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Sessions: DAMs - Collection Management [clear filter]
Thursday, November 5
 

1:15pm

Digital Asset Management Systems & Museums: Connecting Experiences to Build Success
This session focuses on the current landscape of museum DAMS and the need for more museums to share their DAM experiences with the field.

The session will follow the attached itinerary:

A. Danielle Knapp, John F. Kennedy Graduate, will begin and mediate the session introducing the purpose of the session and her thesis “Digital Asset Management Systems & Museums” findings. The thesis findings will outline the survey and interview results and produce a "snapshot" of the current landscape of DAMS in Museums for the audience. Closing with the overall trends and themes presently in the field. Approximately 10-12 minutes.

B. Each of the 3 panelists will discuss four major themes all museums encounter. First, each panelist will discuss their institution's "Need" for a DAMS. Second, the problems each institution was aiming to resolve with a DAMS. Third, the barriers each institution encountered and finally the lessons learned from their DAMS implementation experience. (Approximately 10-12 minutes each).

C. The last 10 to 15 minutes will be spent discussing what the museum field can do as a professional community to build more effective DAMS tailored to museum's needs, mission, and long-term goals. The overall need for more museums to share their DAM experiences with the field and answering questions from the audience.

Moderators
DK

Danielle Knapp

Preparator and Assistant Researcher, Phoebe A. Hearst Museum of Anthropology
(Preparator andAssistant Researcher, Phoebe A. HearstMuseum of Anthropology

Speakers
avatar for Nik Honeysett

Nik Honeysett

CEO, BPOC
Chief Executive Officer, Balboa Park Online CollaborativeNik Honeysett is CEO of the Balboa Park Online Collaborative, a technology non-profit consultancy that provides support, development and strategy for the museums in Balboa Park, San Diego and beyond. Previously, he was Head... Read More →
LW

Layna White

Head of Collections Information and Access, San Francisco Museum of Modern Art
avatar for Deborah Wythe

Deborah Wythe

Head of Digital Collections & Services, Brooklyn Museum
I manage a central imaging department at an art museum. We're responsible for photography, scanning, image management/DAMS, licensing, copyright, picture research, and rights & reproductions. I focus on asset management and copyright, primarily. You can also talk to me about classical... Read More →


Thursday November 5, 2015 1:15pm - 2:15pm
Minnetonka Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

2:30pm

Embracing CollectionSpace with LOVe (Linked Open Vocabularies extensions)
Today’s collections management systems cannot stand alone from other technologies used by museums and other collecting organizations to connect and interact with their audiences.

CollectionSpace was designed from the outset to be connected with other open-source tools and efforts such as digital asset management and preservation systems, federated search harvesters, linked open data repositories, and virtual shared collections.

In this session, Richard Millet, Technical Lead and Chad Nelson, Developer will provide an overview of the CollectionSpace technical platform and discuss how the application architecture facilitates integrating linked open data such as the Getty Research Institute’s Art and Architecture Thesaurus (AAT)(r).

The CollectionSpace program team working closely with three partners that represent the contemporary art practice community – Oakland Museum of California, Museum of the Moving Image, and The Watermill Center – are collaborating to define functional and interaction requirements, test technical development, and implement the proposed solution at their institutions. The goal of the project is to provide cataloguers, curators, registrars, and collection managers who use CollectionSpace with linked open data powered controlled vocabularies within their local environments the opportunity to share data sets and collectively present their collections in unique ways.

Controlled vocabularies support search and retrieval of information from collections management systems. They are active resources, constantly updated and modified to reflect new knowledge. Museums either license and import controlled vocabularies into their collections management systems or manually build local lists. Drawbacks to these approaches include lack of access to the most updated terms between imports, lack of standardization, and the excessive size of some lists. Linked open data makes it possible to have a live link to a controlled vocabulary, allowing access to the most up-to-date information on an as-needed basis, while greatly reducing the amount of reconciliation needed as vocabularies are updated. It also makes it easier to access and share controlled vocabularies across multiple applications that may be in use in the museum or affiliated operations such as libraries and archives, supporting federated searching across collections. Improving access to controlled vocabularies via linked open data improves the museum’s ability to properly describe collections, enables the museum to benefit from participation in shared resources, and advances scholarship in the museum community via contribution to these shared resources.

