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.
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, Educator 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.