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. Many employees at GLAM institutions quickly feel out of their depth when asked to mark their digital content as freely re-usable for Wikimedia and other projects. Therefore Wikimedia Deutschland and the Deutsche Digitale Bibliothek have developed a fun training program for employees of GLAM institutions.
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.
Helene Hahn, Open Knowledge Foundation Deutschland e.V.
Philipp Geisler, Project Manager Coding da Vinci Nord 2016
What does it take to organize an attractive hackathon based on open cultural data (except money)? What do participants expect from GLAM institutions to provide for them? What kind of skills do cultural institutions need to process data and use related technologies? How do you create a lasting relationship between “hackers” and institutions to mutual benefit? And what can we do better in the future?
Organizers as well as participants, both hackers and institutions, of Coding da Vinci Nord 2016, last year’s cultural hackathon in Hamburg, share their learnings from their individual perspectives and answer your very own questions regarding cultural hackathons and their fundamental constituent, the data.
This conversation shall lay the ground work for a collaborative handbook to be developed and continuously refined in open source on GitHub. Ultimately targeted at GLAM professionals but informed and shaped by direct input of their audience, it shall give specific advice on how to approach public events working with cultural data, from the right way to provide your data to how to build lasting relationships with a diverse community.
Douglas McCarthy, Art & Photography Collections Manager, Europeana
Friederike Fankhänel, Education of Art and Design, Museum für Kunst und Gewerbe Hamburg
How do art educators find and use digitised collections to create teaching materials? In what ways do museum licensing policies affect – and limit – educational reuse?
Using fresh, real-world examples from the development of MKG’s Art Nouveau web journal, and Europeana’s Art Nouveau season, Friederike and Douglas will explore these questions from the perspectives of the art educator, the museum licensor and the audience. Workshop participants will be encouraged to share their experiences and discuss how open licensing can give museum collections greater impact in this area.
Mar Dixon, Cultural and Social Entrepreneur, United Kingdom
Mar Dixon is a well-known social media museum activist, always creating new ways to connect museums to visitors via social media. With a little bit of Search Engine Optimization (but not much!), you will learn how to use social media in the best way for you during the workshop based on #MuseumSelfie, #MuseumWeek, #AskACurator and #LoveTheater’s examples.
Immersed in culture, Mar Dixon has fingers in many pies from the acclaimed #MuseumSelfie still dominating twitter, to the UK MuseoMix, CultureThemes and Museum Camp projects. Mar is an audience development and social media specialist.
Georg Hohmann, Head of Deutsches Museum Digital, Deutsches Museum, München
Gertraud Koch, Professor of Cultural Anthropology, University of Hamburg
Mareike Schumacher, eFoto project, University of Hamburg
This workshop will focus on the challenges of economization in digital projects and will give insights from different institutional perspectives.
Nicole Graf, Head of the Image Archive of the ETH library in Zurich
Following the successful crowdsourcing project involving Swissair retirees (2009-2013), ETH-Bibliothek installed a generally accessible comments function on its image database at the end of 2015. By January 2017, around 750 different volunteers (90 per cent men) were involved in crowdsourcing and almost 11,500 images have been improved or even identified for the first time. The workshop will give an insight on the key factors for a successful crowdsourcing campaign and introduce the tools how to get to know more about your crowd’s motivation and their background.
Karin Glasemann, Digital Coordinator, Nationalmuseum Sweden
Antje Theise, Rare Book Librarian, Staats- und Universitätsbibliothek Hamburg
The workshop focusses on:
– How to reach a decision in favor of Open Access.
When the Nationalmuseum started publishing its collections on Europeana, it did so with a restricted license. What happened, which discussions were necessary to change that policy? What can you learn from our experience?
– How do you start being open without a lot of money?
An argument brought up mostly against changing access policies is the high upfront costs for changing infrastructure and presentation of data. We will show how you team up with powerful collaborators like Europeana and Wikimedia/Wikidata in order to open up your material and to boost the internal development
– Benefits of Open Access
Even small steps can return great results! Our pilot has been proven right by the extremely positive feedback, but also by a lot of innovative engagement with our collections without us being able to invest a lot of time in these activities.
We will give input through our experiences but want to discuss all challenges employees can face when trying to change their institutions policy. We want the participants to go home not only with a set of arguments for promoting open access in their home institution, but with a clear picture of where and with what kind of pilot they could start right after the conference.
Sharing is Caring: How Starting Small Can Change the (Museum) World
Sharing is Caring started small, as a seminar to present a Danish museum pilot project dealing with free image sharing of public domain collections to a wider circle of peers than the few who would read the project report. But the idea behind it was big and bold from the beginning: To share digitised cultural heritage is a palpable way to care about it. When cultural heritage is open, people are free to participate in defining and shaping how to use it. It becomes part of their everyday life, like tools in their hands. In that sense, by opening up and sharing cultural heritage, we safeguard its relevance and value. Since the small beginnings in 2011, the openness movement has grown and spread across the cultural heritage sector and rendered Sharing is Caring more relevant than ever. Today, it’s evident that our job is not done with creating access to our digitised collections. Our societal role is changing into that of facilitators, helping people understand that cultural heritage belongs to everyone, and how they can use it for their own creativity and learning.
Merete Sanderhoff is Curator and Senior Advisor at Statens Museum for Kunst where she is working with open access and creative re-use strategies for the museum’s digitised collections. She initiated the international Sharing is Caring conferences, and has published substantial research in the area of digital museum practice. Merete also serves on the Europeana Association Management Board and Members Council.