Google Open Gallery and Web Publishing

Google Open Gallery

Google Open Gallery

Many of you may already be familiar with the work of the Google Cultural Institute, such as the Google Art Project and numerous historical exhibitions. Yesterday, Google announced on it’s Europe blog that that technologies behind it’s Cultural Institute projects would be available to anyone wanting to organize and publish an exhibit.

Valentina Palledino, a writer for The Verge, describes Google Open Gallery as the love child between Flickr and Behance. Offering a clean, streamlined look with zoom capabilities, users many simply upload images and video and add Street View imagery and text to create engaging exhibitions.

Users must currently request an invitation to start creating exhibitions. Content is hosted on Google servers, and so users would be wise to create a backups exhibitions in the scenario that Open Gallery joins the list of retired Google services.

Current exhibitions have been produced from institutions such as the Belgian Comic Strip Center, Fort Collins Museum of Discovery, and the Museum of Bad Art.

In addition, for those lucky few traveling to Paris this winter break, Google has also opened the Lab at the Cultural Institute. This physical space is “where the worlds of culture and technology are brought together to discuss, debate and explore new ideas. It’s also where [Cultural Institute Employees] don our white coats and test out things like 3D scanners, million pixel cameras, interactive screens and more, working with museums to try them out inside their spaces to get their feedback. (Google Blog).

Online exhibition publishing for the masses isn’t a terribly new idea, however. Omeka is still a leader in this field, offering robust options for those wanting to host content on their own servers and also for those wanting to simplify with a hosted version. The University of Illinois Library maintains an institutional subscription to Omeka.net (the hosted version) for current students, faculty, and staff.

Scalar is a new, open source web publishing platform available, and is still in development. However, users may access the beta version, which is still fairly robust. This tool also has growing support at the University of Illinois; a series of workshops about Scalar occurred this past semester, and there may be more to come in the future.

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Image group download in ARTstor

If you use images from the ARTstor digital library to teach, you might already be familiar with the export to Powerpoint tool. Recently, ARTstor has added another tool to help users utilize images from its database.

The image group download tool allows users to batch download images organized into image groups, rather than downloading images one at a time.

For reference, ARTstor has created an instructional video with step-by-step instructions.

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New collections available in ARTstor

If you’re a frequent user of the ARTstor Digital Library, you might have noticed a few new institutional collections become available – specifically Landscape Architecture from the Bob Riley Collection and Modern and Contemporary Art from the Jonathan Fineberg Collection. 

Robert B. Riley graduated from the University of Chicago with a degree in philosophy, and subsequently went on to study under Mies van der Rohe at MIT where he received his Bachelor of Architecture. After a decade of private practice, he entered Imageacademia, teaching at the University of New Mexico, the University of Illinois Urbana-Champaign, the University of Melbourne, and Harvard University. He has served as chair of the Council of Educators in Landscape Architecture, the Environmental Design Research Association, and the Board of Senior Research Fellows at Dumbarton Oaks/Harvard University. He has been associate editor of Landscape and editor of Landscape Journal.

The images from his collection are drawn from his extensive collection amassed over fifty years of teaching and travel. While some are pulled from secondary sources, many are original to Professor Riley. The strength of this collection is its breadth and diversity, including the last three decades of professional landscape design from around the world, townscapes and landscapes from Hangzhou to St. Petersburg, classic European and Asian gardens, aerial views of settlement patterns and landscapes, and the popular and vernacular landscapes of North America.

ImageModern and Contemporary Art from the Jonathan Fineberg collection contains approximately 1,500 images of post World War Two art. Fineberg amassed a large personal collection of slides, predominantly in European and American art since 1850 but also including a broad range of other interests including child art, African art, architecture and pre 1850 European art. The University Library made a small selection for ARTstor consisting of original slides taken in certain artists’ studios and on several of the major temporary projects of Christo and Jeanne-Claude.

