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Panoptikum: exploring new ways to categorize a collection of various unusual and unique objects

- May 9, 2019 in Open Data Day, open data day 2019, Open GLAM, OpenGLAM

This blog has been reposted from For the past two and a half years, the artist Jürg Straumann has been working on a digital retrospective of his life’s work, spanning over four decades of visual art. The latest stage of this project involved creating an interactive way to browse this unique and very personalized database. During our workshop on Open Data Day, March 3 – while Rufus Pollock’s book The Open Revolution was passed around the room, I introduced a gathering of collectors and art experts to Open Knowledge and OpenGLAM. We discussed the question of how new channels and terms like Creative Commons support both the artwork and the artist in a digital economy. And we got lots of great feedback for our project together, which you can read about in this post.

The image above is a style transfer from Der Raub der Deianira durch den Zentauren Nessus by Jürg Straumann (nach Damià Campeny, 2012) to La muse by Pablo Picasso (1935)

Wahnsinnig viel Züg, es isch e wahri Freud! (Swiss German, approx. translation: So much stuff, a true delight!)

Oleg’s story

Over my years as web developer I have worked on several collaborations with artists like Didier Mouron/Don Harper or Roland Zoss/Rene Rios, and on various ‘code+art’ projects like Portrait Domain with the #GLAMhack and demoscene community. I’m drawn to this kind of project both from a personal interest in art and it’s many incarnations, as well as from the fascinating opportunity to get to know the artist and their work. When Jürg approached me with his request, I quickly recognized that this was a person who was engaged at the intersection of traditional and digital media, who explores the possibilites of networked and remixed art, who is meticulous, scientific, excited by the possibilities andcommitted to the archiving and preservation of work in the digital commons. I was very impressed with the ongoing efforts to digitize his life works on a large scale, and jumped in to help bring it to an audience. During this same time, I’ve been working on implementing the Frictionless Data standards in various projects. Since he gave me complete freedom to propose the solution, the first thing I did was to use Data Package Pipelines to implement a converter for the catalogue, which was in Microsoft Excel format as shown in the screenshot below. In this process we identified various data issues, slightly improved the schema, and created a reliable conversion process which connected the dataset to the image collection. The automatic verifications in this process started helping to accelerate the digitization efforts. Screenshot-from-2019-03-03-21-27-50 Together with Rebekka Gerber, an art historian who works at the Museum für Gestaltung Zürich, we reviewed various systems used for advanced web galleries and museum websites, such as: While they all had their advantages and disadvantages, we remained unsure which one to commit to: budget and time constraints led us to take the “lowest hanging fruit”, and …not use any backend at all. Our solution, inspired by the csvapi project by Open Data Team, is an instant JSON API. Like their csvapi, ours works directly from the CSV files, which are first referenced from the Data Package generated by our pipeline using the Python Data Package library. Based on this API, I wrote a simple frontend using the Twitter Bootstrap framework I’m used to hacking on for short term projects. Screenshot-from-2019-03-03-21-27-07 Et voilà! A powerful search interface in the hands of one of our first beta-testers. When you see it – and I hope pretty soon at least a partial collection will be available online – you’ll notice a ton of options. Three screen-fulls of various filters and settings to delight the art collector, exploring the collection of nearly 7’000 images with carefully nuanced features. IMG_20190302_143410-01 If you’ve been reading this blog, you can imagine that it is a collection that could also delight a Data Scientist. If there is interest, I am happy to separately open source the API generator that was made in this project. And our goal is to get this API out there in the hands of fellow artists and remixers. For now, you can check out the code in The open source project is available at, and we are going to continue working on future developments in this repository. The content is not yet available to the public, since we are still working out the copyright conditions and practical questions. Nevertheless, we wish to share some insight into this project with more people through workshops, exhibitions and this blog. More on all that in future posts. In the meantime, I’ll let Jürg share more background on the project in his own words. Subscribe to our GitHub repository to be notified of progress – and stay tuned! IMG_20190302_145954-01-1
Wenn Kunst vergrabe isch und vergässe gaht, isch es es Problem für alli Aghörige, e furchtbari Belastig für d Nachkomme. (When art is buried and is lost, it is a problem for all involved, a terrible weight for the next generation.)


