Papers by Maarten Brinkerink
Open Culture Data: Opening GLAM Data Bottom-up
Zenodo (CERN European Organization for Nuclear Research), Oct 14, 2022
Open Culture Data started as a grassroots movement at the end of 2011, with the aim to open up da... more Open Culture Data started as a grassroots movement at the end of 2011, with the aim to open up data in the cultural sector and stimulate (creative) reuse. In this context, we organised a hackathon, which resulted in the creation of 13 Open Culture Data apps. After this successful first half year, a solid network of cultural heritage professionals, copyright and open data experts and developers was formed. In April 2012, an Open Culture Data masterclass started in which 17 institutions get practical, technical and legal advice on how to open their data for re-use. Furthermore, we organised an app competition and three hackathons, in which developers were stimulated to re-use Open Cultural Datasets in new and innovative ways. These activities resulted in 27 more apps and 34 open datasets. In this paper we share lessons-learned, that will inform heritage institutions with real-life quantitative and qualitative experiences, best practices and guidelines of their peers with opening up data and the ways in which this data is reused. Since the open culture data field is still relatively young, this is highly relevant information needed to stimulate other to join the open data movement. To this end, we are already taking steps to cross the borders and let Europe know about the initiative, on both a practical and a policy level.
Open is as open does. How to use open content in a personalized interactive museum exhibit
textabstractOpen is as open does. Open content has been a hot topic in heritage for several years... more textabstractOpen is as open does. Open content has been a hot topic in heritage for several years. The Netherlands Institute for Sound and Vision has long been a front runner when it comes to supporting open standards and free re-use of our collections. Surprisingly enough, we never tried it the other way around: using open content to create an exhibit. So when we started to develop an exhibition celebrating the 50th anniversary of 3FM - one of Holland’s main public pop radio channels - we asked ourselves: would we be able to create a personalized, interactive videomapping exhibit using mainly open content? During a How-To-Session Karen Drost and Maarten Brinkerink will dive into how we managed this, and share what we learned.
Impact assessment is a fast-growing field that generates a lot of interest. But it can come acros... more Impact assessment is a fast-growing field that generates a lot of interest. But it can come across as a daunting and complex topic. This playbook was developed to take you by the hand, introduce you to the language, and help you make some strategic choices.
DigiBird: On The Fly Collection Integration Supported By The Crowd
textabstractOver a period of seven years Sound and Vision, EYE Film Institute, the National Archi... more textabstractOver a period of seven years Sound and Vision, EYE Film Institute, the National Archives and Kennisland preserved over 90,000 hours of video, 20,000 hours of film, some 100,000 hours of audio and 2,500,000 photos. The digitised material is now being reused for numerous purposes, from lesson material and Wikipedia to apps and services for the creative industry. Images for the Future has played a pioneering role in both the development of large-scale digitisation processes and the thinking on the role of heritage organisations in our digital society.
In this practitioners’ statement we look closely at the case of the Dutch public broadcaster VPRO... more In this practitioners’ statement we look closely at the case of the Dutch public broadcaster VPRO and their experience with the open publication of newly produced public broadcasting content in relation to the series The Mind of the Universe. This paper discusses the various stages of open publication, from pre-production to the “afterlife” of the openly published materials. It concludes with recommendations for public broadcasters who want to publish under open licenses, and recommendations to the Wikimedia movement to profit more from openly licensed video.
textabstractBij het toegankelijk maken van erfgoedcollecties verschuift de nadruk van het online ... more textabstractBij het toegankelijk maken van erfgoedcollecties verschuift de nadruk van het online toegankelijk maken van collecties via institutionele websites, naar een ‘open’ benadering, waarbij het publiek participeert. Het open karakter van de nieuwe aanpak is ook terug te zien aan de voorwaarden waaronder archieven hun (AV-)collecties beschikbaar stellen (creative commons). De auteurs gebruiken het Open Beelden-platform als voorbeeld om de meerwaarde aan te tonen van een open benadering om metadata en content beschikbaar te stellen.
Emerging Institutional Practices: Reflections on Crowdsourcing and Collaborative Storytelling
Impact assessment is a fast-growing field that generates a lot of interest. But it can come acros... more Impact assessment is a fast-growing field that generates a lot of interest. But it can come across as a daunting and complex topic. We have developed this playbook to take you by the hand, introduce you to the language, and help you make some strategic choices. In the cultural heritage sector, we work for a great cause, for the good of society as a whole, and we have ambitious goals. But it's not always easy to see whether we're achieving them. The fact of the matter is that-as a cultural institution-we have very few instruments at our disposal to assess the results of our actions. Of course, we count the direct outputs of our work fanatically-visitor numbers, Facebook likes, ticket sales. But we don't dig into the deep outcomes that result from our work-changes to attitudes, new friendships, new ideas and values. towards an acceleration of cultural impact Introduction Answers to the question "Did this project contribute to the feeling of a shared identity?"
