20170620 sam donvil_sharing_is_caring_bxl_master

1. #SharecarexBXL Wifi network: Kunify Wifi password: kikirpa0 Programme 10:00-10:40 Introduction Geert van Pamel & Romaine (Wikimedia BE): Overview Wikimedia platforms & evaluation Wiki Loves Art 2016 10:40-11:30 Keynote Trilce Navarette, Erasmus University Rotterdam - Sharing to Generate Value 11:30-11:45 Coffee Break 11:45-13:00 Opening up Libraries and Archives Gwenny Vlaemynck, Cultuurconnect - Pulling data from Wikimedia platforms to your own website Olaf Janssen, National Library of the Netherlands (KB) & Tim De Haan, National Archives of the Netherlands (NA) – Joining forces with Wikipedia – reasons, experiences and impact 13:00-14:00 Lunch 14:00-15:30 Opening up Museums Dieter Suls & Sandra Fauconnier, ModeMuseum Antwerp (MoMu) & Wikimedia - Fashion for the Commons Saskia Scheltjens, Rijksmuseum - Consolidation of Openness Sandra Fauconnier & Bert Lemmens, Wikimedia & PACKED vzw - Open Data Confidence Training for Museums on Wikimedia Platforms 15:30-16:45: Coffee Break 15:45-16:30: Panel Discussion and closing remarks 16:30-19:00 Reception

2. • Coined by Joseph Heller in his eponymous 1961 novel • Definition: A catch-22 is a paradoxical situation from which an individual cannot escape because of contradictory rules.[ • Example: "How am I supposed to gain experience [to be hired for a job] if I'm constantly turned down for not having any?"[ • In museum context: How can we change our business model to allow opening up our digital collections now, in the absence of conclusive evidenve about its long term impact on our institutions, if we need to have that evidence to convince our colleagues and management to start in the first place.

3. Can we afford to wait when the ways in which people consume content in a digital environment are already changing? We are all in the attention business, and we have to play to win (…) To direct attention to the real knowledge that we produce, publishing our material online for free use and reuse is the first step. It is in keeping with our mission that we have to fight back — and infuse this new ecosystem with all the antibodies we have in hand, especially facts and knowledge. Peter B. Kaufman, In the Post-Truth Era, 2017 http://www.chronicle.com/article/In-the-Post- Truth-Era/239628

4. • Overcoming the Catch-22 by doing as a matter of principle with in the possibilities and opportunities of each institution • Support network to exchange experiences, practices and inspiration • Think big, start small, move fast

5. • 2009: Start of the network • 2011: Principles of open conference • 2013: Realities of sharing conference • 2013: publication (in your bag) • 2014: Crowdsourcing conference • 2015: Remix culture conference • March 2017: first extension in Hamburg • June 2017: first extension in Brussels

6. Pioneers

7. 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

8. 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, The Wide Open Future of the Art Museum, 2012 http://blog.ted.com/the-wide-open-future-of-the-art-museum-qa-with-william-noel/

9. Everyone (…) wants to recoup costs but almost none claimed to actually achieve or expected to achieve this. Even those services that claimed to recoup full costs generally did not account fully for salary costs or overhead expenses. http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf Simon Tanner, King’s College London Reproduction charging models & rights policy for digital images in American art museums, 2004

10. Think Big, Start Small, Move Fast Michael Edson, Director of Web and New Media Strategy, Smithsonian Advisory meeting with the SMK management team, November 2011

11. CC BY-SA 4.0 Ida Tietgen Høyrup IMPACT Measure what is important, don’t make important what you can measure Robert McNamara

12. impkt.tools

14. “All research nowadays starts with Wikipedia. The repository for the pictures, the image archive for all Wikipedia editions is Wikimedia Commons. As a public educational institution we have only to gain by our pictures being available on Wikimedia and Wikipedia. Even people uninterested in art will come across our pictures […] Via Wikipedia people will very quickly come upon our collection – through a so-called backlink.” Merete Sanderhoff, curator of the Statens Museum of Arts Copenhagen in “Sharing is Caring” “Museums have the knowledge and the documentation, and Wikipedia has the global reach and a circulation far beyond anything any museum could achieve on its own.” Josep Serra, director museu Picasso

16. Bardelaeremuseum Bibliothèque de l’Université de Liege Cinquantenaire Museum Musée royal de Mariemont FOMU Hendrik Conscience Heritage Library Antwerpen Halle Gate Museum Kazerne Dossin Mechelen MSK Ghent Musée de la Céramique d’Andenne Royal Military Museum Brussels A Photography Competition in institutions in Brussels, Flanders and Wallonia

17. Crowdsourcing content for Wikimedia Commons

18. Special access model

19. Edit-a-thons

20. Award Ceremony

21. Results • Introduction Wikimedia Belgium and Heritage Sector and vice versa • 16 photography sessions at 13 participating institutions • Media coverage • 3012 uploaded images • Afterlife of Wiki Loves Art images: https://tools.wmflabs.org/glamtools/glamorgan.html?&category=Images_from_ Wiki_Loves_Art_Belgium_in_2016&depth=12&year=2016&month=1

23. Panel Conversation

24. James Shulman: The good and the bad news from the MET are all one tale “Separating noble desires from earthly realities (while maintaining the support of the people who do the work and the audiences that rely upon the institutions) is what non-profit leadership is all about. Envisioning what is possible is a creative act – a visionary exercise that approaches fortune-telling. But leading real institutions also requires knowing when to stop.” “I fully support the policy of making digital content available for mission- supporting work at no cost when it is possible to do so. The government- supported Rijksmuseum was able to do so. But it is neither fair to institutions nor prudent of their leadership to plunge into the digital arena without concern for the fiscal realities associated with doing so. “ “The provision of images, over time as they are created for other purposes, should be seen as a positive spillover from doing other work, not as a requirement of being a tax-benefitted institution.”

25. When museums like the Rijksmuseum, the Getty Museum, the National Gallery of Art, and now The Met provide free and open access to their digitised collections, it is not just to support a noble cause. It is because they understand and work with the realities of the Internet: If it’s difficult and/or expensive to get images of artworks from museums, people look for them elsewhere. Most museums lose more money than they make on image licensing. If it isn’t online, it doesn’t exist. Merete Sanderhoff: Sharing can never be bad

26. Should we consider opening public collections online as a moral imperative or a positive spillover of doing other work?

27. Questions from the audience

29. CC BY-SA 4.0 Ida Tietgen Høyrup IMPACT Measure what is important, don’t make important what you can measure Robert McNamara

31. • Content donations (images and data) • Organise edit-a-thons • GLAM ambassadors <-> Wikimedian-in-residence Needs GLAM partners for:

20170620 sam donvil_sharing_is_caring_bxl_master

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