![Participatory Culture “ […] a culture with relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing one’s creations, and some type of informal mentorship whereby what is known by the most experienced is passed along to novices. […] Participatory culture is emerging as the culture absorbs and responds to the explosion of new media technologies that make it possible for average consumers to archive , annotate , appropriate , and recirculate media content in powerful new ways .” (Henry Jenkins, 2006)](https://image.slidesharecdn.com/okcon2010-100510065657-phpapp02/85/Open-Images-An-Open-Media-Platform-Enabling-the-Re-use-of-Audiovisual-Heritage-OKcon-2010-12-320.jpg)
![Thanks for your attention! http://www.openimages.eu [email_address] www.twitter.com/mbrinkerink](https://image.slidesharecdn.com/okcon2010-100510065657-phpapp02/85/Open-Images-An-Open-Media-Platform-Enabling-the-Re-use-of-Audiovisual-Heritage-OKcon-2010-50-320.jpg)
Open Images: An Open Media Platform Enabling the (Re)use of Audiovisual Heritage (OKcon 2010)
- 2. Maarten Brinkerink Sound and Vision R&D Department
- 4. Biggest audiovisual archive in the Netherlands, holding 700,000 hours of audiovisual heritage. Holding material from public broadcasters , institutions and individuals. Making its collections available for broadcast professionals , education and the general public . Netherlands Institute for Sound and Vision
- 6. Saves audiovisual heritage with conservation and digitization. Makes digital content available for education, general public and creative industry. Research and knowledge sharing within the cultural heritage sector Images for the Future
- 7. Consortium
- 8. 6 partners Mass digitisation Images for the future will digitize: 137.200 hrs video 22.510 hrs film 123.900 hrs audio 2.900.000 photographs
- 9. Target groups Objective To optimize the availability of the audiovisual heritage. By developing innovative services and applications, education, the public and the creative sector will be offered a vast improvement in their possibility to profit from the various values of the audiovisual heritage. The availability of a rights-free or Creative Commons-licensed basic collection of digital film and sound. Educational use will receive priority. Education Public Creative Industry
- 10. (import) metadata (import) content metadata (conversions) content (encoding) Digital Archive Digital Born 15.000 hours of video 40.000 hours of radio Digitising Legacy Material Images for the Future >250.000 hrs of audio and video Asset management Exhibitions Public Web Acces User generated content and metadata Broadcast Professional Education
- 11. Archive Dilemma Optimize the availability of the audiovisual heritage BUT there are external rights holders and a payback obligation.
- 12. Participatory Culture “ […] a culture with relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing one’s creations, and some type of informal mentorship whereby what is known by the most experienced is passed along to novices. […] Participatory culture is emerging as the culture absorbs and responds to the explosion of new media technologies that make it possible for average consumers to archive , annotate , appropriate , and recirculate media content in powerful new ways .” (Henry Jenkins, 2006)
- 14. Challenges How to transform the current IPR regimes and models of content distribution to prevent legal uncertainty and possible liability issues for individuals and institutions? How to develop new meaningful services for an audience that consists of prosumers, instead of consumers?
- 15. Why Open Video? OVA & Intelligent TV How Creative Reuse of Audiovisual Material is (Becoming) Essential to (Internet) Culture, and Hence is NOT to be Ingnored
- 16. The Open Video Movement Online video has matured to a point that the need to prepare for a participatory video culture is becoming obvious Addresses issues like the lack of freely reusable video content, the importance of open tools, platforms and standards for video, and universal access to online video In June 2009 the first Open Video Conference and brought together 800 thought leaders in business, academia, art, and activism around this topic 8
- 17. Open Beelden Trailer Jordy Janssen (remix introducing the platform)
- 18. Open Images Open media platform for online access to audiovisual archive material, available for free (creative) reuse. Built by Sound and Vision & Knowledgeland but designed for participation by others (other institutions).
