All posts by Merete Sanderhoff

Projektforsker og projektleder, Statens Museum for Kunst. Mag. art. i Kunsthistorie.


Final program of #sharecare21

Watch the full recording of the conference and individiual talks on our YouTube playlist.

Day 1

Monday 22 March

14.00 CET: Welcome to Sharing is Caring 2021
Merete Sanderhoff and Christina Jensen, moderators

14.10 CET: A #sharecare tour of Europe
Greetings from hosts of Sharing is Caring X conferences
Antje Schmidt, Hamburg, April 2017
Sam Donvil, Brussels, June 2017
Karin Glasemann, Stockholm, September 2019
Saskia Scheltjens, Amsterdam, November 2019

14.35 CET: Comfort break

14.40 CET: Keynote 1
Peter B. Kaufman – The Fifth Estate: A New Old Role for Our Knowledge Institutions

15.00 CET: Keynote 2
Henriette Roued-Cunliffe – The record has left the building

15.25 CET: Keynotes in conversation

15.50 CET:
Comfort break

16.00 CET: Ignite session I – explorative concepts
Alicja Peszkowska – Open Culture Gone Viral
Anne Mühlich & Gerd Müller – Living Democracy
Andreas Refsgaard – Creating new cultural histories with AI
Jonas Smith – Is it a bird!? Is it a plane!? Using machine learning to catalog SMK’s collection the robot way

16.20 CET: Chat with the ignites

16.45 CET: Wrap up of Day 1, looking ahead at Day 2
Merete Sanderhoff and Christina Jensen

20.00 CET: #sharecare21 After Hours at
Hosted by Saskia Scheltjens and Larissa Borck

Day 2

Tuesday 23 March

14.00 CET: Welcome to Day 2
Merete Sanderhoff and Christina Jensen

14.10 CET: Keynote 3
Kati Hyyppä – Where open cultural content, motors, drilling machines and hot glue meet

14.25 CET: Keynote 4
Zuzanna Stańska – DailyArt: The unbelievable story of how an educational startup became a business

14.40 CET: Keynotes in conversation

15.05 CET: Comfort break

15.15 CET: The #sharecare 10 year anniversary quiz

15.35 CET: Ignite session II – new best practices
Jacob Wang – Hack4DK. 10 years of hacking our heritage
Stig Svenningsen – An aerial view of Denmark
Barbara Fischer – Imagine an ecosystem of semantic data
Jonathan Beck – Scan The World. An Open Source Museum

16.05 CET: Chat with the ignites

16.30 CET: OpenGLAM – looking back and looking ahead
George Oates in conversation with Merete Sanderhoff

16.45 CET: Wrap up of Day 2 and thank you
Merete Sanderhoff & Christina Jensen

17.00 CET: #sharecare21 After Party at
Hosted by Saskia Scheltjens and Larissa Borck

Top photo: CC BY 4.0 Merete Sanderhoff


We’re excited to announce the fabulous crew of keynote speakers for the 10th anniversary conference!

Zuzanna Stańska

DailyArt: The unbelievable story of how an educational startup became a business

DailyArt was launched in 2012 as a mobile app, which every day presents one piece of fine art with a short story. Throughout the years it has grown, and now the app reaches 800.000 people monthly and is available in 18 languages. Today, DailyArt now is not just a mobile app but also, DailyArt Courses and DailyArt Shop. This is a story of how something very humble – a simple idea based on art masterpieces from open access collections, thanks to matching digital tools and the goodness of people interested in art history from all around the world – grew to a regular business.

Watch Zuzanna’s keynote

About Zuzanna

Zuzanna Stańska is an art historian fascinated by using emerging technologies in museums. In 2012, she founded Moiseum, a tech consultancy helping museums and cultural institutions to reach their audiences with new tools, and also the popular app DailyArt. Since 2018, she is an expert at the European Commission’s Digital Cultural Heritage and Europeana Sub-group. She won the British Council Young Creative Entrepreneur Award in the Culture category in 2014, and was mentioned on the “New Europe Top 100 Challengers” list made by Visegard Fund, Google, Financial Times, and Res Publika. She is also an Alumni at Blackbox Connect.

She tweets @zstanska

Kati Hyyppä

Where open cultural content, motors, drilling machines and hot glue meet

What is it like to use digitized open cultural content as a part of creative processes? How is it similar to other materials such as wood, recycled objects, electronics and textiles? What about its unique characteristics? This talk aims to shed light on the nuts and bolts of using cultural heritage collections in hands-on artistic projects and workshops. It is also discussed how we could foster a closer dialogue between the meticulously catalogued digital artefacts and the messy workbench.

