“The handheld scanner looks like an old-school video game controller, a clunky throwback to the early days of Atari. But these mobile 3-D scanners used by the staff in the Indiana University-Purdue University Indianapolis University Library Center for Digital Scholarship are actually very advanced technology, and they are changing the way we record recent history, ancient history and even the future….Proving its place at the front of the 3-D digital archiving crowd, the Center for Digital Scholarship recently received a grant from LYRASIS — a nonprofit organization for information professionals — to develop standards for how digital archives are recorded….”
“Europeana Photography is now launching as the outcome of a collaboration between Europeana and PHOTOCONSORTIUM, the International Consortium for Photographic Heritage. Giving access to a vast archive of historical images, it’s a treasure trove of carefully selected pictures from the first 100 years of photography. The latest thematic collection on the Europeana platform, Europeana Photography presents high-quality images and compelling stories from Europe’s most astonishing historical picture collections. Just be warned: once you’ve stepped into our time capsule, you’ll never want to leave!”
“When library budgets are not able to meet the demands of publisher contracts, subscriptions are canceled and access to information is lost. Young said open access benefits academics by increasing the visibility and impact of research.
‘Information hidden behind a paywall is seen as a disadvantage for everyone,’ she said. ‘Open access allows more information to be added to the intellectual record, and people can continue to research because access is available and there are increased opportunities for collaboration.’
Several prominent academic writers have signed on to help write the documentary storyline, including Science magazine contributing correspondent John Bohannon, Birkbeck University of London Professor Martin Paul Eve, and futurist, educator and consultant Bryan Alexander.
Schmitt will have additional video crew support from Zach Brunelle ’17 of Burt Hills, N.Y., and professional videographer Russel Stone of Burlington, Vt.
The grant will support the travel, editing and final mastering, as well as provide a streaming and downloadable file for global viewing of the documentary.”
“The [Catalogue Raisonné] seeks to put the entire corpus of the more than 25,000 known surviving…negatives and prints [by William Henry Fox Talbot, “the Victorian inventor of photography on paper”] online. This scholarly resource is in beta release to encourage your contribution to this international effort. Revisions and new entries are being added continually….”
“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.
“I define “the commons” as shared resources that are managed by and for the people who use those resources. Creative Commons does an excellent job of bringing the Free Culture Movement to everyday life, as image rights are now understood in relationship to the commons. That said, I believe Silvia Federici when she writes that most things we call “commons” today are in fact “transitional commons” because in a true commons, the collective management of resources would be respected by, and even surpass, state and federal law.
Can you discuss the use of political economies in your work and how it relates to the concept of the commons?
If “the commons” refers to the ways in which people share and manage resources together, then the commons is always a political, and economic, concept. Historically, the commons have been enclosed upon by state governance and by privatization. Today, the commons are enclosed upon by neoliberalism, what cultural theorist Leigh Claire La Berge describes as “the private capture of public wealth”. It is my hope that my art and design work can support existing commoning practices like the gifting, lending, borrowing, and sharing of land, labor, and capital. While artists who represent commoning in paintings or photographs might provide necessary space for reflection about the commons, in my work I employ one of two strategies: 1) co-creating living spaces for commoning, or 2) making objects and artworks for existing commons-based organizations. In other words, I try to support the commons, rather than represent the commons….
The Queer Rocker is an example of what I call a Free/Libre/Open Source Systems and Art project….”