The document provides information about an international conference on art security taking place in Bruges, Belgium on March 19th, 2015. It includes the schedule, list of speakers, and partners involved in the conference. The goal of the conference is to provide attendees an opportunity to network with peers and learn from subject matter experts about art security best practices and how to prevent art crimes. Speakers will discuss topics like art theft case studies, museum security measures, and emerging technologies that can help secure artworks.
Craig McGinty, a freelance journalist and the author and editor of This French Life blog/e-zine, has been an active participant of the UK's blogging and digital scene, especially in Manchester. As he now moves to France, and many of us bid farewell and wish him best of luck, I created a slideshow of my own photos, as a reminder of England and Wales, as well as a token of respect and gratitude.
Craig McGinty, a freelance journalist and the author and editor of This French Life blog/e-zine, has been an active participant of the UK's blogging and digital scene, especially in Manchester. As he now moves to France, and many of us bid farewell and wish him best of luck, I created a slideshow of my own photos, as a reminder of England and Wales, as well as a token of respect and gratitude.
Timken Museum of Art Enhances Visitor Experience by Launching Redesigned Webs...Brendan Ciecko
The Timken Museum of Art launches 2 visitor enhancement tools to enrich the museum-going experience for visitors—a mobile app, powered by Cuseum, and a redesigned responsive website. Both the app and website give users an opportunity to experience, learn about, and engage with the art on view at the Timken by providing contextual multi-media content, including audio tours and videos of the exhibitions, an interactive map, and a calendar of museum events and programs.
Idea to Audience, or Audience to Idea? Graham DaviesGraham Davies
From Idea to Audience, or Audience to Idea?
Using a wide range of practical examples Graham will de-construct 'good digital ideas' and explain how experiences at Amgeuddfa Cymru have helped shape a new way of thinking for the digital team there.
MW18 Presentation: The Future Of Media Determines The Future Of Museum. (Some...MuseWeb Foundation
By Harald Kraemer, School of Creative Media, City University of Hong Kong
Since the 1990s, multimedia technology has had a growing impact on communication and education in museums. Museums have spent enormous effort in the production of multimedia applications like CD-i, CD-ROM, websites, kiosk-systems, etc. Nowadays museums are open to any kind of media that the new communication technology has forced them to comply with. Using Multimedia and Social Media-supported technologies, visitors have changed from passive learning customers to active co-authors and consumers.
The Millennial generation in particular, with its narcissistic and event-driven behavior and its expectation of following the latest technology innovations, has led museums into a dependency with unforeseeable consequences. This essay contains aspects of the following questions: Are the multimedia contents, which mostly follow Alfred Barr’s didactic model of the educated consumer and focuses on interpretation, still relevant in view of the changed behavior of the digital born user?
How can museums develop a contemporary education model that strengthens our visitor/user’s ability to critically engage with art and media? In the face of the growing loss of the products of our digital cultural heritage, the question remains how can we ensure that future generations will have access to the hypermedia applications created by museums, and that we will not lose these interactive masterpieces, as it is happening right now with the first generation of multimedia classics? Last not least the inglorious end of the NMC raises the question of who now evaluates and recommends the technologies that will have to be used in museums in the future.
3D Models and Open Access for Cultural InstitutionsNeal Stimler
This presentation was for the International Journal for Digital Art History's "Art History in Quarantine" online conference on April 10, 2020. It introduces a collaborative project and publication by Thomas Flynn, Neal Stimler, and Michael Weinberg with support from The Engelberg Center on Innovation Law and Policy at The New York University School of Law. The presentation discusses initials details about the project and provides links to open access 3D Model repositories and applications. The publication https://glam3d.org/ was published on May 19, 2020.
Keynote given at ELAG2016 (European Library Automation Group) EXIT conference
7 June 2016, The Royal Library, Copenhagen
http://elag2016.org/
#elag2016
Towards more smart, connected and open audiovisual archivesJohan Oomen
As a result of digitisation of analogue holdings and working processes, more and more material from audiovisual archies is being made available online. This marks a transformative shift, as archives and users are now sharing the same information space. Once digital and part of an open network, objects from audiovisual archives can be shared, recommended, remixed, embedded, cited, referenced to and so on. It is a far cry from several years ago, when users were obliged to visit brick and mortar institutions to access collections. This shift towards digital enables archives to fulfil their pubic missions better; crossing geographical boundaries, using new channels for content distribution, engage with user groups and use new technologies to make work processes more efficient and allow for new access points to collections. It also introduces fundamental challenges, forcing audiovisual archives to [1] rethink their role and function in the value chain of media production and modern society at large, [2] assess which activities and competences are vital to succeed in a digital context.