(This is the story of the project written by Jürg and translated with DeepL‘s help. You can read the German original at the bottom of this page.) In a good 40 years of work as a visual artist (in the conventional media of drawing, printmaking and painting), over 6,600 smaller and larger works have accumulated in my collection. In retrospect, these prove to be unusually diverse, but with sporadically recurring elements, somehow connected by a personal “sound”. Very early on I tried to systematize the spontaneous development of sculpture in different directions. This is the basic idea of the project PANOPTIKUM (since 2000), whereby the categorizations of the whole uncontrolled growth are only the basis for further artistic works – which should, ironically, dissolve the whole again. In the middle of 2016, with the help of numerous experts, I began to compile a catalogue of my works, i.e. to scan or photograph my works and then to index them in a differentiated way in an Excel spreadsheet. In 2018, Oleg Lavrovsky agreed to make the collected data accessible as desired, i.e. after entering the search terms, to display the respective images numerically and optically on the screen by means of a filter function. This is a prerequisite for the fact that in the coming years it will be possible to continue working with the image material in a variety of creative ways. Our project takes the form of an application, which can also be reviewed and further developed by other people (Open Source). The copyright and publication rights for all content remain with me, the created app can be freely used as a structure for other projects. In the longer term, general accessibility via the Internet is planned. At the moment, however, all content should only be available to individual interested parties. After the completion of this basic work, whereby the directory is to be supplemented about every six months, the task now is to concretize own artistic projects: digital graphics and an interactive work as well as possibly videos are pending. For this I am dependent on expert support, the search for interested persons continues. Commissioned works as well as forms of egalitarian cooperation are possible. In addition, the image material may also be made available for independent projects of third parties. The starting point and pivotal point of the PANOPTIKUM project is in any case the question of what can be done with a catalogued visual work. A wide variety of sub-projects can be created over an unlimited period of time (artistically, art historically, statistically, literarily, musically, didactically, psychologically, parodistically… depending on the point of view and interests of the participants). The central idea is to make a visual work accessible in an unusual and entertaining way. To capture additional public benefit through revision. Potential goals include:
  • Unusual: the very differentiated formal and content-related recording of one’s own work, which becomes the basis for further creations (self-reflexiveness and reference to the outside world).
  • Entertaining: exploring in a playful way (e.g. searching for the unknown author of this picture pool, memory, domino, competition, etc.) by means of interactive functions, games, VR applications.
  • Artistic work: my own works (approx. 6,600 drawings, paintings and prints), which are presented anonymously and with a good pinch of irony and questioned.
  • Making accessible: multimedia, on various channels: exhibition spaces (also improvised and private), internet, cinema. The target audience is as broad as possible, especially outside the usual art scene.
  • Stimulating: the desire to look, the pleasure of pleasurable immersion (flood of images!). On the other hand, thoughts about identity, freedom, openness.
  • Useful: sustainability material: ecological aspects in production and presentation. Social sustainability: smaller events, e.g. with the sale of the works at very favourable conditions in favour of “Public Eye” (instead of a rubble dump at the end of life!). Thus discussion about artist’s estates, archiving, economic aspects (art trade). Any visual material for teaching (art history, art mediation)?
Next steps: Work on the overall concept, on a “story” with scriptwriters, event managers, advertisers, etc. One idea we call the Kunstfund would ask: who is the author? Take the role of art historians, amateurs, gallery owners, art critics and collectors, and speculate; picture disputes, questions of taste; search for meaning; models for political systems – all slightly spunky and ironic. Parallel to this, experimenting with concrete formal implementations:
  • How can my very sensually influenced, conventionally designed images be staged and brought into a visually attractive contrast with the digitally generated elements. For example, by means of split screens, transparencies, animated lettering, infographics, combinations with photo and video material from the “outside world”, whereby my collage books could serve as a bridge.
  • Function which continuously (anonymously if desired) records all activities and creations of the users – for example, in the design of virtual exhibition spaces with my pictures.
Visit Jürg’s website for glimpses into his work and contact options.

