This document discusses Open Cultuur Data, a network in the Netherlands that aims to open cultural data and encourage the development of cultural applications. It provides metrics on Open Images, an open media platform containing audiovisual archive material. It also discusses the growth of the Open Cultuur Data network through events like hackathons and competitions. The network now includes many cultural institutions and has resulted in the creation of apps that make culture more accessible.

1. OPEN CULTURE DATA:
Metrics & Community Building
OKCon 2013:
OpenGLAM Workshop
Maarten Brinkerink
Geneva, September 16, 2013
t: @OpenCultuurData | #opencultuurdata

2. WHAT
Open Cultuur Data (Open Culture Data) is a
network of cultural professionals, developers,
designers, copyright specialists and open
data experts, that opens cultural data and
encourages the development of valuable
cultural applications. This makes culture
accessible in new ways to a broader public.

3. METRICS

5. Open Images is an open media platform
that offers online access to audiovisual
archive material to stimulate creative
reuse.
Built by Sound and Vision & Knowledgeland but
designed for participation by others.

9. • Open source (MMBase, FFmpeg, LAMP)
• Open media formats (Ogg Theora, WebM)
• Open standards (Dublin Core, CC-REL, HTML 5)
• Open API (OAI-PMH, CC-0)
• Open content (CC-licenses, PD Mark)
OPEN, OPEN, OPEN!

10. • Creative Commons BY - SA as preferable
license
• 3000 items (now over 2200)
• Available in ‘internet quality’(recently
upgraded)
OPEN CONTENT

14. NUMBERS IN PERSPECTIVE
•Length of entire S&V archive: 800,000h∼
•Length of ‘our’ newsreel collection: 500h∼
•Length of material in Open Images: 110h∼

15. NUMBERS IN PERSPECTIVE
•Length of entire S&V archive: 800,000h∼
•Length of ‘our’ newsreel collection: 500h∼
•Length of material in Open Images: 110h∼
i.e.:
⇒ 22% of ‘our’ newsreel collection available through
Open Images

16. NUMBERS IN PERSPECTIVE
•Length of entire S&V archive: 800,000h∼
•Length of ‘our’ newsreel collection: 500h∼
•Length of material in Open Images: 110h∼
i.e.:
⇒ 22% of ‘our’ newsreel collection available through
Open Images,
⇒ which is 0.014% of our entire archive.

17. 0.014%
0.014%

18. •Available content items
•~1,600 (2011)
•>1,800 (2012)
•Visits
•>66,000 (2011)
•>105,000 (2012)
•Unique visitors
•~89,000 (2012)
•>53,000 (2011)
19-09-13
IMPACT THROUGH OPENIMAGES.EU

19. •Pageviews
•~280,000 (2012)
•~207,000 (2011)
•Plays
•~11,000 (2011)
•>16,000 (2012)
•Downloads
•~2,400 (tracked since July 2012)
•API calls
•~170,000 (2012)
19-09-13
IMPACT THROUGH OPENIMAGES.EU

23. •Available content items
•~1,600 (2011)
•~1,600 (2012)
•Number of Wikipedia articles reusing the content
items
•~1,000, in 59 languages (2011)
•~1,600, in 65 languages (2012)
•Pageviews of those articles
•~19,000,000 (2011)
•~40,000,000 (2012)
19-09-13
IMPACT TRHOUGH WIKIMEDIA

27. SOME (MAJOR) CHALLENGES
– What are proper metrics to analyse the
impact of external reuse?
– How to value different ‘types of
interaction’ with the open content?
– How does the impact of external reuse
relate to the impact of institutionally
owned channels?

28. • Public mission
• Data enrichment
• Increasing relevance
• Increasing channels to end users
• Brand value
• Specific funding oppurtunities
• Discoverability
• New customers/ users
• Building expertise
• Desired spill-over effects/ creating new business
Source: Verwayen, Arnoldus & Kaufman 2011. The Problem of the Yellow
Milkmaid. Europeana White Paper no. 2.
BENEFITS OF OPEN CULTURE DATA

29. BENEFITS OF OPEN CULTURE DATA

30. ETHAN ZUCKERMAN ON CIVIC ENGAGEMENT (THANKS MICHAEL!)

31. GLAMETRICS
• Online survey
• 34 questions
• Estimated time consumption 25 mins,
excluding desk research

32. GLAMETRICS SURVEY
• General information
• Goals of opening up
• Limitations to the ability to open up
• Resources spent on opening up

