Academic Access to TV archives (HILL, KERRIGAN and MÄUSLI)FIAT/IFTA
The document summarizes a conference on academic access to television archives that brought together archivists, television professionals, and academics. It discusses challenges around discovering, accessing, and making available historical television material held in archives. It also reports on a survey of 39 archives in 23 countries that found academic researchers occasionally or often use most archives for research, but restrictions relate mainly to copyright. The document advocates for closer collaboration between archives and academics to uncover new histories, identify significant materials, and enhance public awareness and value of archival collections.
What will the next 10 years look like for the AV Archiving and Cultural Heritage sector? (and what to do about it?). By Johan Oomen and Peter Kaufman, as presented at the FIAT/IFTA World Conference in Mexico City, 2017.
Nothing About Us Without Us: Community engagement & technology in museums Collections Trust
Presentation to the Churches Conservation Trust looking at the ways in which community engagement and technology are helping shape a new relationship between museums and their audience.
Music in Movement – an interactive guide to contemporary classical music (DRA...FIAT/IFTA
This document outlines an interactive guide to classical and contemporary music called Music in Movement. It discusses the project's goals of disseminating the work of four prominent European composers and depicting their influence. Partners include organizations from Poland, the Netherlands, Estonia, and France. The project aims to retell the stories of European composers in innovative ways online and through educational activities. It highlights challenges like content sourcing and translations but emphasizes lessons learned through collaboration and using new technologies to make music more accessible.
The document outlines a campaign called the Campaign for Good Curatorship, which aims to reverse the decline of curators in British museums. It notes that there has been a 35% loss of natural history curators and 23% loss of art curators over the last 10 years. The campaign advocates for appropriate levels of curatorial staff in museums to ensure collections remain relevant, exhibitions are effective, collections are properly managed, and cultural objects are cared for now and for future generations. It calls on various organizations to support curatorship through research, accreditation standards, and acknowledging curators' role in museums.
Users of archives in a world of social media (BROCH)FIAT/IFTA
This document discusses users of archives in the digital age. It provides statistics on user demographics and interests from the danskkulturarv.dk website. Three archetypes of users are described: the sharing user, the independent user, and the interested user. The document also outlines an outreach project called "Your Town - A Part of History" which used Facebook videos and interactive stories to engage users. Feedback from visitors showed they were impressed with the project and how new technologies can be used to connect with history. The presenter's key points are: don't underestimate users as they are partners; users now interact instead of just consuming; show your expertise while involving users and having conversations to promote understanding.
Academic Access to TV archives (HILL, KERRIGAN and MÄUSLI)FIAT/IFTA
The document summarizes a conference on academic access to television archives that brought together archivists, television professionals, and academics. It discusses challenges around discovering, accessing, and making available historical television material held in archives. It also reports on a survey of 39 archives in 23 countries that found academic researchers occasionally or often use most archives for research, but restrictions relate mainly to copyright. The document advocates for closer collaboration between archives and academics to uncover new histories, identify significant materials, and enhance public awareness and value of archival collections.
What will the next 10 years look like for the AV Archiving and Cultural Heritage sector? (and what to do about it?). By Johan Oomen and Peter Kaufman, as presented at the FIAT/IFTA World Conference in Mexico City, 2017.
Nothing About Us Without Us: Community engagement & technology in museums Collections Trust
Presentation to the Churches Conservation Trust looking at the ways in which community engagement and technology are helping shape a new relationship between museums and their audience.
Music in Movement – an interactive guide to contemporary classical music (DRA...FIAT/IFTA
This document outlines an interactive guide to classical and contemporary music called Music in Movement. It discusses the project's goals of disseminating the work of four prominent European composers and depicting their influence. Partners include organizations from Poland, the Netherlands, Estonia, and France. The project aims to retell the stories of European composers in innovative ways online and through educational activities. It highlights challenges like content sourcing and translations but emphasizes lessons learned through collaboration and using new technologies to make music more accessible.
The document outlines a campaign called the Campaign for Good Curatorship, which aims to reverse the decline of curators in British museums. It notes that there has been a 35% loss of natural history curators and 23% loss of art curators over the last 10 years. The campaign advocates for appropriate levels of curatorial staff in museums to ensure collections remain relevant, exhibitions are effective, collections are properly managed, and cultural objects are cared for now and for future generations. It calls on various organizations to support curatorship through research, accreditation standards, and acknowledging curators' role in museums.
Users of archives in a world of social media (BROCH)FIAT/IFTA
This document discusses users of archives in the digital age. It provides statistics on user demographics and interests from the danskkulturarv.dk website. Three archetypes of users are described: the sharing user, the independent user, and the interested user. The document also outlines an outreach project called "Your Town - A Part of History" which used Facebook videos and interactive stories to engage users. Feedback from visitors showed they were impressed with the project and how new technologies can be used to connect with history. The presenter's key points are: don't underestimate users as they are partners; users now interact instead of just consuming; show your expertise while involving users and having conversations to promote understanding.
