Exit Control. Enter Creative Chaos.

Exit Control,
Enter Creative Chaos
ELAG 2016
The 40th European Library Automation Group Conference
June 6-9 2016, The Royal Library, Copenhagen
Merete Sanderhoff
Curator / Senior Advisor
slideshare.net/MereteSanderhoff
@MSanderhoff
Artemis.txt, 2013. CC BY-SA 4.0 Filip Vest

Nefertiti
http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/

Discovered in Amarna, Egypt, in 1912 by German
archaeologists
On display at Neues Museum Berlin since 1923
Egypt has reclaimed the bust as national heritage, in
vain
The bust is not allowed to travel due to security
The museum’s official 3D scan is kept from the public
http://www.private-guide-berlin.com/private-tour-berlin/neues-museum-berlin-private-tour/

The Other Nefertiti
http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html

Covertly scanned with a Kinect in Neues Museum
Berlin, October 2015
Released as a torrent at Chaos Communication
Congress, December 2015
Downloaded and seeded thousands of times
within 24 hours
Requests from universities and businesses
to re-use the scan
http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html

Nora Al-Badri and Jan Nikolai Nelles
with the 3D bust in Cairo
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/

“The head of Nefertiti represents all
the other millions of stolen and
looted artifacts all over the world
currently happening, for example, in
Syria, Iraq, and in Egypt.”

“Archaeological artifacts as a cultural
memory originate for the most part
from the Global South; however, a
vast number of important objects
can be found in Western museums
and private collections.”

“We should face the fact that the
colonial structures continue to exist
today and still produce their
inherent symbolic struggles.”

“…there are ways where we don’t
even need any topdown effort from
institutions or museums, but where
the people can reclaim the
museums as their public space
through alternative virtual realities,
fiction, or captivating the objects
like we did.”

Liberating looted heritage?

Hacking lawfully protected artwork?
http://www.leblogduhacker.fr/

“It's possible that the artists violated the
museum's conditions of admission by
making their scan, but the bust itself is
not in copyright.
It's my belief that trafficking in the 3D
model by people who never agreed to the
museum's terms (that is, people who've
never bought a ticket) is perfectly legal.”
Cory Doctorow. Photo by Jonathan Worth, CCBY 3.0 JonathanWorth.com

Were the hackers hacked?
http://boingboing.net/2016/03/08/covert-scan-of-museums-nefer.html

Cosmo Wenman and other experts believe so.
The level of quality and detail in The Other Nefertiti
cannot be obtained by using a Kinect.

Wenman blames the whole situation
on Neues Museum's "bad institutional
practices regarding secrecy"

“The Neues Museum is hoarding 3D scans that by all
rights it should share with the public (…) digitizing
artwork radically increases the importance of
provenance—where artifacts and information come
from, who controlled it, and who edited it.”

“Museums are in the best position to produce and
publish 3D data of their works and provide
authoritative context and commentary about the
work, the art, the data, and what it means.”

“I know from first-hand experience that people want
this data, and want to put it to use, and (…) they will
get it, one way or another. When museums refuse to
provide it, the public is left in the dark and is open to
having bogus or uncertain data foisted upon it.”

“Museums should not be repositories of secret
knowledge, but unfortunately (…) Neues [Museum]
is not alone in keeping their scan data to themselves.
There are many influential museums, universities, and
private collections that have extremely high quality
3D data of important works, but they are not sharing
that data with the public.”

Overview
1. Exit Control
2. Enter Creative Chaos
3. Embracing Open

CC BY-SA 4.0 Ida Tietgen Høyrup
About SMK
The National Gallery of Denmark
Western art from 1300 to the present
260,000 artworks
66 % in the public domain
27 % digitised

About me
Art Historian, OpenGLAM’er
No tech background, DIY learner of digital
Digital research & development
Advice on copyright and public domain
Standards and policies at the
national and European level
Re-use facilitation

”Information can now be made available,
in an unlimited number of perfect copies,
at zero marginal cost.”

”Focusing on how much it cost you to make
something, especially if that thing can be
distributed electronically at almost no outlay via
the internet, will blind you to the opportunities
that this new era of distribution can bring you.”

https://twitter.com/PUBDOMAINHULK
Growing public demand
for free culture

…or people will go elsewhere

Works that are in the Public Domain in
analogue form continue to be in the Public
Domain once they have been digitised.
http://pro.europeana.eu/files/Europeana_Professional/Publications/Public%20Domain%20Charter%20-%20EN.pdf

Galleries
Libraries
Archives
Museums
http://openglam.org/

We are not owners,
but stewards
of our collections

“Our understanding of research, education,
artistic creativity, and the progress of
knowledge is built upon the axiom that no
idea stands alone, and that all innovation is
built on the ideas and innovation of others.”
Smithsonian Web and New Media Strategy, Version 1.0, 2009
http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf

“The preservation, transmission, and
advancement of knowledge in the digital age
are promoted by the unencumbered use and
reuse of digitized content for research,
teaching, learning, and creative activities.”
Memo on open access to digital representations of works in the public domain
from museum, library, and archive collections at Yale University, May 2011
http://ydc2.yale.edu/sites/default/files/OpenAccessLAMSFinal.pdf

“To be a public museum your digital data should be free.
And digital data is not a threat to the real data, it’s just an
advertisement that only increases the aura of the original.
People go to the Louvre because they’ve seen the Mona
Lisa; the reason people might not be going to an institution
is because they don’t know what’s in your institution.
Digitization is a way to address that issue, in a way that
simply wasn’t possible before.”
William Noel, former curator, Walter’s Art Museum, 2012

“Our primary mission is to ‘tell the truth’. We put
as much quality in our work as possible. That is why
we share the best quality we have. If people google
‘The Milkmaid’ by Vermeer then we want them to
find our good quality image, not all the bad and
deformed versions of this beautiful painting.”
Lizzy Jongma, former data manager, Rijksmuseum, 2012

Rijksmuseum’s quality images
are preferred online

Rijksmuseum is key reference
for its own collection

“So far 6,499 images from the Rijksmuseum have
been uploaded to Wikimedia Commons (...)
2,175 of these images are currently used in various
Wikipedia articles.
These images have been shown 10,322,754 times to
users visiting the articles where the material is used.”
The Impact of Open Access on Galleries, Libraries, Museums and Archives, Effie Kapsalis,
Smithsonian Emerging Leaders Development Program, April 2016

“If they want to have a Vermeer on their toilet paper,
I’d rather have a very high-quality image of Vermeer
on toilet paper than a very bad reproduction.”
http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0
Taco Dibbits
Director, Rijksmuseum

Pioneer experiences
What greatly benefitted the Rijksmuseum is that other people started making new
creative works with the material and therefore promoting the museum on a larger
scale than they had ever been able to do themselves.

Pioneer experiences
Wikipedia editors prefer to use trusted material provided by the cultural institutions
themselves to illustrate the articles they are editing. This greatly benefits both the
users who have a richer experience, and the cultural institution that reaches out to a
public far beyond the scope of its own website

Pioneer experiences
Wikipedia editors prefer to use trusted material provided by the cultural institutions
themselves to illustrate the articles they are editing. This greatly benefits both the
users who have a richer experience, and the cultural institution that reaches out to a
public far beyond the scope of its own website.
We have lost almost all control, and it has been vital to our success.
Images of Works of Art in Museum Collections: The Experience of Open Access. A Study of
Eleven Museums. Prepared for the Andrew W. Mellon Foundation by Kristin Kelly, April 2013
Democratising the Rijksmuseum. Why did the Rijksmuseum make available their highest
quality material without restrictions, and what are the results? Joris Pekel, Europeana
Foundation, July 2014

SMK’s first digital strategy, 2009
We want to be a
catalyst for
users’ creativity

25,000 images
for free download

25,000 images
for free download
You may use the
images without
asking permission

https://creativecommons.org/publicdomain/zero/1.0/

Entry for short film competition
on violation of womens’ rights
The Why Foundation, 2016
Based on open images from SMK
Prints & Drawings collection
Creative/
commercial re-use

Vilhelm Hammershøi, Artemis, 1893–94, SMK. Public Domain

http://www.filipvest.dk/phone/dusty-pixels.html

C.N. Gijsbrechts, Trompe l'oeil. Board Partition with Letter Rack and
Music Book, 1668. SMK, public domain
C.N. Gijsbrechts, Trompe l'oeil. The Reverse of a Framed Painting, 1670. SMK, public domain
Frants Henningsen, A Funeral, 1883. SMK, public domain

Jamie Seaboch, collage, 2015, CCBY-SA

“I have been creating collages
using international museum
collections for 20-25 years (...)
But I have only been able to share
them with my friends and family,
knowing that if I were to present
them publicly I would face legal
retribution. Now I am, for the
first time, allowed to share my
perspective.”
Jamie Seaboch, graphic designer

http://ja7191.wix.com/public-domain#!statens-museum-for-kust/c1azs

But there’s a dark side too.

Liberal photo policy – also show museumofselfies
and instawalks

We have a liberal photo policy,
so this is just fine

But this is not ok!
But this is not.

But this is not ok!
But this is not.
You cannot watermark
a CC0 image of a public
domain artwork

This isn’t too
clever either.

