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Photomediations: An Open Book

Joanna Zylinska - May 11, 2015 in eSpace, Featured, News

The Europeana Space project aims to create new opportunities for employment and economic growth within the creative industries sector based on Europe’s rich digital cultural resources. As part of this, pilots within six thematic areas (TV, Photography, Dance, Games, Open and Hybrid Publishing, Museums) explore different scenarios for the re-use of digital cultural content, with a special focus on the re-use of the content accessible via Europeana.

The team from the Open and Hybrid Publishing pilot are pleased to announce the launch of Photomediations: An Open Book. The pilot redesigns a coffee-table book as an online experience to produce a creative resource that explores the dynamic relationship between photography and other media. Photomediations: An Open Book uses open (libre) content, drawn from various online repositories (Europeana, Wikipedia Commons, Flickr Commons) and tagged with the CC-BY licence and other open licences. In this way, the book showcases the possibility of the creative reuse of image-based digital resources.

Through a comprehensive introduction and four specially commissioned chapters on light, movement, hybridity and networks that include over 200 images, Photomediations: An Open Book tells a unique story about the relationship between photography and other media. The book’s four main chapters are followed by three ‘open’ chapters, which will be populated with further content over the next 18 months. The three open chapters are made up of a social space, an online exhibition and an open reader. A version of the reader, featuring academic and curatorial texts on photomediations, will be published in a stand-alone book form later in 2015, in collaboration with Open Humanities Press.

Blog image Photomediations: An Open Book’s online form allows for easy sharing of its content with educators, students, publishers, museums and galleries, as well as any other interested parties. Promoting the socially significant issues of ‘open access’, ‘open scholarship’ and ‘open education’, the project also explores a low-cost hybrid publishing model as an alternative to the increasingly threatened traditional publishing structures.

Photomediations: An Open Book is a collaboration between academics from Goldsmiths, University of London, and Coventry University. Apart from being part of Europeana Space, it is also a sister project to the curated online site Photomediations Machine: http://photomediationsmachine.net

Project team: Professor Joanna Zylinska, Dr Kamila Kuc, Jonathan Shaw, Ross Varney, Dr Michael Wamposzyc. Project advisor: Professor Gary Hall.

UN recommends open licensing for promoting cultural participation

Lieke Ploeger - February 19, 2015 in Featured, News

220px-UN_emblem_blue.svgIn a recent United Nations report ‘Copyright policy and the right to science and culture’, the UN Special Rapporteur in the field of cultural rights, Farida Shaheed, encourages the use of open licenses for the promotion of cultural and scientific participation. The report discusses copyright law and policy in relation to the human right to science and culture and was written following a round of expert meetings and consultations with stakeholders.

In the section on Copyright policy and cultural participation, the Special Rapporteur proposes to expand copyright exceptions and limitations (also on an international scale) and, most importantly for OpenGLAM, stresses the importance of open licensing as an essential copyright tool for expanding cultural participation and building a ‘cultural commons’ in which everyone can access, share and recombine cultural works. From the conclusion:

The human rights perspective focuses attention on important themes that may be lost when copyright is treated primarily in terms of trade: the social function and human dimension of intellectual property, the public interests at stake, the importance of transparency and public participation in policymaking, the need to design copyright rules to genuinely benefit human authors, the importance of broad diffusion and cultural freedom, the importance of not-for-profit cultural production and innovation, and the special consideration for the impact of copyright law upon marginalised or vulnerable groups.

Some relevant passages around open licensing are marked in the image below (with thanks to @mpedson):

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The report was sent to the Human Right Council as input for their session in March 2015: the full version is available here.