We are a community-driven collaborative, generating transformative change in the way we manage collections and use information technologies to support our work. Working together, CollectionSpace members are building a new solution for collections-holding institutions that is efficient, effective, customizable, intuitive, and affordable. CollectionSpace is a free, web-based, open-source collections management system. From cataloging and loans to inventory and valuation, CollectionSpace is used to manage many of the day-to-day activities of museum professionals and others who work with objects, artifacts, specimens, and more. CollectionSpace is licensed via the Educational Community License (ECL) v2, and all code repositories are available for anonymous, read-only access via GitHub. To learn more, visit us at www.collectionspace.org.

Moderators
avatar for Piotr Adamczyk

Piotr Adamczyk

Program Manager, Google

Speakers
avatar for Richard Millet

Richard Millet

Technical Lead, CollectionSpace
CN

Chad Nelson

Developer, CollectionSpace


Thursday November 5, 2015 2:30pm - 3:00pm
Minnetonka Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

3:00pm

Report on the American Art Collaborative Project: A Working Partnership to Expose Hidden Meaning across American Art Information Resources via Linked Open Data
Invisible architectures are not restricted to the people, knowledge, data, and systems of a single cultural institution. They also exist…as pent up, latent potential…between all of these resources across organizations. This latent meaning and potential utility is mostly inaccessible unless institutions work together to implement meaningful conceptual connections between them. We understand that we’re missing out on potentially powerful insights and serendipitous discoveries without the support of connective structures that could make our currently disparate collections of data and information appear as one holistic graph of cultural knowledge.

Challenges arise when attempting to build these connections between information resources and the systems that manage them. Traditionally, the heterogeneity of system interfaces, data schemas, and vocabularies is a barrier. How might we solve this problem, creating visible conceptual architectural connections between our disparate resources? How do we create and sustain the collaborative partnerships required to accomplish this work through persistent and consistent attention over the long term?

The American Art Collaborative (AAC) was established to pursue the potential of Linked Data to solve critical aspects of this connection challenge. Through the commitment of the project’s fourteen partner institutions, AAC is navigating the challenges of leveraging newly maturing technologies, standards, and tools while working at the appropriate level of scale for both institutions and information resources.

Moderators
avatar for Piotr Adamczyk

Piotr Adamczyk

Program Manager, Google

Speakers
avatar for Kate Blanch

Kate Blanch

Administrator, Museum Databases, The Walters Art Museum
Kate Blanch is the Systems Manager, Data and Digital Resources at the Walters Art Museum in Baltimore, Maryland. She oversees the museum’s databases, data-driven web-components, collections data API and digital resources. This encompasses systems in support of digital asset management... Read More →
avatar for Neal Johnson

Neal Johnson

Digital Program Strategy and Execution, Independent Consultant to Cultural Heritage
Visioning, building, and sustaining robust information systems for museums, libraries, and archives that provide maximum utility and ease of use for end users including academic and public audiences. Specializing in Linked Data program strategy and management in service to cultural... Read More →
avatar for Shane Richey

Shane Richey

Digital Media Manager, Crystal Bridges Museum of American Art


Thursday November 5, 2015 3:00pm - 3:30pm
Minnetonka Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

3:45pm

American Paintings to 1945: The Collections of The Nelson-Atkins Museum of Art Legacy Catalogs Online
In 2007, the American Art Renewal Fund supported the publication of American Paintings to 1945, the award-winning comprehensive catalogue of NAMA’s American paintings collection. Among the priorities funded by the grant was making the catalogue’s extensive information about the American paintings collection widely available and visible through both nelson-atkins.org and the internet at large.

A 2014 team guided stakeholders through decision-making regarding digitization, partnership with the Internet Archive, and rights agreements. Curatorial staff collaborated with the museum’s rights and reproduction coordinator on developing a process and timeline for clearing new use agreements, leveraging Confluence wiki spaces and JIRA project tracking. Imaging staff developed an easy, streamline process for digitizing the printed catalog that would yield high-quality scans suitable for text extraction and online viewing.In this presentation, we will discuss the processes, the technical and cost advantages, plus lessons-learned.

