How To Use Open Content In An Interactive Museum Exhibit
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Open is as open does: How To Use Open Content In An Interactive Museum Exhibit Netherlands Institute of Sound and Vision, Hilversum, The Netherlands @ Museums and the Web 2016, Los Angeles, USA
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How To Use Open Content In An Interactive Museum Exhibit
- 1. OPEN IS AS OPEN DOES How To Use Open Content In An Interactive Museum Exhibit
- 2. WELCOME Karen Drost - Specialist Interactive Presentations kdrost@beeldengeluid.nl @karendrost Maarten Brinkerink - Public Participation and Innovative Access Expert mbrinkerink@beeldengeluid.nl @mbrinkerink www.beeldengeluid.nl
- 4. THE NETHERLANDS INSITUTE FOR SOUND AND VISION
- 6. 78% of the visitors use the Ring to create one or more results 62% of these Ring bearers find their way to our website to watch and share their results RFID CHIPPED RING
- 7. 3FM PRESENTS: YOUR SERIOUS RADIO
- 10. VIDEOMAPPING
- 11. VIDEOMAPPING
- 13. ONSITE TESTING
- 14. ONSITE TESTING - 7 projectors - 9 computers - 2 RFID-driven management applications - many videoclips and audiotracks - and loads and loads of open content images
- 15. OPEN IS AS OPEN DOES - The Netherlands Institute for Sound and Vision has long been a front runner when it comes to supporting open standards and free re-use of our collections. - Would we be able to create a personalized, interactive videomapping exhibit using mainly open content?
- 16. A SIZEABLE CHALLENGE - Is there enough quality open content out there? - How do we find it? - What are optimal search strategies? And how do we provide correct attribution? - Do all Creative Commons licenses allow us to use them for our videomapping? - How can we know for sure that what we find is indeed published by or with permission of the rights holder?
- 17. WHERE TO SEARCH?
- 19. WHERE TO SEARCH?
- 20. Regionaal Archief Nijmegen WHERE TO SEARCH?
- 21. WHERE TO SEARCH?
- 22. LICENSE CONDITIONS WITHIN A MUSEUM CONTEXT
- 23. LICENSE CONDITIONS WITHIN A MUSEUM CONTEXT
- 24. WHAT IF OPEN CONTENT IS SUSPECT?
- 25. WHAT IF OPEN CONTENT IS SUSPECT?
- 26. ATTRIBUTION AND CONTACTING CREATORS
- 27. ATTRIBUTION AND CONTACTING CREATORS
- 28. ATTRIBUTION AND CONTACTING CREATORS
- 29. CONCLUSIONS 44.4% 15.1% 12.0% 11.2% 10.0% 7.3% CC Licenses Freely usable, no generic license CC0 Public Domain Mark Copyright Stock Image
- 30. QUESTIONS? Special thanks to: - Kiss the Frog www.kissthefrog.nl technical realisation - Pièce Montée: www.piecemontee.be exhibition design - Bij de Tijd www.bijdetijdgeschiedenis.nl research - Lotte Belice Baltussen research - Erik van Tuijn editor Karen Drost - Specialist Interactive Presentations kdrost@beeldengeluid.nl @karendrost Maarten Brinkerink - Public Participation and Innovative Access Expert mbrinkerink@beeldengeluid.nl @mbrinkerink www.beeldengeluid.nl
Editor's Notes
- Two weeks ago I was at the office of my architect. A beautiful, impressive office. The architect, said: ok Karen, this is the end result. I saw an impressive 3D visualisation of my new house. The 2D floorplan came alive! Why am I telling you this story? Because building a new house is very similar to developing an interactive museum exhibit.
- My name is Karen Drost. And together with my colleague Maarten Brinkerink we are presenting insights about ‘How To Use Open Content In An Interactive Museum Exhibit’, based on our recent experiences. I will tell you something about the museum exhibit. And Maarten will tell you something about the use of open content for this exhibit. Let me kick off the first case with an introduction of the Netherlands Institute for Sound and Vision.
- (Corporate clip Netherlands Institute of Sound and Vision)
- This is the beautiful view which Maarten and I get to see every workday of the week. Below you can see our vaults, containing all the video tapes, photo’s and museum objects. The silver grey part above contains our temporary and permanent exhibition halls.
- Since the opening of the Sound and Vision Experience in 2006, a RFID-chipped ring is a key element of the visitor experience. This is the Ring. The Ring is equipped with a simple RFID tag, and each regular visitor receives a ring when they arrive. The Ring lets visitors use all interactive pavilions in the Sound and Vision Experience and save their creations, such as their performance as a radio-DJ or a TV news anchor.
- The Ring asks for a few key pieces of information, such as your name, email address and year of birth, and lets visitors choose a personal guide. The Ring is used well: - 78% of the visitors use it to create one or more results - 62% of these Ring bearers find their way to our website - to watch and share their results.
- Last year, Dutch radio station 3FM celebrated its 50th anniversary. Together with 3FM we developed our yearly temporary exhibition. The exhibition is called 3FM presents: Your Serious Radio. It focusses on the importance of music and radio in your teen years. The target group of this exhibition consists of people in the age of 30 to 50 (and their children in age of 6-12 yrs).
- When visitors enter the exhibition, they built up personal profile with their Ring. At a profiling station they can enter their gender, year of birth, choose their favorite musical genre in their teens, and their favorite radio DJ. This user profile is used extensively for the videomapping interactive. Now I’ll show you a clip of the profiling and videomapping interactive within the exhibition.