We envision the future audiovisual archives to be smart, connected and open; using smart technologies to optimise workflows for annotation and content distribution. Collaborating with third parties to co-design and co-develop new technologies in order to manifest themselves as frontrunners rather than followers. Being connected to other sources of information (other collections, contextual sources), to a variety of often niche user communities, researchers and the creative industries. To embrace the use of standards defined by external instances rather than by the cultural heritage communities themselves. Fully embrace ‘open’ as the default to have maximum impact in society: applying open licences for content delivery, using open source software and open standards wherever possible. Promote open access to publications and so on.
This keynote examines how the public mission of archives (i.e. supporting a myriad of users to utilize collections to learn, experience and create) can be achieved in a digital context. It addresses the challenges related to the role and function of institutions and provides practical insights in how archives can establish a culture of innovation to manage challenges they face today. It addresses some of the major questions audiovisual archives are faced with today.
Timken Museum of Art Enhances Visitor Experience by Launching Redesigned Webs...Brendan Ciecko
The Timken Museum of Art launches 2 visitor enhancement tools to enrich the museum-going experience for visitors—a mobile app, powered by Cuseum, and a redesigned responsive website. Both the app and website give users an opportunity to experience, learn about, and engage with the art on view at the Timken by providing contextual multi-media content, including audio tours and videos of the exhibitions, an interactive map, and a calendar of museum events and programs.
Idea to Audience, or Audience to Idea? Graham DaviesGraham Davies
From Idea to Audience, or Audience to Idea?
Using a wide range of practical examples Graham will de-construct 'good digital ideas' and explain how experiences at Amgeuddfa Cymru have helped shape a new way of thinking for the digital team there.
MW18 Presentation: The Future Of Media Determines The Future Of Museum. (Some...MuseWeb Foundation
By Harald Kraemer, School of Creative Media, City University of Hong Kong
Since the 1990s, multimedia technology has had a growing impact on communication and education in museums. Museums have spent enormous effort in the production of multimedia applications like CD-i, CD-ROM, websites, kiosk-systems, etc. Nowadays museums are open to any kind of media that the new communication technology has forced them to comply with. Using Multimedia and Social Media-supported technologies, visitors have changed from passive learning customers to active co-authors and consumers.
The Millennial generation in particular, with its narcissistic and event-driven behavior and its expectation of following the latest technology innovations, has led museums into a dependency with unforeseeable consequences. This essay contains aspects of the following questions: Are the multimedia contents, which mostly follow Alfred Barr’s didactic model of the educated consumer and focuses on interpretation, still relevant in view of the changed behavior of the digital born user?
How can museums develop a contemporary education model that strengthens our visitor/user’s ability to critically engage with art and media? In the face of the growing loss of the products of our digital cultural heritage, the question remains how can we ensure that future generations will have access to the hypermedia applications created by museums, and that we will not lose these interactive masterpieces, as it is happening right now with the first generation of multimedia classics? Last not least the inglorious end of the NMC raises the question of who now evaluates and recommends the technologies that will have to be used in museums in the future.
3D Models and Open Access for Cultural InstitutionsNeal Stimler
This presentation was for the International Journal for Digital Art History's "Art History in Quarantine" online conference on April 10, 2020. It introduces a collaborative project and publication by Thomas Flynn, Neal Stimler, and Michael Weinberg with support from The Engelberg Center on Innovation Law and Policy at The New York University School of Law. The presentation discusses initials details about the project and provides links to open access 3D Model repositories and applications. The publication https://glam3d.org/ was published on May 19, 2020.
