Talk given covering the Collection Imaging project at Auckland War Memorial Museum by Dave Sanderson. Talk presented at Te Papa as part of the National Digital Forum (NDF) conference 2016
Slides used by Dave Sanderson (Auckland War Memorial Museum) and Mark Beatty (National Library of New Zealand) for Digitisation 101 workshop at NDF (National Digital Forum) 2016.
MCN2016 - Photographing a Collection - From Public Galleries to FactoriesDavid Sanderson
The document discusses the Auckland War Memorial Museum's collection imaging process. It describes setting up an in-house imaging studio to photograph the museum's collections according to specific workflows and naming schemas. The images are processed and stored in a digital asset management system to be made openly available online through a digital content platform in order to liberate the collections as linked open data. The imaging studio has photographed over 50,000 objects but faces challenges in logistics and prioritizing smaller collections within its production environment.
Things to consider before, during and after a digitization project in an historical institution. Lecture by Daniel Jeller on the 13th September 2011 in Volterra.
This document discusses the challenges of establishing a digital production unit for digitization projects in a distributed and collaborative environment. It addresses issues related to metadata, capture, file integrity, and collaborative projects. Key challenges include capturing varied analog formats like glass plates and film, managing born-digital content, and collaborating on large digitization projects involving multiple media types and partners. Standards and quality are important to maintain access and usability of digitized content over time.
#MLGCREA 2017 REPARTIRÁ 40.500 EUROS A LOS GANADORES DE SUS NUEVE DISCIPLINAS...Ayuntamiento de Málaga
El documento describe las Muestras Culturales para Jóvenes MálagaCrea 2017, un concurso que repartirá 40.500 euros entre ganadores de 9 disciplinas artísticas. Los jóvenes entre 15 y 35 años pueden presentar obras de artes escénicas, visuales, cómic, cortometraje, gastronomía, interpretación, literatura, moda y música rock. El plazo de inscripción está abierto y los ganadores recibirán premios en efectivo de hasta 3.000 euros.
This document provides an overview of financial management in healthcare, including the different views (financial, process, clinical), types of organizations, accounting, and key concepts. The main points are:
1) There are three main views in healthcare - financial (budgets, reporting), process (systems, structure), and clinical (service delivery, outcomes).
2) Healthcare organizations can be for-profit, non-profit voluntary, or non-profit government/mixed.
3) Financial management systems gather data from original records through information and accounting systems to produce reports on revenues, costs, and performance.
4) Key concepts include assets (resources), liabilities (debts), and net worth (value after
A woman poured expensive perfume on Jesus' head during a gathering at the home of Simon the Leper in Bethany, which some saw as wasteful but others saw as a beautiful act. The chief priests and elders were plotting to kill Jesus in secret.
Slides used by Dave Sanderson (Auckland War Memorial Museum) and Mark Beatty (National Library of New Zealand) for Digitisation 101 workshop at NDF (National Digital Forum) 2016.
MCN2016 - Photographing a Collection - From Public Galleries to FactoriesDavid Sanderson
The document discusses the Auckland War Memorial Museum's collection imaging process. It describes setting up an in-house imaging studio to photograph the museum's collections according to specific workflows and naming schemas. The images are processed and stored in a digital asset management system to be made openly available online through a digital content platform in order to liberate the collections as linked open data. The imaging studio has photographed over 50,000 objects but faces challenges in logistics and prioritizing smaller collections within its production environment.
Things to consider before, during and after a digitization project in an historical institution. Lecture by Daniel Jeller on the 13th September 2011 in Volterra.
This document discusses the challenges of establishing a digital production unit for digitization projects in a distributed and collaborative environment. It addresses issues related to metadata, capture, file integrity, and collaborative projects. Key challenges include capturing varied analog formats like glass plates and film, managing born-digital content, and collaborating on large digitization projects involving multiple media types and partners. Standards and quality are important to maintain access and usability of digitized content over time.
#MLGCREA 2017 REPARTIRÁ 40.500 EUROS A LOS GANADORES DE SUS NUEVE DISCIPLINAS...Ayuntamiento de Málaga
El documento describe las Muestras Culturales para Jóvenes MálagaCrea 2017, un concurso que repartirá 40.500 euros entre ganadores de 9 disciplinas artísticas. Los jóvenes entre 15 y 35 años pueden presentar obras de artes escénicas, visuales, cómic, cortometraje, gastronomía, interpretación, literatura, moda y música rock. El plazo de inscripción está abierto y los ganadores recibirán premios en efectivo de hasta 3.000 euros.
This document provides an overview of financial management in healthcare, including the different views (financial, process, clinical), types of organizations, accounting, and key concepts. The main points are:
1) There are three main views in healthcare - financial (budgets, reporting), process (systems, structure), and clinical (service delivery, outcomes).
2) Healthcare organizations can be for-profit, non-profit voluntary, or non-profit government/mixed.
3) Financial management systems gather data from original records through information and accounting systems to produce reports on revenues, costs, and performance.
4) Key concepts include assets (resources), liabilities (debts), and net worth (value after
A woman poured expensive perfume on Jesus' head during a gathering at the home of Simon the Leper in Bethany, which some saw as wasteful but others saw as a beautiful act. The chief priests and elders were plotting to kill Jesus in secret.