Over 25,000 early English books released into the public domain

Lieke Ploeger - January 29, 2015 in Featured, News, Public Domain

Since January 2015 over 25,000 early English texts from 1473-1700 have been released online to members of the public under the CC0 Public Domain Dedication through the Early English Books Online Text Creation Partnership (EEBO-TCP). Since 2000, the university libraries of Michigan and Oxford and ProQuest have been working together in this initiative to create electronic text versions of early printed books from ProQuest’s Early English Books Online, Gale Cengage’s Eighteenth Century Collections Online, and Readex’s Evans Early American Imprints. goe_image-sm-2

While these texts were previously only available to users of academic libraries participating in the partnership, at the end of the first phase of EEBO-TCP the current 25,000 texts have now been released into the public domain. They include highlights such as first printed editions of Shakespeare, Chaucer, and Milton, but also a wide variety of lesser known texts on topics ranging from sword fighting to witchcraft and gardening manuals. Users can not only browse and read through the text of these early English books, but also search through the entire corpus (which consists of two million pages and nearly a billion words). Searching for keywords and themes is possible as well because the text has been encoded with Extensible Markup Language (XML). An additional 40,000 texts will be released into the public domain by 2020.

Connected with this release, The Bodleian Libraries are hosting the Early English Books Hackfest in Oxford on 9 March 2015. The event encourages students, researchers from all disciplines, and members of the public with an interest in the intersection between technology, history and literature to work together to develop a project using the texts and the data they may generate.

More information about the release is available through the Bodleian Libraries website: registration for the hackday is possible through Eventbrite.

DPLA: New Strategic Plan

Lieke Ploeger - January 8, 2015 in Featured, News, Uncategorized

horizontal_logo_blue_withoutWhiteBackgroundThis week the DPLA (Digital Public Library of America) published its Strategic Plan, which details the organisation’s goals for the period 2015-2017. DPLA brings together the riches of America’s libraries, archives, museums, and cultural heritage sites, and making them freely available to students, teachers, researchers, and the general public. Since the start in 2013, nearly 8,5 million items are now available through the DPLA portal.

The Strategic Plan formulates several priorities for the organisation, such as increasing the amount of content hubs throughout the USA, enhancing and improving metadata, streamlining rights statements (bringing the current 26.000 different rights statements down to 15-20 total), improving the technical infrastructure and increasing use of the DPLA portal and platform through increased dissemination efforts. As part of this, DPLA will be organising a yearly public event called DPLAfest: the 2015 edition takes place on 17-18 April in Indianapolis.

The full plan and an introduction to it by director Dan Cohen are available from http://dp.la/info/2015/01/07/whats-ahead-for-dpla-our-new-strategic-plan/

 

 

The Dowse Art Museum goes Wikipedia

Courtney Johnston - December 5, 2014 in Featured, Guest Blog Post, News, Projects

During the next two months, The Dowse Art Museum in New Zealand will be running a new Wikipedia project designed to increase the profile of New Zealand craft artists and history. In this guest blogpost, director Courtney Johnston shares more information on this project and why Wikipedia is so important for museums.

Contemporary research into any topic begins today on the internet. However, when searching for information about New Zealand craft artists – historical and contemporary – online researchers are likely to be met by a gaping hole rather a wealth of information. I’m delighted to announce that The Dowse Art Museum, with financial support from Ngā Taonga a Hine-te-iwa-iwa A Treasury of New Zealand Craft Resources, is addressing this problem with an innovative Wikipedia project. The core aim of the project is to increase the amount of accurate and up to date information about New Zealand craft artists available online.

In the next two months we are employing two Wikipedia researchers who will research and write entries for approximately 100 New Zealand craft and applied art practitioners. Our Wikipedia researchers will also identify and copyright clear and digitise primary resource material (e.g. book chapters, exhibition catalogues and journal articles) to support the entries.

Visitors at the The Dowse Art Museum. Photographer Mark Tantrum, courtesy of The Dowse Art Museum, New Zealand

Visitors at the The Dowse Art Museum. Photographer Mark Tantrum, courtesy of The Dowse Art Museum, New Zealand

Why Wikipedia?

Since launching in 2001, Wikipedia has become the starting point for almost anyone with an internet connection and a research question. Museums have recognised that Wikipedia is now an important discovery place for their collections, their history, and information about artists they represent.