Keynote given at ELAG2016 (European Library Automation Group) EXIT conference
7 June 2016, The Royal Library, Copenhagen
http://elag2016.org/
#elag2016
Towards more smart, connected and open audiovisual archivesJohan Oomen
As a result of digitisation of analogue holdings and working processes, more and more material from audiovisual archies is being made available online. This marks a transformative shift, as archives and users are now sharing the same information space. Once digital and part of an open network, objects from audiovisual archives can be shared, recommended, remixed, embedded, cited, referenced to and so on. It is a far cry from several years ago, when users were obliged to visit brick and mortar institutions to access collections. This shift towards digital enables archives to fulfil their pubic missions better; crossing geographical boundaries, using new channels for content distribution, engage with user groups and use new technologies to make work processes more efficient and allow for new access points to collections. It also introduces fundamental challenges, forcing audiovisual archives to [1] rethink their role and function in the value chain of media production and modern society at large, [2] assess which activities and competences are vital to succeed in a digital context.
We envision the future audiovisual archives to be smart, connected and open; using smart technologies to optimise workflows for annotation and content distribution. Collaborating with third parties to co-design and co-develop new technologies in order to manifest themselves as frontrunners rather than followers. Being connected to other sources of information (other collections, contextual sources), to a variety of often niche user communities, researchers and the creative industries. To embrace the use of standards defined by external instances rather than by the cultural heritage communities themselves. Fully embrace ‘open’ as the default to have maximum impact in society: applying open licences for content delivery, using open source software and open standards wherever possible. Promote open access to publications and so on.
This keynote examines how the public mission of archives (i.e. supporting a myriad of users to utilize collections to learn, experience and create) can be achieved in a digital context. It addresses the challenges related to the role and function of institutions and provides practical insights in how archives can establish a culture of innovation to manage challenges they face today. It addresses some of the major questions audiovisual archives are faced with today.
1. meets
INTERNATIONAL
CONFERENCE
TOP SPEAKERS
Lynda Albertson —
Association for Research into Crimes against
Art (ARCA)
Hubert De Witte —
Musea Brugge
Dick Drent —
OMNIRISK,
The Van Gogh Museum
Jens Bechmann —
Pinkerton,
The Los Angeles County Museum of Art (LACMA)
Manfred Sellink —
Royal Museum of Fine Arts Antwerp (KMSKA)
19
MAR
20
15
OLDST.JOHN’SSITEBRUGES
PROGRAM
GUIDE
2. WELCOME
Optimit is pleased to welcome you to the int’l conference ART meets
SECURITY 2015.
Security incidents happen. In the ‘Biggest Art Crimes Countdown’ series,
we analyzed notorious thefts from Boston’s Gardner museum, the theft of
‘The Scream’, the theft of 239 artworks of the hand of a single thief and
the dubious honor of triple attacks on Rembrandt’s ‘The Night Watch’.
Could these crimes have been prevented? A high number of crimes
could have been prevented given the right preventive security measures
in place. There is although no such thing as watertight security. Total
and integrated security also consists of measures for quick detection,
alarming and response.
This conference is a unique opportunity to meet and network with your
peers, learn about Art Security from subject-matter experts and share
ideas and best practices.
It is our privilege to count all of you as members of the Art Security
community and we look forward to a great conference together!
Inge Vandijck
Managing Partner, Optimit
CONFERENCE BY
3. SCHEDULE
FLOOR PLAN
KEYNOTE SPEAKERS
TOURIST INFO BRUGES
PARTNERS
1-2
3-4
5-6
7
8
INDEX
Visit our mobile-friendly conference
website for more information.
ams.optimit.global
or scan the QR-code.
4. MORNING SCHEDULE
Registration and breakfast
Opening the conference
Francis Van der Staey Optimit
Drawing the canvas
Hubert De Witte Musea Brugge
Could the biggest art crimes have been prevented?
