Open Culture Data: Metrics and Community Building - Maarten Brinkerink
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This document discusses Open Cultuur Data, a network in the Netherlands that aims to open cultural data and encourage the development of cultural applications. It provides metrics on Open Images, an open media platform containing audiovisual archive material. It also discusses the growth of the Open Cultuur Data network through events like hackathons and competitions. The network now includes many cultural institutions and has resulted in the creation of apps that make culture more accessible.
![STIMULATING COLLABORATION AND CREATIVITY
“No matter who you are,
most of the smartest people work for someone else.” Joy’s Law
PUBLIC MISSION
“For [GLAM] content to be truly accessible, it needs to be where the users
are, embedded in their daily networked lives.” Waibel and Erway, 2009](https://image.slidesharecdn.com/okcon2013-130919041709-phpapp02/85/Open-Culture-Data-Metrics-and-Community-Building-Maarten-Brinkerink-41-320.jpg)
![NEELIE KROES | VICE-president for the EC digital agenda & Open Data
“I urge cultural institutions to open up control
of their data [...] there is a wonderful
opportunity to show how cultural material can
contribute to innovation, how it can become a
driver of new developments. Museums,
archives and libraries should not miss
it.”](https://image.slidesharecdn.com/okcon2013-130919041709-phpapp02/85/Open-Culture-Data-Metrics-and-Community-Building-Maarten-Brinkerink-42-320.jpg)
Open Culture Data: Metrics and Community Building - Maarten Brinkerink
- 1. OPEN CULTURE DATA: Metrics & Community Building OKCon 2013: OpenGLAM Workshop Maarten Brinkerink Geneva, September 16, 2013 t: @OpenCultuurData | #opencultuurdata
- 2. WHAT Open Cultuur Data (Open Culture Data) is a network of cultural professionals, developers, designers, copyright specialists and open data experts, that opens cultural data and encourages the development of valuable cultural applications. This makes culture accessible in new ways to a broader public.
- 3. METRICS
- 5. Open Images is an open media platform that offers online access to audiovisual archive material to stimulate creative reuse. Built by Sound and Vision & Knowledgeland but designed for participation by others.
- 9. • Open source (MMBase, FFmpeg, LAMP) • Open media formats (Ogg Theora, WebM) • Open standards (Dublin Core, CC-REL, HTML 5) • Open API (OAI-PMH, CC-0) • Open content (CC-licenses, PD Mark) OPEN, OPEN, OPEN!
- 10. • Creative Commons BY - SA as preferable license • 3000 items (now over 2200) • Available in ‘internet quality’(recently upgraded) OPEN CONTENT
- 14. NUMBERS IN PERSPECTIVE •Length of entire S&V archive: 800,000h∼ •Length of ‘our’ newsreel collection: 500h∼ •Length of material in Open Images: 110h∼
- 15. NUMBERS IN PERSPECTIVE •Length of entire S&V archive: 800,000h∼ •Length of ‘our’ newsreel collection: 500h∼ •Length of material in Open Images: 110h∼ i.e.: ⇒ 22% of ‘our’ newsreel collection available through Open Images
- 16. NUMBERS IN PERSPECTIVE •Length of entire S&V archive: 800,000h∼ •Length of ‘our’ newsreel collection: 500h∼ •Length of material in Open Images: 110h∼ i.e.: ⇒ 22% of ‘our’ newsreel collection available through Open Images, ⇒ which is 0.014% of our entire archive.
- 17. 0.014% 0.014%
- 18. •Available content items •~1,600 (2011) •>1,800 (2012) •Visits •>66,000 (2011) •>105,000 (2012) •Unique visitors •~89,000 (2012) •>53,000 (2011) 19-09-13 IMPACT THROUGH OPENIMAGES.EU
- 19. •Pageviews •~280,000 (2012) •~207,000 (2011) •Plays •~11,000 (2011) •>16,000 (2012) •Downloads •~2,400 (tracked since July 2012) •API calls •~170,000 (2012) 19-09-13 IMPACT THROUGH OPENIMAGES.EU
- 23. •Available content items •~1,600 (2011) •~1,600 (2012) •Number of Wikipedia articles reusing the content items •~1,000, in 59 languages (2011) •~1,600, in 65 languages (2012) •Pageviews of those articles •~19,000,000 (2011) •~40,000,000 (2012) 19-09-13 IMPACT TRHOUGH WIKIMEDIA
- 27. SOME (MAJOR) CHALLENGES – What are proper metrics to analyse the impact of external reuse? – How to value different ‘types of interaction’ with the open content? – How does the impact of external reuse relate to the impact of institutionally owned channels?
