“The Hill Museum & Manuscript Library (HMML) at Saint John’s University has developed a new database to support and enhance the study of understudied manuscript traditions. Created as part a grant from the National Endowment for the Humanities (NEH), HMML Authority File is an open-access database which establishes accurate and consistent data (“authorities”) for the names of persons, places, works, organizations, and families related to the manuscripts and artwork in HMML Reading Room and HMML Museum, which provide free access to the collections of more than 800 libraries worldwide.”
“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….”
“Imagine if all creators had to wait for a copyrighted work to be in the public domain before they quoted that work? Or if users always had to seek permission, and that permission could be denied with no recourse? Copyright law’s fair use doctrine provides flexibility in the copyright system, allowing use of copyrighted materials during the copyright term without permission from the copyright owner.
The famous fair use four factors outline the ambit of this right, but there is still uncertainty about how to apply the factors in practice. This uncertainty often leaves cultural institutions with policies that are either overly restrictive, limiting patron services and discouraging new creations, or overly permissive, potentially subjecting the organization to liability.
This class aims to dispel the myths surrounding fair use and empower, enhance, and increase attendees’ confidence when handling the wide array of fair use focused questions and policies….”
“In this context, the Europeana Foundation, Network Association and Aggregators’ Forum, collectively representing the Europeana Initiative, strongly support a rights-based, people-centred approach to the concept of digital citizenship and the development of principles that promote a more equitable and democratic digital environment in which
basic liberties and rights are protected online,
sovereignty of data is protected,
public institutions are empowered to function in the public interest, and
people are able to participate more fully in the creation, functioning and potential of their digital environment. …
The Europeana Initiative recognises the relevance and importance of these principles through its work with the cultural heritage sector, and we believe that we have useful insights to share on them. However we believe that a fundamental principle is missing – that of universal access to cultural heritage online. …
Europeana’s focus is on supporting the cultural heritage sector in its digital transformation because access to cultural heritage is vital to humankind – to our knowledge and understanding of who we are, where we’ve come from and what we can become. Democratising access to cultural heritage online, in ways that support inclusivity, innovation, creativity, education and knowledge sharing, is at the heart of Europeana’s purpose….
We work with Europe’s cultural heritage institutions to ensure that digital cultural heritage is shared in formats and of a quality which allows use and reuse by researchers and educators, creatives and innovators, and all citizens. Our work promotes the use of digital technology that makes cultural heritage online accessible, traceable and trustworthy, which in turn means people can explore it, use it, be inspired by it and learn from it with confidence. It contributes to an open, knowledgeable and creative society….”
“Web accessibility and user experience are important for centering those who want to learn, research, and teach with digital and digitized cultural heritage. In 2018, the University of Oregon was awarded an Andrew W. Mellon Foundation grant to experiment and build collaboration capacity for how GLAM assets could be used in innovation ways for research.
Digital GLAM Spaces is a conference about building community around web accessibility and user experience. It’s a place for GLAM practitioners to share definitions and best practices for what is UX and accessibility; communicate digital strategies for incorporating user research into digital projects; and talk about the people, skillsets, and support needed to be better and make web accessibility and user experience part of our work instead of bolted on….”
Abstract: The LYRASIS open source software (OSS) survey was conducted in spring 2021 as a mechanism to better understand how institutions interact with and support OSS programs. For the purposes of the survey, OSS programs were defined as community-based programs specifically designed for GLAM institutions, such as FOLIO, ArchivesSpace (a LYRASIS supported community), and Omeka. This report provides institutions with an opportunity to see where their efforts fall amongst the activities of their peers in three categories: funding/supporting OSS, justifying OSS, and evaluating OSS. The first section covers how/how much institutions contribute to OSS programs, either through financial contributions or staff time devoted to program contributions/governance. The second section focuses on how institutions justify investment in OSS programs. The final section covers the ways that GLAM institutions determine the qualifications for OSS, their evaluation tactics, and their decision-making about long term OSS maintenance.
“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.
“We are delighted to announce the launch of our call for proposals for Europeana 2021! Like last year, 70% of the conference programme will be open to professionals working in and around the cultural heritage sector to share expertise, knowledge and experience in varied sessions. Read on to find out about our call and how you can take part in one of the leading events of the year for those who work in, with and around digital cultural heritage in Europe….”
“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….”
“In October 2020 we released 17,000 images of maps and views from George III’s Topographical Collection on the images-sharing site Flickr Commons, which seems to have kept you busy.
Well, from today, you can find an additional 32,000 images, comprising George III’s collection of atlases and albums of views, plans, diagrams, reports and surveys, produced between 1550 and 1820. These have been uploaded to Flickr with a Public Domain attribution for you to search, browse, download, reuse, study and enjoy….”
“The event is an opportunity for GLAM professionals, community archivists, creators, developers, platforms, tool creators and content communities with any level of experience to learn, work, and create with one another for the benefit of Open Access to cultural heritage….”
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….”
Abstract: This paper aims to investigate the reciprocal relationship between VIAF® and Wikidata and their possible roles in the semantic web environment. It deals with their data, their approach, their domain, and their stakeholders, with particular attention to identification as a fundamental goal of Universal Bibliographic Control. After examining interrelationships among VIAF, Wikidata, libraries and other GLAM institutions, a double approach is used to compare VIAF and Wikidata: first, a quantitative analysis of VIAF and Wikidata data on personal entities, presented in eight tables; and second, a qualitative comparison of several general characteristics, such as purpose, scope, organizational and theoretical approach, data harvesting and management (shown in table 9). Quantitative data and qualitative comparison show that VIAF and Wikidata are quite different in their purpose, scope, organizational and theoretical approach, data harvesting, and management. The study highlights the reciprocal role of VIAF and Wikidata and its helpfulness in the worldwide bibliographical context and in the semantic web environment and outlines new perspectives for research and cooperation.