44. Galleries Libraries Archives Museums http://openglam.org/ OpenGLAM mindset
  45. 45. Galleries Libraries Archives Museums http://openglam.org/ OpenGLAM mindset Open access to the museums’ digitised assets An open and welcoming attitude towards the users’ approaches and contributions to the work of GLAM institutions sharingiscaring.smk.dk/en
  46. 46. 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
  47. 47. Copyright is “a little coral reef of private right jutting up from the ocean of Public Domain.” Paul Torremans, Copyright law: a handbook of contemporary research, 2007 Adam Olearius, "Oftt begehrte Beschreibung Der Newen Orienthalischen Reise [...]", Schleswig 1647, KKSgb10873/28, SMK. Public Domain
  48. 48. Look into what others have learned
  49. 49. Peer 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.
  50. 50. Peer 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
  51. 51. Peer 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
  52. 52. There’s a dark side too.
  53. 53. Liberal photo policy – also show museumofselfies and instawalks
  54. 54. We have a liberal photo policy, so this is just fine
  55. 55. But this is not ok!
  56. 56. But this is not ok! But this is not.
  57. 57. But this is not ok! But this is not. You cannot watermark a CC0 image of a public domain artwork
  58. 58. Do you think there is a danger in focusing too much on digital activities / neglecting the museum IRL?
  59. 59. Digital and physical are not mutually exclusive. Stronger together.
  60. 60. CCBY 3.0 Frida Gregersen Cool Constructions
  61. 61. CCBY 3.0 Frida Gregersen Collaboration between the Copenhagen Metro Company, local citizens, and SMK art pilots
  62. 62. CCBY 3.0 Frida Gregersen Collections gain new value outside the museum in the hands of the public
  63. 63. Makeover of injection room Skyen / ‘The Cloud’ CCBY 4.0 ULK
  64. 64. A space for drug users, central Copenhagen Open 23 hours a day 700 drug intakes a day CCBY 4.0 ULK
  65. 65. CCBY 4.0 ULK Re-creating places / spaces that the drug users dream of
  66. 66. CCBY 4.0 ULK
  67. 67. CCBY 4.0 ULK The art pilots facilitate improved social conditions for the users
  68. 68. Remix exhibition May 2015 13 artists and designers were invited to mix up SMK’s collections
  69. 69. The artists got to hack the museum for a weekend CC BY-SA 4.0 Merete Sanderhoff
  70. 70. CC BY-SA 4.0 Ida Tietgen Høyrup Their remixes ranged from lasercut installations… Neea Laakso, Free?
  71. 71. CC BY-SA 4.0 Ida Tietgen Høyrup …over tapestries, fashion clothes, collages… Signe Emdal, Astrids Rose
  72. 72. Harald Slott-Møller, Danish landscape, 1891 Product of Public Domain
  73. 73. CC BY-SA 4.0 Ida Tietgen Høyrup Jamie Seaboch, Collage
  74. 74. Filip Vest, 22 Skies CC BY-SA 4.0 Ida Tietgen Høyrup …to a projection of 22 golden age skies
  75. 75. CC BY-SA 4.0 Ida Tietgen Høyrup …and a pop-up version of Hammershøi with motorized moving light
  76. 76. CC BY-SA 4.0 Ida Tietgen Høyrup Kati Hyyppä, As light goes by
  77. 77. CC BY-SA 4.0 Ida Tietgen Høyrup Drew audienes into the galleries - offered fresh perspectives
  78. 78. CC BY-SA 4.0 Ida Tietgen Høyrup
  79. 79. “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
  80. 80. SMK images got 20 million page views on Wikipedia in 2015
  81. 81. What’s the societal good of open cultural heritage? How do we measure the impact of open collections?
  82. 82. http://pro.europeana.eu/blogpost/a-fresh-perspective-on-exploring-impact
  83. 83. ”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 Archives/National Museum
  84. 84. “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
  85. 85. SMK Open 2016-2020 http://www.smk.dk/en/about-smk/press/press-releases/artikel/translate-to-english-117-mio-kr-til-demokratisering-af-hele-danmarks-kunstsamling/
  86. 86. Digitisation and societal impact? Aarhus, 20-21 November 2017 sharecare.nu / #sharecare17
  87. 87. Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest How would your mission change with open access? What kind of impact could your work have? What are your biggest concerns about opening up your collections?

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