Television archives in a post-television world (WRIGHT)FIAT/IFTA
Television archives now serve a post-television world where viewing habits and content production have vastly changed since the 1970s and 1990s. Linear broadcasting has declined as viewership is more fragmented across cable, satellite, internet and streaming services. Younger audiences in particular have turned away from traditional television. Meanwhile, the amount of content available from a growing number of sources has exploded. National archives still aim to preserve public service broadcasting output for research but have expanded their remits to also include online and independent content. Their role in supporting public access to factual media across different distribution channels may become more important as commercial companies prioritize profits over public value. FIAT/IFTA members face challenges in serving broadcasters, independent producers and national institutions
Britain from Above: Angharad Williams (BfA/RCAHMW)RCAHMW
The document outlines the key aims and activities of the Britain from Above project, which digitized and provided online access to 95,000 aerial photographs from the Aerofilms collection from 1919-1953. The project goals were to preserve the collection, provide free public access online, engage volunteers, and hold exhibitions. An evaluation found heavy website use and a growing international audience. Outreach activities like exhibitions were successful in diversifying the audience. Plans aim to maintain the digital archive and website going forward.
Europeana Inside is an EU-funded project that aims to increase the amount and diversity of content contributed to Europeana by cultural institutions. It involves 28 participants across 12 European nations. The project will develop open-source connection kits to simplify the process of contributing content by automating workflows and allowing institutions to better manage rights and permissions. It seeks to address legal, technical and financial barriers to participation through these tools and by integrating them into collection management systems. The goal is to add 960,000 new records to Europeana from a variety of European cultural organizations over the project's 30 month duration.
The document discusses the Collections Trust's digital priorities and the Culture Grid project. The Collections Trust aims to promote open access to cultural collections through initiatives like the Culture Grid, which allows cultural organizations to showcase digitized content on a shared platform and attract mainstream audiences. The Culture Grid provides infrastructure for hosted search, data hosting, and embedding content on sites like the BBC. It is an opportunity for organizations to promote Renaissance-funded and other digitized content more broadly through partners like Europeana.
Exeter Science Centre, by Natalie WhiteheadTechExeter
The document proposes a new STEAMM cultural hub and science center for Exeter and the South West region. It would aim to encourage careers in science and raise science engagement for people of all ages. Key features would include hands-on exhibits on global issues, collaborations with local STEM groups, and sustainability features in the building design. Case studies of similar centers in Dundee and Winchester show they attract hundreds of daily visitors and generate millions in annual income through admissions, education programs, and commercial activities.
What`s That? Video Tagging Games for Audiovisual Heritage Collectionsbucurcristina
Waisda? (which translates to What`s That?) is an online video tagging game aimed at gathering tags for videos. Users tag what they see or hear and receive points for their tags. If there is mutual agreement between players for one tag, then the player receives more points.
Research Libraries UK AGM 2010 Oxford. Camera Shy: special collections and di...John Scally
A presentation to the annual general meeting of Research Libraries UK on the challenges relating to systematically digitising special collections materials.
Taking the Cooperation between Shanghai Audio-Visual Archives and the Cultura...FIAT/IFTA
1) New internet technologies provide new platforms for sharing audio-visual archives online, with over 750 million internet users and 724 million mobile phone users in China.
2) Short videos in particular have become an important new media format due to the large user base and their ability to disseminate information in fragmented ways aligned with user habits.
3) Digitization, networking, and intellectualization of management have created the foundation for better application of audio-visual archives, including a media asset system cataloging over 4 million pieces of content and knowledge databases.
Beyond the space: the LoCloud Historical Place Names microservicelocloud
Presentation given by Rimvydas Laužikas, Justinas Jaronis and Ingrida Vosyliūtė
Vilnius University Faculty of Communication, Lithuania
LoCloud Conference
Sharing local cultural heritage online with LoCloud services
Amersfoort, Netherlands
5 February 2016
This document provides a business plan for Europeana in 2016. It outlines 4 main goals: 1) Create value for partners by improving the customer experience and focusing on networking, 2) Improve data quality by transforming how cultural heritage is made available and reaching higher quality standards, 3) Open the data by developing community services and championing interoperability, and 4) Strengthen the organization through long-term funding and organizational transformation. Objectives are defined for each goal around areas like ensuring a better user experience, large partnerships, changing how data is ingested, and achieving sustainability. The plan explores focusing on specific cultural domains like art, music, fashion and newspapers in 2016.
Europeana Network Association Members Council Meeting 2019, The Hague by Gina...Europeana
The document discusses plans for the Europeana Annual Event in 2019. It aims to create more awareness for Europeana and its network, engage representatives as well as others interested in knowledge sharing, and save people's time. The event will highlight Europeana communities and include plenary sessions, parallel sessions, and pre-meetings. It is recommended to organize the event in early November in one of the top represented countries, promote both within and outside the network, ensure diversity in the program, and offer different ticket prices. Next steps include setting up a program committee and finding a venue that can accommodate at least 300 people.
The document discusses the NanoTour 2017 hosted by the University of the Freestate. The objectives are to raise awareness of nanotechnology research, create opportunities for collaboration between research centers and industry, and stimulate interest in nanotechnology careers. It also discusses the South African Agency for Science and Technology Advancement (SAASTA) and its role in advancing public awareness and engagement with science through various outreach projects focused on science communication.