Jonathan Fineberg is Edward William and Jane Marr Gutgsell Professor of Art History Emeritus at the University of Illinois, Urbana and Trustee Emeritus at the Phillips Collection in Washington, D.C. where he was founding director of the Center for the Study of Modern Art. http://www.jonathanfineberg.com He received his B.A. (1967) and Ph.D. (1975) from Harvard University and an M.A. from the Courtauld Institute of Art (1969) and studied psychoanalysis at the Boston and Western New England Psychoanalytic Institutes (1970-75, 1979-81). He received the College Art Association’s Award for Distinguished Teaching in the History of Art in 2001. He created the 2 hour PBS documentary Imagining America: Icons of 20th Century American Art (with John Carlin) and his major books include: Art Since 1940: Strategies of Being (Prentice-Hall 2010), The Innocent Eye: Children’s Art and the Modern Artist (Princeton 1997), Christo and Jeanne-Claude: On the Way to the Gates (Yale and the Metropolitan Museum of Art, 2004), Imagining America: Icons of 20th Century American Art (with John Carlin, Yale 2005), When We Were Young: New Perspectives on the Art of the Child (University of California Press, 2006); Alice Aycock: Drawings, Some Stories Are Worth Repeating (Yale, 2013); and A TroubIesome Subject: The Art of Robert Arneson (University of California Press, 2013). Forthcoming in 2014: Disquieting Memories: The Art of Zhang Xiaogang (Phaidon) and The Language of the Enigmatic Object: Modern Art at the Border of Mind and Brain – The Nebraska Presidential Lectures (University of Nebraska Press).

While these wonderful collections represent only a portion of the work and achievements of these two University of Illinois scholars, the contents are sure to be invaluable to researchers.

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“Can I use this?” and Other Questions about Digital Image Access

Zucker, Steven. “Barbarini Faun, Beth’s ipad.” October 18th, 2012. Web. Flickr. Accessed 16 September 2013 from http://www.flickr.com/photos/profzucker/8214231791/.
CC BY-NC-SA 2.0

There are a number of online discussions about the challenges involved in obtaining high-quality digital images for educational purposes. These discussions bring up questions like, “These days we’re not trying to preserve Archimedes’ intellectual property. When do you think a piece of art or text becomes the property of the public, as opposed to belonging to the author or the artist?”, from The wide open future of the art museum: Q&A with William Noel.

It can be very frustrating to tango between free but poor-quality images with little to no attached metadata and expensive digital image services that control access to a harmful degree. Dr. Beth Harris & Dr. Steven Zucker ask, “Is the discipline of art history (together with museums and libraries) squandering the digital revolution?”, in their blog post, “Can I Use This?” How Museum and Library Image Policies Undermine Education.

In his article, “How Art History is Failing at the Internet”, James Cuno ponders the unanticipated observations and interpretations of open access projects like Ghent Altarpiece Web application. The application contains 100 billion pixels, and the images and metadata are available free of charge.

Kenneth Crews, the Director of the Columbia University Copyright Advisory Office explores copyright claims made by museums and concepts of ownership surrounding art in “Museum Policies and Art Images: Conflicting Objectives and Copyright Overreaching.”

While these articles offer much food for thought, it is often difficult to determine if an image can be used for your immediate scholarly needs. Other sources to reference include Stanford University’s “copyright and fair use” page, the Visual Resources Association’s statement on fair use, the Digital Image Rights Computator, and Peter Hirtle’s “copyright term and the public domain in the United States” chart.

The University Library is also offering a workshop on September 20th at 11am in room 314 that will cover where to find images online as well as basic copyright considerations. Hope to see you there!

