sharing is caring. facilitating re-use of the smk collections
TRANSCRIPT
CC BY-SA 4.0 Ida Tietgen Høyrup
Merete SanderhoffCurator / Senior Advisor
Statens Museum for Kunst@MSanderhoff
SHARING IS CARINGFacilitating re-use of the SMK collections
Artstor and AFSMKNew York, 5 May 2016
About me
Research & Development
Advice on copyright and public domain
Standards and policies at the national and European level
Facilitation of educationaland creative reuse
CC BY-SA 4.0 Ida Tietgen Høyrup
About SMK
The National Gallery of DenmarkWestern art from 1300 to the present
450,000 visitors a year260,000 artworks
66 % in the public domain27 % digitised
2,000 artworks on display
Only 0.76 % of the collectionsphysically accessible
”There is not a single physical space where all our heritage can be shown, but on the Internet you can.”
Lizzy Jongma data manager, Rijksmuseum
http://pro.europeana.eu/files/Europeana_Professional/Publications/Democratising%20the%20Rijksmuseum.pdf
Today, we can offer online services that are available from everywhere to anyone seeking "to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits".
Article 27.1 of the Universal Declaration of Human Rights
Bildung ~ Building
GalleriesLibrariesArchivesMuseums
Open digitised collectionsopen up learning
http://openglam.org/
Pioneers
Great potentialsin open collections
http://en.wikipedia.org/wiki/The_Night_Watch_(painting)
Rijksmuseum’s quality imagesare preferred online
http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg
Rijksmuseum is key reference for its own online collection
http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg
“So far 6,499 images from the Rijksmuseum have been uploaded to Wikimedia Commons (...) 2,175 of these images are currently used in various Wikipedia articles. These images have been shown 10,322,754 times to users visiting the articles where the material is used.”
GLAM Open Access Case Studies, internal report to The Smithsonian Board of Directors, Effie Kapsalis, June 2015
http://en.wikipedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg
Flushing out poor copies
SMK’s first digital strategy, 2009
We want to be a catalyst for
users’ creativity
25,000 imagesfor free download
25,000 imagesfor free download
You may use theimages without asking permission
https://creativecommons.org/publicdomain/zero/1.0/
What does it mean?
Copyright is “a little coral reef of private right jutting up from the ocean of Public Domain.”
Paul Torremans, Copyright law: a handbook of contemporary research, 2007
Adam Olearius, "Oftt begehrte Beschreibung Der Newen Orienthalischen Reise [...]", Schleswig 1647, KKSgb10873/28, SMK. Public Domain
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
People will go elsewhere to get images
But wait…
aren’t we making money
on images?
"Everyone (…) wants to recoup costs but almost none claimed to actually achieve or expected to achieve this. Even those services that claimed to recoup full costs generally did not account fully for salary costs or overhead expenses.”
Reproduction charging models & rights policy for digital images in American art museums, 2004
http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf
Simon Tanner, King’s College London
Pioneer experiences
The Getty realized that the revenue they were collecting (about $45K in the financial year of 2013) to license use of their images was outpaced by the expense of doing so.
Pioneer experiences
The Getty realized that the revenue they were collecting (about $45K in the financial year of 2013) to license use of their images was outpaced by the expense of doing so.
Yale Center for British Art images were never ‘a money-maker’.
Pioneer experiences
The Getty realized that the revenue they were collecting (about $45K in the financial year of 2013) to license use of their images was outpaced by the expense of doing so.
Yale Center for British Art images were never ‘a money-maker’.
We lost all of our income on direct sales of images, but we gained a lot of new friends, sponsors, and new funding streams (more than we lost from revenue).
GLAM Open Access Case Studies, internal report to The Smithsonian Board of Directors, Effie Kapsalis, 2015
What about loss of control
and fear of misuse?
Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves.
Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves.
Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website
Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new creative works with the material and therefore promoting the museum on a larger scale than they had ever been able to do themselves.
Wikipedia editors prefer to use trusted material provided by the cultural institutions themselves to illustrate the articles they are editing. This greatly benefits both the users who have a richer experience, and the cultural institution that reaches out to a public far beyond the scope of its own website.
We have lost almost all control, and it has been vital to our success.
Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013
Democratising the Rijksmuseum. Why did the Rijksmuseum make available their highest quality material without restrictions, and what are the results? Joris Pekel, Europeana Foundation, July 2014
Staff of virtually every museum mentioned the goodwill and recognition that have come with open access, as well as a sense of satisfaction at helping to fulfill the mission of the institution.
