Digital meets Culture

Europeana hopes to promote the adoption of the IIIF technology by demonstrating its value.

Europeana aligns with the International Image Interoperability Framework (IIIF)

As part of the Europeana Cloud project, a document proposing data modelling solutions for representing digital objects (such as images) and full-text with a particular focus on Newspapers resources was just released.

One of the use case focuses on the interoperability with the International Image Interoperability Framework (IIIF). IIIF is a standard for serving and consuming high quality images online, with the ability to instruct a server about the desired resolution, or image manipulations such as rotation and zooming.

Europeana hopes to promote the adoption of the IIIF technology by demonstrating its value and, from a more technical perspective, by making Europeana’s own technical stack (including the Europeana Data Model and the Europeana Collections portal) more interoperable with IIIF implementation initiatives.

Read more on Europeana’s Blog

Sketch model from a discussion on EDM and IIIF at IIIF Ghent meeting. Glen Robson, CC BY, from Europeana blog

Madrid, 22-24 June 2016

E-Learning 2016: New Strategies and Trends

This conference seeks to anticipate the future of education, offering a critical inside look into the current trends and resources being used in teaching and learning environments.

The 2016 e-learning strategies and trends will be explored through the presentation of case studies, practical applications and the analysis of data related to students’, faculties’ and organizations’ performance.

Professors and researchers from all over the world are invited to participate in the conference to present their research and field experiences and get updated on the latest trends and innovations in e-learning.

The event provides teachers and experts the unique opportunity to contribute to this global vision of shaping the future of learning.

CONFERENCE TOPICS

Learning Analytics: how to use data to benefit students, teachers and administrators
Games and simulations as new problem-solving tools
Customized learning: personalized and responsive feedback system
Creative, collaborative and video-based learning

The conference will be jointly organized by the University of the Basque Country, Madrid Open University and GUIDE Association, leading institutions in the field of e-learning and technology-based education.

Visit the Conference website.

Visit the GUIDE Association website

Coventry (UK), 4 March 2016 - Digital Echoes Symposium 2016.

(Re)Collecting the Past: (Re)Making the Future

(Re)Collecting the Past: (Re)Making the Future

4th March 2016 – Centre for Dance Research (C-DaRE), Coventry University

For the 6^th edition of the Digital Echoes Symposium, we focus on participation as one of the most prominent legacies of the digital, in particular how it invokes processes of collectivity, democratisation and decentring. We consider participation as a process, a framework for access and production, but also increasingly becoming a philosophy and a culture. In response to this theme, we invite researchers and practitioners in dance, the arts and the humanities, to reflect on practices of collecting, archiving and safekeeping, how these traces are being used to configure new ways of imagining futures, and how such practices highlight the legacy of the digital on humanistic and artistic disciplines.

As the title suggests, we invite a reflective and critical examination of digital archival practices, with a focus on dance and neighbouring art forms. We look at the future through a frame of making, or crafting, which evokes discourses on materiality and immateriality, tangible and intangible, conversion and representation. Through representation in digital formats ephemeral performative acts gain tangible qualities. Yet tangibility does not mean fixation; as digital representations are manipulated, stored, accessed, retrieved and re-used they are simultaneously objectified and re-formed, as they are increasingly used and re-used in different formats and in new contexts. We invite contributions that consider the impacts of public/user participation on archival practice and research, and their legacy for the future.

Themes

● The politics of participation in performing arts archival and documentation practices: How does public or citizen involvement in archival practices affect established hierarchies and canons? How does it affect taken for granted ideas about whose ideas and practice are given visibility and represented, and how?

● Collectivity and co-creative practices: What are the potentials and problematics of collectives? How does co-creation function in artistic and archival practices? How do collaborative relationships between archivists, technologists, artists and researchers cultivate generative interdisciplinary exchanges? What are the meeting points or sticking points? How might we create innovate archival projects that cross disciplinary frameworks?