Protecting libraries and the vital role they play in local communities

- February 27, 2019 in Events, library, Open GLAM, OpenGLAM

This article was originally published in The Scotsman. With councils across the UK facing major financial pressures, libraries are too often seen as an easy target for cuts. In 2017, it is estimated that more than 120 libraries closed their doors in England, Wales and Scotland. That figure is likely to have increased last year. Thousands of jobs have also been lost, with libraries’ existence more reliant on volunteers than ever before. But closing down a library has to be one of the most short-sighted decisions that public officials can make, with serious consequences for the future of local communities. There is a widespread misconception that the services offered are out-of-date – a relic of a bygone age before youngsters started carrying smartphones in their pockets with instant access to Wikipedia, and before they started downloading books on their Kindle. But a recent study by the Carnegie UK Trust found that people aged 15-24 in England are the most likely age group to use libraries. And nearly half of people aged 25 to 34 still visit them, according to the study. Today, the most successful libraries have remodelled themselves to become fit for the 21st century, and more can follow suit if they receive the right support and advice, and have the backing of governments and councils. I am encouraged by the Scottish Government’s support for adequate library services across Scotland. Tomorrow, the tenth EDGE conference held by Edinburgh City Libraries will be held in the capital, where library experts from across the globe will gather to share good practice and discuss future developments. Everyone attending shares the same belief that libraries offer crucial support to help people help themselves – to support literacy, digital participation, learning, employability, health, culture and leisure. As a former MEP who founded the European Parliament’s All-Party Library group, I’m delighted to be attending this event in my new role as chief executive of Open Knowledge International. As experts in opening up knowledge, we help governments, universities, and civil society organisations reach their full potential by providing them with skills and tools to publish, use, and understand data. Part of our role involves delivering technology solutions which are particularly relevant for libraries. One of our initiatives is called OpenGLAM, a global network that works to open up content and data held by galleries, libraries, archives and museums. All over the world, libraries are coming up with new ideas to make them relevant for the modern age. Take virtual reality as an example, which is arguably the most important innovation since the smartphone. It not only provides a source of fun and entertainment but it has also become a platform to explore science, nature, history, geography and so much more. You no longer have to pick up a book in a library to learn about the Himalayas, the Great Barrier Reef or the Grand Canyon – you can explore them in virtual reality. You can learn by time travelling back to a prehistoric age or go forward into the yet undiscovered possibilities of the future. Virtual technology can also be used to visit places that humans can never travel to other than in the Hollywood world of Ant-Man – deep inside the body to a cellular level for example. And technology can be used to examine the impact of humankind on our natural world, particularly the consequences of climate change. I have long championed the importance of coding as part of the education curriculum, especially given that Scotland is home to more than 100,000 digital tech economy jobs. But while there remains a shortfall in what is delivered in our schools, libraries can fill that gap. Our world is moulded in code, and libraries offer young people an opportunity to bring ideas to life and build things that will bring joy to millions. So by embracing the future, they can continue to be an unrivalled place of learning, like they always were for previous generations. But libraries are much more than just places to learn. They are part of the fabric of a local community. At the EDGE conference we will hear from Henrik Jochumsen of the University of Copenhagen about the Danish ‘three-function model’ for libraries: as a place, as a space and as relations. Libraries can serve as a catalyst for change and urban development and build new creative partnerships in towns and cities, which in turn create vibrant, liveable and coherent communities. We will also hear about the Richland Library in Columbia, South Carolina, which has transformed into a ‘studio’ – meaning a meeting room with four walls can be a computer lab, storytime room, homework centre, book club, stage and theatre, all in one day. Last year, Liverpool Central Library was named the Bookseller’s Library of the Year in the UK. Its success, which has resulted in a steady increase in customers, stems from the decision to make the building part of the community, with events where people create art projects, and late-night openings until midnight. And being part of the community means providing a service to every single member of that community. While some people in society become ever more marginalised, there is a job to be done to ensure that digital library services are more inclusive to all, including people with disabilities. And as more people live into old age, libraries can play vital role as a dementia friendly space. They also provide an important resource for migrant families to develop their reading skills with access to dual language titles. Public libraries have been at the heart of our communities for decades, and I dearly hope that continues for decades to come. And with technological advancements, they can become more useful than ever before. But their success is also dependent on those in a position of power recognising their worth.

