Keynote given at ELAG2016 (European Library Automation Group) EXIT conference
7 June 2016, The Royal Library, Copenhagen
http://elag2016.org/
#elag2016
Set art free and the rest will follow? Facilitation as key to successful user...Merete Sanderhoff
Talk given at 'Community Involvement in Theme Museums'
15th Conference of the Estonian Maritime Museum, Tallinn
2-3 September 2015
http://konverents.meremuuseum.ee/en/#/p/avaleht
Sharing is Caring. Societal impact of open collections? Merete Sanderhoff
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
Keynote for #teema14
http://www.nba.fi/fi/museoalan_kehittaminen/teemapaivat/puheenvuorot
Museoalan Teemapäivät/Museum Theme Days 2014
11-12 September, Helsinki
Presentation for the Finnish National Gallery brainstormning seminar and workshop Communicating Digital Collections, at Kiasma Helsinki 22 January 2016
Beyond Open Access: Creating Culture By, With, and For the PublicMerete Sanderhoff
Presentation for Professional Session with Andrea Wallace, Liz Neely, and Simon Tanner
Museum Computer Network, 3 November 2016, The Sheraton, New Orleans
Keynote given at ELAG2016 (European Library Automation Group) EXIT conference
7 June 2016, The Royal Library, Copenhagen
http://elag2016.org/
#elag2016
Set art free and the rest will follow? Facilitation as key to successful user...Merete Sanderhoff
Talk given at 'Community Involvement in Theme Museums'
15th Conference of the Estonian Maritime Museum, Tallinn
2-3 September 2015
http://konverents.meremuuseum.ee/en/#/p/avaleht
Sharing is Caring. Societal impact of open collections? Merete Sanderhoff
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
Keynote for #teema14
http://www.nba.fi/fi/museoalan_kehittaminen/teemapaivat/puheenvuorot
Museoalan Teemapäivät/Museum Theme Days 2014
11-12 September, Helsinki
Presentation for the Finnish National Gallery brainstormning seminar and workshop Communicating Digital Collections, at Kiasma Helsinki 22 January 2016
Beyond Open Access: Creating Culture By, With, and For the PublicMerete Sanderhoff
Presentation for Professional Session with Andrea Wallace, Liz Neely, and Simon Tanner
Museum Computer Network, 3 November 2016, The Sheraton, New Orleans
Sharing is Caring. Keynote for Public Domain Tagung, HeK Basel 20 April 2015 Merete Sanderhoff
Sharing is Caring. Opening of the collections of SMK. Keynote speech for the conference Public Domain. Gratis Kultur für Alle? Eine Arbeitstagung. 20 April 2015 in Haus der elektronischen Künste Basel, Switzerland.
Towards an open, participatory cultural heritageKris Kitchen
Towards an open, participatory cultural heritage
Keynote for #teema14
http://www.nba.fi/fi/museoalan_kehittaminen/teemapaivat/puheenvuorot
Museoalan Teemapäivät/Museum Theme Days 2014
11-12 September, Helsinki
Slide 29 Kris Kitchen
Presentation of shared mobile museum project at Social Media Week Copenhagen, Statens Museum for Kunst, Feb 21, 2013 #SMWCPH
NOW with updated figures for Twitter use in Denmark, based on research by Bysted
http://bysted.dk/globalsite.aspx?ObjectId=f9db99be-5d76-4bd8-8c3b-488a740c2424
Presentation on how to maintain a multi-annual partnership with a private foundation centered around digital development in museums.
Museum Computer Network, 2 November 2016, The Sheraton, New Orleans.
All artworks by Jamie Seaboch / EyeQ Innovations CC BY-SA 4.0 - unless otherwise stated.
