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Exit Control,
Enter Creative Chaos
ELAG 2016
The 40th European Library Automation Group Conference
June 6-9 2016, The Royal Library, Copenhagen
Merete Sanderhoff
Curator / Senior Advisor
slideshare.net/MereteSanderhoff
@MSanderhoff
Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest
Nefertiti
http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/
Discovered in Amarna, Egypt, in 1912 by German
archaeologists
On display at Neues Museum Berlin since 1923
Egypt has reclaimed the bust as national heritage, in
vain
The bust is not allowed to travel due to security
The museum’s official 3D scan is kept from the public
http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/
The Other Nefertiti
http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html
Covertly scanned with a Kinect in Neues Museum
Berlin, October 2015
Released as a torrent at Chaos Communication
Congress, December 2015
Downloaded and seeded thousands of times
within 24 hours
Requests from universities and businesses
to re-use the scan
http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html
Nora Al-Badri and Jan Nikolai Nelles
with the 3D bust in Cairo
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
“The head of Nefertiti represents all
the other millions of stolen and
looted artifacts all over the world
currently happening, for example, in
Syria, Iraq, and in Egypt.”
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
“Archaeological artifacts as a cultural
memory originate for the most part
from the Global South; however, a
vast number of important objects
can be found in Western museums
and private collections.”
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
“We should face the fact that the
colonial structures continue to exist
today and still produce their
inherent symbolic struggles.”
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
“…there are ways where we don’t
even need any topdown effort from
institutions or museums, but where
the people can reclaim the
museums as their public space
through alternative virtual realities,
fiction, or captivating the objects
like we did.”
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
Liberating looted heritage?
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
Hacking lawfully protected artwork?
http://www.leblogduhacker.fr/
“It's possible that the artists violated the
museum's conditions of admission by
making their scan, but the bust itself is
not in copyright.
It's my belief that trafficking in the 3D
model by people who never agreed to the
museum's terms (that is, people who've
never bought a ticket) is perfectly legal.”
Cory Doctorow. Photo by Jonathan Worth, CCBY 3.0 JonathanWorth.com
Were the hackers hacked?
http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
http://throughascanner.com/
Cosmo Wenman and other experts believe so.
The level of quality and detail in The Other Nefertiti
cannot be obtained by using a Kinect.
Wenman blames the whole situation
on Neues Museum's "bad institutional
practices regarding secrecy"
http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
“The Neues Museum is hoarding 3D scans that by all
rights it should share with the public (…) digitizing
artwork radically increases the importance of
provenance—where artifacts and information come
from, who controlled it, and who edited it.”
http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
“Museums are in the best position to produce and
publish 3D data of their works and provide
authoritative context and commentary about the
work, the art, the data, and what it means.”
http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
“I know from first-hand experience that people want
this data, and want to put it to use, and (…) they will
get it, one way or another. When museums refuse to
provide it, the public is left in the dark and is open to
having bogus or uncertain data foisted upon it.”
http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
“Museums should not be repositories of secret
knowledge, but unfortunately (…) Neues [Museum]
is not alone in keeping their scan data to themselves.
There are many influential museums, universities, and
private collections that have extremely high quality
3D data of important works, but they are not sharing
that data with the public.”
http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
Overview
1. Exit Control
2. Enter Creative Chaos
3. Embracing Open
CC BY-SA 4.0 Ida Tietgen Høyrup
About SMK
The National Gallery of Denmark
Western art from 1300 to the present
260,000 artworks
66 % in the public domain
27 % digitised
About me
Art Historian, OpenGLAM’er
No tech background, DIY learner of digital
Digital research & development
Advice on copyright and public domain
Standards and policies at the
national and European level
Re-use facilitation
1. Exit Control
”Information can now be made available,
in an unlimited number of perfect copies,
at zero marginal cost.”