Inge Vandijck Optimit
Meet a network of partners in art security
Morning break
Art crime in war and armed conflict
Lynda Albertson Association for Research into Crimes against Art (ARCA)
The art of museum security: what everyone needs to understand
to do art security right
Jens Bechmann Pinkerton
Wireless art protection
Rob Green ISIS Technology
Lunch
08:30
09:15
09:30
10:00
10:30
11:00
11:30
12:00
12:30
13:00
1
5. AFTERNOON SCHEDULE
Predictive profiling of the art's adversary
Leen van der Plas ArtSecure
Dick Drent OMNIRISK
Securing a new museum in renovation - a complex matter
Manfred Sellink Royal Museum of Fine Arts Antwerp (KMSKA)
Trends and technologies in security: the voice of the customer
Margaret Miller Siemens
Afternoon break
Your chances to interrupt the adversary: a delicate balance in
deterrence, delay, detection and response
Paul van Lerberghe Optimit
Climate change: a global threat to art and cultural heritage
Guy De Witte De Zilveren Passer
Panel and conclusions
Ibrahim Bulut Optimit
Cocktail reception
14:00
14:30
15:00
15:30
16:00
16:30
17:00
17:30
2
8. MORNING KEYNOTE SPEAKERS
5
Francis Van der Staey
Managing Partner
Optimit (BE)
09:15 Opening the
conference
Hubert De Witte
Managing Director
Musea Brugge (BE)
09:30 Drawing the canvas
Inge Vandijck
Managing Partner
Optimit (BE)
10:00 Could the biggest
art crimes have been
prevented?
Lynda Albertson
Chief Executive Officer
Association for Research into
Crimes against Art (ARCA) (IT)
11:30 Art crime in war and
armed conflict
Jens Bechmann
Director
Pinkerton (US)
12:00 The art of museum
security: what everyone
needs to understand to do
art security right
Rob Green
CEO
ISIS Technology (UK)
12:30 Wireless art
protection
9. AFTERNOON KEYNOTE SPEAKERS
6
Leen van der Plas
Director
ArtSecure (NL)
14:00 Predictive profiling
of the art’s adversary
Dick Drent
Business Owner/Director
OMNIRISK (NL)
14:00 Predictive profiling
of the art’s adversary
Manfred Sellink
General Director
Royal Museum of Fine Arts
Antwerp (KMSKA) (BE)
14:30 Securing a new
museum in renovation - a
complex matter
Margaret Miller
Market Manager Corporate
Security
Siemens (DE)
15:00 Trends and
technologies in security:
the voice of the customer
Paul van Lerberghe
Director Engineering
Optimit (BE)
16:00 Your chances to
interrupt the adversary:
a delicate balance
in deterrence, delay,
detection and response
Guy De Witte
Consultant Preventive
Conservation Cultural Heritage,
Accredited Conservator-
Restorer, Owner
De Zilveren Passer (BE)
16:30 Climate change: a
global threat to art and
cultural heritage
10. TOURIST INFO BRUGES
7
Explore and enjoy Bruges with the
complementary 3-days Museum
Pass (20-22 Mar) included in your
conference goodie bag.
Feel free to discover the variety of art
collections on display at 16 different
museums in Bruges. These are divided into
3 groups:
GROENINGE
The Groeninge Museum
The Arents House
BRUGGE MUSEUM
The City Hall
The Liberty of Bruges
The Belfry
The Gruuthuse
The Gentpoort
The Church of Our Lady
The Archaeology Museum
The Guido Gezelle Museum
The Sound Factory - Lantern Tower
The Museum of Folklore
The Sint-Janshuis Mill and
The Koelewei Mill
THE HOSPITAL MUSEUM
The Saint Johns Hospital
Our Lady of the Potterie
Stop by the TOURISM BRUGES booth in the
PARTNER VILLAGE during lunch (13:00 - 14:00).
Bruges Tourism staff will inform you on what’s on in
Bruges as well as information on activities including
museums, exhibitions, restaurants...
12. For more information,
dates & registration,
please visit:
ERM.optimit.global
RISK MANAGEMENT
Learn to manage Art Related Security Risks from
experienced, specialized Risk Trainers
2015
Global
Training & Certification
Over the course of this 2-day training (1-day certification) you will
develop a thorough understanding of the vocabulary, the principles,
the framework and the risk management process in accordance
with the ISO 31000 Risk Management Standard, which can be used
by private and public organizations of any size, industry or sector for
any type of risk.
“Very interesting training which was strategic, conceptual and
brought back all day practices to all of us. In my opinion this was
an excellent balance. The knowledge and experience of the training
will support me very strongly in performing my ‘mission’ of a federal
risk assessment.”
Mr. Gunter Ceuppens - Advisor Security - Unit Strategic Support
(FPS Home Affairs Belgium)
Munich, DE
10-12 Jun
Chicago, US
21-23 Sep
Brussels, BE
7-9 Oct
Become ANSI/ASSE/ISO 31000 Certified Risk Manager