Keynote given in slightly varying versions at the following conferences:
1. "Bildung and Building"
Our Museum Summit 2017
Natural History Museum of Denmark
17 May 2017
http://www.sdu.dk/en/om_sdu/institutter_centre/voresmuseum/summit2017
2. "The Museum as Toolbox"
Open Data for Global Sustainability Goals
Universitá Bocconi, Milano
26 May 2017
https://www.unibocconi.eu/wps/wcm/connect/ev/Events/Bocconi+Events/Open+Data+for+Sustainable+Development+Goals
3. "Old Collections as Building Blocks for New Creativity"
We Are Museums
Art Academy of Latvia, Riga
12 June 2017
http://wearemuseums.com/wam17/
Talk given at the SMK/Maersk event Data in Art | Art in Data
with Jonas Heide Smith, Head of Digital, SMK
26 April 2017
Statens Museum for Kunst, Copenhagen
https://www.eventbrite.com/e/data-in-art-art-in-data-tickets-33142653569
20170620 sam donvil_sharing_is_caring_bxl_masterSamuel Donvil
Introductory presentation for 'Sharing is Caring - Brussels Extension: Opening up with Wikimedia Belgium' conference organised by PACKED vzw and Wikimedia Belgium on 20/06/2017 at KIK IRPA. Additionnaly: slides panel conversation and conclusion of conference.
Features content from Merete Sanderhoff 2007 presentation: How starting small can change the world for Sharedcarex Hamburg conference.
Fashion for the commons - Sandra Fauconnier (Wikimedia NL) & Dieter Suls (MoMu)PACKED vzw
Wikimedia NL and MoMu (fashion museum Antwerp) show how they have cooperated over the years to bring the fashion and Wikipedia communities together and open up fashion knowledge online.
Joining forces with Wikipedia reasons, experiences and impact - Sharing is Ca...Olaf Janssen
In this talk Olaf Janssen explains how and why joining forces with Wikipedia fits in the bigger open data strategies of the Koninklijke Bibliotheek. Starting from a brief historic overview of its Wikipedian-in-Residence project in 2013-14, he not only explains how the KB has been collaborating with Wikipedia and its volunteer community over the last couple of years, but also which positive impacts it has had for the exposure, distribution and reuse of KB's collections.
Sharing is Caring – Brussels Extension: Opening up with Wikimedia took place on 20 June at the Royal Institute for Cultural Heritage in Brussels. This conference introduced the Belgian heritage sector to the possible applications of the various Wikimedia platforms for opening up digital collections. The conference showcased examples from museums, libraries and archives from Belgium and abroad. See
http://sharecare.nu/brussels-x-2017/
Sharing is Caring is a conference platform focused on collaboration and sharing in the cultural heritage sector, bringing together practitioners, researchers, and users of culture. See http://sharecare.nu/
This presentation is also available on Wikimedia Commons:
https://commons.wikimedia.org/wiki/File:Joining_forces_with_Wikipedia_reasons,_experiences_and_impact_-_Sharing_is_Caring_BrusselX_-_20_June_2017.pdf
Presentation for the OpenGLAM Now! webinar series by the Swedish Heritage Board (Riksantikvarieämbetet)
20 November 2019
https://www.raa.se/in-english/events-seminars-and-cultural-experiences/open-digital-heritage/
Presentation for Sharing is Caring Extension Belgium 2017
Why should museums open up? what is value? why opening increases value? and why collaborate with Wikimedia to achieve this?
Keynote address for the cultural heritage hackathon Coding da Vinci Schleswig-Holstein, 11 June 2021
https://codingdavinci.de/de/events/schleswig-holstein
@CdVSH21
@codingdavinci
Cover slide: still from Lucio Arese, Les Dieux Changeants, 2021 https://www.youtube.com/watch?v=rAHmAj0QrHk&t=1s
Sharing is Caring. Keynote for Public Domain Tagung, HeK Basel 20 April 2015 Merete Sanderhoff
Sharing is Caring. Opening of the collections of SMK. Keynote speech for the conference Public Domain. Gratis Kultur für Alle? Eine Arbeitstagung. 20 April 2015 in Haus der elektronischen Künste Basel, Switzerland.