Celebrating the public domain in 2019

- January 29, 2019 in open culture, Open GLAM, OpenGLAM, Policy, Public Domain

2019 is a special year for the public domain, the out-of-copyright material that everyone is free to enjoy, share, and build upon without restriction. Normally, each year on the 1st of January a selection of works (books, films, artworks, musical scores and more) enter the public domain because their copyright expires – which is most commonly 70 years after the creator’s death depending on where in the world you are. This year, for the first time in more than twenty years, new material entered the public domain in the US, namely all works that were published in the year 1923. Due to complicated legal proceedings, the last new release of public domain material in the US was in 1998, for all works dating from 1922. But from now on, each following year we will expect to see a new batch of material freed of copyright restrictions (so content from the year 1924 will become available from 2020 onwards, content from 1925 in 2021, and so on). This is good news for everyone, since the availability of such open cultural data enables citizens from across the world to enjoy this material, understand their cultural heritage and re-use it to produce new works of art. The Public Domain Review, an online journal & not-for-profit project dedicated to promoting and celebrating the public domain, curated their Class of 2019: a top pick of artists and writers whose works entered the public domain this year. A full overview of the 2019 release is available here. A great way to celebrate this public domain content in 2019 could be to organise events, workshops or hackathons using this material on Open Data Day, the annual celebration of open data on Saturday 2 March 2019. If you are planning an event, you can add it to the global map via the Open Data Day registration form. Coinciding with this mass release of public domain works, the Public Domain Manifesto that was been produced within the context of COMMUNIA, the European Thematic Network on the digital public domain, has now been made available via a renewed website at Describing the public domain material as “raw material from which new knowledge is derived and new cultural works are created”, the manifesto aims to stress the importance of the wealth of the public domain to both citizens and policy-makers, to make sure its legal basis remains strong and everyone will be able to access and reuse the material in the future. The manifesto describes the key principles that are needed to actively maintain the public domain and the voluntary commons in our society, for example to keep public domain works in the Public Domain by not claiming exclusive rights to technical reproductions of works. It also formulates a number of recommendations to protect the public domain from legal obstacles and assure it can function to the benefit of education, cultural heritage and scientific research in a meaningful way. There are currently over 3.000 signatures of the manifesto, but additional support is important to strengthen the movement: you show your support by signing the Public Domain Manifesto here.

Do you use OpenGLAM? Help review shared #OpenGLAM principles for Open Galleries, Libraries, Archives and Museums

- October 15, 2018 in open culture, Open GLAM, OpenGLAM, Survey

TL;DR: As part of reinvigorating our OpenGLAM (Open Galleries, Libraries, Archives and Museums) community, we’re evaluating the OpenGLAM principles: fill out this survey and get involved. Several months ago, community members from Wikimedia, Open Knowledge International and Creative Commons reinvigorated the “OpenGLAM” initiative. OpenGLAM is a global network of people and organizations who are working to open up content and data held by Galleries, Libraries, Archives and Museums. As a community of practice, OpenGLAM incorporates ongoing efforts to disseminate knowledge and culture through policies and practices that encourage broad communities of participation, and integrates them with the needs and activities of professional communities working at GLAM institutions. One of our first steps was to revitalize the @openglam twitter account, inviting contributors from different parts of the world to showcase and highlight the way in which “OpenGLAM” is being understood in different contexts. So far, the Twitter account has had contributors from Africa, Asia, Latin America, the Middle East, North America & Europe. Anyone can become a contributor or suggest someone to contribute by signing up through this form. If you want to see the content that has been shared through the account, you can check the oa.glam tag in the Open Access Tracking Project. Now, as we move forward in planning more activities, we want to check on the continued impact of the Open GLAM Principles. Since their publication in 2013, the Open GLAM principles offered a declaration of intention to build a community of practice which helps GLAMs share their collections with the world In the last five years, the OpenGLAM community has become more global, adopted more tactics and strategies for integrating openness into institutions. But do the principles reflect this change? To find out, we’re inviting people to fill in a survey about the utility of the principles. We want to understand from the broader community: Are you aware of the principles? Are they still relevant or useful? Do you use them in your institutional or local practice? What opportunities are there to improve them for the future? The survey will run until 16th November. Your participation is greatly appreciated! To get involved with the Open GLAM working group, you can join us through 

Are you working in the OpenGLAM arena? Tweet about it!

