inDICEs workshop Digital Transitions in the Cultural Heritage Sector

The 2nd Consultation Workshop from inDICEs project brings together cultural heritage professionals, researchers and the inDICEs community to discuss needs and concerns in relation to digitization, online access, the use and the potential re-use of collections, data needed for developing digital strategies and contents, future research competencies and change management.

The workshop has 2 sessions:

April 20, 2021- 11:00 – 11:20

Emergent forms of digital cultural production/re-production, participation and re-use of CHI contents in the Digital Single Market

April 21, 2021 – 10:00 – 13:00

Sharing collections sustainably & meaningfully: A brief introduction to rights management in cultural organisations

Both sessions are free of charge and registration is now open via this link


Europeana China feature page

Peasant Paintings from Huhsien Country, Peking 1976, 55. CC-BY Bai Tianxue, Östasiatiska museet via Europeana

PHOTOCONSORTIUM, International Consortium for Photographic Heritage, and EUROPEANA, the European Commission’s digital platform for cultural heritage are proud to present a prime accomplishment of PAGODE – Europeana China. This project, aimed at creating a dedicated thematic space that highlights and celebrates Chinese heritage in Europe, officially launches a feature page on April 4th, showcasing a variety of Chinese and China-related cultural heritage items and resources from European cultural institutions such as museums, libraries and photographic archives.

“International exchanges have been and are still at the basis of the evolution of our society. In particular, this is true in the relationships between Europe and China. While goods are moving and determining the economic values of these exchanges, people move with their ideas and cultures. Mutual understanding and acknowledging the value of the variety of cultural heritage in the world is key to support the creation of healthy spaces for business development.” says dr. Mauro Fazio, Italian Ministry of Economic Development, the PAGODE project coordinator. “Digitisation, curation and access to digital treasures of Chinese heritage held in European institutions, as the main objectives of this project, are expected to contribute to the process of digital transformation in the light of a more inclusive, equal and global growth.”

Jolan Wuyts, Collections Editor at Europeana: “In Europeana we have the opportunity to highlight collections that can be otherwise underrepresented, showcasing Chinese Heritage in European collections is one of those opportunities. The PAGODE project enables users to dive into Chinese heritage collections while at the same time being guided by important context and curation from PAGODE project partners. Collecting these editorials in a single feature page allows Europeana to give a platform to PAGODE’s curation efforts and other editorial on Chinese heritage in one place.”

Landscape by Gao Qipei, circa 1700-1730, China. Rijksmuseum, the Netherlands, Public Domain, via Europeana

VISIT THE NEW THEMATIC SPACE

Themed galleries, blog posts and curated  digital content will guide visitors through  this online treasure trove. Image by image, story by story, visitors can  immerse themselves in the rich narratives of two worlds that have been meeting and mixing for centuries. The feature page will offer ample opportunity for discovering the stories of Empress Cixi, of the mandarin duck, of the Chinese junk, and exploring thousands of curiosities and stunning images of Chinese heritage in Europe: https://www.europeana.eu/en/chinese-heritage

To be added to the page in  September 2021 is a virtual exhibition of Chinese heritage and art in Europe.


ABOUT PAGODE – Europeana China

PAGODE – Europeana China, co-financed by the CEF Connecting Europe Facility of the European Union, enriches Europeana by offering high-quality reusable images and compelling stories, in a safe and engaging online environment that is bound to become a great resource for educators, researchers, creative industries and photography and culture enthusiasts.

Website: www.photoconsortium.net/pagode

#EuropeanaChina

#CEFTelecom

#ConnectingEurope

#allezculture

 


Outcomes of the European Cultural Heritage Green Paper launch webinar

The on line event took place last 22th March as a cooperation between Europa Nostra and other heritage, climate and financial organizations. More than 500 people joined the meeting and shared reflections about the great challenges targeted by the Green Deal and the fundamental role played by cultural heritage for the success of its mission.
This concept was emphasised from several perspectives by all representatives of the main organizations that supported the adoption of the Cultural Heritage Green Paper: Hermann Parzinger, Executive President of Europa Nostra; Andrew Potts, main author of the Paper and Coordinator of the ICOMOS Climate Change and Heritage Working Group; Francisco de Paula Coelho and Ambroise Fayolle, respectively Dean of the Investment Bank Institute and Vice-President of the EIB responsible for Climate Action; Mariya Gabriel, European Commissioner for Innovation, Research, Culture, Education and Youth; Teresa Patricio, new President of ICOMOS.
As a follow-up, Europa Nostra plans to launch a European multi-stakeholder platform on heritage and climate action in order to build on and deepen the collective knowledge developed with this Paper and to engage all parties concerned into ensuring adequate implementation of the proposed recommendations.
The European Investment Bank Institute has also announced the introduction of a new strand of its future activities dedicated to the topic “Cultural Heritage and Climate Action”.
This policy and advocacy document will also be highly relevant for other policy priorities of the European Union, such as the recently launched New European Bauhaus initiative of the European Commission, of which Europa Nostra is an official partner.
Click here for executive summary, full paper, presentation and full press release.
Previous blog on the launch webinar here.