Towards an open, participatory cultural heritageKris Kitchen
Towards an open, participatory cultural heritage
Keynote for #teema14
http://www.nba.fi/fi/museoalan_kehittaminen/teemapaivat/puheenvuorot
Museoalan Teemapäivät/Museum Theme Days 2014
11-12 September, Helsinki
Slide 29 Kris Kitchen
Presentation of shared mobile museum project at Social Media Week Copenhagen, Statens Museum for Kunst, Feb 21, 2013 #SMWCPH
NOW with updated figures for Twitter use in Denmark, based on research by Bysted
http://bysted.dk/globalsite.aspx?ObjectId=f9db99be-5d76-4bd8-8c3b-488a740c2424
Presentation on how to maintain a multi-annual partnership with a private foundation centered around digital development in museums.
Museum Computer Network, 2 November 2016, The Sheraton, New Orleans.
All artworks by Jamie Seaboch / EyeQ Innovations CC BY-SA 4.0 - unless otherwise stated.
Keynote given in slightly varying versions at the following conferences:
1. "Bildung and Building"
Our Museum Summit 2017
Natural History Museum of Denmark
17 May 2017
http://www.sdu.dk/en/om_sdu/institutter_centre/voresmuseum/summit2017
2. "The Museum as Toolbox"
Open Data for Global Sustainability Goals
Universitá Bocconi, Milano
26 May 2017
https://www.unibocconi.eu/wps/wcm/connect/ev/Events/Bocconi+Events/Open+Data+for+Sustainable+Development+Goals
3. "Old Collections as Building Blocks for New Creativity"
We Are Museums
Art Academy of Latvia, Riga
12 June 2017
http://wearemuseums.com/wam17/
Talk given at the SMK/Maersk event Data in Art | Art in Data
with Jonas Heide Smith, Head of Digital, SMK
26 April 2017
Statens Museum for Kunst, Copenhagen
https://www.eventbrite.com/e/data-in-art-art-in-data-tickets-33142653569
20170620 sam donvil_sharing_is_caring_bxl_masterSamuel Donvil
Introductory presentation for 'Sharing is Caring - Brussels Extension: Opening up with Wikimedia Belgium' conference organised by PACKED vzw and Wikimedia Belgium on 20/06/2017 at KIK IRPA. Additionnaly: slides panel conversation and conclusion of conference.
Features content from Merete Sanderhoff 2007 presentation: How starting small can change the world for Sharedcarex Hamburg conference.
Fashion for the commons - Sandra Fauconnier (Wikimedia NL) & Dieter Suls (MoMu)PACKED vzw
Wikimedia NL and MoMu (fashion museum Antwerp) show how they have cooperated over the years to bring the fashion and Wikipedia communities together and open up fashion knowledge online.
Joining forces with Wikipedia reasons, experiences and impact - Sharing is Ca...Olaf Janssen
In this talk Olaf Janssen explains how and why joining forces with Wikipedia fits in the bigger open data strategies of the Koninklijke Bibliotheek. Starting from a brief historic overview of its Wikipedian-in-Residence project in 2013-14, he not only explains how the KB has been collaborating with Wikipedia and its volunteer community over the last couple of years, but also which positive impacts it has had for the exposure, distribution and reuse of KB's collections.
Sharing is Caring – Brussels Extension: Opening up with Wikimedia took place on 20 June at the Royal Institute for Cultural Heritage in Brussels. This conference introduced the Belgian heritage sector to the possible applications of the various Wikimedia platforms for opening up digital collections. The conference showcased examples from museums, libraries and archives from Belgium and abroad. See
http://sharecare.nu/brussels-x-2017/
Sharing is Caring is a conference platform focused on collaboration and sharing in the cultural heritage sector, bringing together practitioners, researchers, and users of culture. See http://sharecare.nu/
This presentation is also available on Wikimedia Commons:
https://commons.wikimedia.org/wiki/File:Joining_forces_with_Wikipedia_reasons,_experiences_and_impact_-_Sharing_is_Caring_BrusselX_-_20_June_2017.pdf
Presentation for the OpenGLAM Now! webinar series by the Swedish Heritage Board (Riksantikvarieämbetet)
20 November 2019
https://www.raa.se/in-english/events-seminars-and-cultural-experiences/open-digital-heritage/
Presentation for Sharing is Caring Extension Belgium 2017
Why should museums open up? what is value? why opening increases value? and why collaborate with Wikimedia to achieve this?