”Focusing on how much it cost you to make
something, especially if that thing can be
distributed electronically at almost no outlay via
the internet, will blind you to the opportunities
that this new era of distribution can bring you.”
https://twitter.com/PUBDOMAINHULK
Growing public demand
for free culture
…or people will go elsewhere
Works that are in the Public Domain in
analogue form continue to be in the Public
Domain once they have been digitised.
http://pro.europeana.eu/files/Europeana_Professional/Publications/Public%20Domain%20Charter%20-%20EN.pdf
Galleries
Libraries
Archives
Museums
http://openglam.org/
We are not owners,
but stewards
of our collections
Pioneers
“Our understanding of research, education,
artistic creativity, and the progress of
knowledge is built upon the axiom that no
idea stands alone, and that all innovation is
built on the ideas and innovation of others.”
Smithsonian Web and New Media Strategy, Version 1.0, 2009
http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf
“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://ydc2.yale.edu/sites/default/files/OpenAccessLAMSFinal.pdf
“To be a public museum your digital data should be free.
And digital data is not a threat to the real data, it’s just an
advertisement that only increases the aura of the original.
People go to the Louvre because they’ve seen the Mona
Lisa; the reason people might not be going to an institution
is because they don’t know what’s in your institution.
Digitization is a way to address that issue, in a way that
simply wasn’t possible before.”
William Noel, former curator, Walter’s Art Museum, 2012
“Our primary mission is to ‘tell the truth’. We put
as much quality in our work as possible. That is why
we share the best quality we have. If people google
‘The Milkmaid’ by Vermeer then we want them to
find our good quality image, not all the bad and
deformed versions of this beautiful painting.”
Lizzy Jongma, former data manager, Rijksmuseum, 2012
Loss of control
Regaining control
by sharing
Rijksmuseum’s quality images
are preferred online
Rijksmuseum is key reference
for its own collection
“So far 6,499 images from the Rijksmuseum have
been uploaded to Wikimedia Commons (...)
2,175 of these images are currently used in various
Wikipedia articles.
These images have been shown 10,322,754 times to
users visiting the articles where the material is used.”
The Impact of Open Access on Galleries, Libraries, Museums and Archives, Effie Kapsalis,
Smithsonian Emerging Leaders Development Program, April 2016
“If they want to have a Vermeer on their toilet paper,
I’d rather have a very high-quality image of Vermeer
on toilet paper than a very bad reproduction.”
http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0
Taco Dibbits
Director, Rijksmuseum
Fear of misuse?
Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the material and therefore promoting the museum on a larger
scale than they had ever been able to do themselves.
Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the material and therefore promoting the museum on a larger
scale than they had ever been able to do themselves.
Wikipedia editors prefer to use trusted material provided by the cultural institutions
themselves to illustrate the articles they are editing. This greatly benefits both the
users who have a richer experience, and the cultural institution that reaches out to a
public far beyond the scope of its own website
Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the material and therefore promoting the museum on a larger
scale than they had ever been able to do themselves.
Wikipedia editors prefer to use trusted material provided by the cultural institutions
themselves to illustrate the articles they are editing. This greatly benefits both the
users who have a richer experience, and the cultural institution that reaches out to a
public far beyond the scope of its own website.
We have lost almost all control, and it has been vital to our success.
Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of
Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013
Democratising the Rijksmuseum. Why did the Rijksmuseum make available their highest
quality material without restrictions, and what are the results? Joris Pekel, Europeana
Foundation, July 2014
2. Enter Creative Chaos
SMK’s first digital strategy, 2009
We want to be a
catalyst for
users’ creativity
25,000 images
for free download
25,000 images
for free download
You may use the
images without
asking permission
https://creativecommons.org/publicdomain/zero/1.0/
Entry for short film competition
on violation of womens’ rights
The Why Foundation, 2016
Based on open images from SMK
Prints & Drawings collection
Creative/
commercial re-use
Vilhelm Hammershøi, Artemis, 1893–94, SMK. Public Domain
Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest
http://www.filipvest.dk/phone/dusty-pixels.html
C.N. Gijsbrechts, Trompe l'oeil. Board Partition with Letter Rack and
Music Book, 1668. SMK, public domain
C.N. Gijsbrechts, Trompe l'oeil. The Reverse of a Framed Painting, 1670. SMK, public domain
Frants Henningsen, A Funeral, 1883. SMK, public domain
Jamie Seaboch, collage, 2015, CCBY-SA
“I have been creating collages
using international museum
collections for 20-25 years (...)