- (Clip temporary exhibition “3FM presents: Your Serious Radio”)
- The girl you saw in the videoclip is my colleague Susan. She was 16 years old in 1998 - so we saw posters of Amy Winehouse on the wall. My videomapped room looked a little bit different, like this: a poster of DeLaSoul on the wall and a My First Sony radio on the shelf…
- As you can see on the picture here, the videomapping installation consists of a white space / split into a left and right room. Two visitors can control the interactive at the same time. Other visitors can plug-in with their headphone to experience the corresponding audio together. Depending on the visitor’s information, the seamless patterns are projected and repeated on the white furniture-elements. So, to create this personalised visitor experience, we cut the personalisation data into time segments. We divided the fifty-year period covered by the exhibition, into 10 five-year segments: for instance 1965 to 1969, 1970 to 1974, and so forth. The profiling software then sorts visitors into these segments, by calculating when they were 16 years old, based on their year of birth.
- Together with digital agency Kiss the Frog, we developed the interactive software of the exhibit. At your left, you see videomapping on a small scale, as a first test. At your right, you see the test facility in Delft, in scale 1 to 1. This was to test the calibration of multiple projectors, and to research technical limitations.
- Here you see the final setup, onsite in the exhibition hall. The picture above shows the calibration grid, in Unity3D-software. Below you see an overview of the end result-scene, in startup-mode.
- For realizing the videomapping interactive, we used: - 7 projectors - 9 computers - 2 RFID-driven management applications - a lot of videoclips, audiotracks from our archive - ….and loads and loads of open content images. And about this last subject on this list - the open content - my colleague Maarten is going to speak.
- The Netherlands Institute for Sound and Vision has long been a front runner when it comes to supporting open standards and free re-use of our collections. Surprisingly enough, we never tried it the other way around: using open content to create an exhibit. So when we we asked ourselves: would we be able to create a personalized, interactive videomapping exhibit using mainly open content?
- Searching for and using open content provided by others for our museum exhibitions was not a common practice by any means. So initially we had a lot of questions and even reservations about the feasibility of our mission.
- Wikimedia Commons: All content on Wikimedia Commons has an open license limited only to attribution and share-alike requirements, or is in the public domain. This proved to be an important source, in particular for pictures of bands and musicians.
- Flickr: Many photographers, designers, and other image creators open up their content under an open license on Flickr. The platform has an easy search filter for open content.
- The National Archives of the Netherlands: The Dutch National Archives has an amazing and vast collection of openly licensed pictures (CC BY-SA, over four hundred thousand images).
- The Doornroosje poster archive: The Regional Archives of Nijmegen (NL) have released the poster collection of their music venue Doornroosje on Flickr. Since we needed a lot of music-related posters, this was a great - and fun - source for us.
- Google Image Search: The Search Tools in Google Image Search has a “Labeled for reuse” filter. Since Google also searches in Wikimedia Commons and Flickr, this was often the first resource consulted. But sometimes going directly to websites allows you to break out of the Google “filter bubble” and find more results. Pixabay and Creative Commons Search: Later on, we found the open stock-image site Pixabay (all content CC0, meaning “No Rights Reserved”) and Creative Commons Search to be indispensable sources as well. The latter is valuable, since it is an easy search entry point to Europeana, with its millions of open content resources that as of yet do not pop up in Google Images Search.
- For instance, the no-derivative requirement (ND) used in some variants of the Creative Commons licenses turned out not to be a problem: we were able to project all images as is. And even if they become part of a larger whole, the original image would not be adapted.
- The non-commercial clause (NC) warranted a bit more study, since the concept and interpretations can vary and are a bit vague. To this end, we looked into two important resources offered by Creative Commons itself on this topic: an explanatory page on the interpretation of the NC element and a study done on the interpretation of both creators and users on the terms “commercial” and “noncommercial.” Sound and Vision is a non-profit organisation, but does receive revenue through tickets sales of the exhibition in which we were going to use the content. Thus, we are not a “non-commercial” entity per se. However, a very important distinction we found in the resources above, and in the language of NC licenses, is that our use is not “primarily intended for or directed towards commercial advantage or private monetary compensation.” This made us confident that our intended use was within the scope of any NC license. Furthermore, we decided to notify all creators of whom we would use content about our project. If they would object, we would replace the image with another one.
- First of all, we simply decided not to use these files.
- Second, we did our part for the community. If the image was found on Wikimedia Commons, for instance, the “suspicious” content was flagged for deletion. This means that the Wikimedia community can decide whether this flagging is indeed correct and proceed to delete the file in question.
- Another important part of participating in the “open movement” is attribution. All six Creative Commons licenses require it. But since we were going to use hundreds of images, we could not attribute every image in the physical exhibition without severely impacting the experience as a whole.
- We decided to point to a URL in the physical exhibition colophon that allowed museum visitors to open an extensive online colophon, with a link to a Google Spreadsheet with an overview of all content used. By doing so, we felt very comfortable that we were honouring the providers and creators of the open content as best we could.
- The final step in the process was contacting the people whose open content we used for the projection — not just to thank them, but also to send them pictures of how their content looks in the final result. Curious yourself? You can find all the pictures of all the rooms here. https://docs.google.com/spreadsheets/d/1DfBqGgwKZvunCC4NC0MSvE85aBASviI_lT34pdnDiQ4/edit#gid=0
- Conclusions about the use of open content in an interactive museum exhibit: - Well over 80% of the individual content we used was indeed freely usable. - The rest is part stock material (7%) or copyrighted material (10%), either from Sound and Vision’s own collection, or for which we obtained direct usage permission of the rights holders or through collective rights organisation Pictoright.
- So we shared a lot of information about our interactive exhibit and the search on open content. We are curious to see if there are any questions? Feel free to contact us by email.