 


Crozier Fine Arts and Arius Technology launch a new platform for the Art World

Arius Technology Inc., a world-leading art technology company, has partnered with Crozier, a global leader in fine arts logistics and an Iron Mountain (NYSE:IRM) business, to provide clients with ultra-high-resolution imaging previously unavailable to the commercial art world. The core of the technology, known as the Art Digital Master File (ADMF™) platform, will transform analytics, documentation, and visualization of art, bringing art collectors into the digital age of art preservation and stewardship.

Originally developed for the forensic analysis of the Mona Lisa at the Louvre, the technology has been further developed by Arius, working with leading museums including Tate and The National Gallery of Canada to advance the value and capability of the system. This conservation-quality imaging technology offers a level of detail previously unavailable to the commercial art market. The Arius 3D ultra-high-resolution color laser data capture system simultaneously measures the geometry and color of a painting’s surface, recording millions of data points. This enables collectors to both protect and engage with their artwork at brushstroke level, picking up intricate detail as fine as one tenth of a human hair.

The ADMF™ data, stored digitally in much the same way as a master music recording, has many uses. It can be embedded in online viewing rooms to provide brushstroke level visualization; developed into comprehensive condition reports and restoration plans; and printed as highly accurate textured replications that represent every movement and carefully considered color choice of the artist.

As online art sales continue to rise steadily, and online viewing rooms are now a feature of the art world, Arius’ visualization suite will offer an immersive experience where visitors can calibrate and adjust lighting, viewing angle, perspective and shadow effects.
The ADMF™ data also holds the promise to become the cornerstone of multi-factor authentication, linked to traditional provenance documentation. As a unique digital fingerprint of a work, it has tremendous potential for fraud prevention and detection. It also provides the richest data set for digital archiving.

Arius CEO Paul Lindahl says: “We are excited to work with Crozier to offer gold standard digitization, visualization and conservation of art. This launch of phase one of the ADMF™ platform focuses on the visual enjoyment of art, both digitally and with high-fidelity textured replications. We are continuing to build out the platform to enable digital archiving and condition analytics that will allow for proactive restoration before degradation is visible to the human eye.”

Collectors, as custodians of culturally significant works, will appreciate the role the ADMF™ data can play in digitally preserving paintings, ensuring they maintain their rightful place in history and enabling the best possible conservation for the future. Collectors who have gone through the hard work of establishing provenance, will understand that linking the ADMF™ data to traditional documentation will bring confidence and simplicity to future transactions. Also, collectors that wish to store or donate important works can continue to enjoy an emotional connection through a high-fidelity replication, knowing the replication comes directly from the original.

Simon Hornby, Crozier’s SVP of Western Europe, says: “Over the past few years, Crozier has focused its digital strategy on partnering with the world-leading platforms in order to provide clients with solutions. The decision to embark on a partnership with Arius came after many months of research and an in-depth review of its viability and capability. We are thrilled to partner with Arius and to be able to offer our clients the most advanced ultra-high-resolution digitization technology.”

Tom Hale, SVP of North America for Crozier says: “We know by listening to our clients that they need ways to both engage with and protect their artwork that leverage a wide array of technologies. We are uniquely positioned to offer them a solution that combines conservation and new art world technology and are excited about what is to come in 2021 and the future.”

Arius technology is currently installed at Crozier facilities in London and New York, with future installations planned for Switzerland and Los Angeles.

