Platforms On The Future Of Cultural Heritage: the contribute of the REACH Project

Cattura4After the remarkable experiences and results reached in the framework  of the European Year of CH 2018, the European Commission proposes new challenges and opportunities of cohesion.
In this general context the event of Prague comes up in the form of a forum, a global problem solving platforms on the future of cultural heritage. The purpose of the meeting is to create a space for exchanging ideas between professionals from various backgrounds, including heritage professionals, activists, academics, local authorities, and representatives of foundations and centralised institutions such as the European Commission.
There will be no formal presentation or speech.  This Prague Global Platform is neither a seminar nor a workshop. Case studies and best practices will be used just for supporting  the illustration of the participants’ ideas and proposals. The aim of participating in the Prague Global Platform is indeed to share background knowledge and expertise and jointly explore possible approaches, methods and solutions for heritage-based solutions to societal challenges.
The forum will focus on cultural heritage and digitalization. Three parallel working groups, each moderated by a facilitator, will explore the following themes:
– Intangible cultural heritage and digitalisation: New technologies have created an unprecedented opportunity to allow for the preservation, protection, transmission, research, valorisation, and access to intangible cultural heritage. This theme explores how digital processes relating to intangible heritage can be implemented and improved, and the possibilities they create for the expanded preservation and use of intangible cultural heritage.
– Digital cultural heritage, the tech industry, and smart and inclusive growth: Technological innovation plays a key role in the development of economies and communities, but currently most of this innovation has been concentrated in a few hubs. How will future technologies disperse these benefits and developments? This theme explores how technology and cultural heritage can interact economically at the local and regional level, reducing stress on big cities and distributing the benefits of the use of cultural heritage in commercial applications.
– Enhanced digitally enabled cultural heritage participation for all citizens: Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly.
Ms Antonella Fresa expert on digital cultural heritage will participate to the debate on behalf of the REACH project where she plays the role of Network Coordination. In this context she will share the experience in the promotion of social participation in Cultural Heritage and she will present Open-Heritage.eu, the independent online space of the REACH social platform open to the contribution of the whole community of Heritage Research. 

Prague forum factsheet


The Jewish Digital Archive project

Text by Caterina Sbrana.

In 2011 at the Kaplan Centre at UCT University of Cape Tow, under the auspices of Milton Shain, an emeritus Professor in the Department of Historical Studies and a former director of the Isaac and Jessie Kaplan Centre for Jewish Studies at the University of Cape Town,  the Jewish Digital Archive Project (JDAP) began. The idea was expanding and deepening the Jewish Social History of Southern Africans. Now the Jewish Digital Archive Project is a community project located at the South African Jewish Museum in Cape Town that connects people by creating an online home for old movies, documents, histories, memories and photographs, constantly updated relating to Jewish Social History.

This important archive integrates “the present with the past making it a living archive, ensuring that future generations benefit from stories of the past, and even keep up with the present”. The Jewish Digital Archive Project is made possible by the support of the Kaplan-Kushlick Foundation (South Africa) and the Carl Schlettwein Foundation (Basel, Switzerland).

jew1

What we can appreciate is that JDAP is not an academic archive, but a virtual house whereby Southern African Jews shoud be able to learn about their heritage and explore it. In the website we read about the original idea that inspires the JDAP : “The migratory nature of Southern African Jews has resulted in SA Jews settling all over the globe. Despite this broad footprint, many of these Jews have retained close links with South Africa and remained a distinct cultural grouping with shared memories and common experiences. JDAP aims to secure and share this common history for future generations. Digital technology allows for anyone to create a record of their family history. JDAP provides a central, internet based resource to do this. Families can explore their heritage and share their own stories. By scanning and uploading photos, documents, films, stories – essentially any historical materials – JDAP members, in a personal manner, add to the richness of our community’s past”.

jew2

The website is made up of several sections: Historical documents and papers, Faces that changed history, Family photos, Galleries of memory, Snapshots of daily life. A small collection, called “Immigration” contains images of the Jewish immigration history.