- July 19, 2018 in open culture, Open GLAM, OpenGLAM

Starting today, community members from Open Knowledge International, Wikimedia Foundation, and Creative Commons, will be facilitating a rotating curation of the @openglam twitter account to highlight and reflect on the impact of  “OpenGLAM” (Galleries, Libraries, Archives, and Museums) in their respective contexts. OpenGLAM is a global network of people and organizations who are working to open up content and data held by Galleries, Libraries, Archives and Museums. As a community of practice, it incorporates ongoing efforts to disseminate knowledge and culture through policies and practices that encourage broad communities of participation, and integrates them with the needs and activities of professional communities working at GLAM institutions. GLAMs are powerful institutions for sharing knowledge with the world. Especially on the internet, building a practice of sharing knowledge requires adopting practices that open collections using open licensing, tools, and infrastructures. To do this work, leaders around the world have to converse, run projects, and support institutions in thinking about the larger potential of sharing their knowledge with the world. We want to use the OpenGLAM Twitter account to highlight the great work that people from different regions, linguistic communities, time zones and contexts are doing to advance openness in GLAMs. Our approach is simple: contributors will be added to the @openglam account through Tweetdeck and will get a chance to curate the conversation coming from that Twitter account for 2 weeks. You can read the instructions for participants here. If you want to contribute, please sign up on this Google form! Our first curator is going to be @samuelguebo, a Wikimedia community member who has been leading partnerships with libraries in Côte d’Ivoire  and will be attending Wikimania 2018 in Cape Town, South Africa this week. Do you have an upcoming event or activity that you think will spark a conversation? Contact us to become the next curator! Curating the @openglam account is part of a broader conversation that organizations like OKI, WMF and CC are having about growing the impact of the “big open”. We hope that this curated Twitter will open up conversations about what brings us together as practitioners and enthusiasts for Open GLAM. There has been massive change in the cultural heritage sector and open communities in the past few years – the Open GLAM community is brought together by a set of principles that may need to evolve to meet these changing contexts. We hope to hear from you soon! If you want to get involved with the GLAM at Creative Commons and beyond, please consider joining the Creative Commons Slack group.

Remix public domain artworks: join the GIF IT UP 2017 competition

- October 11, 2017 in open culture, Open GLAM, OpenGLAM, public domain review

This blogpost has been adapted from the press release by Europeana. Open Knowledge International has for many years advocated for the importance of open cultural data, which enables citizens from across the world to enjoy this material, understand their cultural heritage and re-use this material to produce new works of art. Some examples of this work include the OpenGLAM initiative that promotes free and open access to digital cultural heritage held by Galleries, Libraries, Archives and Museums, and The Public Domain Review, an online journal and not-for-profit project dedicated to promoting and celebrating the public domain in all its abundance and variety. Another great initiative encouraging the reuse of openly licensed cultural data is the GIF IT UP competition, which is open for contributions this month. From 1-31 October, all GIF­makers, history nuts, cultural heritage enthusiasts and lovers of the internet are invited to take part in the fourth annual GIF IT UP competition. The competition encourages people to create new, fun and unique artworks from digitized cultural heritage material. A GIF is an image, video or text that has been digitally manipulated to become animated. Throughout the month, they can create and submit their own, using copyright-free digital video, images or text from Europeana CollectionsDigital Public Library of America (DPLA)Trove, or DigitalNZ. All entries help promote public domain and openly licensed collections to a wider audience, and increase the reuse of material from these four international digital libraries, including Europeana Collections. The contest is supported by GIPHY, the world’s largest library of animated GIFs. The 2017 competition will have a special focus on first-time GIF-makers and introduce them to openly licensed content. A GIF-making workshop, providing tools and tutorials to help visitors create their first artworks, will be held on 14-15 October in cooperation with THE ARTS+, the creative business festival at the Frankfurt Book Fair. One of this year’s contributions, via GIPHY The jury, made up of representatives from GIPHY, DailyArt and Public Domain Review, will be awarding one grand prize winner with an Electric Object – a digital photo frame especially for GIFs – sponsored by GIPHY. Prizes of online gift cards will go to three runners-up as well as winners in a first-time GIF-makers category. Special prizes will be allocated in thematic categories: transport, holidays, animals and Christmas cards. People are also invited to take part in the People’s Choice Award and vote on the competition website for their favourite GIF, which will receive a Giphoscope. All eligible entries will be showcased on the GIPHY channel dedicated to the competition, and promoted on social media with the hashtag #GIFITUP2017. GIF IT UP started in 2014 as an initiative by the Digital Public Library of America (DPLA) and DigitalNZ, and has since become a cultural highlight. 368 entries from 33 countries are featured on the GIF IT UP Tumblr. In 2016, the grand prize was awarded to ‘The State Caterpillar’, created by Kristen Carter and Jeff Gill from Los Angeles, California, using source material from the National Library of France via Europeana. Nono Burling, who got awarded the 2016 People’s Choice Award for ‘Butterflies’, said: “I adore animated GIFs made from historic materials and have for many years. The first contest in 2014 inspired me to make them myself, and every year I try to improve my skills.” Results of the 2017 competition will be announced in November on the GIF IT UP website and related social media.