Este documento describe los componentes principales de una tarjeta madre y sus funciones. Define la tarjeta madre como la pieza central de un computador donde se montan otros componentes como el microprocesador, la memoria RAM y las ranuras de expansión para tarjetas adicionales. Explica que la tarjeta madre contiene chips como el BIOS y controladores, y diferentes conectores para unirla a otros dispositivos como la fuente de poder, unidades de almacenamiento y periféricos.
Creating more time apps that create efficiencies Intuit Inc.
The document discusses apps that can help accounting professionals and their clients. It provides advice from several panelists on selecting and implementing apps. The panelists recommend choosing a few key apps that integrate with your main bookkeeping software, becoming an expert in those apps, and ensuring apps provide value for both clients and accountants. They also stress the importance of training clients and staff to properly use any new apps.
El documento analiza el crecimiento de la población en los estados de México y Hidalgo desde 1910 hasta 2020. Explica que el estado de México tuvo un crecimiento más rápido a partir de 1960, mientras que Hidalgo creció de forma más gradual. También identifica posibles consecuencias positivas y negativas del crecimiento poblacional, como más empleo pero también más tráfico y contaminación.
Heavy social media use has been linked to depression in teens and young adults. Studies have shown that heavy users, defined as using social media for more than 2 hours per day, are 300% more likely to be depressed than occasional users. There are a few reasons for this: passive social media use can lead to envy, fear of missing out, and lower self-esteem; exposure to cyberbullying increases the likelihood of depression; and excessive social media use replaces activities that are better for physical and mental health like social interaction, exercise, and quality sleep. The article recommends limiting social media use and seeking help from a mental health professional if heavy use is causing depression.
A professora Cristiane ensinou os alunos do 3o ano A e B a fazer cartazes sobre o corpo humano. Os alunos participaram como moldes e apreciaram o trabalho realizado, que foi exposto. A atividade estimulou a criatividade dos alunos de acordo com a citação de Linda Naiman.
DAMbusters: IWM’s Mission to Design and Implement a Bespoke DAMSAxiell ALM
Emily Dodd, Head of Collections Development & Information, Rob Tyler, DAMS Manager & Rosie Forrest, Collections Systems Manager, Imperial War Museum
IWM was founded to collect and preserve objects that would capture the human experience of the First World War. At the formal opening of the museum King George V talked about creating “a memorial which speaks to the heart and to the imagination” made of items which “had an individual history which could be recorded and cherished”. 100 years on, our collection is increasingly digital and we needed to invest in a DAMS which we could build on for the next 100 years.
We will share the challenges and opportunities of our journey to creating an Axiell DAMS integrated with Adlib. We will take you through the complete process from commissioning, designing and testing to implementing a successful system. Along the way we will discuss working with users, technical specifications for digitisation, assessing future capacity and developing a fit for purpose infrastructure, with some of the lessons we have learned.
This document provides an overview of a digitization training session. It includes:
- An agenda for the morning and afternoon sessions which will cover topics like project planning, imaging standards, and practical scanning demonstrations.
- Information on factors to consider for project planning like assessing needs, budgeting costs, strategic alignment, and setting metrics.
- Details on recommended imaging standards including equipment, file formats, metadata practices, and storage best practices.
- Resources for further reading on digitization guidelines, practices, and case studies.
Next Steps for Highlander Center Archives by ITRL student Susan Williamscmitch41
This document outlines next steps for improving the archives at Highlander Center. It discusses [1] organizing existing photographs by program and date, developing indexing databases, and preserving materials; [2] digitizing important photos at high resolution and determining storage options; and [3] establishing policies around intellectual property and printing archival quality photos. The goal is to make further progress in organizing, digitizing, and providing access to the Center's historical collection.
Practical Examples of a DAM Implementation: Daniel BurtCollections Trust
The Pitt Rivers Museum at the University of Oxford was used as a Case Study by Consultant Daniel Burt when he spoke at the Collections Trust DAM for Museums Conference in November 2013. His PowerPoint presentation covers the capture, cataloguing, storage and delivery of images and audio content.
DepositMOre: Applying tools to increase full-text content in institutional re...depositMO
This talk reconsiders the conventional approach towards repository deposit, by reconceptualising deposit workflow and asking how and whether we can use this to substantially increase deposit volumes. We will recap the user tools from DepositMO project, which were underpinned by the then-new SWORDv2. In contrast, deposit tools developed in DepositMOre are EPrints apps aimed at repository managers rather than users. We will explore the use and current status of these apps, and the repository implementations. Is more content the primary target for repositories? We will review the challenges facing repositories as the context for understanding the outcomes of this work and future directions. This talk was presented to the RSP event Increasing the full-text deposits in your institutional repository, in London, 12 June 2013.
TiConnect: Memory Management in Titanium appsTim Poulsen
Slides from my presentation at the 2014 ConnectJS / TiConnect conference in Atlanta. I cover tips and background info on managing memory and performance in your Titanium apps.
2+3d Photography 2017 – P 4 The Rijksmuseum DAM, how we got there and where w...rijksmuseum
This poster presentation looks at the transition of the Rijksmuseum Image Department archives over the last 15 years. It will give a brief look at how the archive developed from almost exclusively analogue at the start of this millennium to digital today. What were the challenges and successes along the way, how did the analogue legacy shape our digital archive and what are our goals, wishes and challenges for the future.