The Joan Fried collection comprises more than 200 photos about Jewish family, dating from the late 1800s to the early 1920s. Included are several family portraits, a photograph of a group of women including Dvore Hinde Jacobson, and an image taken at a reception/dinner tendered by the Isaac and Deborah Jacobson foundation in honour of Arnold and Lena Levy, taken April 7th 1934.

Why share stories? The answer is written in the aim of the JDAP: “Leave a legacy for future generations-we want to learn from the good, the bad, the struggles and the triumphs. We want to listen to your story; through chatting, questioning and remembering the past. Storytelling is powerful because it can facilitate dialogue, break down stereotypes, connect us to our past and help heal after painful experiences”.

Discover: http://jdap.co.za/

 


CHNT2019: Monumental Computations

chnt

The International Conference on Cultural Heritage and New Technologies in Vienna now approaches its 24th edition.

This year’s theme is Monumental Computations.

A rich programme of keynotes speeches, thematic sessions, round tables and a poster session will tackle this year the prominent issue of Digital archaeology of large urban and underground infrastructures.

In most countries large urban development projects pose a challenge for organizations and individuals whose aim it is to preserve as much of the cultural heritage in the cities concerned as possible. Computational approaches are indispensable in all steps of a large urban development project because they

– assist monument protection agencies in collaboration with urban planners to find the optimal compromise in terms of urban needs and preservation of known cultural heritage.
– support the efficient documentation of monuments and archaeological sites before their destruction in the course of urban development activities
– include new and attractive methods of informing the public.

Join the community!

Early bid tickets end on 30 September: https://www.chnt.at/registration-and-payment/

Programme: https://www.chnt.at/program-chnt-24-2019/

 


EBONY & JET magazines’ archive will (hopefully) soon be widely accessible

Text by Caterina Sbrana.

It’s been 74 years since John H. Johnson, an American businessman and publisher, laid the foundation of a new magazine called Ebony and 68 years from the birth of Jet, considered the Ebony sister.  We are therefore talking about more than seven decades in which journalists and photographers have told celebrated and documented the black American culture, politics, fashion, beauty, music and sports, the  African American life from the 1940s and into the 21st century.

ebonyMichael Gibson, CEO of EBONY MEDIA OPERATIONS, writes: “Since 1945, EBONY magazine has shined a spotlight on the worlds of Black people in America and worldwide. Our commitment to showcasing the best and brightest as well as highlighting disparities in Black life has been, and will always be, cornerstone to EBONY”.

After the passage of the magazines to the digital format, a month ago this huge photo archive, built from 1945 to 2015, with about 1 million printed images, 3 million negatives and contact sheets, and several thousand hours of video footage and whose economic value has been estimated at $46 million,  was sold to a consortium of foundations with the aim of making it available to the public: the Ford Foundation, The J. Paul Getty Trust, the John D. and Catherine T. MacArthur Foundation and the Andrew W. Mellon Foundation with plan to donate it to the nonprofits Smithsonian’s National Museum of African American History and Culture and the Getty Research Institute so that it would be widely accessible to researchers, scholars and the public.

We are not interested in knowing if the decision of the archive sale to the 4 foundations, that in a short time have put together $30 million, is prior to the bankruptcy declaration of Johnson Publishing. What we know is that the cultural value of these major chroniclers of African American life of this archive is priceless: the history of American black culture between the 20th and 21st centuries.

mandela

We still do not know when this archive will be accessible on the web, but it is not difficult to understand the importance that such a heritage was not taken over by private collectors who would probably have slowed down, if not prohibited, public use.
Many commentators pointed out that the archive of Ebony and Jet is a treasure trove of visual culture; its donation to the National Museum of African American History and Culture and Getty Research Institute will allow unprecedented access to decades of Black American history.
“There is no greater repository of the history of the modern African American experience than this archive,” said James Cuno, president of the J. Paul Getty Trust, to the New York Times. “Saving it and making it available to the public is a great honor and a grave responsibility.”
A few days before the sale of Ebony and Jet’s photographic archive to the consortium of the 4 Foundations, on the Smithsonian website we read this news: “The National Museum of African American History and Culture will acquire a significant portion of the archive of the Johnson Publishing Company, the publisher of Ebony and Jet magazines. The acquisition is pending court approval and the closing of the sale”. 

