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Knowledge Exchange Conference Discover Medieval Chester: Knowledge Exchange and Arts and Humanities Research University of Southampton, 10-11 July 2013 http://discover.medievalchester.ac.uk/events/knowledge-exchange-conference/

Bildung Technologie

Collections at Tate: 2000 (“Access”)
Collection digitised 1998–2000
68,000 artwork records
Search

Collections at Tate: 2000 (“Access”)
Image
On display information
Tombstone record
Subject index

Collections at Tate: 2000 (“Access”)
A third of visits to online collection
L-shaped usage

Collections at Tate: 2000 (“Access”)
Challenges:
- Cost
- “No one will come to the art gallery.”
- System integration
- Sustainability

Collections at Tate: 2012 (“Discoverable”)
Moved back to the heart of the website experience
Rebranded ‘Art & Artists’
Existing dataset
Larger images
Slideshow viewer

Collections at Tate: 2012 (“Discoverable”)
Related artworks
Single search box

Collections at Tate: 2012 (“Discoverable”)
Social media

Collections at Tate: 2012 (“Discoverable”)
Google Art Project
Your Paintings

Collections at Tate: 2012 (“Discoverable”)
Challenges:
- Design
- Search and related content “magic”
- Technology
- Maintaining third-party platforms

Collections at Tate: 2013 (“Scholarly”)
Summary texts
Collection research

Collections at Tate: 2013 (“Scholarly”)
Challenges:
- Resourcing
- Rethinking collection research

Collections at Tate: 2014 (“Social”)
Archive digitisation

Collections at Tate: 2014 (“Social”)
User collections
User content

Collections at Tate: 2014 (“Social”)
Open licences

Collections at Tate: 2014 (“Social”)
Public API
Linked data
Crowdsourcing

Collections at Tate: 2014 (“Social”)
Challenges:

Collections at Tate: 2014 (“Social”)
Challenges:
- Scalability and complex technical estate

Collections at Tate: 2014 (“Social”)
Challenges:
- Scalability and complex technical estate
- Data structures

Collections at Tate: 2014 (“Social”)
Challenges:
- Scalability and complex technical estate
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Shifting minds in the culture sector: towards open data in practice. In 2018 the ‘Strategy for culture in the digital age’ was published by the Flemish minister of culture. The culture sector is exploring open data to improve access of their collections for diverse groups of users. PACKED has researched, developed and published data, tools and strategies using open source and open data as a lever for building a sustainable digital memory. Aside from sharing our projects, results and peeking at the new challenges that lie ahead, we provide a platform for two of our partners to showcase projects which were set up in collaboration with PACKED: -The King Baudouin Foundation collaborated with PACKED in order to open up their collections on Wikimedia plaftorms -The Flemish Art Collection presents the Datahub and Arthub projects, which gives the public access to the visual arts in Flanders and facilitates (re-)use

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In 2018 the ‘Strategy for culture in the digital age’ was published by the Flemish minister of culture. The culture sector is exploring open data to improve access of their collections for diverse groups of users. PACKED has researched, developed and published data, tools and strategies using open source and open data as a lever for building a sustainable digital memory. Aside from sharing our projects, results and peeking at the new challenges that lie ahead, we provide a platform for two of our partners to showcase projects which were set up in collaboration with PACKED: -The King Baudouin Foundation collaborated with PACKED in order to open up their collections on Wikimedia plaftorms -The Flemish Art Collection presents the Datahub and Arthub projects, which gives the public access to the visual arts in Flanders and facilitates (re-)use

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Presentation at ISWC2018: http://iswc2018.semanticweb.org/sessions/the-rijksmuseum-collection-as-linked-data/ of our paper published originally in the Semantic Web Journal: http://www.semantic-web-journal.net/content/rijksmuseum-collection-linked-data-2 Many museums are currently providing online access to their collections. The state of the art research in the last decade shows that it is beneficial for institutions to provide their datasets as Linked Data in order to achieve easy cross-referencing, interlinking and integration. In this paper, we present the Rijksmuseum linked dataset (accessible at http://datahub.io/dataset/rijksmuseum), along with collection and vocabulary statistics, as well as lessons learned from the process of converting the collection to Linked Data. The version of March 2016 contains over 350,000 objects, including detailed descriptions and high-quality images released under a public domain license.

