Europeana Space: Innovate your Cultural heritage … and your future business! From access towards curation and creative partnerships
Marco Rendina, Istituto Luce Cinecittà, Fred Truyen, KU Leuven
Europeana Space: Innovate your Cultural heritage … and your future business! From access towards curation and creative partnerships
Marco Rendina, Istituto Luce Cinecittà, Fred Truyen, KU Leuven
EUscreen offers free online access to videos, stills, texts and audio from European broadcasters and audiovisual archives. Explore selected content from early 1900s until today.
Europeana Space: Innovate your Cultural heritage … and your future business! From access towards curation and creative partnerships
Marco Rendina, Istituto Luce Cinecittà, Fred Truyen, KU Leuven
Europeana Space: Innovate your Cultural heritage … and your future business! From access towards curation and creative partnerships
Marco Rendina, Istituto Luce Cinecittà, Fred Truyen, KU Leuven
EUscreen offers free online access to videos, stills, texts and audio from European broadcasters and audiovisual archives. Explore selected content from early 1900s until today.
Presentation delivered for URBACT Pilots Kick-Off Meeting (29-31 January 2014, Paris, France): Programme Structure and Objectives; Why the Pilot Networks; Who's Who.
Read more: http://urbact.eu/en/news-and-events/view-one/urbact-events/?entryId=4918
From Digitisation to Preservation, Creative Re-Use of Cultural Content, and C...Lizzy Komen
Workshop at DISH 2015 conference, Rotterdam, 7 December 2015. http://www.dish2015.nl/programme/workshops/lose-your-modesty/
Including presentation of 4 EU projects: RICHES, EUROPEANA SPACE, CIVIC EPISTEMOLOGIES, PHOTOCONSORTIUM
Contains the following presentations:
1. Size CC0 Fits All: Releasing Fashion Illustration in the Public Domain
By Gabrielle de Pooter – Europeana Fashion
2. How can peacefulfish support financial opportunities between Europeana, its Network and the creative industries?
By Athina Markopoulou - peacefulfish
3. ‘All our memories': sharing photographic heritage through Europeana
By Fred Truyen – KU Leuven
4. Making culture touchable, from digital to physical
By Nikolaos Maniatis - Museotechniki Ltd.
5. Digital Stories
By Sarah McSeveny-Åril – Arts Council Norway
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.
Maarten Brinkerink and Johan Oomen (Netherlands Institute for Sound and Vision, NL) will talk about Waisda?, an open source video labeling game framework developed by Sound and Vision[3], which is currently being developed further in the context of Europeana.[4] Sound and Vision has collaborated with several public broadcasters in the Netherlands to enable fans of certain programmes to contribute fine-grained description of this content. In the latest edition called ‘Spotvogel’ (Mockingbird) Sound and Vision collaborated with the nature TV programme ‘Vroege Vogels’ (Early Birds, by the VARA) to mobilize the online community around the programme for identifying flora, fauna and locations within specific segments of the broadcasts. To support the tagging of the flora and fauna the game utilized a controlled vocabulary that is maintained by Naturalis. Players are awarded points when their tag entries match with other players, and they can score bonus points for using ‘professional’ terms from the controlled vocabulary. Players can also earn badges for certain achievements within the game, for instance for identifying a certain number of birds. Up until now the game managed to gather over 240,000 tags.
Presentation delivered for URBACT Pilots Kick-Off Meeting (29-31 January 2014, Paris, France): Programme Structure and Objectives; Why the Pilot Networks; Who's Who.
Read more: http://urbact.eu/en/news-and-events/view-one/urbact-events/?entryId=4918
From Digitisation to Preservation, Creative Re-Use of Cultural Content, and C...Lizzy Komen
Workshop at DISH 2015 conference, Rotterdam, 7 December 2015. http://www.dish2015.nl/programme/workshops/lose-your-modesty/
Including presentation of 4 EU projects: RICHES, EUROPEANA SPACE, CIVIC EPISTEMOLOGIES, PHOTOCONSORTIUM
Contains the following presentations:
1. Size CC0 Fits All: Releasing Fashion Illustration in the Public Domain
By Gabrielle de Pooter – Europeana Fashion
2. How can peacefulfish support financial opportunities between Europeana, its Network and the creative industries?
By Athina Markopoulou - peacefulfish
3. ‘All our memories': sharing photographic heritage through Europeana
By Fred Truyen – KU Leuven
4. Making culture touchable, from digital to physical
By Nikolaos Maniatis - Museotechniki Ltd.
5. Digital Stories
By Sarah McSeveny-Åril – Arts Council Norway
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.