Watch Kati’s keynote

About Kati

Kati Hyyppä is a Finnish, Berlin-based artist and educator who works at the intersection of art and technology. Her practise is rooted in materiality and hand-making. Working with materials from recycled objects and electronics to textiles and open cultural content she explores alternative perspectives on our material and technological surroundings. Her projects often include an element of participation, speculation and humour as means to invite people in a closer, alternative dialogue with technology.

Kati’s website is

Peter B. Kaufman

Photo by Ellen Bratina

The Fifth Estate: A New Old Role for Our Knowledge Institutions

In this presentation, MIT Open Learning’s Peter B. Kaufman discusses the social responsibility of the knowledge sector and knowledge institutions to publish as much information as possible into the online Commons.  Kaufman will discuss the challenges to sharing knowledge over time and discuss the new imperatives before us in an age of pandemics, global economic crises, and worldwide disinformation.

Watch Peter’s keynote

About Peter

A writer, teacher, and documentary producer, Peter B. Kaufman is the author of The New Enlightenment and the Fight to Free Knowledge.  He works at MIT Open Learning and the Knowledge Futures Group.  Previously he served as associate director of Columbia University’s Center for Teaching and Learning; president and executive producer of Intelligent Television; a founding contributor to the Audio-Visual Think Tank at Sound & Vision in the Netherlands; co-chair of the JISC Film & Sound Think Tank in the United Kingdom; co-chair of the Copyright Committee of the Association of Moving Image Archivists; a member of the Scholar Advisory Committee of WGBH’s American Archive of Public Broadcasting; a member of the American Council of Learned Societies Commission on Cyberinfrastructure in the Humanities and Social Sciences; and a consultant to the Library of Congress’s National Audiovisual Conservation Center, the largest archive of moving images and recorded sound in the world. 

He currently serves as a member of the editorial board of The Moving Image and also the editorial advisory board of the Russian Library, an initiative based at Columbia University Press to bring out more Russian literature into English, because Russian literature is the only thing that matters. 

Henriette Roued-Cunliffe

The record has left the building

Introducing Open Data in the GLAM sector means that the mediation of heritage is not the sole privilege of these institutions anymore. In theory anyone, anywhere can use heritage material that is fully open, for any purpose. However, in practise this has not happened to the degree many in the OpenGLAM community had hoped and others had perhaps feared. While researching the use of years of digitisation and online publication with various degrees of openness, I have discovered a lot to celebrate as well as issues that continue to stand in the way of incorporating OpenGLAM in education, creativity and research. At Sharing is Caring 2021 I will share this research alongside some of my own creative endeavours using OpenGLAM records. 

Watch Henriette’s keynote

About Henriette

Henriette Roued-Cunliffe is an Associate Professor in Digital Humanities at the Department of Communication, University of Copenhagen. With a background in Archaeological Computing and a doctorate examining digital tools for the reading of historic texts, her research is primarily in the use of data and digital tools within heritage. She has adapted this knowledge to teaching Digital Heritage and Data Science in the Humanities, as well as sharing tutorials online. This theoretical, empirical and applied research has resulted in the book Open Heritage Data – An introduction to research, publishing and programming with open data in the heritage sector (2020).

Alongside this she works to understand the data management practices and online interaction of citizen historians (for example family historians and amateur archaeologists). She co-edited the volume Participatory Heritage (2017)

You can find her online at @henrietteroued

Top photo: CC BY 4.0 Jonas Heide Smith


The digitisation of cultural heritage collections has been going on for several decades now, promising unprecedented potentials for the GLAM sector to fulfil its public mission of opening up knowledge and culture to the participation and enjoyment of all citizens. As stated in the Universal Declaration of Human Rights, Article 27.1,

Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits.

The big question is, how can the GLAM sector demonstrate that we are achieving this ambition through the digitally powered public engagement efforts we have been developing on the base of digitisation? Increasingly, politicians and funders are demanding numbers to show that the tax or private money spent on culture have tangible social impact. How have people’s opportunities to learn, create and contribute to their culture and society improved after we started providing access to digitised collections? Is it even possible to produce hard evidence of such improvements?

Venue : Aarhus, Denmark – The 2017 European Capital of Culture Date: November 20-21 2017

The conference was livestreamed and documented in collaboration with MMEx. Watch it on YouTube.

Please note: Due to technical failure during the livestream, some of the sessions were unfortunately not recorded.


Sharing is Caring: Digitisation and Social Impact? will feature three parallel workshops, all offering hands-on approaches to increasing the impact you and your institution can have in society.