”With our digitised collections, we can support
people in being reflective, creative human beings.
But the precondition is that cultural heritage is
common property, and that each and every one of
us can use it for exactly what we dream of.”
Mikkel Bogh
Director, SMK
http://bit.ly/1dMX0BJ

Access is not enough
Pieter Aertsen , The Fat Kitchen. An Allegory, SMK. Public domain

Nicolai Abildgaard, Caricature of a fat man carrying a large key in his left hand, undated drawing, SMK. Public Domain
Facilitation is key

CCBY 4.0 ULK
The art pilots
www.ulk.dk

CCBY 3.0 Frida Gregersen
Cool Constructions

Collaboration between the
Copenhagen Metro Company,
local citizens, and SMK art pilots

Collections gain new value
outside the museum
in the hands of the public

Makeover of injection room
Skyen / ‘The Cloud’
CCBY 4.0 ULK

A space for drug users,
central Copenhagen
Open 23 hours
a day
700 drug intakes
a day
CCBY 4.0 ULK

CCBY 4.0 ULK
Re-creating places / spaces
that the drug users dream of

CCBY 4.0 ULK
The art pilots facilitate
improved social conditions
for the users

Cultural heritage
hackathons
Hack4DK
CCBY-SA 2.0 Morten Nybo

Running since 2012
in collaboration with
peer institutions all
over Denmark,
and a growing
community of coders,
hackers, designers

Room for the unexpected,
even the unimaginable
CCBY-SA 2.0 Morten Nybo

By Rasmus Lorentzen, 2013
Open data from Copenhagen City Archive is used to visualize
moving activity in Copenhagen fra 1890 to 1923
https://www.youtube.com/watch?v=giYikHE6WCo
Heat map of urban growth

Lick it away!
By Laura Sillanpä and
Morten Nybo, 2015
Investigates how we
represent our tactile history
digitally, in this case the
history and practices of
letters.
https://hackdash.org/project
s/5610e32528775a823ff169
5c

Remix exhibition
May 2015
13 artists and
designers were
invited to mix up
SMK’s collections

The artists got to hack
the museum for a weekend
CC BY-SA 4.0 Merete Sanderhoff

Their remixes ranged
from lasercut installations…
Neea Laakso, Free?

…over tapestries,
fashion clothes, collages…
Signe Emdal, Astrids Rose

Harald Slott-Møller, Danish landscape, 1891
Product of Public Domain

Jamie Seaboch, Collage

Filip Vest, 22 Skies
…to a projection of
22 golden age skies

…and a pop-up version of Hammershøi
with motorized moving light

Kati Hyyppä, As light goes by

Artists talks
- communicating the remixes

Huge interest from the audience

A unique opportunity for upcoming artists

More than 6,000 people
joined the party

Wiki Labs
- collaborating with Wikipedians,
art historians and amateurs
to enrich art historical entries

Wikipedia needs open content
https://commons.wikimedia.org/wiki/Commons:Licensing

Monthly meetups
- utilize open images
- learn how to edit
- artist of the month

Artist of the month of March
- Before

Artist of the month of March
- After

Museum professionals must abide by Wikipedia
rules like everyone else.

SMK images got 20 million
page views on Wikipedia in 2015

“Prioritize Web and New Media
programs in proportion to their
impact on the mission.”
Michael Edson, Smithsonian Web and New Media Strategy, Version 1.0, 2009
http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf
Michael Edson /VanGoYourself

After exit of control
What’s the societal good of open
cultural heritage?
How do we measure the impact
of creative chaos?

“Now that museums are beginning to have the tools and
expertise at their disposal to monitor, track, record, and analyze
all the various ways that the public benefits from their work, the
real task begins to redesign the process and program of
museums and to embed impact-driven data collection into
every aspect of our efforts.”
Rob Stein
Chief Program Officer, AAM
https://medium.com/code-words-technology-and-theory-in-the-museum/museums-so-what-
7b4594e72283#.rgnlbz2tj

“Now that museums are beginning to have the tools and
expertise at their disposal to monitor, track, record, and analyze
all the various ways that the public benefits from their work, the
real task begins to redesign the process and program of
museums and to embed impact-driven data collection into
every aspect of our efforts.”
Rob Stein
Chief Program Officer, AAM
Insert
‘libraries’
https://medium.com/code-words-technology-and-theory-in-the-museum/museums-so-what-
7b4594e72283#.rgnlbz2tj

”I wish we would measure cultural
heritage on learning and happiness.”
https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/
Charlotte S H Jensen
State Arhives/National Museum

How about capturing if our users
become re-users?
acquire new skills not to do with cultural heritage?
experience a boost in creativity and general happiness?
feel empowered?
increase their social network by engaging in cultural heritage?
feel that using cultural heritage increases their life quality?
https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/
Charlotte S H Jensen
State Arhives/National Museum

Exit Monologue,
Enter Dialogue
ELAG 2016
The 40th European Library Automation Group Conference
June 6-9 2016, The Royal Library, Copenhagen
Merete Sanderhoff
Curator / Senior Advisor
slideshare.net/MereteSanderhoff
@MSanderhoff

Exit Control. Enter Creative Chaos.

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