Moderators
avatar for Andrew Lewis

Andrew Lewis

Digital Content Delivery Manager, Victoria and Albert Museum
I know about product management, managing digital delivery, technical management, data design, analytics, information science, making things with my hands :)

Speakers
avatar for Doug Allen

Doug Allen

CIO, The Nelson-Atkins Museum of Art
New to the museum world, but have worked in both for-profit (financial services and retail) and not-for-profits (higher ed and classical music) for over 30 years.
KC

Kate Crawford

Assistant Curator, American Art, The Nelson-Atkins Museum of Art
Assistant Curator, American ArtThe Nelson-Atkins Museum of Art
avatar for Matt Pearson

Matt Pearson

Head Photographer, Smithsonian Institution\\\'s National Museum of African American History and Culture (NMAAHC)
Head Photographer for The Smithsonian's National Museum of African American History and Culture (NMAAHC)
SS

Stacey Sherman

Senior Coordinator, Rights & Reproductions, The Nelson-Atkins Museum of Art


Thursday November 5, 2015 3:45pm - 4:15pm
Nokomis Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

4:15pm

Making Meaning with Online Collections: Ten Top Tips
Until recently a major challenge faced by many museums was getting their collection online. Now many collections are online, the next challenge is how to tell the stories behind the collection and deeply engage users (and occasionally curators!) This talk will share ten top tips for telling the tales behind your collection; unlocking the secrets in your archive and helping your users find content and keep them engaged long-term.

Tips will include:
- Ways to simply integrate your collection with your website content to create meaningful stories
- Techniques to engage your curators (without them even knowing about it!)
- How to give users what they actually want, not what you think they need.

The session will include examples from MoMA, National Portrait Gallery (London), Virginia Historical Society and The Metropolitan Museum of Art. We will encourage delegates to share other examples in advance, developing an online resource that can be included as part of the session, adding to the resource throughout the conference. The resource will be shared with everyone in the MCN and wider museum communities. At the end of the session, delegates will have practical tools and techniques that they can use on their own projects, inspiration from others, and a pool of people with similar challenges to share experiences with.

Moderators
avatar for Andrew Lewis

Andrew Lewis

Digital Content Delivery Manager, Victoria and Albert Museum
I know about product management, managing digital delivery, technical management, data design, analytics, information science, making things with my hands :)

Speakers
avatar for Gavin Mallory

Gavin Mallory

Head of Production, Cogapp
I'm presenting the Agile workshop on Wednesday at 9am and my talk Making Meaning with Online Collections is on Thursday at 2.45. See you there! I work at Cogapp, delivering ambitious projects that use digital media to enrich people's lives. // Get in touch: @Gavin_Mallory // Find... Read More →


Thursday November 5, 2015 4:15pm - 4:45pm
Nokomis Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403
 
Friday, November 6
 

11:30am

Making Meaning in a Multilingual World
Only 17% of the world's population speak English, and even in the largely anglophone USA, only 80% of the population have English as a first language. Because of this, it is vital that museums learn the techniques of communicating in a polyglot world.

In this presentation, I will explore a range of bilingual and multilingual projects and discuss some of the challenges of developing digital systems in this way. For example, recent bilingual Arabic/English projects for Qatar Museums and for the British Library demonstrate that bilingual sites do not have to compromise in terms of aesthetics and usability. And a bilingual Chinese/English interactive installation at the Tate Modern allowed artist Ai Weiwei to interact with his audience in both languages.

Many of our multilingual projects have been in Drupal. I will talk about the choices for approaching multilingualism in Drupal 7 and how it will change in Drupal 8.I will also discuss how an effective translation workflow enables digital services to be continually provided in a range of languages, on a range of platforms and devices, and mention the strangest multilingual brief we have ever worked with: to provide animated Welsh-speaking singing aliens for the BBC.

Moderators
avatar for Piotr Adamczyk

Piotr Adamczyk

Program Manager, Google

Speakers
avatar for Tristan Roddis

Tristan Roddis

Head of Web Development, Cogapp



Friday November 6, 2015 11:30am - 12:00pm
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

12:00pm

Overcoming the Digital Infrastructure Divide: Open Source Solutions to DAMS
Do you struggle with managing your digital assets? trying to provide access on a limited budget? Ever wonder how to get your metadata to stick to your assets? Come learn the very different methods of two similar organizations implementing the same open source Digital Asset Management system, and how it has changed their lives. We’ll share how both institutions have customized ResourceSpace, integrated it with other applications, and utilized a community of developers, making a real difference in our individual implementations of the DAM.