Keynote address for the cultural heritage hackathon Coding da Vinci Schleswig-Holstein, 11 June 2021
https://codingdavinci.de/de/events/schleswig-holstein
@CdVSH21
@codingdavinci
Cover slide: still from Lucio Arese, Les Dieux Changeants, 2021 https://www.youtube.com/watch?v=rAHmAj0QrHk&t=1s
Shaping our Future: Digitization Partnerships Across Libraries, Archives and ...UBC Library
Presentation by Ingrid Parent at the National Diet Library in Tokyo, Japan, Dec. 2, 2010.
Shaping our Future: Digitization Partnerships Across Libraries, Archives and Museums
International Image Interoperability Framework panel at #CIDOC2017 conferenceEmmanuelle Delmas-Glass
CIDOC 2017 IIIF panel:
Introduction to the International Image Interoperability Framework (iiif.io) through 3 use cases in a museum, a library, and a research center/archive by Emmanuelle Delmas-Glass, Yale Center for British Art
Slides for Culture Hack panel @SXSW2013 : http://schedule.sxsw.com/2013/events/event_IAP4580
Some slides re-used from Harry Verwayen (http://www.slideshare.net/hverwayen/business-model-innovation-open-data) and Julia Fallon
DM2E Community building (Lieke Ploeger – Open Knowledge) at Enabling humanities research in the Linked Open Web – DM2E final event (11 December 2014, Navacchio, Italy)
Sam Donvil of PACKED vzw Center for Digital Heritage zooms in on the perspective of the citizen who wants to access, engage with and use out-of-copyright publicly funded cultural heritage, but also that of the heritage institution, which can share and enrich its knowledge about their collections by publishing their data as linked open data. This requires a fundamental change in how a heritage institution sees its role in society and the way it provides services towards its audience. The Wikimedia ecosystem (Wikipedia, Wikidata, Wikimedia Commons) provides a good environment in which cultural heritage institutions can experiment with redefining themselves as truly open institutions. Public Domain Day provides a low-threshold context for institutions to start small and donate data and images of artists that died 70 years ago and therefore entered the public domain.
20180526 sam donvil_packed_public_domain_dayPACKED vzw
Sam Donvil of PACKED vzw Center for Digital Heritage zooms in on the perspective of the citizen who wants to access, engage with and use out-of-copyright publicly funded cultural heritage, but also that of the heritage institution, which can share and enrich its knowledge about their collections by publishing their data as linked open data. This requires a fundamental change in how a heritage institution sees its role in society and the way it provides services towards its audience. The Wikimedia ecosystem (Wikipedia, Wikidata, Wikimedia Commons) provides a good environment in which cultural heritage institutions can experiment with redefining themselves as truly open institutions. Public Domain Day provides a low-threshold context for institutions to start small and donate data and images of artists that died 70 years ago and therefore entered the public domain.
What is social media and what value can it bring to museums and their audiences? Examples and experiences from Museum of Contemporary Art Kiasma. Presentation for Helsinki University Museology students with Janne Heinonen.
Creative Commons for Education, Science, Government, Culture, Media and Platf...Paul_Stacey
Presentation video taped at Folkbildningsrådet in Stockholm 28-Jan-2014. Folkbildningsrådet is the Swedish agency responsible for Swedens folk high schools, learning circles and adult education.
Research and Development at Sound and Vision Victor de Boer
Slides for guest lecture about R&D at the Netherlands Institute for Sound and Vision for the lecture series "Introduction to IMM" at VU Amsterdam.
