How common is it for cultural organizations to permit the free reuse of their digitized public domain collections? Where are these materials published online, and under what conditions? The Open GLAM Survey has been looking at this for 6 years: https://loom.ly/rDymW1I
Creative Commons’ Post
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Associate Professor in Digital Humanities, Galleries, Libraries, Archives, and Museums Section, Department of Communication, University of Copenhagen 🌻
The Open GLAM survey by Douglas McCarthy and Andrea Wallace is one of the most valuable tools and surveys within Digital Humanities and Digital Heritage research and for GLAM institutions wanting to work in the digital field. The last 20 years efforts of digitising heritage, og millions spent on digital project in the humanities, all come down to nothing, if these efforts are not made available for the broader spectrum of heritage users and practitioner around the world. In the community as well as the institutions. Locally as well as in the wider diasphora. Currently the hurdle here is not a lack of technology in the humanities. And its not a technical question of AI or the like. Its a question of understanding the reasons (including emotional reasons, cultural bias, commercial interests) and the cultural and legal policies that stand in the way of enabling an equal and ethical access to culture and heritage around the world. Its a question of understanding the many users of this open heritage data, worldwide, particularly in Heritage Practise Communities. Hanne Marie Motzfeldt, Suzie Thomas, Pakhee Kumar
How many museums, libraries and archives have open access policies for public domain collections? Since 2018 Andrea Wallace and I have been answering this question. The Open GLAM Survey is the definitive guide to the landscape of open access policy and practice. It's a crucial resource for researchers, policymakers, and practitioners in the field of copyright and heritage. We wrote a recap for Creative Commons: https://lnkd.in/e3svNgGc #OpenCulture #OpenGLAM #OpenAccess #Copyright #Licensing #Museums #Libraries #Archives
Moving Institutions Toward Open—Building on 6 Years of the Open GLAM Survey - Creative Commons
https://creativecommons.org
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Minister of Education, Social Development, Youth, Culture, Gender Affairs, Creative Industries and Sports
Above: Updated LBCC design lead by Courtney Morton, assisted by Claudius Gumbs, Daryl Richardson, Gregory Permuy, Kasseem Forde. Render designed by O’Sanna Tomlinson. Cultural development has often been overlooked as an essential element of Anguillian identity. As a result, the development of cultural sites is often considered unnecessary when compared to other infrastructure projects on the island. While the focus is on structural advancements in culture to provide the space for programmes and events through the construction of the new Landsome Bowl Cultural Centre, the Ministry and Department of Youth and Culture are also working on preserving tangible and intangible cultural heritage in Anguilla. We are embarking on creating cultural policies and legislation that support the upkeep, advancement, and exportation of Anguilla's cultural arts and artists globally. Anguilla is currently advocating for the extension of three cultural conventions to the island, which not only provide technical assistance but also funding grants for cultural preservation activities. Furthermore, Anguilla has successfully bid to host the 2025 World Music Cities Convention, which will help develop local capacity in the development of our local artists. This year, Anguilla will open its first national museum, which will house Colville Petty's impressive and extensive historical collection. At the same time, plans are underway to train historical curators who will document Anguilla's historical and cultural developments in detail. The lack of investment in culture has contributed to the erosion of culture's recognition as an essential component of development and identity. However, investment in culture spans across sectors. For these investments to be sustainable, students within the education system must be taught about Anguillian culture so that they can grow with a space for it within their individual plans. That's why the Ministry of Social Development, in partnership with multiple Anguillian authors, have rewritten the Anguilla Social Studies textbook, aiming to entrench culture within the Anguillian education system.
