The document summarizes Europeana's efforts to increase access to and reuse of cultural data. It discusses Europeana dropping restrictions on metadata licensing to allow more open reuse. Workshops and consultations were held with cultural institutions on risks and rewards of open licensing. As a result, Europeana will apply the CC0 public domain dedication to metadata from July 2012 onward to promote wider reuse. Pilot projects showed this caused no issues and unlocked social and commercial value from the open data.
EDF2014: Talk of Marta Nagy-Rothengass, Head of Unit Data Value Chain, Direct...European Data Forum
Invited Talk of Marta Nagy-Rothengass, Head of Unit Data Value Chain, Directorate General for Communications Networks, Content and Technology at the European Data Forum 2014, 19 March 2014 in Athens, Greece: Collaborating on interoperability to achieve a Digital Single Market
EDF2014: Piek Vossen, Professor Computational Lexicology, VU University Amste...European Data Forum
Invited Talk of Piek Vossen, Professor Computational Lexicology, VU University Amsterdam, Netherlands at the European Data Forum 2014, 19 March 2014 in Athens, Greece: NewsReader: recording history by processing massive streams of daily news
EDF2014: Talk of Marta Nagy-Rothengass, Head of Unit Data Value Chain, Direct...European Data Forum
Invited Talk of Marta Nagy-Rothengass, Head of Unit Data Value Chain, Directorate General for Communications Networks, Content and Technology at the European Data Forum 2014, 19 March 2014 in Athens, Greece: Collaborating on interoperability to achieve a Digital Single Market
EDF2014: Piek Vossen, Professor Computational Lexicology, VU University Amste...European Data Forum
Invited Talk of Piek Vossen, Professor Computational Lexicology, VU University Amsterdam, Netherlands at the European Data Forum 2014, 19 March 2014 in Athens, Greece: NewsReader: recording history by processing massive streams of daily news
OSFair2017 Workshop | Service provisioning for excellent sciencesOpen Science Fair
Daan Broeder presents the EUDAT community
Workshop title: Organising high-quality research data management services
Workshop abstract:
Open science needs high quality data management where researchers can create, use and share data according to well defined standards and practices. this is one of the pillars of Open Science. In the data management landscape we find quite a few organisations that aim at achieving this, however to get it right, a collaboration is called for where all can play a suitable role and present this in a consistent way to the researcher.
The proposed workshop brings together representatives of standard organisation (RDA), eInfrastructures (EUDAT) and Libraries (LIBER) that together can organise the high quality data management for research.
DAY 1 - PARALLEL SESSION 2
http://opensciencefair.eu/workshops/organising-high-quality-research-data-management-services
NOESIS aims to provide a robust methodological framework (Decision Support tool) and data-driven evidence to enable the deployment of a Big Data in Transport ecosystem in Europe, by addressing the associated technological, institutional/legal, business, and policy challenges.
AGI2011-Open Source Software Stack & Standards - Integration and Geograph...tuffoura
Presentation based on the experiences of implementing a web mapping application using open source software stack and integrating with proprietary systems.
Presentation on Connected Digital Economy Cataput and Related University and Industry-Led Collaboration at the University of Oxford, 31 January 2014. Prepared for a meeting at the Oxford Internet Institute with colleagues involved and interested in CDEC.
The Technology Strategy Board has identified Creative Industries/Digital Media as one of
ten candidate areas for a Technology and Innovation Centre (TIC), as part of a significant
programme of investment in TICs over coming years. The recently published Strategy and
Implementation Plan (http://www.innovateuk.org/_assets/0511/TSB_TICClosingTheGapv2.pdf)
sets out the approach being taken by the TSB.
The Creative Industries KTN, in partnership with the TSB Creative Industries team, has been facilitating a process of discussion and engagement across the creative industries community, and has developed a set of 'straw-men' propositions to help stimulate debate.
The attached presentation sets out 3 possible TIC scenarios - focused on particular research or technology challenge areas, with three different business models.
