“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….”
Finding and Using the Good Stuff : Open Educational Practices for Developing Open Educational Resources by Christian Hilchey
part of book: Open Education and Second Language Learning and Teaching (Feb. 2021, De Gruyter)
Abstract: “Open educational resources (OER) are the concrete products of various open educational practices (OEP). As such, OER are typically more visible and better understood than OEP. Thus, the goal of this chapter is to make the hidden, tacit knowledge of OEP more apparent to L2 specialists who may wish to design their own OER. In particular, this chapter seeks to describe and demonstrate two OEP that are central to the development of OER: (1) how to find high-quality open content; and (2) how to adapt open content for the creation of user-generated materials. The chapter begins by demonstrating effective methods for finding rich and usable open media. This section summarizes the a ordances of different search engines and media repositories (e.g. Google, Flickr, Forvo, Pixabay, YouTube, Vimeo). Next, useful strategies for developing elements of a language curriculum based on openly licensed content are described. The chapter ends with a discussion of the pros and cons of technologies for the creation of OER content….
this chapter describes the various OEP that I learned through trial and error during the development of Reality Czech, an OER developed at the University of Texas at Austin under the auspices of the Center for Open Educational Resources and Language Learning (COERLL)….”
BCcampus is hosting an open education challenge series for educators interested in learning more about open education practices (OEP). This series is a fun way to get a taste of OEP – over the course of 5 days we will release 2 challenges per day. A challenge is a micro activity that you can do in 10 minutes or less that will cover a small aspect of open education.
“In 2016, we introduced Open Images, a collaborative release of ~9 million images annotated with image labels spanning thousands of object categories and bounding box annotations for 600 classes. Since then, we have made several updates, including the release of crowdsourced data to the Open Images Extended collection to improve diversity of object annotations. While the labels provided with these datasets were expansive, they did not focus on sensitive attributes for people, which are critically important for many machine learning (ML) fairness tasks, such as fairness evaluations and bias mitigation. In fact, finding datasets that include thorough labeling of such sensitive attributes is difficult, particularly in the domain of computer vision.
Today, we introduce the More Inclusive Annotations for People (MIAP) dataset in the Open Images Extended collection. The collection contains more complete bounding box annotations for the person class hierarchy in 100k images containing people. Each annotation is also labeled with fairness-related attributes, including perceived gender presentation and perceived age range. With the increasing focus on reducing unfair bias as part of responsible AI research, we hope these annotations will encourage researchers already leveraging Open Images to incorporate fairness analysis in their research….”
“The Fine Arts Library holds the noted curator’s research slides, documenting four decades of unparalleled access to public and private art collections from around the world….
The Fine Arts Library is currently in the process of digitizing, color-correcting, and cataloging this important collection, which is made available open access as it is completed. View the images currently cataloged. …”
“The photographs of Bernard Gotfryd, now free for anyone to use from the Library’s collections, are a remarkable resource of late 20th-century American pop-culture and political life, as he was a Newsweek staff photographer based in New York for three decades.
In his work, you’ll find film stars such as Dustin Hoffman on the set of “Midnight Cowboy,” novelists, painters, singers and songwriters, politicians at podiums and any number of passionate people at street protests. Gotfryd, who died in 2016 at the age of 92, left the bulk of his photographs to the Library and designated that his copyright should expire at his death….”
“Ten years ago the British Library and the Qatar Foundation for Education, Science and Community Development started exploring possible areas of collaboration. For some time the British Library had been working on an international engagement strategy to make our collections more accessible in partnership with other organisations.
Fast forward to 2021, and our partnership with the Qatar Foundation and Qatar National Library has gone from strength to strength, this week hitting the major milestone of making our two millionth image freely available online via the Qatar Digital Library.
Under the British Library’s Living Knowledge strategy we have sought new partnerships and collaborations, particularly when it comes to digitisation and digital scholarship. Our aim is to open up the collections to a global audience and the British Library Qatar Foundation Partnership is a prime example of this endeavour….”
“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….”
“The evolving quality and quantity of Earth observation data enables an ever-increasingly profound knowledge of the climate crisis, enhancing the efficacy of mitigation strategies as well as the management of risk and natural or human-made disasters. Access to satellite imagery offers a unique and game-changing advantage compared to data collected in situ: the capacity to build data sets with decades worth of observations while providing constant, up-to-date, and reliable information.