But I have only been able to share
them with my friends and family,
knowing that if I were to present
them publicly I would face legal
retribution. Now I am, for the
first time, allowed to share my
perspective.”
Jamie Seaboch, graphic designer
http://ja7191.wix.com/public-domain#!statens-museum-for-kust/c1azs
But there’s a dark side too.
Liberal photo policy – also show museumofselfies
and instawalks
We have a liberal photo policy,
so this is just fine
But this is not ok!
But this is not ok!
But this is not.
But this is not ok!
But this is not.
You cannot watermark
a CC0 image of a public
domain artwork
This isn’t too
clever either.
3. Embracing Open
”With our digitised collections, we can support
people in being reflective, creative human beings.
But the precondition is that cultural heritage is
common property, and that each and every one of
us can use it for exactly what we dream of.”
Mikkel Bogh
Director, SMK
http://bit.ly/1dMX0BJ
Access is not enough
Pieter Aertsen , The Fat Kitchen. An Allegory, SMK. Public domain
Nicolai Abildgaard, Caricature of a fat man carrying a large key in his left hand, undated drawing, SMK. Public Domain
Facilitation is key
CCBY 4.0 ULK
The art pilots
www.ulk.dk
CCBY 3.0 Frida Gregersen
Cool Constructions
CCBY 3.0 Frida Gregersen
Collaboration between the
Copenhagen Metro Company,
local citizens, and SMK art pilots
CCBY 3.0 Frida Gregersen
Collections gain new value
outside the museum
in the hands of the public
CCBY 3.0 Frida Gregersen
CCBY 3.0 Frida Gregersen
Makeover of injection room
Skyen / ‘The Cloud’
CCBY 4.0 ULK
A space for drug users,
central Copenhagen
Open 23 hours
a day
700 drug intakes
a day
CCBY 4.0 ULK
CCBY 4.0 ULK
Re-creating places / spaces
that the drug users dream of
CCBY 4.0 ULK
CCBY 4.0 ULK
The art pilots facilitate
improved social conditions
for the users
Cultural heritage
hackathons
Hack4DK
CCBY-SA 2.0 Morten Nybo
Running since 2012
in collaboration with
peer institutions all
over Denmark,
and a growing
community of coders,
hackers, designers
Room for the unexpected,
even the unimaginable
CCBY-SA 2.0 Morten Nybo
By Rasmus Lorentzen, 2013
Open data from Copenhagen City Archive is used to visualize
moving activity in Copenhagen fra 1890 to 1923
https://www.youtube.com/watch?v=giYikHE6WCo
Heat map of urban growth
Lick it away!
By Laura Sillanpä and
Morten Nybo, 2015
Investigates how we
represent our tactile history
digitally, in this case the
history and practices of
letters.
https://hackdash.org/project
s/5610e32528775a823ff169
5c
Remix exhibition
May 2015
13 artists and
designers were
invited to mix up
SMK’s collections
The artists got to hack
the museum for a weekend
CC BY-SA 4.0 Merete Sanderhoff
CC BY-SA 4.0 Ida Tietgen Høyrup
Their remixes ranged
from lasercut installations…
Neea Laakso, Free?
CC BY-SA 4.0 Ida Tietgen Høyrup
…over tapestries,
fashion clothes, collages…
Signe Emdal, Astrids Rose
Harald Slott-Møller, Danish landscape, 1891
Product of Public Domain
CC BY-SA 4.0 Ida Tietgen Høyrup
Jamie Seaboch, Collage
Filip Vest, 22 Skies
CC BY-SA 4.0 Ida Tietgen Høyrup
…to a projection of
22 golden age skies
CC BY-SA 4.0 Ida Tietgen Høyrup
…and a pop-up version of Hammershøi
with motorized moving light
CC BY-SA 4.0 Ida Tietgen Høyrup
Kati Hyyppä, As light goes by
CC BY-SA 4.0 Ida Tietgen Høyrup
Artists talks
- communicating the remixes
CC BY-SA 4.0 Ida Tietgen Høyrup
Huge interest from the audience
CC BY-SA 4.0 Ida Tietgen Høyrup
A unique opportunity for upcoming artists
CC BY-SA 4.0 Ida Tietgen Høyrup
More than 6,000 people
joined the party
CC BY-SA 4.0 Ida Tietgen Høyrup
Wiki Labs
- collaborating with Wikipedians,
art historians and amateurs
to enrich art historical entries
Wikipedia needs open content
https://commons.wikimedia.org/wiki/Commons:Licensing
Monthly meetups
- utilize open images
- learn how to edit
- artist of the month
Artist of the month of March
- Before
Artist of the month of March
- After
Museum professionals must abide by Wikipedia
rules like everyone else.