● The reuse and reconfiguration of artistic and cultural content: The reuse of cultural content, and the ways that users might enrich existing sources through creative activities.

● Between amateurism and citizen science: What are the sources of legitimacy for user involvement? What distinguishes citizen science from amateurism? What are the boundaries of involvement, so that the foundations for research credibility and validity are not affected? What are the forms, best practices, promises and limits of crowdsourcing?

● Epistemologies, languages, vocabularies: Which forms of knowledge are cultivated and disseminated through participatory archival projects? How might linguistic frameworks usher in fresh forms of thinking and reveal underlying frameworks?

● Impacts on practice. How does the reuse of cultural content feed back into artistic and scholarly practices? How does the fictional user inform on the development of archival practices?

● Processes and tools: What processes, flows, methodologies are there that support rewarding ways of involving the user and the public in storing, classifying, and configuring access pathways to archival material? What digital tools, platforms and infrastructures?

Agenda:

9.15 – 9.45 Registration
9.45 – 11.00
Digital Art Studio / Welcome and Keynote Presentation
Just Fun Enough to go Completely Mad About: on games, procedures and amusement
Matthew Fuller
Chair: Sarah Whatley
11.00 – 12.00
Digital art Studio / Panel 1: Impacts on Practice/Processes and Tools
Zoi Dimitriou
Greg Marshall
Chair: Emma Meehan
Performance Studio / Panel 2: Emerging Projects
WhoLo DancE (Sarah Whatley and Rosa Cisneros)
Error Network (Sita Popat and Sarah Whatley)
Virtual Museums (Antonella Fresa and Neil Forbes)
Chair: David Bennett

12.00 – 13.30 Lunch

13.30 – 14.00
Performance Studio / Silent Lecture
Emilie Gallier
14.00 – 15.30
Digital Art Studio / Panel 3: Reuse and Reconfiguration of Artistic Content
Monica Dantas
Valeria Lo Iacono
Marisa Zanotti
Chair: Rebecca Stancliffe
Performance Studio / Panel 4 Choreographic knowledge, data and
evidence in the body archive; new ways of thinking about archival
encounters and dialogues
Rachel Krische
Lisa Kendall
Laura Griffiths
Chair: Eline Kieft

15.30 – 15.45 Tea and Coffee

15.45 – 17.15
Digital Art Studio / Panel 5: Participation and Documentation in
Digital Performance Practices
Sarah Rubidge
Teoma Naccarato
Matthew Morrison
Chair: Victoria Thoms

Venue: The Institute for Creative Enterprise (ICE)

Coventry University Technology Park

Parkside

Coventry

CV1 2NE

Organising committee: David Bennett, Hetty Blades, Rosamaria Cisneros, Rebecca Stancliffe and Sarah Whatley.

In this hackathon in particular, we focus on concepts and business models rather than the development itself.

E-Space Photography Hackathon in Leuven, a great success!

by Fred Truyen, KU Leuven.

The Photography hackathon “Hack your Photo Heritage” took place on 25-27 February 2016, hosted at the FabLab of KU Leuven in Heverlee (Belgium). People attending were students, developers, cultural heritage professionals, photography people. Some teams came already with some ideas, but many individual attendees were still looking who they might join.

The first day 25 February was an inspiring session with many international speakers; the Technical Coordinator Antonella Fresa presented the context of the E-Space project and highlighted the link with Europeana, which gave James Morley, Europeana representative at the event, an opportunity to show the different possibilities that Europeana offers for re-use through Europeana Labs. Very important was a short insight from Simon Cronshaw (Remix Summits), on what the focus is for the judging criteria. In this hackathon in particular, we focus on concepts and business models rather than the development itself. Many technologies in photography relevant to GLAM are available, but are not yet packaged in a way that broad commercial use and practices can be supported.

