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Towards an open, participatory cultural heritage

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Keynote for #teema14
http://www.nba.fi/fi/museoalan_kehittaminen/teemapaivat/puheenvuorot
Museoalan Teemapäivät/Museum Theme Days 2014
11-12 September, Helsinki

Published in: Education

Towards an open, participatory cultural heritage

  1. 1. Peter Hansen, Playing Children, Enghave Square, 1907-08, KMS2075. Public Domain. Towards an Museoalan Teemapäivät open, participatory cultural heritage Whose Museum? 12 September 2014 Merete Sanderhoff Curator of digital museum practice http://www.slideshare.net/MereteSanderhoff @MSanderhoff
  2. 2. 3 parts 1. The big picture – inspiration and influences 2. What we’re doing at SMK – some examples 3. Recommendations – based on what we’ve learned
  3. 3. Where I’m coming from SMK is the National Gallery of Denmark Visitors 2013 Physical 355,000 Online 615,000 220 people work there, all included 10,000 paintings and scultures 245,000 prints and drawings 3,000 plaster casts
  4. 4. 1. The big picture
  5. 5. New ways to fulfil our public mission
  6. 6. Bildung* – Building *Koulutus
  7. 7. New approaches to being a museum Galleries Libraries Archives Museums http://openglam.org/
  8. 8. http://www.santacruzmah.org/
  9. 9. Nina Simon Executive Director http://www.santacruzmah.org/about/
  10. 10. http://museumtwo.blogspot/
  11. 11. http://www.brooklynmuseum.org/home.php
  12. 12. Shelley Bernstein Vice Director for Digital Engagement http://www.gobrooklynart.org/about
  13. 13. https://www.rijksmuseum.nl/en/rijksstudio/
  14. 14. Taco Dibbits Director of Collections https://www.rijksmuseum.nl/en/rijksstudio-award
  15. 15. https://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4
  16. 16. Were our collections formed to inspire design of makeup lines?
  17. 17. We are not owners, but stewards of our collections
  18. 18. “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
  19. 19. “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://odai.yale.edu/sites/default/files/OpenAccessLAMSFinal.pdf
  20. 20. “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
  21. 21. “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, data manager, Rijksmuseum, 2012
  22. 22. “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.” Taco Dibbits, Director of Collections, Rijksmuseum, 2013 http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0
  23. 23. But wait… aren’t we making money on images?
  24. 24. Myth buster "Everyone (…) wants to recoup costs but almost none claimed to actually achieve or expected to achieve this. Even those services that claimed to recoup full costs generally did not account fully for salary costs or overhead expenses." Simon Tanner, Reproduction charging models & rights policy for digital images in American art museums, 2004 http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf
  25. 25. New sharing economy
  26. 26. forcesofgeek.com/
  27. 27. http://www.fastcompany.com/1146469/youtube-monty-python-videos-boost-dvd-sales-23000
  28. 28. The Mona Lisa effect Kris Kitchen, Google+ May 2014
  29. 29. A new participatory culture
  30. 30. http://blog.wikimedia.org/2012/11/19/wikimedia-india-hosts-wikipedia-women-workshop-in-mumbai/
  31. 31. In 2014, there are more than 22 million registered Wikipedians worldwide http://en.wikipedia.org/wiki/Wikipedia:Wikipedians
  32. 32. How can museums support – and benefit from – this cognitive surplus*? *
  33. 33. Infuse the web with trusted resources https://www.rijksmuseum.nl/en/collection/SK-C-5
  34. 34. Regain control with online collections http://en.wikipedia.org/wiki/The_Night_Watch_(painting)
  35. 35. http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg
  36. 36. Flush out the poor copies http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg
  37. 37. 2. What we’re doing at SMK
  38. 38. How is SMK changing to a read/write museum? http://www.participatorymuseum.org/
  39. 39. Bottom up approch Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
  40. 40. Bottom up approch * *Advice from Shelley Bernstein, Brooklyn Museum Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
  41. 41. What can you do today? Michael Edson, Director of Web and New Media Strategy, Smithsonian Institution SMK digital advisory board meeting, November 2011
  42. 42. 160 hires images
  43. 43. https://creativecommons.org/licenses/by/4.0/
  44. 44. Sharing authority to experience to interpret to reuse to build on – some examples
  45. 45. 1. Remix art Cool Constructions Collaboration with Copenhagen Metro Company, local citizens, and Art Pilots CCBY 4.0 Merete Sanderhoff