The Minneapolis Institute of Arts’ Enterprise Content Management (ECM) project – funded by the IMLS and under the strategic direction of Douglas Hegley, Director of Media and Technology – aims to store, organize and make accessible the museum’s vast amount of intellectual property in all digital formats including video, audio, image, and documents. Our new (to us), open-source DAM – ResourceSpace – joins an existing enterprise DAM and provides the means to gather our currently dispersed digital assets. An Application Program Interface (API) ties all our collections-related systems together and serves a unified search interface with an Elasticsearch backend.

The open source system, Elasticsearch index, and API-driven approach provide the project lynchpins, allowing MIA users to retrieve deep information about the collection and digital resources from across multiple repositories, using keywords and other associated cues. A new, MIA-authored metadata specification ensures longevity and access to the asset data from an array of digital formats. The API will also provide a direct content feed to the galleries and visitors via the MIA’s TDX digital experience project and website collection resource pages. The MIA has undertaken all project development work in-house with museum and contract staff using an Agile methodology that involves extensive stakeholder input.

The Walters Art Museum in Baltimore implemented ResourceSpace two years ago to house a growing repository of nearly 300,000 assets. ResourceSpace is the center point for digital assets related to both the museum collection and many other facets of museum activities. While the Walters has primarily focused on mapping custom metadata to standardized schemas and integrating their collections management database, the real success has been in creating a digital asset management “experience” for staff that makes the searching and retrieval of digital assets easy, explorative and intuitive.It was with some apprehension that the Walters replaced a vendor-driven (and chronically broken) 3-year old DAMS with an open source application; after all, the Walters has a small IT staff and no in-house developers. The open source community helped our decision in several ways. First, there is the broad community of ResourceSpace users, ranging from developers, DAM managers or simply enthusiasts who are eager to share their experiences and knowledge. Secondly, the low implementation cost has left a surplus of funds that are dedicated to ongoing custom development. These things simply were not possible with proprietary software solutions. The Walters has partnered with the UK-based firm Montala, who originally developed ResourceSpace in 2006, for annual support and custom development. The two organizations will share the methods and issues around implementing their open source DAM(s), managing the metadata needs of an array of digital asset formats, and meeting internal and external user needs, all while navigating existing museum infrastructure hurdles.All session attendees and colleagues will be provided with direct links to the MIA codebase, and documentation and example deliverables from both museums - shared and available for others to use and build upon.

Keywords: Open Source, Digital Asset Management, API, Elasticsearch, Metadata, ResourceSpace, Access

Moderators
avatar for Piotr Adamczyk

Piotr Adamczyk

Program Manager, Google

Speakers
avatar for Kate Blanch

Kate Blanch

Administrator, Museum Databases, The Walters Art Museum
Kate Blanch is the Systems Manager, Data and Digital Resources at the Walters Art Museum in Baltimore, Maryland. She oversees the museum’s databases, data-driven web-components, collections data API and digital resources. This encompasses systems in support of digital asset management... Read More →
AD

Andrew David

Head of Software Development, Minneapolis Institute of Art
JL

Joshua Lynn

Digital Media Specialist, Minneapolis Institute of Art


Friday November 6, 2015 12:00pm - 12:30pm
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

2:00pm

Access for Everyone: Implementing CollectiveAccess in a Museum Setting
Situated on 200 acres of land in Maryland, Glenstone seamlessly integrates contemporary art, architecture, and landscape into a contemplative environment for visitors. Since Glenstone’s founding, the museum library, archives, and art collections was un-automated and in desperate need of a management system an overhaul to effectively maintain the growing collections. The management system for the art collection was inadequate; archives content was managed in Excel spreadsheets; and the library collection was tracked through an insufficient database.

In 2012, Glenstone began searching for information management systems for the library, archives, and museum collections. After evaluating different proprietary products designed for individual departmental needs, Glenstone decided to break away from the traditional Integrated Library System (ILS) model and adopt CollectiveAccess, a customizable open source system designed to be interoperable across departments. By creating linked relationships between record entities, CollectiveAccess formed a seamless, integrated discovery platform for users. Since launching CollectiveAccess in early 2015, Archives, Library, Museum Collections, and IT have worked collaboratively to introduce this tool to other staff--through group trainings and one-on-one sessions--while creating and refining workflows within our departments.