Kulttuurihakkerit avoimien arkistojen kimpussa – 20 uutta konseptia viikonlopun aikana

- May 11, 2017 in 2017, avoin glam, creative commons, Featured, gallen-kallela, Hack4FI, hack4fi 2017, hackathon, helsingin kaupunginmuseo, kulttuuri, mannerheim, Open GLAM, projects, vr, wikimedia, WIkipedia, yle

Kuva: Mika Honkanen Viime viikonloppuna kolmatta kertaa järjestetty Hack4FI – Hack your heritage -kulttuurihackathon onnistui jälleen yli odotusten. Ylen studiotalossa pidetyssä tapahtumassa kävi viikonlopun aikana noin 80 henkeä. Yli 50 kehittäjää (kulttuurihakkeria) – taiteilijaa, graafista suunnittelijaa, koodaria, muotoilijaa, käsikirjoittajaa ja humanistia Suomesta ja ulkomailta – loivat yhdessä lähes 20 uutta sovellusta, sovelluskonseptia, demoa, datavisualisointia ja verkkotyökalua. Yksi moniammatillisista tiimeistä esimerkiksi kehitti tekoälyyn perustuvan tavan muuntaa mustavalkoisia videoita ja kuvia värilliseksi. Useampi ryhmä tarttui Helsingin kaupunginmuseon haasteeseen kehittää virtuaalitodellisuuden hyödyntämiseen perustuvaa Aikakone-näyttelyä museon tiloissa. Moni innostui myös luomaan tapoja tuoda suomalaista kulttuuriperintöä Wikipediaan. “Ylelle oli suuri ilo antaa tilat ja teknologia Hack4FI-tapahtuman käyttöön. Oli hienoa nähdä, miten eri alojen osaajien yhteisellä innostuksella ja työllä saadaan muutamassa päivässä aikaiseksi jotain ihan uutta ja inspiroivaa. Toivon, että nyt kolmena vuonna peräkkäin järjestetty tapahtuma muodostuu kulttuurialan yhteiseksi perinteeksi ja saa jatkoa myös ensi vuonna”, Ylen arkistopäällikkö Katri Vänttinen toteaa. Pohjoismaiseen Hack your heritage -perheeseen kuuluva Hack4FI perustuu vapaasti käytettävissä olevien digitaalisten kulttuuriperintöaineistojen hyödyntämiselle uusien töiden luomiseksi. Materiaalina toimivat esimerkiksi valokuvat, vanhat kartat, maalaukset, äänimaisemat, sekä aineistoja kuvaavat metatiedot. Tänä vuonna suosituimmiksi nousivat Helsingin Kaupunginmuseon, Finnan, Helsingin kaupungin, Mannerheim-museon, Yle Arkiston ja Gallen-Kallela -museon aineistot. Aineistoja tarjoavista yhteistyökumppaneista vuoden museoksi valittu Helsingin kaupunginmuseo avasi hiljattain (HS 26.4.2017) peräti 45 000 korkearesoluutioista kuvaa vapaasti hyödynnettäväksi. Hienona ja ajankohtaisena avauksena aineisto oli hackathonissa erityisen suosittu.

Muutamia esimerkkejä viikonlopun aikana tehdyistä töistä:

