tag:blogger.com,1999:blog-962447465856397284.post455966135502833044..comments2018-05-17T05:58:37.073+01:00Comments on Melissa Terras' Blog: Reuse of Digitised Content (1): So you want to reuse digital heritage content in a creative context? Good luck with that. Melissahttp://www.blogger.com/profile/00759369628908140089noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-962447465856397284.post-28130628444329326002014-10-07T18:06:46.758+01:002014-10-07T18:06:46.758+01:00... and there is no shortage of common sense guida...... and there is no shortage of common sense guidance, courtesy of JISC, LOC and others (e.g. http://www.jisc.ac.uk/guides/make-your-digital-resources-easier-to-discover) - why is it so often ignored?Richard M Davishttps://www.blogger.com/profile/04547799403633873741noreply@blogger.comtag:blogger.com,1999:blog-962447465856397284.post-13157654327236054272014-10-07T17:14:22.599+01:002014-10-07T17:14:22.599+01:00The age-old problem you&#39;ve identified typicall...The age-old problem you&#39;ve identified typically arises from conflating two distinct parts of a preservation system: the bit that handles the storage/archive mgmt, and the bit that handles the dissemination. Much of what you describe comes from CHOs settling for a one-stop shop system that (they believe) does both those things, but which in reality only does one of them passably well. Even though those functions are in separate boxes in the OAIS model, they still sit in a bigger box which implies they can be successfully rolled together: the evidence suggests they can&#39;t!Richard M Davishttps://www.blogger.com/profile/04547799403633873741noreply@blogger.comtag:blogger.com,1999:blog-962447465856397284.post-90761679177344245042014-10-07T12:35:09.883+01:002014-10-07T12:35:09.883+01:00Another thought: someone researching a collection,...Another thought: someone researching a collection, for academic use, may want to find an excample of mediaeval depictions of castles in France; someone searching for reuse content will be looking for something which is mainly in blue and gold, which would look great in the lining of a suit. <br /><br />So the interface of an online collection needs to be flexible to cater for the needs of the highly specific user and, also, for serendipitous browsing. Maybe online collections should include something like this: http://www.shutterstock.com/labs/spectrum/<br /><br />It&#39;s also important to remember that academic and reuse researcher can be one and the same person on a different day - there are plenty of humourous captions to mediaeval illustrations on twitter, posted by mediaevalists and others. <br /><br />The problem with making users pay up front for online access is that this puts content - much of which could be licensed under CC0 - behind a curtain, reducing serendipity and preventing the instant gratification of sharing material on social platforms.<br /><br />I&#39;ve seen comments on museum websites from frustrated academics lamenting the lack of full resolution content on the museum website - academics can&#39;t use 100k images of maps and charts for their lectures, so they go elsewhere. Museums may hope to make the odd £15.65 per high resolution download, but academics cannot afford to pay for this if they want to present ten different charts per lecture. <br /><br />But institutions which freely share at least some of their material create opportunities to raise their profile, increase their web traffic and, ultimately, increase their footfall. At the end of the day, cultural institutions need to demonstrate that they are enabling the maximum use of their collections. Because, if these insitutions are not sharing their collections with the rest of the world, why have they got them? Why are they spending money on preserving and storing them?Tom Mileshttps://www.blogger.com/profile/04846431966120860137noreply@blogger.comtag:blogger.com,1999:blog-962447465856397284.post-37378577092415331902014-10-06T16:59:40.818+01:002014-10-06T16:59:40.818+01:00Here is a comment in from Mark Carnall (@mark_carn...Here is a comment in from Mark Carnall (@mark_carnall on twitter) which blogger ate, but he sent it to me via email, thanks Mark!<br />---<br /><br />Interesting post Melissa.<br /> <br />As others have mentioned although this stuff is the kind of neat &#39;off label&#39; use of digitised specimens I can&#39;t think of a single museum that would prioritise this kind of work as the audience you are talking about here probably isn&#39;t a target audience to (m)any museums.<br /> <br />That being said, there&#39;s no reason why these guidelines shouldn&#39;t be adopted for (project based) digitization that is going on already and it&#39;s my hope that there&#39;s much much more focus on a decent ‘usable’ UI. Look to Google, Amazon, Netflix. They make things available to millions of people a day.<br /> <br />One last &#39;also on the negative&#39; side of things is when keepers don&#39;t want you mashing up culture because you don&#39;t know what your dealing with http://museumgeek.wordpress.com/2013/10/29/i-like-your-old-stuff-better-than-your-new-stuff-on-3d-mashups-appropriation-and-irreverence/Melissahttps://www.blogger.com/profile/00759369628908140089noreply@blogger.comtag:blogger.com,1999:blog-962447465856397284.post-8366336280033120322014-10-06T16:20:09.637+01:002014-10-06T16:20:09.637+01:00Lots of great talking points here ! Many heritage...Lots of great talking points here !<br /><br />Many heritage orgs still have atavistic impulses when it comes to putting stuff online. There is strong fear that they will either be losing intellectual control or the possibility for financial exploitation.<br /><br />Thus the urge to control with restrictive licences .