LoCloud: Local content in the Europeana cloud overview, Kate Fernielocloud
The LoCloud project aims to add over 4 million digital resources from small and medium-sized cultural institutions to Europeana. It seeks to make it easier for these institutions to provide quality content and increase local history and heritage resources available. This will enable more views of content related to local areas for education, tourism, and creativity. The project is funded by the European Commission and involves cultural organizations across Europe digitizing collections and publishing them online through Europeana to transform the world with culture.
Cultural Heritage as a Mean of Social Inclusion: Work in Progress in the Cult...Museums Computer Group
The document summarizes the CultureLabs project which uses cultural heritage as a means of social inclusion. CultureLabs creates participatory projects through various partners including universities, heritage institutions, NGOs, and technology companies. The projects are aimed at communities like migrants to help them learn about their new country's cultural heritage while also sharing their own. CultureLabs is building an online platform to facilitate these projects by allowing users to discover resources, share practices, and find collaborators. Several pilot projects are highlighted involving museums in the UK, Italy, and Finland working with different migrant communities.
Small, smaller and smallest: working with small archaeological content provid...locloud
Presentation given by Holly Wright
Archaeology Data Service University of York, UK
LoCloud Conference
Sharing local cultural heritage online with LoCloud services
Amersfoort, Netherlands
5 February 2016
The BUFVC supports education by delivering unique services and advice to promote the production, study and use of moving image and sound across all subject areas in post-compulsory education.
This presentation was part of a session that looked at BUFVC resources - how they can help you find, access and use audiovisual resources in teaching and learning, including resources that are open to all FE/HE institutions and some that are entirely free of charge.
More details at moodle.rsc-em.ac.uk/course/view.php?id=254#bufvc.
This slideshare, Maintaining a Vision: how mandates and strategies are changing with digital content, is one of the 12 that I like most and is a keynote given to the 2013 Screening the Future conference in London.
It is the penultimate of 12 presentations I have selected to mark 20 years in Digital Preservation. The final one to come will be published in December 2015.
My brief for this conference keynote was to focus on how institutional responses to collection and preservation mandates are realized and stretched by the digital...do existing institutions just 'go digital' but otherwise claim 'business as usual' [or not]?
The Talk had an AV focus given the nature of the conference but I think the messages will be of broad interest. It was in three parts:
The Changes: covering how digital content (including AV content) has changed the nature of typical collections across sectors; how it has shifted the scale of available content; and how content has fragmented and the number of content creators proliferated.
The Responses: covering how we have seen in response the growth of cross-sectoral preservation exchange (different sectoral membership of the DPC; Technology Watch Reports; the national coalitions worldwide such as nestor, NCDD, NDSA, etc); the development of shared services and outsourcing (e.g. digital preservation services in the cloud); and in some cases a range of cross-sector mergers (particularly of national archives and national libraries).
Conclusions:
What is changing? We are seeing multi-media permeating sectoral boundaries; greater shared interests and convergence of interests across different sectors; and a massive shift in the scale and management of digital media.
The responses? We are seeing new alliances and partnerships; digital preservation exchange across sectors; some mergers and partnerships across established boundaries; and more shared services and outsourcing.
Finally, if you want to know the answer to the question "When was the beginning of the Digital Age" posed in previous posts, the answer is here in slide 8
Digital Curation and Preservation: Defining the Research Agenda for the Next Decade [2005-2015]: Warwick3 -How did we do?
The Warwick3 Workshop: Digital Preservation and Curation Summing up + Next Steps available now on Slideshare is the eighth of 12 presentations I’ve selected to mark 20 years in Digital Preservation. The remainder will be published at monthly intervals over 2015.
I’ve chosen it as it briefly allows us to look back at aspirations and achievements in Digital Preservation over a 20 year period from the very first (and seminal) Warwick 1 workshop held in 1995 to today. The first Warwick workshop considered the Long Term Preservation of Electronic Materials and a UK response to the final report of the RLG/CPA Task Force on Digital Archiving. Two further Warwick workshops followed in 1999 and 2005 to review progress and set a forward agenda.
The two-day workshop that took place over 7 - 8 November 2005 at the University of Warwick aimed for the first time to address digital preservation issues for both scientific data and cultural heritage and to map out a future research agenda for them. Sponsored by JISC, the Digital Curation Centre (DCC), the British Library and the Council for the Central Laboratory of the Research Councils (CCLRC), the invitation-only event drew a wide range of national and international experts to explore the current state of play with a view to shaping future strategy. The slides are from my summing up and conclusions at the workshop close.
Part of my conclusions (slides 12-13), outlined the recommendations of the previous Warwick workshop held in 1999 and reviewed the progress that had been made in implementing them over the subsequent five years with a very subjective level of achievement √ (some) to √ √ √ (good).
The NESTA Digital R&D Fund for Arts and Culture in Scotland provides funding to support arts and cultural organizations in Scotland to use digital technologies to engage new audiences and explore new business models. The Fund is a partnership between Creative Scotland, Arts & Humanities Research Council, and NESTA. It supports innovative digital projects through collaborative partnerships between arts organizations and technology providers. Funded projects must expand audience reach, engagement, or develop new business models for the cultural sector in Scotland.