The impact is worth it
SMK images got 20 million
page views on Wikipedia in 2015
“Prioritize Web and New Media
programs in proportion to their
impact on the mission.”
Michael Edson, Smithsonian Web and New Media Strategy, Version 1.0, 2009
http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf
Michael Edson /VanGoYourself
After exit of control
What’s the societal good of open
cultural heritage?
How do we measure the impact
of creative chaos?
“Now that museums are beginning to have the tools and
expertise at their disposal to monitor, track, record, and analyze
all the various ways that the public benefits from their work, the
real task begins to redesign the process and program of
museums and to embed impact-driven data collection into
every aspect of our efforts.”
Rob Stein
Chief Program Officer, AAM
https://medium.com/code-words-technology-and-theory-in-the-museum/museums-so-what-
7b4594e72283#.rgnlbz2tj
“Now that museums are beginning to have the tools and
expertise at their disposal to monitor, track, record, and analyze
all the various ways that the public benefits from their work, the
real task begins to redesign the process and program of
museums and to embed impact-driven data collection into
every aspect of our efforts.”
Rob Stein
Chief Program Officer, AAM
Insert
‘libraries’
https://medium.com/code-words-technology-and-theory-in-the-museum/museums-so-what-
7b4594e72283#.rgnlbz2tj
”I wish we would measure cultural
heritage on learning and happiness.”
https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/
Charlotte S H Jensen
State Arhives/National Museum
How about capturing if our users
become re-users?
acquire new skills not to do with cultural heritage?
experience a boost in creativity and general happiness?
feel empowered?
increase their social network by engaging in cultural heritage?
feel that using cultural heritage increases their life quality?
https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/
Charlotte S H Jensen
State Arhives/National Museum
Exit Monologue,
Enter Dialogue
ELAG 2016
The 40th European Library Automation Group Conference
June 6-9 2016, The Royal Library, Copenhagen
Merete Sanderhoff
Curator / Senior Advisor
slideshare.net/MereteSanderhoff
@MSanderhoff
Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest

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Exit Control. Enter Creative Chaos.

  • 1. Exit Control, Enter Creative Chaos ELAG 2016 The 40th European Library Automation Group Conference June 6-9 2016, The Royal Library, Copenhagen Merete Sanderhoff Curator / Senior Advisor slideshare.net/MereteSanderhoff @MSanderhoff Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest
  • 3. Discovered in Amarna, Egypt, in 1912 by German archaeologists On display at Neues Museum Berlin since 1923 Egypt has reclaimed the bust as national heritage, in vain The bust is not allowed to travel due to security The museum’s official 3D scan is kept from the public http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/
  • 5. Covertly scanned with a Kinect in Neues Museum Berlin, October 2015 Released as a torrent at Chaos Communication Congress, December 2015 Downloaded and seeded thousands of times within 24 hours Requests from universities and businesses to re-use the scan http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html
  • 6. Nora Al-Badri and Jan Nikolai Nelles with the 3D bust in Cairo http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  • 7. “The head of Nefertiti represents all the other millions of stolen and looted artifacts all over the world currently happening, for example, in Syria, Iraq, and in Egypt.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  • 8. “Archaeological artifacts as a cultural memory originate for the most part from the Global South; however, a vast number of important objects can be found in Western museums and private collections.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  • 9. “We should face the fact that the colonial structures continue to exist today and still produce their inherent symbolic struggles.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  • 10. “…there are ways where we don’t even need any topdown effort from institutions or museums, but where the people can reclaim the museums as their public space through alternative virtual realities, fiction, or captivating the objects like we did.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
  • 12. Hacking lawfully protected artwork? http://www.leblogduhacker.fr/
  • 13. “It's possible that the artists violated the museum's conditions of admission by making their scan, but the bust itself is not in copyright. It's my belief that trafficking in the 3D model by people who never agreed to the museum's terms (that is, people who've never bought a ticket) is perfectly legal.” Cory Doctorow. Photo by Jonathan Worth, CCBY 3.0 JonathanWorth.com
  • 14. Were the hackers hacked? http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  • 16. Cosmo Wenman and other experts believe so. The level of quality and detail in The Other Nefertiti cannot be obtained by using a Kinect.