(…) every museum reported increased website traffic and what they considered a significant interest in the available images. Website visit increases ranged from about 20 to 250 percent, with many museums reporting increases of at least 100 percent.
Pioneer experiences
Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013
Our collections are promiscuous!
Pieter Aertsen , The Fat Kitchen. An Allegory, SMK. Public domain
SMK in Google Art
SMK in Artstor – and more to come
SMK in SkoleTube
SMK in Europeana
http://pro.europeana.eu/publication/publishing-framework
Carl Bloch, Samson and the Philistines, 1863, SMK. Public domain
Re-use can be a struggle
Professor of Digital Humanitiesat UCL, and a great blogger!
Nicolai Abildgaard, Caricature of a fat man carrying a large key in his left hand, undated drawing, SMK. Public Domain
Facilitation is key
Three target groupsthat are important to SMK
1. Learners in public schools
2. Creatives
3. Wikipedians
Collaboration with SkoleTube
Working with SkoleTube and educators from public schools, SMK has co-created,
Didactic designs integrating open images from SMK in specific learning processes aligned with national curricula
3 SkoleTube channels – images, tutorials, student productions
232 public school teachers currently using the ressource in their classes
Learning by doing
CCBY 3.0 Frida Gregersen
Creatives
CCBY 3.0 Frida Gregersen
Collaboration between theCopenhagen Metro Company,
local citizens, and SMK art pilots
CCBY 3.0 Frida Gregersen
Collections gain new value outside the museum
in the hands of the public
CCBY 3.0 Frida Gregersen
CCBY 3.0 Frida Gregersen
Makeover of injection room Skyen / ‘The Cloud’
CCBY 4.0 ULK
A space for drug users,central Copenhagen
Open 23 hours a day
700 drug intakes a day
CCBY 4.0 ULK
CCBY 4.0 ULK
Re-creating places / spaces that the drug users dream of
CCBY 4.0 ULK
CCBY 4.0 ULK
The art pilots facilitateimproved social conditions
for the users
‘Set art free’ event
CC BY-SA 4.0 Ida Tietgen Høyrup
A celebration of open collections
Remix exhibitionCulture Cam installationVanGoYourself workshop
Wiki edit-a-thonAnimated GIF workshop
PerformancesFilm screenings
Artist talksArt DJ’s
Remix exhibition
13 artists and designers were
invited to mix upSMK’s collections
The artists got to change the museum for a weekend
CC BY-SA 4.0 Merete Sanderhoff
Filip Vest, 22 Skies
CC BY-SA 4.0 Ida Tietgen Høyrup
CC BY-SA 4.0 Ida Tietgen Høyrup
Their remixes ranged from lasercut installations…
CC BY-SA 4.0 Ida Tietgen Høyrup
…over tapestries, fashion clothes, collages…
Harald Slott-Møller, Danish landscape, 1891
Product of Public Domain
CC BY-SA 4.0 Ida Tietgen Høyrup
Jamie Seaboch, Collage
CC BY-SA 4.0 Ida Tietgen Høyrup
…to a pop-up version of a paintingwith motorized moving light
CC BY-SA 4.0 Ida Tietgen Høyrup
Kati Hyyppä, As light goes by
CC BY-SA 4.0 Ida Tietgen Høyrup
Artists talks- communicating remix culture
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Huge interest from the audience
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A unique meeting between new and old
CC BY-SA 4.0 Ida Tietgen Høyrup
More than 6,000 people joined the party
Entry for short film competitionon womens’ rightsThe Why Foundation
Film productions
Product of Public Domain
CC BY-SA 4.0 Jonas Heide Smith
Design products
Games
CC BY-SA 4.0 Ida Tietgen Høyrup
Wikipedians
Wikipedia lovesopen images
20 million page views on Wikipedia in 2015
Monthly Wiki Labs- utilize open images
- learn to edit- artist of the month
Before
After
We provide free access to our digitized collections. Care to join?
”Our role is still more to facilitate public use of cultural heritage for learning, creativity, and innovation. Today, learning happens in reciprocity. We are all a part of the web. We shape each other.”
Mikkel Bogh Director, SMK
http://bit.ly/1dMX0BJ
Read more about potentials and deliberations ofopening up
sharingiscaring.smk.dk
Thank you.
Artstor and AFSMKNew York, 5 May 2016
CC BY-SA 4.0 Ida Tietgen Høyrup
Merete SanderhoffCurator / Senior Advisor
Statens Museum for Kunst@MSanderhoff