This recognition comes in many forms. For example, a number of institutions from around the world – from the British Museum to the Palace of Versailles to the Derby Museum and Art Gallery – have hosted a ‘Wikipedian in Residence’ in which a researcher familiar with Wikipedia is hosted by the institution to create entries, release material under open licences, and raise interest in the institution amongst Wikipedia contributors and users.

The Brooklyn Museum is regarded as a world-leader among cultural institutions harnessing the power of Wikipedia’s strong community of writers and editors and vast audience of readers and researchers. For example, in 2010 the Museum opted instead of printing a traditional catalogue to accompany the exhibition Seductive Subversion, curated to bring attention to lesser-known female Pop artists, to invest their energy in writing Wikipedia pages for each artist.

Preliminary research by Museum staff showed that these artists were very under-represented on Wikipedia. They argued “To get the research into the hands of the biggest audience possible, updating Wikipedia made the most sense. After all, more people go there for information than any other source, so why not take the information we have and make a contribution where it will count?”

We have identified that there is a paucity of information about New Zealand craft artists – historical and contemporary – online. A quick Wikipedia search reveals no entries for established artists such as Warwick Freeman, John Edgar, Alan Preston, Emma Camden, Donn Salt, Gordon Crook, or Malcolm Harrison. Others such as Ilse von RandowPatricia PerrinDame Rangimarie Hetet and Ida Mary Lough have ‘stub’ entries – a sentence or two drawn from official sources. These are significant figures in our cultural history and while there is information about all scattered around the web, no central collating point.

One option for improving this lack of information would have been for us to write and add these biographies to The Dowse’s website. However, I see four advantages to using Wikipedia:

  • Wikipedia scores well in Google searches, putting the information in front of people who might not even know about The Dowse (I know, it’s nearly unimaginable, but it does happen)
  • Wikipedia articles can be updated by any interested person. This takes the onus off The Dowse to keep these biographies up to date (a task we’re not resourced for)
  • We hope that people seeing this activity might be inspired to start their own editing and adding of information in Wikipedia
  • We hope to use the information that is ‘kept alive’ on Wikipedia in our own future collection digitisation.

Project objectives

We want to get as much value as possible out of the funding Ngā Taonga a Hine-te-iwa-iwa have generously provided. This is what we’re aiming for with this project:

  • The amount of information about New Zealand craft and applied art practitioners available online is dramatically increased
  • The amount of primary resources about New Zealand craft and applied art available online is increased
  • The researchers for the project develop a wide understanding of the history and current state of New Zealand craft and object art, and connections with artists and museum professionals
  • The researchers develop fluency in working with Wikipedia’s editorial protocols and can pass this expertise on to others
  • The project is openly documented and freely shared, to encourage others to run their own programmes
  • The Dowse’s knowledge about artists represented in our collection is increased.

Who is involved?

The Dowse has partnered with Ngā Taonga a Hine-te-iwa-iwa on this project. Apart from Dowse staff members being involved in the project, we’re reaching out into the New Zealand Wikipedia and international GLAMs (galleries, libraries, archives and museums) Wikipedia community to provide mentors for our two dedicated Wikipedia researchers. This has also started with them attending a NDF workshop on Wikipedia last week.

An advisory group has been formed to review the list of artists to be profiled and help build understanding of the project and connections with artists and research resources. The advisory group includes representatives from Ngā Taonga a Hine-te-iwa-iwa, Toi Māori, Auckland Museum, Te Papa, and Objectspace.

Digital New Zealand (a collaborative project run by the National Library of New Zealand to support the availability and use of New Zealand digital content, with a special emphasis on culture and heritage) will help us to make digitised material available through their Shared Research Repository.

An open project

We are treating this as an open project, and we plan to blog about the process and share information such as the budget for various aspects of the work transparently. This is being done in hopes that other institutions and sectors could pick up our project as a model and either finance the creation of another group of entries, or use it to profile another group of makers (such as design, photography, music or architecture).