With slides by Lotte Belice Baltussen, Maarten Brinkerink, Johan Oomen, Bouke Huurnink and Victor de Boer
2013 Cultural Heritage Creative Tools and Archives Workshop" (CHCTA), National Museum of Denmark, Copenhagen, 26-27 June 2013, Final Session-Panel summary slides by Erik Champion for 5 minute talk..(url"http://chta.wordpress.com)
Similar to A European Cultural Commons 30102012 (20)
Making Common Sense with our Shared Cultural HeritageMerete Sanderhoff
Keynote speech for the CULTURE TALKS Commons conference 6 December 2022, organized by the Flemish Government and the Antwerp Research Institute for the Arts (ARIA – Antwerp University)
https://www.vlaanderen.be/cjm/nl/agenda/culture-talks-commons
Keynote given at Taiwan's International Conference on Museums and Cultural Democracy, 7 October 2022
https://museum-conference.nstm.gov.tw/2022/En/
Full title:
Open Access is just the first step
How to build relevance and democratic engagement with cultural heritage
Closing keynote for Sharing is Caring X Stockholm
Nationalmuseum Stockholm and The Royal Armoury
16-17 September 2019
http://sharecare.nu/stockholm-x-2019/
Keynote for "Challenges for the school museums and history of education in a time of globalization and digitization", the 18th symposium for school museums and history of education collections, The Royal Danish Library Emdrup, Copenhagen, 3-5 July 2019
http://skolehistorie.au.dk/en/netvaerk/18th-symposium-for-school-museums-and-history-of-education-collections/
Contributing to an Open Society Through Digitised Museum Collections
Public talk in the 'Open Up: Museum Learning in the 21st Century' talk series, hosted by M+ museum for 20th and 21st century visual culture in West Kowloon District, Hong Kong
15 February 2019
Presentation for the conference Museum: A Culture of Digital Copies
University of Copenhagen, 15 November 2018
https://www.conferencemanager.dk/MuseumACultureOfDigitalCopies/the-event.html
Keynote for Museoalan Teemapäivät 2018 #teema18
The Museum Theme Days, 17-18 September 2018,
Amos Rex, Helsinki
https://www.museovirasto.fi/fi/museoalan-kehittaminen/tyokalut-ja-verkostot/museoalan-teemapaivat/sanderhoff_abstrakti
Talk for the PLATEFORME 10 Symposium: Rising to the Challenge. Digital Innovation in Museums
26-28 April 2018
Lausanne, Switzerland
http://plateforme10.ch/en/newsfeed/colloque-le-musee-au-defi-programme
Fra kirsebær til rugbrød. Digital kultur som katalysator for samfundsudvikling? Merete Sanderhoff
Indlæg til konferencen 'Kulturpolitik i den digitale tidsalder'
16. april 2018, Christiansborg, København
http://hum.ku.dk/kalender/2018/april/konference-paa-christiansborg-kulturpolitik-i-den-digitale-tidsalder/
IMPACT. What is it, how can we capture it, and how do we plan to have it?
Presentation for MuseumNext Tech
Jewish Museum Berlin
30 October 2017
https://www.museumnext.com/events/museumnext-tech/
Kunstmuseet som dannelsesinstitution i en digital tidsalderMerete Sanderhoff
Foredrag på sommerkurset "Globalisering og demokrati" http://www.grundtvigs.dk/uge-32-globalisering-og-demokrati på Grundtvigs Højskole, Hillerød, 6. august 2015.
Presentation [in Danish with international references] at the summer course "Globalization and Democracy" at Grundtvigs Højskole, Hillerød Denmark, 6 August 2015.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
The Art Pastor's Guide to Sabbath | Steve ThomasonSteve Thomason
What is the purpose of the Sabbath Law in the Torah. It is interesting to compare how the context of the law shifts from Exodus to Deuteronomy. Who gets to rest, and why?
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
3. “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
6. ”…what does it mean that there are
millions of images on the web that we
are not allowed to touch while at the
same time there are other millions of
images that we can actually use?”
Peter Leth, Creative Commons For All (in Danish only), 2011
@peterleth1
http://www.creativecommons.dk/?p=537
7. What are
common challenges?
