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1.
IIIF: Access to the World's
Images - Ghent 2015
IIIF in support of Research
@YaleBritishArt
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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2.
About the Center
In the digital realm, the Center’s
goal is to share its open digital
resources in formats that allow for
easy creative and scholarly reuse in
order to contribute to the study of
British Art worldwide.
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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3.
Yale University’s Open Access Policy
General Principle:
The preservation, transmission, and advancement of knowledge in
the digital age are promoted by the creative use and reuse of
digitized content for research, teaching, learning, and creative
activities. The goal of digitization is to enhance access to the
collections in Yale’s museums, archives, and libraries for students,
faculty, and the world.
To this end, Yale will make digital copies of unrestricted public
domain collections available for use without limitations through the
University’s electronic interfaces.
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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4.
Detail
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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5.
Peter Gaspar Scheemakers, 1691–1781, Alexander Pope,
ca.1740, Marble, Yale Center for British Art, Paul Mellon
Collection
Compare Images
Louis François Roubiliac, 1702–1762, Alexander Pope,
1741, Marble, Yale Center for British Art, Gift of Paul
Mellon in memory of the British art historian Basil Taylor
(1922–1975)
Compare Images
John Constable, 1776–1837, Hadleigh Castle, The Mouth of
the Thames--Morning after a Stormy Night, 1829, Oil on
canvas, 48 x 64 ¾ in (121.9 x 164.5 cm), Yale Center for
British Art, Paul Mellon Collection
John Constable, 1776–1837, Sketch
for ‘Hadleigh Castle’ c. 1828 -1829, Oil
paint on canvas, 1226 x 1673 mm,
Tate Gallery
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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6.
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent
2015
Create online galleries
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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7.
Annotate images
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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8.
Annotate images
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent
2015
Emmanuelle Delmas-Glass
@edgartdata IIIF: Access to the
World's Images - Ghent 2015
Collaborate on research projects
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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9.
Goals of IIIF
Yale Center for British Art
To give scholars an unprecedented level of uniform and rich
access to image-based resources hosted around the world.
To define a set of common application programming
interfaces that support interoperability between image
repositories.
To develop, cultivate and
document shared technologies
that provide a world-class user
experience in viewing, comparing,
manipulating and annotating
images.
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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10.
Digital Strategy
Use technology to make collections
as widely accessible as possible
• Open Access policy
• Data exchange standards and protocols
• Open source tools
• Linked Open Data
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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11.
User Access
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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Machine Readable Access – Data exchange standards
• Linked Open Data
semantic endpoint
• CIDOC-CRM
• OAI-PMH
• LIDO XML
Emmanuelle Delmas-Glass @edgartdata IIIF:
Access to the World's Images - Ghent 2015
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13.
Contributing to aggregators
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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14.
A good marriage
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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15.
IIIF – first steps
Yale Center for British Art
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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16.
CDS – JPEG2000Zoom via IIPMooViewer
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent
2015
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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17.
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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18.
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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19.
“Reformation to Restoration”
Research Project
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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20.
Collect and compare a range of visual material
Yale Center for British Art
Emmanuelle Delmas-Glass @edgartdata IIIF:
Access to the World's Images - Ghent 2015
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21.
An example
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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22.
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent
2015
An example, continued.
Emmanuelle Delmas-Glass @edgartdata
IIIF: Access to the World's Images - Ghent 2015
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23.
Annotation and sharing
Emmanuelle Delmas-Glass @edgartdata IIIF:
Access to the World's Images - Ghent 2015
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24.
Emmanuelle Delmas-Glass @edgartdata IIIF:
Access to the World's Images - Ghent 2015
IIIF and Mirador allow us to leverage
our Open Access assets further,
specifically engaging scholars.
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25.
Thank you
emmanuelle.delmas-glass@yale.edu
michael.appleby@yale.edu
edward.town@yale.edu
jessica.david@yale.edu
melissa.fournier@yale.edu
IIIF in support of research at the Yale Center for British Art
Presented by Emmanuelle Delmas-Glass, Collections Data Manager, Yale Center for British Art
as part of IIIF: Access to the World's Images - Ghent 2015 (http://iiif.io/event/2015/ghent.html)
Hi, I’m Emmanuelle Delmas-Glass, from the Yale Center for British Art, and I’m here to speak with you about our current and future use of IIIF.
I’d like to give credit to my colleagues:
Michael Appleby, Associate Director, Academic Software Development, ITS
Melissa Fournier, Imaging Services and IP Manager, Yale Center for British Art
Edward Town, Postdoctoral Research Associate, Yale Center for British Art
Jessica David, Associate Conservator of Paintings, Yale Center for British Art
as this talk draws heavily from their work and presentations on IIIF.
The Yale Center for British Art is the most comprehensive collection of British art outside the United Kingdom, and it is part of our core mission to facilitate the study of British Art worldwide, and that of course extends to the digital realm.
Open Access, or the capacity to disseminate our digital assets as generously as possible, has been a critical foundation that supports our mission.
The Center, along with the other Yale museums, was at the forefront of the development of Yale’s Open Access policy for digital images of works in the public domain.
Since 2011, we have made thousands of high resolution images of our works freely available online. What distinguishes us from others is that we are making them freely available even for commercial purposes.
