With a diploma in Visual Communications (University of Fine Arts of Hamburg) and experience as a freelance designer, stylist and art educator, Friederike explores the boundaries of traditional museum education and its look. Linking the exhibitions to DIY and crafting, fashion blogging and social media, she hopes to inspire the visitors’ own interest in and creative uses of the art and design collections. Friederike and her colleagues develop guided tours, workshops, participative exhibition parts, interactive and digital content with a focus on offers for all-ages and all-abilities and a preference for interdisciplinary collaborations. Visit Studio MKG to see selected projects.
Over the past fifteen years, Douglas has worked in national museums, private art collections and picture libraries in a variety of roles: photo studio manager, digital curator, archivist, picture researcher and registrar. The binding elements in Douglas’s career to date are his passion for visual culture and and his keen intellectual curiosity. Since joining Europeana in early 2016, Douglas has established Europeana Art as an engaging collaborative platform for Europe’s art collections and audiences everywhere. Notable achievements in this role include assembling an expert Advisory Board, curating and writing the major exhibition Faces of Europe, and developing a three-month Art Nouveau season (Feb-May 2017) led by a Art Nouveau exhibition which is the highest rated product in Europeana’s history. Douglas is currently preparing the launch of Europeana Photography, expected June 2017.
After studying Art History and Social and Economic History, and a non sequitur career in software development, Philipp Geisler has been living his passion for the virtues of open data and the possibilities of civic tech at Code for Hamburg and the Open Knowledge Foundation Deutschland. He incorporated his other passion for art and creative expression as project manager for 2016’s open cultural data hackathon Coding da Vinci Nord. He keeps working on providing new ways to invite new audiences to engage with their (digital) cultural heritage in creative ways to realize its true potential.
Helene Hahn is working on different aspects of the knowledge society and the digital world. She devoted herself to the protection of digital human rights and civic participation made possible by the use of technology and open data. At the Open Knowledge Foundation Germany she works as a project lead and is responsible among others for the data literacy program “Datenschule (School of Data Germany)”. As a cultural scientist she is passionate about (digital) cultural heritage. She is a Co-Founder of the cultural hackathon “Coding da Vinci”.
Sarah Powell is currently the Rights Specialist at Auckland War Memorial Museum where the philosophy towards access and reuse of their digitised collections is “open by default, closed by exception.” Her role consists of managing rights and permissions for digital images of collection and providing clear and consistent statements for online visitors. She has also been involved with implementing a cultural permissions statement which is assigned to images of Māori and Pacific objects, ensuring ethical and cultural considerations are taken into account alongside legal considerations. She has recently completed a Masters in Museum and Heritage Studies from Victoria University of Wellington where she focused on the adoption of the Open GLAM philosophy within New Zealand cultural heritage institutions.
Barbara is an art manager, aiming to make things possible together. That means intermediating since 1994 among different stakeholders: Institutions and artists, public and organisational pretensions, economic needs and financial limits or for five years now connecting galleries, libraries, archives and museums (GLAM) with volunteers out of the Wikiverse. Thus enhancing GLAM to join the Open Culture movement as in Wikimedia projects. Like the GLAM hackathon Coding da Vinci, which she outlined with DDB, digiS and OKF.
Dr. Ellen Euler, LL.M., is Deputy Director of Finances, Law, and Communication of the Deutsche Digitale Bibliothek and Director of the think tank “Cultural heritage digital”. As she studied law and has an additional qualification in information law from the Institute for information, telecommunications and media law (ITM) and a master of laws degree in IT law & law of intellectual property from the course “European Legal Informatics Study Programme” (Eulisp), she is an expert in the (copyright) legal questions of our digital cultural heritage, as well of the economic aspects associated. As national Project Lead she was responsible for the national adaptation of the Creative Commons licenses 1.0. In numerous publications and lectures she handles the topic of how the legal framework must be designed so that archives, libraries and museums can adequately fulfil their respective institutional tasks in the digital and networked era (including articles on legal aspects of Web harvesting, digital long-term archiving and visual catalogue proof, as well as on digital deposit copy right). To merge and accompany the German discourse on cultural heritage in the digital world initiated the series “Cultural heritage in the digital world”, whose first edition “A Future for the Past” was published in 2015.
Virtual Reality for Creative Reuses in Cultural Institutions
Thursday, 20/04, 15:00 (invitation required)
If you have registered for the conference before 15/3 you get the opportunity to take part in this preconference special. In case you are among the lucky participants, you will receive an invitation.
This workshop will give an overview of the history of virtual reality and how this technology has become a new tool for a wide range of applications in the last two years. We will take a closer look at how virtual reality could be used for creative reuses of cultural heritage in the context of memory institutions.
During the workshop you will have the opportunity to get to know a number of showcases on the HTC Vive glasses. Just give it a try yourself!
Daniel Schäfer, Media & User Experience
In all of Daniel’s work, he aims to indulge the audience in the experience process and to make technical parameters virtually invisible. Daniel co-founded [i:ko], a Hamburg based company, focusing on content development, smart technologies and media engineering. At [i:ko], he develops content for all forms of media, often interconnecting them – from television, mobile applications to virtual reality and beyond. For him, it is not the platform that matters but the experience that counts at the end of the day.
Ellen Euler, Deputy Manager of Finances, Law, and Communication, German Digital Library
Barbara Fischer, Curator for Cultural Partnerships, Wikimedia Germany
Often there seems to be a lot of uncertainty around the use of open licenses, like Creative Commons offers them. Buzzwords like copyright, public domain and licensing laws tend to prompt questions and uncertainty in many institutions. Therefore Wikimedia Deutschland and the Deutsche Digitale Bibliothek have developed a fun training program for employees of GLAM institutions and everyone dealing with digitization of cultural heritage who wants to know more about the potential of open licensing for education and learning, science and research, creative reuse and innovation.
Nora Al-Badri, Jan Nikolai Nelles, Artists, Berlin
Sarah Powell, Rights specialist at Auckland War Memorial Museum
The Other Nefertiti is a 3D-printed replica of the Nefertiti Bust, an ancient Egyptian artifact housed in the Neues Museum in Berlin. The artwork’s creation entailed the release of a high-resolution 3D data file that was shared freely on the internet. The work, as the artists state, stands as proof of colonial pillaging and challenges notions of national ownership; it considers the role of copying in preservation and access to evidence in relation to global heritage. The project received wide media coverage for its unauthorized 3D scan of the artifact inside the museum and its public release despite the copyright holder’s exclusive reproduction rights. With their input the artists will discuss why in their opinion the copying of artifacts in physical and digital forms points to the ever-improving technical reproduction of evidence and how authenticity can be discussed openly in online forums. The sharing and collaborative preservation avoid restrictions and suppression of evidence.
At the Auckland War Memorial Museum, New Zealand’s first and its largest regional museum even after having established an open licensing policy and having released 18 openly available 3D models on Sketchfab the reuse of cultural material can still be challenging. In many cases, the issue is not copyright, but cultural sensitivity and therefore the museum developed an indigenous rights statements for images of Māori and Pacific taonga. In these cases they assign a special licence where they know that it is appropriate. These statements known as cultural permissions statement help people understand that we are letting them view such objects but they cannot reuse the images, even if they are out of copyright.