“It is a distinct honor for the museum to be invited to join the Getty Research Institute and other leading cultural institutions to safeguard and share with the world this incomparable collection of photographs – said Spencer Crew, acting director of the National Museum of African American History and Culture – And we pay homage to the vision of John H. Johnson and his commitment to bringing to the nation and the world, the story of the African American experience—in all its complexity and all its richness. Ebony and Jet were the only places where African Americans could see themselves. They were the visual record of our beauty, humanity, dignity, grace, and our accomplishments”. 

Websites:

https://www.jetmag.com/

https://www.ebony.com/


Participation and identity in heritage re-use in urban contexts

Cattura“URBAN AND HOUSING SYSTEMS UNDER PRESSURE: VARIETIES OF RESPONSES”
This is the title of the Conference organized by the Metropolitan Research Institute of Budapest 27-29 September 2019.
The conference aimed to identify policies and tools which can help to build more sustainable and more equitable development pathways in European cities.
In this general context, a specific session was dedicated to face the topic of the adaptive and inclusive re-use of urban heritage.
Under-used heritage sites in need of new functions, and areas in need of new development in urban areas make adaptive re-use an attractive and often employed development tool.
The possible uses are manifold, ranging from cultural places to housing, offering the chance of producing new values and strengthening local identity, supporting bottom-up movements/initiatives. How these processes can deal with diverse local identity, how the question of participatory governance, minority heritage and identity can be approached was the topic of the special session.

Cattura MRIFocus of the discussion were the two presentations held by Open Heritage and REACH Project Partners.
Dott. Eszter György  from ELTE University, task leader of the minority heritage pilot of REACH project  left a contribute to the debate with her speech titled “Participatory heritage – examples of Roma heritage in Hungary”, based on the experiences faced on the framework of REACH pilot case study.
The second point of reflection was given by Dott. Mieke Renders (Trans Europe Halles): Re-use of former industrial sites: processes and participation.
Moderators: Hanna Szemző and Andrea Tönkő
Venue: European Youth Centre, 1024 Budapest, Zivatar u. 1-3.
Date: September 28th (Saturday morning)
Go to the Conference website


British Museum reveals 35,000 places for virtual visits

Samsung_British_Museum_06The British Museum and Samsung reopen the award-winning Samsung Digital Discovery Centre (SDDC) after a significant upgrade, and announce an ambitious new digital learning programme that brings together the world of museums with the world of technology.

The new SDDC sees a major expansion of the Virtual Visits programme, where schools that are unable to visit the Museum, can still experience the world-class collection and expert staff via a learning session broadcast directly into their classroom.

After successful pilots, the British Museum and Samsung have created 35,000 places over the next five years for pupils to take part. It is hoped that schools from across England, Scotland, Wales and Northern Ireland will become virtual visitors, giving them access to the Museum’s global collection and expertise, without any charge to the school.

Samsung_British_Museum_02

Virtual Visits have been created with the curriculum needs of schools in mind and is designed around the realities of classroom technology. Sessions are offered on prehistory Britain, Roman Britain and the Indus Valley, and new sessions on ancient Egypt and ancient Greece are in development. Each class will have the session tailored to their needs and pupils can enjoy direct interaction with British Museum staff, as well as high resolution digital assets such as 3D digital objects being shared with students.

The British Museum and Samsung will also begin to develop an innovative and exciting new strand of programming for teenagers, which young people themselves will help shape. The needs of this audience change more rapidly than any other that the Museum works with, and so by working directly with teenagers, it will help develop quality programming that fully understands and meets the diverse needs of this age group, as well as enhancing their experience of the museum’s collection through Samsung technology.

?????????????

The SDDC itself, which is based at the Museum in Bloomsbury, provides a state-of-the-art technological hub for children and young people to learn about and interact with the British Museum’s collection. Ahead of the refit, the SDDC welcomed its highest ever number of visitors, with 25,000 school children and families using the Centre in 2018/19. Since it opened, 150,000 people have visited the space to take part in a wide variety of activities such as workshops, family drop-ins, and facilitated school visits. This major refit revealed today sees improvements to the user experience to cater for the growing number of visitors, as well as a full upgrade in the Samsung technology available. This will include the Samsung Flip, E-boards and the latest range of Galaxy Smartphones, tablets and smartwatches.

