How starting small can change the (museum) world

Sharing is Caring XHamburg 20-21 April 2017

Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.

Merete Sanderhoff Curator / Senior Advisor

@msanderhoff

Or, the story of

2009Small beginnings

2011Principles of open

2012Realities of sharing

2013Crafting a book

2014Crowdsourcing

2015Remix culture

CC BY-SA 4.0 Ida Tietgen Høyrup

Meanwhile, at SMK

GalleriesLibrariesArchivesMuseums

openglam.org

We want to be a catalystfor our users’ creativity

2009 digital strategy

CC BY-SA 4.0 Ida Tietgen Høyrup

Bildung ~ building

We are all in the attention business, and we have to play to win (…)

To direct attention to the real knowledge that we produce, publishing ourmaterial online for free use and reuse is the first step.

It is in keeping with our mission that we have to fight back — and infuse thisnew ecosystem with all the antibodies we have in hand, especially facts andknowledge.

Peter B. Kaufman, In the Post-Truth Era, 2017

http://www.chronicle.com/article/In-the-Post-Truth-Era/239628

Peter B. Kaufman, Intelligent Television

Pioneers

Our understanding of research, education, artistic creativity, and the progress of knowledge is built upon the axiom that noidea stands alone, and that all innovation is built on the ideas and innovation of others.

Smithsonian Web and New Media Strategy, Version 1.0, 2009

http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf

The preservation, transmission, and advancement of knowledge in the digital age are promoted by the unencumbered use and reuse of digitized content for research, teaching, learning, and creative activities.”

Memo on open access to digital representations of works in the public domain from museum, library, and archive collections at Yale University, May 2011

http://odai.yale.edu/sites/default/files/OpenAccessLAMSFinal.pdf

To be a public museum your digital data should be free. And digital data is not a threat to the real data, it’s just an advertisement that only increases the aura of the original. People go to the Louvre because they’ve seen the Mona Lisa; the reason people might not be going to an institution is because they don’t know what’s in your institution. Digitization is a way to address that issue, in a way thatsimply wasn’t possible before.

William Noel, The Wide Open Future of the Art Museum, 2012

http://blog.ted.com/the-wide-open-future-of-the-art-museum-qa-with-william-noel/

Our primary mission is to ‘tell the truth’. We put as much quality in our work as possible. That is whywe share the best quality we have. If people google ‘The Milkmaid’ by Vermeer then we want them to find our good quality image, not all the bad and deformed versions of this beautiful painting.

Lizzy Jongma, former data manager, Rijksmuseum, 2012

Everyone (…) wants to recoup costs but almostnone claimed to actually achieve or expected to achieve this. Even those services that claimed to recoup full costs generally did not account fullyfor salary costs or overhead expenses.

http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf

Simon Tanner, King’s College London

Reproduction charging models & rights policy for digital imagesin American art museums, 2004

2011Google Art

Think Big,Start Small,Move Fast

Michael Edson, Director of Web and New Media Strategy, SmithsonianAdvisory meeting with the SMK management team, November 2011

2012160 hires images

Celebration of creative reuse

Works that are in the Public Domain in analogue form continue to be in the Public Domain once they have been digitised.

http://pro.europeana.eu/files/Europeana_Professional/Publications/Public%20Domain%20Charter%20-%20EN.pdf

https://twitter.com/PUBDOMAINHULK

A growing public demand

collection.smk.dk

201525,000 images

Atelier J. Hamann, Turner am Reck, 1902/09, Museum für Kunst und Gewerbe Hamburg, CC0 1.0 Public Domain Dedication

OpenGLAM is moving ahead

A pioneer in the German cultural heritage sector

The importance of clear guidelines

displayatyourownrisk.org

The Other Nefertiti

http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/

…there are ways where we don’t evenneed any topdown effort from institutions or museums, but where the people can reclaim the museums as their public space through alternative virtual realities, fiction, or captivatingthe objects like we did.

Nora al-Badri and Nikolai Nelles

http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/

Atelier J. Hamann, Turner am Reck, 1902/09, Museum für Kunst und Gewerbe Hamburg, CC0 1.0 Public Domain Dedication

Next frontiersfor Sharing is Caring?

CC BY-SA 4.0 Ida Tietgen Høyrup

IMPACT

Measure what is important,don’t make important what

you can measureRobert McNamara

”I wish we would measure culturalheritage on learning and happiness.”

https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/

Charlotte S H JensenState Arhives/National Museum

impkt.tools

It’s growing!

#sharecarexBXLBrussels 20 June

Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.

As museums, we do not hold any patent on how cultural heritage can and should be interpreted and used.

Our role is increasingly to facilitate the general public’s use of cultural heritage for learning, creativity and innovation.

Today, the museum as a place of enlightenment is based on interaction. We are all part of this web. We enlighten each other.

Mikkel Bogh Director, SMK

http://www.smk.dk/en/explore-the-art/smk-blogs/artikel/mikkel-bogh-blogs-enlightenment-in-the-age-of-digitisation/

Vielen Dank :)

Sharing is Caring XHamburg 20-21 April 2017

Johannes Simon Holzbecker, Hyacints, from Gottorfer Codex, 1649-59, KKSgb2947/26. Public Domain.

Merete Sanderhoff Curator / Senior Advisor

@msanderhoff