D8.8 – Monitoring of the Open Source Project implementation

Deliverable D8.8 reports on monitoring of the Open Source Project implementations. Based on development efforts for each supplier, this deliverable provides feedback on their use of: an open work practice for development; frequent open releases; and promotion activities aiming towards a sustainable community. In particular, it focuses on establishing sustainable communities, together with an assessment of how this is succeeded. The deliverable presents an evaluation of how each open source project implementation adheres to requirements expressed in deliverable D4.3. In so doing, the deliverable provides an evaluation of the extent to which best practices from community driven open source projects have been adopted with adherence to full transparency for all digital assets. Specifically, the evaluation considers software and associated digital assets provided via links to developed and provided resources (including source code, executables, and test files) and tools (including software configuration management system, mailing lists, and build environment) used in each open source project. An important outcome from this evaluation is a report on adherence to requirements (as specified in D4.3) and an assessment of how contracted organisations have managed to establish thriving and long-term sustainable open source communities of relevance for memory institutions and other stakeholder groups.


D8.3 First Prototype Report

This deliverable presents the results of the 1st part of the Prototyping phase in the PREFORMA project. It consists of four distinguishable parts.

The first part (chapter 1 to 3) gives the overall context, including aims and objectives, documents particularly important for the work preformed, and formal background. It also summarises the discussions with the suppliers and internally in the PREFORMA Consortium, and presents complementary issues in more  depth.

The second part (chapter 4) focuses on the results achieved by the suppliers, based on their software releases and submitted reports.

The third part (chapter 5) analyses the progress made by the suppliers, including what is left to be done.

The fourth part (chapter 6) resumes the outcome of the 1st part of the Prototyping phase in the form of six main conclusions and a brief charter of success. The results achieved indicate that the project is moving in the right direction. The interplay between theories, discussions, releases and testing has created an exciting situation for the coming development with huge potential for further interest and involvement as well as enhanced communication between different stakeholders.


D8.2 Design – First Report

This deliverable is considered to be the report on the activities related to the preparation and procedure of the design phase #1. This first phase of the suppliers’ work started with the design, the definition, and the specification of the functional and the technical part of their preparatory work according to the call for tender, the submissions (description of work) of the six winning supplier teams and consortia, and the following negotiation phase between the PREFORMA consortium and each supplier. The document will thus include a description and the basic statements related to all phases of WP5 (Design phase 1) including references and methodologies for:

  • Short summary of the negotiation phase procedure.
  • Suppliers’ functional and technical specification work.
  • Basic statements of the end of phase one report.
  • PREFORMA first lessons learned from the design phase.
  • Procedure of the evaluation of the suppliers’ documentation.
  • Preparation of the decision making process and underlying procedures.
  • Decisions made by PREFORMA consortium.

The previous task 8.1 laid the foundation for evaluation strategy for comparing the results of the suppliers, at the end of the design phase. The evaluation framework has been defined in D8.1, based on contributions of the technical partners as well as of the memory institutions. The strategy negotiated and established in T8.1, and consequently described in D8.1 was used as an input for evaluating the suppliers’ results at the end of the Design phase 1 to select the (number of) suppliers who will continue the execution of the tender.

This document is thus intended to include all useful information for the internal and external work process as well as to give an idea on how PCP does work and how the evaluation in PREFORMA will be performed.

After a brief introduction to the general approach and methodology (Chapter 1), the first part (Chapters 2, 3) summarises the outcomes of the evaluation of the 16 proposals received last year (2014) and of the negotiation process, until the formal decision to award a contract to the 6 suppliers who worked in the design phase.

The second part (Chapter 4, 5) builds on the results of the work with the suppliers as well as the work of the suppliers themselves. It is based on the submitted results of the six supplier consortia, and indicates the results that they have achieved.

The third part (Chapters 6, 7) addresses the way (methods, measures, principles) the PREFORMA consortium members and the external reviewers did the formal review, the evaluation, and the preparatory work for decision making on the specification work with a particular focus on the evaluation final stage resulting in decisions on which suppliers to invite for the bid to eventually participate in the prototype phase.