Next steps

This is very much a project under development. We are currently collating basic biographical information and references for about 70 artists, from a long list of nearly 300 names. The first thing we need to nut out is Wikipedia’s standard around “notability” and making sure the entries we put up meet it. This means a lot of research online and through our (luckily quite extensive) collection of craft books, catalogues and serials.

We know we will learn a great deal, and hope to pass it on to all those interested in running or contributing to similar projects. Let us know if you have any questions – you can find more information on the project and post your comments through this extended blogpost on The Dowse Art Museum website.

State of the Commons: OpenGLAM highlights & what the future holds

Sarah Stierch - November 21, 2014 in Featured, News

In this blog (cross-posted from her blog The Culture Feed) Sarah Stierch discusses some of the OpenGLAM highlights in the recently published Creative Commons report ‘State of the Commons’, as well as some suggested future steps.

“Creative Commons’ goal has always been “realizing the full potential of the internet,” with greater access for everyone to culture, knowledge, information, and education.”
(Image: CC BY 4.0)

(Image: CC BY 4.0)

I was very happy to wake up this morning to discover that Creative Commons (CC) had published the State of the Commons report. While reading through the report and exploring the colorful infograph, I found myself getting very emotional about the shift in culture that has taken place since the inception of CC, and their open option to copyright, 12 years ago.

Freemedia fighters

The past five years has seen an uptick of cultural heritage institutions opening up their digitized works, with the inception of the GLAM-Wiki movement and OpenGLAM initiative. Freemedia fighters from within institutions and from the outside have made it our mission to enable the public access and to artwork, objects, film and writing. A small crop of contemporary artists have begun to explore it as well (most recently, Danish artist Filip Vest and the Hack the Bells contest). I can’t even imagine copyrighting my own work anymore, as a writer, public speaker or as a photographer, and perhaps that is my ego believing freedom is a more satisfying legacy (versus restrictive ownership).

OpenGLAM Highlights

There are a few highlights that I think can be attributed to the work we are doing in the OpenGLAM community:

  • In 2006, 50 million works were CC licensed/CC0. Today, over 882 million works are CC licensed/CC0. That number will continue to increase as we continue our efforts to open up more cultural heritage material and provide improved resources to the public about how the Commons works and why free licensing is so important.
  • The trend is moving towards free culture licenses. About 56% of those works are free culture licenses, meaning it will end up on Wikimedia Commons to be used in Wikipedia articles and can be adapted and used for commercial use. More restrictive licenses (non-commercial, no-derivatives, etc.) fail the mission of open culture and, in my opinion, are the last vestiges of copyleft imperialism.
  • The USA and Europe lead the way in open licensing, which is no surprise given that open licensing advocacy groups involved in OpenGLAM are primarily headquartered in both the USA and Europe (i.e. Creative Commons, Wikimedia, Open Knowledge Foundation, Europeana). We need to provide more multi-language resources and support to empower our brothers and sisters fighting restriction around the world.
I have used this awesome cheshire cat toy image in many presentations about OpenGLAM. It's a gem and was freed to the Commons in 2011. A Cheshire cat toy from the Children's Museum of Indianapolis, CC BY SA 3.0

I have used this awesome cheshire cat toy image in many presentations about OpenGLAM. It’s a gem and was freed to the Commons in 2011. (Children’s Museum of Indianapolis, CC BY SA 3.0)

What the future holds and needs

We have lofty dreams, or at least, I do. A dream where all public domain material that is locked up under image rights fees and faux-copyright claims are truly free; where all cultural institutions release their metadata CC0, and where artists are not scared of being starving artists or losing control of their creativity by releasing their works under free culture licensing. But enough about my dreams, here are a few ideas on where I think “we” need to move next:

  • Multi-lingual outreach, without over stepping it: we don’t want to be seen as imperialists moving into a country to demand they give it all up to the Commons and we’ll show them how to do it because their people aren’t capable of doing it on their own (especially given the Anglocentric nature of where the most Commons impact has been made, thus far). We need to create more multi-lingual multi-cultural resources, tools, and events that empower people – workshops not just lectures – throughout the world.
  • More FREE workshops and conference activities: these are key component to getting people engaged and empowered. The OpenGLAM US Workshop was a hit with participants, and led to further understanding and internal buy-in within many of the institutions represented. We need to keep these programs free, we need to keep them accessible, and at times, localized. We also need more booths/tables at conferences – lectures and panels are just the beginning. Keeping things free provides accessibility and doesn’t just empower the “GLAMs with lots of money”.
  • We need more investment – financially from institutions and organizations. While the idea of volunteers being the people power behind openness is romantic, the movement won’t be able to survive. We need more financial investment (and in-kind) from foundations, organizations, and individuals. Money funds the hiring of people (I like that idea!) and paid internships, events, attendance scholarships, evaluation, technology, etc.
  • More case studies: as the old proverb goes, “the proof is in the pudding“. Without more case studies, blogs and data about what has been released to the Commons we won’t be convincing more people to contribute. Here in the US, case studies are a critical component to getting institutional buy-in – from boards, curators, librarians, executive directors, etc. It’s lovely that your organization has openly licensed tons of pictures of paintings, but what impact has that made and what has been learned from it? Evaluation – with successes and failures – is an important tool to making more people jump into the Commons boat.
  • I use this image as my computer wallpaper. It was released into Flickr Commons under a "no known copyright restriction" license by Archives of the Finnish Broadcasting Company Yle. This makes it a part of the broader Commons, but, it was not included in the CC report.

    I use this image as my computer wallpaper. It was released into Flickr Commons under a “no known copyright restriction” license by Archives of the Finnish Broadcasting Company Yle. This makes it a part of the broader Commons, but, it was not included in the CC report.

    See where “no known copyright restriction” fits into this report. You can read more about this “faux license” here. It’s used to release media where the institutional holding it has done it’s fair share of research (or so they claim) to figure out the copyright status of the image and no one can figure it out, so it enters free licensing purgatory. I’d love to see more research around this – how to crowdsource licensing status and how this “license” fits into the State of the Commons.

The State of the Commons will continue to improve and grow as more people are empowered, engaged and inspired. Let’s get to work.

What other successes, challenges and next steps do you foresee for the OpenGLAM Commons? Share your thoughts below.

Harvard Library lifts copyright restrictions on public domain works

Lieke Ploeger - October 23, 2014 in Featured, News

oaweek2014-600x60As part of the international Open Access Week (20-26 October), Harvard Library shared great news on their new policy on the use of digital reproductions of public domain works. From now on, the library will make such reproductions openly available online and treat them as objects in the public domain. This means that users will be able to reuse this content in any way they want, without any restrictions: Harvard Library does not charge for permission to use those reproductions, and it does not grant or deny permission to publish or otherwise distribute such images.

Harvard Library expects that this new policy will stimulate the use and reuse of digitized content for research, teaching, learning, and creative activities, which supports their mission of advancing scholarship and teaching by committing to the creation, application, preservation, and dissemination of knowledge. Sarah E. Thomas, Vice President for the Harvard Library and the Roy E. Larsen Librarian of Harvard College, states:

“We have already been using the digitization of Harvard’s collections as a means of enhancing access for Harvard’s students and faculty. Now we are seeking to share Harvard’s unparalleled collections with the rest of the world in ways that will foster new creativity.”

This is great news for OpenGLAM and we hope this can be an inspiring example for other institutions. The full policy can be read here: Harvard Library will announce other news related through Open Access Week on this page.

Open Knowledge Foundation joins Europeana Space

Marieke Guy - October 14, 2014 in eSpace, Featured, News, Projects

This blog (cross-posted from the eSpace blog) introduces the work that Open Knowledge will perform within the Europeana Space project. Open Knowledge will be cooperating on WP3 – The Content Space and provide support and tools about the possibility of re-use of public domain and open content.