  • 17. Wenman blames the whole situation on Neues Museum's "bad institutional practices regarding secrecy" http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  • 18. “The Neues Museum is hoarding 3D scans that by all rights it should share with the public (…) digitizing artwork radically increases the importance of provenance—where artifacts and information come from, who controlled it, and who edited it.” http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  • 19. “Museums are in the best position to produce and publish 3D data of their works and provide authoritative context and commentary about the work, the art, the data, and what it means.” http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  • 20. “I know from first-hand experience that people want this data, and want to put it to use, and (…) they will get it, one way or another. When museums refuse to provide it, the public is left in the dark and is open to having bogus or uncertain data foisted upon it.” http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  • 21. “Museums should not be repositories of secret knowledge, but unfortunately (…) Neues [Museum] is not alone in keeping their scan data to themselves. There are many influential museums, universities, and private collections that have extremely high quality 3D data of important works, but they are not sharing that data with the public.” http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html
  • 22. Overview 1. Exit Control 2. Enter Creative Chaos 3. Embracing Open
  • 23. CC BY-SA 4.0 Ida Tietgen Høyrup About SMK The National Gallery of Denmark Western art from 1300 to the present 260,000 artworks 66 % in the public domain 27 % digitised
  • 24. About me Art Historian, OpenGLAM’er No tech background, DIY learner of digital Digital research & development Advice on copyright and public domain Standards and policies at the national and European level Re-use facilitation
  • 26.
  • 27. ”Information can now be made available, in an unlimited number of perfect copies, at zero marginal cost.”
  • 28.
  • 29. ”Focusing on how much it cost you to make something, especially if that thing can be distributed electronically at almost no outlay via the internet, will blind you to the opportunities that this new era of distribution can bring you.”
  • 31. …or people will go elsewhere
  • 32. Works that are in the Public Domain in analogue form continue to be in the Public Domain once they have been digitised. http://pro.europeana.eu/files/Europeana_Professional/Publications/Public%20Domain%20Charter%20-%20EN.pdf
  • 34. We are not owners, but stewards of our collections
  • 36. “Our understanding of research, education, artistic creativity, and the progress of knowledge is built upon the axiom that no idea stands alone, and that all innovation is built on the ideas and innovation of others.” Smithsonian Web and New Media Strategy, Version 1.0, 2009 http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf
  • 37. “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://ydc2.yale.edu/sites/default/files/OpenAccessLAMSFinal.pdf
  • 38. “To be a public museum your digital data should be free. And digital data is not a threat to the real data, it’s just an advertisement that only increases the aura of the original. People go to the Louvre because they’ve seen the Mona Lisa; the reason people might not be going to an institution is because they don’t know what’s in your institution. Digitization is a way to address that issue, in a way that simply wasn’t possible before.” William Noel, former curator, Walter’s Art Museum, 2012
  • 39. “Our primary mission is to ‘tell the truth’. We put as much quality in our work as possible. That is why we share the best quality we have. If people google ‘The Milkmaid’ by Vermeer then we want them to find our good quality image, not all the bad and deformed versions of this beautiful painting.” Lizzy Jongma, former data manager, Rijksmuseum, 2012
  • 43. Rijksmuseum is key reference for its own collection
  • 44. “So far 6,499 images from the Rijksmuseum have been uploaded to Wikimedia Commons (...) 2,175 of these images are currently used in various Wikipedia articles. These images have been shown 10,322,754 times to users visiting the articles where the material is used.” The Impact of Open Access on Galleries, Libraries, Museums and Archives, Effie Kapsalis, Smithsonian Emerging Leaders Development Program, April 2016
  • 45. “If they want to have a Vermeer on their toilet paper, I’d rather have a very high-quality image of Vermeer on toilet paper than a very bad reproduction.” http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0 Taco Dibbits Director, Rijksmuseum
  • 47. Pioneer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves.