• Rapid technological change
• Silo culture – high maintenance
• Charging for digitized images
• Relevance to new generations of users
8. What could be
common solutions?
• Working together in networks/hubs
• Using shared/existing platforms
• Providing free and easy access to digitized
images and data
• Listening to and engaging users
9.
10. Pilots since 2009
• Save money
• Lighten administrative burden
• Create synergies between collections
20. "Like other museum institutions SMK is used to
being seen as a gatekeeper of cultural heritage. But
our collections do not belong to us. They belong to
the public. Free access ensures that our collections
continue to be relevant to users now and in the
future.
Our motivation for sharing digitized images freely is
to allow users to contribute their knowledge and co-
create culture. In this way, SMK wishes to be a
catalyst for the users' creativity."
Karsten Ohrt, Director, SMK
27. 3 principles
1. All Public Domain content is freely
shareable and reusable under Creative
Commons
2. We use an existing platform that users like
instead of custom-building a new one
3. Target users take part in developing the
experience and creating the content
28. • Artworks have individual #
• Comments are <140c
• All users are equal and have names and faces
• It is multilingual
• Comments lead to richer content
• The platform is dynamically updated and improved
30. How will it work?
• Stand in front of an artwork in a museum
• Pull out your smartphone or tablet
• Scan a QR code or enter the URL
• Scroll through a stream of brief comments and questions, open links
to related images, texts, videos etc. (anyone can do this)
• Post a comment, question, add a link, photo, video etc. (you need to
be a Twitter user to do this)
• Maybe you get a response – if you direct a question or comment to
a museum tweep, you certainly will!
47. Read more
About the shared mobile pilot project
• Open GLAM
http://openglam.org/2012/10/23/the-participatory-museum-of-denmark/
• Swedish Exhibition Agency
http://www.riksutstallningar.se/content/spana/curating-and-participation-new-mobile-
platform?language=en
• MuseumNext 2012
http://vimeo.com/45705253#at=0
About SMK’s free charter collection
• CC GLAM wiki
http://wiki.creativecommons.org/Case_Studies/Highlights_from_SMK,_The_National_
Gallery_of_Denmark
About Public Domain and open licensing
• Public Domain and Image Sales References
http://smithsonian-
webstrategy.wikispaces.com/Public+Domain+and+Image+Sales+References
Editor's Notes
Thank you for inviting me along. I am thrilled to be a part of this process. I’m going to give you a ’lightning-talk’ about a small scale Commons initiative that we’ve been working on for a couple of years in the Danish museum community.
My background is in Art History. I get lost in tech discussions. But even I can see the enormous potentials of the infrastructure and openness of digital media in museums.
Museums need users to care as much as we do. In order to make that happen, we need to allow users to own, share and use our assets – otherwise they won’t be useful to them, and then… [next slide]
As outlined in the paper for this workshop, there is no such thing as The Commons. The concept of commons is complex and takes on many faces. I haven’t used the concept on our initiaive before, but thinking about it in the context of this workshop, I think that it is adequate to refer to it as A Commons around digitized art collections. Why do we think that is important?
This question is crucial to me. As I see it, museums should want nothing more than to have our images be among those that are used. It is to the benefit of all, museums and users alike.
These are some obvious common challenges that museums face in web 2.0 reality. I’m stating the obvious, I know. But while it may sound trivial here in this crowd I tell you, it’s still a pipe dream to many museum professionals. Take it from one!
Again, I’m stating the obvious, but again I must stress that this is an ongoing discussion even at the largest art museum in Denmark to get these things written into our core mission and permament budgets.
So; what to do about it? Like so many other GLAM people I have been using the incremental change method to try and make things happen. Think big – Start small – Move fast.
At SMK, we’ve initiated a couple of pilot projects to get Danish art museums to work together to solve common challenges in smart and efficient, and fun, ways that utilize the potentials of digital media for outreach and participation. The first ran from 2009-11 dealing with how we can establish free image sharing between Danish art museums. Save money on licensing images to colleague institutions Lighten administrative burden - let users download the images they need Create synergies between collections – send users on to each other
The second one is still running; we expanded from 5 to nine museum partners and are working to get more to join. In this project we are building a shared networked mobile platform in order to put the principles of free image sharing into practice.
