“First trips to Paris all run the same risk: that of the museums consuming all of one’s time in the city. What those new to Paris need is a museum-going strategy, not that one size will fit all. Tailoring such a strategy to one’s own interests and pursuits requires a sense of each museum’s collection, something difficult to attain remotely before Paris Musées opened up its online collections portal….”
From Google’s English: “A new step in the development of Paris Museums’ digital policy, the launch of Open Content contributes to increasing and improving the dissemination of collections and reinforces actions in favor of better access to art and culture. It also promotes increased visibility of works and knowledge of municipal collections in France and abroad.
This opening of data guarantees free access and reuse by all of digital files, without technical, legal or financial restrictions, for commercial use or not.
Images representing works belonging to the public domain under CCØ license (Creative Commons Zero) are made available to all internet users via the Paris Musées collections portal. Initially, the reproductions of works in 2D which are not subjected to rights are available in Open Content, the images subjected to rights remain in low definition in order to illustrate the files of the website of the collections. Art lovers can for example download the works of the big names in photography (Atget, Blancard, Marville, Carjat …) or painting (Courbet, Delacroix, Rembrandt, Van Dyck …)….”
“I’m delighted to be a co-author on a new paper recently published in the Journal of Documentation: How Open is OpenGLAM: Identifying barriers to commercial and non-commercial reuse of digitised art images (PDF of accepted manuscript).
This results from Foteini Valeonti’s work on Useum.org, where she has built a “virtual museum that democratises art”, including (or at least, trying to include!) many openly licensed images of artworks, testing out the limits of open licensing for both commercial and non-commercial applications. Are they really that open? what barriers are in the way?…”
“Last week, we launched our Guidelines for the Implementation of the DSM Directive. This is part of a series of blogposts dedicated to the various provisions analysed in our guidelines. Today we give a quick explanation of the mandatory provisions in the new Copyright Directive that allow cultural heritage institutions to digitise and make out of commerce works in their collections available online….”
“It’s alive. After months (ok years) of discussion, iteration, and intense testing we’ve now opened the digital door to SMK’s new online collection. We are truly thrilled to be able to contribute to SMK [Statens Museum for Kunst]— and openglam — goals of making cultural heritage easily available in friendly, open formats….”
“SMK [Statens Museum for Kunst] in Sølvgade in Copenhagen is an excellent frame for the art collection of the Danish people. But not everybody has easy acces to the physical museum and when you visit the building – and if you see all the artworks on display – you’ll only have experienced 0.7% of the entire collection.
This means there’s an enormous potential in digitizing and making available the collection in digital form. The digital versions obviously can’t replace the original artworks but they can
Be accessed independently of time and space
Be re-used for new work
Be studied in minute details
Be inserted in everything from books to research articles to school papers
Be printed on anything from posters to couch cushions
With support from Nordea-fonden the SMK Open project (2016-2020) aims to make the country’s art collection available for free use. Everyone should have the opportunity to explore the world of art on their own terms and draw information from SMK’s large collection of knowledge and additional material. With SMK Open, we’re turning the collection into a giant tool-box full of freely usable building blocks.
The project builds on a vision of making art available and relevant for far more Danes by turning it into a resource and tool that one may bring into one’s own life and use on one’s own terms….”
“The Shared Repository, currently a beta service, brings together the openly available research outputs produced by staff and research associates of six cultural and heritage organisations: the British Library; the British Museum; MOLA (Museum of London Archaeology); National Museums Scotland; Royal Botanic Gardens, Kew; and Tate. Each partner has their own repository and is responsible for their own content, but users can also explore the combined content using the shared search from the homepage. Articles, book chapters, datasets, exhibition texts, conference presentations, blogs and many more types of our research are now discoverable and downloadable by researchers worldwide. The repository currently holds just a selection of outputs to give a flavour of our research activities, with many more to be added in the coming months….”
“The OpenGLAM initiative is currently working on a modern set of principles and values on Open Access for Cultural Heritage. We expect to draft a Declaration that outlines the rationales behind open access policy adoptions, acknowledges different cultural backgrounds, and addresses ethical and privacy considerations to help promote the adoption of open policies by a broader set of organizations around the world.
By February 2020 we will release a green paper focusing on the legal foundations of open access for cultural heritage, and examining some of the broader questions around copyright and open licensing, traditional knowledge, ethical and privacy concerns, and technical standards for open access. Following a consultation period, we plan to publish a final version of that paper and make the official launch of the Declaration on Open Access for Cultural Heritage by 2020. If you would like to get involved, please write to us at info [at] openglam.org….”
“The Heritage Lab’s mission is to make museums accessible to people in terms of knowledge and content. We started with choosing objects and creating freely accessible educational content around them for teachers to use in the classroom. Most of the time we have to seek permission to reproduce these object images on our website….
For teachers, developing independent lesson plans (based on the city they are located in) is quite tough because they have zero access to openly reusable Indian museum resources, and their students cannot reproduce these objects in different formats. So teachers and students end up sourcing Indian material from non-Indian, open access institutions like the New York Public Library, the Cleveland Museum of Art, the British Library and Dublin’s Chester Beatty Library.
On a positive note, every year we host Art+Feminism Edit-a-thons (established in 2017) and we get a lot of support from participants in making museum content (images and text) freely accessible on Wikipedia. We would love to do more in terms of creatively re-using museum artworks, but that’s not possible in the current framework….”
“We interviewed Larissa Borck for the upcoming series of webinars that the Swedish National Heritage Board will be hosting around Open GLAM and how to open up your digital collection. The webinars will be happening between October and November at morning European time, but they will be recorded and made available. We wanted to explore with Larissa what’s the idea of the webinars, what they expect to obtain from it, and what are their plans for the future….”