[Show as slideshow]

We also demonstrated the available tools, such as the E-Space WITH environment developed by partner NTUA, which allows for sophisticated storytelling and story sharing with images from sources such as Europeana, DPLA, Rijksmuseum, British Library and others. The slot allocated to team assembly allowed the participants to discuss and share a lot of ideas. Not all of those ideas, often the at first sight most compelling ones, are possible to turn into a useful application. There is always a part that is technology driven and above all market driven. Besides technology readiness levels, the readiness of a market, an audience, and more importantly a professional sector ready to take it up, to move forward towards a practice incorporating the new tools is of critical importance. The evening session offered a series of short pitches by speakers with an interesting pedigree in creative reuse of heritage.

The following days of the event were busy of work by the teams, out of which the 3 best concepts were selected by the jury and will fly to an intensive business modelling workshop in London.

Read more on the Photography Pilot and hackathon HERE.

How the York Museums Trust started opening up its collection

New case study by OpenGLAM: Think big, start small, move fast

by Lieke Ploeger, Open Knowledge Foundation.

OpenGLAM has just released a case study on the open data release last year of the York Museums Trust. The study was written as part of the Open Knowledge Foundation involvement in Europeana Space project, and describes how the York Museums Trust went about publishing their online collection, as well as the effect this had, including different examples of the reuse of their content.

Replica Roman Figurine, York Museums Trust, YORYM : 2006.2914

By publishing the collection fast, and allowing people to reuse their material, even though it was not yet perfect, they managed to engage with their audience, stimulate reuse and generate new interest in their collection and museums. It is exactly this type of approach (think big, start small, move fast) that Michael Edson, Associate Director/Head of Digital at United Nations Live Museum for Humanity, identified as on of the patterns that accelerates change in organisations last year at the Openlab workshop in December 2015 (inspiring the case study’s title).

We hope that the story of how York Museums Trust opened up their rich collections can inspire other institutions to take steps in this direction, because, as Martin put it: “To just say the content is not good enough for us, and therefore no one can see it, did not sit right with me”.

The full case study is available from: http://openglam.org/2016/02/24/think-big-start-small-move-fast/

The retable of Hermen Rode, preserved in Niguliste Museum in Tallinn, is the focus of a educational demonstrator developed by Estonian Ministry of Culture

Young Art Detectives – students engagement with the Rode Altarpiece Demonstrator

As a part of Europeana Space educational work, for the creative re-use of digital cultural heritage also for teaching and learning, partner EVK developed a demonstrator based on high resolution imaging of the retable of Hermen Rode, the great masterpiece hosted in the Niguliste Museum in Tallinn.

Now the tool is used for an educational programme for kids from pre-school to twelve years old. The “Rode Altarpiece in Close-up” lesson plans is:

• Actively engaging, exploratory-creative

• Connecting (provides cooperation between various subject fields)

• Created for five age groups from pre-schoolers to the upper secondary school level

• Based on contemporary educational trends and connected to the national curriculum of the Republic of Estonia, and is adjustable to other curricula

The educational programme is based on scientific studies of the Rode altar retable and primarily showcases interpreting and conceptualising of historical sources to pupils of different ages. The educational programme is consistent with modern educational trends, and transfers students from factual learning to exploratory and creative learning integrating various subjects. The educational environment is extended beyond the classroom to a museum or the virtual environment of the Rode altarpiece science web in order to conduct the class and pass on knowledge. This provides substantial added value as the learning process can be based on directly analysing and interpreting the authentic source.

The focus and subject of assignments vary for each age group; each assignment can be adjusted for an age group one stage younger or older. The age groups are as follows: pre-schoolers, grades 1–3, grades 4–6, grades 7–9 and grades 10–12. Similarly to the various humanitarian and science fields involved in conducting scientific research, the developed study activities integrate different subjects: history, arts, religious studies, Social Studies, native language, mathematics, and chemistry. As an exciting and playful aspect, the children will operate as art detectives while solving the assignments. The used methods are based on active involvement of students and teach visual thinking, critical observing and analysing of historical pictures, conceptualising of depicted subjects from both historical and modern perspectives, and, based on this, analysis of self; the creative assignments also develop fine motor and art skills of the students. Each stage of the study activities uses a multimedia app as the starting point (the object of research and analysis) – younger students will be guided by their teacher and grade 7–9 students will conduct independent work.