1 / How to turn the museum into a public space for engagement

Workshop leader
Marianne Grymer Bargeman, Director of Learning and Interpretation at ARoS Aarhus Kunstmuseum and Head of ARoS Public

2 / How to boost your collection visibility and impact on Wikipedia

Workshop leaders 
Karen Williams, Project manager at Statsbiblioteket / Det Kgl. Bibliotek Aarhus
Finn Årup Nielsen, Senior Researcher, DTU Compute at the Technical University of Denmark
Majken Astrup, Communication & Project manager at AU Library, Campus Emdrup

3 / How to capture the social impact of your institution’s work

Workshop leaders
Harry Verwayen, Deputy Director at Europeana
Merete Sanderhoff, Curator & Senior Advisor at Statens Museum for Kunst


The Sharing is Caring workshops are kindly hosted by the new interactive museum space ARoS Public at ARoS Art Museum in the centre of Aarhus.


Panel Debate: Creative Commons for contemporary art?

A terrific panel of artists, copyright experts, and museum people in a debate about contemporary art, digital media, and rights issues.

In this debate, we discussed perspectives and challenges in using Creative Commons licenses on contemporary art, as opposed to traditional copyright. Does it entail increased visibility for artists if they share reproductions of their work more liberally than copyright allows for? Is it even possible for artists to opt out of social media today, if they want their work to known more widely? Are there new ways for artists to make revenues in connection with more openly licensed images of their work? Or is it a slippery slope to start relaxing the restrictions on how images of artworks are shown, shared and circulated online?

The aim was to have a constructive and solution-oriented debate that will help artists and cultural institutions alike to better understand how to navigate and benefit from the participatory culture on the Internet, while respecting rights.
The panel

IT lawyer Martin von Haller Grønbæk, Bird & Bird, will moderate the debate.

Young artist Filip Vest remixes old paintings, and releases some of his own work under a Creative Commons license.
Young artist Filip Vest remixes old paintings, and releases some of his own work under a Creative Commons license. Filip is captured in front of his digital remix of 22 skies from Danish golden age paintings, spring 2015. Photo by Lisbeth Holten.

Keynote Cédric Manara

Keynote speaker: Cédric Manara

Cédric Manara, copyright counsel, Google
Cédric Manara, copyright counsel, Google


Copyright and the 99%

Historically, copyright has been concerned with encouraging commercial cultural production. Today, most of the creative expression comes from amateurs who do not understand copyright, or have no clue what it’s about. What about tomorrow? The Internet, with its 2.8 billion users and counting, is just beginning to change the legal landscape. How to reform copyright – in Denmark or in Europe – to reconcile the interests of those who want to make money, when others just want to share knowledge or information?

Cédric Manara, PhD, has lost his hair teaching, writing or consulting. He has been a full time law professor at EDHEC Business School (France) and held visitorships in Finland, Italy, Japan and the USA, published a lot on intellectual property and internet legal issues, and also was a consultant for e-commerce companies or law firms. He joined Google’s wonderful legal team as copyright counsel in 2013.

Keynote Eva Van Passel

Keynote speaker Eva Van Passel

Eva van Passel, researcher at Vrije Universiteit Brussel
Eva van Passel, researcher at Vrije Universiteit Brussel



How open is open enough? A philosophy of cultural commons for the cultural heritage sector.

Cultural (heritage) institutions are redefining their roles in a context of digital access to culture. This talk will address how the cultural heritage sector can adopt a layered approach, with different degrees of openness. An overall goal of cultural heritage institutions in the digital age can be to provide as much access as possible and to be as open as possible towards reuse and remix practices. How open this is, however, might change depending on specific user communities, and it can also be different depending on the content being shared.

The idea of ‘constructed cultural commons’ can provide a useful background or philosophy for initiatives the sector is undertaking. Some of the guiding principles of this approach are the intrinsic value of culture and digital cultural artefacts, the rights of users to sustainable access to these valuable assets, and the need for diversity and inclusiveness of the offer – also with regards to copyright status, in order to avoid a ‘digital black hole of 20th century content’. This ‘as open as possible’ philosophy, with respect to rights but without being unnecessarily constraining, can inspire cultural policy and cultural institutions’ digital experimentation.

Eva Van Passel has been a researcher at iMinds – SMIT, Vrije Universiteit Brussel, since 2007. Her research interests include the many challenges and opportunities for arts and heritage in a networked society, but her research mainly focuses on the changing roles of cultural (heritage) institutions in the context of digitisation, digital preservation, and distribution and sustainable digital access. Topics under scrutiny over the years have included strategic challenges for cultural institutions, digital cultural policy, audience strategies, business models, the European digital library Europeana, open cultural data and open GLAM initiatives, and financing models for digital cultural heritage. Eva holds Masters degrees in Communication and Media Studies, and in Film Studies and Visual Culture.