Maarten Brinkerink and Johan Oomen (Netherlands Institute for Sound and Vision, NL) will talk about Waisda?, an open source video labeling game framework developed by Sound and Vision[3], which is currently being developed further in the context of Europeana.[4] Sound and Vision has collaborated with several public broadcasters in the Netherlands to enable fans of certain programmes to contribute fine-grained description of this content. In the latest edition called ‘Spotvogel’ (Mockingbird) Sound and Vision collaborated with the nature TV programme ‘Vroege Vogels’ (Early Birds, by the VARA) to mobilize the online community around the programme for identifying flora, fauna and locations within specific segments of the broadcasts. To support the tagging of the flora and fauna the game utilized a controlled vocabulary that is maintained by Naturalis. Players are awarded points when their tag entries match with other players, and they can score bonus points for using ‘professional’ terms from the controlled vocabulary. Players can also earn badges for certain achievements within the game, for instance for identifying a certain number of birds. Up until now the game managed to gather over 240,000 tags.
DATA CULTURE What are the strategic and cultural data you wish to see freely ...Fabernovel
The French Ministry of Culture and Communication launched a public consultation concerning its Open Data strategy:
What are the strategic and cultural data you wish to see freely available for use?
FABERNOVEL decided to answer by writing scenarios mixing the use of Open Data and disruptive technologies such as Google Glass or 3D printing.
We focused on the wide diversity allowed by data to be opened and their potential impact on the French cultural economy.
This answer has to do with FABERNOVEL’s previous realizations in Open Data sector : creation of the first applications for national open data platform data.gouv.fr and the organization of Opendata Lab for Parisian transit organization RATP, a two-day hackathon aimed at developing new RATP technologies.
http://www.fabernovel.com/2013/10/25/autumn-data-culture-our-answer-to-the-french-ministry-of-culture-and-communication/
Digital Outdoors - The Arts Catalyst ISAN 13 Nov 2014Jo Fells
Presentation given at the ISAN AGM 13 November 2014 about digital used to mobilise awareness of The Arts Catalyst's recent projects as case studies for performative visual arts outdoors.
Europeana4Education at Open Education Week 2017 - webinar slidesEuropeana
Europeana4Education: discover how digital cultural heritage collections can enrich your educational resources and inspire learners. 29 March 2017.
These slides introduce:
- The diversity of digitised cultural heritage content that can be found on Europeana, and its educational value.
- The free tools Europeana provides to enable access our content (including our manual download and the Europeana APIs).
- The financial support Europeana can offer in the development of educational resources featuring our content.
New approaches towards accessing digital audiovisual heritage What will EUscr...Johan Oomen
During the past decade, a massive body of European audiovisual heritage has become accessible online: on video sharing sites and websites of archives, or through initiatives such as EUscreen.eu and Europeana.eu. Once online, audiovisual heritage circulates in diverse ways: users watch, share, like, or dislike it; they comment, appropriate, and download videos for remix and recirculation. It thus becomes part of the popular consumption of history, potentially creating new interpretations of heritage materials, challenging authorised perspectives.
Challenges to audiovisual heritage online
Heritage institutions perceive the consequences of the recent technological transformations of the sector as a major challenge and opportunity. Nevertheless, urgent questions regarding the circulation of audiovisual heritage online remain unanswered:
How do strategies of curation shape the appropriation of digitized heritage?
How does digitisation and online circulation of audiovisual heritage affect the mission, role, and structure heritage institutions, as well as their relationships with media producers and publics?
How can audiovisual archives better foster the re-use of Europe’s audiovisual heritage?
(How) do digital curation and other appropriations of audiovisual heritage create new perspectives on European history and identity do ?
How does online circulation of audiovisual heritage alter the power relationships between amateur and professional historians in a public history environment, potentially blurring the boundaries between authorised and popular visions of European history?
What new tools and methods do we need to analyse the circulation of audiovisual heritage online, and how have traditional methods to be adapted for this aim?
To discuss these challenges, Utrecht University's Centre of Television in Transition in collaboration with The Netherlands Institute for Sound and Vision and CLARIAH will organize a one day symposium on May 16th, 2018.
Presentation on new EC programmes related to the cultural heritage given by Marcel Watelet, European Commission
LoCloud Conference
Sharing local cultural heritage online with LoCloud services
Amersfoort, Netherlands
5 February 2016
Digitisation of Cultural Heritage: Funding Opportunities at EU level - Luca M...EUscreen
Presentation by Luca Martinelli about funding opportunities at EU level for the digitisation of cultural heritage at the Second EUscreen International Conference on Use and Creativity, which took place at the National Library of Sweden, Stockholm, on September 15-16, 2011.