The last part (Chapters 8, 9) is dedicated to the preparation and the decision on which of the suppliers to invite for submitting the bid for the prototype phase.


veraPDF 0.18 released: try it!

veraPDF-logo-600-300x149The latest version of veraPDF is now available to download. It is accompanied by a beta version of our new documentation site. The site provides installation and user guides to help you get started with the veraPDF conformance checker. The beta site is online here: http://docs.verapdf.org

veraPDF 0.18 has the following fixes and enhancements:

Application enhancements:

  • suppress all PDFBox warnings in the CLI interface when parsing PDF documents
  • generate error report instead of the exception in case of broken PDF documents
  • added a new CLI option to save XML report to a separate file in recursive PDF processing

veraPDF characterisation plugins:

  • enhancements to example pure java plugins
  • plugins now configurable through a dedicated config file

Conformance checker fixes:

  • ignore DeviceGray color space in soft mask images
  • treat glyph with GID 0 as “.notdef” in case of Type0 fonts
  • fixed validation of role map for non-standard structure elements (Level A)
  • fixed validation of page size implementation limits in case of negative width or height
  • fixed validation of non-standard embedded CMaps referenced from other CMaps

Test corpus:

  • added 180 new test files for parts 2 and 3

Infrastructure:

  • test coverage now monitored by Codecov online service
  • integration tests for 2u and 3b validation profiles added
  • using codacy and coverity online code QA services

 

Download veraPDF 0.18:

http://www.preforma-project.eu/verapdf-download.html

 

Release notes:

https://github.com/veraPDF/veraPDF-library/releases/latest

 

veraPDF is building an open source, industry-approved PDF/A validator. Please support our efforts by downloading and testing the software. If you encounter problems, or wish to suggest improvements, please add them to the project’s GitHub issue tracker. Your feedback is very important, it helps to improve the software.

Keep up to date with the latest developments of veraPDF by subscribing to the veraPDF consortium’s newsletter.


E-Space at EDULEARN16 in Barcelona

On 5 July 2016, prof. Fred Truyen (KU Leuven) presented on Europeana and Europeana Space at the important event Edulearn16 in Barcelona, with a paper “Getting Creative with Europeana: Innovative Strategies & New Tools for Education”, co-authored with Clarissa Colangelo, Sofie Taes and Roxanne Wyns.

Building upon the E-Space experience, and taking into account that education has been a main target of the project, with a dedicated portal and a MOOC (to be launched in October 2016), this paper wants to make a stand for the hackathon as an engine for innovation in education, by showing how this concept furthers co-creative learning by establishing a direct relation between idea, product and experience.

fred edulearn

EDULEARN is one of the largest international education conferences for lecturers, researchers, technologists and professionals from the educational sector, that after 8 years has become a reference event with more than 700 experts from 80 countries gathering together to present their projects and share their knowledge on teaching and learning methodologies and educational innovations.

In his presentation, Fred highlighted Europeana content, in particular on photography, and the importance of creative reuse for education. The photography demonstrator developed within the Photography Pilot not only provides access to images, thanks to the WITH API of E-Space Technical Space (that searches a wide range of online repositories (e.g. Europeana, DPLA, DigitalNZ, The British Library, Rijksmuseum), but also enables users to weave the photographs into their own stories, by mixing them up with other content and overlaying a narrative.

Learn more:

 

 

 

 


Webconsultation on STARTS = Science + Technology + Arts

STARTS encourages synergies between the Arts and innovation for technology and society by promoting the inclusion of artists in Horizon 2020 projects.

The initiative Science + Technology + Arts = STARTS in Horizon 2020 is based on the conviction that Science, Technology and the Arts can jointly foster innovation in industry and society. The Arts can act as a catalyst for an efficient conversion of S&T knowledge into novel products, services, and processes while stimulating the involvement of citizens in innovation.

In 2016, two actions brought the Arts closer to Horizon 2020:

  • The STARTS prize gives visibility to collaborations between arts and technology that have led to radical innovation
  • A network of arts and technology institutions will support the alliance of the Arts with technology and industry, and identify the best ways for the Arts and technology to work together.

Any activity in STARTS has to address the double purpose of artistic relevance and pertinence for innovation in industry and society.

STARTS is launching this consultation process to shape the next wave of collaboration between the Arts, science and technology. They are looking for input from players in industry, technology institutions and art on how they see the interaction between the Arts and technology from their perspective. They also hope to receive concrete ideas for projects in STARTS on how to support such collaborations in an industrial context.

The Commissioner Günther Oettinger, in charge of the Digital Economy and Society, suggested to reflect on “STARTS lighthouse projects” in concrete application areas where collaborations of technologists and industrialists with artists could trigger novel and alternative uses for technology and possibly even radically new technologies. Such projects could pave the way for a stronger collaboration of art and technology across all of Horizon 2020.

These projects should propose specific forms of collaboration between arts and industry/technology on novel solutions to address:

  • Industrial problems – for instance in the automotive sector, additive manufacturing, media or creative industries;
  • Pressing societal challenges – for instance urbanisation or social inclusion.

They might also include artistic exploration and reflections on novel uses of e.g. Internet of things, sensors, robotics, or (social) media.

The (provisional) deadline for giving input to this consultation is 18th August 2016.

