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The how's and Why's of sharing at SMK 11052012


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Presentation for Smithsonian Digital Managers given at Papital Gallery, Washington D.C. on May 11, 2012

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The how's and Why's of sharing at SMK 11052012

  1. 1. Merete Sanderhoff Project researcher @MSanderhoff Statens Museum for Kunst The how’s and why’sof sharing our digitized assets
  2. 2. What we did at SMK
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  4. 4. Access is not = to sharing
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  9. 9. What moved us to do it
  10. 10. Mai Misfeldt• Art critic at Danish national newpaper• Educator
  11. 11. Lucas Cranach the Elder (c. 1472-1553), Melancholy, 1532 , Statens Museum for Kunst
  12. 12. Jørgen Wadum• Head of Conservation, SMK
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  14. 14. "Everyone interviewed wants to recoupcosts but almost none claimed to actuallyachieve or expected to achieve this… Eventhose services that claimed to recoup fullcosts generally did not account fully forsalary costs or overhead expenses."Simon Tanner, Reproduction charging models & rights policyfor digital images in American art museums, 2004
  15. 15. "Since 2006 the commercial market for [images]has undergone a revolution, with consumers nowexpecting images free of charge, free of usagerestrictions, and instantly available for use……more people want more content, from morecomplex sources and at more speed, but are lessprepared to pay for it.“Jo Prosser, Managing Director, Victoria and Albert Enterprises
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  18. 18. Smithsonian Instituion“Commons are usually created when a propertyowner determines that a given set of resources –grass for grazing sheep, forest for parkland,software code, or intellectual property – will createmore value if freely shared.”Smithsonian Web and New Media Strategy, 2009, p. 19
  19. 19. Yale University“…as the legal designation “public domain” issupported by the rationale that eventually allcreators and/or owners of content must relinquishtheir monopolies over such content making suchcontent available for unmitigated access and use,attempts to restrict access through licensingprovisions may be neither legally enforceable norethically prudent.”Memo on open access to digital representations of works in the public domainfrom museum, library, and archive collections at Yale University (5 May 2011)
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  24. 24. Pushing out bad copies
  25. 25. Enriching public knowledge
  26. 26. How did we get there
  27. 27. Collaboration
  28. 28. Benchmarking
  29. 29. Networks
  30. 30. Alliances
  31. 31. Patience
  32. 32. Setting the agenda
  33. 33. What’s next
  34. 34. Evaluation• Increased usage? (blogs, Wikipedia, education, publications, TV productions, print products, creative projects, hackathons etc.)• Increased traffic to (CC BY asks the users to credit the source)• More visitors to SMK?
  35. 35. "When SMK releases images of 159 artworksunder CC BY, it means that we in Wikipediaare able to write better articles about boththe artists, the artworks, and the motifs.”Ole Palnatoke Andersen, Wikipedia Denmark,_The_National_
  36. 36. ”One example: In 1646, Jan van Goyen painted a prospect of the city ofArnhem. This image is not only fit to illustrate the article about van Goyen, but also theone about Arnhem, 1646, tonal landscape painting, and tulipomania - not just in Danish,but in all the languages that Wikipedia is available in.” Jan van Goyen, View of the City of Arnhem, 1646
  37. 37. More sharing• All digitized images in PD available for free download• All publications under CC license• All digital productions cleared for all social platforms• Open API to collection data
  38. 38. Long term goals• Running government smarter – Public Domain content should be free• Running business smarter – Building a loyal & supportive community of users/ambassadors• Supporting a culture of sharing – An environment where learning, innovation and creativity thrives through access for all
  39. 39. Merete Sanderhoff Project researcher @MSanderhoffPovertà vien dal timor! Oralto’s aria ”Chi dal cielo” Antonio Vivaldi, La Fida Ninfa, 1731 (a work in the Public Domain)