MW2014 Art in the Clouds Alexander+KrauseNiki Krause
This document discusses the Cleveland Museum of Art's project to create an archival repository for its digital assets using cloud storage and open source software. An interdepartmental team was formed to inventory assets, identify standards, select a storage platform and management system, and define workflows. They chose a cloud-based storage solution with an in-house archival management system (AMS) to address concerns about performance and costs. After 9 months of ingesting assets like photographs, documents and audiovisual materials, challenges remain around staff time, storage capacity, and demand for additional systems.
Automagically archiving the bbc's tv programmes - 2017 Dent, Allcorn FIAT/IFTA
The BBC has delivered a digital archive that automatically archives post-transmission, pre-recorded TV programmes along with rich metadata. They took a pragmatic, iterative approach using microservices and component architecture. Individual components are deployed frequently to get feedback and improve quickly. This allows the archive system to adapt as requirements change.
The document discusses the Imperial War Museums' (IWM) project to design and implement a bespoke digital asset management system (DAMS). Key points:
- IWM has over 500 terabytes of digital assets including film, audio, images and versions that are growing rapidly.
- A DAMS was needed for preservation, access, commercial use, and meeting standards. IWM chose Axiell's system due to its responsiveness to museum needs.
- The multi-phase project included specification, user consultation, ingest of still and moving images, and refinements. Infrastructure integrates the DAMS with IWM's existing Adlib and storage systems.
- Future phases will improve the user
The document discusses the technologies used during the research, planning, construction and evaluation stages of creating a product. Various websites like YouTube, IMDB and WordPress were used for researching films and recording findings. Microsoft Word and PowerPoint were used to create documents and diagrams. A camcorder and digital cameras were used to film scenes and capture images. Editing software like iMovie and Adobe Photoshop were used to edit videos and create marketing materials like posters and magazine covers.
This document discusses tools for information processes and focuses on collecting, organizing, and analyzing data. It begins by outlining the topics that will be covered in part 1, including collecting data through defining data needs, identifying sources, and gathering data manually or automatically. It then discusses organizing data by arranging, representing, and formatting it, noting the five main types of data. The document concludes by providing examples of how different types of data like text, numbers, images, audio, and video can be organized.
1) The document outlines the basic audiovisual production process which includes three main steps: recording, capture and post-production, and export and display.
2) It then provides details on the recording process including camera angles, heights, movements, shots, and composition.
3) The second step of capture and post-production is summarized as involving editing software to import, arrange, and export video and audio files.
The document summarizes Diego Freniche's Core Data workshop. It includes an agenda with topics like Core Data terms, getting the most out of Core Data, and doing a Core Data "Hello World". It also explains key aspects of the Core Data stack like managed object contexts, the managed object model, and persistent store coordinators. The document provides examples of modeling data, inserting and fetching entities, and extending managed objects.
This document discusses the Cleveland Museum of Art's efforts to create a digital archive of its collection assets using cloud storage and open source repositories. An interdepartmental team conducted an inventory of the museum's digital materials and selected appropriate standards. They chose a cloud-based storage platform with in-house archival management software administration. After 9 months of ingesting content, they have made progress uploading editorial photography, artwork photography, and conservation photography. However, challenges include limited staff time and an upcoming loss of their developer.
Este documento describe los componentes principales de una tarjeta madre y sus funciones. Define la tarjeta madre como la pieza central de un computador donde se montan otros componentes como el microprocesador, la memoria RAM y las ranuras de expansión para tarjetas adicionales. Explica que la tarjeta madre contiene chips como el BIOS y controladores, y diferentes conectores para unirla a otros dispositivos como la fuente de poder, unidades de almacenamiento y periféricos.
Creating more time apps that create efficiencies Intuit Inc.
The document discusses apps that can help accounting professionals and their clients. It provides advice from several panelists on selecting and implementing apps. The panelists recommend choosing a few key apps that integrate with your main bookkeeping software, becoming an expert in those apps, and ensuring apps provide value for both clients and accountants. They also stress the importance of training clients and staff to properly use any new apps.
El documento analiza el crecimiento de la población en los estados de México y Hidalgo desde 1910 hasta 2020. Explica que el estado de México tuvo un crecimiento más rápido a partir de 1960, mientras que Hidalgo creció de forma más gradual. También identifica posibles consecuencias positivas y negativas del crecimiento poblacional, como más empleo pero también más tráfico y contaminación.
Heavy social media use has been linked to depression in teens and young adults. Studies have shown that heavy users, defined as using social media for more than 2 hours per day, are 300% more likely to be depressed than occasional users. There are a few reasons for this: passive social media use can lead to envy, fear of missing out, and lower self-esteem; exposure to cyberbullying increases the likelihood of depression; and excessive social media use replaces activities that are better for physical and mental health like social interaction, exercise, and quality sleep. The article recommends limiting social media use and seeking help from a mental health professional if heavy use is causing depression.
A professora Cristiane ensinou os alunos do 3o ano A e B a fazer cartazes sobre o corpo humano. Os alunos participaram como moldes e apreciaram o trabalho realizado, que foi exposto. A atividade estimulou a criatividade dos alunos de acordo com a citação de Linda Naiman.