33. GLAMETRICS SURVEY
• Size of the collection (based on
ENUMERATE)
– Total collection
– Digitised collection
– Openly available collection

34. GLAMETRICS
• Type of open culture data
– Metadata and/or content
– License model
– Quality
– Standards

35. GLAMETRICS
• Analytics (for Primary distribution channel)
– Visits
– Pageviews
– Views/exposures
– Downloads
– API calls

36. GLAMETRICS
• External reuse
– Platforms
• Europeana
• Wikimedia
– GLAM-Wiki Toolset requirements for usage and re-usage
statistics for GLAM content
– Magnus his tools (BaGLAMa, etc.)
– Applications

37. GLAMETRICS
• Economic impact
– Commercial applications by third parties
– Impact on institutional revenue

38. GLAMETRICS
• How can you help?
– Feedback on the presented types of data we
want to measure?
– Suggestions for determining the ‘added value’ of
different types of reuse of and engagement with
open culture data?
– Sign up to share your data about the impact of
open culture data within your institutions!!!

39. COMMUNITY BUILDING

40. WHY
Cultural institutions (or GLAMs) have a wealth of information
locked up in their vaults. They preserve and store unique
collections, they have an enourmous amount of knowledge
about these collections (context, metadata), produce
information and collect reactions from visitors.
More and more cultural institutions make this information
digitally accessible. This creates many new opportunities –
for the institutions themselves but also for third parties – to
use this information to create new applications and websites,
allowing us to participate in arts and culture in new ways.
However, this data is often very difficult to access for others.

41. STIMULATING COLLABORATION AND CREATIVITY
“No matter who you are,
most of the smartest people work for someone else.” Joy’s Law
PUBLIC MISSION
“For [GLAM] content to be truly accessible, it needs to be where the users
are, embedded in their daily networked lives.” Waibel and Erway, 2009

42. NEELIE KROES | VICE-president for the EC digital agenda & Open Data
“I urge cultural institutions to open up control
of their data [...] there is a wonderful
opportunity to show how cultural material can
contribute to innovation, how it can become a
driver of new developments. Museums,
archives and libraries should not miss
it.”

43. HOW
Open Cultuur Data supports the cultural heritage
sector in the release of culture data in the following
way:
•encourage making more open culture data available
•collecting culture data sets in a national catalogue
•collecting and sharing knowledge and experience with open
culture data
•encouraging the making of new applications based on open
culture data

44. 1. Open Culture Data is knowledge and
information of cultural institutions,
organisations or initiatives about their
collections and/or works
defining open culture data

45. 2. Everyone can consult, use, spread
and reuse Open Culture Data
(through an open license or by
making material available in the
Public Domain)
defining open culture data

46. 3. Open Culture Data is available in a
digital (standard) format that makes
reuse possible
defining open culture data

47. 4. The structure and possible
applications of Open Culture Data
are documented in a ‘data blog’
defining open culture data

48. 5. The provider of the Open Culture
Data is prepared to answer
questions about the data from
interested parties and respects the
efforts that it costs that the open data
community invests in developing new
applications
defining open culture data

49. • CC0 for metadata
• PDM, CC-BY of CC-BY-SA for
content
• Open standards
• Open documentation &
communication
specific conditions

51. • Ad-hoc start: September 2011
• Contacting heritage professionals to
release datasets
• Writing ‘datablogs’
• 1 hackathon, 8 datasets in November
2011
• Starting point: 5 rules for Open Cultuur
Data
2011: EMERGENCE OF A NETWORK

52. HACKATHON | HACK DE OVERHEID | WORKSHOP
Photo: Breyten Ernsting. CC BY (http://creativecommons.org/licenses/by/3.0/nl/)

53. HACKATHON | HACK DE OVERHEID | APPS4NL
Photo: Breyten Ernsting. CC BY (http://creativecommons.org/licenses/by/3.0/nl/)

54. • 13 apps created, 8 app submitted (46 total)
• Gold: Vistory
• Education: Rijksmonumenten.info
• Encouragement: ConnectedCollection
• Categories of submitted apps: Navigating
collections, Games, Data enrichment, Social
media and Tablets
RESULTS APPS4NL