These do not represent the views of the Creative Industries KTN or the TSB, but are presented here to help generate discussion about what a possible Creative Industries/Digital Media TIC might look like.
What do you think?
OSFair2017 Workshop | Service provisioning for excellent sciencesOpen Science Fair
Daan Broeder presents the EUDAT community
Workshop title: Organising high-quality research data management services
Workshop abstract:
Open science needs high quality data management where researchers can create, use and share data according to well defined standards and practices. this is one of the pillars of Open Science. In the data management landscape we find quite a few organisations that aim at achieving this, however to get it right, a collaboration is called for where all can play a suitable role and present this in a consistent way to the researcher.
The proposed workshop brings together representatives of standard organisation (RDA), eInfrastructures (EUDAT) and Libraries (LIBER) that together can organise the high quality data management for research.
DAY 1 - PARALLEL SESSION 2
http://opensciencefair.eu/workshops/organising-high-quality-research-data-management-services
NOESIS aims to provide a robust methodological framework (Decision Support tool) and data-driven evidence to enable the deployment of a Big Data in Transport ecosystem in Europe, by addressing the associated technological, institutional/legal, business, and policy challenges.
AGI2011-Open Source Software Stack & Standards - Integration and Geograph...tuffoura
Presentation based on the experiences of implementing a web mapping application using open source software stack and integrating with proprietary systems.
Presentation on Connected Digital Economy Cataput and Related University and Industry-Led Collaboration at the University of Oxford, 31 January 2014. Prepared for a meeting at the Oxford Internet Institute with colleagues involved and interested in CDEC.
The Technology Strategy Board has identified Creative Industries/Digital Media as one of
ten candidate areas for a Technology and Innovation Centre (TIC), as part of a significant
programme of investment in TICs over coming years. The recently published Strategy and
Implementation Plan (http://www.innovateuk.org/_assets/0511/TSB_TICClosingTheGapv2.pdf)
sets out the approach being taken by the TSB.
The Creative Industries KTN, in partnership with the TSB Creative Industries team, has been facilitating a process of discussion and engagement across the creative industries community, and has developed a set of 'straw-men' propositions to help stimulate debate.
The attached presentation sets out 3 possible TIC scenarios - focused on particular research or technology challenge areas, with three different business models.
These do not represent the views of the Creative Industries KTN or the TSB, but are presented here to help generate discussion about what a possible Creative Industries/Digital Media TIC might look like.
What do you think?
Each technological age has been marked by a shift in how the industrial platform enables companies to rethink their business processes and create wealth. In the talk I argue that we are limiting our view of what this next industrial/digital age can offer because of how we read, measure and through that perceive the world (how we cherry pick data). Companies are locked in metrics and quantitative measures, data that can fit into a spreadsheet. And by that they see the digital transformation merely as an efficiency tool to the fossil fuel age. But we need to stretch further…
Slides for Culture Hack panel @SXSW2013 : http://schedule.sxsw.com/2013/events/event_IAP4580
Some slides re-used from Harry Verwayen (http://www.slideshare.net/hverwayen/business-model-innovation-open-data) and Julia Fallon
ICT research in the context of European Union
CASE SUMMER SCHOOL ON APPLIED SOFTWARE ENGINEERING
APPLIED SOFTWARE PROCESS MANAGEMENT AND TESTING
JULY 6-10, 2009, BOZEN/BOLZANO, ITALY
Join us for an exciting session where you can explore the future of open-source technology and innovation projects based on FIWARE and supported by FIWARE team. Our experts will share their insights on how FIWARE standards and components are revolutionizing the tech industry. Attendees will have the opportunity to hear from a variety of presenters showcasing ongoing projects that leverage FIWARE. From dynamic digital twins to satellite open data for smart cities, to boosting EU high-value datasets, this session will provide a glimpse into the exciting possibilities of FIWARE technology. Don't miss out on this chance to learn about the latest innovation and collaborate with like-minded professionals!
