Transcript Digitisation, on-line access and digital preservation of Cultural Heritage in Europe SLIS Cradle seminar Chapel Hill, 20 March 2015 Javier Hernandez-Ros EU Fellow at UNC European Commission.

Digitisation, on-line access
and digital preservation of
Cultural Heritage in Europe
SLIS Cradle seminar
Chapel Hill, 20 March 2015
Javier Hernandez-Ros
EU Fellow at UNC
European Commission – Head of Creativity unit
A defining challenge
"The digitisation, digital preservation and provision
of meaningful access to Europe’s vast treasures of
cultural heritage is one of the defining challenges
for our generation. It is the fuel which will help
power smart, sustainable growth, founded in the
Enlightenment ideals that created the European
Union.“
Neelie Kroes, VP European Commission 2010-2014
••• 2
How much has been digitised?
••• 3
Film heritage: premium content
• Only 1.5% of the 1 million hours of European film
heritage holdings have actually been digitised
• And a large part of it not accessible on-line due
to copyright rules (access on dedicated premises)
••• 4
Born digital content
Web sites, electronic journals, blogs, tweets, etc.
Very fragile resources
Raw material for future historians
The who, what and how of preserving these
resources
• Dark or accessible archives?
•
•
•
•
••• 5
Google rocked the boat in 2005
• Google Books: 10 years already…
• Digitisation work had been done by memory
organisations at snail pace since the 1990s
• Microsoft quit digitisation work in 2007
• Google YES, but not only…
• Digitisation: political priority, a bit more funding
• EC has been active in policy, legislation (orphan
works), funding, coordination
••• 6
Challenges in 2005…
…and partly still today (1)
• Organisational: Who does what? What do we
digitise? How do we share it on line? - Digital
Heritage NC
• Who preserves digital born content? What do we
preserve?
• Financial: Who pays? Very little private funds in
the EU. Foundations? PPPs: partnerships with
Google? Monetise (public domain) content?
Cultural data as an infrastructure. Sustainability?
••• 7
Challenges in 2005…
…and greatly still today (2)
• Legal:
• Copyright, orphan works, out of print works –
20th century dark hole
• Sharing data: open data, CC licences, public
domain content under licenses (museums)
• Web archiving, preservation, dark archives
• Technical:
• Do we have the methodologies and technologies?
• Standards, metadata, LOD
••• 8
EC Actions: Policy, Legislation, Funding
 Recommendations to Member States (guidance):
- on the digitisation and online accessibility of cultural
material and digital preservation
- on Film Heritage
 Directive on the Re-use of Public Sector Information (PSI)
 Open Data Policy
 R&I programmes
 Structural (regional) funds
••• 9
Digital culture ecosystem -Supply (1)
• Very much supply driven: Memory organisations,
national/regional/local initiatives (Digital Heritage
NC), digital humanities initiatives
• Little private money (Google, Newspapers.com,
Proquest, Ancestry.com, early photography
archives)
• UGC: stories of people + memory organisations
content = Europeana 1914/18,
••• 10
Digital culture ecosystem -Supply (2)
• Portals and APIs
• Platforms and aggregators: Wikicommons,
FlickrCommons, Internet Archive,
Europeana/DPLA, World digital library, Pinterest,
Google Art, Artstore
••• 11
Trends in supply
Open data (NGA, Rijksmuseum), but not all…
Small ammounts when monetising collections
Digitisation not enough – Curation, apps, dissem.
Facilitate reuse: authoring tools, hackathons,
prizes, start-ups
• Engagement: UGC – Europeana 1914-18, LoC
• Cooperation with internet platforms/projects:
multipliers
•
•
•
•
••• 12
Digital culture ecosystem - Demand
• Use and Reuse (apps of all sorts, teaching
material, storytelling, AR/VR, virtual museums)
• Prime content vs long tail
• Demand sectors: education & culture, leisure, art
lovers, research (long tail, TDM), cultural
tourism, creative industries, cultural games
• Cultural content has great demand (Wikipedia
web site n° 7 in the world), huge visibility
• Cultural tourism in Europe accounts for 40%
••• 13
••• 14
The Market place
• Great presence of non profit initiatives:
Wikipedia, Google Books, Google Art, Khan
Academy – smart history, Learning with the LoC..
• Free access to culture heritage
• Open data: positive effect (on everything)
• Commercial reuse: documentaries, films, art
publishers, publicity, fashion…
• Apps: Daily art, museum apps, Google Trip
••• 15
Business models
• Non profit projects make it difficult for businesses
• Hackathons end at Lab products
• Virtual museums, AR applications, apps paid by
cultural institutions.
• Some publicity paid apps (Google Trip)
• Maintsreaming apps in established businesses
(museums visitors, cultural visits)?
• No Spotify for art …
••• 16
EU Fellow at UNC: Impact of
digitisation projects
• Cultural, social and economic impact
• Difficult to measure
• Access indicators: web traffic, impressions in
other platforms (Wikipedia, Facebook, Pinterest,
FlickrCommons, Google Art, Khan Academy…),
• Reuse indicators: downloads, licenses
• Economic impact in creative industries,
learning/education, tourism, cultural apps: case
studies
••• 17
Further Information
Digital culture / Cultural heritage online
Digital Culture, Recommendation http://ec.europa.eu/digital-agenda/en/content-and-media/digitalon Digitisation and MSEG
culture
Film Heritage
https://ec.europa.eu/digital-agenda/en/protection-film-heritage
Europeana
www.europeana.eu
Current funding programmes
Connecting Europe Facility (CEF) http://ec.europa.eu/digital-agenda/en/connecting-europe-facility
Horizon 2020
http://ec.europa.eu/research/participants/portal/desktop/en/opportu
nities/h2020/index.html
18
Further Information
Past funding programmes
FP7
http://cordis.europa.eu/fp7/home_en.html
Funded projects
http://cordis.europa.eu/fp7/ict/creativity/creativity-projectsfp7_en.html
ICT Policy Support Programme http://ec.europa.eu/digital-agenda/en/ict-policy-support(ICT PSP)
programme
Follow us on Twitter
@digicultEU, @ICTcreativityEU
19