"cómo ha hecho el Instituto Holandés de Sonido e Imagen para mantener sus colecciones disponibles y en circulación, a siete años del programa de digitalización Imágenes para el Futuro" Presentation given at the Escuela Nacional de Conservación , Restauración y Museografía "Manuel del Castillo Negrete", Coyoacán, Mexico, May 20th, 2015.

1. 20/05/2015

2. 20/05/2015

3. 20/05/2015

4. 20/05/2015Nederlands Instituut voor Beeld
en Geluid
CENTRAL POSITION OF THE COLLECTION
Content is key
• 70% audio visual heritage
• > 800.000 hrs of audiovisual material
• 2 million photos
• 20.000 objects
• and counting…
1 catalogue
1 annotation process

5. 20/05/2015

6. 20/05/2015
DIGITAL ARCHIVE
137.200 hours video
17.510 hours film
123.900 hours audio
1.200.000 photo’s
yearly
8.000 hours video
30.000 hours radio
Approx. 300TB per
year
Born digital:
Dutch television
& radio
Europe’s largest
digitisation project

7. 20/05/2015
A
Visuals https://vimeo.com/51425368 - Sebastiaan ter Burg CC-BY
5,6 Petabytes of
born digital and
digitized video
(and audio)
7,4 Petabytes of
digitized film
~20.000 hours of film

8. 20/05/2015
video: plusoneamsterdam.com
https://vimeo.com/16611485

9. 20/05/2015
- Content production changed
- Distribution changed
- Media consumption changed
- Business models changed
- Attention economy
(Copyright legislation hardly changes)
…IN THE MEANTIME
Source:Hokusai.TheGreatWave.1829-1832

10. 20/05/2015Source: kpcb.com/InternetTrendsNote: 1 petabyte = 1MM gigabytes, 1 zetabyte = 1MM petabytes.
2/3D’S OF DIGITAL UNIVERSE CONTENT
= CONSUMED & CREATED BY CONSUMERS

11. 20/05/2015
Source: http://blog.1000memories.com/94-number-
of-photos-ever-taken-digital-and-analog-in-shoebox
Date of publication: 2011. Note 1000 Memories
stopped its operations after being acquired by
Ancestry

12. 20/05/2015
TIMELAPSE MINING
Source: http://qz.com/406497/using-millions-of-online-photos-
cobbled-together-we-can-now-watch-history-unfold/

13. 20/05/2015
THE ARCHIVE IN THE MIDDLE
Source: http://www.avid.com/static/resources/common/documents/whitepapers/Avid_Everywhere.pdf
…where everything revolves around the archive-

14. 20/05/2015
Source: Horowitz Associates, State of Cable and
Digital Media Report, 4/14.
.
DIVIDED ATTENTION

15. 20/05/2015
84% OF MOBILE OWNERS USE DEVICES WHILE WATCHING TV
Source: Nielsen Connected Devices Report, Q3, 2013
Sample = 13+ years old, 9,448 respondents who own a mobile device (tablet, smartphone, etc.)

16. 20/05/2015
Thousands of hrs of new television content produced by
Dutch public broadcasters every year
Hours of archival
content of Sound
and Vision used in
this new content
ATTENTION ECONOMY - SOME GUESTIMATES (1/2)

17. 20/05/2015
Total collection of Sound and Vision
800k of hours (& growing daily)
we need different channels!
competing for attention
ATTENTION ECONOMY - SOME GUESTIMATES (2/2)

18. 20/05/2015
SOUND AND VISION - CHANNELS

19. 20/05/2015
(3 examples…)
general public & creative industries
media studies scholars general public
SOUND AND VISION - CHANNELS

20. 20/05/2015
(3 examples…)
general public & creative industries
media studies scholars general public
SOUND AND VISION - CHANNELS

21. 20/05/2015
Smart OpenConnected
WHAT WE AIM FOR

22. 20/05/2015
OPEN
FULFILL THEIR PUBLIC MISSION
“For content to be truly accessible, it needs to be where the
users are,
embedded in their daily networked lives.”
(Wabel, 2009)
STIMULATING COLLABORATION AND CREATIVITY
“No matter who you are,
most of the smartest people work for someone else.”
(Joy’s Law, via Michael Edson)

23. 20/05/2015
“if it doesn’t spread,
it’s dead”
(Jenkins, 2013)
SYNDICATION AS STRATEGY

24. 20/05/2015
(3 examples…)
general public & creative industries
media studies scholars general public
SOUND AND VISION - CHANNEL

25. 20/05/2015
MW2012

26. 20/05/2015
EXAMPLE: ‘SOCCER’ PAGE DUTCH WIKIPEDIA

27. 20/05/2015
MEASURING IMPACT
• Number of items on Wikimedia Commons
• 1,600
• Number of articles on Wikipedia
• 2,000
• Number of language versions
• 70
• Number of views
• 50,000,000!!!
2013 numbers
http://www.openimages.eu/blog/2014/09/sound-and-vision-on-the-future-of-video-on-wikipedia/