- 28. • Public mission • Data enrichment • Increasing relevance • Increasing channels to end users • Brand value • Specific funding oppurtunities • Discoverability • New customers/ users • Building expertise • Desired spill-over effects/ creating new business Source: Verwayen, Arnoldus & Kaufman 2011. The Problem of the Yellow Milkmaid. Europeana White Paper no. 2. BENEFITS OF OPEN CULTURE DATA
- 29. BENEFITS OF OPEN CULTURE DATA
- 30. ETHAN ZUCKERMAN ON CIVIC ENGAGEMENT (THANKS MICHAEL!)
- 31. GLAMETRICS • Online survey • 34 questions • Estimated time consumption 25 mins, excluding desk research
- 32. GLAMETRICS SURVEY • General information • Goals of opening up • Limitations to the ability to open up • Resources spent on opening up
- 33. GLAMETRICS SURVEY • Size of the collection (based on ENUMERATE) – Total collection – Digitised collection – Openly available collection
- 34. GLAMETRICS • Type of open culture data – Metadata and/or content – License model – Quality – Standards
- 35. GLAMETRICS • Analytics (for Primary distribution channel) – Visits – Pageviews – Views/exposures – Downloads – API calls
- 36. GLAMETRICS • External reuse – Platforms • Europeana • Wikimedia – GLAM-Wiki Toolset requirements for usage and re-usage statistics for GLAM content – Magnus his tools (BaGLAMa, etc.) – Applications
- 37. GLAMETRICS • Economic impact – Commercial applications by third parties – Impact on institutional revenue
- 38. GLAMETRICS • How can you help? – Feedback on the presented types of data we want to measure? – Suggestions for determining the ‘added value’ of different types of reuse of and engagement with open culture data? – Sign up to share your data about the impact of open culture data within your institutions!!!
- 40. WHY Cultural institutions (or GLAMs) have a wealth of information locked up in their vaults. They preserve and store unique collections, they have an enourmous amount of knowledge about these collections (context, metadata), produce information and collect reactions from visitors. More and more cultural institutions make this information digitally accessible. This creates many new opportunities – for the institutions themselves but also for third parties – to use this information to create new applications and websites, allowing us to participate in arts and culture in new ways. However, this data is often very difficult to access for others.
- 41. STIMULATING COLLABORATION AND CREATIVITY “No matter who you are, most of the smartest people work for someone else.” Joy’s Law PUBLIC MISSION “For [GLAM] content to be truly accessible, it needs to be where the users are, embedded in their daily networked lives.” Waibel and Erway, 2009
- 42. NEELIE KROES | VICE-president for the EC digital agenda & Open Data “I urge cultural institutions to open up control of their data [...] there is a wonderful opportunity to show how cultural material can contribute to innovation, how it can become a driver of new developments. Museums, archives and libraries should not miss it.”
- 43. HOW Open Cultuur Data supports the cultural heritage sector in the release of culture data in the following way: •encourage making more open culture data available •collecting culture data sets in a national catalogue •collecting and sharing knowledge and experience with open culture data •encouraging the making of new applications based on open culture data
- 44. 1. Open Culture Data is knowledge and information of cultural institutions, organisations or initiatives about their collections and/or works defining open culture data
- 45. 2. Everyone can consult, use, spread and reuse Open Culture Data (through an open license or by making material available in the Public Domain) defining open culture data
- 46. 3. Open Culture Data is available in a digital (standard) format that makes reuse possible defining open culture data
- 47. 4. The structure and possible applications of Open Culture Data are documented in a ‘data blog’ defining open culture data
- 48. 5. The provider of the Open Culture Data is prepared to answer questions about the data from interested parties and respects the efforts that it costs that the open data community invests in developing new applications defining open culture data
- 49. • CC0 for metadata • PDM, CC-BY of CC-BY-SA for content • Open standards • Open documentation & communication specific conditions
