Luennoitsijat
Lizzy Jongma
Lizzy Jongma (1970) is datamanager at the Rijksmuseum Amsterdam. She studied History at the University of Nijmegen (Netherlands) and specialized in digitization and online presentation of Cultural Heritage. Lizzy has worked as developer, adviser and projectleader in this field since 1998. She currently works on sharing, structuring and linking digital information:
- the Rijksmuseum API (Open data), Rijksstudio (online collection)
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Annotation Tool (connecting structured metadata) and
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Accurator (niche source project).
Abstract: The Art of being Open
Ten years ago the Rijksmuseum (Amsterdam) had to close its doors to the public for extensive renovation of its monumental building. The renovation took much longer than expected and only a small selection of Art from the Dutch Golden Age has been on display. An entire generation grew up without direct access to most of the Dutch national treasures.
To show and share its art and knowledge the Rijksmuseum digitizes its collections in high resolution and shares its images and metadata as freely as possible. At this moment 250 000 object descriptions and 125 000 images (fully color managed, 300 dpi) are on display and downloadable at the website of the Rijksmuseum and available for app builders with the Rijksmuseum API (under Public Domain, CC0 license). Metadata and images are shared freely for reuse with the Rijksmuseum audiences, with artists that create new work, and with other websites like Wikimedia Nederland, Europeana, Kennisnet (national education network) and specialized websites.
Lizzy Jongma, data manager at the Rijksmuseum, will present the Rijksmuseum experiences with Open Data and results of the Rijksmuseum Open Data strategies. The vision of the museum, the difficulties and practicalities and the results – the rewards – of opening the collections for free reuse. For instance: the avarage page visit at the Rijksmuseum website is now 14 minutes and 20+ apps were built with our open data.
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Maarten Brinkerink
Maarten Brinkerink (1983) holds a Master’s degree in New Media and Digital Culture, and works at the Netherlands Institute for Sound and Vision R&D department as a project manager. He studied at the University of Utrecht and specializes in providing meaningful access to cultural content using new media. At Sound and Vision he manages innovative projects like:
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Open Images (an open media platform)
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Oorlogsmonumenten in Beeld (a location-based iPhone app that enriches war monuments with audiovisual heritage) and
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Waisda? (a multiple award winning crowdsourcing game for collecting metadata for audiovisual content).
- Open Culture Data
Abstract: Open Culture Data – Opening GLAM Data Bottom-up
Open data is an increasingly popular form of publishing information on the internet as new modes of discovery, collaboration, and knowledge creation [are gaining power]. Open data is data that can be accessed, distributed and reused by everyone, even for commercial purposes, without the need of explicitly asking the rights holder(s) for permission. Many (semi)governmental organizations are openly publishing parts of their data and the topic is on the European Digital Agenda. However, the majority of cultural institutions have yet to pick up this new form of transparency and public access. Also, although measuring online success is gaining ground in the GLAM sector, specific tools for measuring the effects of opening up data are far and few between. Therefore, Open Culture Data is researching the following two-part question: "How can we measure the effects of opening up data by cultural heritage institutions, and consequently, what are these effects?"
The Dutch Heritage Innovators Network and Hack de Overheid saw an opportunity to promote open data in the cultural sector and started the bottom-up initiative Open Culture Data in 2011. Early 2012, the initiative was adopted by the digitization project Images for the Future and Creative Commons Netherlands. A masterclass gathered seventeen Dutch cultural institutions and guided representatives through the process of opening datasets. So far, Open Culture Data helped make 35 datasets available under open licenses, altogether containing hundreds of thousands of records. Over 40 apps have been made based on these datasets. As a result the initiative curated a network of tech-savvy cultural professionals and developers that has made Open Culture Data into a mature distribution channel for cultural institutions.
Maarten Brinkerink, project manager at the Netherlands Institute for Sound and Vision and one of the initiators of the Open Culture Data initiative, will present the experience with and results of open data in the culture heritage domain that resulted from the Open Culture Data initiative. He will further illustrate this by zooming in on a specific case, the open content media platform Open Images, a project from his own institution.
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Sanna Marttila
Sanna Marttila (FM kirjallisuus, MA New Media) on digitaalisen median suunnittelija ja tutkija. Hän työskentelee Aalto-yliopiston Taiteiden ja suunnittelun korkeakoulussa projektijohtajana. Vuodesta 2006 hän on johtanut kansallisia ja kansainvälisiä tutkimus- ja kehitysprojekteja Arki-tutkimusryhmässä.
Sanna valmistelee väitöskirjaansa Aalto-yliopiston Median laitokselle aiheenaan avoimen kulttuurin muotoilu (työnimi: Design for Open Cultural Commons). Hänen kiinnostuksensa kohteena ovat avoin ja yhteisöllinen suunnittelu ja miten mahdollistaa digitaalisten arkistojen ja kokoelmien luova uudelleenkäyttö. Hän on toiminut ja toimii useissa eri kansainvälisissä ja kansallisissa verkostoissa, mm. Creative Commons, Open Knowledge Foundation Suomi ja COMMUNIA. Tänä vuonna Sanna aloitti Suomessa Open GLAM (Galleries, Libraries, Archives, Museums) toiminnan Avoin GLAM -hankkeessa.
Lue myös Sanna Marttilan artikkeli Oikeus avoimeen kulttuuriin.
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Fredrik Svanberg
Fredrik Svanberg is head of research at the National Historical Museums in Sweden and an associate professor in archaeology. He has done research on the Viking Age, postcolonial perspectives and lately on museums, collecting and diversity. Fredrik is currently working with several projects on how to develop diversity perspectives in Swedish museums. He is the author of Decolonizing the Viking Age (2003), Museer och samlande (2009) and the editor of The Museum as Forum and Actor (2010) and Forskning vid museer (2011).
Abstract: Museum collecting as infrastructure for social diversity and inclusion
Museum collecting is characterized by selection, classification and subsequent communication of that which has been selectively chosen. Those selected parts of the material world that gets into museums becomes infrastructures for the making of collective cultures that museums achieve in modern societies. As we know from recent museological studies, collections and collection information have generally been narrowly selective and based on old perspectives on society.
So how can museum collections and collecting be updated, taking guidance from recent perspectives on social diversity regarding class, gender, ethnicity, religion, and so on? How can museum collecting become a tool for the development of museums roles in society?
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Juha-Heikki Tihinen
FT Juha-Heikki Tihinen on helsinkiläinen taidehistorioitsija, joka työskentelee Pro Artibuksessa kuraattorina. Tihinen on väitellyt Magnus Enckellin taiteesta Helsingin yliopistossa 2008 ja hän on toiminut tutkijana, kirjoittajana, opettajana ja kuraattorina. Hän sai E.J. Vehmas -palkinnon 2008 tunnustuksena toiminnastaan kuvataidekriitikkona.
Abstract: Public Collections or How to Diagnose Past?
We are often tempted to see private collections to be about personal taste and likings. People usually collect art-pieces which they think to be important or which they like. In the later case we usually are used to think how a private-collection can also express different desires, e.g. it can express socially prohibited desires e.g. queer desires in a homophobic society.
But how to create queer readings to a public collection which has been formed in a very complex way and in a relatively long period of time? Should we concentrate to the desires of an individual collectors, artists or visitors or can we say something about the collective and its ideas about identities and desires?
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