how starting small can change the (museum) world
TRANSCRIPT
How starting small can change the (museum) world
Sharing is Caring XHamburg 20-21 April 2017
Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
Merete Sanderhoff Curator / Senior Advisor
@msanderhoff
Or, the story of
2009Small beginnings
2011Principles of open
2012Realities of sharing
2013Crafting a book
2014Crowdsourcing
2015Remix culture
CC BY-SA 4.0 Ida Tietgen Høyrup
Meanwhile, at SMK
GalleriesLibrariesArchivesMuseums
openglam.org
We want to be a catalystfor our users’ creativity
2009 digital strategy
CC BY-SA 4.0 Ida Tietgen Høyrup
Bildung ~ building
We are all in the attention business, and we have to play to win (…)
To direct attention to the real knowledge that we produce, publishing ourmaterial online for free use and reuse is the first step.
It is in keeping with our mission that we have to fight back — and infuse thisnew ecosystem with all the antibodies we have in hand, especially facts andknowledge.
Peter B. Kaufman, In the Post-Truth Era, 2017
http://www.chronicle.com/article/In-the-Post-Truth-Era/239628
Peter B. Kaufman, Intelligent Television
Pioneers
Our understanding of research, education, artistic creativity, and the progress of knowledge is built upon the axiom that noidea stands alone, and that all innovation is built on the ideas and innovation of others.
Smithsonian Web and New Media Strategy, Version 1.0, 2009
http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf
The preservation, transmission, and advancement of knowledge in the digital age are promoted by the unencumbered use and reuse of digitized content for research, teaching, learning, and creative activities.”
Memo on open access to digital representations of works in the public domain from museum, library, and archive collections at Yale University, May 2011
http://odai.yale.edu/sites/default/files/OpenAccessLAMSFinal.pdf
To be a public museum your digital data should be free. And digital data is not a threat to the real data, it’s just an advertisement that only increases the aura of the original. People go to the Louvre because they’ve seen the Mona Lisa; the reason people might not be going to an institution is because they don’t know what’s in your institution. Digitization is a way to address that issue, in a way thatsimply wasn’t possible before.
William Noel, The Wide Open Future of the Art Museum, 2012
http://blog.ted.com/the-wide-open-future-of-the-art-museum-qa-with-william-noel/
Our primary mission is to ‘tell the truth’. We put as much quality in our work as possible. That is whywe share the best quality we have. If people google ‘The Milkmaid’ by Vermeer then we want them to find our good quality image, not all the bad and deformed versions of this beautiful painting.
Lizzy Jongma, former data manager, Rijksmuseum, 2012
Everyone (…) wants to recoup costs but almostnone claimed to actually achieve or expected to achieve this. Even those services that claimed to recoup full costs generally did not account fullyfor salary costs or overhead expenses.
http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf
Simon Tanner, King’s College London
Reproduction charging models & rights policy for digital imagesin American art museums, 2004
2011Google Art
Think Big,Start Small,Move Fast
Michael Edson, Director of Web and New Media Strategy, SmithsonianAdvisory meeting with the SMK management team, November 2011
2012160 hires images
Celebration of creative reuse
Works that are in the Public Domain in analogue form continue to be in the Public Domain once they have been digitised.
http://pro.europeana.eu/files/Europeana_Professional/Publications/Public%20Domain%20Charter%20-%20EN.pdf
https://twitter.com/PUBDOMAINHULK
A growing public demand
collection.smk.dk
201525,000 images
Atelier J. Hamann, Turner am Reck, 1902/09, Museum für Kunst und Gewerbe Hamburg, CC0 1.0 Public Domain Dedication
OpenGLAM is moving ahead
A pioneer in the German cultural heritage sector
The importance of clear guidelines
displayatyourownrisk.org
The Other Nefertiti
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
…there are ways where we don’t evenneed any topdown effort from institutions or museums, but where the people can reclaim the museums as their public space through alternative virtual realities, fiction, or captivatingthe objects like we did.
Nora al-Badri and Nikolai Nelles
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/
Atelier J. Hamann, Turner am Reck, 1902/09, Museum für Kunst und Gewerbe Hamburg, CC0 1.0 Public Domain Dedication
Next frontiersfor Sharing is Caring?
CC BY-SA 4.0 Ida Tietgen Høyrup
IMPACT
Measure what is important,don’t make important what
you can measureRobert McNamara
”I wish we would measure culturalheritage on learning and happiness.”
https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/
Charlotte S H JensenState Arhives/National Museum
impkt.tools
It’s growing!
#sharecarexBXLBrussels 20 June
Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
As museums, we do not hold any patent on how cultural heritage can and should be interpreted and used.
Our role is increasingly to facilitate the general public’s use of cultural heritage for learning, creativity and innovation.
Today, the museum as a place of enlightenment is based on interaction. We are all part of this web. We enlighten each other.
Mikkel Bogh Director, SMK
http://www.smk.dk/en/explore-the-art/smk-blogs/artikel/mikkel-bogh-blogs-enlightenment-in-the-age-of-digitisation/
Vielen Dank :)
Sharing is Caring XHamburg 20-21 April 2017
Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
Merete Sanderhoff Curator / Senior Advisor
@msanderhoff