The assignment descriptions contain the topic of the class together with elaborating keywords, list of included subjects and compliance of the topic with the subject syllabi of the curricula, expected learning outcomes, overview of used methods, list of necessary materials and tools, descriptions of conducting the study activities, photo and video presentations, and recommendations for feedback and assessments. The assignments have been planned to be carried out on a test group during February–March 2016, this will be the basis for clarifications and improvements, if necessary.

E-Space for Education website: www.europeana-space.eu/education

Apply now! Deadline is 24th February 2016!

EUscreenXL invites you to its online Video Competition

EUscreen.eu is giving the editorial control over the collection of unique 60 000 items to its users by hosting an open competition that will run from February 12, 12:00 CET to February 24, 12:00 CET.

EUscreen is the best practice network for Europe’s audiovisual heritage that actively promotes awareness of audiovisual heritage in various domains, including education, research, media production and towards the general public. Its unique collection on Europe’s television heritage is made accessible on Europeana.eu and EUscreen.eu. EUscreen’s editorial team is constantly creating new and interesting collections to highlight rich European heritage. Today more than 60,000 exquisite items are accessible on the EUscreen portal to pick from, representing 22 European broadcasters and archives.

To celebrate the achievement, EUscreen is announcing a Competition for its community to find out which EUscreen videos they like the best. Interested participants are invited to go to Competition Page at www.euscreen.eu/contest and send in their suggestion, together with a short text explaining why their video should be chosen.

12 favourite suggestions will be rewarded by Amazon gift-cards (30 EUR each) and will be showcased in the next EUscreen Video Collection, to be published on blog.eusreen.eu.

Criteria for entry:

Participant must be aged 18 or over to enter the Competition.
Participant may submit only one Submission of a favourite video enriched by a justification of his/her choice (no shorter than 20 words in English)
The deadline for submission is 12.00 CET on Wednesday, February 24, 2016.
Participant must agree to the terms and conditions before entering.

xxx

About EUscreen:

EUscreen is a dynamic and expanding network. Its aim is to improve the online presence of and engagement with audiovisual archival collections across Europe. It invites broadcast and audiovisual archives from Europe to work together with academic and technical partners to create public access to thousands of film clips, television programmes and supporting information. EUscreenXL aligns audiovisual collections by connecting them to Europeana’s online collection, which consist of millions of digitised materials from Europe’s museums, libraries and archives. The network was established in 2006 and is now made up of 31 partners and 13 associate partners from 22 European countries. More: www.euscreen.eu.

Contact for media:Maria DrabczykEUscreenXL Communications Leadmaria.drabczyk[at]nina.gov.pl

contest[at]euscreen.eu

cooperation agreement signed between the two Best Practice Networks

Europeana Food and Drink & Europeana Space

A new member of E-Space BPN is another Europeana BPN: it is Europeana Food and Drink with which a cooperation agreement was just signed!

Europeana Food and Drink focuses on the subject of Europe’s food and drink’s culture, with a specific emphasis on 3 themes:

My Food and Drink Life – focusing on the personal and domestic aspects of food and drink;
Food and Drink in the Community – focusing on the social and community aspects of food and drink;
The Food and Drink Industry – focusing on the cultivation, manufacture, production and distribution of food and drink.

Europeana Food and Drink wants to learn from the food and drink how they might be interested in engaging more with their heritage.

Under the common umbrella of Europeana and with several partners in common, joining forces is always important in order to foster synergies between sister projects.

http://foodanddrinkeurope.eu/

call for entries, two prizes 20.000 euro each will be assigned

STARTS prize 2016: deadline 4 March 2016 / Science, Technology and the ARTS.