  • 48. Pioneer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves. Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website
  • 49. Pioneer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves. Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website. We have lost almost all control, and it has been vital to our success. Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013 Democratising the Rijksmuseum. Why did the Rijksmuseum make available their highest quality material without restrictions, and what are the results? Joris Pekel, Europeana Foundation, July 2014
  • 51. SMK’s first digital strategy, 2009 We want to be a catalyst for users’ creativity
  • 52.
  • 54. 25,000 images for free download You may use the images without asking permission
  • 56. Entry for short film competition on violation of womens’ rights The Why Foundation, 2016 Based on open images from SMK Prints & Drawings collection Creative/ commercial re-use
  • 57. Vilhelm Hammershøi, Artemis, 1893–94, SMK. Public Domain
  • 58. Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest
  • 60. C.N. Gijsbrechts, Trompe l'oeil. Board Partition with Letter Rack and Music Book, 1668. SMK, public domain C.N. Gijsbrechts, Trompe l'oeil. The Reverse of a Framed Painting, 1670. SMK, public domain Frants Henningsen, A Funeral, 1883. SMK, public domain
  • 61. Jamie Seaboch, collage, 2015, CCBY-SA
  • 62. “I have been creating collages using international museum collections for 20-25 years (...) But I have only been able to share them with my friends and family, knowing that if I were to present them publicly I would face legal retribution. Now I am, for the first time, allowed to share my perspective.” Jamie Seaboch, graphic designer
  • 63.
  • 65.
  • 66.
  • 67. But there’s a dark side too.
  • 68.
  • 69.
  • 70.
  • 71. Liberal photo policy – also show museumofselfies and instawalks
  • 72.
  • 73. We have a liberal photo policy, so this is just fine
  • 74. But this is not ok!
  • 75. But this is not ok! But this is not.
  • 76. But this is not ok! But this is not. You cannot watermark a CC0 image of a public domain artwork
  • 78.
  • 79.
  • 81. ”With our digitised collections, we can support people in being reflective, creative human beings. But the precondition is that cultural heritage is common property, and that each and every one of us can use it for exactly what we dream of.” Mikkel Bogh Director, SMK http://bit.ly/1dMX0BJ
  • 82. Access is not enough Pieter Aertsen , The Fat Kitchen. An Allegory, SMK. Public domain
  • 83. Nicolai Abildgaard, Caricature of a fat man carrying a large key in his left hand, undated drawing, SMK. Public Domain Facilitation is key
  • 84.
  • 85. CCBY 4.0 ULK The art pilots www.ulk.dk
  • 86. CCBY 3.0 Frida Gregersen Cool Constructions
  • 87. CCBY 3.0 Frida Gregersen Collaboration between the Copenhagen Metro Company, local citizens, and SMK art pilots
  • 88. CCBY 3.0 Frida Gregersen Collections gain new value outside the museum in the hands of the public
  • 89. CCBY 3.0 Frida Gregersen
  • 90. CCBY 3.0 Frida Gregersen
  • 91. Makeover of injection room Skyen / ‘The Cloud’ CCBY 4.0 ULK
  • 92. A space for drug users, central Copenhagen Open 23 hours a day 700 drug intakes a day CCBY 4.0 ULK
  • 93.
  • 94. CCBY 4.0 ULK Re-creating places / spaces that the drug users dream of
  • 96. CCBY 4.0 ULK The art pilots facilitate improved social conditions for the users
  • 98. Running since 2012 in collaboration with peer institutions all over Denmark, and a growing community of coders, hackers, designers
  • 99. Room for the unexpected, even the unimaginable CCBY-SA 2.0 Morten Nybo
  • 100. By Rasmus Lorentzen, 2013 Open data from Copenhagen City Archive is used to visualize moving activity in Copenhagen fra 1890 to 1923 https://www.youtube.com/watch?v=giYikHE6WCo Heat map of urban growth
  • 101. Lick it away! By Laura Sillanpä and Morten Nybo, 2015 Investigates how we represent our tactile history digitally, in this case the history and practices of letters. https://hackdash.org/project s/5610e32528775a823ff169 5c
  • 102. Remix exhibition May 2015 13 artists and designers were invited to mix up SMK’s collections
  • 103. The artists got to hack the museum for a weekend CC BY-SA 4.0 Merete Sanderhoff
  • 104. CC BY-SA 4.0 Ida Tietgen Høyrup Their remixes ranged from lasercut installations… Neea Laakso, Free?
