Sharing is Caring. Societal impact of open collections?

1. Sharing is Caring Societal impact of open collections? Föreläsning: Open Collections Nationalmuseum og Världskulturmuseet 7 October 2016, Stockholm Merete Sanderhoff Curator / Senior Advisor slideshare.net/MereteSanderhoff @MSanderhoff Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest

2. ”With our digitised collections, we can support people in being reflective, creative human beings. But the precondition is that cultural heritage is common property, and that each and every one of us can use it for exactly what we dream of.” Mikkel Bogh Director, SMK http://bit.ly/1dMX0BJ

3. CC BY-SA 4.0 Ida Tietgen Høyrup The National Gallery of Denmark Western art from 1300 to the present 260,000 artworks 66 % in the public domain 27 % digitised

4. What’s the greatest challenge working with open data and open collections/image archives?

5. Getting all of it digitised in high quality Indiana Jonas, Raiders of the Lost Ark, 1981

6. The new role as facilitator http://jeannelking.com/services/graphic-facilitation/

7. CCBY 4.0 ULK The art pilots www.ulk.dk

8. CC BY-SA 4.0 Ida Tietgen Høyrup Wiki Labs Monthly meetups with Wikipedians, art historians and amateurs

9. Open collections in schools

10. Need to raise awareness tailor content offer training

11. https://medium.com/code-words-technology-and-theory-in-the-museum/wanna-play-8f8e2e8cb2fe

12. What prerequisites does an institution need to get started? (what’s more important, the technique or the policy?)

13. For us, policy first. Because of perpetual beta.

14. SMK’s first digital strategy, 2009 We want to be a catalyst for users’ creativity

15. Working bottom up Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain. Museums need time to consider change Salvator Rosa, Demokritus in Meditation, 1650-51. KMS4112. Public Domain What will happen if we let go of control? Will we lose revenue? Will people stop going to the museum if they can just visit us online?

16. Think Big, Start Small, Move Fast Michael Edson, Director of Web and New Media Strategy, Smithsonian Advisory meeting with the SMK management team, November 2011

17. 160 high res images in 2012

18. Pilot experiences

24. http://collection.smk.dk/

25. 25,000 mixed res images in 2015

26. Is the OpenGLAM movement inevitable/unstoppable?

27. https://twitter.com/PUBDOMAINHULK

28. Nefertiti http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/

29. Discovered in Amarna, Egypt, in 1912 by German archaeologists On display at Neues Museum Berlin since 1923 Egypt has reclaimed the bust as national heritage, in vain The bust is not allowed to travel due to security The museum’s official 3D scan is kept from the public http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/

30. The Other Nefertiti http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html

31. Covertly scanned with a Kinect in Neues Museum Berlin, October 2015 Released as a torrent at Chaos Communication Congress, December 2015 Downloaded and seeded thousands of times within 24 hours Requests from universities and businesses to re-use the scan http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html

32. Nora Al-Badri and Jan Nikolai Nelles with the 3D printed bust in Cairo http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/

33. “The head of Nefertiti represents all the other millions of stolen and looted artifacts all over the world currently happening, for example, in Syria, Iraq, and in Egypt.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/

34. “Archaeological artifacts as a cultural memory originate for the most part from the Global South; however, a vast number of important objects can be found in Western museums and private collections.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/

35. “…there are ways where we don’t even need any topdown effort from institutions or museums, but where the people can reclaim the museums as their public space through alternative virtual realities, fiction, or captivating the objects like we did.” http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/

36. “Our primary mission is to ‘tell the truth’. We put as much quality in our work as possible. That is why we share the best quality we have. If people google ‘The Milkmaid’ by Vermeer then we want them to find our good quality image, not all the bad and deformed versions of this beautiful painting.” Lizzy Jongma Former data manager, Rijksmuseum

37. Loss of control

38. Regaining control by sharing

39. “If they want to have a Vermeer on their toilet paper, I’d rather have a very high-quality image of Vermeer on toilet paper than a very bad reproduction.” http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0 Taco Dibbits Director, Rijksmuseum

40. Rijksmuseum’s quality images are preferred online

41. Rijksmuseum is key reference for its own collection

42. “So far 6,499 images from the Rijksmuseum have been uploaded to Wikimedia Commons (...) 2,175 of these images are currently used in various Wikipedia articles. These images have been shown 10,322,754 times to users visiting the articles where the material is used.” The Impact of Open Access on Galleries, Libraries, Museums and Archives, Effie Kapsalis, Smithsonian Emerging Leaders Development Program, April 2016

43. What is the most important step to take towards a change, keeping in mind that all institutions cannot take big steps forward in the near future?