20,000 euros await the winners of the STARTS Prize 2016. Appointed by the European Commission, Ars Electronica is launching an international prize to select the most pioneering collaborations and results in the field of creativity and innovation at the crossings of science and technology with the arts.

This is an open call for entries in conjunction with an initiative launched by the European Commission: STARTS. The name stands for innovation at the nexus of Science, Technology and the ARTS.

Two prizes – €20,000 each – will be bestowed this year:

One for artistic exploration and projects in which the artistic approach has significant potential to influence or change the way technology is deployed, developed or perceived, and
One for innovative cooperative ventures teaming up industry/technology and art (and cultural & creative sectors in general) in ways that open up new paths for innovation.

This competition specifically seeks:

Trailblazing forms of collaboration and projects essentially characterized by both technology and art; strictly artistically or strictly technologically oriented projects are not what STARTS is looking for.
Any and all artistic works and practices having to do with innovation in the areas of technology, business and/or society. This competition is not limited to a particular genre such as media art and digital art.
All forms of technological and scientific research that are inspired by art or in which artists are integrated as catalysts of new ways of seeing things. This includes but is not limited to information & communications technology.
Artists or artists’ collectives, creative professionals, researchers and companies throughout the world. This competition is not limited to citizens of EU-member states.
A project may be submitted for prize consideration simultaneously to the STARTS competition as well as a Prix Ars Electronica category (Computer Animation/Film/VFX, Digital Communities or Interactive Art).

Several special events are being planned to honor and showcase the projects singled out for recognition with a STARTS Prize:

Awards ceremony at the Ars Electronica Festival in Linz, Austria September 8-12, 2016
Exhibition featuring the prizewinning projects at the 2016 Ars Electronica Festival
STARTS Forum at the 2016 Ars Electronica Festival
Exhibition featuring the prizewinning projects at the BOZAR Electronic Art Festival in Brussels, Belgium September 23-25, 2016

STARTS INITIATIVE:https ://ec .europa .eu/digital-agenda/en/ict-art-starts-platform
STARTS PRIZE: http ://starts-prize .aec .at

The entry deadline is March 4, 2016.

The main objective of the SQuAT Fest is to assist European open source projects to bring their software into the AppHub European Open Source Marketplace.

PREFORMA @ AppHub SQuAT Fest 2016

Benjamin Yousefi from Riksarkivet represented the PREFORMA project at the AppHub SQuAT Fest on January 26, 2016 in Brussels.

The main objective of the SQuAT Fest is to assist European open source projects to bring their software into the AppHub European Open Source Marketplace. In addition, we would like to understand the current state of open source software as developed by EU funded projects, and how we can support them to improve their quality assurance and governance processes.

The main recommendation that came out from the workshop were that PREFORMA should encourage the PREFORMA Suppliers to use AppHub as an additional channel to distribute the PREFORMA Conformance Checkers, documenting the possible deployment as an example of integrating the Conformance Checkers with other platforms.

The community behind AppHub is also working on best practices, code quality and OSS (Open Source Software) risk management, producing documents, such as the AppHub Charter, OSS and tools, such as, GitHubAnalyzer. The PREFORMA project should evaluate and incorporate these documents and tools where appropriate.

Download here the presentations delivered during the workshop.

About AppHub

AppHub is a non-profit marketplace aimed at facilitating the dissemination of open source software with the purpose to help European collaborative projects to implement an efficient dissemination and market outreach strategy, it helps SMEs reach a global market by providing a marketplace where business users can discover, deploy and run quality open source software packages for their information systems. The project is an H2020 project, funded in part by the European Commission, which promotes EU-funded technologies through a combination of knowledge, resources and expertise from the OW2 open source community, the Fraunhofer Fokus research institute, and UShareSoft an independent software vendor.