For more information visit https://www.crozierfinearts.com/uhr


About Arius Technology
Arius is a world leader in ultra-high-resolution 3D color laser data capture, data analysis and data visualization for fine art. Sophisticated data processing assembles millions of data points representing color and surface geometry into the Art Digital Masterfile (ADMF™) platform which can be stored in much the same way as a master tape in the music industry. The ADMF™ data can be used for a wide array of applications, including condition analytics, online viewing and high-fidelity replications. Arius collaborates with museums, galleries, collectors, and artists to digitize art for preservation, visualization, documentation, and authentication.
For more information visit https://www.ariustechnology.com

About Crozier
Crozier is the global leader in fine art storage and logistics. Crozier serves the art world ecosystem through our strategic network that spans North America and Europe. By design and execution, Crozier can meet the needs of any collection, whether private or institutional, offering unparalleled technical expertise in the handling, installation and storing of art. Our mission is to preserve culture and innovate best practices to protect the value and integrity of treasured assets. We ensure art that matters today is here for generations to come.

About Iron Mountain
Iron Mountain Incorporated (NYSE: IRM), founded in 1951, is the global leader for storage and information management services. Trusted by more than 225,000 organizations around the world, and with a real estate network of nearly 93 million square feet across approximately 1,450 facilities in 56 countries, Iron Mountain stores and protects billions of valued assets, including critical business information, highly sensitive data, and cultural and historical artifacts. Providing solutions that include secure records storage, information management, digital transformation, secure shredding, as well as data centers, cloud services and art storage and logistics, Iron Mountain helps customers lower cost and risk, comply with regulations, recover from disaster, and enable a more digital way of working. Visit www.ironmountain.com for more information.


Presentation of UNCHARTED at the European Sociological Association Conference on The Social Effects of Art

On 10th March 2021, Professor Arturo Rodríguez Morató and Dr. Matías Zarlenga, from the University of Barcelona, UNCHARTED project’s partner leader, presented the Project at the 11th midterm conference of the Research Network on the Sociology of the Arts of the European Sociological Association, THE SOCIAL EFFECTS OF ART (https://sites.uniarts.fi/web/esa-arts2021/home) . The event was organized by the University of the Arts (Uniarts) Helsinki, Center for Cultural Policy Research CUPORE & European Sociological Association, Sociology of the Arts Research Network (RN2). The ESA-Arts 2021 conference dealt with the social function and effects of the arts, a defining problem for the discipline. The paper (UNCHARTED: a European research project on the value of culture and the arts), which was presented within a session on the Arts and Cultural Policies, gave an overview of the project, explaining its general vision and the research logic inspiring it.

Read more


Widen your horizons and join the European Heritage Youth Ambassadors programme

The European Heritage Youth Ambassadors programme empowers heritage students and young professionals to share their stories. The programme is a joint initiative by the European Students’ Association for Cultural Heritage (ESACH), Europa Nostra and the European Heritage Tribune (EHT).
The programme is an opportunity for youth to share their perspectives and to help promote the green and digital transformations taking place in the society.
By giving a voice to heritage students and young professionals, the programme promotes intergenerational exchange of ideas and experiences, it fosters capacity building and the engagement of young people with cultural heritage. It’s main objective is to contribute to “build of a peaceful and harmonious Europe” and to “help people better understand the world around them”. Europe Ambassadors are provided with a platform to promote themselves and their professional profiles, a great opportunity to be part of a vast European network.
In turn, the Ambassadors convey the messages of the three organisations in their respective countries. The programme was officially launched on January 2021 and it currently involves  eleven Ambassadors from Europe and beyond. Interested in their profiles and stories? Click here and search for #HeritageAmbassadors on social media!


CitizenHeritage as part of students activities at Erasmus University

CitizenHeritage promotes participative approaches and is also about involving university students with cultural heritage projects. As part of the Museums in Context master course, the Rotterdam University organizes activities where students perform short and intense research projects involving the discussion of theories and the gathering and analysis of data. One of the projects this year is CitizenHeritage, with which students developed and tested one survey approaching the project’s topics from the consumer’s perspective.

All 5 projects explored by students have been representative of this unique period we are living in, and while the course is especially focused on the museum sector, the discussions and themes apply to the wider cultural sector.

A final presentation of the students works was held on Wed 31 March from 13.00 to 14.45 CET.