<br /><br />But even the more enlightened orgs are unsure how they should be licencing their content. Many have just ignored the issue or developed their own bespoke licences. But such licences tend to be far too complex for users to understand and incompatible with other licences. Thus the reuse of the content get blocked. <br /><br />One of the most important pieces of work Europeana has done is to create the Europeana Rights Framework. <b>Every object featured in Europeana must have a rights statement</b> http://pro.europeana.eu/available-rights-statements<br /><br />This work is now being expanded elsewhere with the Digital Public Library of America (http://dp.la/info/2014/06/23/dpla-wins-knight-news-challenge-award/) This will begin to make re-use and mashing of material feasible - a consistent set of straightforward <br /><br />Only when cultural organisations start labelling their digitised items with these rights labels will the issues in the blog post start to dissolve.Alastair Dunninghttps://www.blogger.com/profile/01093222251178441334noreply@blogger.comtag:blogger.com,1999:blog-962447465856397284.post-63396414606503874002014-10-06T15:34:50.511+01:002014-10-06T15:34:50.511+01:00Lots of interesting issues here, and ones which - ...Lots of interesting issues here, and ones which - to my mind at least - are sometimes confusing and contradictory too. I applaud any drive to digitise as much cultural content as possible as rapidly as possible, but it also needs to be sustainable. Digital records need to remain accessible and supportable as technology moves on, and as public funding continues to decline. We need to work out who pays for the costs not just of initial digitisation, but digital curation and preservation thereafter too. The open access argument states that the costs of digitisation could be more than offset by the economic stimulation that comes from their re-use. Very possibly, but if that economic stimulus doesn&#39;t find its way back to the institutions that created the digital content in the first place, it&#39;s not a sustainable model. The opposite approach is to accept that initial (and continuing) digitisation costs need to be borne by the users of those assets in some form, perhaps through licensing, direct digital sales, advertising, or other ways of monetising content. I guess it&#39;s ultimately a political argument, but whilst we can all support more digitisation, we also have to promote a sustainable way for it to continue. I couldn&#39;t agree more with Tom&#39;s point above that digitisation is pointless unless search and discovery are also tackled, partly for its own sake and partly to showcase the institution in the cause of attracting more funding. Could this be seen as a sector-wide issue that institutions could tackle collaboratively?Simon Youngerhttps://www.blogger.com/profile/15536817567084698095noreply@blogger.comtag:blogger.com,1999:blog-962447465856397284.post-52513370295015366432014-10-06T14:34:58.300+01:002014-10-06T14:34:58.300+01:00This is a very interesting post and raises so many...This is a very interesting post and raises so many important issues. <br /><br />I especially like the phrase &quot;users work too hard to sort through the digital haystack to find the interesting, usable needle.&quot; Absolutely! In fact, years ago there was an evaluation carried out on the website of a very large library.<br /><br />The GOOD news was, researchers were able to find all the content they needed on the website. Rejoice! The BAD news was, these researchers were only finding their content through sheer, determined bloody-mindedness. I think the evaluators (who were used to evaluating business websites) were quite awestruck at how much researchers were prepared to keep banging away at the interface until they found what they were looking for. &quot;If this were a business site&quot;, the evaluations warned, &quot;then your users would leave the site after one minute&quot;. <br /><br />Is it fair to compare GLAM online collections with business sites? Well, yes, it is: the people who make decisions on how much funding institutions get may well do so from one single visit to an institution&#39;s website. In other words, institutions need to build their online collections as if their lives depended on it - just as businesses do. At the moment, it&#39;s a bit of a nice-to-have. <br /><br />Another issue touched on here is the amount of resources spent on digitisation. There generally isn&#39;t very much central funding available for digitisation - it&#39;s generally project based. The EC will not fund digitisation and states that member states should do this. The heritage sector coming to the edge of a digital cliff, where newly digitised material is running out and material from old projects is being used again and again. This is rather like hearing the same sound effect of the same sheep on every single episode of the Archers.<br /><br />According to research carried out by Enumerate for Europeana, only 10% of heritage collections have been digitised across Europe, leaving around 3 billion items left to go. So if institutions carry on at the rate they are now, and there isn&#39;t a significant investment in job creation for digitising images any time soon, the year 2100 will come round...and much of Europe&#39;s heritage content will still be unavailable online.Tom Mileshttps://www.blogger.com/profile/04846431966120860137noreply@blogger.comtag:blogger.com,1999:blog-962447465856397284.post-21209655493631113762014-10-06T12:44:14.652+01:002014-10-06T12:44:14.652+01:00superb post, look forward to your promised future ...superb post, look forward to your promised future post addressing &quot;licensing and paying for image licenses.&quot; although if, lets suppose, images from the national archive are about 20pounds a pop, and they set a limit of 8 for &#39;reproduction&#39; (which they do!) this still seems unreasonable, so what to do? has the archive legally prosecuted anyone who remixes or freely shares online a few hundred images of photographs of text without license for non-commercial use?counterrealismhttps://www.blogger.com/profile/12467683493133525309noreply@blogger.com
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