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This talk showcases PACKED vzw's linked open data-projects on persistent identification, opening up data, data enrichment and the potential of the Wikimedia ecosystem BUT also the areas where the Wikimedia platforms and its present tools could be improved. We make an argument for attracting more people with an IT background in the cultural sector, better open infrastructures and tools that make linked open data publishing and reuse possible: resolvers, datahubs, api tools - tools for publication of data and images: specific tools for mix’n match, tools which can deal with what heritage professionals have already produced (excel files). Lastly we encourage the public to solicit the heritage sector and create demand for LOD services ‘as if’ you already live in a society where citizens can take access to digital cultural resources for granted and as if you have no idea about the contradictions that cause institutions to delay opening up their collections.

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Good design can increase the value of open data to the public and industry professionals. But what is open data and how can it be used? The focus of this talk is using design to aid the release of knowledge from within cultural institutions. But it isn’t just about museums: I’ll be discussing the challenges of designing for complex UIs in general and how we can use narrative to inform and guide the user through abstract interactions. Designer @bureau_va RSC projects and Researchspace © Bureau for Visual Affairs V&A © Othermedia

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Presented at the Coalition of Networked Information (CNI) Spring 2024 Project Briefings. Over the past six years, Getty has been engaged in a project to transform and unify its complex digital infrastructure for cultural heritage information. One of the project’s core goals was to provide validation of the impact and value of the use of linked data throughout this process. With museum, archival, media, and vocabularies in production and others underway, this sessions shares some of the practical implications (and pitfalls) of this work—particularly as it relates to interoperability, discovery, staffing, stakeholder engagement, and complexity management. The session will also share examples of how other organizations can streamline their own, similar work going forward.

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Joseph Padfield and Rupert Shepherd, The National Gallery, and Rob Tice, Knowledge Integration How can information be opened up within an organisation? The National Gallery was faced with a series of different systems, all holding data related to the collection - but speaking to each other only intermittently. This issue was solved with the installation of a middleware system to combine and deliver data from these eight different data sources as a seamless whole. Our paper will look at the implications this has had for how we work with our data, and as an organisation. We will also touch upon the benefits of opening information up within our organisation, and some projects that are currently using - or are planning to use - our data, which will be delivered using established, open standards.

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Museum objects have been incompletely digitized in terms of quantity so far. The quality of digitization also shows shortcomings. In addition to the standardized and structured collection of extrinsic data, the complete collection of intrinsic data is not only a special challenge but also an indispensable necessity for modeling digital twins. So far, Digitalization is mainly limited to the simple representation of analog objects with the help of digital media. Communication structures and methods of Web 2.0 or the semantic web are lacking, thus a comprehensive, standardized and complex structured digital information space for museum objects is not yet possible. The digital information space is a prerequisite for the creation of digital twins. The ideational value of the objects as a basis of cultural heritage can be found in the long-term available data and their use. Therefore, the power of disposal and interpretative authority over the originals must be replaced by collaborative structures and the collective use of resources in order to guarantee the future of the museum in the information space.

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Presented at Cultural Heritage, Creative Tools & Archives, National Museum of Denmark, Copenhagen (26-27 June 2013) This paper reviews the user tools currently in use by Irish Cultural Heritage organisations. We highlight that key challenges for those providing user tools are associated with issues of preservation and sustainability of digital tools, and argue that for cultural heritage organisations the provision of digital tools is as important as providing access to the digital content stored, harvested and aggregated. This review draws on qualitative interviews carried out by the Digital Repository of Ireland (DRI) in order to inform requirements specifications, policy statements, user guidelines and best practices.