The first portion of our presentation describes the state and condition of the Archives, Library, and Curatorial records prior to launch, as well as outline the state of the information architecture at that time. The second-half of the presentation discusses how the launch itself was managed. A handful of staff knew the tool intimately through the nearly two-year long project, leaving approximately 50 staff members--from the Operations staff, Landscape crew, and upper administration--completely unfamiliar with CollectiveAccess and the resources contained therein.

We will discuss anticipated and unanticipated challenges and successes, and outline our next steps as we continue to implement and share this resource with our present colleagues and future users. We will share the goals, successes, and challenges faced throughout the different stages of the project, including: 1) User Needs Assessment 2) Design & Development, 3) Usability & Functionality, 4) Beta Testing, and 5) Implementation.The 20-minute presentation will include a demonstration of the database, highlighting the back-end functionality for internal staff and the front-end functionality for users.

Presenters will include: Ray Barker, Chief Archivist/Librarian, Glenstone; Jason Hedges, IT Coordinator, Glenstone; Cale McCammon, Assistant Archivist, Glenstone; Tessa Brawley-Barker, Assistant Librarian, Glenstone.

Moderators
avatar for Rosanna Flouty

Rosanna Flouty

New York University

Speakers
avatar for Ray Barker

Ray Barker

Chief Archivist/Librarian, Glenstone Museum
Ray Barker is the Chief Archivist/Librarian at Glenstone Museum, a private art museum in Potomac, MD. Ray currently serves as the Past Chair for the ARLIS/NA Mid-Atlantic Chapter. He lives with his wife and daughter in Washington, DC.
avatar for Cale McCammon

Cale McCammon

Assistant Archivist, Glenstone Foundation


Friday November 6, 2015 2:00pm - 2:30pm
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

2:30pm

Be Excellent to Each Other: The Future of Provenance Research
Provenance research is difficult, slow, and constantly changing. Many museums are behind in their research due to barriers of access and resources. How does the research process get better, and how can museums improve the quality of the data?

This paper will explore ways the web can enable us to, in the words of Bill and Ted’s Excellent Adventure, “Be excellent to each other.” Sites like Internet Archive, HathiTrust, and Gallica have made provenance research easier than ever. However most information is still trapped in archives, non-circulating books, and distant repositories. Few museums can afford to send a researcher to a remote library, in a likely futile search for information.

To build a provenance community, researchers must be connected with resources. GitHub has been used as a civic issues tracker, so why not use it for research? If a researcher in Pittsburgh needs a specific reference from the British Library, an issue ticket could connect a person with a BL reader’s pass to the requestor to pull the book and share the information. Further, academics have used the tag #ICanHasPDF to request articles from academic journals which they cannot access. Those with access find and share the article. Could #ICanHasProvenance be just as effective? This person-to-person network is critical to building a provenance community. Connecting people to resources builds relationships, and encourages museums to explore their own data.

Further, museums should publish provenance online, and not just works that fall under the Nazi-era mandate. By publishing this data, the names and places involved in provenance are indexed and easier to find and researchers can then connect names, dates, and citations. Many fear publishing this data because of the perceived risk, and the possibility of a restitution claim. However, museums enjoy a great deal of trust from the public, so if a patron challenges the provenance, the chances are the information be worth evaluating. This alos demonstrates a commitment to transparency. Museums should make a finding aid of their provenance materials available online to enable researchers to make better requests. Staff are then able to more quickly assist the requestor, saving all parties time and thus, being excellent to each other. While some have indexed their libraries through WorldCat, most provide no external guide to their institutional holdings. By publishing library information, researchers can connect to materials that may not otherwise be available to access via interlibrary loan.If we want to be even more excellent to each other, making digital copies of provenance material available online would be best, but the cost and time barrier to this is palpable.

Finally, training people to write provenance, and to do digital provenance research must be a priority. Most professionals have a high degree of technical literacy, but provenance research not only requires creative search skills, but the ability to evaluate the information.A web interface called Elysa and a Ruby library available at www.github.com/cmoa/museum_provenance developed by the Carnegie Museum of Art will help people to write better provenance. These tools turn unstructured provenance text into semi-structured text and help us to talk about provenance data in a standardized way.In order to advance provenance, we need to build a community that actively connects the information in our holdings to the people who want it. We also have to connect our people to each other, to share information and to be nodes in a network of research. There has to be a commitment to transparency around provenance data and provenance resources in order to make the work of provenance simpler, faster, and more accurate. Museums also must commit to being excellent to each other, and welcome and encourage research requests as a way of building a community, and furthering our knowledge of our holdings and transforming provenance.