Museums in Context

Zoom meeting: https://us02web.zoom.us/j/3227637978

The projects to be presented are:

  1. The Dutch Museum Gift Shop: students present results from a bilingual (NL, ENG) survey on perceptions and online shopping behaviour. Students also present results from a comparison on various online shops.
  2. Reuse of Open Data: the group chose to interview a series of visual artists about their perception and use of images online. Students present issues related to accessibility (digital literacy, technical and legal challenges), affinity to the museum organization, and inspiration sources in the creation process.
  3. Why is Culture Good for You? CitizenHeritage is a challenging project, abstract and lacking one simple answer. Students ran a survey before and after a cultural consumption event and present their insights. For this project, the creation of the survey was at the core.
  4. Visual and Performing Arts Online: understanding the move online during the lockdown, this group chose to look at museums, dance and theatre organizations developing online services and compared prices, engagement, and technological innovation.
  5. Museums and XR: this project focused on the Generation Z. Students  present results from a survey on cultural and online behaviour as well as perception of the museum online. Results are placed within a larger context of the GenZ.

The presentations were recorded and are made available together with students’ slides, and, upon request, the final papers can also be provided.


From presence to prominence: how can computer vision widen the evidence base around on-screen representation

Learning on Screen is a UK charity and membership organisation specialised in the use of moving image and sound in education and research.
The organization is exploring the potential in its archive of over 2.4 million television and radio broadcasts as a dataset to train algorithms – the BoB archive – available for research purposes, particularly in the field of Artificial Intelligence. At this purpose, it is currently conducting a pilot project in collaboration with Nesta to investigate the challenges and opportunities related to using the BoB archive to apply machine learning to answer different research queries. The project – led by Raphael Leung and Cath Sleeman (Nesta) – analyses a sample of the BoB archive to explore how computer vision can be used to study diversity and representation on British TV, with a focus on gender inequality.
The three pieces of work in this research series are:
Part one: Gaps in the evidence base
Part two: A framework for measuring on-screen
Part three: An illustrative demo measuring prominence of TV character
The blog series reporting the first findings of the project is available here.
Learning on Screen website.
Creative Industries website.


Biodiversity Heritage Library

Text by Caterina Sbrana.

Biodiversity Heritage Library (BHL) is an open access digital library for biodiversity literature and archives dedicated to life on Earth.

The curators of the library claim that it is the “world’s largest open access digital library for biodiversity literature and archives”. And with an access to over 240,000 free nature images and more than 58 million pages, we can believe it.

Since its launch in 2006, BHL supported studies and research carried out around the world. The Biodiversity Heritage Library’s goal is to continue in transforming research on a global scale and ensure that everyone, everywhere has the information and tools they need to study, explore and conserve life on Earth, responding in these objectives to a request from scientists who have long considered this lack of access to biodiversity literature as a major impediment to the efficiency of scientific research.

Screenshot of the home page of the Biodiversity Heritage Library; https://www.biodiversitylibrary.org

BHL collects animal sketches, historical diagrams, botanical studies, and various scientific research collected from hundreds of thousands of journals and libraries around the globe. These documents are essential to understand the complexities of swiftly-changing ecosystems in the midst of a major extinction crisis and widespread climate change.

A way to enjoy this extraordinary archive is to enter the home page of the Library and from here directly into the BHL channel on Flickr, from which you can access, as I said above, over 240,000 free nature images from its collection, concerning plants, flowers, insects, birds of prey, fish, reptiles, shells, mushrooms etc. As specified in the Library’s project description (https://about.biodiversitylibrary.org/), through Flickr, BHL provides access to free nature images, enabling greater discovery and expanding its audience to the worlds of art and design. BHL also supports a variety of volunteer projects that encourage the public to help enhance collection data.

Some of the albums you can access from the Flickr platform; https://www.flickr.com/photos/biodivlibrary/albums/page48

The BHL portal provides free access to hundreds of thousands of volumes, comprising over 58 million pages, from the 15th-21st centuries. 150,000 illustrations are available in the BHL collection for free download and in high-resolution files.

This photo of Scorpaena Gibbosa is in the Journal des Museum Godeffroy. Hamburg; Bd. 2:Heft. 3,5,7,9 (1873-1875); https://www.flickr.com/photos/biodivlibrary/50667074123/in/album-72157717114877288/

BHL operates as a worldwide consortium of universities, museums, national libraries, botanical gardens, clubs and societies. The aim of the consortium is to work together to digitize the natural history literature held in their collections and at the same time make this cultural heritage freely available for open access.

As described on the website, “The BHL consortium works with the international taxonomic community, publishers, bioinformaticians, and information technology professionals to develop tools and services to facilitate greater access, interoperability, and reuse of content and data. BHL provides a range of services, data exports, and APIs to allow users to download content, harvest source data files, and reuse materials for research purposes. Through taxonomic intelligence tools developed by Global Names Architecture, BHL indexes the taxonomic names throughout the collection, allowing researchers to locate publications about specific taxa”.