The environmental emergency, while having severe global effects, will not affect all states equally. Poorer, less developed countries are expected to face severe challenges directly related to climate change, and will experience the large majority of climate-induced human mobility, be it internally displaced people or climate migrants. Open Data policies promoting free and open access to Earth observation data and information are an important tool to guarantee access to satellite imagery to those states which do not yet possess the capabilities for independent access to space. This is especially true for data related to the causes and effects of climate emergencies, such as the Essential Climate Variables identified by the Global Climate Observing System. Open Data principles not only greatly enhance the mitigation strategies of less-developed countries, but would significantly further their risk and disaster management….”
“My principal job on site is to reconstruct fossils, and so I was tasked with putting together the DNH 155 skull. It took around a week to fully remove the skull fragments and all the sediment gluing the pieces together from their original resting place within the Drimolen Main Quarry. As each of the roughly 300 fragments were painstakingly removed, they were digitized with an Artec Space Spider, a professional handheld 3-D scanner. The scanner shoots patterns of light that distort based on the geography of the object it is hitting and bounce back to the scanner—like a bat using sonar, but in this case, light rather than sound is what’s bouncing back and forth. This technology was used to create high-resolution digital records of each piece of the cranium’s location within the sediment in case any pieces unexpectedly dislodged….
The first phase of reconstruction was completed by manually putting the pieces together. But, even after manual reconstruction, there were some elements of the cranium that couldn’t be placed because the contact point was too small, or a tiny part of the edges had been lost. In these cases, the Artec software was used to digitally situate the parts in relation to one another. Specifically, the face of DNH 155 cannot safely be attached to the rest of the cranium. This fusion was achieved digitally. Although it could have been glued, joining the pieces in this fashion would have been risky and would likely have caused permanent damage to the fossil. The published reconstruction of the DNH 155 cranium would not have been possible without 3-D technology, which would have been a huge blow to the ability of other researchers to assess the fossil in the future….
Reconstruction was only one part of the research program designed to reveal the secrets of this rare skull. Many of the researchers who work on fossils from South Africa are unable to travel to Johannesburg to work on the originals. This is especially true for researchers who are not based at wealthy institutions, and for cash-strapped students in general. It is for this reason that the Drimolen team have invested significant capital to digitize the DNH 155 cranium and most of the Drimolen fossil assemblage. As a Ph.D. student myself, I am particularly interested in the potential for high quality 3-D scanners such as the Space Spider to democratize research by allowing free and easy access to research-quality data. While permissions and access to such data are controlled by the University of the Witswatersrand (in the case of the Drimolen fossils) it is our ultimate intention to share our data with researchers, particularly early-career researchers, who are pursuing a topic related to the South African hominin fossils…..”
““Fragmentology” is a new approach to the visual gathering of such dispersed fragments in order to re-assemble the pieces of a codex. A digital platform is now available to apply collective energy into fitting the pieces of the puzzle back together again, which has an enormous potential for research. Fragmentarium is the name of a partnership of institutions gathered to develop the technologies needed to build “a common laboratory for fragments” and conduct research. It promises to yield digital versions from the original fragments, constituted from various holdings. This process will enable provenance research, the study of the circulation of manuscripts, and generate connections among researchers and curators. Thus a leaf holding comparable visual cues may be further investigated as a originating from the same or similar source. …”
“Once upon a time, examining pages from one of the Medieval manuscripts held by Penn Libraries’ Kislak Center for Special Collections, Rare Books, and Manuscripts would always require someone to make an appointment with a curator, travel to Philadelphia, and visit the Charles K. MacDonald Reading Room. While the experience of viewing a rare book or manuscript in person is still one of vital importance to researchers, this is not a trip that just anyone had the capability to make, even before the COVID-19 pandemic restricted all our movements. Since the late 1990s, Penn Libraries has helped researchers surmount this obstacle through a wide variety of digitization efforts, including projects like Penn in Hand and Print at Penn. Today, one way to explore the Libraries’ digitized manuscripts is using OPenn, a website hosting high-resolution archival images of manuscripts and descriptive information about each one of them. Launched in 2015, OPenn now holds just over 10,000 documents and more than 1 million individual images from over fifty institutions, including the African Episcopal Church of St. Thomas, Columbia University, the Rosenbach, and the British Library, all freely available to download, use, and share. …”
“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.) …”