28. 20/05/2015
Edit-a-thons
There is not
enough quality
information about
fashion on
Wikipedia

29. 20/05/2015
1. 2012/04 NM, Stockholm
2. 2013/05 CMU, Utrecht
3. 2013/09 MOMU, Antwerp
4. 2013/11 NM, Stockholm
5. 2013/11 MRC, Padova
6. 2013/11 HIT, Tel Aviv
7. 2014/03 LAD, Paris
8. 2014/11 MAA, Belgrade
9. 2015/01 MDT, Madrid
10. 2015/02 PFF, Athens
11. 2015/03 NM, Stockholm
12. 2015/03 AM, Amsterdam

30. 20/05/2015
Europeana
Fashion content on
Wikimedia
Commons

31. 20/05/2015

32. 20/05/2015
SOUND OF THE NETHERLANDS
Step 1: uploading hundreds of high quality, digitized archival sounds
to Soundcloud
www.geluidvannederland.nl

33. 20/05/2015
SOUND OF THE NETHERLANDS
Step 2: placing the sounds on the map & ask the world to contribute

34. 20/05/2015
SOUND OF THE NETHERLANDS
enrichments on Soundcloud
inserts in Wikipedia pages
app ‚Mix van
Nederland’
https://en.wikipedia.org/wiki/Emperor_Goose
http://tools.wmflabs.org/glamtools/baglama.php?
https://soundcloud.com/beeldengeluid/comment
aar-en-racegeluiden-op

35. 20/05/2015
NEW VISUALISATIONS
Source
: https://vimeo.com/103364847

36. 20/05/2015
36

37. 20/05/2015
Photo: CC-BY-SA 2.0 Maarten Brinkerink

38. 20/05/2015

39. 20/05/2015
Open Culture Data guidelines
1. Open Culture Data is (1) knowledge and information of
GLAMS about their collections and/or (2) digitised objects from
collections
2. Everyone can consult, use, spread, and reuse Open Culture
Data (through an open license or by making material available
in the public domain)
3. Open Culture Data is available in a digital (standard) format
that makes reuse possible
4. The structure and possible applications of Open Culture Data
are documented in a data blog
5. The provider of the Open Culture Data is prepared to answer
questions about the data from interested parties and respects
the efforts that the open data community invests in developing
new applications
Related work at http://openglam.org/principles/

40. 20/05/2015

41. 20/05/2015
SOME LESSONS LEARNED
• Have access to expertise on the dimensions of collection
• Buy-in from the senior management is essential
• Necessity to invest in engagement with third parties
• Face to face meetups are extremely valuable
• Start with something sweet and small

42. 20/05/2015
2. Create something amazing:
http://datahub.io/group/open-glam
1. Join the conversation:
http://openglam.org/
3. Follow the course:
https://p2pu.org/en/groups/
open-glam/
HOW TO OPEN GLAM YOURSELF

43. 20/05/2015
http://www.digibis.com/dpla-europeana/
CONNECTED

44. 20/05/2015
4
4
www.euscreen.eu
PAN-EUROPEAN AGGREGATOR

45. 20/05/2015
THE CONSORTIUM

46. 20/05/2015
THE NETWORK

47. 20/05/2015
The website (1/2)

48. 20/05/2015
The website (2/2)
tens of thousands of video’s and photo’s

49. 20/05/2015
BEYOND SEARCH => CONTEXT!
exhibitions academic journal

50. 20/05/201528-5-2015
• Enriched version of Na de bevrijding, a 7-part NTR
series on about the five years after WWII
• Original sources: films, soundtracks, photos &
newspaper articles used in the series and as
research material.
• From official archives (45) to personal collections
(35).
• Tablet-first development: more and more tv-viewers use
tablet during and after viewing
From ‘manual’ to ‘linked media’
AFTER THE LIBERATION

51. 20/05/2015

52. 20/05/2015

53. 20/05/2015

54. 20/05/2015

55. 20/05/2015

56. 20/05/2015
DEVELOPMENT
• Front-end: HTML5
• Back-end data: Google Drive
• Content: Amazon S3 for hosting

57. 20/05/2015
LINKEDCULTURE
From ‘manual annotations’ to ‘linked
media’

58. 20/05/2015
Use case: Tussen Kunst &
Kitsch

59. 20/05/2015
TV and related Web screen-
synced

60. 20/05/2015
How: video analysis
e.g.

61. 20/05/2015
How: annotation

62. 20/05/2015
How: enrichments via
curation tool

63. 20/05/2015

64. 20/05/2015

65. 20/05/2015

66. 20/05/2015

67. 20/05/2015
Smart OpenConnected
WHAT WE AIM FOR

68. 20/05/2015
Image:BBCArchive
Thank you
everbruggen@beeldengeluid.nl
@erwinverb
@benglabs
labs.beeldengeluid.nl
Slides with
thanks to
Lotte Belice Baltussen
Johan Oomen
Maarten Brinkerink