Similar to Europeana Creative: Creative re-use of cultural heritage (20)
A presentation about the Music in Movement project (www.musicinmovement.eu) by Lizzy Komen (Sound and Vision) and Maria Drabczyk (FINA) at the annual conference of IASA in Berlin (2017).
presentatie over het voorbeeldproject 'MijnCanon', gefinancierd vanuit Netwerk Digitaal Erfgoed (WP1: Zichtbaar). Onderdeel van het Canonnetwerk project geleid door het Nederlands Openluchtmuseum.
Frame 2015: non-commercial uses. Education and research 21.10.2015Lizzy Komen
Presentation at the FRAME training: Future for Restoration of Audiovisual Memory in Europe, Paris, 21.10.2015.
Non-commercial uses: case studiesPromotion of contents towards students and researchers.
Users, Content (AV, Sounds, Music), Case Studies.
Sound Connections pilot @ Europeana Creative Culture Jam 2015, VIennaLizzy Komen
The Europeana Creative pilot 'Sound Connections', harnesses the Europeana API to integrate sound collections from Sound and Vision and the British Library and allow communities to engage with them. Presented at Europeana Creative Culture Jam 2015, Vienna
Content for Europeana TV hacakthon 'Hacking Culture Bootcamp' 9 may 2015Lizzy Komen
Content offered to participants attending the Europeana TV hacakthon 'Hacking Culture Bootcamp' (http://www.europeana-space.eu/hackathons-home/) 9 may 2015, as part of the Europeana Space project (http://europeana-space.eu/)
Europe’s cultural heritage: From digitisation to creative re-useLizzy Komen
Presentation at Citex 2014 conference (http://www.bilisim.org.tr/) in Ankara, Turkey on 7 November 2014. Titel: 'Europe’s cultural heritage:
From digitisation to creative re-use'. Presentation includes highlights of the Netherlands Institute for Sound and Vision digitisation project, Europeana, Digital Agenda for Europe and Europeana Creative
Europeana Creative WP4 Pilots progress (Year 1) Vienna 28.01.2014Lizzy Komen
A presentation on the progress of the Pilots workpackage as part of the Europeana Creative project, given at the All Partner meeting in Vienna, 28 January 2014
This presentation by Morris Kleiner (University of Minnesota), was made during the discussion “Competition and Regulation in Professions and Occupations” held at the Working Party No. 2 on Competition and Regulation on 10 June 2024. More papers and presentations on the topic can be found out at oe.cd/crps.
This presentation was uploaded with the author’s consent.
Acorn Recovery: Restore IT infra within minutesIP ServerOne
Introducing Acorn Recovery as a Service, a simple, fast, and secure managed disaster recovery (DRaaS) by IP ServerOne. A DR solution that helps restore your IT infra within minutes.
This presentation, created by Syed Faiz ul Hassan, explores the profound influence of media on public perception and behavior. It delves into the evolution of media from oral traditions to modern digital and social media platforms. Key topics include the role of media in information propagation, socialization, crisis awareness, globalization, and education. The presentation also examines media influence through agenda setting, propaganda, and manipulative techniques used by advertisers and marketers. Furthermore, it highlights the impact of surveillance enabled by media technologies on personal behavior and preferences. Through this comprehensive overview, the presentation aims to shed light on how media shapes collective consciousness and public opinion.
0x01 - Newton's Third Law: Static vs. Dynamic AbusersOWASP Beja
f you offer a service on the web, odds are that someone will abuse it. Be it an API, a SaaS, a PaaS, or even a static website, someone somewhere will try to figure out a way to use it to their own needs. In this talk we'll compare measures that are effective against static attackers and how to battle a dynamic attacker who adapts to your counter-measures.
About the Speaker
===============
Diogo Sousa, Engineering Manager @ Canonical
An opinionated individual with an interest in cryptography and its intersection with secure software development.
Europeana Creative: Creative re-use of cultural heritage
1. Creative Re-Use of Cultural
Heritage: Europeana Creative
Lizzy Komen, Netherlands Institute for Sound and Vision
"Make it Happen: Creating Business“ Conference
Porto, June 4, 2015
@lizzykomen
lkomen@beeldengeluid.nl
2. Intro Sound and Vision
Europeana Creative & Europeana
Re-use of cultural heritage content
GLAMs and Creative Industries
3.
4. Film from 1898 onwards
Television from 1951
Advertising 1920
Cinema journals ‘22–’80
Radio from 1934
Dutch royal family collection
Dutch football league archive
National Music Archive
Objects related to media
Web video
Amateur film
Documentary film
Photographs
Websites
Visual art collections
…and much more.
a million hours
5. “We enable everyone to utilize the
collections to learn, experience
and create.”
