This document discusses how opening up access to cultural works and allowing public participation can help museums fulfill their mission. It provides examples from the Statens Museum for Kunst in Denmark of how they engaged the public by having artists remix works from their collection and contribute to Wikipedia. The museum found that members of the public were highly engaged and creative when given open access to digitized works. The document advocates for measuring cultural institutions' success by their impact on learning and happiness rather than control over collections.

1. Beyond Open Access
Creating Culture By, With,
and For the Public
CC BY-SA 4.0 Ida Tietgen Høyrup
Museum Computer Network
New Orleans, 3 November 2016
Merete Sanderhoff
Curator / Senior Advisor
slideshare.net/meretesanderhoff
@msanderhoff

2. https://twitter.com/PUBDOMAINHULK
Reality of digital

3. The Other Nefertiti
http://boingboing.net/2016/02/23/scanning-artists-de-loot-stole.html

4. “…there are ways where we don’t
even need any topdown effort from
institutions or museums, but where
the people can reclaim the
museums as their public space
through alternative virtual realities,
fiction, or captivating the objects
like we did.”
Nora Al-Badri and Jan Nikolai Nelles
http://hyperallergic.com/274635/artists-covertly-scan-bust-of-nefertiti-and-release-the-data-for-free-online/

5. Copyright is “a little coral reef
of private right jutting up from
the ocean of Public Domain.”
Paul Torremans, Copyright law: a handbook of contemporary research, 2007
Adam Olearius, "Oftt begehrte Beschreibung Der Newen Orienthalischen Reise [...]",
Schleswig 1647, KKSgb10873/28, SMK. Public Domain

6. Works that are in the Public Domain in
analogue form continue to be in the Public
Domain once they have been digitised.
http://pro.europeana.eu/files/Europeana_Professional/Publications/Public%20Domain%20Charter%20-%20EN.pdf

7. Who are we to judge
what people do
with public domain
content?
@luscofusco on instagram, feat Cornelisz van Haarlem from SMK

8. “If they want to have a Vermeer on their toilet paper,
I’d rather have a very high-quality image of Vermeer
on toilet paper than a very bad reproduction.”
http://www.nytimes.com/2013/05/29/arts/design/museums-mull-public-use-of-online-art-images.html?pagewanted=all&_r=0
Taco Dibbits
Director, Rijksmuseum

9. Loss of control

10. Regaining control
by sharing

11. “Our primary mission is to ‘tell the truth’. We put
as much quality in our work as possible. That is why
we share the best quality we have. If people google
‘The Milkmaid’ by Vermeer then we want them to
find our good quality image, not all the bad and
deformed versions of this beautiful painting.”
Lizzy Jongma
Former data manager, Rijksmuseum

12. SMK’s first digital strategy, 2009
We want to be a
catalyst for
users’ creativity

13. Requires facilitation
http://jeannelking.com/services/graphic-facilitation/

14. Two examples

15. Remix exhibition
May 2015
13 artists and
designers were
invited to mix up
SMK’s collections

16. The artists got to hack
the museum for a weekend
CC BY-SA 4.0 Merete Sanderhoff

17. CC BY-SA 4.0 Ida Tietgen Høyrup
Their remixes ranged
from lasercut installations…
Neea Laakso, Free?

18. CC BY-SA 4.0 Ida Tietgen Høyrup
…over tapestries,
fashion clothes, collages…
Signe Emdal, Astrids Rose

19. Harald Slott-Møller, Danish landscape, 1891
Product of Public Domain

21. CC BY-SA 4.0 Ida Tietgen Høyrup
Jamie Seaboch, Collage

22. Filip Vest, 22 Skies
CC BY-SA 4.0 Ida Tietgen Høyrup
…to a projection of
22 golden age skies

23. CC BY-SA 4.0 Ida Tietgen Høyrup
…and a pop-up version of Hammershøi
with motorized moving light

24. CC BY-SA 4.0 Ida Tietgen Høyrup
Kati Hyyppä, As light goes by

25. CC BY-SA 4.0 Ida Tietgen Høyrup
Offered fresh perspectives
on the classic collection

26. Feedback from artists/designers
CC BY-SA 4.0 Ida Tietgen Høyrup
”It is a giant toolbox with a fantastic amount of materials to
work with.”

27. ”It is a giant toolbox with a fantastic amount of materials to
work with.”
“It was a very strong symbiotic experience to be in so close
dialogue with the original work. It added a fresh dimension to
the permanent collections.”
CC BY-SA 4.0 Ida Tietgen Høyrup

28. ”It is a giant toolbox with a fantastic amount of materials to
work with.”
“It was a very strong symbiotic experience to be in so close
dialogue with the original work. It added a fresh dimension to
the permanent collections.”
“I have been creating collages using international museum
collections for 20-25 years (...) But I have only been able to share
them with my friends and family, knowing that if I were to
present them publicly I would face legal retribution. Now I am,
for the first time, allowed to share my perspective.”
CC BY-SA 4.0 Ida Tietgen Høyrup

29. Jamie Seaboch/
EyeQ Innovations
CC BY-SA 4.0

30. Jamie Seaboch/
EyeQ Innovations
CC BY-SA 4.0

31. Jamie Seaboch/
EyeQ Innovations
CC BY-SA 4.0

32. Amazing things can happen
when you let go of control
and let people play

33. CC BY-SA 4.0 Ida Tietgen Høyrup
Wiki Labs
- collaborating with Wikipedians,
art historians and amateurs
to enrich art historical entries

34. Wikipedia needs open content
https://commons.wikimedia.org/wiki/Commons:Licensing

35. Monthly meetups
- utilize open images
- learn how to edit
- artist of the month
- editathons

36. Artist of the month
- before

37. Artist of the month
- after

38. Museum professionals must abide by Wikipedia
rules like everyone else.

39. The impact is worth it

40. SMK images got 20 million
page views on Wikipedia in 2015

41. “Prioritize Web and New Media
programs in proportion to their
impact on the mission.”
Michael Edson, Smithsonian Web and New Media Strategy, Version 1.0, 2009
http://www.si.edu/content/pdf/about/web-new-media-strategy_v1.0.pdf
Michael Edson /VanGoYourself

42. ”I wish we would measure cultural
heritage on learning and happiness.”
https://charlotteshj.dk/2016/05/26/gid-vi-maalte-kulturarv-paa-laering-og-lykke/
Charlotte S H Jensen
State Arhives/National Museum

43. ”With our digitised collections, we can support
people in being reflective, creative human beings.
But the precondition is that cultural heritage is
common property, and that each and every one of
us can use it for exactly what we dream of.”
Mikkel Bogh
Director, SMK
http://bit.ly/1dMX0BJ

44. Thank you.
CC BY-SA 4.0 Ida Tietgen Høyrup
Museum Computer Network
New Orleans, 3 November 2016
Merete Sanderhoff
Curator / Senior Advisor
slideshare.net/meretesanderhoff
@msanderhoff