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Towards an open, participatory cultural heritage
The document discusses the evolving role of museums, particularly focusing on the Danish National Gallery (SMK), in adopting digital practices and participatory culture to enhance public engagement and access to cultural heritage. It highlights practical examples of how SMK is transforming into a 'read/write museum' through collaborative projects, open access initiatives, and digital innovation. Recommendations emphasize the importance of sharing ownership, technology as a means to engagement, and fostering creativity and knowledge among diverse audiences.
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Towards an open, participatory cultural heritage
- 1. Peter Hansen, PlayingChildren, 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. 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. Where I’m comingfrom 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. 1. The bigpicture
- 6. New ways tofulfil our public mission
- 7. Bildung* – Building *Koulutus
- 8. New approaches tobeing a museum Galleries Libraries Archives Museums http://openglam.org/
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- 10. Nina Simon ExecutiveDirector http://www.santacruzmah.org/about/
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- 13. Shelley Bernstein ViceDirector for Digital Engagement http://www.gobrooklynart.org/about
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- 15. Taco Dibbits Directorof Collections https://www.rijksmuseum.nl/en/rijksstudio-award
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- 17. Were our collectionsformed to inspire design of makeup lines?
- 18. We are notowners, but stewards of our collections
- 19. “Our understanding ofresearch, 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
- 20. “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
- 21. “To be apublic 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
- 22. “Our primary missionis 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
- 23. “If they wantto 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
- 24. But wait… aren’twe making money on images?
- 25. 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
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- 29. The Mona Lisa effect Kris Kitchen, Google+ May 2014
- 30. A new participatoryculture
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- 32. In 2014, thereare more than 22 million registered Wikipedians worldwide http://en.wikipedia.org/wiki/Wikipedia:Wikipedians
- 33. How can museumssupport – and benefit from – this cognitive surplus*? *
- 34. Infuse the web with trusted resources https://www.rijksmuseum.nl/en/collection/SK-C-5
- 35. Regain control withonline collections http://en.wikipedia.org/wiki/The_Night_Watch_(painting)
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- 37. Flush out thepoor copies http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg
- 38. 2. What we’redoing at SMK
- 39. How is SMKchanging to a read/write museum? http://www.participatorymuseum.org/
- 40. Bottom up approch Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
- 41. Bottom up approch * *Advice from Shelley Bernstein, Brooklyn Museum Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
- 42. What can youdo today? Michael Edson, Director of Web and New Media Strategy, Smithsonian Institution SMK digital advisory board meeting, November 2011
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- 46. Sharing authority toexperience to interpret to reuse to build on – some examples
- 47. 1. Remix art Cool Constructions Collaboration with Copenhagen Metro Company, local citizens, and Art Pilots CCBY 4.0 Merete Sanderhoff
- 48. CCBY 4.0 MereteSanderhoff Metro fence #01 Analog mashup
- 49. CCBY 4.0 MereteSanderhoff
- 50. CCBY 4.0 MereteSanderhoff
- 51. CCBY 4.0 MereteSanderhoff
- 52. CCBY 4.0 MereteSanderhoff
- 53. CCBY 4.0 MereteSanderhoff
- 54. CCBY 3.0 FridaGregersen Metro fence #2 Digital remix
- 55. CCBY 3.0 FridaGregersen
- 56. CCBY 3.0 FridaGregersen Instrumental reuse of digitised collections
- 57. CCBY 3.0 FridaGregersen
- 58. CCBY 3.0 FridaGregersen
- 59. CCBY 4.0 MereteSanderhoff Winner of the Fence Post 2013 by public vote
- 60. CCBY 4.0 MereteSanderhoff …and the remixing continues
- 61. 2. Open beta Development with users hintme.dk
- 62. Many museums Oneplatform
- 63. Twitter-based Users areequal Democratic, multivocal dialogue Tapping into existing communities Learning together about participatory media
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- 68. Tweetups Users createcontent
- 69. Users always see something different
- 70. Users become interns Sofie Cæcilie Help refine functionalities Support museum partners Develop new activities Raise new funding
- 71. 3. Hackathons Hack4DK Collaboration with peer institutions and developer communities CCBY-SA 2.0 Morten Nybo
- 72. Room for theunexpected, even the unimaginable CCBY-SA 2.0 Morten Nybo
- 73. http://hack4dk.wordpress.com/ Third Hack4DK Focus on serving real needs …again, an instrumental perspective
- 74. 4. Instawalks atSMK http://iconosquare.com/tag/emptysmk
- 75. http://iconosquare.com/tag/emptysmk #emptysmk toursof SMK outside opening hours for instagrammers #emptysmk #instamuseum #smkmuseum
- 76. A special usergroup gets a special treat
- 77. We reach newusers
- 78. People make SMKtheir own
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- 80. Learnings Access andinclusion = ownership ”Touching” the art makes it yours Non-users are potential happy users Collections can be useful in new contexts – also outside the museum
- 81. Now we’re readyto go Public Domain http://creativecommons.org/publicdomain/zero/1.0/ Creative Commons Public Domain dedication
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- 86. Peter Hansen, PlayingChildren, 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
- 87. Cultural heritage needsto be here
- 88. Cultural heritage needsto be here If it it isn’t online, it doesn’t exist
- 89. Necessary investments Digitisation 200,000 works are inaccessible online Infrastructure connect images, data and users Physical and online create integrated experiences Facilitation of reuse
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- 91. Think big, startsmall, 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
- 92. CCBY-SA 2.0 ODMon Flickr International seminar in Copenhagen since 2011 Participants from the culture sectors, ministry and agency, Wikipedia, startups www.sharecare.nu
- 93. Sharing what welearned back to the community Image by @mpedson
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- 96. 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
- 97. 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
- 98. Peter Hansen, PlayingChildren, 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