Semantic Interoperability at Europeana - MultilingualDSIs2018Antoine Isaac
Presentation on general interoperability and multilinguality issues at Europeana, for a workshop on Semantic Interoperability for Multilingual DSIs (https://ec.europa.eu/cefdigital/wiki/display/ETCOMMUNITY/Semantic+Interoperability+for+Multilingual+DSIs)
ECLAP White paper, social network for Cultural Heritage on Peforming artsPaolo Nesi
the experience of a new generation digital content service is presented, namely ECLAP (European Collected Library of Artistic Performance, http://www.eclap.eu). ECLAP is a live lab in which several new technologies and solutions in the area of semantic computing and social media have been developed and put under trial of the final users and institutions. On this regard, ECLAP is open for both content and results experimentations, and presently comprises more than 35 prestigious international institutions; ECLAP provides services and tools for automated content ingestion, adaptation, metadata ingestion and editing, semantic information extraction, indexing and distribution by exploiting the most innovative and consolidated technologies. ECLAP supports the institutions in all their activities: metadata selection and mapping, content ingestion, to the definition and management of permissions and licenses on contents, and finally managing their users on ECLAP services. According to ECLAP workflow, the obtained metadata are sent to Europeana only after that the metadata have been enriched and linked to a reachable digital resource and when the IPR details have been finalized, with needed quality level. An ECLAP IPR Model can be associated with each single content or collection. ECLAP also provides infrastructural connection for direct promotion of content towards a large number of social networks, including: Facebook, LinkedIn, Diggs, Twitter, etc. On ECLAP, each content provider may have its own distribution channel/group (including a forum and a blog in addition to the space for their content collections, and the groups can be open, moderated or private) with the possibility of customizing the group user interface according to their logo and colours. This multitenant modality permits at the institutions to see ECLAP as a non-intrusive service, to reinforce their brand and at the same time to exploit and experiment a number of innovative ECLAP tools, to accelerate the promotion exploiting ECLAP social media, LOD and Europeana channels, and ready to access new users for their content. ECLAP provides the unique videos, images and texts related to more than 50 years of activity of the Dario Fo and Franca Rame theatre company, featuring videos, photos, texts, drawings, paintings, sketches, posters, copies of contracts and of invoices, notes, books, articles. Other unique, irreplaceable material includes video, audio recordings and photos of performances, workshops, seminars, rehearsals of Jerzy Grotowski, Peter Brook, Gennadi Bogdanov, Anatolij Vasil’ev, Alberto Sordi, Carmelo Bene, Giorgio Strehler, Mimmo Cuticchio, Gian Maria Volonté, Judith Malina.
B1 maria teresanatale_storytelling_movioevaminerva
2014 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2014.minervaisrael.org.il
http://www.digital-heritage.org.il
B1 maria teresanatale_storytelling_movioevaminerva
2014 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2014.minervaisrael.org.il
http://www.digital-heritage.org.il
Georg Rehm. META-NET and META-SHARE: An Overview. Human Language Technologies: The Baltic Perspective 2010, Riga, Latvia, October 2010. October 8, 2010. Invited keynote talk.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
This is a presentation by Dada Robert in a Your Skill Boost masterclass organised by the Excellence Foundation for South Sudan (EFSS) on Saturday, the 25th and Sunday, the 26th of May 2024.
He discussed the concept of quality improvement, emphasizing its applicability to various aspects of life, including personal, project, and program improvements. He defined quality as doing the right thing at the right time in the right way to achieve the best possible results and discussed the concept of the "gap" between what we know and what we do, and how this gap represents the areas we need to improve. He explained the scientific approach to quality improvement, which involves systematic performance analysis, testing and learning, and implementing change ideas. He also highlighted the importance of client focus and a team approach to quality improvement.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
18. Metadata related to the digitised objects produced by the cultural institutions should be widely and freely available for re-use . Key recommendations, p5
19.
20. When public data (which already has been created at public expense) is made openly available for re-use, everybody can benefit: Citizens get better information, companies can come up with new business opportunities and public administrations will (or anyhow should) be grateful for others to work and add value for everybody: this is win-win.