55. APPS: HAY KRANEN, HET VIRTUELE RIJKSMUSEUM

56. Developer: Ronald Klip, Contente Content.
APPS

57. Developers: Hans van den Berg en Arjan den Boer | ab-c
media
APPS

58. Developers: Jonathan Carter, Paul Manwaring, Jeroen van der Linde,
Martin Elshout, Deniz Tezcan (gezamenlijk: Glimworm IT)
APPS: GOUD VOOR VISTORY

59. • 2012: support from Images for the Future and
Creative Commons Netherlands
• April 2012: master classes
• Juni 2012: start competition / hackathon 1
• Oktober 2012, Rotterdam: hackathon 2
• January 2013: Open Culture Data Awards
2012: MASTER CLASS, GROWTH OF THE NETWORK, COMPETITION

60. ARCHIVES
Archief Eemland
Gemeentearchief Rotterdam
Groene Hart Archieven
Nationaal Archief
Regionaal Archief Leiden
LIBRARIES
Wageningen UR bibliotheek
SECTOR INSTITUTES
Kunstfactor
FASE 2: MASTER CLASS OPEN DATA | CREATIVE COMMONS
MUSEUMS
Buurtmuseum Leiden Noord
Centraal Museum
Fries Museum / Keramiekmuseum
Princessehof
Joods Historisch Museum
Maritiem Digitaal/Visserijmuseum Zoutkamp
Teylers Museum
KNOWLEDGE INSTITUTES
Nationaal Comité 4 en 5 mei
NCB Naturalis
NIOD
Theater Instituut Nederland

61. 17 GLAMs participated
Topics:
#1: Introduction to copyright
#2: Technology and en tools
#3: Reuse and apps
#4: Benefits and risks
#5: Hackathon / evaluation

62. DATASETS (>35 and counting…)
More information & documentation:
www.opencultuurdata.nl/datasets

63. THEMES
• Theme WOII (NIOD, Archief Nijmegen, Leiden, 4/5 mei)
• Theme fashion (Amsterdam Museum, Fries Museum, Centraal Museum)
• Theme maps (Groene Hart, Eemland, Nationaal Archief)
• Theme hist. video/ audio (Open Beelden, Geluid van NL)
• Theme press photography (Anefo collectie Nationaal Archief)
• Theme 19th century art (Rijksmuseum, Amsterdam Mus.)

64. COMPETITION
Powered by

65. THE CHALLENGE
Which apps can bring the best out of culture?
•Apps that expand audience reach and
engagement (online, offline, onsite) of arts
and culture;
•Apps that can reach audiences/ communities
in new and innovative ways;
•Apps that connect different datasets.

66. • 27 apps submitted
• Gold: Muse App
• Silver: Histagram
• Bonze: SimMuseum
• Nationaal Archief-award: Tijdbalk.nl
• Categories of submitted apps: Games,
Content galleries, Creative reuse, Maps and
timelines, History and Tourism
RESULTS …

68. GOUD: MUSE APP: FEMKE VAN DER STER, PETER HENKES, JELLE VAN
DER STER

69. ZILVER: HISTAGRAM: FRONTWISE (RICHARD JONG)

70. BRONS: SIMMUSEUM: HAY KRANEN

71. NATIONAAL ARCHIEF-PRIJS: TIJDBALK.NL: ARJAN DEN BOER

72. • Have access to expertise on the dimensions of
collection
• Buy-in from the senior management is essential =>
focus on value add
• Necessity to invest in engagement with third parties
• Face to face meetups are extremely valuable
(masterclasses f.i.)
• Start with something sweet and small
• On hackatons:
• It doesn’t just happen – lots and lots of effort
• Search for sustainability
• Not all data is equally popular
Lessons Learned

73. • GLAMetrics
• Improve API search
• Executive track
• Focussed challenges (education etc.)
• OpenCultuurData.be
FUTURE WORK

74. START YOUR OWN OPEN CULTURE NETWORK NOW!!!

75. SOME RESOURCES
• http://www.opencultuurdata.nl/about
• https://p2pu.org/en/groups/open-glam/
• http://www.openglam.org
• http://avoinglam.fi
• http://mw2013.museumsandtheweb.com/paper

76. • Lotte Belice Baltussen
• Johan Oomen
• Nikki Timmermans
• Maarten Zeinstra
Shout-out

77. www.opencultuurdata.nl
mbrinkerink@beeldengeluid.nl
@mbrinkerink
@OpenCultuurData
#opencultuurdata
THANKS! QUESTIONS?