Over the past 10 years, the SDDC has provided the largest programme of digital learning activities in any UK museum. It continues to demonstrate the highest levels of audience satisfaction, with 95% of families surveyed in 2017–18 stating they found the sessions ‘good’ or ‘very good’, and that 96% of teachers said they would recommend the SDDC to a colleague and would bring a student group to the SDDC again. Thanks to Samsung’s generous support, expertise and technology, the SDDC schools and family programmes have transformed the Museum’s digital learning provision into a world class, sector leading and award-winning programme.

Hartwig Fischer, Director of the British Museum, says: “We are delighted that thanks to the generous support of Samsung, we can now offer 35,000 school children over the next five years the opportunity to interact with the world class collection and expertise of the British Museum, who ordinarily might not be able to. Pupils from Andover to Aberdeen and Brecon to Belfast can now experience some of the Museum’s incredible treasures from their own classroom, potentially sparking a lifelong curiosity in the history of the world. The advances in digital technology have enhanced the learning opportunities within – and now outside – the Museum, and the SDDC has been at the very forefront of our efforts to share the collection more widely. We are grateful for the longstanding and continued partnership with Samsung for making it possible.”

Francis Chun, President & CEO of Samsung Electronics UK & Ireland says: “At Samsung, under our global Corporate Citizenship vision of Enabling People and supporting education for future generations, we’re committed to empowering the next generation of innovators to discover and unlocking their full potential. Our collaboration with the British Museum for the past ten years has allowed us to constantly trial new technologies that engage children and young people in innovative ways to not only help them learn about lessons in history, but enable them to better understand the present and prepare for the future. By extending this long-standing partnership for a further five years to 2024, we stand beside the British Museum as we together navigate the ways in which emerging technologies can further enhance the way we learn.”

?????????????

About the Samsung Digital Discovery Centre

The Samsung Digital Discovery Centre at the British Museum was created in 2009 to provide a state-of-the-art technological hub for children and young people to learn about and interact with the Museum’s collection. Offering the most ambitious and extensive on-site digital learning programme of any UK museum, the SDDC runs a number of different school programmes throughout the school year, and has family programmes operating over fifty-two weekends a year. All activities are free and over 150,000 children and families have been welcomed to the Centre since it opened. Through its work with Samsung the British Museum remains at the forefront of digital learning. Recent innovations within this exciting partnership include the use of augmented reality and video conferencing technologies to engage a new generation with the British Museum’s Collections.

https://www.britishmuseum.org/learning/samsung_centre.aspx

#SamsungCentre

About Samsung UK

Samsung inspires the world and shapes the future with transformative ideas and technologies. The company is redefining the worlds of TVs, smartphones, wearable devices, tablets, digital appliances, network systems, and memory, system LSI, foundry and LED solutions. For the latest news, please visit the Samsung Newsroom at https://news.samsung.com/uk/

 


The Library of Congress, the largest library in the World

text by Caterina Sbrana.

The Library of Congress (LoC) is the national library of the United States of America. It holds more than 158 million documents and is therefore the largest library in the World.
Library of Congress was instituted on April 24, 1800, when John Adams’ presidency countersigned an act of Congress calling for the transfer of the government’s seat from Philadelphia to the new capital city of Washington. The law earmarked $ 5,000 “for the purchase of the books necessary for the needs of Congress […] and for the accommodation of an apartment suitable to contain them”. The first library was based in the new Capitol until August 1814, when the British troops burned down the old building, destroying the approximately 3,000 books preserved in there.

From the LoC website you can access a number of digital collections that include prints, drawing and photographs, music (such as 55 item of medieval liturgical chant manuscript), american folklife, motion picture, broadcasting and recorded sound, geography and map , rare book etc.