44. Galleries Libraries Archives Museums http://openglam.org/ OpenGLAM mindset

45. Galleries Libraries Archives Museums http://openglam.org/ OpenGLAM mindset Open access to the museums’ digitised assets An open and welcoming attitude towards the users’ approaches and contributions to the work of GLAM institutions sharingiscaring.smk.dk/en

46. 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

47. Copyright is “a little coral reef of private right jutting up from the ocean of Public Domain.” Paul Torremans, Copyright law: a handbook of contemporary research, 2007 Adam Olearius, "Oftt begehrte Beschreibung Der Newen Orienthalischen Reise [...]", Schleswig 1647, KKSgb10873/28, SMK. Public Domain

48. Look into what others have learned

49. Peer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves.

50. Peer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves. Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website

51. Peer experiences What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves. Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website. We have lost almost all control, and it has been vital to our success. Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013 Democratising the Rijksmuseum. Why did the Rijksmuseum make available their highest quality material without restrictions, and what are the results? Joris Pekel, Europeana Foundation, July 2014

52. There’s a dark side too.

53. Liberal photo policy – also show museumofselfies and instawalks

54. We have a liberal photo policy, so this is just fine

55. But this is not ok!

56. But this is not ok! But this is not.

57. But this is not ok! But this is not. You cannot watermark a CC0 image of a public domain artwork

58. Do you think there is a danger in focusing too much on digital activities / neglecting the museum IRL?

59. Digital and physical are not mutually exclusive. Stronger together.

60. CCBY 3.0 Frida Gregersen Cool Constructions

61. CCBY 3.0 Frida Gregersen Collaboration between the Copenhagen Metro Company, local citizens, and SMK art pilots

62. CCBY 3.0 Frida Gregersen Collections gain new value outside the museum in the hands of the public

63. Makeover of injection room Skyen / ‘The Cloud’ CCBY 4.0 ULK

64. A space for drug users, central Copenhagen Open 23 hours a day 700 drug intakes a day CCBY 4.0 ULK

65. CCBY 4.0 ULK Re-creating places / spaces that the drug users dream of

66. CCBY 4.0 ULK

67. CCBY 4.0 ULK The art pilots facilitate improved social conditions for the users

68. Remix exhibition May 2015 13 artists and designers were invited to mix up SMK’s collections

69. The artists got to hack the museum for a weekend CC BY-SA 4.0 Merete Sanderhoff

70. CC BY-SA 4.0 Ida Tietgen Høyrup Their remixes ranged from lasercut installations… Neea Laakso, Free?

71. CC BY-SA 4.0 Ida Tietgen Høyrup …over tapestries, fashion clothes, collages… Signe Emdal, Astrids Rose

72. Harald Slott-Møller, Danish landscape, 1891 Product of Public Domain

73. CC BY-SA 4.0 Ida Tietgen Høyrup Jamie Seaboch, Collage

74. Filip Vest, 22 Skies CC BY-SA 4.0 Ida Tietgen Høyrup …to a projection of 22 golden age skies

75. CC BY-SA 4.0 Ida Tietgen Høyrup …and a pop-up version of Hammershøi with motorized moving light

76. CC BY-SA 4.0 Ida Tietgen Høyrup Kati Hyyppä, As light goes by

77. CC BY-SA 4.0 Ida Tietgen Høyrup Drew audienes into the galleries - offered fresh perspectives

78. CC BY-SA 4.0 Ida Tietgen Høyrup

79. “Prioritize Web and New Media programs in proportion to their impact on the mission.” Michael Edson, Smithsonian Web and New Media Strategy, Version 1.0, 2009 http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf Michael Edson /VanGoYourself

80. SMK images got 20 million page views on Wikipedia in 2015

81. What’s the societal good of open cultural heritage? How do we measure the impact of open collections?

82. http://pro.europeana.eu/blogpost/a-fresh-perspective-on-exploring-impact

83. ”I wish we would measure cultural heritage on learning and happiness.” https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/ Charlotte S H Jensen State Archives/National Museum

84. “Now that museums are beginning to have the tools and expertise at their disposal to monitor, track, record, and analyze all the various ways that the public benefits from their work, the real task begins to redesign the process and program of museums and to embed impact-driven data collection into every aspect of our efforts.” Rob Stein Chief Program Officer, AAM https://medium.com/code-words-technology-and-theory-in-the-museum/museums-so-what- 7b4594e72283#.rgnlbz2tj

85. SMK Open 2016-2020 http://www.smk.dk/en/about-smk/press/press-releases/artikel/translate-to-english-117-mio-kr-til-demokratisering-af-hele-danmarks-kunstsamling/

86. Digitisation and societal impact? Aarhus, 20-21 November 2017 sharecare.nu / #sharecare17

87. Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest How would your mission change with open access? What kind of impact could your work have? What are your biggest concerns about opening up your collections?