“In anticipation of MuseumNext’s Digital Collections Summit next week (4-6 October) we caught up with Erine Cecele Dunigan, Community Manager for Quire, an open-source digital publishing tool developed by Getty.
Erin will be giving a talk on Wednesday 6 October entitled, Open Access: Getty’s Approach to Digital Collection Catalogues….
Quire is a modern digital publishing tool developed by Getty. It’s ideal for creating dynamic publications in a variety of formats, including web, print, and e-book. In addition to being optimised for scholarly and visually rich publishing, Quire books are designed for longevity, sustainability, and discoverability.
Getty originally conceived Quire as a solution to its open access publishing needs, but the tool quickly gained the attention of other organisations within the fields of digital humanities, arts, and academia. While access is currently available for free upon request, we will be launching as a fully open-source publishing tool by Spring 2022. Open-sourcing Quire will enable others to leverage the work Getty has done to create, customise, and distribute critical digital scholarship online, at a low cost, and with little ongoing maintenance….”
“With the demise of traditional gatekeepers, we are witnessing the rapid rise of alternative modes of both scholarly publishing and distribution as well as the artistic exhibition of computer generated works of art in digital environments.
The maturation of open access and collaborative platforms are in fact blurring the distinctions between publishing as a significant force of cultural activity in both contemporary art and leading-edge academic venues.
In this context, the symposium will question the current corporatized systems of academic publishing and the commercial-driven art museum and upmarket gallery systems, as well as serve as a forum to interrogate new models of collective action for collaborating on, creating and sharing scholarship and art. Following the symposium will be a “Clinic for Open Source Arts,” for a conversation about open source digital tools for creativity….”
“At Europeana we work with thousands of European archives, libraries and museums to share cultural heritage for enjoyment, education and research.
Europeana Collections provides access to over 50 million digitised items – books, music, artworks and more – with sophisticated search and filter tools to help you find what you’re looking for.
Our dedicated thematic collections on art, fashion, music, photography and World War I contain galleries, blogs and exhibitions to inform and inspire.
To find out how cultural material gets from Europe’s institutions into Europeana, and the activities and challenges we’re working on right now, you can go behind the scenes on our sister site, Europeana Pro …”
“Europeana works with thousands of European archives, libraries and museums to share cultural heritage for enjoyment, education and research.
This website gives you access to millions of books, music, artworks and more – with sophisticated search and filter tools to help you find what you’re looking for. Register for a Europeana account today so that you can save liked items and create your own galleries.
Our online exhibitions, galleries and blogs aim to inform and inspire. Sign up to our monthly newsletter so you never miss out on our editorial highlights and latest news.
To find out about Europeana’s technical infrastructure, and how Europeana empowers the cultural heritage sector in its digital transformation, visit our sister site for professionals, Europeana Pro. …”
Openess and digitalisation provide museums with new experiences in reaching a new audience. In Norway and Sweden, they are using and reusing open source in the daily production. Access to the museums’ APIs as open source are available by need from other cultural actors. Meanwhile open data are by default.
“The Hesburgh Libraries and the Snite Museum of Art at the University of Notre Dame have launched Marble (Museum, Archives, Rare Books and Libraries Exploration) — an online teaching and research platform designed to make distinctive cultural heritage collections from across the University accessible through a single portal.
The development of Marble was made possible, in part, by a three-and-one-half-year grant from The Andrew W. Mellon Foundation to create an open-access, unified software solution that would enable universities to access museum and library holdings through a single online platform….
The code for the Marble project was developed and will be maintained by the Hesburgh Libraries development team. The platform code is openly licensed under an Apache 2.0 license and available on GitHub. Project documentation, technical diagrams, collaborative processes and best practices are published on the Open Science Framework….”
From Google’s English: “In addition to a printed version, The Rijksmuseum Bulletin now also appears as a free digital magazine in Open Access. The peer-reviewed scientific journal of the Rijksmuseum, in which historical and art-historical research about the collection is presented, will thus be freely available online to everyone. All editions of the magazine from 2012 are currently online. Later this year, the archive will be expanded to include the first issue in 1953….”
“The National Science Foundation has awarded iDigBio nearly $20 million to continue its mission of digitizing natural history collections nationwide, making them available online to researchers, educators and community scientists around the world.
For the past decade, iDigBio, a collaborative program based at the Florida Museum of Natural History at the University of Florida, has led the push to digitize the estimated 1 billion biological specimens held in U.S. museums. These online records of animals, plants and other organisms serve as a searchable archive of life and help researchers identify species in danger of extinction, track the spread of invaders, study how climate change is reshaping ecosystems and possibly predict the next pandemic.