2

To give some examples, it is possible to consult digitally a collection of more than 1,800 photographs in 51 large-format albums date from about 1880 to 1830 referring the reign of the sultan Abdul-Hamid II, as also 361 audio recording of prominent Hispanic writers including Nobel Laureates Gabriel García Márquez, Juan Ramón Jiménez, Gabriela Mistral, Pablo Neruda, and Octavio Paz, and renowned writers Jorge Amado, Jorge Luis Borges etc.

1
A collection of American Colony in Jerusalem, 1870 to 2006, counts over 16,600 items stemming from the history of the American Colony, a non-denominational utopian Christian community founded by a small group of American expatriates in Ottoman Palestine in 1881. The collection, like we read in the presentation of the collection, focuses on the personal and business life of the colony from the waning years of the Ottoman Empire, through World War I and the British Mandate, and into the formation of the state of Israel. It includes draft manuscripts, letters, postcards, telegrams, diaries or journals, scrapbooks, printed materials, photographs, hand-drawn maps and ephemera. Most collection items are in English, but you can find also material in Arabic, Hebrew, Turkish, and Swedish. Items in the collection begin in 1786 and date to 2007. Documented are the colony’s business, educational, and philanthropic enterprises. American Colony member Bertha Vester’s diaries, written from home in Palestine and during trips to the United States between 1922 and her death in 1968, record personal life in the Vester family, internal politics of the American Colony, and first-hand views of Turkish, Arab, Jewish, and British colonial society and modern world events.3

Items available in electronic format include all items from the collection which were originally displayed as part of the Library of Congress exhibition on the American Colony in Jerusalem presented at the Library January 12 to April 2, 2005. Also available electronically are special features about the American Colony community, a timeline of the American Colony, and overviews about the Bertha Vester diaries and the Locust Plague of 1915 photograph album. The forty-eight Vester diaries were written during the period when she was one of the leaders of the American Colony between 1923 and 1968.

Another collection that I found truly extraordinary for my own personal interest is Born in Slavery: Slave Narratives from the Federal Writers’ Project, 1936-1938 . It contains more than 2,300 first-person accounts of slavery and 500 black-and-white photographs of former slaves. 4In the Notes about the photo here on the left we read: The bell rack. Contraption used by an Alabama slave owner to guard a runaway slave. This rack was originally topped by a bell which rang when the runaway attempted to leave the road and go through foliage or trees. It was attached around the neck as shown in the picture. A belt passed through the loop at the bottom to hold the iron rod firmly fastened to the waist of the wearer. In the accompanying photograph Richbourg Gailliard, assistant to the director of the Federal Museum and also a well-known young Mobile artist, poses to show the use made of the bell rack.

The World Digital Library, established in association with UNESCO and 181 partners in 81 countries in 2009, to make online copies of professionally curated primary materials of the world’s varied cultures freely available in multiple languages.

The library’s first digitization project was called “American Memory.” Launched in 1990, it initially planned to choose 160 million objects from its collection to make digitally available on laserdiscs and CDs that would be distributed to schools and libraries. After realizing that this plan would be too expensive and inefficient, and with the rise of the Internet, the library decided to instead make digitized material available over the Internet. By 1999 over 5 million objects have been digitizing. The idea to create an Internet-based, easily-accessible collection developed over the years and involved international partners thanks to Librarians of Congress.  Now the digital heritage of the LoC is an extraordinary source worldwide of public resources consulted by researchers and librarians.

Website: https://www.loc.gov/collections/

 


Open Call for Artists: MASTERCARD digital art project

artacia1Artacia and MasterCard are inviting TWO Digital/New Media artists from Asia to create artworks for the new MasterCard Experience Center in Singapore that will highlight factors that keep MasterCard at the forefront of technology and innovation.

This project aims to explore the convergence of art with innovation and its impact on society through the lens of MasterCard. The artworks will demonstrate how dynamic advances in technology are rapidly modifying our culture and way of life through specific themes selected by MasterCard.
Selected artists will be paid to fly to Singapore and spend a week to visit the MasterCard space and meet/interview relevant MasterCard staff before returning to their studios to develop the digital artwork.