The public consultation is available for your comments here:  https://ec.europa.eu/futurium/en/content/open-consultation-starts-science-technology-arts

In order to contribute, the user should be registered, a painless process on https://ec.europa.eu/futurium/en/user/register?flavour=digital4science

You can contribute through comments and you can upload documents in the “library”  at https://ec.europa.eu/futurium/en/digital4science/library

More information about the STARTS activities here: https://ec.europa.eu/digital-single-market/en/ict-art-starts-platform


MediaConch Newsletter #6 – July 2016

New Release Notes

What’s new in MediaConch 16.06

Local GUI, Online, CLI, Server

  • HTML Report is more compact
  • Fixes and optimizations to Matroska parsing
  • Performance Improvement

Local GUI

  • Can create a policy from MediaInfo report
  • Revisited display window
  • Minor UI improvements/fixes on the main window

Online GUI

  • Can create a policy from MediaInfo report

Latest Downloads

Download MediaConch’s latest release or a daily build.

MediaConch now supports plugins including VeraPDF and DPFManager!

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Upcoming Events

We are so excited about our upcoming conference in 2 weeks! Please join us our pre-IETF Berlin Symposium: No Time to Wait! A free workshop for audiovisual archivists, developers, and open standards working groups from July 18th – 20th hosted by the Deutsche KinemathekZuse Institute Berlin, and MediaArea.net.

We are almost at capacity, so make sure to Register Here!

The MediaConch project and this symposium has received funding from PREFORMA, co-funded by the European Commission under it’s FP7-ICT Programme.

Feedback

MediaArea is eager to build a community of collaborators and testers to integrate the software in their workflows and participate in usability testing. Please contact us if you’d like to be involved!


Boosting SMEs in the cultural and creative sectors: European Commission and EIF launch a new guarantee scheme

European Commission – Press release

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Boosting SMEs in the cultural and creative sectors: European Commission and EIF launch a new guarantee scheme

Brussels, 30 June 2016

The European Commission and the European Investment Fund (EIF) today launched a €121 million guarantee initiative to support SMEs in the cultural and creative sectors via financial institutions. This scheme is expected to create more than €600 million worth of bank loans over the next six years.

Today’s initiative allows the EIF to provide guarantees and counter-guarantees, free of charge, to selected financial intermediaries in order to enable them to provide more debt finance to entrepreneurs in the cultural and creative arena. Guarantee institutions, commercial and promotional banks as well as other financial intermediaries benefiting from the €121 million guarantee will support more than ten thousand SMEs in a wide range of sectors such as audiovisual (including film, television, animation, video games and multimedia), festivals, music, literature, architecture, archives, libraries and museums, artistic crafts, cultural heritage, design, performing arts, publishing, radio and visual arts.

The financial instrument, set-up under Creative Europe– the main EU programme dedicated to the cultural and creative sectors, will be managed by the EIF on behalf of the European Commission. European SMEs should benefit from it as early as of the end of this year.
Commissioner for the Digital Economy and Society Günther H. Oettinger welcomed the initiative launched today: “Creative minds and companies need to experiment and take risks to thrive, for our society and for our economy. We are helping them to get the bank loans they would normally not get.”

EIF Deputy Chief Executive, Roger Havenith, said: “Helping business to scale up and access market-based financing solutions is high on the European Commission’s agenda. Providing credit risk protection and capacity building for finance providers are two essential ingredients in the recipe for support for SMEs in the cultural and creative sectors. The Cultural and Creative Sectors Guarantee Facility which we are signing today will help SMEs from the film to festival and music to museum arena across Europe to start up and develop.
The creative and cultural sectors represent more than 7 million jobs in the EU and account for 4.2% of the EU’s GDP (source). Access to finance can be difficult for these sectors, primarily due to the intangible nature of their assets and collateral, the limited size of the market, demand uncertainty, and lack of financial intermediary expertise in addressing sector specificities.
The new Cultural and Creative Sectors Guarantee Facility includes capacity building activities for financial intermediaries, giving them specific expertise on key elements of these sectors (e.g. specific business models and credit risk assessment in the sectors). Capacity building would be provided by (a) capacity building provider(s) selected by the EIF (e.g. a consultancy company specialised in the way the cultural and creative sectors work) following an open call for tenders. Such training will be free of charge for financial intermediaries.

In the coming days, the EIF will publish a call for expression of interest to which eligible financial institutions (banks, guarantee institutions, leasing companies, etc.) will be able to apply. After a thorough selection process, the EIF will select financial intermediaries which can then make the new finance available to SMEs in the targeted sectors. Financial intermediaries will report thoroughly on the financial products they will propose to SMEs and their take-up.

Today’s initiative is part of the Commission’s efforts to support investment and make smarter use of new and existing financial resources, which is the aim of the Investment Plan for Europe. It also complements the work done under the Digital Single Market strategy to create the right environment for the cultural and creative sectors, and in particular smaller businesses, to thrive in the digital era.

