Day 1 – Monday 7 December Track 1: Lose your modesty!
Using Technology to Curate the Exhibitions of the Future
As CEO of Vastari, Bernadine Bröcker has been connecting private collectors of art with museum curators for exhibition loans and exhibition tours using technology.
A founding member of Trinity House gallery on Maddox Street, with experience at Traffic Creative Management and Ralph Applebaum Associates in New York. Master’s degree from University of Glasgow and a Bachelor’s Degree from Parsons School of Design in New York.
“Technology is the key for museums and cultural institutions to collaborate with private collectors and corporates for their exhibitions.”
How can museums make use of technology to bridge the divide with the private sector? According to the Code of Ethics for museums, there is a limitation to the amount of benefit museums can give private enterprise. And, for example, they cannot assist in increasing the values of works of art in private hands. But working with the private sector is a necessary evil in order to put on temporary exhibitions to attract audiences. As a result, museums resort to very secretive tactics and behind-closed-doors deals for sponsorship, touring exhibitions and partnerships, which are less good for the industry as a whole.
Open it up! Technology can allow museums to collaborate with the private industry and other partners within parameters, thus ensuring the code of ethics is upheld. Isn’t this openness more in line with the code anyway, compared to the closed-door deals currently occuring? At Vastari, we have been trying to achieve this for the past 3,5 years and we would love to share the possibilities with the attendees to DISH.
The future’s all mine!
Hege van Dijke & Steven Claeyssens
Hege van Dijke works at LIBER Europe. She previously worked in communications at the Martens Centre, a think tank in Brussels, and at the Committee of the Regions, an institution of the European Union. She also worked at the University of Amsterdam, the University of Hamburg and the Dutch Public Broadcasting Company (NPO). She holds a Masters degree in Political Communication from the University of Amsterdam.
“Open science is just step one, step two is even more exciting: open text and data mining!”
Steven Claeyssens studied Germanic Philology (Ghent University) and Book and Publishing Studies (Leiden University) and obtained his PhD from Leiden University (history of publishing). Today he is Data Services Coordinator at the Koninklijke Bibliotheek, National Library of the Netherlands.
“The revolution is not that we can now read an e-book. The real revolution is that we are finally learning how to read a million books.”
What good can come from freeing up access to heritage data? The exciting thing is, we don’t even know the half of it! Text and data mining (TDM) is the process of deriving new information from vast quantities of machine readable materials (facts, data and ideas). TDM technology can trawl this existing data to finding new patterns, new correlations, new insights into information we already have but just aren’t humanly able to consum e in the same space of time. It could help to solve some of society’s grand challenges and has the potential for huge returns, with estimates that it could add more than €5.3billion to the EU research budget.
So why aren’t we doing more of it? In Europe, TDM is far less prevalent than in other regions, notably the US and Asia. Because of this, the European Commission is currently funding two projects to look into removing barriers to TDM. OpenMinTed and FutureTDM will run for two years. The projects focus strongly on better access to TDM and hearing from stakeholders. Do you want to know about TDM and how it can facilitate new discoveries? Have you reservations about the technology? Are you interested in finding out more about stakeholder engagement? Come along to hear about TDM, its application in the heritage sector (case study by Steven Claeyssens, Koninklijke Bibliotheek) and take part in the interactive workshop. Your opinions matter to these projects and your feedback will be absorbed!
NODEM workshop pt 1
Halina Gottlieb & Marco de Niet
CEO at Digital Heritage Center Sweden AB. Dr. Halina Gottlieb is the founding director of NODEM (Nordic Digital Excellence in Museums), co-founder of the DIHA (Digital Intangible Heritage in Asia) interdisciplinary research cluster established within Nanyang Technological University, Singapore, and the CEO of Digital Heritage Center Sweden AB, a spin-off from the Interactive Institute/Vision for Museums. She is also the coordinator of Knowledge Triangle International, a project initiated and supported by the Nordic Council of Ministers.