The NESTA Digital R&D Fund for Arts and Culture in Scotland is a partnership between Creative Scotland, Arts & Humanities Research Council, and NESTA that provides funding to support Scottish arts and cultural organizations in using digital technologies to expand their audience reach and engagement or explore new business models. The Fund aims to enable digital innovation projects and share knowledge across the sector. It will provide awards of under £25,000 or £25,000-£100,000 for collaborative proposals between arts organizations, technology partners, and other cultural groups. Funded projects must be completed by March 2013.
Television archives in a post-television world (WRIGHT)FIAT/IFTA
Television archives now serve a post-television world where viewing habits and content production have vastly changed since the 1970s and 1990s. Linear broadcasting has declined as viewership is more fragmented across cable, satellite, internet and streaming services. Younger audiences in particular have turned away from traditional television. Meanwhile, the amount of content available from a growing number of sources has exploded. National archives still aim to preserve public service broadcasting output for research but have expanded their remits to also include online and independent content. Their role in supporting public access to factual media across different distribution channels may become more important as commercial companies prioritize profits over public value. FIAT/IFTA members face challenges in serving broadcasters, independent producers and national institutions
Britain from Above: Angharad Williams (BfA/RCAHMW)RCAHMW
The document outlines the key aims and activities of the Britain from Above project, which digitized and provided online access to 95,000 aerial photographs from the Aerofilms collection from 1919-1953. The project goals were to preserve the collection, provide free public access online, engage volunteers, and hold exhibitions. An evaluation found heavy website use and a growing international audience. Outreach activities like exhibitions were successful in diversifying the audience. Plans aim to maintain the digital archive and website going forward.
Europeana Inside is an EU-funded project that aims to increase the amount and diversity of content contributed to Europeana by cultural institutions. It involves 28 participants across 12 European nations. The project will develop open-source connection kits to simplify the process of contributing content by automating workflows and allowing institutions to better manage rights and permissions. It seeks to address legal, technical and financial barriers to participation through these tools and by integrating them into collection management systems. The goal is to add 960,000 new records to Europeana from a variety of European cultural organizations over the project's 30 month duration.
The document discusses the Collections Trust's digital priorities and the Culture Grid project. The Collections Trust aims to promote open access to cultural collections through initiatives like the Culture Grid, which allows cultural organizations to showcase digitized content on a shared platform and attract mainstream audiences. The Culture Grid provides infrastructure for hosted search, data hosting, and embedding content on sites like the BBC. It is an opportunity for organizations to promote Renaissance-funded and other digitized content more broadly through partners like Europeana.
Exeter Science Centre, by Natalie WhiteheadTechExeter
The document proposes a new STEAMM cultural hub and science center for Exeter and the South West region. It would aim to encourage careers in science and raise science engagement for people of all ages. Key features would include hands-on exhibits on global issues, collaborations with local STEM groups, and sustainability features in the building design. Case studies of similar centers in Dundee and Winchester show they attract hundreds of daily visitors and generate millions in annual income through admissions, education programs, and commercial activities.
What`s That? Video Tagging Games for Audiovisual Heritage Collectionsbucurcristina
Waisda? (which translates to What`s That?) is an online video tagging game aimed at gathering tags for videos. Users tag what they see or hear and receive points for their tags. If there is mutual agreement between players for one tag, then the player receives more points.
Research Libraries UK AGM 2010 Oxford. Camera Shy: special collections and di...John Scally
A presentation to the annual general meeting of Research Libraries UK on the challenges relating to systematically digitising special collections materials.
Taking the Cooperation between Shanghai Audio-Visual Archives and the Cultura...FIAT/IFTA
1) New internet technologies provide new platforms for sharing audio-visual archives online, with over 750 million internet users and 724 million mobile phone users in China.
2) Short videos in particular have become an important new media format due to the large user base and their ability to disseminate information in fragmented ways aligned with user habits.
3) Digitization, networking, and intellectualization of management have created the foundation for better application of audio-visual archives, including a media asset system cataloging over 4 million pieces of content and knowledge databases.
Beyond the space: the LoCloud Historical Place Names microservicelocloud
Presentation given by Rimvydas Laužikas, Justinas Jaronis and Ingrida Vosyliūtė
Vilnius University Faculty of Communication, Lithuania
LoCloud Conference
Sharing local cultural heritage online with LoCloud services
Amersfoort, Netherlands
5 February 2016
This document provides a business plan for Europeana in 2016. It outlines 4 main goals: 1) Create value for partners by improving the customer experience and focusing on networking, 2) Improve data quality by transforming how cultural heritage is made available and reaching higher quality standards, 3) Open the data by developing community services and championing interoperability, and 4) Strengthen the organization through long-term funding and organizational transformation. Objectives are defined for each goal around areas like ensuring a better user experience, large partnerships, changing how data is ingested, and achieving sustainability. The plan explores focusing on specific cultural domains like art, music, fashion and newspapers in 2016.