DAMbusters: IWM’s Mission to Design and Implement a Bespoke DAMSAxiell ALM
Emily Dodd, Head of Collections Development & Information, Rob Tyler, DAMS Manager & Rosie Forrest, Collections Systems Manager, Imperial War Museum
IWM was founded to collect and preserve objects that would capture the human experience of the First World War. At the formal opening of the museum King George V talked about creating “a memorial which speaks to the heart and to the imagination” made of items which “had an individual history which could be recorded and cherished”. 100 years on, our collection is increasingly digital and we needed to invest in a DAMS which we could build on for the next 100 years.
We will share the challenges and opportunities of our journey to creating an Axiell DAMS integrated with Adlib. We will take you through the complete process from commissioning, designing and testing to implementing a successful system. Along the way we will discuss working with users, technical specifications for digitisation, assessing future capacity and developing a fit for purpose infrastructure, with some of the lessons we have learned.
This document provides an overview of a digitization training session. It includes:
- An agenda for the morning and afternoon sessions which will cover topics like project planning, imaging standards, and practical scanning demonstrations.
- Information on factors to consider for project planning like assessing needs, budgeting costs, strategic alignment, and setting metrics.
- Details on recommended imaging standards including equipment, file formats, metadata practices, and storage best practices.
- Resources for further reading on digitization guidelines, practices, and case studies.
Next Steps for Highlander Center Archives by ITRL student Susan Williamscmitch41
This document outlines next steps for improving the archives at Highlander Center. It discusses [1] organizing existing photographs by program and date, developing indexing databases, and preserving materials; [2] digitizing important photos at high resolution and determining storage options; and [3] establishing policies around intellectual property and printing archival quality photos. The goal is to make further progress in organizing, digitizing, and providing access to the Center's historical collection.
Practical Examples of a DAM Implementation: Daniel BurtCollections Trust
The Pitt Rivers Museum at the University of Oxford was used as a Case Study by Consultant Daniel Burt when he spoke at the Collections Trust DAM for Museums Conference in November 2013. His PowerPoint presentation covers the capture, cataloguing, storage and delivery of images and audio content.
DepositMOre: Applying tools to increase full-text content in institutional re...depositMO
This talk reconsiders the conventional approach towards repository deposit, by reconceptualising deposit workflow and asking how and whether we can use this to substantially increase deposit volumes. We will recap the user tools from DepositMO project, which were underpinned by the then-new SWORDv2. In contrast, deposit tools developed in DepositMOre are EPrints apps aimed at repository managers rather than users. We will explore the use and current status of these apps, and the repository implementations. Is more content the primary target for repositories? We will review the challenges facing repositories as the context for understanding the outcomes of this work and future directions. This talk was presented to the RSP event Increasing the full-text deposits in your institutional repository, in London, 12 June 2013.
TiConnect: Memory Management in Titanium appsTim Poulsen
Slides from my presentation at the 2014 ConnectJS / TiConnect conference in Atlanta. I cover tips and background info on managing memory and performance in your Titanium apps.
2+3d Photography 2017 – P 4 The Rijksmuseum DAM, how we got there and where w...rijksmuseum
This poster presentation looks at the transition of the Rijksmuseum Image Department archives over the last 15 years. It will give a brief look at how the archive developed from almost exclusively analogue at the start of this millennium to digital today. What were the challenges and successes along the way, how did the analogue legacy shape our digital archive and what are our goals, wishes and challenges for the future.
MW2014 Art in the Clouds Alexander+KrauseNiki Krause
This document discusses the Cleveland Museum of Art's project to create an archival repository for its digital assets using cloud storage and open source software. An interdepartmental team was formed to inventory assets, identify standards, select a storage platform and management system, and define workflows. They chose a cloud-based storage solution with an in-house archival management system (AMS) to address concerns about performance and costs. After 9 months of ingesting assets like photographs, documents and audiovisual materials, challenges remain around staff time, storage capacity, and demand for additional systems.
Automagically archiving the bbc's tv programmes - 2017 Dent, Allcorn FIAT/IFTA
The BBC has delivered a digital archive that automatically archives post-transmission, pre-recorded TV programmes along with rich metadata. They took a pragmatic, iterative approach using microservices and component architecture. Individual components are deployed frequently to get feedback and improve quickly. This allows the archive system to adapt as requirements change.
The document discusses the Imperial War Museums' (IWM) project to design and implement a bespoke digital asset management system (DAMS). Key points:
- IWM has over 500 terabytes of digital assets including film, audio, images and versions that are growing rapidly.
- A DAMS was needed for preservation, access, commercial use, and meeting standards. IWM chose Axiell's system due to its responsiveness to museum needs.
- The multi-phase project included specification, user consultation, ingest of still and moving images, and refinements. Infrastructure integrates the DAMS with IWM's existing Adlib and storage systems.
- Future phases will improve the user
The document discusses the technologies used during the research, planning, construction and evaluation stages of creating a product. Various websites like YouTube, IMDB and WordPress were used for researching films and recording findings. Microsoft Word and PowerPoint were used to create documents and diagrams. A camcorder and digital cameras were used to film scenes and capture images. Editing software like iMovie and Adobe Photoshop were used to edit videos and create marketing materials like posters and magazine covers.
This document discusses tools for information processes and focuses on collecting, organizing, and analyzing data. It begins by outlining the topics that will be covered in part 1, including collecting data through defining data needs, identifying sources, and gathering data manually or automatically. It then discusses organizing data by arranging, representing, and formatting it, noting the five main types of data. The document concludes by providing examples of how different types of data like text, numbers, images, audio, and video can be organized.