Party on, provenance researchers.

Speakers
avatar for Tracey Berg-Fulton

Tracey Berg-Fulton

Collections Database Associate, Carnegie Museum of Art
Talk to me about provenance, collections, collections technology, the responsive web, marathons, fuzzy dogs, toilet history, and Antiques Roadshow. Pittsburgher, lover of Glasgow, Type 1 diabetic.


Friday November 6, 2015 2:30pm - 3:00pm
Harriet Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

4:30pm

Archives as First Class Digital Citizens
Initiated in 1970, Carnegie Museum of Art's Film Section was among the first programs to focus on the moving image as a medium for art within a museum and it played an essential role in the promotion of experimental film until the department's dissolution in 2003. As part of Phase II of the Time-Based Media Project, CMOA has begun a multi-year project to preserve and digitize the photos, letters, audio & video recordings, posters, and other documents created by the department. These archival materials have deep links both to accessioned works in CMOA's collection and with historical events that took place at the museum and partnering organizations throughout the city of Pittsburgh.

As part of CMOA's focus on event-based digital storytelling, we are integrating these historical elements directly into a new collections website. Traditionally, digitized archival materials are not integrated with artworks on museum collections websites. The digital component of the CMOA Department of Film and Video archive will be a working prototype of a new type of collection website, one that treats events, objects, and people as first class digital citizens, regardless of whether they related to accessioned works or archival materials. The site will use Linked Open Data to highlight the connections between the events, people, and the objects that make up the story of the department, both within our institution and across the digital world.

What does it mean for the institution to treat our archival materials as first-class citizens within a museum's collection website? How can we use those archival materials to enhance the public's understanding of the works in our collection, the history of the institution, and the artists, staff, and other people involved throughout the department's history? What insights can we gain ourselves?

Moderators
DN

David Newbury

Lead Developer, Art Tracks, Carnegie Museum of Art

Speakers
KB

Katherine Barbera

Archival Assistant, Time-Based Media Project, Carnegie Museum of Art


Friday November 6, 2015 4:30pm - 5:00pm
Great Lakes A2 Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

5:00pm

Beyond 2D: Utilizing 3D Scanning for Enhanced Collection Access
Utilizing photogrammetry to model collection objects provides unique ways to access three dimensional objects in a museum collection.

The Indianapolis Museum of Art (IMA) in collaboration with the Indiana University Virtual World Heritage Laboratory (VWHL) is utilizing these techniques to provide visitors with new ways of experiencing artworks online. Utilizing best practices in photogrammetry and learning proper workflows is essential to creating a successful 3d model.

This session will detail these best practices, highlighting imaging techniques, processing software, and how to integrate the finished product into museum systems.The outcome of these processes is a 3d model that can offer new ways of experiencing objects in digital form. Using examples from the IMA and other works done by VWHL we will look at how 3d models can be utilized in museums. From online collections to in-gallery interactives these models have many uses that can take your collection to the next level.

Moderators
avatar for Kyle Jaebker

Kyle Jaebker

Director IMA Lab, Indianapolis Museum of Art

Speakers
BF

Bernard Frischer

Professor of Informatics, Indiana University


Friday November 6, 2015 5:00pm - 5:30pm
Great Lakes A2 Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403
 
Saturday, November 7
 

11:30am

Code of Best Practices in Fair Use for the Visual Arts: Panel Discussion
In early 2015, the College Art Association (CAA) published the Code of Best Practices in Fair Use for the Visual Arts, a set of principles addressing best practices in the fair use of copyrighted visual art material, and the result of an effort initiated by CAA in 2012. The code was developed through discussions with visual arts professionals including artists, art historians, educators, museum professionals, and editors, and reflects areas where consensus exists across these communities. The code elaborates on the application of fair use in broad areas of the visual arts, including museum uses (print and online exhibitions, catalogues, and related activities) and online access to archival material. Join the lead facilitators of the code, Peter Jaszi and Patricia Aufderheide, along with copyright specialists in the library, archive and museum space in a discussion about development of the code, its reception, and its application. How does the code differ or expand upon earlier efforts that museums have looked to when applying fair use to digital access to visual art material, including the AAMD Policy on the Use of "Thumbnail" Digital Images in Museum Online Initiatives (2011) and the VRA's Statement on the Fair Use of Images for Teaching, Research, and Study (2011)?

