“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.”
This blog post was written by Susan Miles, Scholarly Communications Specialist, part of the Research Infrastructure Services team.
In Higher Education contexts, discussions around openness are often focused on the pathways to make publications, data or cultural objects openly available online. It is often not known what impact open resources can have for various communities beyond the research community.
The speakers at Open and Engaged 2021 will explore the different impacts that open resources can have on people. They will seek to question how openness enhances the ability to engage with communities, how projects can be sustainable and make positive changes in the long-term, as well as some of the downsides to current approaches to open engagement.
Many of the speakers come from the GLAM (Galleries, Libraries, Archives and Museums) sector, and we will learn about ways cultural organisations generate, measure and report on impact, and seek useful connections across the higher education and cultural sectors.
This online conference will address key questions of:
How does openness enhance (or restrict) the ability to engage with communities?
What can the higher education sector learn from people involved in research and research-related activities that is conducted outside of universities?
What are some of the ways in which GLAM organisations generate, measure and report on impact?
How can universities work with the wider GLAM sector to enhance the impact of scholarly research?
Are projects geared towards making positive changes in society sustainable?
25 October 2021, Monday – British Summer Time (UTC+1)
09:50 – 10:00 Opening remarks
10:00 – 11:00 Session I: Increasing engagement with cultural heritage collections
11:00 – 11:20 Q&A
11:20 – 11:40 Break
11:40 – 12:40 Session II: Measuring and evaluating impact of open resources beyond journal articles
12:40 – 13:00 Q&A
13:00 – 13:05 Closing remarks
Registration is free and open now. The sessions will be recorded and made publicly available in November 2021.
We encourage you to participate in discussion with other attendees and speakers by using the Twitter hashtag #OpenEngaged. By registering for this conference and participating in the Twitter hashtag, we ask that you treat all organizers, speakers and other participants with respect.
Please email any access requirements or other question to email@example.com
Posted by Digital Research Team at 10:00 AM
“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….”
Abstract: While the idea of reference sources has become synonymous with the internet, online scholarly encyclopedias in music are currently only accessible to those affiliated with institutions that can afford expensive annual subscriptions and to those individuals who purchase costly personal subscriptions. Meanwhile, backup print copies have been inaccessible in libraries closed for the COVID-19 pandemic or closed to unaffiliated visitors. An open access scholarly music encyclopedia could solve these access problems while increasing the visibility and relevance of music scholarship and expanding the possible modes of digital analysis. This paper considers existing models of open access and identifies some potential paths forward for an open access scholarly subject encyclopedia, including leveraging Wikipedia, creating a new encyclopedia, or lobbying publishers to convert existing music encyclopedias to open access using a “subscribe to open” funding model.
“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. …”
“Students, educators and learners of all ages are invited to interact with select items in the Library’s collections with the launch of Speculative Annotation, the latest experiment from LC Labs.
Created by artist and 2021 Innovator in Residence Courtney McClellan, Speculative Annotation is an open-source dynamic web application and public art project. The app presents a unique mini collection of free-to-use items from the Library for students, teachers and learners to annotate through captions, drawings and other types of mark-making. As a special feature for Speculative Annotation users, the app includes a collection of informative, engaging annotations from Library experts and resources on the Library’s website….”
Science and research are the building blocks connecting us with knowledge. As these are chiefly financed by the public sector, their results should be accessible to as many people as possible. Open Science describes the various efforts and activities which aim to reach this goal of bringing science to all.
by Erzsébet Tóth Czifra and Laure Barbot
EOSC (staying for the European Open Science Cloud) is a big acronym, representing the bold vision of enabling all European researchers to deposit, access and analyze scholarly resources beyond borders and disciplines. Over the past years, it has become a central component of European science policy and, since its launch in October 2018, a reality as an infrastructure too. Still, due to the scale, the complexity and the multiple dimensions of the endeavor, it is not easy to gain an accurate overview and translate the offerings of the EOSC into one’s own institution or research setting. In this series of blog posts, we outline concrete ways in which scholarly and service provider communities around DARIAH can interact with the EOSC and the value it holds for them. We also summarize the many ways in which DARIAH already contributes to the EOSC.
To kick start the series, in the first post we have a look at what the EOSC holds for researchers and, in particular, Arts and Humanities researchers.
“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. …”
“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….
“Almost 1000 cultural heritage institutions around the world1 have published some or all of their online collections for free reuse, modification and sharing. They are part of the ‘Open GLAM’ (Galleries, Libraries, Archives, Museums) movement that views liberal access2 and reuse (where culturally appropriate3) of digital collections as fundamental to education, research and public engagement.
A key principle of Open GLAM is that works in the public domain – in which copyright has expired or never existed – should remain in the public domain once digitized. However, many museums do assert copyright in digital reproductions of public domain artworks. How legally legitimate is this? Although the answer is not straightforward (the relevant copyright law is complex and lacks international harmonization), in the European Union the standard of originality for a new copyright requires that the work be the ‘author’s own intellectual creation’….”