As an art historian, digital curator and knowledge transfer facilitator, Dr. Gottlieb has concentrated her efforts on promoting a fruitful and effervescent exchange of knowledge, practices and skills across fields of research related to digital heritage issues, as well as cross relevant sectors, including academia, ICT and creative industries. In this regard, Dr. Gottlieb established and conducted cross-disciplinary networks (Culture KICK, The Nordic Knowledge Triangle), created publications for transferring know-how from research to practice (know-how books series) and developed an online platform for archiving and networking (NODEM Digital Repository, repo.nodem.org).
Marco de Niet is the director of The DEN Foundation. Amongst other things, his work focusses on policy development in the field of digital heritage and collaboration in an international context. Marco is a member of the Council for Dutch Language and Literature (the advisory board of the Dutch Language Union) and a board member of the Dutch Museum Register. Prior to his work at DEN, he worked at the National Library as Head of Innovative Projects, where he contributed to the creation of both The European Library and Europeana.
This workshop will be an interactive session of 1 hour, in which we discuss with the participants what their needs are for collaborative support in order to make a stronger case for their (shared) digital services and other digital activities. If institutions are becoming more and more digitally mature, and are better able to position themselves in the digital shift that is taking place, is there still a need for support by dedicated supporting institutions? Support can have many faces: creating opportunities for knowledge exchange, providing training and guidance, building bridges to other domains, coördinating research, lobbying, etc. Are there specific support actions that cannot be established by (project based) collaborations among cultural heritage institutions themselves? And if so, what are they?
In the workshop we will look at support from three levels: the need for support from the perspective of a single organisation, support at the national level and support at the international/European level. The aim is to create an overview of support actions that should get priority in the next 5 years.
From Digitisation to Preservation, Creative Re-use of Cultural Content and Citizen Participation
Lizzy Komen, Neil Forbes & Fred Truyen & Bart Bonnevalle
Lizzy Komen is working as a project manager at the Netherlands Institute for Sound and Vision R&D Department. Digital AV culture, users and research are at the heart of the activities she is involved in. She is mainly working on externally (FP7, ICT-PSP, H2020) funded research projects that focus on providing access to digital heritage and the creative re-use of these materials through projects like Europeana Creative and Europeana Space. Besides EU projects she’s also involved in the Dutch Digital Humanities research infrastructure project CLARIAH, the recently launched Sound and Vision Labs platform and innovative projects using new technologies such as 3D/VR. Komen holds an MA in Cultural Studies from the University of Amsterdam.
“Science and technology revolutionize our lives, but memory, tradition and myth frame our response. – Arthur M. Schlesinger
Neil Forbes is Professor of International History at Coventry University. His research interests and publications lie in the following fields: the impact of the World Wars on Britain and Europe, especially in relation to conflict heritage, contested landscapes and the memorialisation of war; creative archiving and cultural heritage; the processes of financial stabilisation in Europe after the First World War; Anglo-American relations and the rise of the Third Reich; the interaction of foreign policy formulation and diplomacy with the business practices of multinational enterprise during the interwar years. Professor Forbes has played a leading role in a number of major UK and EU research projects.
“The recalibration of relationships between institutions and people is of key importance in working towards an integrated approach to enjoying the benefits of cultural heritage in a changing world.”
Prof. dr. Frederik Truyen (°1961) is professor at the Faculty of Arts, Leuven University (KU Leuven). He publishes on E-Learning, ICT Education, Digitisation of Cultural Heritage and Epistemology. Head of ICT Services at the Faculty of Arts. In charge of CS Digital, the mediaLab of the Institute for Cultural Studies. He teaches Information Science at the BA and Online Publishing at the MA level. Active on ICT at several levels of the University, mostly related to Web technology and E-Learning. Fred Truyen is a member of the Open Education Consortium, was involved in many projects on Open Educational Resources, such as Net-CU, OCW EU and LACE, and on projects in digitization of Cultural Heritage, such as RICH, EuropeanaPhotography, Europeana Space and CIVIC Epistemologies. Fred Truyen is currently programme director of the MA in Cultural Studies. Fred Truyen is technical editor of the peer reviewed journal Image & Narrative and president of Photoconsortium, a membership organisation to promote photographic heritage. Personal blog: http://fredtruyen.com
“The move from analog to digital brings new meanings, new interpretations, and yields a genuine, dynamic cultural heritage that redefines the past in a creative dialogue.”
