Day 2 / Parallel track: Output for End Users

The last section Output for End Users has four ‘chapters’. First, Tim de Haan (Dutch National Archives) focuses on crowd sourcing (meta) data case studies. He uses examples like Flickr the Commons, Nationaal Archief joins Wikipedia and Het Geluid van Nederland.

Parallel track 22: Tim de Haan – Output for end users

Nikki Timmermans (Kennisland) follows up and gives a presentation on Open Cultuur Data.

Parallel track 23: Nikki Timmermans – Output for End Users

The presentation of Lotte Belice Baltussen (Sound and Vision) deals with Creative re-use and explains it by examples of Celluloid Remix 1 & 2 and Open Beelden.

Parallel track 24: Lotte Belice Baltussen – Output for End Users: Creative re-use

Irene Haan (EYE) gives the last presentation. She talks about real life interactions and explain how EYE has made use of this in the Scene Machine Live, the basement and the T_visionarium OPEN CITY.

Parallel track 25: Irene Haan – Output for end users

Day 2 / Parallel track: Right Clearance

In the section Right Clearance the discussion heated up. The first presentation about right clearance in film by Geraldine Vooren (EYE) explained the process of the diligent search for rights holders. Her presentation was followed up by a duo presentation of Judith Moortgat (Dutch National Archives) and Arlette Bekink (Project manager collective rights, Pictoright). Their presentation dealt with an evaluation of the (extended) collective licensing arrangements between Pictoright and the Dutch National Archives. This turns out to be a hot topic with a lot of contradictory opinions, fueling a heated discussion.

Parallel track 20: Geraldine Vooren – Right Clearance: Film – Diligent search for rights holders

Parallel track 21: Judith Moortgat & Arlette Bekink – Right Clearance: Photography

Day 2 / Session 4: Strategy & Agenda for the Future

This last session of eCommons3 brought different perspectives on stage about the future of the commons, and more precise, the mass digitization efforts that precede it. Hans Westerhof (director of the Images for the Future program) reviewed the achievements of the project, and which lessons can be drawn from it. He did this in two consecutive presentations, the second of which he did in lieu of Martin Berendse (director of the Dutch National Archives), who got stuck on a Polish airport.

Hans Westerhof: keynote ‘Images for the Future: Achievements and Lessons Learned’

Hans Westerhof: keynote ‘Lessons learned on access to digitized audiovisual material’

Another perpective was provided by Marjan Hammersma (Director General Culture & Media, Ministry of Education, Culture and Science), who supported the project from the very beginning. Apart from being graceful for the achievements of the project, she also acknowledges there are things to be desired, mainly regarding broad public access. In her presentation, she clearly states much of that is due to the inadequacies of the current copyright system, that doesn’t cater for the demands of modern day (online) society.

As a last perspective before moving to the final panel discussion, Bernt Hugenholtz put his finger on a couple of sore spots regarding copyright policy and the extent to which that limits the ambitions and possibilities of mass digitization projects. His presentation was followed by a discussion with all speakers from this session, supplemented by Paul Keller (Kennisland) and Sandra den Hamer (EYE), who we’ve both seen in Session 1.

Bernt Hugenholtz: response

Panel ‘Strategy & Agenda for the Future’

Day 2 / Parallel track: Preservation

The most elaborate series of presentations was the section Preservation. The first presentation of Liesbeth Keijser (Dutch National Archives) dealt with the preservation of acetate negatives, the process of restoration and preservation scanning. Manja Herrebrugh (Netherlands Institute for Sound and Vision) talked about the preservation of acetate film: how to define and synchronize quality requirements with suppliers? And how can quality be measured? In his presentation about the preservation of film, Jan Scholten (EYE) explained long term film preservation via black and white separation masters by a case study of Noorderlingen, a Dutch cinema classic by Alex van Warmerdam. In addition, Annike Kross (EYE) talks about the digital restoration of silent films. She also uses a case study: the Spanish Dancer. The last presentation is by the Amy Wensing and Patricia Gaetano (both Sound and Vision) and deals with the rediscovery of the nitrate film collection.

Parallel track 14: Liesbeth Keijser – Preservation: Photography

Parallel track 15: Manja Herrebrugh – Preservation: Acetate Film

Parallel track 16: Jan Scholten – Preservation: Film

Parallel track 17: Annike Kross – Preservation: Film

Parallel track 18: Amy Wensing & Patricia Gaetano – Preservation: Nitrate Film