  • SUBMISSION DEADLINE: SEPTEMBER 23, 2019
  • CONFIRMATION OF PROJECT: SEPTEMBER 25, 2019
  • ARTIST VISIT TO SINGAPORE TO SEE SITE AND MEET MASTERCARD STAFF: OCTOBER 1 – 5, 2019
  • ARTWORK TO BE COMPLETED: OCTOBER 25, 2019
  • DELIVERY & INSTALLATION: NOVEMBER 1, 2019

BUDGET:
SGD 10,000 FOR EACH ARTIST, WHICH INCLUDES:
PRODUCTION COST: SGD 7,500
RETURN AIRFARE/ACCOMMODATION IN SINGAPORE: SGD 2,500

Terms for the Artists:
• Must be proficient in combining art with digital technology
• Must be able to communicate in English
• Must work within themes identified by MasterCard
• No sexual content, explicit violence or political statements to be reflected in the artwork
• No harsh language or use of drugs/cigarettes or alcohol to be used in the artwork.

How to apply:
Please submit through the link below:
• At least 2 examples of your work (maximum 3)
• A simple statement outlining your plans and vision for the “MasterCard Digital Art project”

APPLY HERE
https://docs.google.com/forms/d/e/1FAIpQLSdnqRY-hD9SoY8iL0GN4OPn-TH6PIMT4Smgd9SZBR_X-ihERw/viewform?usp=sf_link

artaciaAbout Artacia:
Artacia is a Digital Art start-up that aims to fuse the worlds of art and technology. We work with high-growth corporations and new media artists from around the world to run Digital Art residency programs and innovative commissioned artworks.

Contact us:
E: artaciaart @ gmail.com
W: www.artacia.com


Let’s talk about Green Conservation and Cultural Heritage!

Cattura2The International Conferences in Green Conservation of Cultural Heritage have been the main international forum for cross- disciplinary research on green conservation and cultural heritage aimed at more ecological and sustainable solutions.
This third edition will be an opportunity to bring participants together from different areas including professionals from all sectors of conservation and heritage management; cultural institutions; researchers and industry partners around a compelling and scientifically sound conference program for fruitful discussions on topics and case studies related to the conference themes.
Main topics:
a. Biotechnology applications to conservation and development of bio-based products;
b. Green chemistry and nanotechnology for eco-friendly conservation;
c. Feasibility of application of innovative methods, products and strategies;
d. Sustainability in the conservation practice: successful and unsuccessful case studies;
e. Sustainable conservation.
The event will take place between 10th and 12thOctober 2019, on the Universidade Católica Portuguesa no Porto. The event is co-organized by the Research Center for Science and Technology of the Arts – CITAR from the School of Arts and by the Center of Biotechnology and Fine Chemistry – CBQF from the School of Biotechnology, having as international partner the Italian association YOCOCU – Youth in Conservation of Cultural Heritage.
Read more…  


UK-Ireland Collaboration in the Digital Humanities, preparatory workshop

AHRC

AHRC Arts and Humanities Research Council in UK is pleased to announce a call for participants to attend a workshop on “UK-Ireland Collaboration in the Digital Humanities”. The workshop will take place in Dublin, from 22-23 October and bring together leading experts from both countries to explore the current environment of digital humanities and opportunities for collaborative research between the UK and Ireland in the field.

The workshop will launch a new research programme focused on UK-Ireland collaboration in the Digital Humanities for which the AHRC has received funding from the UKRI Fund for International Collaboration. It will play a key role in informing the thematic priorities to be taken forward through the programme and embedded within future collaborative activity – it is anticipated that a number of funding calls informed by the workshop will be launched shortly afterwards.

The workshop and wider programme will be delivered in partnership with the Irish Research Council (IRC).

Expressions of interest to participate in the workshop are invited from UK-based researchers from HEIs and IROs who meet AHRC’s standard eligibility requirements.

Applicants should be able to demonstrate how their research interests support the vision and themes outlined in the guidance document. Deadline for applications: 26 September 2019.

EOI Application link: UK-Ireland Collaboration in the Digital Humanities- Workshop EoI form.

For more information: https://ahrc.ukri.org/funding/apply-for-funding/current-opportunities/uk-ireland-collaboration-in-the-digital-humanities-workshop-eoi-call/