Europeana Network Association Members Council Meeting 2019, The Hague by Gina...Europeana
The document discusses plans for the Europeana Annual Event in 2019. It aims to create more awareness for Europeana and its network, engage representatives as well as others interested in knowledge sharing, and save people's time. The event will highlight Europeana communities and include plenary sessions, parallel sessions, and pre-meetings. It is recommended to organize the event in early November in one of the top represented countries, promote both within and outside the network, ensure diversity in the program, and offer different ticket prices. Next steps include setting up a program committee and finding a venue that can accommodate at least 300 people.
The document discusses the NanoTour 2017 hosted by the University of the Freestate. The objectives are to raise awareness of nanotechnology research, create opportunities for collaboration between research centers and industry, and stimulate interest in nanotechnology careers. It also discusses the South African Agency for Science and Technology Advancement (SAASTA) and its role in advancing public awareness and engagement with science through various outreach projects focused on science communication.
LoCloud: Local content in the Europeana cloud overview, Kate Fernielocloud
The LoCloud project aims to add over 4 million digital resources from small and medium-sized cultural institutions to Europeana. It seeks to make it easier for these institutions to provide quality content and increase local history and heritage resources available. This will enable more views of content related to local areas for education, tourism, and creativity. The project is funded by the European Commission and involves cultural organizations across Europe digitizing collections and publishing them online through Europeana to transform the world with culture.
Cultural Heritage as a Mean of Social Inclusion: Work in Progress in the Cult...Museums Computer Group
The document summarizes the CultureLabs project which uses cultural heritage as a means of social inclusion. CultureLabs creates participatory projects through various partners including universities, heritage institutions, NGOs, and technology companies. The projects are aimed at communities like migrants to help them learn about their new country's cultural heritage while also sharing their own. CultureLabs is building an online platform to facilitate these projects by allowing users to discover resources, share practices, and find collaborators. Several pilot projects are highlighted involving museums in the UK, Italy, and Finland working with different migrant communities.
Small, smaller and smallest: working with small archaeological content provid...locloud
Presentation given by Holly Wright
Archaeology Data Service University of York, UK
LoCloud Conference
Sharing local cultural heritage online with LoCloud services
Amersfoort, Netherlands
5 February 2016
The BUFVC supports education by delivering unique services and advice to promote the production, study and use of moving image and sound across all subject areas in post-compulsory education.
This presentation was part of a session that looked at BUFVC resources - how they can help you find, access and use audiovisual resources in teaching and learning, including resources that are open to all FE/HE institutions and some that are entirely free of charge.
More details at moodle.rsc-em.ac.uk/course/view.php?id=254#bufvc.
This slideshare, Maintaining a Vision: how mandates and strategies are changing with digital content, is one of the 12 that I like most and is a keynote given to the 2013 Screening the Future conference in London.
It is the penultimate of 12 presentations I have selected to mark 20 years in Digital Preservation. The final one to come will be published in December 2015.
My brief for this conference keynote was to focus on how institutional responses to collection and preservation mandates are realized and stretched by the digital...do existing institutions just 'go digital' but otherwise claim 'business as usual' [or not]?
The Talk had an AV focus given the nature of the conference but I think the messages will be of broad interest. It was in three parts:
The Changes: covering how digital content (including AV content) has changed the nature of typical collections across sectors; how it has shifted the scale of available content; and how content has fragmented and the number of content creators proliferated.
The Responses: covering how we have seen in response the growth of cross-sectoral preservation exchange (different sectoral membership of the DPC; Technology Watch Reports; the national coalitions worldwide such as nestor, NCDD, NDSA, etc); the development of shared services and outsourcing (e.g. digital preservation services in the cloud); and in some cases a range of cross-sector mergers (particularly of national archives and national libraries).
Conclusions:
What is changing? We are seeing multi-media permeating sectoral boundaries; greater shared interests and convergence of interests across different sectors; and a massive shift in the scale and management of digital media.
The responses? We are seeing new alliances and partnerships; digital preservation exchange across sectors; some mergers and partnerships across established boundaries; and more shared services and outsourcing.
Finally, if you want to know the answer to the question "When was the beginning of the Digital Age" posed in previous posts, the answer is here in slide 8
Digital Curation and Preservation: Defining the Research Agenda for the Next Decade [2005-2015]: Warwick3 -How did we do?
The Warwick3 Workshop: Digital Preservation and Curation Summing up + Next Steps available now on Slideshare is the eighth of 12 presentations I’ve selected to mark 20 years in Digital Preservation. The remainder will be published at monthly intervals over 2015.
I’ve chosen it as it briefly allows us to look back at aspirations and achievements in Digital Preservation over a 20 year period from the very first (and seminal) Warwick 1 workshop held in 1995 to today. The first Warwick workshop considered the Long Term Preservation of Electronic Materials and a UK response to the final report of the RLG/CPA Task Force on Digital Archiving. Two further Warwick workshops followed in 1999 and 2005 to review progress and set a forward agenda.
The two-day workshop that took place over 7 - 8 November 2005 at the University of Warwick aimed for the first time to address digital preservation issues for both scientific data and cultural heritage and to map out a future research agenda for them. Sponsored by JISC, the Digital Curation Centre (DCC), the British Library and the Council for the Central Laboratory of the Research Councils (CCLRC), the invitation-only event drew a wide range of national and international experts to explore the current state of play with a view to shaping future strategy. The slides are from my summing up and conclusions at the workshop close.