6. “Images for the Future” digitisation programme (2007-2014)
137.200 hours video MXF SD (HD for Film)
17.510 hours film (DPX and MXF)
123.900 hours audio WAF
1.200.000 photo’s TIFF
http://beeldenvoordetoekomst.nl/publicatie/
10. Europeana: Europe’s portal to cultural heritage
42 million records
from 2,500
European
galleries,
museums,
archives, libraries
images, sounds,
texts, video, 3D
31 languages
Metadata under CC0
18. critical mass of content for re-use
Europeana Content Re-use Framework
Europeana Labs & technical infrastructure
co-creation events
five Pilots
series of challenge events with the creative industries
incubation of the most viable projects
20. February 2013 – July 2015 (30 months)
CIP ICT PSP Best Practice Network
Call: CIP-ICT-PSP-2012-6
• Theme 2: digital content, open access and creativity
26 partners from 14 EU member states
Coordinated by the Austrian National Library
835 person-months effort
Budget: € 5,312,514
EU contribution: € 4,250,000
26. “Europeana Labs is a playground for
remixing and using your cultural and
scientific heritage.”
“It is both an online space and a
network of real-world places for
inspiration, innovation and sharing.”
brand proposition
27. what is the goal?
achieve much higher rates of use of
Europeana (Network) metadata and
associated content
28. who are the users?
the developer inspired to or paid to
develop based on our API and/or code
the creative industry professional or
entrepreneur with a commercial motivation
to remix or republish heritage
the designer-developer or multi-disciplinary
teams who want to do both of the above
29. ‘The cultural & creative
industries account for 4.2% of
GDP in Europe (€535.9
billion and more than 7 million
workers).* 3rd largest employer
after construction and F&D…’*
*Creating growth | Measuring cultural and creative markets in the EU
Economic impact
30. “CCIs have impacts that go far
beyond leisure, entertainment,
jobs or economic growth. They also
provide invaluable social cement;
they contribute to the feeling of
belonging to a society; in short,
they help forge a European
identity.”*
*Creating growth | Measuring cultural and creative markets in the EU
Social impact
31. ‘..innovation is now widely
recognised as encompassing more
than just technological and scientific
innovation. Soft innovation and
creative design processes are
increasingly relevant in this context’*
Infrastructure impact
*Entrepreneurial Dimension of the Cultural and Creative Industries, 2014
43. Europeana will be highlighting
digital objects that meet re-use
recommendations
additional search tools that allow to
identify content suitable for re-use
Europeana will expose direct link to
full-size object via API
content for re-use
44. images with min. 800px
direct links to 300dpi images
rights statements that allow re-use
Europeana re-use requirements
47. a space to work…
What: Discussions and co-design activities around
content and processes for digital/offline projects
Why: In order to inspire, guide and help the development
of pilots and projects
When: At the very beginning of ideas and concepts
Where: In ad hoc open and collaborative spaces/contexts
Who: - Professionals from the Creative Industries
- Content providers / Heritage institutions
- Developers / programmers of applications
- Designers and creative minds of different fields
- Other stakeholders
51. History Education
Historiana Apps
An exemplar application of the Analysis Tool using a satirical map from the National Library in France. The Analysis tool can be used for free by
educators to create their own online learning activities at http://apps.historiana.eu. For a video tutorial, click here.
71. identify, incubate and spin-off viable
projects
based on the 5 thematic areas of
Europeana Creative
pilots as inspiration
Challenge winner receives support
package
– technical, strategic and business support to help
develop the idea and get the business started
74. What Creative Industries
want
content:
high quality (and curated) content
pre-selected content collections
show possibilities of available
metadata
technical:
further developed integration of Europeana API
improved search functionality in Europeana and via
Europeana API
75. What do GLAMs need
to offer?
content “fit for purpose”
high quality
easy access – easy to find
interesting material
open licenses
sufficient metadata
tagging, filtering
technical aspects
available direct link, reuseable format
80. Re-use Europeana content in SmartTV
applications to create new TV experiences
Europeana TV pilot
Led by Sound and Vision
81.
82. Nightingale & Canary by Andy Thomas
As part of the eCreative Social Networks Pilot, commissioned by Sound and Vision
http://vimeo.com/103364847
83. Lizzy Komen
lkomen@beeldengeluid.nl
@lizzykomen & @benglabs
Thank you!www.europeanacreative.eu
twitter.com/eCreativeEU
www.facebook.com/EuropeanaCreative
http://ecreativedesign2015.istart.org/
With slides from:
• Max Kaiser
• Harry Verwayen
• Johan Oomen