1) The document outlines the basic audiovisual production process which includes three main steps: recording, capture and post-production, and export and display.
2) It then provides details on the recording process including camera angles, heights, movements, shots, and composition.
3) The second step of capture and post-production is summarized as involving editing software to import, arrange, and export video and audio files.
The document summarizes Diego Freniche's Core Data workshop. It includes an agenda with topics like Core Data terms, getting the most out of Core Data, and doing a Core Data "Hello World". It also explains key aspects of the Core Data stack like managed object contexts, the managed object model, and persistent store coordinators. The document provides examples of modeling data, inserting and fetching entities, and extending managed objects.
This document discusses the Cleveland Museum of Art's efforts to create a digital archive of its collection assets using cloud storage and open source repositories. An interdepartmental team conducted an inventory of the museum's digital materials and selected appropriate standards. They chose a cloud-based storage platform with in-house archival management software administration. After 9 months of ingesting content, they have made progress uploading editorial photography, artwork photography, and conservation photography. However, challenges include limited staff time and an upcoming loss of their developer.
- The document summarizes what was learned over 5 weeks in digital literacy lectures and workshops.
- Key topics covered include software, hardware, networking, digital images, file formats, word processing programs, online collaboration tools, referencing, and basic graphic design principles.
- Workshops involved practical activities like uploading digital photos, scanning images, and creating a CV using different text editing software.
SnapCrowd is a personal cloud storage service that aims to be the next generation solution. It has web and mobile clients with an intuitive interface and is operating system agnostic. SnapCrowd focuses on sharing capabilities by directly integrating with applications like Dropbox and Facebook. The company was founded in 2006 and has experienced leadership. It provides storage, sharing, and collaboration for digital media like photos, music, videos and documents. SnapCrowd differentiates itself through its user interface, multi-tasking mobile app, operating system agnostic platform, media streaming, robust sharing features, and support for many file formats.
SnapCrowd is a personal cloud storage service that aims to be the next generation solution. It has web and mobile clients with an intuitive interface and is operating system agnostic. SnapCrowd focuses on sharing capabilities by directly integrating with applications like Dropbox and Facebook. The company was founded in 2006 and has experienced leadership with backgrounds in technology and business. SnapCrowd provides storage, sharing, and collaboration for digital media like photos, music, videos and documents across devices. It aims to distinguish itself from competitors by offering a complete set of features and services without limitations by operating system.
The document discusses the importance of good file management, especially for multimedia projects. It provides three main rules for file management: 1) Give all files descriptive names using a consistent naming convention, 2) Create a master folder for each project and save all related files and subfolders within it, and 3) Do not leave any files on the desktop but rather save them within project folders or in a designated student work folder. Following these basic file management practices is essential to ensuring projects remain organized and that all linked files can be easily found and accessed.
Similar to NDF 2016 Photographing a Collection - From Galleries to Factories by Dave Sanderson (20)
This presentation by OECD, OECD Secretariat, was made during the discussion “Pro-competitive Industrial Policy” held at the 143rd meeting of the OECD Competition Committee on 12 June 2024. More papers and presentations on the topic can be found at oe.cd/pcip.
This presentation was uploaded with the author’s consent.
This presentation by Katharine Kemp, Associate Professor at the Faculty of Law & Justice at UNSW Sydney, was made during the discussion “The Intersection between Competition and Data Privacy” held at the 143rd meeting of the OECD Competition Committee on 13 June 2024. More papers and presentations on the topic can be found at oe.cd/ibcdp.
This presentation was uploaded with the author’s consent.
This presentation by Nathaniel Lane, Associate Professor in Economics at Oxford University, was made during the discussion “Pro-competitive Industrial Policy” held at the 143rd meeting of the OECD Competition Committee on 12 June 2024. More papers and presentations on the topic can be found at oe.cd/pcip.
This presentation was uploaded with the author’s consent.
This presentation by Juraj Čorba, Chair of OECD Working Party on Artificial Intelligence Governance (AIGO), was made during the discussion “Artificial Intelligence, Data and Competition” held at the 143rd meeting of the OECD Competition Committee on 12 June 2024. More papers and presentations on the topic can be found at oe.cd/aicomp.
This presentation was uploaded with the author’s consent.
This presentation by Professor Giuseppe Colangelo, Jean Monnet Professor of European Innovation Policy, was made during the discussion “The Intersection between Competition and Data Privacy” held at the 143rd meeting of the OECD Competition Committee on 13 June 2024. More papers and presentations on the topic can be found at oe.cd/ibcdp.
This presentation was uploaded with the author’s consent.
This presentation by OECD, OECD Secretariat, was made during the discussion “Artificial Intelligence, Data and Competition” held at the 143rd meeting of the OECD Competition Committee on 12 June 2024. More papers and presentations on the topic can be found at oe.cd/aicomp.
This presentation was uploaded with the author’s consent.
This presentation by Yong Lim, Professor of Economic Law at Seoul National University School of Law, was made during the discussion “Artificial Intelligence, Data and Competition” held at the 143rd meeting of the OECD Competition Committee on 12 June 2024. More papers and presentations on the topic can be found at oe.cd/aicomp.
This presentation was uploaded with the author’s consent.
This presentation by OECD, OECD Secretariat, was made during the discussion “The Intersection between Competition and Data Privacy” held at the 143rd meeting of the OECD Competition Committee on 13 June 2024. More papers and presentations on the topic can be found at oe.cd/ibcdp.