Throughout these pilots, we have learned that the Danish art museums are just waiting for the National Gallery to take leadership in the change process. Here, we could take the lead from Yale who (though on a completely different scale) has provided thought leadership in the US museum community: “Discussion among twenty of the largest museums at the Mellon Foundation last year made clear that they as a community are ready to embrace new policies, requiring only a leader they can point to in order to effect similar policy with their boards.” (Yale memo as cited on slide 3). If we take on the coordinating role, and move first by sharing our assets for free, our colleague institutions are likely to follow.
The invitation for SMK to join the Google Art Project gave us a chance to do just that. We contributed a selection of highlights from our collections for the launch of version 2 of GAP in April 2012, seeing this as an excellent opportunity to reach out to new and wider audiences on an international platform.
But, to quote what Michael Edson has expressed in clear terms, ”access is not equal to sharing”. GAP is a great showcase but it’s also a walled garden. We used our participation in GAP as an opportunity to go further. In the winter of 2012, Michael offered us the idea to make the batch of selected artworks into a “charter collection” for testing free image sharing and open access on various platforms.
What we did was create a simple and no nonsense page on our museum website where you can download the hires images that we feature in GAP. They are free and available in the highest resolution available ranging from 10 to 400 MB.
Each image is available for individual download under CCBY. All the artworks featured in the charter collection are in the Public Domain. Sp why not just use CC0 or PD Mark? Personally, I am not happy with putting new restrictions on images of artworks that are in the Public Domain. But for SMK it was a major leap to even consider implementing Creative Commons licenses in stead of charging for the images as usual. The economic argument was swiftly ended by hard evidence, for instance Simon Tanner’s report from 2004 on ”Reproduction Charging Models & Rights Policy for Digital Images in US Museums”. But there was much concern that our images would be abused. After lengthy discussions and advice from Creative Commons Denmark we were able to decide on the CCBY license that stresses correct attribution to the source. This is similar to the process at the Rijksmuseum, that started out using the CCBY license on their open API, but changed it to CC0 after 6 months because it didn’t guarantee correct attribution anyway and they don’t have capacity (nor the desire) to chase down users who don’t make correct attribution. I foresee a similar change at SMK when we evaluate the release and use of the charter collection.
It works like this: Simply click the link and you can save the beautiful large image file on your computer.
The high resolution is crucial. We want our images to be among those that are used.
Our objective for providing free download is - again inspired by the Rijksmuseum – to feed the internet with high quality images in order to push out the poor copies.
As Lizzy Jongma says in an email where she shared the story of the Rijksmuseum’s open API - and yes, she did allow me to quote from it – their primary mission as a research institution and national museum is to ”tell the truth”. That is why they made the principle decision to provide images in the best available resolution for detailed scrutiny.
One brilliant result being that their CC0 licensed high resolution images are harvested by Wikimedia where they push out the poor book scans that used to represent their beautiful artworks.
Thus making them available to be used in Wikipedia articles, blogs, publications, videos, apps etc.
This is exactly what we are hoping will happen with our collections. That they are findable, shareable and reusable. They become a ressource that does work in society, that help people do stuff, that they become tools for learning and creating. And now, after 4 months, it is starting to happen. Wikipedia Denmark has initiated a project with the charter collection to describe the artworks and the artists in Wikipedia articles.
Back to the collaborative pilot project: A starting point for action on the principles we established in the image sharing pilot: The idea is to build a shared mobile platform that will put the principles of free image sharing into practice in a coordinated effort. We have established three principles that will shape the platform.