  • 105. CC BY-SA 4.0 Ida Tietgen Høyrup …over tapestries, fashion clothes, collages… Signe Emdal, Astrids Rose
  • 106. Harald Slott-Møller, Danish landscape, 1891 Product of Public Domain
  • 107.
  • 108. CC BY-SA 4.0 Ida Tietgen Høyrup Jamie Seaboch, Collage
  • 109. Filip Vest, 22 Skies CC BY-SA 4.0 Ida Tietgen Høyrup …to a projection of 22 golden age skies
  • 110. CC BY-SA 4.0 Ida Tietgen Høyrup …and a pop-up version of Hammershøi with motorized moving light
  • 111. CC BY-SA 4.0 Ida Tietgen Høyrup Kati Hyyppä, As light goes by
  • 112. CC BY-SA 4.0 Ida Tietgen Høyrup Artists talks - communicating the remixes
  • 113. CC BY-SA 4.0 Ida Tietgen Høyrup Huge interest from the audience
  • 114. CC BY-SA 4.0 Ida Tietgen Høyrup A unique opportunity for upcoming artists
  • 115. CC BY-SA 4.0 Ida Tietgen Høyrup More than 6,000 people joined the party
  • 116. CC BY-SA 4.0 Ida Tietgen Høyrup Wiki Labs - collaborating with Wikipedians, art historians and amateurs to enrich art historical entries
  • 117. Wikipedia needs open content https://commons.wikimedia.org/wiki/Commons:Licensing
  • 118. Monthly meetups - utilize open images - learn how to edit - artist of the month
  • 119. Artist of the month of March - Before
  • 120. Artist of the month of March - After
  • 121. Museum professionals must abide by Wikipedia rules like everyone else.
  • 122. The impact is worth it
  • 123. SMK images got 20 million page views on Wikipedia in 2015
  • 124. “Prioritize Web and New Media programs in proportion to their impact on the mission.” Michael Edson, Smithsonian Web and New Media Strategy, Version 1.0, 2009 http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf Michael Edson /VanGoYourself
  • 125. After exit of control What’s the societal good of open cultural heritage? How do we measure the impact of creative chaos?
  • 126. “Now that museums are beginning to have the tools and expertise at their disposal to monitor, track, record, and analyze all the various ways that the public benefits from their work, the real task begins to redesign the process and program of museums and to embed impact-driven data collection into every aspect of our efforts.” Rob Stein Chief Program Officer, AAM https://medium.com/code-words-technology-and-theory-in-the-museum/museums-so-what- 7b4594e72283#.rgnlbz2tj
  • 127. “Now that museums are beginning to have the tools and expertise at their disposal to monitor, track, record, and analyze all the various ways that the public benefits from their work, the real task begins to redesign the process and program of museums and to embed impact-driven data collection into every aspect of our efforts.” Rob Stein Chief Program Officer, AAM Insert ‘libraries’ https://medium.com/code-words-technology-and-theory-in-the-museum/museums-so-what- 7b4594e72283#.rgnlbz2tj
  • 128. ”I wish we would measure cultural heritage on learning and happiness.” https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/ Charlotte S H Jensen State Arhives/National Museum
  • 129. How about capturing if our users become re-users? acquire new skills not to do with cultural heritage? experience a boost in creativity and general happiness? feel empowered? increase their social network by engaging in cultural heritage? feel that using cultural heritage increases their life quality? https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/ Charlotte S H Jensen State Arhives/National Museum
  • 130. Exit Monologue, Enter Dialogue ELAG 2016 The 40th European Library Automation Group Conference June 6-9 2016, The Royal Library, Copenhagen Merete Sanderhoff Curator / Senior Advisor slideshare.net/MereteSanderhoff @MSanderhoff Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest