“Richard Knipel, the Wikimedian in residence at the Metropolitan Museum of Art, looks back at the efforts made and future plans to further support collaboration between the museum and the Wikimedia movement.”
“Collecting data from international partners, analyzing it, creating a reconstruction of Palmyra in virtual space, and sharing the models and data in the public domain. We are using digital tools to preserve heritage sites.
Hosting live workshops and building a network of artists, technologists, archaeologists, architects, and others to research, construct models, and create artistic works. We create exhibitions and experiences in museums and institutions globally, celebrating the cultural heritage of Syria and the world through the lens of architecture embodying culture and power.
Helping to advance open data policies in museums and institutions through advocacy, education, and consultation.
Together with our international affiliates, #NEWPALMYRA sources archaeological and historical data, shares it with the community, and outputs art exhibitions, salons, and creative works using this data to carry the rich history of Palmyra forward to new generations….”
“In honor of Thoreau’s 200th birthday, on July 12, hundreds of new images of his specimens, along with the data associated with them, will be posted online, part of a larger effort to digitize and open to the public the 5.5 million dried plant specimens in the Herbaria’s collection.
“I think it’s fair to say that the data that live inside these cabinets has been dark for far too long,” Davis said. “My vision for the collections is that we make everything online and accessible to the world.”
That larger effort has meant adopting a new “open-access digitization policy,” available on the Office for Scholarly Communication website, that puts most of the images — excepting those whose copyright is held by other institutions or individuals — in the public domain….
“The Herbaria is the first Harvard museum to adopt an open-access policy for its digitization projects,” said Peter Suber, director of the Office for Scholarly Communication. “Lifting restrictions from the bulk of its digital reproductions will bring this unique botanical collection to a global audience, and advance the Herbaria’s mission of research and education.” …”
“As of today, all images of public-domain works in The Met collection are available under Creative Commons Zero (CC0). So whether you’re an artist or a designer, an educator or a student, a professional or a hobbyist, you now have more than 375,000 images of artworks from our collection to use, share, and remix—without restriction. This policy change to Open Access is an exciting milestone in The Met’s digital evolution, and a strong statement about increasing access to the collection and how to best fulfill the Museum’s mission in a digital age.
The Met has an incredible encyclopedic collection: 1.5 million objects spanning 5,000 years of culture from around the globe. Since our audience is really the three billion internet-connected individuals around the world, we need to think big about how to reach these viewers, and increase our focus on those digital tactics that have the greatest impact. Open Access is one of those tactics.
The images we’re making available under a CC0 license relate to 200,000 public-domain artworks in our collection that the Museum has already digitally catalogued. This represents an incredible body of work by curators, conservators, photographers, librarians, cataloguers, interns, and technologists over the past 147 years of the institution’s history. This is work that is always ongoing: just last year we added 21,000 new images to the online collection, 18,000 of which relate to works in the public domain.”
– The purpose of this paper is to situate the activity of digitisation to increase access to cultural and heritage content alongside the objectives of the Open Access Movement (OAM). It demonstrates that increasingly open licensing of digital cultural heritage content is creating opportunities for researchers in the arts and humanities for both access to and analysis of cultural heritage materials.
– The paper is primarily a literature and scoping review of the current digitisation licensing climate, using and embedding examples from ongoing research projects and recent writings on Open Access (OA) and digitisation to highlight both opportunities and barriers to the creation and use of digital heritage content from galleries, libraries, archives and museums (GLAM).
– The digital information environment in which digitised content is created and delivered has changed phenomenally, allowing the sharing and reuse of digital data and encouraging new advances in research across the sector, although issues of licensing persist. There remain further opportunities for understanding how to: study use and users of openly available cultural and heritage content; disseminate and encourage the uptake of open cultural data; persuade other institutions to contribute their data into the commons in an open and accessible manner; build aggregation and search facilities to link across information sources to allow resource discovery; and how best to use high-performance computing facilities to analyse and process the large amounts of data the author is now seeing being made available throughout the sector.
– It is hoped that by pulling together this discussion, the benefits to making material openly available have been made clear, encouraging others in the GLAM sector to consider making their collections openly available for reuse and repurposing.
– This paper will encourage others in the GLAM sector to consider licensing their collections in an open and reusable fashion. By spelling out the range of opportunities for researchers in using open cultural and heritage materials it makes a contribution to the discussion in this area.
– Increasing the quantity of high-quality OA resources in the cultural heritage sector will lead to a richer research environment which will increase the understanding of history, culture and society.
– This paper has pulled together, for the first time, an overview of the current state of affairs of digitisation in the cultural and heritage sector seen through the context of the OAM. It has highlighted opportunities for researchers in the arts, humanities and social and historical sciences in the embedding of open cultural data into both their research and teaching, whilst scoping the wave of cultural heritage content which is being created from institutional repositories which are now available for research and use. As such, it is a position paper that encourages the open data agenda within the cultural and heritage sector, showing the potentials that exists for the study of culture and society when data are made open.
“The National Portal and Digital Repository for Indian Museums are developed and hosted by Human-Centred Design & Computing Group, C-DAC, Pune as per the agreement with Ministry of Culture, Government of India. HCDC Group has also developed JATAN: Virtual Museum software which is used for creating the digital collections in various museums and digital archival tools that are used in background for managing the national digital repository of museums….”
“Contains almost 6,000 views of Europe and the Middle East and 500 views of North America. Published primarily from the 1890s to 1910s, these prints were created by the Photoglob Company in Zürich, Switzerland, and the Detroit Publishing Company in Michigan. The richly colored images look like photographs but are actually ink-based photolithographs, usually 6.5 x 9 inches. Like postcards, the photochroms feature subjects that appeal to travelers, including landscapes, architecture, street scenes, and daily life and culture. The prints were sold as souvenirs and often collected in albums or framed for display. The Library of Congress Prints and Photographs Division assembled this collection from two sources that provided prints in mint condition. In 1985, the prints of Europe and the Middle East were purchased from the Galerie Muriset in Switzerland. In 2004, Howard L. Gottlieb generously donated the North American views. Additional photochroms can be found in the collections listed in the Related Resources section….”
“Countless natural history treasures are deposited in museums across the world, many hidden away beyond easy access. The OpenUp! project creates a free access to these resources, offering over one million items belonging to the world’s biodiversity heritage. The objects made available through OpenUp! consist of high quality images, videos and sounds, as well as natural history artworks and specimens, and also include many items previously inaccessible to visitors. Information provided through OpenUp! is checked by scientists and made available through the Europeana portal at www.europeana.eu….”