The three principles are realized through the Twitter API. Twitter has all the features we need, and users are already there and familiar with the functionalities and platform. In practice, using Twitter as our platform means that: All artworks will be equipped with individual hashtags Comments can be maximum 140 characters All senders are named and have profiles, creating a democratic environment for interaction and dialogue All languages are represented It is easy to create relations to online content (links, pictures, full text, videos…) which gives museums an opportunity to link to and activate all their rich content about their collections, and create relations between artworks in different collections The partner institutions will not carry the burden of maintaining the platform – minimum effort required both in terms of content production and technological support, in order to make the collaboration realistic
Twitter already is an ecosystem made up of many niches. People use the platform as a Knowledge Commons. This potentially is also a threat: It is used by communities as a commons, but as Harry pointed out when we discussed it, Twitter is a privately own company and the decision making and legal framework is not democratic.
Our main objective:
Is to inspire users to look closer at the artworks. Knowing the 1 % rule we don’t expect as a default a lot of user participation. But we are designing the plsatform to make it dead e
So far, we have tested the concept in three of the partner museums. I’m going to run you very quickly through the test methods and what we learned.
We used a very simple testing method to get users to respond to the concept alone without technological issues standing in the way. Our objective being to learn if the users would be urged to look closer and deeper by way of the Twitter-specific features of short comments opening up to related artworks and richer content.
It worked like this: A pile of short comments about a specific artwork was stuffed into a white envelope. The comments that were useful to the test user were stashed in a green envelope, the comments that were not useful went into the red envelope.
After testing like this in front of 4 artworks in the galleries, a short survey was filled out…
… followed by a focus group discussion.
Users responded that many of the short comments made them look closer and longer at the artworks. They felt encouraged and inspired to know more about the artwork as the comments worked as a lens/a pair of glasses they could look through. The concept seems to make users look up at the art instead of down at a screen – this must be proved when we test the prototype.
Thanks to the shortness of Twitter comments (140c) users felt more encouraged to participate. It was a key factor for the users because participating seemed to be a manageable task. They were especially keen on making two kinds of comments: Posting a question directly to art experts that would reply via Twitter Posting links to related artworks that came to the users’ mind while looking at a specific artwork
Users were generally surprised that the dialogue is ahierarchical and breaks with the authoritarian museum voice. They appreciate the open, democratic notion that everyone can comment, and while all users are named and have a profile, it is up to the individual user to choose which voices are interesting to listen to. This, however, is also perceived as a potential disadvantage. Test users expressed concern that the experience is like a fortune cookie – you don’t know if you’re going to like what you get. They want to be able to filter the content or else they will get overload with comments that are indifferent to them and will want to turn off the ”noise”.
Test users pointed out that the platform should be able to support a shared museum visit experience. They don’t want to shut their friends or family out by immersing themselves in the content. Suggestions to develop the concept into a game-like experience for instance where users can challenge each other on what they discover and know.
The platform is designed to lower the barrier of System maintenance – Twitter is dynamically developed and updated Content creation – based on reuse, linking to existing collection-related content Participation – everyone has a voice, and you just need to spill 140c Joining the network – every museum can join, the platform is multilingual by default
Next step is to build a betaversion based on Twitter’s API, test it and adjust it according to user feedback. We have no illusion that this project will magically solve all the challenges we address, but it is a way to get started working together towards shared solutions and a paradigm of openness.
After the pilot is launched and evaluated in April 2013, what we really need is to move from small scale pilot mode to an established and coordinated default practice. Open licensing of Public Domain content Shared platforms – no more silos that fences in content that is useful to others Distributed ownership – cultural heritage belongs to all, the ownership should be shared Democratic dialogue
That is one of the reasons why I’m very excited to take part in this workshop today. We need a network with the mindset, the expertise, and the scope of Europeana, to help our efforts solidify.
These things are also topical at the international GLAM seminar ”Sharing is Caring – Let’s Get Real” on December 12, 2012 in Copenhagen. Keynotes by Shelley Bernstein, Brooklyn Museum, about crowdcurated project management, Jasper Visser about the necessary mental change in museums following the technological. And Jill Cousins will round up the day by presenting the Europeana Commons. We hope you will join us!