Towards an open, participatory cultural heritage
Keynote for #teema14
http://www.nba.fi/fi/museoalan_kehittaminen/teemapaivat/puheenvuorot
Museoalan Teemapäivät/Museum Theme Days 2014
11-12 September, Helsinki
Slide 29 Kris Kitchen
FULL NIGHT — 9999894380 Call Girls In Badarpur | Delhi
Towards an open, participatory cultural heritage
1. Towards an
open, participatory
cultural heritage
Museoalan Teemapäivät
Whose Museum?
12 September 2014
Peter Hansen, Playing Children, Enghave Square, 1907-08, KMS2075. Public Domain.
Merete Sanderhoff
Curator of digital museum practice
http://www.slideshare.net/MereteSanderhoff
@MSanderhoff
2. 3 parts
1. The big picture – inspiration and
influences
2. What we’re doing at SMK – some
examples
3. Recommendations – based on
what we’ve learned
3. Where I’m coming from
SMK is the National Gallery of Denmark
Visitors 2013
Physical 355,000
Online 615,000
220 people work there, all included
10,000 paintings and scultures
245,000 prints and drawings
3,000 plaster casts
18. We are not owners,
but stewards
of our collections
19. “Our understanding of research,
education, artistic creativity, and the
progress of knowledge is built upon the
axiom that no idea 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
20. “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
21. “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
that simply wasn’t possible before.”
William Noel, former curator, Walter’s Art Museum, 2012
22. “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, data manager, Rijksmuseum, 2012
23. “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.”
Taco Dibbits, Director of Collections, Rijksmuseum, 2013
http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0
25. "Everyone (…) wants to recoup costs
but almost none claimed to actually
achieve or expected to achieve this.
Even those services that claimed to
recoup full costs generally did not
account fully for salary costs or
overhead expenses."
Simon Tanner, Reproduction charging models & rights policy for digital
images in American art museums, 2004
http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf
Myth buster
39. How is SMK changing
to a read/write museum?
http://www.participatorymuseum.org/
40. Bottom up approch
Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
41. Bottom up approch
Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.
*
*Advice from Shelley Bernstein, Brooklyn Museum
42. What can
you do
today?
Michael Edson, Director of Web and New Media Strategy, Smithsonian Institution
SMK digital advisory board meeting, November 2011
80. Learnings
Access and inclusion = ownership
”Touching” the art makes it yours
Non-users are potential happy users
Collections can be useful in new contexts
– also outside the museum
81. Now we’re ready to go
Public Domain
http://creativecommons.org/publicdomain/zero/1.0/
Creative Commons Public Domain dedication
86. Peter Hansen, Playing Children, Enghave Square, 1907-08, KMS2075. Public Domain.
Public Domain potentials
Public school programmes
Teachers, researchers, scholars, students
Wikipedians
Culture snackers
Publishers
Creative industries
Niche groups and communities
Open innovation
91. Think big, start small, move fast*
Share ownership of your collections
Be a catalyst for users’ knowledge and creativity
Different users need different things
Technology is not a goal, but a precondition
Digital is a state of mind
Be human, be yourself
Work together, learn, grow – and share
*Michael Edson
92. CCBY-SA 2.0 ODM on Flickr
International seminar in Copenhagen
since 2011
Participants from the culture sectors,
ministry and agency, Wikipedia, startups
www.sharecare.nu
93. Sharing what we learned
back to the community
Image by @mpedson
96. I dream of…
all Danish school kids
becoming Art Pilots*
more Danish art collections
embracing the Public Domain
measuring the impact that openness has
on people’s lives, opportunities, and wellbeing**
open museums that support
people’s own Bildung and Building
*Peter Leth, Lær IT
**Simon Tanner, King’s College
97. ”Our role is still more to facilitate public
use of cultural heritage for learning,
creativity, and innovation. Today,
learning happens in reciprocity.
We are all a part of the web.
We shape each other.”
http://www.altinget.dk/kultur/artikel/dannelse-i-digitaliseringens-
tidsalder?ref=newsletter&refid=15337&utm_source=Nyhedsbrev&utm_medium
=e-mail&utm_campaign=kultur
Mikkel Bogh
Director, SMK
98. Please share.
Merete Sanderhoff
Curator of digital museum practice
http://www.slideshare.net/MereteSanderhoff
@MSanderhoff
MuseoalanTeemapäivät
Whose Museum?
12 September 2014
Peter Hansen, Playing Children, Enghave Square, 1907-08, KMS2075. Public Domain.