Thanks to iDigBio’s coordination, training and community-building efforts, about 40% of specimens in U.S. collections are now represented in the program’s portal, comprising one of the largest virtual collections of Earth’s biodiversity and contributing to more than 2,000 studies so far….”
“In this session, Bernadine Brocker Wieder holds a roundtable discussion on how to keep digital public access to works removed from museum collections. Bernadine proposes two methods for discussion on how digital technology can ensure that works are publicly available even after the gavel comes down at an auction. …”
“Offering a steady platform for these whimsical imageries is The Heritage Lab (THL), a digital media foundation for cultural heritage enthusiasts.
Following the art world’s digital shift in the pandemic, THL has come to increasingly rely on the gifts of pop culture – GIFs, memes, stickers, jigsaw puzzles – and fuse these with images of Open Access Indian artworks (CC0/Creative Commons Zero designation) that exist in public domain for unrestricted use. …
Under its Open Access awareness programmes, THL has two ongoing initiatives – ‘GIF IT UP’ that allows viewers to turn 13 artworks from Delhi Art Gallery (DAG) museums into GIFs, and ‘Indian Art Meme Maker’ with 30+ artworks from Cleveland Museum of Art, Smithsonian, Metropolitan Museum of Art (Met), and more, ready to meme. Its website (theheritagelab.in) even provides the designing tools and images to create your own artwork….”
“One of the world’s most massive museums has announced an encompassing digitization of its vast collection.
“The Louvre is dusting off its treasures, even the least-known,” said Jean-Luc Martinez, President-Director of the Musée du Louvre, in a statement on Friday. “For the first time, anyone can access the entire collection of works from a computer or smartphone for free, whether they are on display in the museum, on loan, even long-term, or in storage.”
Some of this is hyperbole. The entire collection is so huge, no one even knows how big it is. The Louvre’s official release estimates about 482,000 works have been digitized in its collections database, representing about three quarters of the entire archive. (The museum’s recently revamped homepage is designed for more casual visitors, especially those on cellphones, with translations in Spanish, English and Chinese.) …”
“The database for the Louvre’s collections consists of entries for more than 480,000 works of art that are part of the national collections and registered in the inventories of the museum’s eight curatorial departments (Near Eastern Antiquities; Egyptian Antiquities; Greek, Etruscan and Roman Antiquities; Islamic Art; Paintings; Medieval, Renaissance and Modern Sculpture; Prints and Drawings; Medieval, Renaissance and Modern Decorative Arts), those of the History of the Louvre department, or the inventories of the Musée National Eugène-Delacroix, administratively attached to the Louvre since 2004.
The Collections database also includes so-called ‘MNR’ works (Musées Nationaux Récupération, or National Museums Recovery), recovered after WWII, retrieved by the Office des Biens et Intérêts Privés and pending return to the legitimate owners. A list of all MNR works conserved at the Musée du Louvre is available in a dedicated album and may also be consulted in the French Ministry of Culture’s Rose Valland database.
Lastly, the Louvre Collections database includes information on works on long-term loan from other French or foreign institutions such as the Bibliothèque Nationale de France, the Musée des Arts Décoratifs, the Petit Palais, the Fonds National d’Art Contemporain, the British Museum and the archaeological museum of Heraklion. …”
“As part of a major revamp of its online presence, the world’s most-visited museum has created a new database of 482,000 items at collections.louvre.fr with more than three-quarters already labelled with information and pictures.
It comes after a year of pandemic-related shutdowns that has seen an explosion in visits to its main website, louvre.fr, which has also been given a major makeover….
The new database includes not only items on public display in the museum but also those in storage, including at its new state-of-the-art facility at Lievin in northern France….
Education was already moving online, when covid19 hit; now learners, K-12 to grad school and beyond seek and find knowledge virtually and voraciously, even outside formal schooling. Meanwhile, museum educators open treasuries of educational digital cultural objects to locked-down publics. OER OpenGLAM promises to free knowledge. Openness counters copyright and paywalls, but it can re-entrench cultural appropriation and omissions. Not “neutral,” metadata reproduces particular cultural perspectives and biases. A digital crossroads arises: the colonial legacies of museum collections and academic canons get reproduced in OER–unless interrupted. What is the pedagogical and methodological potential of metadata, for tracing and transcending the plunder and empire embodied in digital cultural heritage objects’ journeys? These encounters teach critical analysis, agency, anticolonial dreaming, indigenous data sovereignty. We invite educators to think through descriptive metadata and geographic taxonomy as useful platforms for recovering, reclaiming, layering, and liberating cultural knowledges and diverse ontologies.