Many social media are used by BHL to reach worldwide audiences and allow people to explore thousands of images: Twitter, Facebook, Instagram, Pinterest and, as I said, Flickr.

This painting is in the collection “A selection of the birds of Brazil and Mexico”, London: H.G. Bohn, 1841; https://www.flickr.com/photos/biodivlibrary/5977780242/in/album-72157627284762054

Beyond the extraordinary collections, what has struck me was the reason why the Library was created, which can be read read in depth on its history page (https://about.biodiversitylibrary.org/about/history-of-bhl/):  “The Biodiversity Heritage Library was created to address a major obstacle to scientific research: lack of access to natural history literature. This literature underpins the work of researchers around the world by providing species data and descriptions, ecosystem profiles, distribution maps, inter-dependency observations, geological and climatic records, and more. At a 2003 meeting funded by The Andrew W. Mellon Foundation, scientists stated that providing free, online access to this literature would greatly improve the efficiency of research worldwide.”

These drawings are in the album Types du règne animal. Buffon en estampes; https://www.flickr.com/photos/biodivlibrary/50353484827/in/album-72157716009448326/

I agree with the idea of scientists to provide free, online access, believing that scientific information should not be prerogative of researchers or even published only in academic journals but should be freely accessible and free of charge. It is thanks to a new idea of scientific communication that many paper-based documents contained in historical archives, to which few people had access, have been digitized and made accessible online. The communication of science is experiencing now a kind of revolution.

https://www.biodiversitylibrary.org/

https://about.biodiversitylibrary.org/about/history-of-bhl/

https://www.flickr.com/photos/biodivlibrary/albums/page48

 


Britain’s children “shipped” since 1860s

Text by Caterina Sbrana.

There is a history of migration involving a large number of Britain’s children who were “shipped” since the 1860s to Canada, Australia and other Commonwealth countries. This fate affected over 100,000 children. I knew the living conditions of English children at the time of industrialization and their exploitation in work in the new factories, but I didn’t know this sad page of history that is well remembered and described in an online exhibition presented by the Australian National Maritime Museum in Sydney, titled “Britain’s child migrants”.

Screenshot of the “Britain’s child migrants” on line exhibition home page, showing four children with their suitcases; https://www.sea.museum/discover/online-exhibitions/britains-child-migrants

You may wonder why this forced migration. We can read the reasons in the page that introduces the exhibition: “Few were orphans; many came from families who were unable to care for them. With the belief that the lives of these children would improve, charitable and religious organisations sent them overseas. They were supported by governments for which these schemes supplied much needed population and labour”.

The forced migration lasted for almost a century and it is not difficult to understand how for these children the separation from their families was dramatic. “Child migration schemes – as we continue to read in the introduction- received criticism from the outset yet continued until the 1960s. Formal apologies from the Australian Government in 2009 and British Government in 2010 were made but many former child migrants and their families are still coming to terms with their experiences”.

The on line exhibition is organized in six sections: The Departure, Empire and Dominions, The Voyage, New Lands, New Life, Reflection, remembering and reunion, Resources. Each section is presented by one or few images and short texts. It is possible within the individual sections to access subsections through which you can deepen some topics.

This screenshot shows the main sections of the “Britain’s child migrants” on line exhibition; https://www.sea.museum/discover/online-exhibitions/britains-child-migrants

The photographs show the children with their suitcases – often the only luggage they brought with them, along with the feeling of separation. Of some children there are “study sheets”, if we can use this term, in which you can find information about the age they had when they were made migrants, where they came from and what was their destination. And again, thanks to the exhibition you can know the shipping companies and also the name of the ships that were generally used for these forced voyages. The exhibition includes examples of letters sent by child migrants where they describe some of the places they visited and their experiences during their long voyage to Australia.

The Resources section provides links to various other sites for both families who have been affected by child migration, and researchers interested in finding out more about this subject.

The exhibition was made possible thanks to the collaboration between the Australian National Maritime Museum and National Museums Liverpool, Liverpool, UK and is supported by the National Collecting Institutions Touring and Outreach Program, an Australian Government program that aims to improve access to the national collections for all Australians.

https://www.sea.museum/discover/online-exhibitions/britains-child-migrants