Today, with Open Access policies in place in more museums worldwide, we ask ourselves – how can we build on this openness?
How can we make our digital assets more useful?
What do our colleagues, users and researchers really want to be able to do with images?
We know they want to see works at the highest level of detail…
…compare images, not only within collections, but between works held by different institutions…
…create their own online galleries for research or exhibition…
…and annotate images in the course of their research.
But most of all they want to collaborate with their peers to advance their research, and they want to do so in a seamless fashion.
The goals of the International Image Interoperability Framework support all of these uses.
With these goals in mind, I’d like to turn to the Center’s digital strategy.
We are committed to using technology to make our collections as widely accessible as possible.
This digital strategy is supported by
Our Open Access policy
Our use of data exchange standards and protocols (to support machine readable and human readable data)
Open source tools
Linked Open Data
Our collections data is available through our online catalog, where users may search collection records and view and download images.
However, the Center also disseminates its digital resources in a programmatic fashion, which is more efficient when dealing with large data aggregators and even Yale’s own Cross-Collections Discovery service.
How do we do contribute to aggregators? We use community developed data standards, such as LIDO, OAI-PMH, CIDOC-CRM and RDF.
To expose our collections dataset to service providers/data harvesters, we rely on the international XML metadata schema called LIDO and we contribute these XML files with metadata and links to images via the OAI-PMH protocol.
The expression of data from our collection management system, TMS, via OAI-PMH is made possible through a piece of open source software, COBOAT, that was designed by CogApp for OCLC and reconfigured by our data systems manager, David Parsell, to work with LIDO.
We also maintain a Linked Open Data semantic endpoint, with the data organized according to the CIDOC-CRM ontology, which is developed by cultural heritage community practitioners.
Familiarity with these data exchange standards and protocols allowed the YCBA to be the museum that contributed the most assets to the Google Art Project for example (LOWER RIGHT). We use the same process to contribute our assets to the Yale wide single search box so that researchers interested in Yale’s special collections can access them from one point.
As you can see by now, the IIIF framework is an extraordinarily good fit for the Center’s digital strategy.
It is an international, shared standard
supports interoperability between image repositories,
leverages open source software and open access resources
and utilizes the principles of linked open data
With this in mind, what use has the Center made of IIIF so far?
The Yale Digital Collections Center, now part of Yale Information Technology Services, established a IIIF compliant image server, and, in 2013, modified an extension to our Digital Asset Management System to allow us to encode and deliver JPEG2000 images.
We subsequently implemented the open source IIPMooViewer for use in our online collection, and enabled hi-res zoom on a group of nearly 17,000 images in May 2013.
Today, we make over 47,000 IIIF compliant images freely available and we are planning on offering a drag and drop functionality from our online collections catalog into Mirador.
We have recently started importing more metadata from our collections catalog into Mirador for the convenience of researchers (same order as our online collections catalog for consistency). We currently make available the tombstone information, inscriptions and bibliography. In the near future we plan on releasing provenance and exhibition information so that researchers can have all the info they need in Mirador. We also plan on bringing in image technical metadata, such as a the date of creation and type of the original image so that researchers can keep track of when the images they work with were taken.
In addition, we have an active research project at the Center where, according to Edward Town, Postdoctoral Research Associate, and Jessica David, Associate Paintings Conservator, we see the potential for IIIF and image viewing software like Mirador to play a decisive role in helping solve key research questions.
This in-depth cataloguing project comes off the back of “Making Art in Tudor Britain,” a project at the National Portrait Gallery in London, and intends to ascertain the attribution of the Center’s collection of Tudor panel paintings.
Unfortunately attempts to attribute works from this period are often frustrated by the fact that artists of this period rarely signed their work, and there is very little documentary evidence about the paintings.
This means that close examination of the objects themselves takes on an even greater significance.
A great deal of what Jessica and Ed do involves the collection, organisation and comparison of visual material: from old and new photographs of paintings, to x-rays, infrared reflectograms, and photomicrographs of paint samples.
Since Ed and Jessica rarely have the opportunity to see the particular portraits being studied side-by-side, the storage, sharing and annotation of the visual documentation is vital to their research process.
Our Portrait of Unknown Woman from 1567, is a typical example.
In order to establish the Center’s portrait among a group of similar works that could be associated to a specific painter or workshop, Jessica and Ed study how other similar portraits are constructed.
It is their conjecture that the Center’s portrait and the two other portraits shown here (NPG and private collection) originate from the same artist’s workshop, but this argument requires extensive illustration.
Ideally, they envision being able to place their visual research and annotations into Mirador’s shared workspace where colleagues could
- review and comment on their work,
- have access to the original image files,
- overlay and compare images at scale,
- and add additional images to the workspace as they become available.
The Center anticipates that working with images and data in Mirador, as it develops, will facilitate the discovery of relationships between paintings, and facilitate their collaboration with other researchers.
Clearly adopting IIIF as an institutional standard helps us fulfill our mission in research, education and general creativity.
Through this very brief overview I hope I gave you a sense of how the YCBA is trying to use community developed standards and tools to stimulate creative and scholarly reuse of its images and data to in turn support scholarship and we are excited to use IIIF and the Mirador viewer and help develop it further.
Please contact my colleagues or me if you have any questions about our work. Thanks for your time.