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Scent in the museum. For a long time, this phrase would have raised red flags for conservators, curators, archivists and visitors of heritage spaces – and in many cases it still does. Scents? Where? Surely not in the galleries or in the depot?! Do they indicate undesirable moulds in books or other objects? Are odours spilling from the restroom or the museum café? Do these scents suggest the presence of airborne dangers that might affect the artefacts? Recognised as a hazard or simply lurking in the background, visitors and heritage professionals alike are not accustomed to actively paying attention to smells in cultural heritage institutions. Scents are assumed to be incidental, unintentional, and unwanted. Odeuropa’s Olfactory Storytelling Toolkit: A ‘How-To’ Guide for Working with Smells in GLAMs and Heritage Institutions is created for conservators, curators, educators, tour guides, museum directors, archivists, librarians, and all others who are interested to work with smells in a heritage context. https://lnkd.in/d3BWXq3N
The Olfactory Storytelling Toolkit - Odeuropa
odeuropa.eu
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Cross-sector conference - Discovering Collections Discovering Communities (DCDC) - is back and better! Save the date: 29 - 31 July 2025, at Durham University and via Pheedloop. DCDC Partners - The British Library, Jisc and The National Archives - have taken time to review and consider delegate feedback, and from 2025 an improved DCDC conference will take place as a fully hybrid international event. To ensure delegates experience the best that DCDC has to offer, the conference will run on a biennial basis from 2025 onwards. What do I need to know? DCDC25 will take place from 29 - 31 July 2025, at Durham University and online using the platform Pheedloop What does this mean? A fully hybrid conference will ensure that DCDC audiences can continue to engage with peers, share and hear more about the incredible work that is being undertaken across the Galleries, Libraries, Archives, Museums and Academic (GLAMA) sector, and take part in opportunities to network and develop professional skills, regardless of where they are in the world or their career stage. Who is DCDC for? DCDC is an international conference for those working in the GLAMA sector. We welcome archives, libraries, special collections, museums, galleries, heritage organisations, academics, independent research organisations (IROs), charitable and community organisations, and research support and impact professionals to attend the event. 👉 A full programme of in-person and online content. 👉 A showcase of organisations, collections and research projects as part of History Day North. 👉 Opportunities to engage (virtually and in person!) with cultural heritage sites and organisations, including the World Heritage Site, Durham University’s Libraries Museums, Galleries, Gardens, Archives and Special Collections; and The Story Durham, the new home of Durham County Record Office 👉 Hybrid networking. 👉 Gamification and prizes. 👉 Professional development opportunities. 👉 In-person reception events. Got any questions? You can contact us at DCDC@nationalarchives.gov.uk We’ll be sharing more information and DCDC-related news on X and LinkedIn over the coming months (#DCDC25).
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In a new post on the AASLH Blog, learn how the Raupp Museum streamlined collections management, leading to the transition from a legacy system to a cloud-based collections management system. Learn how the staff's web publishing efforts shaped their journey toward more effective collections management, cultural preservation, and community engagement.
Web Publishing as a Tool for the Raupp Museum’s Cultural Preservation and Community Engagement
https://aaslh.org
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In 2022, Ukrainian culture faced significant adversity with the destruction of cultural monuments, artist emigration, and a declining advertising market. Despite these challenges, there was a resilient push towards digitizing cultural heritage, involving complex processes to convert vast quantities of documents and artefacts into digital formats. A digital solution for cataloguing and managing museum items has been developed, offering real-time updates and advanced tracking features. This initiative sets a precedent for cultural heritage management in Europe and exemplifies the importance of digital transformation in preserving cultural legacies. 🔹 Case https://lnkd.in/guFZ6TMS 🔸 How do you handle digitalization? Historic England Historic Royal Palaces Historic Architecture Historic Environment Scotland English Heritage German Commission for UNESCO Deutsches Nationalkomitee für Denkmalschutz (DNK) Bayerisches Landesamt für Denkmalpflege Landesdenkmalamt Berlin Brandenburgisches Landeshauptarchiv Hessisches Kultusministerium Ministère de la Culture - Direction Gén��rale des Patrimoines - Département de la Formation ASSOCIATION DES PERSONNELS DU CENTRE DES MONUMENTS NATIONAUX Institut interdisciplinaire d'innovation technologique - 3IT Istituto Italiano di Cultura Buenos Aires - Ministero degli Affari Esteri Lucca Musei Nazionali Ars Electronica Viktor Waal Andriy Sabanskiy Ivanna Pleshkan Dmytro Doroshenko
Digital Innovation in Museum Item Management: Elevating Cultural Heritage Protection | 42FLOWS.TECH
42flows.tech
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Reflections on Culture: Dr Mark O’Neill, ‘Museums for all? A utopian fantasy?’ – CREATe: Join us for the second lecture of the "Reflections on Culture" Series on 15 November at 6.00pm in the Advanced Research Centre (ARC), Room 237B+C. Dr Mark O'Neill, former Chair of the European Museum of the Year Award, will speak on "Museums for all? A utopian fantasy?" The lecture will be followed by a Q&A session. RSVP on Eventbrite. - IP topics: Intellectual Property topics! #ip #intellectualproperty #copyright
Reflections on Culture: Dr Mark O’Neill, ‘Museums for all? A utopian fantasy?’