Part of my conclusions (slides 12-13), outlined the recommendations of the previous Warwick workshop held in 1999 and reviewed the progress that had been made in implementing them over the subsequent five years with a very subjective level of achievement √ (some) to √ √ √ (good).
The NESTA Digital R&D Fund for Arts and Culture in Scotland provides funding to support arts and cultural organizations in Scotland to use digital technologies to engage new audiences and explore new business models. The Fund is a partnership between Creative Scotland, Arts & Humanities Research Council, and NESTA. It supports innovative digital projects through collaborative partnerships between arts organizations and technology providers. Funded projects must expand audience reach, engagement, or develop new business models for the cultural sector in Scotland.
The NESTA Digital R&D Fund for Arts and Culture in Scotland is a partnership between Creative Scotland, Arts & Humanities Research Council, and NESTA that provides funding to support Scottish arts and cultural organizations in using digital technologies to expand their audience reach and engagement or explore new business models. The Fund aims to enable digital innovation projects and share knowledge across the sector. It will provide awards of under £25,000 or £25,000-£100,000 for collaborative proposals between arts organizations, technology partners, and other cultural groups. Funded projects must be completed by March 2013.
Peter Knott, Arts Council England introduces the Digital R&D Fund for Arts an...Arts Council England
Peter Knott, Regional Director for Arts Council England in the East Midlands, discusses their evolving vision for digital technologies and the arts. They want to support a transformative change in how artists and organizations engage with digital media to expand the reach and impact of arts and culture. Their approach includes investing in digital content, building capacity for digital skills, exploring new audiences and markets, and partnering with technology and media industries. They will pursue this vision through their various funding programs and strategic partnerships.
The Digital Research and Development Fund for Arts and Culture in Scotland is a partnership between Creative Scotland, Arts & Humanities Research Council (AHRC) and NESTA to support arts and cultural organisations across Scotland who want to work with digital technologies to expand their audience reach and engagement and/or explore new business models.
NESTA ran a series of Digital Day events across Scotland aimed at arts/cultural organisations and digital providers to provide information on the Digital R&D Fund for Arts and Culture Scotland;and encourage new collaborations between arts and cultural organisations and technology companies.
We have made all speaker presentations available at: nesta.org.uk/digital_rnd_scotland
View presentation slides from our November 2012 Briefing events for funded organisations.
The briefings aimed to update funded organisations on the changes the Arts Council is going through and discuss how they can help us make a strong case for maintaining public funding of arts and culture in advance of the next Government spending review.
The Galway City Council Arts Strategy 2010-2013 outlines the council's vision and plans to support arts and culture over three years. Key points include:
- Conducting research through meetings with 50 stakeholders to understand priorities and opportunities
- Focusing on supporting artists, arts organizations, and using arts to engage communities
- Developing cultural infrastructure, advocating for arts facilities, and encouraging public/private partnerships
- Improving access to information on the arts through a centralized online portal
This document discusses funding opportunities and policies around creative media and digital futures from Arts Council England. It outlines three key areas for creative media including born digital works, mediation of existing works, and cultural reflection. Direct funding opportunities totaling £17.5 million from 2012-2015 are provided through the Digital Innovation Strategic Funding and Digital R&D Fund. The Digital R&D Fund supports collaboration between arts organizations, technology providers, and researchers to enhance audience reach and develop new business models. The document emphasizes achieving great art and culture for everyone by situating publicly funded culture in a digital society and reaching digital audiences.
On 14th November 2014, members of ARMA (Association of Research Managers and Administrators) were invited to a study tour at the AHRC offices in Swindon. The day provided ARMA members with the opportunity to learn more about the AHRC, and upcoming developments of interest. The day included presentations on:
- The AHRC’s 10th Anniversary activities
- The AHRC's new area of Business Processes and Analysis
- European Funding – Horizon 2020 and HERA
- The Knowledge Exchange Hubs: lessons and legacy
- Research Outcomes and Researchfish
Presentation by Phill Purdy, Grid Manager for the Collections Trust at the CT / Museums Galleries Scotland partnership event in Edinburgh on 2 March 2010 .
TMA Director Brian Kennedy made formal presentations to our board and staff the week of December 6 regarding preliminary findings and overall direction after Phase 1 of our strategic planning process. The complete presentation is here. This is a draft document only and is meant to generate additional thought and an outline for future planning. Your questions and comments are welcome.
Church Street- Arts and Culture Sept 2014 (1)Beth Cinamon
This document outlines a framework to support arts and cultural projects in the Church Street area of London as part of a housing renewal program. It recommends creating creative spaces, establishing funding and communication networks, and appointing a coordinator. Creative space ideas include expanding an arts venue, building new studios and exhibition spaces, and replacing a historic theatre. A funding process and local panel would distribute money according to criteria like community engagement. Communication networks like Mapify would publicize opportunities. The coordinator role would help implement the framework and leverage additional funds. The goal is to make the neighborhood a vibrant cultural destination through community-focused art projects.
The project had its fundamentals from the OCSE Manual “A guide for local
governments, communities and museums ” that explains the importance and effect
on local community of transforming a museum from a place to visit into a “living
museum”, seen from the citizens and local government like the central point of the
local development.