Moderators
avatar for Melissa Gold Fournier

Melissa Gold Fournier

Head of Imaging and Intellectual Property, Yale Center for British Art

Speakers
PJ

Peter Jaszi

Professor of Law and Faculty Director of the Glushko-Samuelson Intellectual Property Clinic, American University
Professor of Law, American University
avatar for Nancy Sims

Nancy Sims

Copyright Program Librarian, University of Minnesota Libraries
Nancy Sims is lawyerbrarian who is fascinated by copyright issues in modern life. She helps folks understand how copyright may affect their lives, and advocates policies and laws that enable wide public cultural participation.


Saturday November 7, 2015 11:30am - 12:30pm
Great Lakes A2 Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

2:00pm

Give Those Paper Files Legs! Planning and Prioritizing Curatorial Research for Digitization, Discovery, and Interaction
A two-year NEH HCRR Foundations grant facilitated planning, assessment, and pilot digitization activities related to the Walters’ curatorial research materials that span from the early 1900’s to the present day.

The content of these materials provides expanded meaning of the origins of the collection and strengthens our understanding of the people it has engaged over time. The main goals were to gain intellectual control over the contents of curatorial paper files and related archival resources (scrapbooks, accession cards, etc.), identify the value to the humanities, prioritize materials for future digitization, and evaluate the technical requirements needed for digitization and public access. Over two years, archives and digital resources staff counted, considered, and re-imagined the gems and junk that have accumulated in filing cabinets for nearly 100 years. Tough questions were asked about the changing validity of research materials over time, and how to activate this kind of supporting documentation so it can be meaningful and relevant (or at least referenced) in our modern, digital world.

This presentation will focus on the white paper that resulted from the planning grant. It will aim to share the experiences obtained through all the phases of planning, from completing a physical inventory, defining and prioritizing content types for digitization, creating a CIDOC-CRM data model, and finding ways to provide access to the public.

Speakers
avatar for Kate Blanch

Kate Blanch

Administrator, Museum Databases, The Walters Art Museum
Kate Blanch is the Systems Manager, Data and Digital Resources at the Walters Art Museum in Baltimore, Maryland. She oversees the museum’s databases, data-driven web-components, collections data API and digital resources. This encompasses systems in support of digital asset management... Read More →



Saturday November 7, 2015 2:00pm - 2:30pm
Minnetonka Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403

2:30pm

Cloudy with a Chance of Success
The Center for Creative Photography at the University of Arizona is one of the preeminent research and exhibition centers for photography in the world. It has an active program to digitize its fine print collection of more than 150,000 items, as well as archival holdings in excess of 5,000,000 items. Its digital content now comprises more than 17TB of archival images, audio, and video files, and is growing at the rate of more than 2TB a year.

Creating, managing, storing, and exposing its digital collections has proved challenging. As part of a change in reporting relationships, the Center has had to look to the central IT organization to help it rearchitecture how it does its business of digital asset creation and management.The presentation will focus on how the Center has been moving its assets from locally hosted storage to a combination of local and cloud-based vendors, including Amazon and others. We will try to lay out the full problem set and explain how the Center is using and planning to use cloud-based services to meet its organizational and collection management goals in service of the University and its customers.

We will look at how the Center addressed a number of issues:content discovery -- how much do we really have content management -- do we know where your resources are and how objects related to each other and the collection vendor selection considerations -- what did the Center need from a vendor? What can you do yourself, what resources are necessary, and what did the Center have done for it? operationalizing the entire process -- we will show how the Center has created workflows that encompass all of these aspects on the basis of digitizing items from the Center's Edward Weston archivecost containment and management -- getting to real costs and long(er) term strategies in using local and cloud-based vendors and rethinking file formats for immediate and archival use

Speakers
JC

Jim Coleman

Manager, Information Technology Business Relationships, The University of Arizona
JR

Joseph Rheaume

Digital Projects Coordinator, Center for Creative Photography


Saturday November 7, 2015 2:30pm - 3:00pm
Minnetonka Hyatt Regency Minneapolis 1300 Nicollet Mall Minneapolis, MN 55403