- 51. • Ad-hoc start: September 2011 • Contacting heritage professionals to release datasets • Writing ‘datablogs’ • 1 hackathon, 8 datasets in November 2011 • Starting point: 5 rules for Open Cultuur Data 2011: EMERGENCE OF A NETWORK
- 52. HACKATHON | HACK DE OVERHEID | WORKSHOP Photo: Breyten Ernsting. CC BY (http://creativecommons.org/licenses/by/3.0/nl/)
- 53. HACKATHON | HACK DE OVERHEID | APPS4NL Photo: Breyten Ernsting. CC BY (http://creativecommons.org/licenses/by/3.0/nl/)
- 54. • 13 apps created, 8 app submitted (46 total) • Gold: Vistory • Education: Rijksmonumenten.info • Encouragement: ConnectedCollection • Categories of submitted apps: Navigating collections, Games, Data enrichment, Social media and Tablets RESULTS APPS4NL
- 55. APPS: HAY KRANEN, HET VIRTUELE RIJKSMUSEUM
- 56. Developer: Ronald Klip, Contente Content. APPS
- 57. Developers: Hans van den Berg en Arjan den Boer | ab-c media APPS
- 58. Developers: Jonathan Carter, Paul Manwaring, Jeroen van der Linde, Martin Elshout, Deniz Tezcan (gezamenlijk: Glimworm IT) APPS: GOUD VOOR VISTORY
- 59. • 2012: support from Images for the Future and Creative Commons Netherlands • April 2012: master classes • Juni 2012: start competition / hackathon 1 • Oktober 2012, Rotterdam: hackathon 2 • January 2013: Open Culture Data Awards 2012: MASTER CLASS, GROWTH OF THE NETWORK, COMPETITION
- 60. ARCHIVES Archief Eemland Gemeentearchief Rotterdam Groene Hart Archieven Nationaal Archief Regionaal Archief Leiden LIBRARIES Wageningen UR bibliotheek SECTOR INSTITUTES Kunstfactor FASE 2: MASTER CLASS OPEN DATA | CREATIVE COMMONS MUSEUMS Buurtmuseum Leiden Noord Centraal Museum Fries Museum / Keramiekmuseum Princessehof Joods Historisch Museum Maritiem Digitaal/Visserijmuseum Zoutkamp Teylers Museum KNOWLEDGE INSTITUTES Nationaal Comité 4 en 5 mei NCB Naturalis NIOD Theater Instituut Nederland
- 61. 17 GLAMs participated Topics: #1: Introduction to copyright #2: Technology and en tools #3: Reuse and apps #4: Benefits and risks #5: Hackathon / evaluation
- 62. DATASETS (>35 and counting…) More information & documentation: www.opencultuurdata.nl/datasets
- 63. THEMES • Theme WOII (NIOD, Archief Nijmegen, Leiden, 4/5 mei) • Theme fashion (Amsterdam Museum, Fries Museum, Centraal Museum) • Theme maps (Groene Hart, Eemland, Nationaal Archief) • Theme hist. video/ audio (Open Beelden, Geluid van NL) • Theme press photography (Anefo collectie Nationaal Archief) • Theme 19th century art (Rijksmuseum, Amsterdam Mus.)
- 65. THE CHALLENGE Which apps can bring the best out of culture? •Apps that expand audience reach and engagement (online, offline, onsite) of arts and culture; •Apps that can reach audiences/ communities in new and innovative ways; •Apps that connect different datasets.
- 66. • 27 apps submitted • Gold: Muse App • Silver: Histagram • Bonze: SimMuseum • Nationaal Archief-award: Tijdbalk.nl • Categories of submitted apps: Games, Content galleries, Creative reuse, Maps and timelines, History and Tourism RESULTS …
- 68. GOUD: MUSE APP: FEMKE VAN DER STER, PETER HENKES, JELLE VAN DER STER
- 69. ZILVER: HISTAGRAM: FRONTWISE (RICHARD JONG)
- 70. BRONS: SIMMUSEUM: HAY KRANEN
- 71. NATIONAAL ARCHIEF-PRIJS: TIJDBALK.NL: ARJAN DEN BOER
- 72. • Have access to expertise on the dimensions of collection • Buy-in from the senior management is essential => focus on value add • Necessity to invest in engagement with third parties • Face to face meetups are extremely valuable (masterclasses f.i.) • Start with something sweet and small • On hackatons: • It doesn’t just happen – lots and lots of effort • Search for sustainability • Not all data is equally popular Lessons Learned
- 73. • GLAMetrics • Improve API search • Executive track • Focussed challenges (education etc.) • OpenCultuurData.be FUTURE WORK
- 74. START YOUR OWN OPEN CULTURE NETWORK NOW!!!
- 75. SOME RESOURCES • http://www.opencultuurdata.nl/about • https://p2pu.org/en/groups/open-glam/ • http://www.openglam.org • http://avoinglam.fi • http://mw2013.museumsandtheweb.com/paper
- 76. • Lotte Belice Baltussen • Johan Oomen • Nikki Timmermans • Maarten Zeinstra Shout-out
Editor's Notes
- #10: Masterclass; 17 instellingen
- #11: Masterclass; 17 instellingen
- #53: Masterclass; 17 instellingen
- #54: Samenwerking cultuurprofessionals en hackers/ ontwikkelaars
- #55: Masterclass; 17 instellingen
- #65: What challenges do cultural / heritage institutions face where open date can play an important role in
- #67: Masterclass; 17 instellingen