The Creative Europe Programme provides EU funding to support cultural and creative sectors. It has two sub-programs: Culture and MEDIA. Culture supports transnational cultural cooperation projects, literary translations, and networks to help cultural organizations operate across borders. MEDIA supports training, market access, audience development, festivals, and development of European films, TV, and games. Eligible organizations must be based in EU countries, though some training opportunities are open to non-EU countries. Applicants can find calls for proposals on the Creative Europe website and increase their chances of funding by partnering with experienced organizations and following the guidelines closely.
The Creative Europe Programme provides EU funding for cultural and creative sectors. It has a budget of €1.46 billion from 2014-2020 to support cross-border cultural cooperation, training for cultural professionals, literary translations, film and audiovisual projects, and more. The funding is intended to promote European cultural diversity, strengthen the competitiveness of cultural and creative industries, and foster transnational collaboration and audience development. Eligible applicants include cultural organizations, artists, and professionals who can apply for grants through annual calls for proposals.
This document provides a summary of funding opportunities, financing mechanisms, and support resources for UK creative industries businesses in November 2014. It outlines various public funding calls from Innovate UK, Creative England, Nesta, and others for areas like startups, R&D projects, film and media projects, open data challenges, and more. It also lists sources of private financing from venture capital firms and sources of alternative financing like crowdfunding platforms. The briefing is intended to help creative businesses seeking funding, financing, and business development support.
This document provides a monthly digest of funding opportunities and support for UK creative, digital and design businesses. It outlines various public funding calls from Innovate UK, the Department for Culture, Media and Sport, Creative England, and Horizon 2020. These calls include support for cyber security collaborations, energy sector feasibility studies, and media production. The document also lists knowledge exchange programs, private investment funds, and upcoming events to help businesses connect with funding resources.
This document summarizes a workshop on collections management skills. The workshop objectives are to introduce the work of Collections Trust, explain their Collections Management Competency Framework, promote continuing professional development in collections management, and develop advocacy skills. The Collections Trust is a professional association that seeks to further the interests of collections management professionals and raise standards. Collections management involves strategies, policies and procedures relating to a collection's development, documentation, access and care. The workshop covers topics like the competency framework, planning continuing professional development, and techniques for advocating for collections management.
A basic introduction to the key themes an issues relating to the management and stewardship of cultural property in museum, library, archive and gallery (cultural heritage) collections.
Presentation to the 2D & 3D Digitisation conference at the Rijksmuseum in Amsterdam looking at the challenge and opportunity of embedding photograpy into collections management practice in museums.
Many museums are considering how to use open licenses to support the delivery of their public mission and increase their visitor numbers. In this presentation, Nick Poole explores two case studies and provides some simple steps for museums wanting to 'open up' their collections online.
The Collections Trust seminar introduces attendees to the work of the Collections Trust and excellence in collections management. It covers understanding audiences, managing change in museums, and introduces the Excellence in Collections management model and standards. Attendees are encouraged to participate actively and network. Resources provided include information sheets, slides, and feedback forms.
This document provides an overview of a Collections Trust seminar held in Brighton in December 2014. It includes:
- Welcome and introductions by Nick Poole, CEO of the Collections Trust since 2004.
- Objectives for the seminar which are to introduce the work of the Collections Trust, explore how collections management supports audience needs, and highlight tools/resources/services.
- An overview of the Collections Trust's programs and products including standards, training, digital development, policy influence, and knowledge sharing networks. Specific programs on security, energy efficiency, pests, insurance, participation, digitization and copyright are highlighted.
The document summarizes a seminar held by the Collections Trust on effective collections management. It introduces the aims of the seminar which are to introduce the work of the Collections Trust, share experience in collections management practice, and provide networking opportunities. It outlines the agenda which includes speakers on the work of the Arts Council England, a case study from Colchester and Ipswich Museum Service, and a museum development update. The document provides logistical information and invites participants to discuss what they want to get out of the seminar.
The Collections Trust is a UK-based charity that promotes standards and best practices in collections management. This document summarizes a seminar presented by the Collections Trust on copyright issues affecting museums. It discusses how two museums, York Museums Trust and Derby Museum and Art Gallery, have adopted open content licensing strategies to share their digital collections online. Both cases demonstrate positive outcomes from increased access and visibility, though each museum has different policies around what content can be shared openly. The document concludes by advising museums to consider their mission and goals when developing an open content strategy.
The document discusses how 3D technologies can be used to enhance understanding and experiences of cultural heritage. It provides examples of 3D scanning and printing being used for conservation, research, accessibility, management and commercial opportunities. While the technologies provide benefits, challenges include integration, platform choices, digital preservation and rights. The focus should be on using 3D to enrich experiences and management of collections, not as an end itself.
The document outlines the agenda for a workshop on going digital for the South East Museum Development, including sessions on setting goals and developing plans of action for digital strategies, creating digital content, and developing an online presence, with a focus on networking and sharing best practices.
Introducing 'Investors in Collections' - a new development tool for museumsCollections Trust
Introduction to the Collections Trust's 'Investors in Collections' a new development tool and award for museums recognizing excellence in Collections Management practice.