Cultural heritage organisations are explicitly excluded from the PSI directive
You’ve seen the Europeana portal- you probably haven’t seen it’s new look yet. It was launched last week.
The value of Europeana is mainly created by its network of content providers and aggregators who deliver data to Europeana. These are mainly museums, libraries, archives and audiovisual collections from all over Europe. Currently there are 140 direct data providers and aggregators but these represent a few hundreds of memory institutions across Europe. And over the past 3 years they have delivered more than 20m items to Europeana.
Here is a brief results’ page on the search done for chopin in Europeana. I click on the thumbnail and
I am directed in the detailed view. In Europeana we make the distinction between the digital object itself which always resides at a content provider’s side and what we call the metadata. The metadata is information about the object, it’s more or less what you call a bibliographic record in the libraries. So, Europeana harvests metadata and a link to the digital object from which it caches a thumbnail. The user is always directed to the provider’s side to view the object itself in its original “context” Europeana is therefore a gateway to the providers’ sites. Needless to say, that this 20m of data is diverse, often rich, most of it of high quality and that these datasets have been harmonised and enriched by Europeana and intermediaries and for this reason constitute a very valuable pool of information…
about the artistic, scientific, Social and political history of Europe and beyond And of everyday culture
over the past three years we had an agreement with providers based on the principles of the creative commons attribution non-commercial license although not quite a CC-BY-NC license. Metadata re-use could happen outside the portal only for non-commercial purposes and only if the long chain of providers and aggregators were attributed.
And last year we set on a mission to change the agreement and put these 20m normalised and enriched metadata records in the public domain for everyone to re-use without restrictions. Naturally, this was not easily accepted by the cultural heritage community.
Why?
First of all, because this is what our stakeholders want. And I will explain myself. Last year as part of defining our Strategy for the coming years, we asked our stakeholders what values Europeana should be delivering to them for the years to come. Our users said they wanted a trusted source, that would be easy to use and re-use in their school and leisure projects; that they could reach from their regular workflows and customary interfaces, that is, they didn’t want to have to go on europeana.eu to access cultural data.
The cultural institutions said they wanted more visibility to end-users and to politicians and the development of new services with their data that could bring potentially more revenues to them
European politicians said they wanted Europeana to contribute to social and economic inclusion through making culture more accessible to citizens. Primarily this would happen by embedding more widely the cultural data in the educational sector in europe. They also expected Europeana to take the leadership in innovating the cultural heritage sector. Through innovation in the cultural sector they expected Europeana to contribute to economic growth in Europe.
We also asked commercial players, such as telecoms, technology companies, search engines and interactive whiteboard developers and they said they wanted a one-stop-shop to access data and the providers in Europe, that they would be willing to pay for premium services and they valued the brand association Europeana was offering with the cultural sector.
So, it was clear that Europeana could not be a destination portal any more and that we needed to bring the data where the users are To share it on our providers’ sites - even the ones that show some commercial activity with wikipedia - that requires all information that is available on their site to be available for free re-use To publish the data On academics’ blogs- even ones that display google adds To publish the data On commercial sites that can help our providers’ generate income To share the data On apps that are developed for educational uses and for tourism- and we need public-private partnerships or commercial companies with better know-how to be developing and to be funding such apps. To publish it as linked open data in order to make full use of the potential of the semantic web to improve the richness and the functionalities around the data Ultimately, we want to do all this to stimulate users’ engagement with culture in order to create more culture, more knowledge and hopefully more creative projects and money for everyone And to do all these at the same time we need a very open license in order to provide unobstructed re-use of the data We could basically do none of these under the previous agreement we had with our providers which imposed a non-commercial clause in the re-use of the data
These are reflected in Europeana’s strategic plan for 2011-2015 and in particular in the distribute and engage paths.
There are parallel developments we took into account when we started to advocate for open cultural data. The comite des sages report was published ealy this year and recommended that
Metadata related to the digitised objects produced by the cultural institutions should be widely and freely available for re-use.
There is also a strong commitment from the Commission to support opening up of data that has been created with tax-payers’ money. This is the Nellie Kroes, Commissioner for the Digital Agenda who says that … For the commission, Open data would be the fuel to drive economic and social growth.