Bart Bonnevalle is Business Development Manager at Noterik. He is a sales professional with 10+ years experience in diverse markets (ICT, strategic conferences, professional services) with a solid track record of closing deals. Energized by working in a dynamic international environment. Customer–focused, persevering, and with strong interpersonal skills. Passionate about working on complex products and services.
The impressive amount of digitized cultural heritage (DCH) in Europe has great potential of impact, by making cultural heritage more accessible and by generating benefits to the content owners. It’s important to assess the sociological impact and the context of change brought in by digitization and digital technologies: how DCH participate in the community-building processes and social cohesion of the “new” European society? How can DCH help cultural institutions to renew and be closer to the society and the education sector? And how can DCH be re-used to unlock its business potential fostering economic growth? Crucially, generating new employment and economic rewards by leveraging on DCH needs the development of strategic alliances between sectors and actors which are not used to work together. Further, digitization has been so far a matter mainly for archives and memory institutions, but cultural heritage is also in the hands of private citizens (e.g. early photography). It is needed a more participative approach so that smaller archives, individuals, collectors have the possibility to access digitization facilities, training and services. This can pave the way for EU citizens to play a co-creative role and participate in the research on cultural heritage and digital humanities. Next to that, we see examples of how the accelerating pace of IT developments and its usage by ordinary people is going far beyond society’s ability to make sense (and make sensible decisions) of what is ‘right’ and what is ‘wrong’ within the context of existing legal and moral codes. This session is the occasion for sharing knowledge and best practices in order to provide some answers to the pressing questions related to DCH and technologies. Cultural managers, ICT experts, researchers, and EU projects re warmly invited to attend, for cross-dissemination and networking.
The Secrets of Our Success! Ten Tips to Stand Up for Yourself and Improve Digital Projects in Your Organizations
Lizzy Jongma & Trineke Kamerling
Lizzy Jongma is Datamanager at the Rijksmuseum and Councillor for Europeana. She studied History at the University of Nijmegen (Netherlands) and specialized in digitization, automation of structured metadata and online presentation of Cultural Heritage. At the Rijksmuseum she works on sharing, structuring and linking digital collection information: the Rijksmuseum website and the Rijksmuseum API. Recent projects are Accurator, the niche source annotation tool, the Paint Sample Database and Barcodes & RFID for the Rijks Collection. Lizzy Jongma is an Open Data advocate and speaks frequently about the importance of Being Open (for Cultural hertitage Institutions).
Trineke Kamerling is Information Specialist at the Rijksmuseum.
After studying Art History at Utrecht University, she worked as a Registrar and Data curator at the Fries Museum in Leeuwarden. Since two years, she has worked at the Collection Information Department of the Rijksmuseum as an Information Specialist. In her work she combines Art History, Cultural Heritage with Information Management. She is responsible for the analog and digital information and documentation on the museum’s collection.
The Rijksmuseum Amsterdam is currently recognized as a digital advanced, innovative museum: in 2011 the museum was one of the first to launch an API and to share the digital collections under a CCO/Public Domain License. In 2012 the museum introduced its new website with the popular Rijksstudio section where users can select and collect objects and even upload own creations. The Rijksmuseum is digitizing the entire collection and hopes to have every object online by 2020, with images in high resolution and high quality metadata.
Even though the Rijksmuseum is a big, state supported institute, the museum hasn’t always been in the digital forefront. With trial and error we had to find out how to incorporate new techniques and new online users, how to implement new media and incorporate it in strategies, products and last but not least in the mindset of the staff. All these ambitions had to be financed, and the biggest challenge of all was to find the money to digitize the collections.
In this workshop we will discuss Ten Tips that work for the Rijksmuseum and we will use good old SWOT techniques to help participants analyze how these tips will help their institutes to improve its digital existence.