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Welcome Home, Illini / the Noun Project

As we start the Fall semester, the Pixels team would first like to welcome incoming freshman as well as returning students and faculty. This semester promises to be an exciting one, kicking off with events such as Ellnora at the Krannert Center and new campus initiative such as the Center for a Sustainable Environment and the Center for Innovation in Teaching and Learning. In addition, the University Library has been strengthening its services with more subject resources guides and instructional workshops (oh look, a guide to Ellnora!).

noun_project_14313

“Images” designed by Khanh Linh from The Noun Project

Campus happenings aside, there is a lot to be excited about in the digital collections realm as well. One such thing is The Noun Project, an online library consisting of symbols and representational icons. As described on its website, “The Noun Project is building a global visual language that everyone can understand. We want to enable our users to visually communicate anything to anyone.”

Users can search for various things (images, or tree) or concepScreen Shot 2013-09-03 at 11.51.48 AMts (running late, waking up) and then either download or purchase. Symbols uploaded to The Noun Project by various designers are licensed under Creative Commons licenses, allowing designers creative rights to own and share their own work while also promoting global collaboration in the creation of a common language. Read more about using symbols from The Noun Project here.

Recently The Noun Project hosted an “iconathon” with the Metropolitan New York  Library Council (METRO) to develop design cultural heritage symbols intended for use in institutions like libraries, archives and museums. More information about this, as well as a sampling of some of the symbols that were developed during the workshop, can be found here. These symbols are available to use under a Creative Commons public domain license.

If you’re not as excited about a symbol for digital preservation as I am, browse by collection or category to find your favorite.

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Digital Public Library of America (DPLA) Launches Today

“It’s a great day for education and progress, as if the Ancient Library of Alexandria had met the Modern World Wide Web and digitized America for the benefit of all,” said Doron Weber, Vice Chair of the DPLA Steering Committee.

The DPLA is the first national digital library in the world with 2.4 million objects that are currently available. Executive Director, Dan Cohen, explains DPLA in three major points:

  • First, an easy-to-use portal where anyone can access America’s collections and search through them using novel and powerful techniques, including by place and time.
  • Second, a sophisticated technical platform that will make those millions of items available in ways so that others can build creative and transformative applications upon them, such as smartphone apps that magically reveal the history around you.
  • Third, along with like-minded institutions and individuals the DPLA will seek innovative means to make more cultural and scientific content openly available, and it will advocate for a strong public option for reading and research in the twenty-first century.

Digital copies of some objects are available for download, based on the content provider and the individual rights status of the object. The copyright status of items in the DPLA varies. Many items are in the public domain. For individual rights information about an item, please check the Rights field in the metadata or follow the link to the digital object on the content provider’s website for more information. The Harvard Crimson wrote, “Under the current copyright laws, the DPLA can only publish works 70 years past the author’s death, which makes the bulk of the twentieth century production still unavailable. The staff of the DPLA, however, is working to overcome this obstacle.”

Library Journal also has an article in celebration of the DPLA launch that highlights the collaborative efforts made along the road.

We hope you enjoy this exciting new collection!

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Paris 3D: An Exraordinary Interactive Journey through Time

Dassault Systèmes has developed an online 3D model of the city of Paris, and they invite users to play the 3D experience on their website. Users may explore Paris by time period: Gallic period, Gallo-Roman period, the Middle Ages, the French Revolution, and the World’s Fair. Users can also explore the virtual city by historical monuments, and see how the city was built piece by piece with the help of historical expertise.

The Bastille in Paris as it looked around the time of the French Revolution, according to a multimedia rendering by Dassault Systèmes.

In his article from the NYT, Eric Pfanner, writes, “The core of the project is the interactive modeling, now available as an application for tablet computers. At the touch of the screen, you can zoom through two millennia of urban development, visiting the famous landmarks of Paris, including some that no longer exist.”

“Building Paris 3D took a team of 20 experts two years to assemble. Dassault, whose software is more commonly used by architects to design buildings, or by car companies to simulate the effects of crashes, worked with specialists from the Carnavalet and consulted old maps, archaeological drawings and other records in a quest for historical accuracy.”

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