Stuck at home? View cultural heritage collections online – Open Objects

“With people self-isolating to slow the spread of the COVID-19 pandemic, parents and educators (as well as people looking for an art or history fix) may be looking to replace in-person trips to galleries, libraries, archives and museums* with online access to images of artefacts and information about them. GLAMs have spent decades getting some of the collections digitised and online so that you can view items and information from home….”

Stuck at home? View cultural heritage collections online – Open Objects

“With people self-isolating to slow the spread of the COVID-19 pandemic, parents and educators (as well as people looking for an art or history fix) may be looking to replace in-person trips to galleries, libraries, archives and museums* with online access to images of artefacts and information about them. GLAMs have spent decades getting some of the collections digitised and online so that you can view items and information from home….”

PHAROS: A digital research space for photo archives | Art Libraries Journal | Cambridge Core

Abstract:  The PHAROS consortium of fourteen international art historical photo archives is digitizing the over 20 million images (with accompanying documentation) in its combined collections and has begun to construct a common access platform using Linked Open Data and the ResearchSpace software. In addition to resulting in a rich and substantial database of images for art-historical research, the PHAROS initiative supports the development of shared standards for mapping and sharing photo archive metadata, as well as for best practices for working with large digital image collections and conducting computational image analysis. Moreover, alongside their digitization efforts, PHAROS member institutions are considering the kinds of art-historical questions the resulting database of images could be used to research. This article indicates some of the prospective research directions stimulated by modern technologies, with the aim of exploring the epistemological potential of photographic archives and challenging the boundaries between the analogue and the digital.

 

Project breathing new life into forgotten medieval chants – Medievalists.net

“The Amra project, led by music historian Dr Ann Buckley at Trinity’s Medieval History Research Centre, is aiming to digitise and make freely available online over 300 manuscripts containing liturgical material associated with some 40 Irish saints which are located in research libraries across Europe….”

Traditional Knowledge (TK) Labels – Local Contexts

“The TK Labels are a tool for Indigenous communities to add existing local protocols for access and use to recorded cultural heritage that is digitally circulating outside community contexts. The TK Labels offer an educative and informational strategy to help non-community users of this cultural heritage understand its importance and significance to the communities from where it derives and continues to have meaning. TK Labeling is designed to identify and clarify which material has community-specific restrictions regarding access and use. This is especially with respect to sacred and/or ceremonial material, material that has gender restrictions, seasonal conditions of use and/or materials specifically designed for outreach purposes. The TK Labels also can be used to add information that might be considered ‘missing’, including the name of the community who remains the creator or cultural custodian of the material, and how to contact the relevant family, clan or community to arrange appropriate permissions….”

Digitisation is putting the world’s greatest works within reach

“One of the greatest changes in the art world in recent years won’t be seen in galleries because it is happening online. Digitisation programs have accelerated in the past five years and most state art institutions now have more than half of their collections online, changing the way we approach art and rapidly turning the world into a virtual gallery.

BBy the end of this year, Art UK, a cultural resource founded in 2003, will have completed a photographic catalogue of every piece of publicly owned painting and sculpture in Britain.

At home, meanwhile, the National Gallery of Victoria (NGV) now has 92 per cent of its collection online (up from just 11 per cent in 2014). The National Gallery of Australia has digitised 60 per cent and the National Museum of Australia 68 per cent of their collections.

These numbers are still dwarfed by the big international aggregation sites that helped foster the global digitisation of visual culture – Wikimedia Commons, Europeana and to a lesser extent Google Arts & Culture. But governments and state institutions are now finishing the task of hanging the world’s art online….”

Digitisation is putting the world’s greatest works within reach

“One of the greatest changes in the art world in recent years won’t be seen in galleries because it is happening online. Digitisation programs have accelerated in the past five years and most state art institutions now have more than half of their collections online, changing the way we approach art and rapidly turning the world into a virtual gallery.

BBy the end of this year, Art UK, a cultural resource founded in 2003, will have completed a photographic catalogue of every piece of publicly owned painting and sculpture in Britain.

At home, meanwhile, the National Gallery of Victoria (NGV) now has 92 per cent of its collection online (up from just 11 per cent in 2014). The National Gallery of Australia has digitised 60 per cent and the National Museum of Australia 68 per cent of their collections.

These numbers are still dwarfed by the big international aggregation sites that helped foster the global digitisation of visual culture – Wikimedia Commons, Europeana and to a lesser extent Google Arts & Culture. But governments and state institutions are now finishing the task of hanging the world’s art online….”

The First Anniversary of CMA Open Access: Benefiting People Now and Forever

“It’s hard to believe a year has passed since the Cleveland Museum of Art (CMA) launched its Open Access program. On January 23, 2019, the CMA released high-resolution images of all its public-domain artworks, as well as collections information (metadata) for more than 61,000 art objects — both those in the public domain and those with copyright restrictions — with the Creative Commons Zero (CC0) Public Domain Dedication. The museum’s director and president, William M. Griswold, offered remarks on the occasion that emphasized Open Access as an essential way to fulfill the museum’s mission in the 21st century. The CMA’s commitment to Open Access is ongoing. To the more than 31,000 images released at the launch, the museum added 258 artworks on January 1, 2020, and will do so every year going forward as works enter the public domain….”

Keeping digitised works in the public domain: how the copyright directive makes it a reality | Europeana Pro

“The principle that works in the public domain should remain in the public domain once digitised, which Europeana has defended for almost ten years, was recently incorporated into European law. In this post, we interview Andrea Wallace, Lecturer in Law at the University of Exeter, about the importance of this provision for the cultural heritage sector and her research on Article 14….”

Join Us in Washington D.C. to Celebrate Culture and Heritage on Public Domain Day

Creative Commons is pleased to be a part of the second annual Public Domain Day celebration held in Washington D.C. on January 30, 2020! 

In collaboration with the Internet Archive, the Institute for Intellectual Property & Social Justice, the Program on Information Justice and Intellectual Property, and SPARC, this event will “bring together a diverse group of organizations, musicians, artists, activists, and thinkers” to celebrate the works entering the public domain in 2020 as well as highlight the “elements of knowledge and creativity that are too important to a healthy society to lock down with copyright law.”

Public-Domain-Day-2020-v2

The program includes lightning talks on a variety of topics, such as bias in algorithms, shared cultural resources, and technological innovation. There will also be a panel discussion on “how the freedom to build upon creative works can inspire and move culture” and live performances by the Bob Schwartz Quartet! 

Location 

January 30, 2020 | 5:30-9:00pm American University Washington College of Law, Grossman Hall 4300 Nebraska Ave., NW, Washington, D.C. 20016

Program

  • 5:15 – Registration Opens
  • 5:30 – Facets of the Public Domain – Public Interest Organization Showcase and Reception (featuring the Bob Schwartz Quartet)
  • 6:30 – Realizing Access to the Public Domain 
  • 6:50 – Remixing the Public Domain
  • 7:15 – Too Important to be Protected: Limits on Copyright for a Healthy Society – Presentation by former MEP Julia Reda, followed by Lighting Talks
  • 8:30 – Reception: featuring the Bob Schwartz Quartet

Interested in joining us? Register here!

If you’re not able to attend, there will be a webcast available here starting from 6:30 PM EST on January 30, 2020!

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