This presentation was uploaded with the author’s consent.
This presentation by Thibault Schrepel, Associate Professor of Law at Vrije Universiteit Amsterdam University, was made during the discussion “Artificial Intelligence, Data and Competition” held at the 143rd meeting of the OECD Competition Committee on 12 June 2024. More papers and presentations on the topic can be found at oe.cd/aicomp.
This presentation was uploaded with the author’s consent.
Why Psychological Safety Matters for Software Teams - ACE 2024 - Ben Linders.pdfBen Linders
Psychological safety in teams is important; team members must feel safe and able to communicate and collaborate effectively to deliver value. It’s also necessary to build long-lasting teams since things will happen and relationships will be strained.
But, how safe is a team? How can we determine if there are any factors that make the team unsafe or have an impact on the team’s culture?
In this mini-workshop, we’ll play games for psychological safety and team culture utilizing a deck of coaching cards, The Psychological Safety Cards. We will learn how to use gamification to gain a better understanding of what’s going on in teams. Individuals share what they have learned from working in teams, what has impacted the team’s safety and culture, and what has led to positive change.
Different game formats will be played in groups in parallel. Examples are an ice-breaker to get people talking about psychological safety, a constellation where people take positions about aspects of psychological safety in their team or organization, and collaborative card games where people work together to create an environment that fosters psychological safety.
This presentation by Tim Capel, Director of the UK Information Commissioner’s Office Legal Service, was made during the discussion “The Intersection between Competition and Data Privacy” held at the 143rd meeting of the OECD Competition Committee on 13 June 2024. More papers and presentations on the topic can be found at oe.cd/ibcdp.
This presentation was uploaded with the author’s consent.
4. How is it funded?
‘We’ve been saving!’
The museum’s been working
towards these projects for years
and saving for approx. 10 years
All Collections Readiness projects
are Capital Funded – realising
assets at the end of each project
Other capital projects are
happening – building work and
galleries
24. Staffing for Collection Imaging
3 photographers (increasing soon)
All from outside of the sector (so far)
All with good commercial studio experience (so far)
All come from a ‘time is money’ background
Rights Specialist (very much a museum background!)
26. Studio Research
Smithsonian Rapid Capture Digitisation
Numerous sector studios in New Zealand
Commercial rental studios
My old scanning ‘factory’ at Archives New Zealand
Two large ‘department stores’ in New Zealand
29. Workflow as designed
Naming, exposure and colour accurate at time of capture
performed tethered via laptop
Files arrive straight on processing PC passing straight through
laptop which acts only as camera operational tool, not storage
30. Workflow as in operation
Naming, exposure and colour accurate at time of capture
performed tethered via laptop
Files arrive onto laptop, then moving later through to
processing PC
31. Tethered software
EOS Utility – Naming menu too deep
within app
DSLR Remote Pro – Chosen app, but image
previews not good across network
Capture One - Unstable camera
connection within IT environment
Lightroom – Naming menu too deep
within app
32. Working with Collections staff
Assess each job at the beginning – Curators & Collection
Managers
Shoot sample images and request review
Once agreed – shoot the whole collection
Working with Collections Care closely
Occasional ‘photographer moment’ – an extra shot slips
in
33. Naming schema
Unique name for each file – ‘uniqueID_001, _002 etc.
Filename cross checked several times through end-
to-end process
Named at point of capture
File name directly relates to each object (slightly
jealous of the Smithsonian’s barcoding system!)
34. Processing
No retouching at all (digital preservation)
Basic metadata tags added
RAW
DNG
JPEG
TIFF
Archive
CMS
Internet
WIZARDRY (DCP)
39. Long term digital guardianship has been front
of mind since day #1
Digitisation done ‘safely’
New media for the museum created ‘wisely’
Born digital collecting
Digital Preservation
40. Collections are ‘Open by Default’
Rights Specialist – researching rights holders
Cultural Permissions policies – Māori and Pacific
Open GLAM
Intro to sections of talk:
Context of Auckland, the museum and its people
Discuss collections being more than just war
Strategic context
Collections Readiness
The way the project is designed
DAMS and digital preservation
Issues, grey areas and some wins
Q&A
Auckland War Memorial Museum sitting high over looking Auckland and its harbour
Important to note that it’s not purely a museum about war – the collections span Human History, Natural Sciences and Documentary Heritage (including manuscripts, pictorial collections, artwork, a research library and the museum’s own archive for instance)
Internationally significant Māori and Pacific collections
Funding is all from capital investment draw down
The museum’s been saving for these projects for around a decade
Digitised collections are a long term asset by the end of the project
What we now know as the Collections Hub main office area in its former life as the Coast gallery.
What is now the imaging studio in its former life as the Oceans gallery. The sharks have since been put into storage or have been hung behind my desk in the public space just over the wall. All I hear each day is “ooooh! Shark!” which I’m both growing to love and loath in equal measure.
View of the Collection Hub now as an office space and collections area. It’s home to between 15 and 25 people at any one time depending on the stage of the projects.
And a view of the imaging studio as it is now. More on this later.
So now we’ve closed some galleries, what do you plan on doing with them?
The space is home to four projects:
WWI collections project which has run for 18 months with two technicians. One month to go and has been focussed on delivering collections ahead of our first two new galleries opening, both of which are related to WWI.