Writing effective grant proposals for Collections projectsCollections Trust
The Collections Trust has created over £15m in successful grant proposals since 2008. In this presentation, CEO Nick Poole explores what it takes to write an effective grant proposal, what to avoid and where to look for funding.
Striking the Balance - public access and commercial reuse of digital contentCollections Trust
Presentation to the Association of Cultural Enterprises Picture Library Symposium on the subject of how UK museums are striking the balance between public access to and commercial reuse of digital cultural content.
The Collections Trust seminars are a one-day interactive workshop for people working in collections management.
They will look at the changing needs and expectations of museum audiences and how collections management practice and digital technology can help meet them. The workshop will cover:
• Being an effective advocate for the wider impact of collections management
• Using collections management to help your museum improve its services and its sustainability
• The relationship between Museum Accreditation and SPECTRUM as the standard for collections management
• How to develop a strategic approach to your collections and digital work
• How to ensure that your internal policies, procedures and systems are fit for the future
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Find out more about ISO training and certification services
Training: ISO/IEC 27001 Information Security Management System - EN | PECB
ISO/IEC 42001 Artificial Intelligence Management System - EN | PECB
General Data Protection Regulation (GDPR) - Training Courses - EN | PECB
Webinars: https://pecb.com/webinars
Article: https://pecb.com/article
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For more information about PECB:
Website: https://pecb.com/
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Slideshare: http://www.slideshare.net/PECBCERTIFICATION
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
BÀI TẬP BỔ TRỢ TIẾNG ANH 8 CẢ NĂM - GLOBAL SUCCESS - NĂM HỌC 2023-2024 (CÓ FI...
Funding Digital by Jon Pratty
1. Arts Council England Funding digital activity 2011 June 7th 2011 Jon Pratty, Relationship Manager: Digital & Creative Economies
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5. 4. NESTA/ACE/AHRC R & D funding NESTA R&D fund [£500k] > ACE Digital Innovation and Development Fund [£15-20m] NESTA R&D applications, via NESTA website, are invited by September 2, 2011 Successful applications announced October 2011
6. 5. NESTA/ACE/AHRC R & D funding Key development strand for the Arts Council’s Digital Innovation and Development fund, following later in 2011 Sits alongside other work around digital, such as the Arts Council/BBC Building digital capacity for the arts programme.
7. 6. NESTA/ACE/AHRC R & D funding Schemes are broadly sector-agnostic: wide variety of arts and cultural organisations eligible to apply Visual and performing arts organisations Literary organisations Museums and galleries Libraries Commercial arts and cultural organisations Creative industry businesses [where funded activity is self-contained and has clear public benefit]
8. 7. NESTA/ACE/AHRC R & D funding Themes emerging from pilot period: 1. User generated content and social media - harnessing the power of the Internet and social media to reach audiences and to give them a platform for discussion, participation and creativity 2. Distribution - using digital technologies to deliver artistic and cultural experiences and content in new ways
9. 8. NESTA/ACE/AHRC R & D funding 3. Mobile, location and games - developing a new generation of mobile and location-based experiences and services, including games 4. Data and archives - making archives, collections and other data more widely available to other arts and cultural organisations and the general public
10. 9. NESTA/ACE/AHRC R & D funding 5. Resources - Using digital technologies to improve the way in which arts and cultural organisations are run, including business efficiency and income generation, and the way in which they collaborate with each other 6. Education and learning - developing interactive education and learning resources for children, teachers, young people, adult learners and arts and cultural sector professionals More here: www.nesta.org.uk/digital-rnd
11. 10. Going forward Beyond NESTA R&D The new schemes are about opening up new exciting new opportunities, uniting historical and contemporary arts and culture, and about learning from museums, libraries and all our audiences too. Considering the conference and the messages heard so far, ACE are looking forward to working with Collections Trust and Culture24, key future collaborators and partners in the digital cultural community
12. 11. Going forward Continuing to consult museum, gallery and library sector organisations Key headlines being fed back to ACE as we speak Opportunities for feedback to final policy approach and strategic thinking Other chances over the next few months to do this
13. 12. Going forward Existing ACE funding routes such as Grants for the Arts are open to museums and libraries Arts-related collaborations or explorations RAMM – artists working within collection Fitzwilliam – China project Hove Museum - Blacksmith artist engaging with collection
14. 13. Going forward NPO funding agreement work now taking place Further discussion and scoping of opportunities Identification of gaps in provision Strategic digital funding to address opportunities/choices ACE and the sector have identified
15. 14. Going forward ACE goal two: digital and online one of our key concerns to reaching more widely, engaging with audiences of all kinds Keen to work alongside HLF digital funding plans following scoping work in 2011 and the NESTA R&D research Committed to working across cultural and heritage sectors
Open Culture –Speaker Notes Jon Pratty, Relationship Manager, Digital and Creative Economy, ACE SE
Achieving Great Art For Everyone: what it’s about in brief, where it came from, what it means 1. A new ten year strategy for the arts launched in 2010 2. Two years + in the making 3. Over 2700 artists, galleries, agencies, organisations consulted to inform the strategy 4. Backbone of the new National Portfolio Funding Programme 5. Complements/replaces Turning Point [visual arts strategy from 2006/7