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The aim of the Europeana Space project is to create new opportunities for employment and economic growth within the creative industries sector based on Europe’s rich digital cultural resources. It will provide an open environment for the development of applications and services based on digital cultural content. The use of this environment will be fostered by a vigorous, wide-ranging and sustainable programme of promotion, dissemination and replication of the Best Practices developed within the project.

Open Knowledge will be providing a ‘Knowledge Base’ on ‘Open Content Exchange’ known as the ‘OpenContent Exchange Platform’ for the Content Space. This platform will comprise of collated public domain and open content materials related to the value of digital public domain and best practices around open licensing. One particular area of focus will be the monetising of Europeana open content by creative industries and the challenges this poses related to IPR.

The OpenContent Exchange Platform will help answer, in an accessible, user-friendly way, the question “What would those working in creative industries want to know or to happen to enable them to reuse Europeana content?”. Questions from those working in creative industries may include:

  • What is the license of the content? What does the license mean? What can I do with the content? Can I make money from this content?
  • Do licence rules for what I can do differ by country? Do licence rules vary for the type of content I want to use? Are there differences between the licence for physical work or a digital work?
  • How do label my own content correctly? What is rights labelling?
  • Is IPR content embedded within content? What technical standards are there around embedding IPR content?
  • How can I get legal advice on IPR issues? How can I get content cleared to reuse?

It is anticipated that results from the platform will inform further research and policy making in the cultural heritage sphere, specifically around business models for open cultural content. Any poorly covered areas in the currently available materials will be identified with the intention of ‘filling in the gaps’.

Handing over a book from the Institut für Realienkunde. This image is Public Domain marked and available on Europeana portal.

Handing over a book from the Institut für Realienkunde. This image is Public Domain marked and available through the Europeana portal.

The OpenContent Exchange Platform will be an online, publicly accessible platform consisting of:

  • Links to open content to be made available through the exchange platform both from     partners of the Europeana Space project and from the wider cultural heritage community;
  • Blog posts and articles on open content being provided by Europeana Space partners     and the wider cultural heritage sphere presenting this material thematically and in a highly curated way to maximise interest in it;
  • Documentation on open licensing for both suppliers and users of open content so that     both parties fully understand the technical and legal implications of their work and make best use of its open character;
  • Materials on the re-use of openly licensed materials targeted at the creative industry, including manuals on how to source public domain works from other repositories

A first version of the OpenContent Exchange Platform will be ready in early 2015: the full version is planned for February 2016.

The Open Knowledge team that will work on the eSpace project includes:

OLYMPUS DIGITAL CAMERALieke Ploeger, community manager of the OpenGLAM initiative and project co-ordinator of the DM2E project at Open Knowledge. OpenGLAM is focused on promoting free and open access to digital cultural heritage held by Galleries, Libraries, Archives and Museums, while DM2E is building the tools and communities to enable humanities researchers to work with manuscripts in the Linked Open Web. Before joining Open Knowledge, she worked at the National Library of the Netherlands, where she was involved in several large-scale European research projects, such as IMPACT in the area of digitisation and SCAPE in the field of digital preservation.

 

marieke-guy-roundedMarieke Guy, project co-ordinator at Open Knowledge. She is just completing work on the LinkedUp Project through which she supported a series of competitions aiming to get people to reuse open and linked data relevant to education. Many of the LinkedUp Catalogue datasets have come from the GLAM community and many of the tools developed have been museum related. Prior to working for Open Knowledge she spent 13 years at the University of Bath based at UKOLN, where she worked on a variety of Cultural Heritage projects including Cultivate, Exploit and IMPACT – a mass digitisation project which aimed to improve access to historical text. Marieke is co-ordinator of the Open Education Working Group and writes a blog about Remote Working.

eu_logo-150x120Europeana Space has received funding from the European Union’s ICT Policy Support Programme as part of the Competitiveness and Innovation Framework Programme, under GA n° 621037.

spa_web_europeanaspa_web_dmc

EC reports on digitisation in Europe

Lieke Ploeger - October 14, 2014 in Featured, News

In early October the European Commission published two reports on the current state of digitisation of cultural heritage material in Europe: one report addresses progress in the area of digitisation and online accessibility of cultural material and digital preservation, while the other looks more specifically at the situation around European film heritage in the digital era. Both reports conclude that although more cultural content has been made available online in recent years, there is still a lot of work to be done.