Collection cataloguing covers all three collection areas (Human History, Natural Sciences and Documentary Heritage), two thirds of which sit within our space. They make the data in the databases.
Pacific Collection Access Project (PCAP) follows on the heals of Te Awe in the sense that there’s cataloguing, conservation, repacking and rehousing and my project does the photography this time around. The museum’s especially proud of this project as we’re breaking new ground by engaging with the 13 island nations whose collections are identified and are cataloguing alongside them, working with community knowledge holders to better our cumulative understanding of the Pacific objects. It’s genuine outreach at work.
And lastly, our project, the Collection Imaging project.
The hub is a deeply spiritual place to work at times alongside great colleagues. This image is of the PCAP launch where many of the island community members came to be reunited with their collections.
A Cook Island fan, one of the images taken as part of the work for the PCAP project
A Cook Island ceremonial adze, one of the images taken as part of the work for the PCAP project
Cook Island ceremonial adzes, both images taken as part of the work for the PCAP project
So there has to be a line? What don’t we do as photographers in a museum.
Outlining the work we don’t do within the museum. Out of scope imaging work essentially.
So what’s in scope – what do we do?
A slight side journey into the world of micro imaging. The Collection Imaging project is responsible for the ongoing work on imaging our small type specimens from the Natural Sciences collections. It’s been happening for some years now but as we draw close to the end of the specimens we have gotten to the very small items so the project invested in a BK+ Imaging system. We did so after bad experiences with proprietary systems and wanted something modular that we could upgrade and troubleshoot ourselves.
Made by a gent who we lovingly refer to as a bit of a mad scientist in Virginia, the gear is great and we’re really loving the work is can produce.
Images from the first week of testing, being able to show 5x, 10x, 20x and 50x life-size views of very small insects.
This shot shows an image created from over 1500 slices/images compiled together to make the end results. The insect body is a little over 1mm in length and the end result image is over 10,000pixels on the long edge.
So the drivers for the main imaging project can be neatly summed up into two logical groups.
The first is in reaction to the PCAP and Cataloguing projects where we work on small batches of objects at any one time. The workflow is viewed as more of a whole, where objects come from storage, are catalogued, cleaned and repaired as needed, then photographed by us. We’re part of a bigger production line, so our imaging studio suffers, but overall the efficient way to work for these collections wins out as a bigger picture.
The other two areas are self sufficient. We’re embarking on an FTE shooting artworks, and their work is stand alone and free of other pressures. The collections backlog (items catalogued but not imaged) is significant and forms whole large collections to be imaged at once.
So that’s why we do it, how do we do it?
I formulated the idea of the 90% rule. On one extreme you get the low grade images every museum has, on the other you get the extreme high art auction house catalogue images. I theorised that you could achieve 90% of the high end images quickly, purely by having the right systems and right staff.
I also run the team on the stolen mantra ‘Everything is important’ – (Singer vehicle designs, California)
This is not to say the project is a perfectionist effort, but that one of the important things is the balance between image quality and throughput. There’s never any ‘that will do’
Staffing reasoning for the imaging project
The studio was designed to operate fully scalable and flexibly. It has to cater for objects from fractions of millimetres to many meters in size, of all materials and shapes. We have done this without using cheap and flimsy equipment and decided to go for industrial quality gear, both for safety and also for complete flexibility of setups.
Areas of research for the studio
We didn’t buy Medium format cameras due to their expense and unreliability within corporate IT networks. We didn’t buy flash packs and heads due to their expense, so instead went for Canon 5Ds based systems and Broncolor monoblock heads. We did buy Broncolor for their reliability and serviceability. Accuracy also played a big role.
We shoot everything tethered to laptops for accuracy, control and flexibility. It’s much easier to maintain standardised shots when working tethered and allows for all of the quality to be embedded upfront as opposed to being addressed down stream in the workflow and requiring reshoots.
The digital workflow was designed to allow the cameras to write files directly from cameras to the photographer’s PCs in the second room onto an SSD, used as a watch folder for Lightroom catalogues. The laptop was due to simply act as an operational tool for the camera and never see the data itself.
It doesn’t quite work that way.
Due to the software we’re using if we pass data straight through we lose accurate image previews without waiting for each image. So we write to laptop and transfer later to the PCs for processing.
We tried lots of software for tethering, but these are the main four. Details of issues within slide, but our preferred app, DSLR Remote Pro has issues with image previews across the network which is the reason for the difference in approach mentioned in the previous two slides.
Our general workflow for working with collection staff on each collection group.
Notes on the naming schemas we use for the files as we write them
Diagram of how we process files out into the wider system
We’re implementing DAMS currently. Big shout out to our IT dept. and their amazing support.
We’re also very proud to be using Piction, the principal sponsor of the MCN2016 conference.
Identifying that our current archive is in fact some well organised servers that many people can see and access. (Not all have write access). Not actually that much of an archive in itself.
Also identifying that currently there is some magic that happens as JPEGs get written and attached to the CMS (in this case Vernon). This is a series of scripts people run, so good but not actually automated and still labour intensive.
Diagram showing the current proposed workflow post-DAMS implementation. Here we’ve moved to Piction doing a lot of the heavy lifting for us and reliance on its own in-built automation. We’re also looking into using it to provide all images for the web too assisting the DCP in its current role.