Digitale erfgoedcollecties en de jacht op de gebruikscijfers. Wat we weten van meten
textabstractIn zeven jaar tijd hebben Beeld en Geluid, EYE Filmmuseum, het Nationaal Archief en K... more textabstractIn zeven jaar tijd hebben Beeld en Geluid, EYE Filmmuseum, het Nationaal Archief en Kennisland meer dan 90 duizend uur video, 20 duizend uur film, zo’n 100 duizend uur audio en 2,5 miljoen foto’s geconserveerd en gedigitaliseerd. Het gedigitaliseerde materiaal wordt inmiddels hergebruikt in talloze toepassingen, van les materiaal en Wikipedia tot apps en diensten voor de creatieve industrie. Beelden voor de Toekomst heeft een pioniersrol vervuld in zowel de ontwikkeling van grootschalige digitaliseringsprocessen als de gedachtevorming over de rol van erfgoedinstellingen in de digitale samenleving.
Modeling and Exchanging Annotations for Europeana Projects
Cultural heritage institutions are looking at crowdsourcing as a new way and opportunity to impro... more Cultural heritage institutions are looking at crowdsourcing as a new way and opportunity to improve the overall quality of their data and contribute to a better semantic description and link to the web of data. This is also the case for Europeana, as crowdsourcing under the form of annotations is envisioned and being worked on in several projects. As part of the Europeana Sounds project, we have identified the user stories and requirements that cover the following annotation scenarios: open and controlled tagging; enrichment of metadata; annotation of media resources; linking to other objects; moderation and general discussion. The first success on bringing annotations to Europeana is the integration of annotations to Europeana objects made on the HistoryPin.org platform covering both the tagging and object linking scenarios. The next step, will be to help data providers to support annotation at their side, for which we are working with the Pundit annotation tool. As a central point...
Challenges on modeling annotations in the Europeana Sounds project
International Conference on Theory and Practice of Digital Libraries, 2016
Europeana Foundation, The Hague, The Netherlands {hugo.manguinhas,valentine.charles,antoine.isaac... more Europeana Foundation, The Hague, The Netherlands {hugo.manguinhas,valentine.charles,antoine.isaac}@europeana.eu The British Library, London, United Kingdom {tom.miles@bl.uk} The Centre de Recherche en Ethnomusicologie, Paris, France {aude.da-cruz-lima@mae.u-paris10.fr} The Maison Méditerranéenne des Sciences de l'Homme, Aix-en-Provence, France {ariane.neroulidis@gmail.com, veronique.ginouves@univ-amu.fr} Netherlands Institute for Sound and Vision, Hilversum, The Netherlands {datsidis@beeldengeluid.nl, mbrinkerink@beeldengeluid.nl} Spinque B.V., Utrecht, The Netherlands {michiel@spinque.com} Austrian Institute of Technology, Vienna, Austria {sergiu.gordea@ait.ac.at}
Open Data Reader 2016
textabstractIn deze publicatie bekijken we het gecompliceerde veld van open data, waaronder de ra... more textabstractIn deze publicatie bekijken we het gecompliceerde veld van open data, waaronder de randvoorwaarden voor het openen van data. We bekijken specifiek drie verschillende facetten van de opendatapraktijk: de juridische kaders, de technologische factoren en de beleidsvorming rondom het actief ontsluiten van data voor publieke instellingen. Welke tactieken worden nu ingezet, en wat zijn daarvan de voor- en nadelen?
Unlocking Sound and Image Heritage: Selected Readings from the 2015 SOIMA Conference, 2017
Museums benefit from fostering a 'culture of innovation' as a way to effectively manage ever-chan... more Museums benefit from fostering a 'culture of innovation' as a way to effectively manage ever-changing expectations of user groups and, at the same time, make the most of new opportunities offered by technology (Simon, 2011). The fundamental challenge is how to achieve the public missions (i.e. supporting a myriad of users in utilizing heritage collections so that they can actively learn, experience and create). As Douglas Rushkoff (2014, p. 70) notes, "It's not about how digital technology changes us, but how we change ourselves and one another now that we live so digitally". For this, it is essential for museums to have access to technical infrastructure that not only allows for digital assets management but also helps them to pursue contemporary objectives (Johnson et al., 2015). For instance, museums can use new channels for content distribution (e.g. YouTube, Instagram) to engage with new user
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Papers by Maarten Brinkerink