- 19. Objectives Public outreach by embracing new technologies and ‘participatory culture’ Contextualization by interlinking with other platforms Exploring new services and distribution models Supporting a National and European Audiovisual Commons
- 20. What is a Commons? A set of resources maintained in the public sphere for the use and benefit of everyone (from Imagining a Smithsonian Commons ) Michael Edson
- 21. What is a Commons? In the law, and in our understanding of the way the world works, we recognize that no idea stands alone, and that all innovation is built on the ideas and innovations of others… (from Imagining a Smithsonian Commons ) Michael Edson
- 22. What is a Commons? … When creators are allowed free and unrestricted access to the work of others, through the public domain, fair use, a commons, or other means, innovation flourishes. (from Imagining a Smithsonian Commons ) Michael Edson
- 23. Open-open-open Open source media platform (MMBase) Use of and open video codec (Ogg Theora) Use of the HTML5 <video> tag Use of an open API (OAI-PMH, Atom feeds) Open content…
- 24. “ You are free to share, distribute and transmit the work.” Possible conditions: Attribution Share Alike Noncommercial No Derivative Works Creative Commons Funded by the European Commission within the eContentplus programme
- 25. Allowing (creative) reuse CC-BY-SA as preferred license 3,000 items from our ‘own’ collection ‘ Internet quality’ 8
- 26. Paul Keller
- 27. Eerste proef met beeldtelefoon Polygoon (example of the current content)
- 28. Typical User Functionality (in screenshots, do try this at home!) http://www.openimages.eu
- 36. Examples of Reuse uploads to the Wikimedia Commons, audiovisual illustrations on Wikipedia, reuse on thematic websites, a mobile application & remixes by aspiring video makers
- 44. Mobile Application internet physical space CMS iPhone App <add source>
- 45. API’s videos photos articles photos comments geotags <add source>
- 47. F lying Monsters from the Sky Michiel Schellekens (example of creative reuse)
- 48. Future Work Further develop the platform Increase the number of collaborating content partners Give access to material from the Sound and Vision sound archive Constantly increase the overall amount of material on the platform and improve the quality of the available source files
- 49. Credits Movies: Why Open Video? by OVA & Intelligent Television Open Beelden Trailer by Jordy Janssen Eerste proef met beeldtelefoon by Polygoon F lying Monsters from the Sky by Michiel Schellekens Presentations: What is a Commons? by Michael Edson
- 50. Thanks for your attention! http://www.openimages.eu [email_address] www.twitter.com/mbrinkerink
Editor's Notes
- #10: Allereerst beginnen we met de drie collectiehoudende instellingen. Het Nederlands Instituut voor Beeld en Geluid beheert de grootste audiovisuele collectie van Nederland. Edwin van Huis is de vertegenwoordiger in het consortium. Het Filmmuseum beheert de belangrijkste cinematografische collectie in Nederland. Rien Hagen is …. Het Nationaal Archief beheert 1000 geschiedenis van Nederland. Hiertoe behoort ook een grote en belangrijke collectie fotomateriaal. Bert de Vries is …. Naast de collectiehouders maken de volgende distributie en ontwikkelpartners deel uit van het consortium: De Vereniging van Openbare Bibliotheken vertegenwoordigt de 450 Nederlandse bibliotheken. Het bereik van de VOB is enorm. Friso Visser ….. De Centrale Discotheek Rotterdam heeft een grote collectie muziek in beheer. De CDR heeft bijzondere expertise met het digitaal uitlenen van muziek. Michiel Laan ….. Stichting Nederland Kennisland is een denktank met veel ontwikkelkracht en met kennis van aanvullende vormen van auteursrecht in het digitale domein. Hans Westerhof ….
- #21: http://flickr.com/photos/dotcommunist/355530076/
- #22: http://flickr.com/photos/dotcommunist/355530076/
- #23: http://flickr.com/photos/dotcommunist/355530076/