  46. 46. CCBY 4.0 Merete Sanderhoff Metro fence #01 Analog mashup
  47. 47. CCBY 4.0 Merete Sanderhoff
  48. 48. CCBY 4.0 Merete Sanderhoff
  49. 49. CCBY 4.0 Merete Sanderhoff
  50. 50. CCBY 4.0 Merete Sanderhoff
  51. 51. CCBY 4.0 Merete Sanderhoff
  52. 52. CCBY 3.0 Frida Gregersen Metro fence #2 Digital remix
  53. 53. CCBY 3.0 Frida Gregersen
  54. 54. CCBY 3.0 Frida Gregersen Instrumental reuse of digitised collections
  55. 55. CCBY 3.0 Frida Gregersen
  56. 56. CCBY 3.0 Frida Gregersen
  57. 57. CCBY 4.0 Merete Sanderhoff Winner of the Fence Post 2013 by public vote
  58. 58. CCBY 4.0 Merete Sanderhoff …and the remixing continues
  59. 59. 2. Open beta Development with users hintme.dk
  60. 60. Many museums One platform
  61. 61. Twitter-based Users are equal Democratic, multivocal dialogue Tapping into existing communities Learning together about participatory media
  62. 62. Meaningful relations
  63. 63. Tweetups Users create content
  64. 64. Users always see something different
  65. 65. Users become interns Sofie Cæcilie Help refine functionalities Support museum partners Develop new activities Raise new funding
  66. 66. 3. Hackathons Hack4DK Collaboration with peer institutions and developer communities CCBY-SA 2.0 Morten Nybo
  67. 67. Room for the unexpected, even the unimaginable CCBY-SA 2.0 Morten Nybo
  68. 68. http://hack4dk.wordpress.com/ Third Hack4DK Focus on serving real needs …again, an instrumental perspective
  69. 69. 4. Instawalks at SMK http://iconosquare.com/tag/emptysmk
  70. 70. http://iconosquare.com/tag/emptysmk #emptysmk tours of SMK outside opening hours for instagrammers #emptysmk #instamuseum #smkmuseum
  71. 71. A special user group gets a special treat
  72. 72. We reach new users
  73. 73. People make SMK their own
  74. 74. More info @jonassmith
  75. 75. Learnings Access and inclusion = ownership ”Touching” the art makes it yours Non-users are potential happy users Collections can be useful in new contexts – also outside the museum
  76. 76. Now we’re ready to go Public Domain http://creativecommons.org/publicdomain/zero/1.0/ Creative Commons Public Domain dedication
  77. 77. http://www.smk.dk/en/explore-the-art/free-download-of-artworks/
  78. 78. http://www.smk.dk/en/explore-the-art/highlights/peter-hansen-playing-children-enghave-square/
  79. 79. http://www.smk.dk/en/copyright/creative-commons/
  80. 80. http://creativecommons.org/publicdomain/zero/1.0/
  81. 81. Peter Hansen, Playing Children, Enghave Square, 1907-08, KMS2075. Public Domain. Public Domain potentials Public school programmes Teachers, researchers, scholars, students Wikipedians Culture snackers Publishers Creative industries Niche groups and communities Open innovation
  82. 82. Cultural heritage needs to be here
  83. 83. Cultural heritage needs to be here If it it isn’t online, it doesn’t exist
  84. 84. Necessary investments Digitisation 200,000 works are inaccessible online Infrastructure connect images, data and users Physical and online create integrated experiences Facilitation of reuse
  85. 85. 3. Recommendations
  86. 86. Think big, start small, move fast* Share ownership of your collections Be a catalyst for users’ knowledge and creativity Different users need different things Technology is not a goal, but a precondition Digital is a state of mind Be human, be yourself Work together, learn, grow – and share *Michael Edson
  87. 87. CCBY-SA 2.0 ODM on Flickr International seminar in Copenhagen since 2011 Participants from the culture sectors, ministry and agency, Wikipedia, startups www.sharecare.nu
  88. 88. Sharing what we learned back to the community Image by @mpedson
  89. 89. www.sharingiscaring.smk.dk/en
  90. 90. What’s next?
  91. 91. I dream of… all Danish school kids becoming Art Pilots* more Danish art collections embracing the Public Domain measuring the impact that openness has on people’s lives, opportunities, and wellbeing** open museums that support people’s own Bildung and Building *Peter Leth, Lær IT **Simon Tanner, King’s College
  92. 92. Mikkel Bogh Director, SMK ”Our role is still more to facilitate public use of cultural heritage for learning, creativity, and innovation. Today, learning happens in reciprocity. We are all a part of the web. We shape each other.” http://www.altinget.dk/kultur/artikel/dannelse-i-digitaliseringens-tidsalder? ref=newsletter&refid=15337&utm_source=Nyhedsbrev&utm_medium =e-mail&utm_campaign=kultur
  93. 93. Peter Hansen, Playing Children, Enghave Square, 1907-08, KMS2075. Public Domain. Please share. MuseoalanTeemapäivät Whose Museum? 12 September 2014 Merete Sanderhoff Curator of digital museum practice http://www.slideshare.net/MereteSanderhoff @MSanderhoff

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