The Report on Digitisation, Online Accessibility and Digital Preservation of Cultural Material reviews and assesses the overall progress Volta_della_stanza_della_segnatura_02,_filosofiaachieved in implementing the EC Recommendation of 27 October 2011 (2011/711/EU), which asked EU Member States to step up their digitisation efforts and increase online accessibility of European cultural heritage. The digitised material should be made more widely available through Europeana, Europe’s digital library, archive and museum.

Most noteworthy for OpenGLAM is the EC stating in the executive summary that for the promotion of new ways of expanding access to and re-use of cultural heritage through the use of digital platforms, it is essential to ensure wide availability of the digitised materials in open platforms, with appropriate quality, resolution and interoperability features.

Although web visibility of cultural content has increased through reduction of watermarking or visual protection measures and wider use of open formats or social media, digitisation still remains a challenge, with only a fraction of Europe’s collections digitised so far (around 12% on average for libraries and less than 3% for films).

An important area of concern is digitised public domain material: often access to this material is obstructed by intrusive watermarking, low resolution or visual protection measures, and its re-use limited by the prohibition of reproduction or use of such materials for other than non-commercial purposes. The Rijksmuseum is highlighted as one of the institutions showing the way forward, by having widely opened up their digitised public domain material in high resolution format for free reuse. Other examples mentioned are:

Europeana managed to reach its overall collection target of 30 million objects set out in the Recommendation ahead of the 2015 deadline, with a current total of over 33 million. However, still underrepresented are copyrighted material and audiovisual material. This is partly because of the complexity and costs involved in clearing rights for the digitisation and partly because of the lacking online accessibility of those materials. Also premium content from mainstream cultural institutions (including masterpieces of leading European museums) is not always present.

The second report, Film Heritage in the EU also mentions the high cost and complexity of copyright clearance as one of the main barriers to film digitisation and online access, together with lack of funding. Although online access to film heritage collections for non-commercial purposes has increased in the last years, it is still very small.

There is some work to be done in the next few years to improve the situation: the OpenGLAM network aims to contribute to a wider adoption of open licensing policies by cultural institutions in the future by showcasing the value of institutions opening up their collections and helping those interested in opening up their material through workshops, documentation and guidance on open cultural data.

More information

The full press release of the European Commission is available here. The publication of both reports coincided with the Athena Plus conference on the reuse of digital cultural content in education, tourism and leisure: more information on this event is available from this webpage.

Getty announces partnership with DPLA

Lieke Ploeger - September 19, 2014 in Featured, News

This week, the Getty Research Institute announced a new partnership with the Digital Public Library of America (DPLA), the database that provides access to digitized cultural heritage materials from American libraries, archives, and museums and makes these available as freely and openly as possible.

As a start of the collaboration, the Getty has added the metadata records (licensed as CC0) for nearly 100,000 art history materials (digital images, documentary photograph collections, archives, and books) dating from the 1400s to today, including some of their most popular items. Making this information available through the DPLA interface will both improve search and retrieval of material and open up more possibilities for reuse of this content. It for example ensures that the data is interoperable with datasets from other initiatives, so that websites like http://www.digibis.com/dpla-europeana/ are able to create an interface through which you can search DPLA and Europeana simultaneously.

All Getty records are available through this DPLA page: more metadata will be uploaded in the future as more of the Getty’s collections are digitized.

mysteries_of_nature_600

Frontispiece in The mysteryes of nature and art: conteined in foure severall tretises… by John Bate. London, 1634. The Getty Research Institute, 2822-075