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Funded through the AHRC’s Towards a National Collection Programme, the Science Museum Group (SMG) is collaborating with the V&A and School of Advanced Study, University of London, on a two-year project entitled “Heritage Connector: Transforming text into data to extract meaning and make connections”. As with almost all data, museum collection catalogues are largely unstructured, variable in consistency and overwhelmingly composed of thin records. The form of these catalogues means that the potential for new forms of research, access and scholarly enquiry that range across multiple collections and related datasets remains dormant. The Heritage Connector project is deploying a range of machine learning-based techniques to extract information from the SMG collection catalogue, link it to third-party sources – primarily Wikidata and the V&A’s collection – will then create a set of prototypes that demonstrate and explore the affordances of the resulting dataset. Rather than attempting to deploy machine learning to create a perfect linked data model, Heritage Connector asks what’s “good enough” to provide useful functionality to different audiences. https://www.aeolian-network.net/events/workshop-1-employing-machine-learning-and-artificial-intelligence-in-cultural-institutions/

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Collections 2.0

2. Collections at Tate: 2000 (“Access”)

3. Collections at Tate: 2000 (“Access”) Collection digitised 1998–2000 68,000 artwork records Search

4. Collections at Tate: 2000 (“Access”) Image On display information Tombstone record Subject index

5. Collections at Tate: 2000 (“Access”) A third of visits to online collection L-shaped usage

6. Collections at Tate: 2000 (“Access”) Challenges: - Cost - “No one will come to the art gallery.” - System integration - Sustainability

7. Collections at Tate: 2012 (“Browsable”)

8. Collections at Tate: 2012 (“Discoverable”) Moved back to the heart of the website experience Rebranded ‘Art & Artists’ Existing dataset Larger images Slideshow viewer

9. Collections at Tate: 2012 (“Discoverable”) Related artworks Single search box

10. Collections at Tate: 2012 (“Discoverable”) Social media

11. Collections at Tate: 2012 (“Discoverable”) Google Art Project Your Paintings

12. Collections at Tate: 2012 (“Discoverable”) Challenges: - Design - Search and related content “magic” - Technology - Maintaining third-party platforms

13. Collections at Tate: 2013 (“Scholarly”)

14. Collections at Tate: 2013 (“Scholarly”) Summary texts Collection research

15. Collections at Tate: 2013 (“Scholarly”) Challenges: - Resourcing - Rethinking collection research

16. Collections at Tate: 2014 (“Social”)

17. Collections at Tate: 2014 (“Social”) Archive digitisation

18. Collections at Tate: 2014 (“Social”) User collections User content

19. Collections at Tate: 2014 (“Social”) Open licences

20. Collections at Tate: 2014 (“Social”) Public API Linked data Crowdsourcing

21. Collections at Tate: 2014 (“Social”) Challenges:

22. Collections at Tate: 2014 (“Social”) Challenges: - Scalability and complex technical estate

23. Collections at Tate: 2014 (“Social”) Challenges: - Scalability and complex technical estate - Data structures

24. Collections at Tate: 2014 (“Social”) Challenges: - Scalability and complex technical estate - Data structures - Uneven copyright

25. Collections at Tate: 2014 (“Social”) Challenges: - Scalability and complex technical estate - Data structures - Uneven copyright - Cannabalising picture library revenue

26. Collections at Tate: 2014 (“Social”) Challenges: - Scalability and complex technical estate - Data structures - Uneven copyright - Cannabalising picture library revenue - Status of user content

27. Collections at Tate: 2014 (“Social”) Challenges: - Scalability and complex technical estate - Data structures - Uneven copyright - Cannabalising picture library revenue - Status of user content - Preservation of user content

28. Collections at Tate: 2014 (“Social”) Challenges: - Scalability and complex technical estate - Data structures - Uneven copyright - Cannabalising picture library revenue - Status of user content - Preservation of user content - Management of user community.

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