Keynote Maarten Zeinstra

Keynote speaker Maarten Zeinstra

Maarten Zeinstra, advisor at Kennisland
Maarten Zeinstra, advisor at Kennisland


Caring for the limits of sharing

While our digital lives are undisputedly globalised, we have no international harmonised market for intellectual property. For this reason, artists and the cultural heritage sector struggle to legally share their creative works online. This hinders the public’s access to knowledge and culture, which in turn can have an economic impact on society.

At Kennisland, we call for a strong public domain, an EU harmonised internal market for intellectual property, fitting limitations and exceptions, and accessible provenance information. The current implementation of the new orphan works directive only solves problems of access to the extent of the Internet five years ago, not for the future.

If the cultural heritage sector wants to support a thriving Remix Culture, we need to debate the legal and technical mechanisms that are holding artists and institutions back from sharing. We need a frank discussion on the merits of sharing vs. the monopoly of intellectual property rights.

Maarten Zeinstra works at Kennisland (KL). KL is an independent think tank with a public mission. KL aspires to strengthen our knowledge society by designing innovative programmes and realising interventions to address the grand challenges of today’s society. A strong knowledge-driven society subsists because of access to information. By making digital heritage collections available in an open and innovative way, knowledge can thrive.
Maarten is advisor on copyright law and open technology in the cultural sector. His focus is to guide cultural institutions in making data available online. In practice, this means writing policy, giving workshops and masterclasses, and guiding technological development. Maarten is project lead of Creative Commons Nederland and has extensive experience as a requirements engineer and architect for projects like Open Images, Europeana and

Sharing is Caring 2015: Right to Remix?

Sharing is Caring: Right to Remix? was held 2 October 2015 in the DR Concert Hall in Copenhagen.

The DR Concert Hall. Photo by Lars Lundqvist, CC BY-NC-SA
The DR Concert Hall. Photo by Lars Lundqvist, CC BY-NC-SA


Sharing is Caring: Right to Remix? addressed the topic of remix culture and rights, and how the cultural heritage sector can deal with these in constructive and proactive ways.

Go to programme

Watch videos from the seminar

See photos from the seminar

Through a versatile programme of international keynote speakers, keynotes in conversation and ignite sessions, the seminar focused on the amazing stuff the cultural sector can achieve when rethinking the logic of copyright in a digital age perspective. But we also discussed the hurdles to overcome and the fights to take, when we want to challenge the traditional notion of copyright.

The speakers delivered talks to open up fresh perspectives on how to work more flexibly with rights in the digital age, and what awesome potentials the cultural sector can tap into if we dare to change our existing mindsets and ways of working.

As a special feature this year, Sharing is Caring led directly up to the annual cultural heritage hackathon Hack4DK from Friday evening 2 October through Sunday 4 October.

Keynote Melissa Terras

Keynote speaker Melissa Terras

Melissa Terras, Professor of Digital Humanities UCL
Melissa Terras, Professor of Digital Humanities UCL

Read the blogposts that Melissa based her keynote on.

Taking, Making and Law-Breaking: copyright, digitised content, and the digital maker movement.

Although there is a lot of digitised cultural heritage content online, it is still incredibly difficult to source good material to reuse, or material that you are allowed to reuse, in creative projects. What can institutions do to help people who want to invest their time in making and creating using digitised historical items as inspiration and source material? How does this affect the creative choices that people can make when trying to produce items based on digitized content? How does the current copyright licensing, and the treatment of digitized versions of orphan works, help or hinder the ability to reuse and share digitized content in a physical form?

In this talk, Melissa Terras will talk about her experiences in trying to reuse digitized heritage content to make something she likes, wants, and will use – and the frustrating barriers she encountered along the way.  Covering issues of technical digitization standards, search and retrieval issues, and licensing issues, it is demonstrated how difficult it is to reuse cultural heritage content in this context, given the implicit and explicit barriers raised, institutionally, technically, and legally, along the way.

Melissa Terras is Director of UCL Centre for Digital Humanities, Professor of Digital Humanities in UCL’s Department of Information Studies, and Vice Dean of Research (Projects) in UCL’s Faculty of Arts and Humanities. With a background in Classical Art History, English Literature, and Computing Science, her doctorate (Engineering, University of Oxford) examined how to use advanced information engineering technologies to interpret and read Roman texts. Publications include “Image to Interpretation: Intelligent Systems to Aid Historians in the Reading of the Vindolanda Texts” (2006, Oxford University Press) and “Digital Images for the Information Professional” (2008, Ashgate) and she has co-edited various volumes such as “Digital Humanities in Practice” (Facet 2012) and “Defining Digital Humanities: A Reader” (Ashgate 2013). She is currently serving on the Board of Curators of the University of Oxford Libraries, and the Board of the National Library of Scotland. Her research focuses on the use of computational techniques to enable research in the arts and humanities that would otherwise be impossible. You can generally find her on twitter @melissaterras.