What are the main characteristics of the new agreement? It drops all restrictions in the metadata reuse It uses an internationally recognised standardised license for the release fo the data. It is a more simple agreement, worded in better legal terms It is the result of a long process of open consultation with the network It combines the previously two separate agreements Takes in input from data providers’ workshops and consultation process - a lot of articles have been improved Combines data provider and data aggregator agreement in one: the data exchange agreement We also suggest to providers to only give to Europeana what they feel comfortable sharing No need to provide metadata for complete or all collections
To recap some of the arguments I presented earlier, we had to drop the NC and the BY clauses because Mainly, because most of the metadata is factual information and there should be no copyright on Mozart’s date of birth We ask the instiutions to withhold information if they think it is that rich that it carries copyright and we ask them to give us o nly what they feel comfortable sharing Most has been created with taxpayers’ money and everyone should have the right to use it for all sorts of purposes. The German national library for example is making a 2m euro per year by selling metadata to other public libraries- that is public money paid twice for the same product. It is anyway very difficult to define the boundaries of NC. Is all commercial activity unwanted? Why should we restrict the national audiovisual archive of france from re-using Europeana data because they are selling content via their website? Is Europeana the appropriate body to police what re-use should be made with the data? And why drop attribution? And this is a very sensitive issue for the memory institutions We believe that attribution is very hard to enforce on the web especially when a long chain of intermediaries is involved and they all want to be credited- what’s been called vanity publishing. Reality though has shown that attribution helps raise the value of the information and that it is common practice in many communities such as wikipedia.So, we encourage attribution as best practice via our metadata usage guidelines. We believe that there is more to gain overall by giving up some metadata, and I will come back to this later. So, overal we believe in a standardised license that will allow a minimum threshold for re-use
It is not easy to convince the whole cultural heritage sector in Europe about the necessity and the value in giving up their metadata for free. So, what we did over the past months was a lot of talking, talking and talking and listening at dedicated workshops with museums, libraries and archives to assess with them the risks and rewards of opening up access to metadata. We held two rounds of consultations with our network on our new license. We had to raise awareness about existing initiatives like the british library publishing their data as CC0 and around new concepts for the cultural sector such as linked open data and business models for open data We had to create evidence about good re-use of the data and we run four hackathons also for commercial applications and an LOD pilot with some pioneer partners. We had to do some research- we commissioned a paper on the compliance of CC0 with the german national jurisdiction because it is one fo the most strict copyright laws. And last, but not least, we created a website to exlain our reasoning behind our Open data activities and our new agreements and to keep everyone informed about these developments
There are several risks that were identified by the institutions at the wokrhsops we did. By releasing their metadata for free, memory institutions are afraid that they will lose control over their data. They were also afraid that they would potentially lose income although there were very few libraries that actually made money out of selling hteir metadata. And these were the BL, the BNF and the German library that are also publishing them openly. The British Library in its press release about the release of their bibliographic data under a CC0 license said that it didn’t harm their business model because they would continue selling their Marc21 records while they were releasing their records for free in a Dublin Core format. The german national library is using a time embargo. That is, it is first selling their data and releasing it as open after a few months had passed. Insitutions were also afraid about potential damage to their reputation if the data was placed in wrong contexts, ie combined with nazi or pornographic content for example. There was though very little evidence of any such misuse.
The institutions also acknowledged that a lot of these fears were potential fears that could be handled with some risk management. I will not repeat here the rewards because I’ve mentioned them earlier. But on the slide you see them summarised as they were listed by the memory institutions during these workshops.
So, these are the reasons for the Europeana Foundation to adopt the Data Exchange Agreement
Now, we tried to be as transparent and inclusive in the process that led to the new agreement. We created this dedicated page that includes all relevant information.
We have published there some metadata principles that Europeana adopted where we state for example that Europeana itself doesn’ t plan to monetise on the use of the metadata.
