“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.
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’….”
“The Activating Smithsonian Open Access Challenge (ASOA) from Cooper Hewitt’s Interaction Lab aims to support creative technology teams in designing engaging interactive experiences with Smithsonian Open Access collections for people all over the globe. Made possible by Verizon 5G Labs, this open call for proposals seeks to stimulate new ideas for inspiring digital interactions with over 3 million 2D and 3D objects in the Smithsonian’s Open Access collections, all available under a Creative Commons Zero (CC0) license for download, re-use, alteration, and even commercialization.
From these proposals, up to six finalists will receive $10,000 to develop their ideas into functioning prototypes to be presented and used by the public. A significant goal of the program is to identify compelling projects that the Interaction Lab might explore for wider use in the future. Creators will own all intellectual property they create in ASOA, subject to the Smithsonian’s license as set forth in the ASOA Participation Rules and Guidelines….”
“Published by the UCLA Music Library in eScholarship, the Contemporary Music Score Collection includes the digital, open access scores from the Contemporary Score Edition series, the first open access edition of new music published by a library, and scores from the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library. For more information about how to use or search the collection, see the Contemporary Music Score Collection Guide. …”
“In 2008, the Walters in Baltimore was awarded $307,500 from NEH to start digitizing their world-renowned collection of over 900 objects, some of which had never before been cataloged. The digitization began with The Islamic Digital Resource Project, a collection of the museum’s 128 illuminated Islamic manuscripts and leaves. A second grant of $315,000 included 105 manuscripts of German, Russian, Armenian, Byzantine, Ethiopian, Dutch, English, and Spanish origins, while a $265,000 grant covered digitization of 112 Flemish manuscripts, mainly the Books of Hours, dating between 1200 and 1600 CE….”
“Now, thanks to support from the Andrew W. Mellon Foundation, Smarthistory is able to offer thirty additional $1,000 honoraria to emerging scholars who have suffered financial hardship due to the pandemic.
These honoraria are available for the successful publication, on Smarthistory, of a short, accessible essay of general interest and in the scholar’s area of specialization (the topic will be determined in consultation with the editors at Smarthistory), and is open to active Ph.D. students who are ABD, as well as those who have earned a Ph.D. in art history within the past two years. Smarthistory essays are aimed at non-specialist, undergraduate learners….
Authors will retain intellectual property rights to their work and will grant the right for Smarthistory to publish the resulting essay with a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License across all of its channels including Smarthistory.org and Khanacademy.org. Essays must be submitted before March 1, 2020. The acceptance of essays and the awarding of honoraria will be at the sole discretion of Smarthistory….”
“Open Archief is a multifaceted, collaborative research project that explores the beauty and innovation that can be inspired by making archival material accessible to artists for creative reuse. Brought forward by three Dutch heritage institutions: Het Nieuwe Instituut (HNI), The Netherlands Institute for Sound and Vision (Sound and Vision), and the International Institute of Social History (IISH). Open Archief urges and supports media artists to make use of digitized and open archival collections. Through an artistic residency program, a symposium, and several workshops throughout the year, Open Archief brings media artists and heritage institutions together to discuss the importance of creative reuse of heritage and of making digital collections available….”
“The challenges faced by the higher education community due to COVID-19 are deep and lasting. We are all affected and need to respond. At ITHAKA, our not-for-profit mission is to make access to knowledge and education more accessible for all. We have asked ourselves what it means to fulfill that mission during these difficult times and have discussed with our trustees creative ways we can respond. Through these discussions we decided to establish a $4 million fee relief program and to develop a range of expanded access offerings to help schools and universities that have had to rapidly pivot to online instruction.
Our expanded access offerings for JSTOR-participating institutions in response to COVID-19 include access to unlicensed JSTOR Archive and Primary Source collections as well as Artstor at no cost. Participation in these programs has been remarkable; to date this content has been accessed more than 24 million times by users at nearly 12,000 institutions….”
“Thanks to a Texas State Library and Archives Commission TexTreasures grant funded by the Institute for Museum and Library Services (IMLS), over 100 reels of microfilmed archives documenting women and underrepresented communities in Texas visual arts will be digitized and made accessible online.
The Texas Art Project is an extensive collection of visual arts history preserved at The Museum of Fine Arts, Houston (MFAH) library. Between 1978 and 1985, MFAH contacted artists, galleries, and arts organizations across Texas to document unique manuscript papers and research materials on microfilm, as part of the Smithsonian Institution Archives of American Art (AAA). The project yielded nearly 700 reels, a subset of which featured materials from women artists, artists of color, and galleries that hosted them. This subset is the focus of the TexTreasures grant which allowed University of Houston Libraries Special Collections and MFAH to collaborate on the digitization of approximately 150,000 images, previously available only in a limited, localized capacity in microfilm at MFAH. Digitized images of materials such as correspondence, exhibition catalogs, reviews, and publications will become openly available online with multiple points of access, thereby facilitating scholarship and research using unique primary sources….”