The HoboTram täydentää kävijäkokemusta Helsingin kaupunginmuseossa keinotodellisuuden (VR) keinoin. Käyttäjä voi aikamatkustaa raitiovaunulla, nähdä historiallisia maisemia ja kuulla tunnetun laitapuolen kulkijan J.K. Harjun tarinoita ja mietteitä. The HoboTram kruunattiin hackathonissa yleisön suosikiksi. Image and video colorization with AIkeinoälyn avulla tehdään mustavalkokuvista ja -videoista värillisiä. Kuvat ja videot saavat uutta elämää kun ne väritetään! Mannerheim-museon kuvista tehtiin hauska gif-animaatiotyökalu Mannerheim goes GIF. Toisessa työssä (GMxAG)  leikiteltiin Mannerheimin ja Akseli Gallen-Kallelan välisellä ystävyydellä. Tuloksena luotiin Gallen-Kallelan tyylille ominainen kuvafiltteri, joka yhdistettynä Mannerheimin kuviin synnytti Gallen-Kallela-henkistä Mannerheim-taidetta. AR Wiki statues -tiimi kehitti lisätyn todellisuuden sovelluksen, jossa katsomalla kaupungin eri patsaita älypuhelimen kameran kautta saa patsaista lisätietoa. Toinen Wikimedia-aiheinen projekti Wikidocumentaries hahmotteli yhdessä Finnan kanssa eri tapoja, joilla Finnan valtavan kulttuuriaineistotietokannan tietoa ja kuvia voidaan kätevästi hakea ja yhdistää muuhun avoimeen aineistoon ja viedä Wikimedian projekteihin, kuten Wikipediaan. Muutama hackathonin aikana ideoitu työ jatkaa myös Ylen Beta Challenge -kilpailussa. Yle Beta Challenge on Ylen ideahautomon haastekilpailu, jossa etsitään tulevaisuuden mediakokemuksia ja tekijöitä. Hack4FI-hackathonin projektien esittelyt löytyvät verkosta osoitteesta Videotaltioinnit projektien loppuesityksistä julkaistaan myöhemmin. Lähes kaikki tuotokset on julkaistu Creative Commons BY-SA 4.0 -lisenssillä, mikä tarkoittaa että tuotokset ovat helposti kaikkien hyödynnettävissä. Useiden sovellusten (kuten keinoälyvärityksen) ns. lähdekoodi on kaikkien käytössä GitHubissa, eli sitä voivat muut esimerkiksi kehittää edelleen.

Mikä ihmeen hackathon?

Sanoista ”hack” ja ”marathon” muodostuva “hackathon” tarkoittaa intensiivistä, päivästä viikkoon kestävää työskentelyjaksoa, jonka aikana joukko ihmisiä kokoontuu yhteen suunnittelemaan ja toteuttamaan yhteisvoimin erilaisia ohjelmistoja tai sovelluksia. Hackathoneista on tullut erittäin suosittu avoimen innovaation keino, myös kaupallisten ideoiden kilpailuttamiseen ja kiihdyttämiseen. Perinteisesti hackathonit ovat ennen kaikkea yhteisöä vahvistava ja yhteistyöhön kannustava toimintamuoto. Avoimen datan ja tietovarantojen ympärille syntyvä uusi liiketoiminta on mainittu jopa hallitusohjelmassa. Open Knowledge Finland näkee avoimen datan hyödyntämisen merkitykselliseksi kuitenkin myös laajemmassa yhteiskunnallisessa kontekstissa ja aikamme suurten haasteiden ratkaisemisessa. Esimerkiksi perjantaina 5.5.2017 yhdistys toteutti Demokratiahackin yhdessä Sitran ja Tulevaisuuden valtiopäivät -tapahtuman kanssa. Tiedon jakamisen kautta “valta” hajaantuu useammalle, ja avoimuus edistää demokratiaa.


Matalaresoluutioisia kuvia (Kuvaaja: Sini Peura) Hack4FI -tapahtumasta on saatavilla kansiosta: Muita kuvia saatavilla pyynnöstä. Ks. myös aiempi tiedote (6.5.):


Hack4FI – Hack Your Heritage: Sanna Marttila, projektipäällikkö,, p. 040 144 2103. AvoinGLAM järjestää Hack4FI – Hack your heritage -hackathonin yhteistyössä Yleisradion kanssa. AvoinGLAM (Galleries, Libraries, Archives & Museums) on osa kansainvälistä OpenGLAM-verkostoa, joka koostuu avoimien sisältöjen ja tiedon kanssa työskentelevistä toimijoista. Verkosto tekee yhteistyötä GLAM-organisaatioiden kanssa, järjestää työpajoja ja seminaareja, sekä jakaa tietoa ja kokemuksia avoimesta kulttuurista ja kulttuuriaineistojen avaamisesta. Lisätietoja: AvoinGLAM on osa Open Knowledge Finland ry:tä, vuonna 2012 perustettu yhteisölähtöinen voittoa tavoittelematon organisaatio, joka toimii osana kansainvälistä Open Knowledge -verkostoa. Yhdistys edistää tiedon avoimuutta, avoimen tiedon hyödyntämistä, sekä avoimen yhteiskunnan kehittymistä sen eri sektoreilla. Lisätietoja: Kuva: Sini Peura Kuva: Sini Peura The post Kulttuurihakkerit avoimien arkistojen kimpussa – 20 uutta konseptia viikonlopun aikana appeared first on Open Knowledge Finland.