About the EIF

The European Investment Fund’s (EIF) central mission is to support Europe’s micro, small and medium-sized businesses (SMEs) by helping them to access finance. EIF designs and develops venture and growth capital, guarantees and microfinance instruments which specifically target this market segment. In this role, EIF fosters EU objectives in support of innovation, research and development, entrepreneurship, growth, and employment.

About the Cultural and Creative Sectors Guarantee Facility and Creative Europe

Set-up under the cross-sectoral strand of the Creative Europe programme, this new financial instrument is the first which such a wide scope in the culture and creative sectors. It pursues the same objective as the SME window of the European Fund for Strategic Investments (EFSI), which drives the Investment Plan for Europe: increasing lending to SMEs in order to scale up their activities.

Creative Europe is a 7-year programme (2014-2020) designed to support actors of the creative and cultural fields. It has a budget of €1.46 billion for the whole duration of the period. It is composed of the MEDIA programme helping the development and the distribution of European audiovisual works, the Culture programme, which supports culture sector initiatives promoting for example cross-border cooperation and literary translation, and the cross-sectoral strand. The objective of Creative Europe is to promote cultural diversity, encourage the circulation of European culture and creativity and strengthen the competitiveness of the cultural and creative sectors.

More information, Q&A


PS Value Talks’ Event: Cultural Policy and Local Growth

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PostScriptum and  the PanHellenic Union of General Directors of Local Administration “Kleisthenis” organized a unique PS Value Talk Event called “Cultural Policy and Local Growth” on Friday the 20th of May 2016 at Hyatt Regency Thessaloniki.

The event was held within the context of MoneyShow ’16 Thessaloniki, a multi-conference forum,  fostered by the 2nd Forum of Local Government & Entrepreneurship and aimed at presenting an innovative strategy geared by the cultural domain and by following prototypes and design practices which achieve the development of  a new “hyperlocal” growth model which is characterized by its sustainable and competitive nature and is based on the valuable resources that Greece offers.

In the recent years, the role of culture as a means of growth has been reinforced by the priorities of the national and European regional development policies which focus on the efficient use of the existing resources applied on new entrepreneurial models which associate culture with tourism and the environment, the design of innovative applications and the rise of synergies between public an private sector.

An integrated approach towards cultural capital and the promotion of creative industries locally in conjunction with the selection of appropriate funding tools constitute the main challenges and opportunities that local authorities will be facing for the coming period.

During the event, partner PostScriptum disseminated Europeana Space project with a presentation, particularly showcasing the value of content re-use and the value of hackathons to engage communities. Dissemination materials were also distributed. Attendees were Greek representatives of the culture and academic sectors, ICT Industry, and policy makers.

 


“Freeze! Challenge the Hierarchy: Researcher, Artist, User!” – E-Space Dance Pilot in Copenhagen

by Rosemary Kostic Cisneros (Coventry University).

This was an international conference mainly for Dance/Art related academics, professionals, archivists  and practitioners, with over 150 participants, organized by SIBMAS, the international network of cultural heritage in the performing arts, on 31 May – 3 June 2016 at the Royal Library in Copenhagen.

The Dance Pilot presented a panel  with 3 papers:

  • Exhibitions and Engagement- Educational Processes, By: Rosemary Kostic Cisneros
  • Animating the archives: re-mediating and re-embodying digital records of dance, By: Sarah Whatley
  • Reusing and Remixing Dance, By: Hetty Blades

Our objectives were to: (a) disseminate Pilot information, materials and tools. (b) Encourage people to learn more about E-Space and Europeana Foundation  and visit project website and foundation’s website. c)Follow us on twitter and other social media outlets (d) Identify local test-users (e) gather feedback on the E-Space Pilot ideas.

The impact is hard to measure but it is known that all of the individuals understood the nature of the  E-Space Pilot, the project and the Europeana Foundation. Attendees were interested and eager to learn more.  The dialogue generated was constructive and useful for us as a pilot and for them as participants. We gathered information on the digital technologies they are familiar with or currently using, the IPR issues they face and the potential that our prototypes could have on their work. We also shared with them the usability testing results. This was the first time the pilot was engaging with professional archivists.

E-Space Booklet, website, and blog information was distributed, Hackathon and Pilot activities were also disseminated.  We also shared images and project videos with attendees and shared the twitter information with others.

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Audience  was comprised dance artists, archivists, graduate students, academics and other dance/art professionals and practitioners of different nationalities: English, American, Spanish, Greek, Polish, Czech Republic, Romanian, Bulgarian, Brazilian, Russian, Portuguese, Chinese, Japanese.

Learn more on the event: http://www.sibmas.org/conferences/copenhagen2016/