We’ve published there our guidelines for the use of the metadata where we encourage users to give credit where credit is due. These guidelines will be embedded for example in our LOD
Where are we now? The conference of the European National Librarians has endorsed the new agreement as well as EUscreen- the aggregator for tv heritage in Europe
We will try to get everyone to sign by the end of December. We will leave a grace period of 6 months for any eventual reharvesting needed. The CC0 will be applied to all Europeana data as of 1st of July 2012. All data on europeana for which there is no Data Exchange Agreement signed with the provider will be removed from the site
over the past three years we had an agreement with providers based on the principles of the creative commons attribution non-commercial license although not quite a CC-BY-NC license. Metadata re-use could happen outside the portal only for non-commercial purposes and only if the long chain of providers and aggregators were attributed.
We created a Linked Open data pilot. Via word of mouth practically, we invited some of our partners to allow us to publish their data as LOD. This 3m data is now online. If you want to know more, check Data.europeana.eu
And it’s true- there is not yet evidence of reuse of our LOD but we are proud that Europeana is positioned now somewhere in the extreme right of the Linked data cloud. And this is strangely beautiful
There are though already real examples of re-use of our data through our search API. Unfortunately, due to our previous data agreement restrictions we have restricted the use of the Api to our partner network only. Through the hackathons we wanted to showcase what kind of innovative applications can be developed with Europeana data when developers go creative. There were 48 prototypes developed in 4 categories including a category for commercial potential. And the prizes were given by Mrs Neelie Kroes at the Digital Agenda Day which shows the Commission’s interest in supporting open data as part of the Digital Agenda strategy.
The frist prize in the commercial potential went to this application which I hope to be able to show to you. It’s an app for android developed by a polish team. [try to show the video] You take a picture of an artwork, it uses image recognition, it fetches the Europeana record and reads it out loud for you if you want.
The innovation award went to this app called timemash which is based on geolocation. A user can search on his phone for items in Europeana which are located around him. He comes across a building of which there is an old photo in Europeana and the app helps him take a picture of it today using the same angle. It then creates these then and now comparisons. It geotags the new picture so that other users can easily locate the item and have a try as well.
The Audience Awardw went to Timebook- a facebook like application for historical people whose works are in Europeana. It mashes up content with Dbpedia and shows a portrait of the artist, Links to his friends , namely other contemporary artists and his works All these are very interesting indeed for showing the potential of europeana data and I encourage you to see more apps developed at our api.europeana.eu webpage.
Now, it’s been said before that Europeana doesn’t harvest digital objects. We have been following so far what we’ve been calling the clean hands model. Providers were responsible for clearing any rights with regards to content and for supplying the correct information about it. However, we are a search engine that points to content and we therefore want to make it easy for the users to know what they can or cannot do with the content they find. So far our efforts have rather focused on getting the metadata agreement passed. We haven’t yet put a lot of effort in what I will show. What I will also talk about is an effort towards standardisation from the providers’ side. We therefore have a lot of advocacy and awareness raising work to do here. It’s not like our metadata where there is true standardisation.
So, since a few months now, the rights’ field is mandatory information the providers need to supply. A user can search based on the re-use possibilities, like “all is possible” , derivatives allowed, attribution-only, etc.
These are the guidelines they need to follow
This is the option for the rights’ statements. There are the 6 CC licenses and the public domain mark. And rather unfortunately, Europeana also has its own home grown rights’ statements- rights reserved + different access options. We will have to go back and revist the usefulness and the alternatives regarding these statements.
[give complete stats] Out of the 20m objects: 465,114 are in the public domain …
Here we see a public domain marked object. You click and it takes you to the CC PD Mark page which is great because the rights’ statement is linked to the object. And it’s both machine and human readable. The same happens with all the CC licenses we’ve seen. And if the provider has indicated that an object is under CC-BY-SA-france the user will be directed to that page. The development of the PD Mark in particular is the result of a joint effort with the CC and of our ongoing commitment to protect the PD as manifested in the PD charter. Now, we are trying to do the good thing but we are messing things at the same time… there is an additional field for rights