And what are your plans for Transparency Camp Europe?

- May 2, 2016 in 2015, Featured, ondia Open Data Summit, Open Access, Open Data, Open environment, Open GLAM, Open governance, Open Knowledge, Open Knowledge India, Open Science, open-education, subhajit ganguly

This post was written by our friends at Open State Foundation in the Netherlands.  tcampEU Let’s face it. When it comes to relevant open data and transparency in European decision-making, we have a lot to do. Despite growing open data portals, and aggregating European data portal, if you want to make sense of European decision-making and public finance, it takes a lot of efforts.

Dieter Schalk / Open State Foundation

The time is ripe. With the Dutch referendum on the EU-Ukraine Association Agreement and Brexit, debates around immigration and refugees, new bailout talks between the EU and Greece, decisions by the EU affect millions of citizens living and working within its member states and people around the world. As everyone has the right to information, people need to know how these decisions are taken, who participates in preparing them, who receives funding, how you can make your views known, and what information is held or produced to develop and adopt those decisions.  In the wake of the Panama Papers, renewed calls for open company registers and registers on beneficial ownership, the need for open spending, contracting and tenders data, require us to come together, join efforts and help to make the EU more transparent. TransparencyCamp Europe comes at the right moment. This unconference on open government and open data, to be held on June 1 in Amsterdam will bring together developers, journalists, open data experts, NGOs, policymakers, and activists. In the run-up, an online European-wide open data App Competition (deadline for submissions May 1) and a number of local events or diplohacks are organized. This will all come together at TransparencyCamp Europe, where apart from numerous sessions organized by participants themselves, developers will present their open data app to a jury.

Dieter Schalk / Open State Foundation

EU decision making is quite complex, involving national governments and parliaments, the European Commission and the EuropeanParliament, the European Council and the many EU institutions and agencies involved.  Still, there is already quite some open data available, differing in quality and ease of use. Definitely, you want to know more about the EU’s institutions, who work there and how you can contact them. Although the information is available at the EU Whoiswho website, the data is not easily reusable. That is why we scrapped it and had made it available to you on GitHub as CSV and JSON. And if you’re crawling through information on EU budgets, finances, funds, contracts and beneficiaries, you’ll notice there is much room for improvement.
So, there you go, join us and help to make the EU more transparent as TransparencyCamp Europe comes to Amsterdam. Registration for the unconference is free, follow us on Twitter and subscribe to the newsletter.

Think big, start small, move fast

- February 24, 2016 in Open GLAM, Open Knowledge

How the York Museums Trust started opening up its collection – OpenGLAM Case study

More and more libraries, museums and other cultural institutions publish their collections online, often allowing users to reuse the material for research or creative purpose by licensing it openly. For institutions that start planning such a step, it may seem daunting at first: not all of their collection may be digitised, the metadata is not always perfect, copyright information is sometimes missing or the images have been taken a long time ago and are not of the best quality. Working towards having the perfect online collection is such a time-consuming process that it can get in the way of publishing any of the collection at all. Coupled with that is the fear that publishing raw, imperfect material online can damage an institution’s reputation.

Replica Roman Figurine, York Museums Trust, YORYM : 2006.2914

This case study by OpenGLAM 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. 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 (see How Change Happens). The study is based on an interview conducted with Martin Fell, Digital Team Leader at York Museums Trust and has been written within the frame of OpenGLAM’s current involvement in Europeana Space, a project that works on increasing and enhancing reuse of Europeana and other online collections of digital cultural content by creative industries especially. 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”. Read the full case study here: OpenGLAM_Case Study_York Museums Trust_Feb2016

January 2016 meetup at the National Library of Scotland

- February 1, 2016 in Events, Featured, Meetups, Open Design and Hardware, Open GLAM, Open Government Data, openstreetmap

Cross-posted from This evening I’m at Open Knowledge Edinburgh Meet Up 19, at the National Library of Scotland on George IVth Bridge, organised by OK Scotland. I’ll be liveblogging so, as usual, any corrections, tweaks, comments etc. are very much welcome. Tonight’s event has seven lightning talks: Gill Hamilton (NLS): Welcome Pippa Gardner (Urban Tide): Scottish Government more »