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Digitisation, on-line access and digital preservation of Cultural Heritage in Europe SLIS Cradle seminar Chapel Hill, 20 March 2015 Javier Hernandez-Ros.

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Presentation on theme: "Digitisation, on-line access and digital preservation of Cultural Heritage in Europe SLIS Cradle seminar Chapel Hill, 20 March 2015 Javier Hernandez-Ros."— Presentation transcript:

1 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

2 A defining challenge 2 "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

3 How much has been digitised? 3

4 Film heritage: premium content 4 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)

5 Born digital content 5 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?

6 Google rocked the boat in 2005 6 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

7 Challenges in 2005… …and partly still today (1) 7 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?

8 Challenges in 2005… …and greatly still today (2) 8 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

9 EC Actions: Policy, Legislation, Funding 9  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

10 Digital culture ecosystem -Supply (1) 10 Very much supply driven: Memory organisations, national/regional/local initiatives (Digital Heritage NC), digital humanities initiatives Little private money (Google,, Proquest,, early photography archives) UGC: stories of people + memory organisations content = Europeana 1914/18,

11 Digital culture ecosystem -Supply (2) 11 Portals and APIs Platforms and aggregators: Wikicommons, FlickrCommons, Internet Archive, Europeana/DPLA, World digital library, Pinterest, Google Art, Artstore

12 Trends in supply 12 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

13 Digital culture ecosystem - Demand 13 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%

14 14

15 The Market place 15 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

16 Business models 16 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 …

17 EU Fellow at UNC: Impact of digitisation projects 17 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

18 Further Information 18 Digital culture / Cultural heritage online Digital Culture, Recommendation on Digitisation and MSEG culture Film Heritage Current funding programmes Connecting Europe Facility (CEF) Horizon 2020 nities/h2020/index.html

19 Further Information 19 Past funding programmes FP7 Funded projects fp7_en.html ICT Policy Support Programme (ICT PSP) programme Follow us on Twitter @digicultEU@digicultEU, @ICTcreativityEU@ICTcreativityEU

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