The implementation of DAMS is beginning to require the museum to ask some fairly large questions about digital preservation. For the Collection Imaging project, this has been front of mind since before the first click of the shutters. All files are intended to be as software and platform agnostic as possible. All files receive no Photoshop or significant editing (simply addition of some metadata tags) as an aid to long term preservation. This is in turn bringing us toward the concept of the museum conducting digitisation ‘safely’ and as we roll this thinking out to the wider museum it’s beginning to take us toward creating all new media and assets wisely. The museum is also already in the process of born-digital collecting.
We then add this to the museum’s approach to open access where our collections are open by default. Wherever possible we license material via the CC BY license, gradually working down through the Creative Commons licenses to an ‘All Rights Reserved’ statement. We’re also happy to say we have two Cultural Permissions policies. Our Māori policy has been in place and running well for a few years and our Pacific policy is almost fully signed off and we’re working to it in practice already.
So this story so far is all very positive, what issues have you had?
Equipment issues:
Thankfully they’ve been few and far between, but they have happened. Our wonderful Broncolor lights, by being the first batch delivered started to suffering power accuracy issues when the power was down low. Good support means they were all checked and swapped for new tubes and they’ve been flawless ever since.
Our bright orange USB3 cables we use for tethering (manufacturer name withheld) are constantly failing. Given their cost and the manufacturer’s speciality, this is disappointing. Unfortunately as we can get no other 5m cables within New Zealand we have to keep buying them as disposable items.
And the wifi app for the Broncolor lights which we use via iPads constantly struggles with connections. The iPad, app and lights work flawlessly outside the building, so despite switching off lots of wifi access points, the number of alarms, sensors and wifi hotspots within a museum seems to be an issue for this technology.
One of our logistical wins was the Land Vertebrate Study Skins – a collection of 5500 birds. This was big bulk collection, standardised and worked really well for us.
Shot of the underneath of the bird illustrating standard shots we took
Shot of the back of the bird illustrating standard shots we took
Shot of the tag on the bird illustrating standard shots we took
Shot of the underneath complete with colour chart and scale and accession number visible of the bird illustrating standard shots we took
As a counter point, an example of some of the logistical losses we’ve had are small collections like these Tsuba (the ornamental cuff/guard that goes between the handle and blade on Japanese swords). This collection although beautiful, was small so we never gained the efficiencies of a large collection set. These smaller collections coming from the responsive cataloguing projects within the hub are an inefficient source of work for the imaging team, but when you view the end to end progress of the collection group through the whole Collection Hub, we’re currently doing it in a relatively efficient way for the museum overall.
And we’re also victims of our own work – everyone wants their shots taken, from special gallery and marketing requests through to the staff intranet photos and even the LinkedIn profiles. Unfortunately, outside our scope.
So some of the wins we’ve seen?
In the first 11 months on the equivalent of around 2.5 photographers, we’ve passed 50,000 images of 15,000 collection objects. With the workflow, the design of the process and outcome and quality we’re shooting to we’re really proud of this.
When I see images like this I feel a big sense of achievement. Remembering these images are not Photoshopped and are of different sized eggs (even including Moa eggs), the consistency of lighting and quality so you can visualise them in grids and digital displays like this speaks volumes for the quality control and standards our team is meeting.
We also got into doing science when we photographed this Hummingbird. When you rotate it only a few degrees the red feathers do not reflect light back properly and you see black feathers. This turns out to be structural to the feathers and down to how they reflect only certain wavelengths of light at very small viewing angles.
We saw this phenomena on several birds including this Peacock. This means we had to do a little research alongside our Curator and Collection Manager (which resulted in some blogging) into how to work with these birds. We essentially had to get quite creative with the lighting to actually show the feathers the way they appear.
Image showing the lighting we used to illuminate the reflective feathers on the peacock
What grey areas have there been?
Ed Hillary’s Order of the British Empire medal – Sir Edmund Hilary was the New Zealander who, along with Sherpa Tenzing Norgay became the first people in the world to conquer Mt Everest. Auckland Museum is home to the Hilary archive.
The brief was given to us by the design agency responsible for the interactive. It was short and simple. Reproduce the Apple Watch images but with WWI medals. We used no retouching at all for these images.
Images of new gallery interactive in our first Future Museum gallery ‘Pou Maumahara’. The interactive draws heavily on high end images of WWI medals the Collection Imaging project delivered.
Image of the interior of our new gallery Pou Maumahara
Introduction to some of the ‘photographer’s fave’ images
Image of necklace
Image of necklace. Drawing emphasis to the highly reflective Paua shells and the lighting skill required to shoot such an image.
Image of the Huia, a New Zealand native bird hunted to extinction in the 1910-1920’s. Very symbolic bird for New Zealand and a real privilege to shoot.
The huia tail feathers: the birds were hunted to extinction specifically for their tail feathers, often worn as a feather in the cap of royalty and the wealthy
Close up image of feathers from a Tui, another New Zealand native bird infamous for its unique song derived from having two voice boxes.
A 2.5x life size shot using a Canon MP-E 65 1-5x macro lens of hummingbird feathers. There’s no Photoshop in this image and it was hand held. The image is proving so popular we’re considering selling limited edition prints as fundraising prizes.
A shot of a Susan Holmes dress, an NZ fashion designer. The image sits alongside shots of photographer Jen working on the dress and a scene of the studio setup. We went a little higher end with the imaging than normal as the images were being used for multiple purposes.