https://www.create.ac.uk
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💥 Exciting to see this article from the Museums Association about the work that DemocracyNext has led with Vera Sacchetti and Amelie Klein (Design + Democracy) in two German museums 💥 "Participants in both assemblies were asked how the Bundeskunsthalle and the SKD could “evolve to remain a relevant, welcoming, inclusive, and diverse public spaces that enable social dialogue on the most pressing issues of these rapidly changing times.. 👉 Recommendations for the Bundeskunsthalle included inclusivity training for staff, simpler jargon-free language in exhibitions, interactive exhibitions to engage visitors’ minds and bodies, co-creation projects and a permanent Citizens’ Assembly to advise the museum." 🎉 Great stuff. Excited (and not surprised) to see Birmingham Museums Trust leading the way in the UK - with a live call for proposals for a Citizens' Assembly in Birmingham - see link below for UK-based practitioners. 💪 Citizens' Assemblies are proven to really help tackle difficult or 'stuck' issues. I believe that an Assembly could really help us to have a far more thoughtful national conversation, with a set of shared concrete recommendations, made by the general public - who have taken the time to weigh up the issue, based on expert evidence and lived experience - on how museums could resolve the thorny question of, for instance, some of the most contested items in national collections (Elgin Marbles, anyone?). They're our museums, after all. 🗝 Beyond this, the key to this approach is how to embed deliberation and deliberative democracy into the way decisions are made - so Assemblies become more than a one-off process - they become the way that decisions are made. #museums #citizensassemblies #deliberativedemocracy Claudia Chwalisz Ieva Cesnulaityte James MacDonald-Nelson Ansel Herz https://lnkd.in/eBa7Cbgp https://lnkd.in/e4c9buDa
Citizens’ assemblies aim to make German museums more democratic
museumsassociation.org
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The evolution of exhibition label writing and its impact on museum communication has changed much of how visitors engage with exhibits in recent decades. Step into the world of telling a story using labels, with insights from former Exhibition Label Writing Competition organizers as they share tips for crafting clear, concise, and captivating labels. 📖 Dive into the article and past award-winning examples to learn from these experts and enhance your label writing skills. https://lnkd.in/gBZAe3Zv
Striving for Excellence in Exhibition Label Writing
https://www.aam-us.org
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When writing a news story, I imagine it’s hard to strike the right balance between making it compelling and including the right amount of detail. However, this piece in the Guardian from a week or so ago leaves a big part of the puzzle out. The British Museum holds sacred items looted from Ethiopia by British soldiers. While that institution possessing items stolen as part of our glorious imperial past isn’t news, these items aren’t even on display, and never have been. There is naturally a campaign for their return. A not-for-profit group made an FOI request for internal discussions about the matter which was refused at the first request and on internal review. The Guardian’s report is about the fact that Returning Heritage is now appealing to the Commissioner. Given the context and the fact that the British Museum isn’t a government department, it seems highly likely that they used S36, the exemption that covers the free and frank exchange of advice and views. Even though I think the Museum should return items to anywhere that wants them back, I don’t think it would be inappropriate for them to use this exemption. My complaint – and this is common to a lot of reporting on FOI questions – is that nowhere does it say what they’re relying on. I don’t expect section numbers, but the journalist has got quotes from the organisation, so it seems odd to not even refer to it. Assuming the Museum doesn’t fold, at some point in the future there will be a decision notice that will shed some light on the issues, but until then, reporting like this forces you to guess. https://lnkd.in/edSvBA5N
British Museum investigated over Ethiopian artefacts hidden from view for 150 years
theguardian.com
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